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李唐，有北宋官印，说明是李唐在南下之前所做。",[23,55,24,25,26,27,28,36,29,60,61,30,31,33,7,62,35,196],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[123],1013,{"id":203,"slug":204,"title":205,"dynasty":94,"author":206,"museum":175,"description":207,"tags":208,"thumbUrl":211,"material":212,"size":213,"collection":105,"collections":214,"showCount":215,"zanCount":216,"manualWeight":11,"mainColor":71},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,24,146,27,28,36,29,60,61,34,209,7,100,210,84,33],"古道","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","绢本，设色","纵192.5厘米，横111厘米",[105,42,107],995,8,{"id":218,"slug":219,"title":220,"dynasty":18,"author":221,"museum":96,"description":222,"tags":223,"thumbUrl":224,"material":40,"size":225,"collection":123,"collections":226,"showCount":227,"zanCount":188,"manualWeight":11,"mainColor":46},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","文徵明","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[23,24,25,162,27,28,57,36,33,84,210,34,60,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[123],964,{"id":229,"slug":230,"title":231,"dynasty":18,"author":19,"museum":175,"description":232,"tags":233,"thumbUrl":235,"material":121,"size":236,"collection":123,"collections":237,"showCount":238,"zanCount":239,"manualWeight":11,"mainColor":46},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,26,27,36,29,234,30,31,32,84,7,37,38],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[123,42,68],877,7,{"id":241,"slug":242,"title":243,"dynasty":94,"author":244,"museum":175,"description":245,"tags":246,"thumbUrl":248,"material":249,"size":250,"collection":105,"collections":251,"showCount":252,"zanCount":153,"manualWeight":11,"mainColor":71},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,26,56,28,57,36,29,30,31,7,33,247,35],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","绢本设色","24cmx254cm",[105,42,68],840,{"id":254,"slug":255,"title":256,"dynasty":94,"author":257,"museum":258,"description":259,"tags":260,"thumbUrl":264,"material":265,"size":266,"collection":105,"collections":267,"showCount":268,"zanCount":239,"manualWeight":11,"mainColor":71},221395,"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","范宽","天津博物馆","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[23,24,25,29,36,27,146,261,262,34,33,263,7],"雪","寒林","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","绢本 设色","纵193.5厘米 横160.3厘米",[105,42,107],800,{"id":270,"slug":271,"title":272,"dynasty":18,"author":19,"museum":273,"description":274,"tags":275,"thumbUrl":277,"material":278,"size":279,"collection":42,"collections":280,"showCount":281,"zanCount":282,"manualWeight":11,"mainColor":46},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","辽宁省博物馆","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[23,24,25,146,27,36,37,38,58,29,7,60,84,276,118],"山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[42],763,3,{"id":284,"slug":285,"title":286,"dynasty":18,"author":287,"museum":96,"description":288,"tags":289,"thumbUrl":291,"material":292,"size":293,"collection":42,"collections":294,"showCount":295,"zanCount":188,"manualWeight":11,"mainColor":71},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","戴进","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,25,146,28,29,60,61,30,31,147,34,118,290,7],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","绢本","167.9x83.1公分",[42,107],752,{"id":297,"slug":298,"title":299,"dynasty":18,"author":51,"museum":96,"description":300,"tags":301,"thumbUrl":304,"material":121,"size":305,"collection":42,"collections":306,"showCount":307,"zanCount":153,"manualWeight":11,"mainColor":71},218389,"chun-shan-yin-shang-zhou-chou-ying-218389","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[24,146,28,57,36,29,60,7,118,302,100,34,61,303],"瀑布","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2公分",[42],732,{"id":309,"slug":310,"title":311,"dynasty":312,"author":313,"museum":175,"description":314,"tags":315,"thumbUrl":316,"material":317,"size":318,"collection":86,"collections":319,"showCount":320,"zanCount":321,"manualWeight":11,"mainColor":71},288294,"you-chun-tu-zhan-zi-qian-288294","游春图","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[55,24,25,56,28,29,60,59,31,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","未知","43×80.5cm",[],691,11,{"id":323,"slug":324,"title":325,"dynasty":18,"author":326,"museum":96,"description":327,"tags":328,"thumbUrl":330,"material":331,"size":332,"collection":123,"collections":333,"showCount":334,"zanCount":335,"manualWeight":11,"mainColor":71},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","唐寅","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[23,24,25,26,28,29,329,31,32,7,33,34,180,60,37,38,58],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","绢","纵29.4cm，横351cm",[123,68],633,5,{"id":337,"slug":338,"title":339,"dynasty":76,"author":77,"museum":273,"description":340,"tags":341,"thumbUrl":345,"material":292,"size":346,"collection":42,"collections":347,"showCount":348,"zanCount":138,"manualWeight":11,"mainColor":71},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,26,57,28,60,83,342,29,33,343,63,7,58,37,38,344,55],"舟","云","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[42,68],613,{"id":350,"slug":351,"title":352,"dynasty":94,"author":353,"museum":96,"description":354,"tags":355,"thumbUrl":356,"material":357,"size":358,"collection":123,"collections":359,"showCount":360,"zanCount":282,"manualWeight":11,"mainColor":46},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","李公麟","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,25,26,82,29,61,30,31,7,33,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","纸本,水墨","28.9x364.6",[123],600,{"id":362,"slug":363,"title":364,"dynasty":94,"author":353,"museum":365,"description":366,"tags":367,"thumbUrl":369,"material":357,"size":370,"collection":105,"collections":371,"showCount":372,"zanCount":373,"manualWeight":11,"mainColor":46},214884,"lian-she-tu-li-gong-lin-214884","莲社图","美国弗利尔美术馆","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,55,24,25,26,82,28,368,60,29,33,7,234,37,344,38,58],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[105],566,1,{"id":375,"slug":376,"title":377,"dynasty":378,"author":379,"museum":96,"description":380,"tags":381,"thumbUrl":383,"material":357,"size":384,"collection":42,"collections":385,"showCount":386,"zanCount":282,"manualWeight":11,"mainColor":46},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","元","倪瓒","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[23,24,25,146,27,29,36,7,382,234,31,58],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[42,107],518,{"id":388,"slug":389,"title":390,"dynasty":391,"author":392,"museum":78,"description":393,"tags":394,"thumbUrl":395,"material":317,"size":396,"collection":86,"collections":397,"showCount":398,"zanCount":188,"manualWeight":11,"mainColor":399},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","五代十国","荆浩","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 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。",[55,24,25,146,27,29,36,247,302,33,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg","Xcm*Xcm",[],505,"37474F",{"id":401,"slug":402,"title":403,"dynasty":18,"author":19,"museum":273,"description":404,"tags":405,"thumbUrl":406,"material":165,"size":407,"collection":86,"collections":408,"showCount":409,"zanCount":282,"manualWeight":11,"mainColor":46},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[23,24,25,27,36,38,37,58,29,7,60,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":411,"slug":412,"title":413,"dynasty":18,"author":221,"museum":96,"description":414,"tags":415,"thumbUrl":417,"material":40,"size":418,"collection":42,"collections":419,"showCount":420,"zanCount":188,"manualWeight":11,"mainColor":46},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,25,146,28,29,60,38,58,57,36,276,416,7,31,30,118,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[42,107],498,{"id":422,"slug":423,"title":424,"dynasty":391,"author":425,"museum":52,"description":426,"tags":427,"thumbUrl":430,"material":357,"size":431,"collection":42,"collections":432,"showCount":420,"zanCount":335,"manualWeight":11,"mainColor":71},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","董源","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,55,24,25,26,27,36,29,428,33,247,99,32,31,429,7],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[42,107],{"id":434,"slug":435,"title":436,"dynasty":18,"author":51,"museum":115,"description":437,"tags":438,"thumbUrl":441,"material":121,"size":442,"collection":123,"collections":443,"showCount":444,"zanCount":373,"manualWeight":11,"mainColor":46},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,26,25,57,28,161,29,60,61,7,30,31,439,33,34,196,440],"竹","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[123],497,{"id":446,"slug":447,"title":448,"dynasty":18,"author":449,"museum":450,"description":451,"tags":452,"thumbUrl":453,"material":357,"size":454,"collection":42,"collections":455,"showCount":456,"zanCount":457,"manualWeight":11,"mainColor":46},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","私人收藏","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[23,24,25,29,27,36,146,276,118,60,7,31,234,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[42],484,4,{"id":459,"slug":460,"title":461,"dynasty":94,"author":206,"museum":20,"description":462,"tags":463,"thumbUrl":467,"material":121,"size":86,"collection":105,"collections":468,"showCount":469,"zanCount":457,"manualWeight":11,"mainColor":71},218567,"song-xia-xian-yin-tu-ma-yuan-218567","松下闲吟图","老松盘枝如铁铸，松针以浓墨攒簇，垂藤轻曳间，苍劲里藏着几分柔韵。松下石畔，素衣人斜倚，似在沉吟——案上无纸笔，却有松风满袖为侣。右侧疏林瘦石，一抹飞影掠过天际，是归鸟还是流云？留白处，天地俱寂。线条简劲见筋骨，墨色浓淡相衬，将文人的清寂与旷达，凝入这方圆幅。不必喧嚣，不必繁复，只这松、这人、这飞影，便足以让时光放缓，与山水对吟。",[55,24,464,27,60,147,234,63,7,465,466],"扇面","清寂","旷达","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d58c27d08d4106d2ba29dc444462bf0.jpg",[105],449,{"id":471,"slug":472,"title":473,"dynasty":173,"author":474,"museum":78,"description":475,"tags":476,"thumbUrl":477,"material":121,"size":86,"collection":123,"collections":478,"showCount":479,"zanCount":335,"manualWeight":11,"mainColor":71},216695,"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","佚名","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[23,24,25,162,57,28,60,83,61,7,118,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[123],446,{"id":481,"slug":482,"title":483,"dynasty":378,"author":484,"museum":450,"description":485,"tags":486,"thumbUrl":490,"material":357,"size":491,"collection":42,"collections":492,"showCount":493,"zanCount":457,"manualWeight":11,"mainColor":46},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","王蒙","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,55,25,487,27,36,29,33,488,7,30,31,34,99,290,489],"山水画","秋林","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[42],438,{"id":495,"slug":496,"title":497,"dynasty":378,"author":484,"museum":96,"description":498,"tags":499,"thumbUrl":500,"material":165,"size":501,"collection":42,"collections":502,"showCount":503,"zanCount":373,"manualWeight":11,"mainColor":71},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,24,146,27,29,36,34,33,30,31,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 211.1x34.4公分、全幅 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画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[23,24,27,26,29,7,382,234,32,60,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[105,42,107],387,{"id":539,"slug":540,"title":541,"dynasty":18,"author":51,"museum":143,"description":542,"tags":543,"thumbUrl":546,"material":121,"size":86,"collection":123,"collections":547,"showCount":548,"zanCount":188,"manualWeight":11,"mainColor":71},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,25,26,57,28,161,60,61,33,34,544,7,196,63,545],"马","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[123,68],384,{"id":550,"slug":551,"title":552,"dynasty":173,"author":553,"museum":96,"description":554,"tags":555,"thumbUrl":559,"material":121,"size":560,"collection":123,"collections":561,"showCount":562,"zanCount":335,"manualWeight":11,"mainColor":46},216951,"zhong-qiu-jia-qing-tu-zhang-ting-yan-216951","中秋佳庆图","张廷彦","这幅画描绘了一个亭子，仆人们忙着送盒子里的食物，皇帝和皇后在露台上与大臣和音乐家们一起欣赏秋月。这幅画的风格似乎受到了明代宫廷绘画的启发，但笔触有些稀疏。",[55,24,161,28,60,61,7,556,58,557,558],"露台","中秋赏月","宫廷佳庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a0e35fc35d7564a8cd3792e88ea71f.jpg","134.5x65.4",[123],377,{"id":564,"slug":565,"title":566,"dynasty":18,"author":51,"museum":450,"description":567,"tags":568,"thumbUrl":571,"material":121,"size":572,"collection":123,"collections":573,"showCount":574,"zanCount":188,"manualWeight":11,"mainColor":71},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,25,162,57,28,161,56,29,60,61,7,31,32,30,63,84,569,570,209,83,234],"夕阳","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[123],376,{"id":576,"slug":577,"title":578,"dynasty":391,"author":425,"museum":530,"description":579,"tags":580,"thumbUrl":584,"material":292,"size":585,"collection":42,"collections":586,"showCount":587,"zanCount":373,"manualWeight":11,"mainColor":71},221159,"xi-an-tu-dong-yuan-221159","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,25,29,36,581,27,28,101,33,31,302,7,178,582,100,247,489,583],"披麻皴","近树","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[42,107],366,{"id":589,"slug":590,"title":591,"dynasty":94,"author":592,"museum":593,"description":594,"tags":595,"thumbUrl":597,"material":598,"size":86,"collection":42,"collections":599,"showCount":600,"zanCount":282,"manualWeight":11,"mainColor":46},219195,"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[23,596,24,55,26,27,29,32,84,63,7],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[42,105],359,{"id":602,"slug":603,"title":604,"dynasty":18,"author":19,"museum":78,"description":605,"tags":606,"thumbUrl":607,"material":608,"size":86,"collection":86,"collections":609,"showCount":610,"zanCount":524,"manualWeight":11,"mainColor":46},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,55,24,25,26,27,28,29,31,7,60,32,34,36,439,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg","纸本设色",[],341,{"id":612,"slug":613,"title":614,"dynasty":173,"author":615,"museum":530,"description":616,"tags":617,"thumbUrl":620,"material":86,"size":86,"collection":42,"collections":621,"showCount":622,"zanCount":373,"manualWeight":11,"mainColor":46},222627,"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[23,55,24,25,27,29,618,247,33,7,101,619],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[42,107],335,{"id":624,"slug":625,"title":626,"dynasty":378,"author":379,"museum":175,"description":627,"tags":628,"thumbUrl":631,"material":165,"size":632,"collection":42,"collections":633,"showCount":634,"zanCount":457,"manualWeight":11,"mainColor":46},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[23,24,629,487,146,36,38,58,37,118,7,630,34,31],"水墨画","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[42,107],329,{"id":636,"slug":637,"title":638,"dynasty":173,"author":639,"museum":175,"description":640,"tags":641,"thumbUrl":642,"material":121,"size":643,"collection":42,"collections":644,"showCount":645,"zanCount":373,"manualWeight":11,"mainColor":71},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[23,24,146,81,36,28,29,276,263,302,33,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[42],319,{"id":647,"slug":648,"title":649,"dynasty":18,"author":650,"museum":96,"description"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沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,25,162,27,29,38,58,36,7,31,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[42],282,{"id":704,"slug":705,"title":706,"dynasty":94,"author":206,"museum":96,"description":707,"tags":708,"thumbUrl":709,"material":40,"size":710,"collection":42,"collections":711,"showCount":712,"zanCount":282,"manualWeight":11,"mainColor":46},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,55,25,26,27,28,36,29,34,33,31,32,30,7,63,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[42,68],280,{"id":714,"slug":715,"title":716,"dynasty":18,"author":51,"museum":273,"description":717,"tags":718,"thumbUrl":719,"material":249,"size":720,"collection":42,"collections":721,"showCount":722,"zanCount":239,"manualWeight":11,"mainColor":71},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,25,55,26,56,28,57,29,30,31,61,7,439,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[42,68],279,{"id":724,"slug":725,"title":726,"dynasty":173,"author":727,"museum":258,"description":728,"tags":729,"thumbUrl":731,"material":292,"size":732,"collection":733,"collections":734,"showCount":722,"zanCount":216,"manualWeight":11,"mainColor":46},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","恽寿平","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,25,26,28,29,36,33,730,31,32,30,34,7],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm","花鸟画精选",[733,68],{"id":736,"slug":737,"title":738,"dynasty":378,"author":484,"museum":450,"description":739,"tags":740,"thumbUrl":741,"material":357,"size":86,"collection":86,"collections":742,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":46},214570,"shan-shui-ce-7-wang-meng-214570","山水册-7","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,55,25,162,27,36,29,84,210,32,34,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7721b1ffd15bca0c3f537a750918a292.jpg",[],278,{"id":745,"slug":746,"title":747,"dynasty":173,"author":748,"museum":273,"description":749,"tags":750,"thumbUrl":752,"material":357,"size":753,"collection":42,"collections":754,"showCount":755,"zanCount":282,"manualWeight":11,"mainColor":71},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","石涛","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。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），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。善画山水，为清初四画僧之一。",[23,24,25,146,27,36,29,751,34,31,99,7,33,234,58],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[42],273,{"id":757,"slug":758,"title":759,"dynasty":18,"author":221,"museum":96,"description":760,"tags":761,"thumbUrl":766,"material":357,"size":767,"collection":768,"collections":769,"showCount":755,"zanCount":239,"manualWeight":11,"mainColor":46},214381,"zui-weng-ting-ji-wen-zheng-ming-214381","醉翁亭记","这是一本非常精美的欧阳修的小楷《醉翁亭记》，写于82岁，后面有一个长长的后记，解释了他用王羲之的风格做这个小楷的原因。是其传世小楷之极品，笔触有力、扎实、精致。",[762,763,37,764,58,7,765],"楷书","小楷","字帖","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3961e4e010b11405c3cabb48ce358a18.jpg","28.6x53.5","书法精选",[768],{"id":771,"slug":772,"title":773,"dynasty":18,"author":326,"museum":450,"description":774,"tags":775,"thumbUrl":778,"material":40,"size":779,"collection":42,"collections":780,"showCount":781,"zanCount":524,"manualWeight":11,"mainColor":71},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[24,146,29,28,36,276,118,7,302,31,101,416,776,181,777],"草木","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[42],268,{"id":783,"slug":784,"title":785,"dynasty":18,"author":19,"museum":175,"description":786,"tags":787,"thumbUrl":788,"material":789,"size":790,"collection":86,"collections":791,"showCount":792,"zanCount":282,"manualWeight":11,"mainColor":46},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,26,27,28,36,29,247,33,147,31,34,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","纸本，设色","37.5×65cm×4",[],266,{"id":794,"slug":795,"title":796,"dynasty":378,"author":379,"museum":20,"description":797,"tags":798,"thumbUrl":800,"material":357,"size":801,"collection":42,"collections":802,"showCount":803,"zanCount":282,"manualWeight":11,"mainColor":46},220082,"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[24,27,29,146,36,799,439,302,7,33,34],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[42],254,{"id":805,"slug":806,"title":807,"dynasty":94,"author":808,"museum":530,"description":809,"tags":810,"thumbUrl":812,"material":249,"size":813,"collection":105,"collections":814,"showCount":815,"zanCount":11,"manualWeight":11,"mainColor":71},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","马麟","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[24,55,25,811,28,36,29,416,84,7,58],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[105,42,107],252,{"id":817,"slug":818,"title":819,"dynasty":378,"author":484,"museum":78,"description":820,"tags":821,"thumbUrl":823,"material":317,"size":396,"collection":86,"collections":824,"showCount":825,"zanCount":11,"manualWeight":11,"mainColor":71},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,55,24,27,29,146,36,34,33,61,30,31,7,58,37,822],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":827,"slug":828,"title":829,"dynasty":378,"author":379,"museum":530,"description":830,"tags":831,"thumbUrl":834,"material":357,"size":835,"collection":42,"collections":836,"showCount":837,"zanCount":524,"manualWeight":11,"mainColor":46},220052,"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[23,55,24,25,146,27,36,488,33,34,7,832,234,833],"水域","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[42],249,{"id":839,"slug":840,"title":841,"dynasty":18,"author":19,"museum":175,"description":232,"tags":842,"thumbUrl":235,"material":165,"size":608,"collection":42,"collections":844,"showCount":845,"zanCount":373,"manualWeight":11,"mainColor":46},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,25,26,29,843,27,28,36,38,37,34,33,31,30,32,7],"文人画",[42],248,{"id":847,"slug":848,"title":849,"dynasty":173,"author":850,"museum":175,"description":851,"tags":852,"thumbUrl":853,"material":121,"size":854,"collection":68,"collections":855,"showCount":856,"zanCount":524,"manualWeight":11,"mainColor":71},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","汉宫春晓图","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,55,161,28,57,29,61,30,31,7,33,34,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[68],247,{"id":858,"slug":859,"title":860,"dynasty":18,"author":287,"museum":175,"description":861,"tags":862,"thumbUrl":864,"material":121,"size":865,"collection":42,"collections":866,"showCount":867,"zanCount":282,"manualWeight":11,"mainColor":71},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,55,25,146,28,36,29,60,416,34,180,630,31,7,863,57],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[42],244,{"id":869,"slug":870,"title":871,"dynasty":18,"author":326,"museum":115,"description":872,"tags":873,"thumbUrl":876,"material":185,"size":877,"collection":42,"collections":878,"showCount":879,"zanCount":282,"manualWeight":11,"mainColor":71},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,24,26,28,29,36,57,874,875,32,31,7,33,34,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[42,68],242,{"id":881,"slug":882,"title":883,"dynasty":378,"author":884,"museum":175,"description":885,"tags":886,"thumbUrl":889,"material":292,"size":890,"collection":42,"collections":891,"showCount":892,"zanCount":524,"manualWeight":11,"mainColor":71},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","黄公望","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[23,36,27,28,29,247,887,888,100,101,118,7],"石壁","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[42,107],237,{"id":894,"slug":895,"title":896,"dynasty":173,"author":639,"museum":20,"description":897,"tags":898,"thumbUrl":899,"material":40,"size":900,"collection":42,"collections":901,"showCount":892,"zanCount":373,"manualWeight":11,"mainColor":46},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,56,28,29,36,81,162,30,31,7,118,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[42],{"id":903,"slug":904,"title":905,"dynasty":378,"author":379,"museum":96,"description":906,"tags":907,"thumbUrl":908,"material":357,"size":909,"collection":42,"collections":910,"showCount":911,"zanCount":524,"manualWeight":11,"mainColor":46},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[24,25,146,27,29,7,118,439,666,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[42,107],236,{"id":913,"slug":914,"title":915,"dynasty":173,"author":748,"museum":175,"description":916,"tags":917,"thumbUrl":919,"material":165,"size":920,"collection":42,"collections":921,"showCount":922,"zanCount":373,"manualWeight":11,"mainColor":46},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,918,28,27,162,36,29,416,7,60,34,33],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[42,68],235,{"id":924,"slug":925,"title":926,"dynasty":18,"author":927,"museum":78,"description":928,"tags":929,"thumbUrl":932,"material":789,"size":86,"collection":86,"collections":933,"showCount":934,"zanCount":11,"manualWeight":11,"mainColor":71},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,81,28,27,36,29,33,34,30,31,32,7,60,180,178,930,179,489,931],"近岸","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":936,"slug":937,"title":938,"dynasty":173,"author":615,"museum":78,"description":939,"tags":940,"thumbUrl":941,"material":942,"size":943,"collection":42,"collections":944,"showCount":945,"zanCount":524,"manualWeight":11,"mainColor":46},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,55,24,25,26,27,36,29,276,666,118,343,302,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纸本，墨笔","纵28.8厘米，横404.1厘米",[42,107],229,{"id":947,"slug":948,"title":949,"dynasty":173,"author":748,"museum":78,"description":950,"tags":951,"thumbUrl":953,"material":86,"size":86,"collection":86,"collections":954,"showCount":955,"zanCount":335,"manualWeight":11,"mainColor":46},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[23,24,25,26,27,918,36,38,37,58,29,247,952,33,234,7],"河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],228,{"id":957,"slug":958,"title":959,"dynasty":94,"author":95,"museum":78,"description":960,"tags":961,"thumbUrl":963,"material":121,"size":964,"collection":42,"collections":965,"showCount":966,"zanCount":373,"manualWeight":11,"mainColor":71},218589,"yue-xia-song-ting-tu-xia-gui-218589","月下松亭图","月色如纱，淡墨晕开空濛的夜。虬松枝桠似铁，斜探天际，松针苍劲点染其间，笔意简练却见筋骨。坡岸一隅，草亭静立，檐角轻拂晚风；树下人影依稀，或凭栏凝睇，渺小身影藏着悠远哲思。留白处尽是宋人的雅致空灵，山水的静谧与人文的幽怀交织，如清辉漫过岁月，仍漾着沁人的诗意。画面虽简，却以少胜多，将自然之美与心境之远融于尺幅，似能听见松涛与月色的私语，触到千年之前那缕清寂的幽情。",[811,24,25,146,27,29,147,7,570,962,36],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a70b337ac97e73bbcb8ee83512b58b6.jpg","58x25",[42],227,{"id":968,"slug":969,"title":970,"dynasty":173,"author":850,"museum":175,"description":971,"tags":972,"thumbUrl":973,"material":121,"size":974,"collection":42,"collections":975,"showCount":976,"zanCount":282,"manualWeight":11,"mainColor":71},220075,"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 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。",[23,24,57,28,161,29,61,34,99,33,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[42,68],226,{"id":978,"slug":979,"title":980,"dynasty":378,"author":379,"museum":96,"description":981,"tags":982,"thumbUrl":984,"material":165,"size":985,"collection":42,"collections":986,"showCount":987,"zanCount":524,"manualWeight":11,"mainColor":46},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[23,24,25,26,27,36,29,84,234,7,31,983,58,37],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[42,107],225,{"id":989,"slug":990,"title":991,"dynasty":378,"author":484,"museum":96,"description":992,"tags":993,"thumbUrl":994,"material":357,"size":995,"collection":42,"collections":996,"showCount":997,"zanCount":11,"manualWeight":11,"mainColor":71},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[23,24,25,27,36,29,276,263,118,32,7,100,101,329,35,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[42],221,{"id":999,"slug":1000,"title":1001,"dynasty":18,"author":19,"museum":78,"description":1002,"tags":1003,"thumbUrl":1004,"material":86,"size":86,"collection":86,"collections":1005,"showCount":1006,"zanCount":524,"manualWeight":11,"mainColor":46},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,26,27,28,29,7,630,118,31,58,37,38,35,34,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":1008,"slug":1009,"title":1010,"dynasty":94,"author":244,"museum":450,"description":1011,"tags":1012,"thumbUrl":1013,"material":121,"size":86,"collection":42,"collections":1014,"showCount":1015,"zanCount":373,"manualWeight":11,"mainColor":71},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,55,25,146,57,36,29,60,7,439,31,34,33,100,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[42],217,{"id":1017,"slug":1018,"title":1019,"dynasty":173,"author":1020,"museum":96,"description":1021,"tags":1022,"thumbUrl":1024,"material":40,"size":1025,"collection":123,"collections":1026,"showCount":1027,"zanCount":282,"manualWeight":11,"mainColor":46},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,55,25,28,57,83,1023,685,7,30,234,687,31],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[123],212,{"id":1029,"slug":1030,"title":1031,"dynasty":391,"author":1032,"museum":78,"description":1033,"tags":1034,"thumbUrl":1035,"material":317,"size":396,"collection":86,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":399},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","关仝","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[55,24,29,27,36,146,34,31,30,7,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":1039,"slug":1040,"title":1041,"dynasty":18,"author":51,"museum":365,"description":1042,"tags":1043,"thumbUrl":1045,"material":121,"size":1046,"collection":86,"collections":1047,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":71},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6","清人绘，款仇英",[57,28,162,60,83,61,31,685,439,7,687,1044],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg","18.5*38",[],{"id":1049,"slug":1050,"title":220,"dynasty":94,"author":206,"museum":1051,"description":1052,"tags":1053,"thumbUrl":1054,"material":1055,"size":1056,"collection":105,"collections":1057,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":71},221521,"shan-shui-tu-ma-yuan-221521","日本京都国立博物馆","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,24,25,27,28,36,29,276,263,84,7,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[105,42,107],208,{"id":1060,"slug":1061,"title":1062,"dynasty":18,"author":19,"museum":78,"description":1063,"tags":1064,"thumbUrl":1066,"material":317,"size":396,"collection":86,"collections":1067,"showCount":1068,"zanCount":282,"manualWeight":11,"mainColor":127},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,55,24,25,26,27,28,29,180,439,33,34,30,7,38,58,1065],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":1070,"slug":1071,"title":1072,"dynasty":94,"author":1073,"museum":96,"description":1074,"tags":1075,"thumbUrl":1083,"material":292,"size":1084,"collection":105,"collections":1085,"showCount":1086,"zanCount":373,"manualWeight":11,"mainColor":71},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","千里江山图卷","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[23,55,24,26,27,29,1076,1077,1078,776,1079,1080,30,7,1081,60,1082],"群峰","江水","溪壑","农舍","栈道","村落","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[105,42,68],204,{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":1091,"museum":450,"description":1092,"tags":1093,"thumbUrl":1094,"material":40,"size":1095,"collection":42,"collections":1096,"showCount":1086,"zanCount":457,"manualWeight":11,"mainColor":71},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,28,29,57,36,276,263,118,7,32,962,30,31,34,99,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[42,68],{"id":1098,"slug":1099,"title":1100,"dynasty":94,"author":1101,"museum":365,"description":1102,"tags":1103,"thumbUrl":1104,"material":357,"size":1105,"collection":42,"collections":1106,"showCount":1107,"zanCount":373,"manualWeight":11,"mainColor":46},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","米芾","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[24,25,55,146,27,29,36,276,343,118,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[42],201,{"id":1109,"slug":1110,"title":1111,"dynasty":173,"author":748,"museum":78,"description":1112,"tags":1113,"thumbUrl":1114,"material":317,"size":396,"collection":86,"collections":1115,"showCount":1116,"zanCount":524,"manualWeight":11,"mainColor":46},287968,"shan-shui-li-zhou-shi-tao-287968","山水立轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,55,25,146,27,29,234,416,7,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":1118,"slug":1119,"title":1120,"dynasty":173,"author":1121,"museum":1122,"description":1123,"tags":1124,"thumbUrl":1128,"material":121,"size":1129,"collection":86,"collections":1130,"showCount":1131,"zanCount":373,"manualWeight":11,"mainColor":71},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,25,57,28,161,7,1125,33,630,63,60,196,1126,583,1127],"回廊","园林","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg","纵54厘米，横129.5厘米",[],199,{"id":1133,"slug":1134,"title":1135,"dynasty":378,"author":1136,"museum":96,"description":1137,"tags":1138,"thumbUrl":1139,"material":121,"size":1140,"collection":123,"collections":1141,"showCount":1142,"zanCount":524,"manualWeight":11,"mainColor":71},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","胡廷晖","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[55,24,28,161,57,36,29,61,30,60,416,99,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[123,42],197,{"id":1144,"slug":1145,"title":1146,"dynasty":173,"author":1147,"museum":143,"description":1148,"tags":1149,"thumbUrl":1150,"material":40,"size":1151,"collection":42,"collections":1152,"showCount":1153,"zanCount":524,"manualWeight":11,"mainColor":46},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,25,29,27,36,81,34,33,100,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[42],196,{"id":1155,"slug":1156,"title":1157,"dynasty":173,"author":1158,"museum":96,"description":1159,"tags":1160,"thumbUrl":1164,"material":249,"size":1165,"collection":86,"collections":1166,"showCount":1167,"zanCount":373,"manualWeight":11,"mainColor":46},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[24,25,146,81,28,57,60,7,118,666,687,1161,1162,1163,58,37,38,196,1023],"桌案","文人","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":1169,"slug":1170,"title":1171,"dynasty":378,"author":379,"museum":96,"description":1172,"tags":1173,"thumbUrl":1175,"material":357,"size":1176,"collection":86,"collections":1177,"showCount":1178,"zanCount":524,"manualWeight":11,"mainColor":46},232638,"rong-xi-zhai-tu-ni-zan-232638","容膝斋图","该图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，中幅为湖光波色，图上部的远岫遥岑横于波际。这种三段式的构图，是倪瓒山水画的特征之一。其山水取法于董源，石上横拖披麻，皴法清逸。其树法参差变化，结体有骨力，而树头枝梢，每多生意。枯树擦以枯笔，墨色浓淡错综而滋润浑厚。\n此画分近、中、远三景， 近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[24,27,487,36,37,58,29,7,118,234,1174],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":1180,"slug":1181,"title":1182,"dynasty":18,"author":51,"museum":1183,"description":1184,"tags":1185,"thumbUrl":1186,"material":292,"size":1187,"collection":42,"collections":1188,"showCount":1178,"zanCount":524,"manualWeight":11,"mainColor":46},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","美国纳尔逊阿特金斯艺术博物馆","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,26,56,28,57,38,37,29,32,60,7,31,30,61,33,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[42,68],{"id":1190,"slug":1191,"title":1192,"dynasty":378,"author":1193,"museum":96,"description":1194,"tags":1195,"thumbUrl":1196,"material":103,"size":1197,"collection":42,"collections":1198,"showCount":1178,"zanCount":335,"manualWeight":11,"mainColor":71},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,25,26,27,36,29,7,30,31,33,60,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[42,107],{"id":1200,"slug":1201,"title":1202,"dynasty":18,"author":51,"museum":96,"description":1203,"tags":1204,"thumbUrl":1205,"material":121,"size":1206,"collection":68,"collections":1207,"showCount":1178,"zanCount":11,"manualWeight":11,"mainColor":71},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[55,24,57,28,161,1126,61,29,33,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[68],{"id":1209,"slug":1210,"title":1211,"dynasty":18,"author":1212,"museum":530,"description":1213,"tags":1214,"thumbUrl":1216,"material":121,"size":86,"collection":123,"collections":1217,"showCount":1178,"zanCount":373,"manualWeight":11,"mainColor":46},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,26,27,28,57,36,29,60,7,30,31,33,666,37,1215],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[123],{"id":1219,"slug":1220,"title":1221,"dynasty":173,"author":615,"museum":20,"description":1222,"tags":1223,"thumbUrl":1224,"material":165,"size":1225,"collection":42,"collections":1226,"showCount":1227,"zanCount":373,"manualWeight":11,"mainColor":46},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,55,25,27,36,29,30,31,7,416,180,101,302,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[42],191,{"id":1229,"slug":1230,"title":1231,"dynasty":94,"author":193,"museum":530,"description":1232,"tags":1233,"thumbUrl":1234,"material":1235,"size":1236,"collection":105,"collections":1237,"showCount":1238,"zanCount":524,"manualWeight":11,"mainColor":71},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[23,24,25,26,28,57,58,60,544,84,7],"https:\u0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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,55,24,25,26,81,161,57,28,29,61,30,31,32,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[105,42,107],179,{"id":1317,"slug":1318,"title":1319,"dynasty":378,"author":379,"museum":96,"description":1320,"tags":1321,"thumbUrl":1322,"material":103,"size":1323,"collection":42,"collections":1324,"showCount":1325,"zanCount":11,"manualWeight":11,"mainColor":46},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[24,25,146,27,487,36,234,7,439,118,178,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[42,107],177,{"id":1327,"slug":1328,"title":1329,"dynasty":18,"author":221,"museum":96,"description":1330,"tags":1331,"thumbUrl":1332,"material":357,"size":1333,"collection":42,"collections":1334,"showCount":1335,"zanCount":457,"manualWeight":11,"mainColor":46},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,25,146,27,28,29,60,7,31,33,34,58,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[42],176,{"id":1337,"slug":1338,"title":1339,"dynasty":173,"author":1340,"museum":530,"description":1341,"tags":1342,"thumbUrl":1346,"material":121,"size":1347,"collection":123,"collections":1348,"showCount":1349,"zanCount":457,"manualWeight":11,"mainColor":71},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,57,28,36,29,60,61,30,31,7,33,1343,1344,1345,544,952,247,99],"山脉","村庄","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[123,42],175,{"id":1351,"slug":1352,"title":1353,"dynasty":1354,"author":1355,"museum":96,"description":1356,"tags":1357,"thumbUrl":1358,"material":292,"size":1359,"collection":42,"collections":1360,"showCount":1361,"zanCount":524,"manualWeight":11,"mainColor":71},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","唐","王维","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,25,26,27,36,37,38,261,29,382,30,31,32,962,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[42],172,{"id":1363,"slug":1364,"title":1365,"dynasty":18,"author":19,"museum":158,"description":159,"tags":1366,"thumbUrl":1367,"material":165,"size":166,"collection":86,"collections":1368,"showCount":1369,"zanCount":11,"manualWeight":11,"mainColor":46},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[23,24,27,36,162,161,29,61,7,60,33,416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg",[],171,{"id":1371,"slug":1372,"title":1373,"dynasty":18,"author":19,"museum":175,"description":1374,"tags":1375,"thumbUrl":1376,"material":789,"size":1377,"collection":86,"collections":1378,"showCount":1379,"zanCount":373,"manualWeight":11,"mainColor":46},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,26,28,29,843,36,38,37,276,263,7,33,34,180,181,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":1381,"slug":1382,"title":1383,"dynasty":173,"author":1384,"museum":96,"description":1385,"tags":1386,"thumbUrl":1387,"material":40,"size":1388,"collection":42,"collections":1389,"showCount":1390,"zanCount":373,"manualWeight":11,"mainColor":46},219533,"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[24,28,29,60,7,61,33,34,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[42],167,{"id":1392,"slug":1393,"title":1394,"dynasty":1354,"author":1395,"museum":1396,"description":1397,"tags":1398,"thumbUrl":1399,"material":121,"size":1400,"collection":42,"collections":1401,"showCount":1402,"zanCount":373,"manualWeight":11,"mainColor":71},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","耶鲁大学艺术博物馆","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,24,28,29,261,34,33,30,60,544,7,35,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[42,733],164,{"id":1404,"slug":1405,"title":1406,"dynasty":94,"author":193,"museum":96,"description":1407,"tags":1408,"thumbUrl":1409,"material":103,"size":1410,"collection":105,"collections":1411,"showCount":1412,"zanCount":11,"manualWeight":11,"mainColor":46},221496,"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","此图应为元代画家所绘，大青绿绘远处山峦起伏，陡峭险峻；中部湖面广阔，水面如静；近处树木蓊郁，岸上一处亭台建筑考究，两排并列，回廊延伸，亭内两人倚栏而坐，聊天赏景，不亦乐乎。",[23,24,464,28,29,36,7,33,60,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg","23.7×20cm",[105,42,68],161,{"id":1414,"slug":1415,"title":1416,"dynasty":94,"author":206,"museum":530,"description":1417,"tags":1418,"thumbUrl":1419,"material":198,"size":86,"collection":42,"collections":1420,"showCount":1421,"zanCount":524,"manualWeight":11,"mainColor":71},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[23,24,55,146,27,36,29,7,416,60,34,35,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[42],159,{"id":1423,"slug":1424,"title":1425,"dynasty":173,"author":639,"museum":450,"description":1426,"tags":1427,"thumbUrl":1429,"material":40,"size":86,"collection":42,"collections":1430,"showCount":1431,"zanCount":373,"manualWeight":11,"mainColor":46},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,27,1428,36,162,29,33,34,100,7],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[42],158,{"id":1433,"slug":1434,"title":1435,"dynasty":18,"author":19,"museum":158,"description":159,"tags":1436,"thumbUrl":1437,"material":165,"size":166,"collection":86,"collections":1438,"showCount":1439,"zanCount":11,"manualWeight":11,"mainColor":127},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[23,24,25,162,27,36,29,60,7,84,101,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],157,{"id":1441,"slug":1442,"title":1443,"dynasty":173,"author":474,"museum":175,"description":1444,"tags":1445,"thumbUrl":1446,"material":212,"size":1447,"collection":86,"collections":1448,"showCount":1449,"zanCount":11,"manualWeight":11,"mainColor":46},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图","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。",[24,25,56,28,57,29,61,30,31,7,60,33,685,34,303,1044,687,1125,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg","纵188.2厘米，横102.2厘米",[],156,{"id":1451,"slug":1452,"title":1453,"dynasty":18,"author":19,"museum":175,"description":1454,"tags":1455,"thumbUrl":1457,"material":40,"size":1458,"collection":42,"collections":1459,"showCount":1460,"zanCount":11,"manualWeight":11,"mainColor":127},219865,"yun-shan-tu-shen-zhou-219865","云山图","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,24,27,29,36,146,33,99,34,952,7,178,582,1456],"小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[42],154,{"id":1462,"slug":1463,"title":1464,"dynasty":18,"author":19,"museum":96,"description":1465,"tags":1466,"thumbUrl":1467,"material":40,"size":1468,"collection":86,"collections":1469,"showCount":1470,"zanCount":373,"manualWeight":11,"mainColor":71},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,25,146,27,28,29,36,60,544,30,31,7,33,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":1472,"slug":1473,"title":1474,"dynasty":18,"author":326,"museum":530,"description":1475,"tags":1476,"thumbUrl":1477,"material":121,"size":1478,"collection":42,"collections":1479,"showCount":1470,"zanCount":524,"manualWeight":11,"mainColor":71},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,25,26,27,28,29,57,36,38,58,30,31,7,61,32,63,60,84,329,209,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[42,68],{"id":1481,"slug":1482,"title":220,"dynasty":18,"author":1483,"museum":96,"description":1484,"tags":1485,"thumbUrl":1486,"material":40,"size":1487,"collection":42,"collections":1488,"showCount":1470,"zanCount":373,"manualWeight":11,"mainColor":46},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[24,25,146,27,36,58,29,101,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[42],{"id":1490,"slug":1491,"title":1492,"dynasty":94,"author":1493,"museum":96,"description":1494,"tags":1495,"thumbUrl":1497,"material":103,"size":1498,"collection":105,"collections":1499,"showCount":1500,"zanCount":373,"manualWeight":11,"mainColor":71},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,55,24,25,162,27,28,36,29,7,33,32,1496,178,1174],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[105,42],152,{"id":1502,"slug":1503,"title":1504,"dynasty":173,"author":1505,"museum":78,"description":1506,"tags":1507,"thumbUrl":1508,"material":317,"size":396,"collection":86,"collections":1509,"showCount":1510,"zanCount":373,"manualWeight":11,"mainColor":46},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[55,24,146,27,29,382,7,31,34,178,81,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],150,{"id":1512,"slug":1513,"title":1514,"dynasty":173,"author":1515,"museum":258,"description":1516,"tags":1517,"thumbUrl":1518,"material":40,"size":1519,"collection":68,"collections":1520,"showCount":1521,"zanCount":457,"manualWeight":11,"mainColor":46},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,146,27,36,81,29,84,7,30,234,210,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg","22.5x27.5",[68],149,{"id":1523,"slug":1524,"title":1525,"dynasty":18,"author":1526,"museum":96,"description":1527,"tags":1528,"thumbUrl":1529,"material":40,"size":1530,"collection":42,"collections":1531,"showCount":1521,"zanCount":11,"manualWeight":11,"mainColor":71},214825,"song-ting-gao-shi-tu-wang-fu-214825","松亭高士图","王绂","这幅画展示了一群矗立在云端的山峰，山坡上的建筑结构，飞翔的喷泉和下面的小溪。附近岸边的松树林，水面上的小桥，以及两位高士摊开画卷的小亭子，都是面对面的。岩石是用湿的笔触和剥离相结合的方式绘制的。笔墨似乎与我们收藏的王绂的其他作品不同。",[24,25,146,27,36,29,147,7,60,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e34794de7373f042b12a8297a0a70b.jpg","254.2x53.6",[42],{"id":1533,"slug":1534,"title":1535,"dynasty":378,"author":474,"museum":175,"description":1536,"tags":1537,"thumbUrl":1539,"material":121,"size":1540,"collection":42,"collections":1541,"showCount":1521,"zanCount":524,"manualWeight":11,"mainColor":71},214314,"dong-shan-si-zhu-tu-yi-ming-214314","东山丝竹图","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[23,24,25,28,29,36,60,61,33,31,7,1538],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b23ad1f9ddfe456c8d38d90674e4715.jpg","纵188.5厘米，横103.3厘米",[42],{"id":1543,"slug":1544,"title":1545,"dynasty":18,"author":19,"museum":96,"description":1465,"tags":1546,"thumbUrl":1547,"material":40,"size":1548,"collection":42,"collections":1549,"showCount":1550,"zanCount":373,"manualWeight":11,"mainColor":71},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴",[23,24,146,27,36,29,60,544,7,30,31,33,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[42,107],148,{"id":1552,"slug":1553,"title":1554,"dynasty":18,"author":474,"museum":96,"description":1555,"tags":1556,"thumbUrl":1557,"material":331,"size":86,"collection":86,"collections":1558,"showCount":1559,"zanCount":373,"manualWeight":11,"mainColor":46},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,25,26,27,29,36,37,58,81,276,263,33,32,30,31,7,63,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":1561,"slug":1562,"title":1563,"dynasty":18,"author":19,"museum":96,"description":1564,"tags":1565,"thumbUrl":1566,"material":534,"size":1567,"collection":42,"collections":1568,"showCount":1559,"zanCount":524,"manualWeight":11,"mainColor":71},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,25,487,27,36,276,343,118,31,34,7,210,84,100,489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","152 2x43 2cm",[42,107],{"id":1570,"slug":1571,"title":528,"dynasty":94,"author":529,"museum":530,"description":1572,"tags":1573,"thumbUrl":1575,"material":534,"size":535,"collection":105,"collections":1576,"showCount":1577,"zanCount":524,"manualWeight":11,"mainColor":71},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,26,27,36,1574,29,7,210,84,234,31,32,58],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[105,42,107],144,{"id":1579,"slug":1580,"title":1581,"dynasty":94,"author":95,"museum":450,"description":1582,"tags":1583,"thumbUrl":1586,"material":121,"size":1587,"collection":42,"collections":1588,"showCount":1589,"zanCount":457,"manualWeight":11,"mainColor":71},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,55,25,29,27,36,7,302,99,34,33,178,100,179,1584,1585],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[42],143,{"id":1591,"slug":1592,"title":220,"dynasty":94,"author":95,"museum":1593,"description":1594,"tags":1595,"thumbUrl":1596,"material":121,"size":1597,"collection":42,"collections":1598,"showCount":1599,"zanCount":373,"manualWeight":11,"mainColor":46},218636,"shan-shui-tu-xia-gui-218636","费城艺术博物馆","嶙峋山石倚着清竹，茅舍半藏于岩间，窗内人影依稀，似在静赏山光。淡墨远山如黛，隐入烟霭，留白处漾着空濛的诗意。斧劈皴笔力劲健，刻画出山石坚硬肌理；竹叶以简括笔触点染，疏朗间见生机。构图截取一角景致，以少胜多，将南宋山水的空灵雅致凝于尺幅。墨色浓淡交错，层次叠生，竹影婆娑、山石苍劲、远山悠远，共同织就清寂悠然的林泉图景，尽显隐者恬淡心境与画者笔墨才情。题跋与画面相映，文气画意交融，更添古朴雅致之韵。",[24,25,29,27,36,439,34,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fbe552f0bbce9c2e6f3428b0b59de0.jpg","32.7x20",[42],141,{"id":1601,"slug":1602,"title":1603,"dynasty":378,"author":379,"museum":96,"description":1604,"tags":1605,"thumbUrl":1609,"material":357,"size":396,"collection":86,"collections":1610,"showCount":1611,"zanCount":373,"manualWeight":11,"mainColor":46},290956,"jiang-an-wang-shan-tu-ni-zan-290956","江岸望山图","由画上题诗，知为赠行而作，受赠者由水路去会稽，因而画舟中望两岸之景。款上称“并写江岸望山图奉送惟允友契之会稽”，惟允为陈汝言之字，但“惟允”二字，与其他题诗之字比较起来，笔迹不似，疑系后人妄改，藉以增加此画之身价。\n倪氏早年从董巨入手，五十几岁时，山石全用披麻长皴；至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法，呈现静穆萧疏的风格。该幅画高树空亭，隔岸望山，山上长皴，未成折带，利用苔点﹑深浅皴法及留白的运用，将山石立体实感呈现而出，气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：“皴法全用大披麻，得巨然神髓。迂翁画大抵平远山峰，不多作树；似此高崖峭壁，具太华削成之势；大小树点叶纷披，都非向来面目，乃知此翁绘妙中扫空蹊径，有如许大手笔也。”",[24,27,29,7,382,34,1606,37,58,465,1607,1608],"江岸","江景","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae1ca51152d8dd2051b65e995e59abd.jpg",[],140,{"id":1613,"slug":1614,"title":1615,"dynasty":94,"author":1616,"museum":52,"description":1617,"tags":1618,"thumbUrl":1622,"material":212,"size":1623,"collection":768,"collections":1624,"showCount":1625,"zanCount":373,"manualWeight":11,"mainColor":46},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,55,24,25,26,29,27,28,36,1608,33,1619,1291,1620,178,776,7,1621,983],"湖水","岸堤","湖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米",[768],139,{"id":1627,"slug":1628,"title":1629,"dynasty":18,"author":19,"museum":158,"description":159,"tags":1630,"thumbUrl":1633,"material":165,"size":166,"collection":86,"collections":1634,"showCount":1635,"zanCount":11,"manualWeight":11,"mainColor":71},220063,"hu-qiu-shi-er-jing-tu-ce-4-shen-zhou-220063","虎丘十二景图册-4",[23,24,55,162,27,29,7,61,60,33,1631,1632,36],"围墙","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bce900b7fa22a36598aac7aa31efa9d.jpg",[],137,{"id":1637,"slug":1638,"title":1639,"dynasty":18,"author":1640,"museum":258,"description":1641,"tags":1642,"thumbUrl":1643,"material":608,"size":1644,"collection":42,"collections":1645,"showCount":1646,"zanCount":282,"manualWeight":11,"mainColor":71},222073,"ming-huang-xing-shu-tu-wu-bin-222073","明皇幸蜀图","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,24,25,29,28,57,36,60,544,61,30,31,34,302,33,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","65x112 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56公分",[42,68],{"id":1690,"slug":1691,"title":1692,"dynasty":173,"author":474,"museum":175,"description":1444,"tags":1693,"thumbUrl":1694,"material":212,"size":1447,"collection":86,"collections":1695,"showCount":1696,"zanCount":11,"manualWeight":11,"mainColor":71},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171","雍正十二月行乐图轴",[24,28,57,161,29,60,61,196,59,34,7,31,33,1125,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":1698,"slug":1699,"title":1700,"dynasty":378,"author":1701,"museum":52,"description":1702,"tags":1703,"thumbUrl":1704,"material":1705,"size":1706,"collection":42,"collections":1707,"showCount":1708,"zanCount":524,"manualWeight":11,"mainColor":127},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","吴镇","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[23,24,26,27,25,36,38,58,29,7,33,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纸本水墨","纵23.8厘米，横277.8厘米",[42,107],132,{"id":1710,"slug":1711,"title":1712,"dynasty":18,"author":650,"museum":530,"description":1713,"tags":1714,"thumbUrl":1716,"material":165,"size":1717,"collection":42,"collections":1718,"showCount":1708,"zanCount":373,"manualWeight":11,"mainColor":46},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,25,26,27,36,81,29,30,31,7,33,178,1715,99],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[42],{"id":1720,"slug":1721,"title":1722,"dynasty":391,"author":1723,"museum":96,"description":1724,"tags":1725,"thumbUrl":1726,"material":198,"size":1727,"collection":42,"collections":1728,"showCount":1708,"zanCount":524,"manualWeight":11,"mainColor":71},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","巨然","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,25,146,27,36,29,33,34,181,7,100,234,776,983,777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[42],{"id":1730,"slug":1731,"title":1732,"dynasty":173,"author":1505,"museum":175,"description":1733,"tags":1734,"thumbUrl":1735,"material":86,"size":86,"collection":42,"collections":1736,"showCount":1737,"zanCount":373,"manualWeight":11,"mainColor":46},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[55,24,25,146,27,36,29,147,7,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[42,107],131,{"id":1739,"slug":1740,"title":1741,"dynasty":173,"author":748,"museum":78,"description":1742,"tags":1743,"thumbUrl":1744,"material":86,"size":86,"collection":86,"collections":1745,"showCount":1737,"zanCount":11,"manualWeight":11,"mainColor":46},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[55,24,25,162,27,36,29,234,84,7,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],{"id":1747,"slug":1748,"title":1749,"dynasty":173,"author":1750,"museum":96,"description":1751,"tags":1752,"thumbUrl":1753,"material":789,"size":1754,"collection":42,"collections":1755,"showCount":1737,"zanCount":373,"manualWeight":11,"mainColor":46},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡残","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,26,27,28,36,29,302,147,7,30,31,178,99,33,34,37,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[42,68],{"id":1757,"slug":1758,"title":220,"dynasty":173,"author":1505,"museum":1759,"description":1506,"tags":1760,"thumbUrl":1761,"material":357,"size":86,"collection":42,"collections":1762,"showCount":1737,"zanCount":11,"manualWeight":11,"mainColor":46},219900,"shan-shui-tu-hong-ren-219900","印第安纳波利斯艺术博物馆",[23,24,25,146,27,36,29,7,416,34,777,33,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[42],{"id":1764,"slug":1765,"title":849,"dynasty":94,"author":1766,"museum":96,"description":1767,"tags":1768,"thumbUrl":1769,"material":121,"size":86,"collection":105,"collections":1770,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":399},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹","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。",[23,24,161,28,56,57,29,61,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[105],130,{"id":1773,"slug":1774,"title":1775,"dynasty":391,"author":682,"museum":96,"description":1776,"tags":1777,"thumbUrl":1780,"material":121,"size":1781,"collection":123,"collections":1782,"showCount":1783,"zanCount":524,"manualWeight":11,"mainColor":46},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[23,24,25,28,57,161,60,83,1778,7,33,1779,31,687],"水榭","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[123],129,{"id":1785,"slug":1786,"title":1787,"dynasty":94,"author":1101,"museum":78,"description":1788,"tags":1789,"thumbUrl":1790,"material":317,"size":396,"collection":86,"collections":1791,"showCount":1792,"zanCount":524,"manualWeight":11,"mainColor":46},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” (亦称“落茄被”)，松树笔法细致、严密。",[24,487,27,36,276,416,7,99,38,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg",[],128,{"id":1794,"slug":1795,"title":1796,"dynasty":18,"author":650,"museum":96,"description":1797,"tags":1798,"thumbUrl":1799,"material":121,"size":1800,"collection":42,"collections":1801,"showCount":1792,"zanCount":11,"manualWeight":11,"mainColor":46},219393,"shuang-lin-qiu-si-tu-dong-qi-chang-219393","霜林秋思图","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。",[24,25,27,28,36,29,84,210,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ddfad59a355bdb3593c2a6418d9735.jpg","纵130.2厘米，横63.5厘米",[42],{"id":1803,"slug":1804,"title":1805,"dynasty":94,"author":474,"museum":96,"description":1806,"tags":1807,"thumbUrl":1810,"material":121,"size":1811,"collection":105,"collections":1812,"showCount":1792,"zanCount":373,"manualWeight":11,"mainColor":71},218801,"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[23,24,55,28,161,57,36,29,61,7,60,416,1808,1809,34,33],"桃","李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[105],{"id":1814,"slug":1815,"title":1816,"dynasty":378,"author":484,"museum":78,"description":820,"tags":1817,"thumbUrl":1820,"material":317,"size":396,"collection":86,"collections":1821,"showCount":1822,"zanCount":373,"manualWeight":11,"mainColor":71},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图",[24,55,27,146,29,36,416,34,7,180,1818,1819,37,60,247],"读书","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":1824,"slug":1825,"title":1826,"dynasty":94,"author":474,"museum":96,"description":1827,"tags":1828,"thumbUrl":1830,"material":121,"size":1831,"collection":105,"collections":1832,"showCount":1833,"zanCount":373,"manualWeight":11,"mainColor":71},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,25,29,28,27,36,1829,1044,30,31,32,962,329,7],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[105,42],125,{"id":1835,"slug":1836,"title":1837,"dynasty":18,"author":19,"museum":78,"description":1838,"tags":1839,"thumbUrl":1841,"material":317,"size":396,"collection":86,"collections":1842,"showCount":1843,"zanCount":524,"manualWeight":11,"mainColor":46},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,55,24,629,26,29,843,36,37,38,58,34,33,35,31,32,7,178,1715,1840,63,30,210,84],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":1845,"slug":1846,"title":1847,"dynasty":18,"author":1526,"museum":96,"description":1848,"tags":1849,"thumbUrl":1850,"material":357,"size":1851,"collection":42,"collections":1852,"showCount":1843,"zanCount":373,"manualWeight":11,"mainColor":71},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[24,25,27,29,36,37,58,7,32,33,101,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[42],{"id":1854,"slug":1855,"title":1856,"dynasty":94,"author":206,"museum":450,"description":1857,"tags":1858,"thumbUrl":1859,"material":121,"size":1860,"collection":105,"collections":1861,"showCount":1862,"zanCount":11,"manualWeight":11,"mainColor":71},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,55,24,25,29,27,28,36,276,118,7,99,60,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[105],123,{"id":1864,"slug":1865,"title":1866,"dynasty":18,"author":114,"museum":530,"description":1867,"tags":1868,"thumbUrl":1872,"material":121,"size":86,"collection":123,"collections":1873,"showCount":1862,"zanCount":188,"manualWeight":11,"mainColor":46},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,25,26,28,57,38,762,58,37,60,33,7,1869,1538,1870,545,1871],"桌椅","笔墨纸砚","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[123,768],{"id":1875,"slug":1876,"title":1877,"dynasty":173,"author":1878,"museum":1879,"description":1880,"tags":1881,"thumbUrl":1882,"material":28,"size":1883,"collection":42,"collections":1884,"showCount":1885,"zanCount":373,"manualWeight":11,"mainColor":1886},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","安徽省博物馆","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,28,36,26,29,7,30,31,33,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[42],122,"aaa79f",{"id":1888,"slug":1889,"title":1111,"dynasty":18,"author":650,"museum":96,"description":1890,"tags":1891,"thumbUrl":1892,"material":292,"size":86,"collection":42,"collections":1893,"showCount":1894,"zanCount":11,"manualWeight":11,"mainColor":71},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,24,25,146,27,36,29,276,263,118,147,101,7,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[42,107],121,{"id":1896,"slug":1897,"title":1898,"dynasty":173,"author":1515,"museum":258,"description":1516,"tags":1899,"thumbUrl":1900,"material":40,"size":1519,"collection":42,"collections":1901,"showCount":1894,"zanCount":373,"manualWeight":11,"mainColor":46},220005,"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[23,24,27,29,81,36,33,31,7,34,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[42],{"id":1903,"slug":1904,"title":1905,"dynasty":18,"author":1483,"museum":96,"description":1906,"tags":1907,"thumbUrl":1908,"material":121,"size":1909,"collection":42,"collections":1910,"showCount":1894,"zanCount":373,"manualWeight":11,"mainColor":71},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,25,146,27,36,29,7,33,30,31,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[42],{"id":1912,"slug":1913,"title":1914,"dynasty":18,"author":19,"museum":20,"description":1915,"tags":1916,"thumbUrl":1919,"material":357,"size":1920,"collection":42,"collections":1921,"showCount":1922,"zanCount":373,"manualWeight":11,"mainColor":46},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,25,26,27,36,29,1917,1918,34,33,7,31,32,35,382,30],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[42],120,{"id":1924,"slug":1925,"title":1926,"dynasty":173,"author":1927,"museum":530,"description":1928,"tags":1929,"thumbUrl":1930,"material":40,"size":1931,"collection":86,"collections":1932,"showCount":1922,"zanCount":373,"manualWeight":11,"mainColor":46},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n洞口飞泉一道斜，是谁泛泛小舟拿。藤萝石上依然在，只欠洲前芦荻花。钤印：古香、太宝",[24,25,29,162,36,28,276,263,382,7,101,952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg","21.9 × 30.2cm",[],{"id":1934,"slug":1935,"title":1692,"dynasty":173,"author":474,"museum":175,"description":1444,"tags":1936,"thumbUrl":1939,"material":212,"size":1447,"collection":86,"collections":1940,"showCount":1941,"zanCount":11,"manualWeight":11,"mainColor":71},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[55,24,25,146,57,28,161,29,61,7,1937,31,1938,59,33,60,196,178,1715],"廊","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],119,{"id":1943,"slug":1944,"title":1945,"dynasty":173,"author":1505,"museum":175,"description":1946,"tags":1947,"thumbUrl":1949,"material":789,"size":1950,"collection":86,"collections":1951,"showCount":1941,"zanCount":11,"manualWeight":11,"mainColor":46},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,27,146,918,36,25,29,1496,33,30,31,302,7,1948],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":1953,"slug":1954,"title":1955,"dynasty":173,"author":1927,"museum":96,"description":1956,"tags":1957,"thumbUrl":1958,"material":40,"size":1959,"collection":42,"collections":1960,"showCount":1941,"zanCount":524,"manualWeight":11,"mainColor":46},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[55,24,25,28,36,81,58,29,33,31,7,34,99,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[42],{"id":1962,"slug":1963,"title":1964,"dynasty":173,"author":615,"museum":258,"description":1965,"tags":1966,"thumbUrl":1968,"material":165,"size":1969,"collection":42,"collections":1970,"showCount":1971,"zanCount":524,"manualWeight":11,"mainColor":71},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,24,27,36,146,29,34,33,302,1967,7,31,30],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[42,107],117,{"id":1973,"slug":1974,"title":1975,"dynasty":173,"author":1340,"museum":175,"description":1976,"tags":1977,"thumbUrl":1979,"material":121,"size":1980,"collection":42,"collections":1981,"showCount":1971,"zanCount":11,"manualWeight":11,"mainColor":71},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","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。据王翚自题，因30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。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。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。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。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。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。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,26,27,28,29,1978,1496,33,302,7,99,34,35,36],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[42],{"id":1983,"slug":1984,"title":1985,"dynasty":94,"author":244,"museum":78,"description":1986,"tags":1987,"thumbUrl":1991,"material":121,"size":1992,"collection":123,"collections":1993,"showCount":1971,"zanCount":335,"manualWeight":11,"mainColor":71},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,57,28,26,38,37,161,60,61,196,33,34,687,686,1988,7,1989,1990,303,416],"衣冠","车马","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[123],{"id":1995,"slug":1996,"title":1997,"dynasty":94,"author":1998,"museum":78,"description":1999,"tags":2000,"thumbUrl":2001,"material":86,"size":86,"collection":86,"collections":2002,"showCount":2003,"zanCount":373,"manualWeight":11,"mainColor":46},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[23,55,24,25,26,82,27,36,29,60,32,7,63,33,101,61,31,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],115,{"id":2005,"slug":2006,"title":220,"dynasty":94,"author":95,"museum":1051,"description":2007,"tags":2008,"thumbUrl":2009,"material":2010,"size":2011,"collection":105,"collections":2012,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":71},221507,"shan-shui-tu-xia-gui-221507","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[23,24,27,29,36,33,34,7,1174,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 水墨","25.9×34.3厘米",[105,42,107],{"id":2014,"slug":2015,"title":2016,"dynasty":94,"author":244,"museum":96,"description":2017,"tags":2018,"thumbUrl":2019,"material":121,"size":2020,"collection":42,"collections":2021,"showCount":2003,"zanCount":282,"manualWeight":11,"mainColor":71},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[23,24,25,26,56,28,57,36,29,61,7,84,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[42],{"id":2023,"slug":2024,"title":2025,"dynasty":18,"author":2026,"museum":96,"description":2027,"tags":2028,"thumbUrl":2030,"material":40,"size":2031,"collection":123,"collections":2032,"showCount":2033,"zanCount":373,"manualWeight":11,"mainColor":71},219385,"xi-yuan-ya-ji-tu-cheng-zhong-jian-219385","西园雅集图","程仲坚","此幅是众多描绘“西园雅集”图画中明代画家所作的一幅，风格近仇英、文徵明，谨细处又似尤求。",[24,28,57,146,60,29,7,147,666,2029,1023,58],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ead328f10838a1cb7f0ad0266a9ac3.jpg","117.4 x 39.6cm",[123],114,{"id":2035,"slug":2036,"title":1749,"dynasty":173,"author":748,"museum":78,"description":1112,"tags":2037,"thumbUrl":2038,"material":317,"size":396,"collection":86,"collections":2039,"showCount":2040,"zanCount":373,"manualWeight":11,"mainColor":46},288091,"shan-shui-tu-juan-shi-tao-288091",[23,24,26,25,27,36,29,61,34,888,31,777,7,344,38,37,58,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":2042,"slug":2043,"title":2044,"dynasty":173,"author":474,"museum":78,"description":2045,"tags":2046,"thumbUrl":2047,"material":86,"size":86,"collection":86,"collections":2048,"showCount":2040,"zanCount":282,"manualWeight":11,"mainColor":71},230302,"fang-chou-ying-wang-chuan-tu-yi-ming-230302","仿仇英辋川图","此作用鲜亮石青、石绿晕染勾勒山峦，兼具勾勒骨力与晕染秀润，设色雅致明丽。画幅间烟波浩渺，云气悠然萦绕山谷峰林，村居屋舍错落隐现于林木水岸之间，将辋川别业的林泉意韵铺陈开来。整体意境清旷淡远，把诗意山居化为具象图景，尽显复古工笔青绿山水的雅逸格调，传递出隐世丘园的悠然禅意。",[23,24,25,26,56,28,57,81,29,247,99,33,583,952,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311e89b0c05248950e4ccf7747f51546.jpg",[],{"id":2050,"slug":2051,"title":2052,"dynasty":94,"author":474,"museum":96,"description":2053,"tags":2054,"thumbUrl":2057,"material":121,"size":2058,"collection":123,"collections":2059,"showCount":2060,"zanCount":524,"manualWeight":11,"mainColor":71},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,25,26,57,28,161,60,7,61,33,34,196,687,1161,2055,1632,2056,630],"坐具","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[123],110,{"id":2062,"slug":2063,"title":2064,"dynasty":378,"author":2065,"museum":1183,"description":2066,"tags":2067,"thumbUrl":2068,"material":249,"size":2069,"collection":42,"collections":2070,"showCount":2071,"zanCount":282,"manualWeight":11,"mainColor":71},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","盛懋","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,25,146,28,36,29,7,32,33,34,60,31,181,489,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[42,68],109,{"id":2073,"slug":2074,"title":2075,"dynasty":173,"author":2076,"museum":96,"description":2077,"tags":2078,"thumbUrl":2079,"material":40,"size":2080,"collection":42,"collections":2081,"showCount":2082,"zanCount":11,"manualWeight":11,"mainColor":46},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,28,57,36,29,61,7,30,31,60,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[42],108,{"id":2084,"slug":2085,"title":1288,"dynasty":94,"author":474,"museum":530,"description":2086,"tags":2087,"thumbUrl":2089,"material":2090,"size":2091,"collection":105,"collections":2092,"showCount":2093,"zanCount":373,"manualWeight":11,"mainColor":71},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,25,487,28,36,34,302,7,416,31,2088,84,30],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[105,42],106,{"id":2095,"slug":2096,"title":2097,"dynasty":94,"author":206,"museum":96,"description":2098,"tags":2099,"thumbUrl":2100,"material":28,"size":2101,"collection":105,"collections":2102,"showCount":2093,"zanCount":11,"manualWeight":11,"mainColor":71},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,25,146,57,36,28,29,1282,7,147,544,60,30,302,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[105,42,68],{"id":2104,"slug":2105,"title":2106,"dynasty":18,"author":221,"museum":1759,"description":2107,"tags":2108,"thumbUrl":2115,"material":40,"size":2116,"collection":42,"collections":2117,"showCount":2093,"zanCount":373,"manualWeight":11,"mainColor":46},220376,"han-lin-fei-xue-tu-wen-zheng-ming-220376","寒林飞雪图","此图是画唐代诗人许浑”舟横野渡寒风急，门掩深山夜雪深“的诗意，而用李营丘笔意，深得寒江寂寂，雪峰无言之境。",[23,24,27,487,262,2109,2110,2111,2112,32,2113,61,382,7,2114],"飞雪","雪峰","深山","野渡","寒江","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7247001349454a60fdcd1b8936e7b822.jpg","101.1x46.5厘米",[42,107],{"id":2119,"slug":2120,"title":2121,"dynasty":2122,"author":2123,"museum":2124,"description":2125,"tags":2126,"thumbUrl":2127,"material":2128,"size":86,"collection":86,"collections":2129,"showCount":2130,"zanCount":11,"manualWeight":11,"mainColor":46},220579,"fu-chun-jiang-feng-guang-huang-bin-hong-220579","富春江风光","民国","黄宾虹","Smithsonian's National Museum of Asian Art","此作以渴笔焦墨写层叠峰峦，苍劲朴拙，云烟留白虚实相生，铺展出山居的清幽深远。近景村居错落隐于林木间，扁舟泛江，野趣盎然。题画诗与笔墨浑然一体，浑厚华滋中带着疏朗灵秀，将山水静穆与生机相融，尽显山川浑厚、草木华滋的典型风貌。黑密厚重的积墨之法，勾勒江峰奇崛挺拔，留白处氤氲水汽，整幅画刚柔并济，于朴茂中见秀逸，藏万千丘壑于尺幅间，将山水的幽隽诗意娓娓道来，笔底晕染出静谧悠然的山居意趣。",[24,27,36,29,32,7,33,34,31,25,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a79877bcd55fa426bfd1b6ba2533842.jpg","Ink and color on paper",[],105,{"id":2132,"slug":2133,"title":2134,"dynasty":378,"author":884,"museum":78,"description":2135,"tags":2136,"thumbUrl":2137,"material":317,"size":396,"collection":86,"collections":2138,"showCount":2139,"zanCount":11,"manualWeight":11,"mainColor":46},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[55,24,25,146,27,36,29,7,30,31,84,34,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":2141,"slug":2142,"title":2143,"dynasty":173,"author":2144,"museum":175,"description":2145,"tags":2146,"thumbUrl":2149,"material":2150,"size":2151,"collection":123,"collections":2152,"showCount":2139,"zanCount":457,"manualWeight":11,"mainColor":71},222874,"bai-zi-tu-leng-mei-222874","百子图","冷枚","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,57,28,26,60,7,61,1044,685,342,33,687,196,2147,2148,583,2029],"荷叶","儿童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[123],{"id":2154,"slug":2155,"title":2156,"dynasty":94,"author":2157,"museum":96,"description":2158,"tags":2159,"thumbUrl":2161,"material":121,"size":2162,"collection":105,"collections":2163,"showCount":2164,"zanCount":11,"manualWeight":11,"mainColor":71},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,55,24,25,26,28,57,29,30,31,1254,33,1079,2160,63,7],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[105,42],103,{"id":2166,"slug":2167,"title":2168,"dynasty":18,"author":19,"museum":158,"description":159,"tags":2169,"thumbUrl":2170,"material":165,"size":166,"collection":86,"collections":2171,"showCount":2164,"zanCount":373,"manualWeight":11,"mainColor":46},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5",[23,24,25,162,27,29,60,7,439,61,290,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b98caed8ba3c7e8188c4fa105bf846.jpg",[],{"id":2173,"slug":2174,"title":2175,"dynasty":173,"author":2176,"museum":78,"description":2177,"tags":2178,"thumbUrl":2180,"material":86,"size":86,"collection":86,"collections":2181,"showCount":2182,"zanCount":373,"manualWeight":11,"mainColor":46},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","禹之鼎","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,55,24,25,26,28,57,29,60,30,31,7,59,38,58,33,2179],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],102,{"id":2184,"slug":2185,"title":2186,"dynasty":94,"author":1616,"museum":78,"description":2187,"tags":2188,"thumbUrl":2190,"material":121,"size":86,"collection":68,"collections":2191,"showCount":2182,"zanCount":373,"manualWeight":11,"mainColor":71},218660,"he-ting-na-liang-tu-zhao-ling-rang-218660","荷亭纳凉图","亭畔柳丝轻垂如帘，半掩着凭栏闲坐的身影。池中荷叶片片叠翠，粉白的花影在微风里轻晃，似与远处烟霭中的山峦遥遥对语。远山以淡墨晕染，隐在薄云与江雾间，江天浩渺处，几只水鸟掠过，更添空寂。近景的石径、矮墙与草木，笔墨细腻却不繁冗，色彩温润如旧时光里的浅茶。整幅画没有燥热的夏意，只有风过荷塘的清凉与文人的从容——仿佛能听见荷叶上的露水滴落，也能看见那人眼中的江天辽阔。宋人的雅致与诗意，就这样凝在这一方圆幅里，淡而悠长，静而生动。",[23,55,24,25,28,57,29,60,7,2189,685,33,63,1619],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab79a4b33df725714b75d1cedff8520f.jpg",[68],{"id":2193,"slug":2194,"title":2195,"dynasty":378,"author":379,"museum":96,"description":2196,"tags":2197,"thumbUrl":2199,"material":357,"size":2200,"collection":42,"collections":2201,"showCount":2202,"zanCount":373,"manualWeight":11,"mainColor":46},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[55,24,25,146,27,29,84,7,30,31,58,37,2198],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[42],101,{"id":2204,"slug":2205,"title":2025,"dynasty":94,"author":244,"museum":96,"description":2206,"tags":2207,"thumbUrl":2209,"material":165,"size":2210,"collection":86,"collections":2211,"showCount":2202,"zanCount":373,"manualWeight":11,"mainColor":71},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,24,25,26,57,28,36,60,29,30,31,118,630,416,1948,7,1538,765,1870,2208],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg","34×191cm",[],{"id":2213,"slug":2214,"title":2215,"dynasty":18,"author":51,"museum":175,"description":2216,"tags":2217,"thumbUrl":2226,"material":212,"size":2227,"collection":86,"collections":2228,"showCount":2202,"zanCount":11,"manualWeight":11,"mainColor":71},222195,"ren-wu-gu-shi-tu-gao-shan-liu-shui-chou-ying-222195","人物故事图-高山流水","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。",[23,24,2218,2219,28,2220,2221,2222,31,7,33,1162,2223,2224,2225],"册页","工笔重彩","高山","飞瀑","松林","知音","高山流水","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67ca6c35996e488c7d2585cfe17e4a3.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":2230,"slug":2231,"title":2232,"dynasty":378,"author":1683,"museum":20,"description":2233,"tags":2234,"thumbUrl":2241,"material":121,"size":2242,"collection":123,"collections":2243,"showCount":2202,"zanCount":373,"manualWeight":11,"mainColor":71},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","此作以淡逸青绿晕染出林下幽居之景，古木荫蔽临水轩馆，主人凭案静坐，似在沉湎遐思，侧室侍童悄然研墨，檐下光影清和。篱桥婉转接引溪岸，携琴小童缓步入园，将访友雅事暗藏画中。\n笔致清简柔润，设色浅淡雅致，无浓艳堆砌，只以平和色调晕染出草木山石的温润质感，将文人幽居的恬然意趣尽数铺展。画面不见喧嚣，只余林下静穆闲雅，把文人心中的隐逸栖居，定格成一段安然自持的慢时光，淡韵悠长，余味清远。",[24,28,57,843,2235,60,7,33,2236,34,2237,687,583,2238,2239,2240],"梧桐","围栏","草地","地面","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","29.5x59.7厘米",[123],{"id":2245,"slug":2246,"title":2247,"dynasty":94,"author":474,"museum":2248,"description":2249,"tags":2250,"thumbUrl":2255,"material":121,"size":2256,"collection":105,"collections":2257,"showCount":2202,"zanCount":524,"manualWeight":11,"mainColor":71},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","波士顿美术馆","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,25,26,28,57,37,60,29,7,30,31,32,33,61,2251,2252,2253,2254],"笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[105],{"id":2259,"slug":2260,"title":2261,"dynasty":94,"author":1616,"museum":96,"description":2262,"tags":2263,"thumbUrl":2265,"material":121,"size":2266,"collection":105,"collections":2267,"showCount":2268,"zanCount":11,"manualWeight":11,"mainColor":71},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,25,464,27,29,57,2264,1829,7,1291,263,178,149,118,60],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[105,42],100,{"id":2270,"slug":2271,"title":2272,"dynasty":378,"author":474,"museum":258,"description":2273,"tags":2274,"thumbUrl":2275,"material":357,"size":2276,"collection":42,"collections":2277,"showCount":2268,"zanCount":524,"manualWeight":11,"mainColor":71},218185,"qian-yan-wan-he-tu-yi-ming-218185","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,487,27,36,146,34,247,99,302,33,61,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[42],{"id":2279,"slug":2280,"title":2025,"dynasty":378,"author":1683,"museum":78,"description":2281,"tags":2282,"thumbUrl":2284,"material":317,"size":396,"collection":86,"collections":2285,"showCount":2286,"zanCount":373,"manualWeight":11,"mainColor":71},290152,"xi-yuan-ya-ji-tu-zhao-meng-fu-290152","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[55,24,146,28,60,7,84,2283,37,196,34,33],"文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d13b76618e140a15986919f4a5c225.jpg",[],98,{"id":2288,"slug":2289,"title":2290,"dynasty":18,"author":51,"mus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证者不过此作用笔用墨与董其昌一般有异，疑因下因作品写角作品。画幅右图存文从简574-168）之印。",[24,25,27,81,36,29,84,210,7,31,234,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112f046e4c5e977c915d92b5b64d49d5.jpg","87.4×65厘米",[],97,{"id":2324,"slug":2325,"title":2326,"dynasty":94,"author":2327,"museum":273,"description":2328,"tags":2329,"thumbUrl":2330,"material":1705,"size":2331,"collection":86,"collections":2332,"showCount":2322,"zanCount":524,"manualWeight":11,"mainColor":46},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,24,26,82,27,368,60,29,118,666,31,7,2029,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],{"id":2334,"slug":2335,"title":2336,"dynasty":18,"author":287,"museum":365,"description":2337,"tags":2338,"thumbUrl":2340,"material":40,"size":2341,"collection":42,"collections":2342,"showCount":2322,"zanCount":11,"manualWeight":11,"mainColor":46},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,26,27,28,29,36,329,32,63,84,31,34,2339,962,7,33],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[42,68],{"id":2344,"slug":2345,"title":2346,"dynasty":18,"author":19,"museum":158,"description":159,"tags":2347,"thumbUrl":2348,"material":165,"size":166,"collection":86,"collections":2349,"showCount":2322,"zanCount":11,"manualWeight":11,"mainColor":71},220057,"hu-qiu-shi-er-jing-tu-ce-10-shen-zhou-220057","虎丘十二景图册-10",[23,24,27,162,36,29,61,7,60,84,34,1632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f836dd69318d68368bdc55aed70842.jpg",[],{"id":2351,"slug":2352,"title":2353,"dynasty":94,"author":206,"museum":450,"description":2354,"tags":2355,"thumbUrl":2356,"material":121,"size":86,"collection":42,"collections":2357,"showCount":2358,"zanCount":373,"manualWeight":11,"mainColor":71},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,55,24,25,146,28,57,36,29,7,118,261,60,101,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[42],96,{"id":2360,"slug":2361,"title":2362,"dynasty":18,"author":51,"museum":96,"description":2363,"tags":2364,"thumbUrl":2367,"material":121,"size":2368,"collection":42,"collections":2369,"showCount":2358,"zanCount":11,"manualWeight":11,"mainColor":46},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[24,25,162,81,28,57,29,2365,2366,32,63,7],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[42],{"id":2371,"slug":2372,"title":2373,"dynasty":94,"author":2374,"museum":530,"description":2375,"tags":2376,"thumbUrl":2377,"material":28,"size":2378,"collection":105,"collections":2379,"showCount":2380,"zanCount":11,"manualWeight":11,"mainColor":71},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,55,26,28,36,29,416,7,544,60,178,99,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[105,42,107],95,{"id":2382,"slug":2383,"title":2384,"dynasty":18,"author":2385,"museum":96,"description":2386,"tags":2387,"thumbUrl":2389,"material":121,"size":2390,"collection":42,"collections":2391,"showCount":2380,"zanCount":282,"manualWeight":11,"mainColor":71},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,29,146,36,27,28,60,30,31,234,63,147,2388,7,276,118],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[42],{"id":2393,"slug":2394,"title":2395,"dynasty":94,"author":353,"museum":78,"description":2396,"tags":2397,"thumbUrl":2398,"material":357,"size":2399,"collection":123,"collections":2400,"showCount":2380,"zanCount":524,"manualWeight":11,"mainColor":46},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,55,24,25,26,82,27,60,61,30,31,58,544,7,34,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[123],{"id":2402,"slug":2403,"title":2404,"dynasty":18,"author":650,"museum":175,"description":2405,"tags":2406,"thumbUrl":2408,"material":789,"size":2409,"collection":42,"collections":2410,"showCount":2411,"zanCount":11,"manualWeight":11,"mainColor":46},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[23,24,25,162,27,28,29,34,33,7,952,178,2407,99,38,58,36,81],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg","纵26.3厘米，横25.5厘米",[42,68],94,{"id":2413,"slug":2414,"title":2415,"dynasty":173,"author":1661,"museum":175,"description":2416,"tags":2417,"thumbUrl":2420,"material":212,"size":2421,"collection":123,"collections":2422,"showCount":2423,"zanCount":373,"manualWeight":11,"mainColor":71},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,25,26,28,57,161,29,60,61,31,931,33,7,30,2418,2419],"田野","城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[123,68],93,{"id":2425,"slug":2426,"title":2427,"dynasty":18,"author":1262,"museum":258,"description":2428,"tags":2429,"thumbUrl":2430,"material":165,"size":2431,"collection":86,"collections":2432,"showCount":2433,"zanCount":11,"manualWeight":11,"mainColor":127},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[23,24,25,26,27,36,2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212.2厘米",[42],{"id":2455,"slug":2456,"title":2457,"dynasty":18,"author":326,"museum":78,"description":2458,"tags":2459,"thumbUrl":2460,"material":40,"size":2461,"collection":123,"collections":2462,"showCount":2433,"zanCount":373,"manualWeight":11,"mainColor":46},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,24,25,26,57,28,60,7,29,33,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[123],{"id":2464,"slug":2465,"title":2466,"dynasty":173,"author":2467,"museum":365,"description":2468,"tags":2469,"thumbUrl":2470,"material":165,"size":2471,"collection":86,"collections":2472,"showCount":2433,"zanCount":11,"manualWeight":11,"mainColor":71},214349,"san-jue-shan-shui-ce-8-hua-yan-214349","三绝山水册-8","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,27,28,36,162,29,7,30,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ff06b8f3beab62344a0d21f610c76c.jpg","23.4x15.8",[],{"id":2474,"slug":2475,"title":2476,"dynasty":173,"author":2477,"museum":78,"description":2478,"tags":2479,"thumbUrl":2480,"material":317,"size":396,"collection":86,"collections":2481,"showCount":2482,"zanCount":11,"manualWeight":11,"mainColor":46},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[24,161,26,57,28,61,7,416,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":2484,"slug":2485,"title":2486,"dynasty":378,"author":2487,"museum":78,"description":2488,"tags":2489,"thumbUrl":2490,"material":317,"size":396,"collection":86,"collections":2491,"showCount":2482,"zanCount":373,"manualWeight":11,"mainColor":46},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,25,26,27,36,38,58,37,29,147,2388,32,60,33,31,234,7,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],{"id":2493,"slug":2494,"title":2495,"dynasty":173,"author":748,"museum":78,"description":2496,"tags":2497,"thumbUrl":2499,"material":86,"size":86,"collection":86,"collections":2500,"showCount":2482,"zanCount":373,"manualWeight":11,"mainColor":46},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,26,28,29,36,38,58,37,59,32,63,61,30,31,7,33,34,99,2498,290],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":2502,"slug":2503,"title":2504,"dynasty":18,"author":51,"museum":78,"description":2505,"tags":2506,"thumbUrl":2507,"material":86,"size":86,"collection":86,"collections":2508,"showCount":2482,"zanCount":11,"manualWeight":11,"mainColor":71},228385,"shang-lin-tu-juan-si-ren-shou-cang-chou-ying-228385","上林图卷（私人收藏）","《明仇英上林图卷》由明朝画家仇英绘画。\n仇英《上林图卷》画意取自西汉司马相如的名篇《上林赋》，描写了汉武帝时的皇家园囿“上林苑”的美景，以及汉武帝与群臣狩猎时的壮观景象。\n【名称】明仇英上林图卷 【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,57,56,28,26,29,61,60,33,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":2510,"slug":2511,"title":2512,"dynasty":173,"author":748,"museum":78,"description":2513,"tags":2514,"thumbUrl":2515,"material":40,"size":2516,"collection":42,"collections":2517,"showCount":2482,"zanCount":524,"manualWeight":11,"mainColor":46},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,25,146,27,28,29,234,416,2088,99,178,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纵46.5cm，横30.7cm",[42],{"id":2519,"slug":2520,"title":2521,"dynasty":94,"author":2522,"museum":96,"description":2523,"tags":2524,"thumbUrl":2525,"material":121,"size":2526,"collection":42,"collections":2527,"showCount":2482,"zanCount":282,"manualWeight":11,"mainColor":71},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,25,146,28,36,38,37,29,61,33,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[42,105],{"id":2529,"slug":2530,"title":2531,"dynasty":18,"author":326,"museum":1122,"description":2532,"tags":2533,"thumbUrl":2534,"material":212,"size":2535,"collection":86,"collections":2536,"showCount":2537,"zanCount":524,"manualWeight":11,"mainColor":71},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,24,27,28,36,146,416,60,544,34,247,33,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],90,{"id":2539,"slug":2540,"title":2541,"dynasty":94,"author":2542,"museum":78,"description":2543,"tags":2544,"thumbUrl":2545,"material":121,"size":2546,"collection":68,"collections":2547,"showCount":2537,"zanCount":373,"manualWeight":11,"mainColor":71},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","李嵩","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[24,25,57,28,161,29,60,7,33,61,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[68],{"id":2549,"slug":2550,"title":2551,"dynasty":94,"author":1309,"museum":96,"description":2552,"tags":2553,"thumbUrl":2554,"material":121,"size":2555,"collection":123,"collections":2556,"showCount":2557,"zanCount":282,"manualWeight":11,"mainColor":46},218795,"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[23,24,55,28,161,57,60,7,30,29,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[123],89,{"id":2559,"slug":2560,"title":2561,"dynasty":18,"author":221,"museum":175,"description":2562,"tags":2563,"thumbUrl":2564,"material":40,"size":2565,"collection":42,"collections":2566,"showCount":2567,"zanCount":524,"manualWeight":11,"mainColor":46},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[23,24,25,26,29,7,33,34,28,843,583,776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[42,768],88,{"id":2569,"slug":2570,"title":2571,"dynasty":18,"author":221,"museum":175,"description":2572,"tags":2573,"thumbUrl":2574,"material":121,"size":2575,"collection":42,"collections":2576,"showCount":2567,"zanCount":373,"manualWeight":11,"mainColor":46},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,25,26,28,57,29,38,60,7,31,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[42],{"id":2578,"slug":2579,"title":2580,"dynasty":1354,"author":2581,"museum":96,"description":2582,"tags":2583,"thumbUrl":2585,"material":357,"size":2586,"collection":107,"collections":2587,"showCount":2567,"zanCount":11,"manualWeight":11,"mainColor":46},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,25,26,27,36,37,38,58,29,2584,33,34,31,7,234,30,63],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[107],{"id":2589,"slug":2590,"title":2591,"dynasty":94,"author":2592,"museum":258,"description":2593,"tags":2594,"thumbUrl":2595,"material":121,"size":2596,"collection":123,"collections":2597,"showCount":2598,"zanCount":524,"manualWeight":11,"mainColor":71},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,55,24,25,26,57,28,161,36,60,61,29,33,544,7,196,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[123],87,{"id":2600,"slug":2601,"title":2602,"dynasty":18,"author":51,"museum":365,"description":2603,"tags":2604,"thumbUrl":2605,"material":121,"size":86,"collection":42,"collections":2606,"showCount":2598,"zanCount":373,"manualWeight":11,"mainColor":71},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,25,146,57,28,29,161,60,61,544,7,33,34,31,931],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[42],{"id":2608,"slug":2609,"title":2610,"dynasty":378,"author":2065,"museum":96,"description":2611,"tags":2612,"thumbUrl":2616,"material":121,"size":2617,"collection":42,"collections":2618,"showCount":2598,"zanCount":282,"manualWeight":11,"mainColor":46},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,24,27,29,36,31,32,962,7,84,30,1840,2613,178,2614,2615],"岸树","溪面","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[42],{"id":2620,"slug":2621,"title":2622,"dynasty":173,"author":1927,"museum":530,"description":2623,"tags":2624,"thumbUrl":2625,"material":40,"size":1931,"collection":86,"collections":2626,"showCount":2598,"zanCount":373,"manualWeight":11,"mainColor":46},216255,"jing-fu-si-qi-dong-jing-tu-5-qian-wei-cheng-216255","景敷四气冬景图-5","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n山意惟余枯树攅，云容欲雪涧收湍。溪轩坐者宜青目，但是高人定耐寒。钤印：澂观",[24,27,29,36,162,382,34,31,7,178,35,234,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb149e2e9f85b3297a5f5fc35e75adb1c.jpg",[],{"id":2628,"slug":2629,"title":2630,"dynasty":18,"author":287,"museum":175,"description":2631,"tags":2632,"thumbUrl":2634,"material":789,"size":2635,"collection":42,"collections":2636,"showCount":2637,"zanCount":524,"manualWeight":11,"mainColor":2638},222028,"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,27,36,29,30,31,118,34,35,1254,544,7,2633,58],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[42,107],86,"FFFFFF",{"id":2640,"slug":2641,"title":2642,"dynasty":378,"author":2065,"museum":450,"description":2643,"tags":2644,"thumbUrl":2647,"material":121,"size":2648,"collection":42,"collections":2649,"showCount":2637,"zanCount":11,"manualWeight":11,"mainColor":71},217866,"chun-shan-you-qi-tu-sheng-mao-217866","春山游骑图","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,29,28,36,60,544,30,61,7,33,34,290,178,582,583,2645,2646,100],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[42],{"id":2651,"slug":2652,"title":2653,"dynasty":94,"author":95,"museum":78,"description":2654,"tags":2655,"thumbUrl":2658,"material":317,"size":396,"collection":86,"collections":2659,"showCount":2660,"zanCount":524,"manualWeight":11,"mainColor":71},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图","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。",[464,24,55,29,27,36,30,31,7,33,183,178,2656,148,60,2225,2657],"湖畔","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":2662,"slug":2663,"title":2664,"dynasty":18,"author":2665,"museum":2666,"description":2667,"tags":2668,"thumbUrl":2669,"material":608,"size":2670,"collection":42,"collections":2671,"showCount":2660,"zanCount":11,"manualWeight":11,"mainColor":46},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","仿王蒙山水图","谢时臣","南京博物院","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,487,81,36,27,34,33,61,30,31,1080,7,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[42,107],{"id":2673,"slug":2674,"title":2675,"dynasty":94,"author":206,"museum":365,"description":2676,"tags":2677,"thumbUrl":2678,"material":357,"size":2679,"collection":42,"collections":2680,"showCount":2660,"zanCount":373,"manualWeight":11,"mainColor":71},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,25,29,146,28,36,32,7,60,31,84,329,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[42],{"id":2682,"slug":2683,"title":2684,"dynasty":18,"author":1526,"museum":96,"description":2685,"tags":2686,"thumbUrl":2687,"material":608,"size":2688,"collection":42,"collections":2689,"showCount":2690,"zanCount":524,"manualWeight":11,"mainColor":71},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,25,146,27,36,29,7,60,33,34,31,99,181,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[42,107],84,{"id":2692,"slug":2693,"title":2694,"dynasty":18,"author":1262,"museum":96,"description":2695,"tags":2696,"thumbUrl":2697,"material":292,"size":2698,"collection":42,"collections":2699,"showCount":2690,"zanCount":11,"manualWeight":11,"mainColor":46},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[23,24,146,27,36,81,29,34,33,302,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[42,107],{"id":2701,"slug":2702,"title":2703,"dynasty":378,"author":484,"museum":365,"description":2704,"tags":2705,"thumbUrl":2706,"material":165,"size":2707,"collection":42,"collections":2708,"showCount":2690,"zanCount":11,"manualWeight":11,"mainColor":46},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,26,27,28,29,7,61,30,31,33,84,36,38,344,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[42],{"id":2710,"slug":2711,"title":2712,"dynasty":378,"author":1193,"museum":96,"description":2713,"tags":2714,"thumbUrl":2715,"material":357,"size":2716,"collection":42,"collections":2717,"showCount":2690,"zanCount":373,"manualWeight":11,"mainColor":46},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[23,24,27,146,36,37,58,29,7,33,34,31,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[42],{"id":2719,"slug":2720,"title":2721,"dynasty":94,"author":474,"museum":96,"description":2722,"tags":2723,"thumbUrl":2724,"material":292,"size":2725,"collection":105,"collections":2726,"showCount":2727,"zanCount":11,"manualWeight":11,"mainColor":71},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,25,146,28,29,36,276,261,664,63,33,7,35,101,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[105,42,107],83,{"id":2729,"slug":2730,"title":2731,"dynasty":94,"author":474,"museum":78,"description":2732,"tags":2733,"thumbUrl":2734,"material":121,"size":86,"collection":105,"collections":2735,"showCount":2727,"zanCount":11,"manualWeight":11,"mainColor":71},218582,"gong-yuan-tu-yi-ming-218582","宫苑图","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[55,24,25,161,28,60,61,7,33,34,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[105],{"id":2737,"slug":2738,"title":2739,"dynasty":378,"author":2740,"museum":530,"description":2741,"tags":2742,"thumbUrl":2746,"material":121,"size":2747,"collection":123,"collections":2748,"showCount":2727,"zanCount":11,"manualWeight":11,"mainColor":71},218312,"ying-xi-tu-han-cheng-218312","婴戏图","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[24,25,28,57,161,60,2743,61,7,196,33,2744,1869,2745,2236],"孩童","盆栽","玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[123],{"id":2750,"slug":2751,"title":2752,"dynasty":18,"author":2753,"museum":450,"description":2754,"tags":2755,"thumbUrl":2756,"material":357,"size":2757,"collection":42,"collections":2758,"showCount":2727,"zanCount":373,"manualWeight":11,"mainColor":71},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[24,25,27,29,36,99,61,7,32,35,33,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[42],{"id":2760,"slug":2761,"title":2762,"dynasty":18,"author":2763,"museum":78,"description":2764,"tags":2765,"thumbUrl":2771,"material":121,"size":2772,"collection":123,"collections":2773,"showCount":2727,"zanCount":282,"manualWeight":11,"mainColor":71},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,26,28,57,161,60,61,30,31,29,33,2766,34,2767,931,2768,196,687,686,2769,2770,7],"宫殿","花卉","火焰","旗帜","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[123],{"id":2775,"slug":2776,"title":2777,"dynasty":173,"author":2467,"museum":365,"description":2468,"tags":2778,"thumbUrl":2779,"material":165,"size":2471,"collection":86,"collections":2780,"showCount":2727,"zanCount":11,"manualWeight":11,"mainColor":71},214346,"san-jue-shan-shui-ce-17-hua-yan-214346","三绝山水册-17",[23,24,162,28,29,276,118,7,263,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c80597d2f71227e356f687abf8c999.jpg",[],{"id":2782,"slug":2783,"title":2784,"dynasty":94,"author":206,"museum":52,"description":2785,"tags":2786,"thumbUrl":2787,"material":249,"size":2788,"collection":105,"collections":2789,"showCount":2790,"zanCount":11,"manualWeight":11,"mainColor":46},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[23,24,25,55,28,161,29,61,7,343,33,247,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[105,42],82,{"id":2792,"slug":2793,"title":2794,"dynasty":173,"author":850,"museum":143,"description":2795,"tags":2796,"thumbUrl":2798,"material":121,"size":2799,"collection":42,"collections":2800,"showCount":2790,"zanCount":11,"manualWeight":11,"mainColor":71},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,25,29,161,36,81,28,60,61,209,7,544,2797,34,33,84],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[42],{"id":2802,"slug":2803,"title":2804,"dynasty":378,"author":1683,"museum":96,"description":2805,"tags":2806,"thumbUrl":2807,"material":121,"size":2808,"collection":105,"collections":2809,"showCount":2790,"zanCount":373,"manualWeight":11,"mainColor":46},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[23,24,25,464,28,29,36,7,147,34,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[105],{"id":2811,"slug":2812,"title":2813,"dynasty":173,"author":474,"museum":175,"description":2814,"tags":2815,"thumbUrl":2822,"material":86,"size":86,"collection":123,"collections":2823,"showCount":2824,"zanCount":524,"manualWeight":11,"mainColor":71},238431,"fu-gui-sui-chao-tu-zhou-yi-ming-238431","福贵岁朝图轴","孩童们有的手举鱼、龙等各种形象的彩灯；有的胆大的孩子点燃炮竹，周围孩子掩耳观望；有的孩子登高折梅枝，树下的孩子将花枝插入瓶中，寓意岁岁平安；湖面已结冰，孩子们在冰面滑动冰车，打打闹闹，不小心滑倒还哈哈大笑；还有孩子吹拉弹唱，奏响乐器，妙趣横生。欢度佳节的喜气跃然纸上，仿佛能听到孩子们嬉闹的笑声。",[24,28,57,60,61,7,2388,2743,2816,2817,1538,2818,2819,2820,2821],"彩灯","炮竹","龙","鱼","喜乐","岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8b1d3424982278598217ea629c0f2.jpg",[123,68],81,{"id":2826,"slug":2827,"title":2828,"dynasty":173,"author":474,"museum":78,"description":2829,"tags":2830,"thumbUrl":2832,"material":86,"size":86,"collection":86,"collections":2833,"showCount":2824,"zanCount":524,"manualWeight":11,"mainColor":71},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,55,24,25,146,57,28,161,60,61,30,31,29,33,2767,7,1632,687,674,583,196,2831],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":2835,"slug":2836,"title":2837,"dynasty":18,"author":19,"museum":2666,"description":2838,"tags":2839,"thumbUrl":2840,"material":40,"size":2841,"collection":86,"collections":2842,"showCount":2824,"zanCount":373,"manualWeight":11,"mainColor":46},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,25,162,27,28,29,7,84,210,31,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg","纵28.6厘米，横33厘米",[],{"id":2844,"slug":2845,"title":2846,"dynasty":18,"author":51,"museum":20,"description":2847,"tags":2848,"thumbUrl":2850,"material":165,"size":2851,"collection":42,"collections":2852,"showCount":2853,"zanCount":373,"manualWeight":11,"mainColor":46},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,28,161,57,29,416,61,7,931,34,99,1174,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[42,68],78,{"id":2922,"slug":2923,"title":2924,"dynasty":18,"author":2925,"museum":530,"description":2926,"tags":2927,"thumbUrl":2928,"material":608,"size":2929,"collection":42,"collections":2930,"showCount":2920,"zanCount":373,"manualWeight":11,"mainColor":71},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,25,26,57,28,29,60,118,630,1948,31,7,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[42,68],{"id":2932,"slug":2933,"title":2934,"dynasty":378,"author":379,"museum":175,"description":2935,"tags":2936,"thumbUrl":2937,"material":2938,"size":2939,"collection":42,"collections":2940,"showCount":2920,"zanCount":11,"manualWeight":11,"mainColor":71},220796,"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[23,24,27,29,382,7,178,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[42,107],{"id":2942,"slug":2943,"title":2944,"dynasty":18,"author":2945,"museum":96,"description":2946,"tags":2947,"thumbUrl":2948,"material":121,"size":2949,"collection":42,"collections":2950,"showCount":2920,"zanCount":524,"manualWeight":11,"mainColor":71},219401,"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","蓝瑛","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[24,25,146,27,28,29,7,84,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc6a620f5800d5eb1c75122ee4fa99c.jpg","169.3x51.8",[42],{"id":2952,"slug":2953,"title":2954,"dynasty":18,"author":2955,"museum":96,"description":2956,"tags":2957,"thumbUrl":2958,"material":40,"size":2959,"collection":68,"collections":2960,"showCount":2920,"zanCount":524,"manualWeight":11,"mainColor":46},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘","孙克弘（1532—1611） 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，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,25,26,27,28,36,57,29,60,59,31,32,329,63,30,7,2819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":3038,"slug":3039,"title":3040,"dynasty":173,"author":3041,"museum":530,"description":3042,"tags":3043,"thumbUrl":3046,"material":40,"size":3047,"collection":123,"collections":3048,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":46},218386,"xiao-yuan-yin-jiu-tu-luo-pin-218386","篠园饮酒图","罗聘","描绘扬州私人园林的风景画：偌大的宅院被松柏杂树所包围，房屋排列有致，几人正在屋内饮酒清谈。大概是秋冬时节，叶木已然飘零，庭院显得寂静而空旷。筱园建于康熙末年，位于二十四桥畔，滨湖而筑，凿池引水，修亭筑榭。春有芍药夏有荷，秋有桂花冬有梅，栽松种竹，可谓四时之景俱佳。",[55,24,27,161,60,61,3044,382,196,1126,765,3045,7],"松柏","秋冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c31561ded939c6e30f1f594790ca72.jpg","80x54.6厘米",[123],{"id":3050,"slug":3051,"title":3052,"dynasty":173,"author":2467,"museum":365,"description":2468,"tags":3053,"thumbUrl":3054,"material":165,"size":2471,"collection":86,"collections":3055,"showCount":3020,"zanCount":11,"manualWeight":11,"mainColor":71},214348,"san-jue-shan-shui-ce-14-hua-yan-214348","三绝山水册-14",[23,55,24,25,162,27,28,29,234,31,1584,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d67cc398c207896647efc1727e533f.jpg",[],{"id":3057,"slug":3058,"title":3059,"dynasty":94,"author":2542,"museum":78,"description":3060,"tags":3061,"thumbUrl":3062,"material":317,"size":396,"collection":86,"collections":3063,"showCount":3064,"zanCount":524,"manualWeight":11,"mainColor":46},285064,"xi-hu-tu-juan-li-song-285064","西湖图卷","以纸本水墨图绘西湖全景，画中心突出明净湖水，四围群山环绕，雷峰塔、孤山、双峰插云、断桥诸名胜皆隐现于烟锁雾迷之中，画风上于马远、夏圭之外，自出机杼。 全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[23,55,24,25,26,27,29,61,32,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],74,{"id":3066,"slug":3067,"title":3068,"dynasty":173,"author":3069,"museum":78,"description":3070,"tags":3071,"thumbUrl":3072,"material":86,"size":86,"collection":42,"collections":3073,"showCount":3064,"zanCount":11,"manualWeight":11,"mainColor":46},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,162,28,29,36,81,30,31,84,276,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[42,68],{"id":3075,"slug":3076,"title":3077,"dynasty":18,"author":51,"museum":78,"description":3078,"tags":3079,"thumbUrl":3080,"material":86,"size":86,"collection":86,"collections":3081,"showCount":3064,"zanCount":373,"manualWeight":11,"mainColor":71},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,25,146,28,57,56,29,60,7,33,31,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":3083,"slug":3084,"title":3085,"dynasty":94,"author":3086,"museum":78,"description":3087,"tags":3088,"thumbUrl":3097,"material":3098,"size":3099,"collection":768,"collections":3100,"showCount":3064,"zanCount":524,"manualWeight":11,"mainColor":46},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","黄庭坚","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,25,37,26,38,3089,3090,196,261,3091,3092,2208,7,3093,263,3094,3095,3096],"梨花","蜂","月","春","燕","风","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[768],{"id":3102,"slug":3103,"title":3104,"dynasty":173,"author":1878,"museum":175,"description":3105,"tags":3106,"thumbUrl":3107,"material":40,"size":3108,"collection":42,"collections":3109,"showCount":3064,"zanCount":11,"manualWeight":11,"mainColor":46},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[23,24,27,36,29,7,30,31,33,209,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[42],{"id":3111,"slug":3112,"title":3113,"dynasty":18,"author":3114,"museum":175,"description":3115,"tags":3116,"thumbUrl":3118,"material":789,"size":3119,"collection":42,"collections":3120,"showCount":3121,"zanCount":11,"manualWeight":11,"mainColor":46},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","文伯仁","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,26,28,36,29,30,31,7,33,180,32,60,3117,34,290],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[42,68],73,{"id":3123,"slug":3124,"title":3125,"dynasty":94,"author":206,"museum":78,"description":3126,"tags":3127,"thumbUrl":3128,"material":317,"size":396,"collection":86,"collections":3129,"showCount":3130,"zanCount":11,"manualWeight":11,"mainColor":71},289358,"xue-jing-tu-han-xi-mei-xiang-ma-yuan-289358","雪景图（寒溪梅香）","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[55,24,27,29,1282,7,32,382,34,31,36,2113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd288b946405b599d6d3edc3dfbf95485.jpg",[],72,{"id":3132,"slug":3133,"title":3134,"dynasty":18,"author":3135,"museum":175,"description":3136,"tags":3137,"thumbUrl":3139,"material":3140,"size":3141,"collection":42,"collections":3142,"showCount":3130,"zanCount":373,"manualWeight":11,"mainColor":46},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[24,27,36,146,29,30,31,60,7,33,34,302,63,3138],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纸本 ，淡设色","纵121.3cm，横31.5cm",[42,107],{"id":3144,"slug":3145,"title":3146,"dynasty":94,"author":95,"museum":96,"description":3147,"tags":3148,"thumbUrl":3150,"material":292,"size":3151,"collection":86,"collections":3152,"showCount":3130,"zanCount":11,"manualWeight":11,"mainColor":71},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,27,36,29,61,33,32,31,34,7,63,3149,99],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":3154,"slug":3155,"title":3156,"dynasty":173,"author":1927,"museum":3157,"description":3158,"tags":3159,"thumbUrl":3160,"material":789,"size":3161,"collection":42,"collections":3162,"showCount":3130,"zanCount":373,"manualWeight":11,"mainColor":71},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,26,28,29,36,57,37,38,58,34,61,30,31,7,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[42,68],{"id":3164,"slug":3165,"title":3166,"dynasty":378,"author":3167,"museum":3168,"description":3169,"tags":3170,"thumbUrl":3171,"material":357,"size":3172,"collection":42,"collections":3173,"showCount":3130,"zanCount":524,"manualWeight":11,"mainColor":46},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","香港中文大学文物馆","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[24,25,27,146,29,36,7,178,118,439,34,31,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[42,107],{"id":3175,"slug":3176,"title":2973,"dynasty":173,"author":1340,"museum":78,"description":3177,"tags":3178,"thumbUrl":3179,"material":317,"size":396,"collection":42,"collections":3180,"showCount":3181,"zanCount":11,"manualWeight":11,"mainColor":46},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,162,28,36,81,29,84,34,99,178,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[42,68],71,{"id":3183,"slug":3184,"title":3185,"dynasty":173,"author":3186,"museum":96,"description":3187,"tags":3188,"thumbUrl":3190,"material":40,"size":3191,"collection":42,"collections":3192,"showCount":3181,"zanCount":11,"manualWeight":11,"mainColor":46},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[23,24,25,29,36,28,58,34,3189,7,99],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[42],{"id":3194,"slug":3195,"title":578,"dynasty":391,"author":425,"museum":78,"description":579,"tags":3196,"thumbUrl":3197,"material":317,"size":396,"collection":86,"collections":3198,"showCount":3199,"zanCount":11,"manualWeight":11,"mainColor":399},290292,"xi-an-tu-dong-yuan-290292",[23,24,55,29,146,27,34,31,33,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9255d946cdf46aa6b96e9d49204902e2.jpg",[],70,{"id":3201,"slug":3202,"title":3203,"dynasty":18,"author":326,"museum":78,"description":3204,"tags":3205,"thumbUrl":3206,"material":317,"size":396,"collection":86,"collections":3207,"showCount":3199,"zanCount":524,"manualWeight":11,"mainColor":71},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,55,24,25,26,28,36,29,32,61,34,33,31,875,7,38,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":3209,"slug":3210,"title":3211,"dynasty":18,"author":474,"museum":3212,"description":3213,"tags":3214,"thumbUrl":3216,"material":86,"size":86,"collection":123,"collections":3217,"showCount":3199,"zanCount":373,"manualWeight":11,"mainColor":46},238562,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238562","明人升平翊赞图并书赞册","德国国立柏林民俗博物馆","此作工笔重彩，设色妍丽沉稳。朱漆楼宇界画工致，飞檐翼然，堂内宾主雅集宴乐，丝竹相和、把盏酬唱，一派闲雅升平。另一侧甲胄武士整队而来，鞍饰鲜亮、仪仗严整，赳赳威仪和宴饮雅趣相映成趣。\n山石松瀑勾勒细致，草木布景层次分明，人物衣纹走线考究，武士的英挺、宴客的雍容皆被细致摹写。以工致笔触铺陈出承平之世的礼乐典仪，将朝堂酬酢的盛大描摹尽致，处处流露着对盛世安稳的由衷赞颂。",[24,28,57,161,162,60,61,30,544,84,7,31,3215,1538],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6599ab556ad7494df2f3406cc7785279.jpg",[123,68],{"id":3219,"slug":3220,"title":3221,"dynasty":378,"author":484,"museum":96,"description":3222,"tags":3223,"thumbUrl":3224,"material":3225,"size":3226,"collection":42,"collections":3227,"showCount":3199,"zanCount":11,"manualWeight":11,"mainColor":46},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[23,24,25,146,27,36,29,7,33,34,31,35,302,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 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院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,25,29,36,28,3372,276,118,30,31,7,58],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[105,42,107],{"id":3377,"slug":3378,"title":3379,"dynasty":18,"author":326,"museum":78,"description":3380,"tags":3381,"thumbUrl":3382,"material":357,"size":3383,"collection":42,"collections":3384,"showCount":3313,"zanCount":11,"manualWeight":11,"mainColor":71},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[24,27,36,146,29,2388,7,30,31,34,33,302,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 x 34.3 厘米",[42],{"id":3386,"slug":3387,"title":3388,"dynasty":94,"author":206,"museum":450,"description":518,"tags":3389,"thumbUrl":3390,"material":121,"size":521,"collection":86,"collections":3391,"showCount":3313,"zanCount":11,"manualWeight":11,"mainColor":46},218046,"song-di-ming-ti-ce-ba-ma-yuan-218046","宋帝命题册(八)",[23,55,24,25,162,27,29,7,439,60,37,38,57,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805101e3bc8ae183233b61658ad3f5fc.jpg",[],{"id":3393,"slug":3394,"title":3395,"dynasty":173,"author":1878,"museum":1879,"description":1880,"tags":3396,"thumbUrl":3397,"material":28,"size":1883,"collection":42,"collections":3398,"showCount":3313,"zanCount":11,"manualWeight":11,"mainColor":1886},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图",[24,25,26,27,28,29,36,30,31,7,34,33,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg",[42],{"id":3400,"slug":3401,"title":3402,"dynasty":173,"author":3186,"museum":175,"description":3403,"tags":3404,"thumbUrl":3405,"material":3406,"size":3407,"collection":42,"collections":3408,"showCount":3409,"zanCount":373,"manualWeight":11,"mainColor":71},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[55,24,25,146,487,27,28,36,34,2221,99,61,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 ，设色","纵184cm，横117.7cm",[42,107],67,{"id":3411,"slug":3412,"title":220,"dynasty":18,"author":287,"museum":96,"description":3413,"tags":3414,"thumbUrl":3416,"material":198,"size":3417,"collection":42,"collections":3418,"showCount":3409,"zanCount":11,"manualWeight":11,"mainColor":71},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,25,55,36,27,28,29,30,31,32,7,33,302,60,34,146,100,247,179,3415,777],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[42],{"id":3420,"slug":3421,"title":3422,"dynasty":173,"author":3423,"museum":78,"description":3424,"tags":3425,"thumbUrl":3427,"material":86,"size":86,"collection":42,"collections":3428,"showCount":3429,"zanCount":11,"manualWeight":11,"mainColor":71},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,26,28,29,36,63,30,31,32,7,34,302,33,3005,3426,583],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[42,68],66,{"id":3431,"slug":3432,"title":3433,"dynasty":173,"author":1750,"museum":175,"description":3434,"tags":3435,"thumbUrl":3439,"material":789,"size":3440,"collection":86,"collections":3441,"showCount":3429,"zanCount":11,"manualWeight":11,"mainColor":46},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,25,146,29,27,36,28,3436,3437,302,30,31,178,3438,33,34,61,290,7],"层岩","叠壑","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":3443,"slug":3444,"title":3445,"dynasty":18,"author":19,"museum":96,"description":3446,"tags":3447,"thumbUrl":3448,"material":3449,"size":3450,"collection":68,"collections":3451,"showCount":3429,"zanCount":373,"manualWeight":11,"mainColor":46},222122,"qiu-jing-shan-shui-tu-shen-zhou-222122","秋景山水图","高冈突起，茅亭翼然。红叶树一株，与茅亭回护而有致。其左连林数树，茂密修长，黝然苍润。冈之右，一山高耸露山脚，其中围墙半露，竹影翳然。门前宾主对揖，似临歧作别者。全幅笔墨劲挺秀练，用色鲜明澹雅。款署己酉八月，六十三岁作。著录：故宫书画录卷八。收传印记：香垣审定、听颿楼藏、集虚斋。",[23,24,55,25,464,28,36,29,7,118,34,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d84463f0eb70c2a4e32848900fbb953.jpg","泥金纸本设色","19.7×57.3cm",[68],{"id":3453,"slug":3454,"title":3455,"dynasty":378,"author":1701,"museum":96,"description":3456,"tags":3457,"thumbUrl":3458,"material":103,"size":3459,"collection":42,"collections":3460,"showCount":3429,"zanCount":11,"manualWeight":11,"mainColor":46},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,25,26,27,29,36,38,344,58,61,30,31,7,163,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 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清洌。此幅因画寒林之景，后人附之为李成所作，实是明清人笔墨之格。",[24,25,27,36,26,29,7,84,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abf21543f24da0a232c5b578e6a8b4f.jpg","37.5x72.2厘米",[107],{"id":3544,"slug":3545,"title":3546,"dynasty":173,"author":3547,"museum":96,"description":3548,"tags":3549,"thumbUrl":3550,"material":121,"size":3551,"collection":123,"collections":3552,"showCount":3524,"zanCount":524,"manualWeight":11,"mainColor":71},219391,"qu-juan-gui-wen-shan-shui-tu-huang-ying-chen-219391","祛倦鬼文山水图","黄应谌","庭院凉亭中一人坐打瞌睡，亭外似一人迤迤然而来，带着奇异的氛围，却原来是倦鬼。作者于清顺治庚子（1660）春日画明申时行（1535-1614）〈袪倦鬼文〉文意，并书写原文于幅上。文中叙述整理手稿时，常因困倦而荒废数月，而前人有「困意则鬼入之」之说，乃撰文驱逐倦鬼，却于打瞌睡间见倦鬼前来说明如本身神定而无移，鬼又如何能入侵之理，因有所领悟，并表示感谢。",[24,25,55,28,57,29,60,7,147,666,2388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed4e0d57e2761d2ab147a7ee51a2f7e.jpg","163.8x219cm",[123],{"id":3554,"slug":3555,"title":3556,"dynasty":378,"author":3557,"museum":3558,"description":3559,"tags":3560,"thumbUrl":3561,"material":121,"size":86,"collection":42,"collections":3562,"showCount":3524,"zanCount":373,"manualWeight":11,"mainColor":399},218251,"xue-jing-shan-shui-tu-sun-jun-ze-218251","雪景山水图","孙君泽","日本东京国立博物馆","寒枝疏瘦，柳条如丝绦般摇曳于雪色间。远山覆雪，皴笔淡染出苍茫寒意；近景暖阁内人影依稀，似有围炉清谈之趣。画面融南宋院体的精工与元人山水的空灵，留白处见雪意，线条间藏生机。萧寒天地中，暖阁的烟火气与远山的静谧相映成趣，于素净笔墨间，寻得一份静谧温情，尽显冬日山水的清旷之美。",[24,487,146,27,28,36,1282,29,7,303,34,60,3372,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[42],{"id":3564,"slug":3565,"title":3566,"dynasty":94,"author":392,"museum":78,"description":3567,"tags":3568,"thumbUrl":3569,"material":86,"size":86,"collection":86,"collections":3570,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":399},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,55,24,25,146,27,36,29,32,31,7,63,33,60,178,930,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],63,{"id":3573,"slug":3574,"title":3575,"dynasty":18,"author":2945,"museum":258,"description":3576,"tags":3577,"thumbUrl":3579,"material":608,"size":3580,"collection":42,"collections":3581,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":71},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,25,146,28,29,147,118,61,31,302,34,181,7,3578],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[42,107],{"id":3583,"slug":3584,"title":497,"dynasty":18,"author":287,"museum":96,"description":3585,"tags":3586,"thumbUrl":3587,"material":103,"size":3588,"collection":42,"collections":3589,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":71},222029,"shan-shui-zhou-dai-jin-222029","此画从构图看全幅构图取近景形式，自下而上，呈上、中、下三段层次。上端即远山迷漾，峰峦环抱，群山侧于画面的左上角，山上和山腰杂木丛生。山下即中景为宽阔水面，汪洋一片，把远景与近景遥遥相隔，河水中无渔舟停泊，亦无水阁临溪，显得十分幽静。近景为此画的主体部分。坡石连绵，坡石高矮不一，其问有几株盘根虬曲的树木，树下山上有数间楼阁，楼阁围有 栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[23,24,146,29,28,36,7,31,32,60,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[42,107],{"id":3591,"slug":3592,"title":3593,"dynasty":18,"author":3594,"museum":96,"description":3595,"tags":3596,"thumbUrl":3597,"material":121,"size":3598,"collection":123,"collections":3599,"showCount":3571,"zanCount":11,"manualWeight":11,"mainColor":46},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,25,26,28,57,60,33,30,31,34,147,439,2767,7,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[123,68],{"id":3601,"slug":3602,"title":3471,"dynasty":378,"author":474,"museum":96,"description":3603,"tags":3604,"thumbUrl":3605,"material":121,"size":3606,"collection":123,"collections":3607,"showCount":3571,"zanCount":373,"manualWeight":11,"mainColor":71},214667,"sui-chao-tu-yi-ming-214667","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,28,57,29,60,61,382,196,35,7,63,34,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[123],{"id":3609,"slug":3610,"title":3611,"dynasty":378,"author":884,"museum":96,"description":3612,"tags":3613,"thumbUrl":3614,"material":317,"size":396,"collection":86,"collections":3615,"showCount":3616,"zanCount":524,"manualWeight":11,"mainColor":71},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[55,24,25,146,27,29,1496,33,31,7,234,36,37,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":3618,"slug":3619,"title":3620,"dynasty":18,"author":19,"museum":175,"description":3621,"tags":3622,"thumbUrl":3623,"material":185,"size":86,"collection":86,"collections":3624,"showCount":3616,"zanCount":11,"manualWeight":11,"mainColor":46},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,27,28,36,37,38,344,29,34,33,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":3626,"slug":3627,"title":3628,"dynasty":378,"author":484,"museum":96,"description":3629,"tags":3630,"thumbUrl":3631,"material":86,"size":86,"collection":86,"collections":3632,"showCount":3616,"zanCount":11,"manualWeight":11,"mainColor":71},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,25,146,27,36,29,30,31,7,33,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":3634,"slug":3635,"title":3636,"dynasty":18,"author":2896,"museum":96,"description":3637,"tags":3638,"thumbUrl":3639,"material":121,"size":3640,"collection":86,"collections":3641,"showCount":3616,"zanCount":11,"manualWeight":11,"mainColor":71},228363,"xian-kan-er-tong-zhuo-liu-hua-ju-yi-zhou-zhou-chen-228363","闲看儿童捉柳花句意轴","生动形象地描绘了杨万里的诗意，清新闲适，童趣横生",[24,25,146,28,57,29,60,2148,118,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34e09c91adaceb2e568e701e04b643c.jpg","116.6×63.5",[],{"id":3643,"slug":3644,"title":3645,"dynasty":378,"author":1243,"museum":530,"description":3646,"tags":3647,"thumbUrl":3648,"material":121,"size":3649,"collection":123,"collections":3650,"showCount":3616,"zanCount":373,"manualWeight":11,"mainColor":71},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,26,161,57,28,60,61,33,34,31,7,30,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[123,68],{"id":3652,"slug":3653,"title":3654,"dynasty":18,"author":3655,"museum":96,"description":3656,"tags":3657,"thumbUrl":3659,"material":121,"size":3660,"collection":68,"collections":3661,"showCount":3616,"zanCount":11,"manualWeight":11,"mainColor":71},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[55,24,25,146,28,57,36,29,61,7,30,31,34,33,3658,196,100,179],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[68],{"id":3663,"slug":3664,"title":3665,"dynasty":94,"author":474,"museum":96,"description":3666,"tags":3667,"thumbUrl":3669,"material":121,"size":3670,"collection":105,"collections":3671,"showCount":3616,"zanCount":373,"manualWeight":11,"mainColor":46},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,55,24,28,161,57,7,2189,33,61,3668],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[105,123],{"id":3673,"slug":3674,"title":3675,"dynasty":378,"author":474,"museum":2666,"description":3676,"tags":3677,"thumbUrl":3678,"material":121,"size":3679,"collection":42,"collections":3680,"showCount":3616,"zanCount":282,"manualWeight":11,"mainColor":71},218207,"song-zhai-jing-zuo-tu-yi-ming-218207","松斋静坐图","松斋静坐图是中国元朝时期的一幅著名绘画，作者是佚名。\n\n这幅画的主要内容是一位老僧人在森林中静坐，周围的景色非常宁静。老僧人的脸上没有表情，但整个画面都透露出一种深沉的内省与冥想的气息。\n\n这幅画的风格融合了中国传统的山水画和人物画的元素，画面精致细腻，色彩和谐。松斋静坐图是元朝时期佛教文化的经典代表之一，也是中国绘画史上的珍贵艺术品。",[24,487,36,28,147,84,34,7,302,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d571379b374461e93289d1506ce0bf6.jpg","170x106.7cm",[42],{"id":3682,"slug":3683,"title":3684,"dynasty":378,"author":379,"museum":96,"description":3685,"tags":3686,"thumbUrl":3687,"material":317,"size":396,"collection":86,"collections":3688,"showCount":3689,"zanCount":373,"manualWeight":11,"mainColor":46},287665,"yuan-xiu-shu-shi-tu-ni-zan-287665","远岫树石图","图中绘平坡远岫，疏林草亭，笔简意远，惜墨如金，干中见湿，躁中带润。以侧锋干笔作皴，名为“折带皴”。书法从隶入，有晋人风度。倪瓒擅画山水、墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。",[24,55,25,146,27,29,382,178,234,7,38,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d5d71527524ae1af5a4236a60b1794.jpg",[],61,{"id":3691,"slug":3692,"title":3693,"dynasty":173,"author":3694,"museum":175,"description":3695,"tags":3696,"thumbUrl":3697,"material":789,"size":3698,"collection":123,"collections":3699,"showCount":3689,"zanCount":11,"manualWeight":11,"mainColor":46},233152,"huang-shan-tu-ce-mei-qing-233152","黄山图册","梅清","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,27,36,162,29,118,7,30,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239d3facce2a658eb2b134f4725799.jpg","纵26厘米，横33厘米",[123,42],{"id":3701,"slug":3702,"title":3703,"dynasty":94,"author":2592,"museum":78,"description":3704,"tags":3705,"thumbUrl":3706,"material":86,"size":86,"collection":86,"collections":3707,"showCount":3689,"zanCount":11,"manualWeight":11,"mainColor":71},227704,"chun-jiang-hua-yue-ye-tu-ye-xiao-zhao-227704","春江花月夜图页","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,55,24,25,162,27,28,36,29,31,32,570,7,84,63,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b470b220a55c2881ae3b91662b49dd.jpg",[],{"id":3709,"slug":3710,"title":3711,"dynasty":378,"author":484,"museum":96,"description":3712,"tags":3713,"thumbUrl":3714,"material":292,"size":3715,"collection":42,"collections":3716,"showCount":3689,"zanCount":11,"manualWeight":11,"mainColor":71},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,55,24,25,146,27,28,36,29,33,31,30,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[42,68],{"id":3718,"slug":3719,"title":3720,"dynasty":94,"author":3721,"museum":3722,"description":3723,"tags":3724,"thumbUrl":3725,"material":198,"size":86,"collection":42,"collections":3726,"showCount":3689,"zanCount":11,"manualWeight":11,"mainColor":46},219920,"dong-ting-qiu-yue-tu-yu-jian-219920","洞庭秋月图","玉涧","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[23,55,24,25,26,27,37,58,29,570,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[42],{"id":3728,"slug":3729,"title":3730,"dynasty":94,"author":2592,"museum":78,"description":3731,"tags":3732,"thumbUrl":3733,"material":121,"size":3734,"collection":123,"collections":3735,"showCount":3689,"zanCount":373,"manualWeight":11,"mainColor":71},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照（公元1131年-公元1162年），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,24,55,26,57,28,36,29,60,61,544,7,33,2769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[123],{"id":3737,"slug":3738,"title":3739,"dynasty":94,"author":2983,"museum":175,"description":3740,"tags":3741,"thumbUrl":3742,"material":198,"size":3743,"collection":123,"collections":3744,"showCount":3689,"zanCount":524,"manualWeight":11,"mainColor":71},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,25,162,82,60,29,33,7,63,544,31,209,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[123],{"id":3746,"slug":3747,"title":3748,"dynasty":18,"author":221,"museum":175,"description":3749,"tags":3750,"thumbUrl":3751,"material":40,"size":3752,"collection":768,"collections":3753,"showCount":3689,"zanCount":11,"manualWeight":11,"mainColor":46},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,25,26,843,27,28,57,29,61,30,31,7,33,34,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[768,42],{"id":3755,"slug":3756,"title":3757,"dynasty":94,"author":206,"museum":450,"description":518,"tags":3758,"thumbUrl":3759,"material":121,"size":521,"collection":86,"collections":3760,"showCount":3689,"zanCount":11,"manualWeight":11,"mainColor":46},218051,"song-di-ming-ti-ce-qi-ma-yuan-218051","宋帝命题册(七)",[23,24,162,28,29,7,118,178,2189,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8981171a12069285c26c5b92cd367aa4.jpg",[],{"id":3762,"slug":3763,"title":3764,"dynasty":18,"author":1262,"museum":258,"description":3765,"tags":3766,"thumbUrl":3767,"material":249,"size":3768,"collection":42,"collections":3769,"showCount":3770,"zanCount":524,"manualWeight":11,"mainColor":71},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,25,26,28,29,38,37,36,57,247,952,61,30,31,32,7,63,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[42,68],60,{"id":3772,"slug":3773,"title":3774,"dynasty":94,"author":474,"museum":1183,"description":3775,"tags":3776,"thumbUrl":3777,"material":165,"size":3778,"collection":105,"collections":3779,"showCount":3770,"zanCount":11,"manualWeight":11,"mainColor":71},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,25,26,27,36,29,33,101,99,2633,276,263,234,209,7,63,210,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[105,42,107],{"id":3781,"slug":3782,"title":3783,"dynasty":18,"author":650,"museum":96,"description":3784,"tags":3785,"thumbUrl":3786,"material":103,"size":3787,"collection":42,"collections":3788,"showCount":3770,"zanCount":11,"manualWeight":11,"mainColor":46},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,25,27,29,36,81,37,38,58,30,31,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[42,107],{"id":3790,"slug":3791,"title":3792,"dynasty":173,"author":3793,"museum":530,"description":3794,"tags":3795,"thumbUrl":3796,"material":357,"size":3797,"collection":42,"collections":3798,"showCount":3770,"zanCount":11,"manualWeight":11,"mainColor":46},220009,"xi-shan-xing-lv-tu-liu-yu-220009","溪山行旅图","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,25,26,27,36,29,30,31,32,7,63,84,61,302,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[42],{"id":3800,"slug":3801,"title":220,"dynasty":94,"author":3802,"museum":3803,"description":3804,"tags":3805,"thumbUrl":3806,"material":121,"size":3807,"collection":42,"collections":3808,"showCount":3770,"zanCount":11,"manualWeight":11,"mainColor":71},219076,"shan-shui-tu-li-gong-nian-219076","李公年","美国普林斯顿大学美术馆","画幅上端山峦在浮云中层层叠起，山脚隐于漠漠暮霭之中，寒溪曲折自远而近， 滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[24,27,36,146,29,247,210,84,234,7,952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[42],{"id":3810,"slug":3811,"title":220,"dynasty":378,"author":3812,"museum":3813,"description":3814,"tags":3815,"thumbUrl":3816,"material":121,"size":3817,"collection":42,"collections":3818,"showCount":3770,"zanCount":373,"manualWeight":11,"mainColor":71},218242,"shan-shui-tu-yan-hui-218242","颜辉","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[24,27,28,36,29,34,33,7,35,84,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[42],{"id":3820,"slug":3821,"title":3822,"dynasty":173,"author":3823,"museum":450,"description":3824,"tags":3825,"thumbUrl":3826,"material":357,"size":86,"collection":42,"collections":3827,"showCount":3770,"zanCount":11,"manualWeight":11,"mainColor":46},217980,"fang-bei-yuan-qiu-shan-ting-zi-tu-wu-li-217980","仿北苑秋山亭子图","吴历","吴历的画风清新自然，笔法简洁流畅。在这幅画中，他巧妙地运用了构图、色彩和线条的对比，使得整幅画面显得格外生动。他还细心地捕捉了自然界的细节，比如山亭的屋顶上长满青苔，树叶上的露珠闪闪发光。\n\n这幅画被认为是吴历的杰作之一，其独特的画风和精细的绘画技巧得到了广泛赞誉。它不仅是一幅美丽的画作，也是对中国古代山水画的精湛再现。",[24,25,27,29,7,118,34,36,81,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd29e36c3ff5f94f648797f2e11c33d.jpg",[42],{"id":3829,"slug":3830,"title":3831,"dynasty":378,"author":474,"museum":175,"description":3832,"tags":3833,"thumbUrl":3834,"material":942,"size":3835,"collection":42,"collections":3836,"showCount":3837,"zanCount":11,"manualWeight":11,"mainColor":46},239526,"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[24,27,146,37,58,36,29,118,7,439,178,832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纵114cm，横34.3cm",[42,768],59,{"id":3839,"slug":3840,"title":3841,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":3844,"thumbUrl":3847,"material":292,"size":3848,"collection":86,"collections":3849,"showCount":3837,"zanCount":11,"manualWeight":11,"mainColor":46},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[24,25,28,57,161,60,61,30,31,7,59,34,687,196,33,1125,3845,3846,100],"假山","圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg","纵43.3厘米、横76.5厘米",[],{"id":3851,"slug":3852,"title":3853,"dynasty":18,"author":3135,"museum":78,"description":3854,"tags":3855,"thumbUrl":3856,"material":86,"size":86,"collection":86,"collections":3857,"showCount":3837,"zanCount":282,"manualWeight":11,"mainColor":46},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 摹吴镇、倪云林山水卷 二四周天球 兰花图金面扇页 二五孙克弘 墨竹图 二六陈嘉言 水仙梅雀图轴 二七丁云鹏 秋山远眺图幅 二八董其昌 绿溪清嶂图 二九陈裸 野屋寒水图扇页 三○米万钟 三一归昌世 竹石图轴 三二李流芳 仿宋元各家山水 三三顾凝远 吴中名胜十景图 三四张宏等 八家送寇慎去官图册 三五蓝瑛 松岩观瀑图轴 三六蓝瑛 仿大痴山轴 三七伍瑞隆 墨牡丹图轴 三八吴彬 仙楼飞撷图轴 三九何适 林中草亭图轴 四○孙枝 踏雪访友图轴 四一唐志 契门泊渔舟图轴 四二濮桓 芝石图 四三周之冕 杏花锦鸡图轴 四四周臣 桃花源图 四五陈章侯、 胡华鬟山水梅花合册 四六江必名 白雪高风图 四七侯懋功 为秦山作山水扇页 四八李士达 西园雅集图卷 四九王翘 花蝶草虫卷 五○尤求 白描饮中八仙图卷 五一钱贡 福源寺图卷 五二恽向 仿古山水册 五三袁尚统 迎春图轴 五四项圣谟 山水兰竹图 五五郑元勋 临石田山水幅 五六陈洪绶扑蝶图扇面 五七陈洪绶何天章行乐图卷 五八万寿祺 五九王时敏端阳墨花轴 六○王时敏山水轴 六一王时敏秋山晓霁图 六二王鉴虞山十景册 六三程遂为烟翁作山水轴 六四黄向坚万里寻亲图轴 六五龚贤墨笔山水册 六六龚贤山水卷 六七朱轩山水册 六八徐枋北苑山水 六九罗牧山水轴 七○王犟仿范宽山水轴 七一王犟山水册 七二王武水仙湖石图轴 七三恽寿平山水、花卉册 七四上睿为梅作行乐图册 七五原济广陵茱萸湾图扇页 七六原济六君子图幅 七七王原祁仿大痴山水幅 七八王原祁仿梅道人秋山图幅 七九王原祁仿赵大年江乡春晓图轴 八○王啄祁仿大痴富春大岭图轴 八一查士标溪山佳处图轴 八二华邑、许滨桃柳双鸭图幅 八三华嵒宋儒诗意图轴 八四沈铨碧梧栖凤图 八五高凤翰甘菊图 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一六五沈曾植行书七绝",[23,24,25,55,146,28,57,36,29,60,544,7,210,84,147,261,276,101,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":3859,"slug":3860,"title":3861,"dynasty":173,"author":1384,"museum":96,"description":3862,"tags":3863,"thumbUrl":3864,"material":103,"size":3865,"collection":42,"collections":3866,"showCount":3837,"zanCount":11,"manualWeight":11,"mainColor":46},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。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。",[23,24,25,26,28,29,36,161,58,61,30,31,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[42],{"id":3868,"slug":3869,"title":3870,"dynasty":173,"author":615,"museum":273,"description":3871,"tags":3872,"thumbUrl":3874,"material":3875,"size":3876,"collection":42,"collections":3877,"showCount":3837,"zanCount":11,"manualWeight":11,"mainColor":71},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[23,55,24,25,146,27,3873,29,31,33,34,7],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[42,107],{"id":3879,"slug":3880,"title":3881,"dynasty":94,"author":353,"museum":3882,"description":3883,"tags":3884,"thumbUrl":3886,"material":212,"size":3887,"collection":105,"collections":3888,"showCount":3837,"zanCount":524,"manualWeight":11,"mainColor":71},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","美国弗瑞尔美术馆","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,55,24,25,26,82,27,28,60,29,33,35,32,31,7,38,762,3885,439,63,209],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 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cm",[105,123,107],{"id":3890,"slug":3891,"title":3892,"dynasty":173,"author":3893,"museum":78,"description":3894,"tags":3895,"thumbUrl":3896,"material":86,"size":86,"collection":42,"collections":3897,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":46},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,25,26,27,81,36,29,30,31,32,7,84,34,60,416,303,35,1291,178,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[42],58,{"id":3900,"slug":3901,"title":3902,"dynasty":173,"author":2467,"museum":3882,"description":3903,"tags":3904,"thumbUrl":3905,"material":86,"size":86,"collection":42,"collections":3906,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":46},236728,"shan-shui-ce-hua-yan-236728","山水册","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,28,162,27,36,276,263,7,439,30,63,234,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[42,68],{"id":3908,"slug":3909,"title":3910,"dynasty":173,"author":474,"museum":175,"description":3911,"tags":3912,"thumbUrl":3915,"material":86,"size":3916,"collection":86,"collections":3917,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":46},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,28,57,161,146,29,60,61,7,33,1282,196,1632,687,34,583,3372,3913,3914],"行乐","宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":3919,"slug":3920,"title":3921,"dynasty":18,"author":287,"museum":273,"description":3922,"tags":3923,"thumbUrl":3924,"material":212,"size":3925,"collection":42,"collections":3926,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":71},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,55,24,25,146,27,28,36,29,7,30,31,33,302,60,34,99,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[42,107],{"id":3928,"slug":3929,"title":3930,"dynasty":18,"author":3931,"museum":530,"description":3932,"tags":3933,"thumbUrl":3935,"material":789,"size":3936,"collection":42,"collections":3937,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":46},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,28,29,57,36,27,3934,61,30,31,7,63,34,33,99,60,3438,209],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[42,68],{"id":3939,"slug":3940,"title":3941,"dynasty":18,"author":3942,"museum":3943,"description":3944,"tags":3945,"thumbUrl":3946,"material":357,"size":86,"collection":42,"collections":3947,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":46},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","日本大阪市立美术馆","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[23,24,27,26,36,29,343,276,263,33,32,7,63,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[42,107],{"id":3949,"slug":3950,"title":3951,"dynasty":173,"author":1927,"museum":96,"description":3952,"tags":3953,"thumbUrl":3954,"material":3955,"size":3956,"collection":68,"collections":3957,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":46},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[55,24,25,146,487,28,29,61,30,31,7,33,35,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","设色,绢本","63.7x31.8",[68],{"id":3959,"slug":3960,"title":3961,"dynasty":378,"author":3962,"museum":96,"description":3963,"tags":3964,"thumbUrl":3966,"material":357,"size":3967,"collection":42,"collections":3968,"showCount":3898,"zanCount":373,"manualWeight":11,"mainColor":71},218907,"gao-ting-tu-fang-cong-yi-218907","高亭图","方从义","这幅画中，云雾缭绕，青苔点点，风格轻松奔放，而山水的精髓在水墨的细微处可见，体现了元代道士通过山水寻求宁静自然和精神解脱的理念。",[23,24,27,36,25,29,276,7,118,343,3965,2088,58],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8948b78b7c41e70b03f086f6137a9.jpg","62.1x27.9厘米",[42],{"id":3970,"slug":3971,"title":220,"dynasty":18,"author":474,"museum":1396,"description":3972,"tags":3973,"thumbUrl":3974,"material":357,"size":3975,"collection":42,"collections":3976,"showCount":3898,"zanCount":11,"manualWeight":11,"mainColor":46},217942,"shan-shui-tu-yi-ming-217942","明朝时期，山水图在中国传统绘画中占有重要地位。这类图画以山水为主题，通常呈现出自然美景，如山川、河流、森林、花草等。佚名的山水图具有浓郁的哲学性，蕴含了对自然、人生和境界的深刻思考。\n\n山水图多以立体透视的手法呈现，描绘出丰富多彩的山水景观。在这类图画中，山川是最为突出的元素，其次是水流、树木、建筑物、人物等。在佚名的山水图中，山川往往呈现出巍峨雄伟的姿态，从而给人以肃穆、庄严的感觉。",[24,27,26,29,32,84,7,58,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a784136cd3caac172854cd7b62d81a.jpg","10.5x58.7cm",[42],{"id":3978,"slug":3979,"title":3980,"dynasty":173,"author":639,"museum":78,"description":3981,"tags":3982,"thumbUrl":3983,"material":165,"size":86,"collection":42,"collections":3984,"showCount":3985,"zanCount":11,"manualWeight":11,"mainColor":71},238971,"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[55,24,25,146,27,36,29,7,31,33,34,180,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[42,107],57,{"id":3987,"slug":3988,"title":3989,"dynasty":391,"author":682,"museum":78,"description":3990,"tags":3991,"thumbUrl":3992,"material":86,"size":86,"collection":86,"collections":3993,"showCount":3985,"zanCount":11,"manualWeight":11,"mainColor":71},226707,"ting-qin-tu-zhou-wen-ju-226707","听琴图","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,25,55,57,82,28,60,382,7,34,1538,247,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":3995,"slug":3996,"title":3997,"dynasty":18,"author":51,"museum":175,"description":2216,"tags":3998,"thumbUrl":3999,"material":212,"size":2227,"collection":86,"collections":4000,"showCount":3985,"zanCount":373,"manualWeight":11,"mainColor":71},222191,"ren-wu-gu-shi-tu-song-lin-liu-yi-chou-ying-222191","人物故事图-松林六逸",[23,24,55,25,57,28,60,147,29,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65ad3deb6636a800eff9db2e999c190.jpg",[],{"id":4002,"slug":4003,"title":4004,"dynasty":18,"author":326,"museum":175,"description":4005,"tags":4006,"thumbUrl":4007,"material":357,"size":4008,"collection":107,"collections":4009,"showCount":3985,"zanCount":282,"manualWeight":11,"mainColor":46},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,25,26,27,28,36,38,37,29,61,84,234,30,31,7,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 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水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[24,25,26,27,29,81,4035,99,33,34,302,7,31,178,582,4036],"米点皴","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],56,{"id":4042,"slug":4043,"title":436,"dynasty":18,"author":51,"museum":78,"description":4044,"tags":4045,"thumbUrl":4046,"material":317,"size":396,"collection":86,"collections":4047,"showCount":4040,"zanCount":373,"manualWeight":11,"mainColor":46},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,25,26,28,57,161,60,61,30,31,7,33,630,34,196,687,776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":4049,"slug":4050,"title":4051,"dynasty":173,"author":3347,"museum":96,"description":3348,"tags":4052,"thumbUrl":4053,"material":249,"size":3352,"collection":42,"collections":4054,"showCount":4040,"zanCount":524,"manualWeight":11,"mainColor":46},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,24,25,57,28,161,60,61,33,34,196,7,2767,687,1632,1631,1126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[42,68],{"id":4056,"slug":4057,"title":4058,"dynasty":18,"author":3114,"museum":96,"description":4059,"tags":4060,"thumbUrl":4061,"material":40,"size":4062,"collection":107,"collections":4063,"showCount":4040,"zanCount":373,"manualWeight":11,"mainColor":46},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,25,146,27,28,36,58,29,147,439,7,30,31,34,33,63,84,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[107,68],{"id":4065,"slug":4066,"title":4067,"dynasty":94,"author":2983,"museum":52,"description":4068,"tags":4069,"thumbUrl":4070,"material":292,"size":4071,"collection":105,"collections":4072,"showCount":4040,"zanCount":524,"manualWeight":11,"mainColor":71},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,55,24,25,26,82,28,38,58,37,60,61,31,30,7,84,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[105,42,68],{"id":4074,"slug":4075,"title":4076,"dynasty":94,"author":474,"museum":78,"description":4077,"tags":4078,"thumbUrl":4079,"material":292,"size":4080,"collection":105,"collections":4081,"showCount":4040,"zanCount":373,"manualWeight":11,"mainColor":71},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,55,24,25,28,36,29,84,7,31,60,544,58,34,30,2388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[105],{"id":4083,"slug":4084,"title":4085,"dynasty":173,"author":639,"museum":175,"description":4086,"tags":4087,"thumbUrl":4088,"material":357,"size":4089,"collection":42,"collections":4090,"showCount":4040,"zanCount":11,"manualWeight":11,"mainColor":46},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,24,27,29,36,81,276,263,7,118,234,31,382,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[42],{"id":4092,"slug":4093,"title":4094,"dynasty":94,"author":193,"museum":78,"description":4095,"tags":4096,"thumbUrl":4098,"material":317,"size":396,"collection":86,"collections":4099,"showCount":4100,"zanCount":11,"manualWeight":11,"mainColor":71},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,55,24,25,26,27,28,36,29,32,7,888,302,4097,101,61],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":4102,"slug":4103,"title":4104,"dynasty":18,"author":326,"museum":175,"description":4105,"tags":4106,"thumbUrl":4107,"material":942,"size":4108,"collection":86,"collections":4109,"showCount":4100,"zanCount":373,"manualWeight":11,"mainColor":46},233707,"you-ren-yan-zuo-tu-zhou-tang-yin-233707","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。",[24,25,146,27,36,29,7,33,34,31,60,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448d0d425ec0f6d6a2e9b1bd7bf7016.jpg","纵120.3厘米，横25.8厘米",[],{"id":4111,"slug":4112,"title":4113,"dynasty":18,"author":2945,"museum":96,"description":4114,"tags":4115,"thumbUrl":4116,"material":292,"size":4117,"collection":86,"collections":4118,"showCount":4100,"zanCount":11,"manualWeight":11,"mainColor":71},231347,"fang-zhang-seng-yao-shan-shui-tu-lan-ying-231347","仿张僧繇山水图","该幅《明蓝瑛仿张僧繇山水图》轴便充分体现了蓝瑛的绘画风貌。纵观全画，山水相接，红树青岩、小桥流水、白云缭绕，好一派洁净幽奇、绝妙脱俗的仙境！画中水天交融，近处流淌的湖水与远处的天际自然地连接在—起，从而产生一种宽阔辽远之感，同时也把山、石、树木自然地烘托出来。山石的突兀和树木的复杂变化与水天合一的平静简洁形成了鲜明的对比。河岸上峦石林立、叠叠错错，石崖间挺立着各种姿态野逸、遒劲的树木，它们深深地扎根于硬石之中，充分展现了其顽强的生命力。层层推远的山石和错落有致的树木逶迤远去，一直延伸至远处群山的云雾升腾处，引导观者将视线层层推进。",[24,25,146,81,28,56,29,118,7,343,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c68735d15e53cd740fe2ea977fefb3.jpg","纵177厘米，横91厘米",[],{"id":4120,"slug":4121,"title":4122,"dynasty":378,"author":1193,"museum":96,"description":4123,"tags":4124,"thumbUrl":4125,"material":185,"size":1197,"collection":86,"collections":4126,"showCount":4100,"zanCount":524,"manualWeight":11,"mainColor":46},231334,"lu-yu-peng-cha-tu-yuan-dai-ji-jin-zhi-liu-zhao-yuan-231334","陆羽烹茶图－元代集锦之六","此图绘山水清远,茅檐数座,屋内峨冠博带、倚坐榻上者即为陆羽,前有一童子焙炉烹茶。本幅有作者自题:“陆羽烹茶图”。画面图文并茂,铸造了士大夫烟霞痼疾与泉石膏肓的精神世界,从一个侧面折射了元代的社会思潮。此图山石皴法的侧锋圆转,树点墨法的粗重厚实,无不着意经营,缺少空灵虚旷、自然无为的韵致,特别是湿笔淡墨的运用,还未能打破宋人的陈式。本幅有窥班诗题,还有乾隆皇帝的御题诗。\n图绘远山起伏，水面辽阔，临溪筑有草阁，丛树掩映。阁内一人坐于榻上，当为陆羽，一童子拥炉烹茶。陆羽为唐代学者，闭门著书，不愿为官，以嗜茶闻名，有《茶经》传世。此图表现了文人隐居闲适的生活。远山近坡用披麻皴，皴笔圆转虬曲，颇多侧锋，树法书落，学董巨而有变化。[画师今赵元，东吴谅无双]是当时对赵原绘画的评价。[画师]是对职业画家的称谓，元代职业画家的绘画题材、画风都不同程度地受到文人画家的影响，于此图可见一斑",[24,25,26,27,36,29,7,33,31,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8860eaa9c2ef53a43976d02ab2796f0.jpg",[],{"id":4128,"slug":4129,"title":4130,"dynasty":94,"author":4131,"museum":96,"description":4132,"tags":4133,"thumbUrl":4134,"material":86,"size":86,"collection":105,"collections":4135,"showCount":4100,"zanCount":373,"manualWeight":11,"mainColor":71},221421,"da-jiang-tu-yan-wen-gui-221421","大江图","燕文贵","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,24,25,26,27,36,29,4097,931,61,30,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[105,42,107],{"id":4137,"slug":4138,"title":4139,"dynasty":173,"author":748,"museum":3943,"description":4140,"tags":4141,"thumbUrl":4142,"material":40,"size":86,"collection":42,"collections":4143,"showCount":4100,"zanCount":11,"manualWeight":11,"mainColor":46},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,162,28,27,29,37,38,36,918,276,263,118,35,7,30,31,60,234,84,63],"https:\u002F\u002Foss.chuangqi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“修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 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期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 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[1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,28,57,27,29,60,32,31,33,544,149,1077,84,7,209,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":4484,"slug":4485,"title":4486,"dynasty":18,"author":4487,"museum":530,"description":4488,"tags":4489,"thumbUrl":4490,"material":4491,"size":4492,"collection":42,"collections":4493,"showCount":4465,"zanCount":11,"manualWeight":11,"mainColor":46},222053,"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[23,24,25,26,27,36,37,38,29,84,382,34,234,7,60,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[42,107],{"id":4495,"slug":4496,"title":4497,"dynasty":4498,"author":4499,"museum":115,"description":4500,"tags":4501,"thumbUrl":4502,"material":292,"size":86,"collection":42,"collections":4503,"showCount":4465,"zanCount":11,"manualWeight":11,"mainColor":71},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","不详","朝鲜·佚名","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,24,487,36,28,29,61,30,31,32,34,33,7,178,99,931],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[42],{"id":4505,"slug":4506,"title":4507,"dynasty":18,"author":4508,"museum":450,"description":4509,"tags":4510,"thumbUrl":4511,"material":40,"size":4512,"collection":42,"collections":4513,"showCount":4465,"zanCount":11,"manualWeight":11,"mainColor":71},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,24,27,28,57,36,29,60,302,30,33,101,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[42],{"id":4515,"slug":4516,"title":4517,"dynasty":378,"author":4170,"museum":78,"description":4518,"tags":4519,"thumbUrl":4520,"material":317,"size":396,"collection":86,"collections":4521,"showCount":4522,"zanCount":524,"manualWeight":11,"mainColor":46},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[55,24,25,26,56,28,29,7,61,60,439,33,4173,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],50,{"id":4524,"slug":4525,"title":4526,"dynasty":94,"author":257,"museum":78,"description":4527,"tags":4528,"thumbUrl":4529,"material":317,"size":396,"collection":86,"collections":4530,"showCount":4522,"zanCount":373,"manualWeight":11,"mainColor":46},290484,"xue-shan-tu-fan-kuan-290484","雪山图","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。",[24,464,27,29,4378,382,7,31,1282,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbdbcb25d9a80347e20f677806d5ce0.jpg",[],{"id":4532,"slug":4533,"title":4534,"dynasty":18,"author":19,"museum":175,"description":1454,"tags":4535,"thumbUrl":4536,"material":4537,"size":1458,"collection":86,"collections":4538,"showCount":4522,"zanCount":11,"manualWeight":11,"mainColor":46},234971,"yun-shan-tu-zhou-shen-zhou-234971","云山图轴",[24,146,27,29,36,276,343,33,7,952,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63fbcf4ecea4aec65a5d0eb188770189.jpg","纸本 ，局部淡设色",[],{"id":4540,"slug":4541,"title":4542,"dynasty":1354,"author":4543,"museum":175,"description":4544,"tags":4545,"thumbUrl":4546,"material":212,"size":4547,"collection":86,"collections":4548,"showCount":4522,"zanCount":11,"manualWeight":11,"mainColor":71},233221,"gong-yuan-tu-juan-li-si-xun-233221","宫苑图卷","李思训","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。",[23,56,28,161,57,26,29,61,60,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27739550c87b246fdfc42c398a96ff.jpg","纵23.9厘米，横77.2厘米",[],{"id":4550,"slug":4551,"title":4552,"dynasty":378,"author":1243,"museum":78,"description":4553,"tags":4554,"thumbUrl":4555,"material":292,"size":4556,"collection":86,"collections":4557,"showCount":4522,"zanCount":11,"manualWeight":11,"mainColor":71},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,25,26,161,28,57,56,60,61,30,31,32,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":4559,"slug":4560,"title":4561,"dynasty":18,"author":326,"museum":1759,"description":4562,"tags":4563,"thumbUrl":4564,"material":165,"size":4565,"collection":86,"collections":4566,"showCount":4522,"zanCount":373,"manualWeight":11,"mainColor":71},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,25,146,28,36,29,1496,30,31,33,34,302,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":4568,"slug":4569,"title":4570,"dynasty":18,"author":3114,"museum":115,"description":4571,"tags":4572,"thumbUrl":4573,"material":40,"size":4574,"collection":42,"collections":4575,"showCount":4522,"zanCount":11,"manualWeight":11,"mainColor":46},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[23,24,25,29,28,36,31,34,84,181,247,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[42],{"id":4577,"slug":4578,"title":4579,"dynasty":173,"author":4580,"museum":96,"description":4581,"tags":4582,"thumbUrl":4583,"material":40,"size":4584,"collection":42,"collections":4585,"showCount":4522,"zanCount":373,"manualWeight":11,"mainColor":46},219332,"gui-yin-tu-tang-dai-219332","归隐图","唐岱","画山水师法王原祁，官内务府总管，以画只候内廷，康熙赐「画状元」。本幅画幽岩架屋，秋色满林，石磴盘空，泉流萦抱。用笔细致，山石多用干笔，带皴带擦，特重山势向背。",[24,25,29,28,36,34,33,247,7,100,416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[42],{"id":4587,"slug":4588,"title":4589,"dynasty":173,"author":1927,"museum":4590,"description":4591,"tags":4592,"thumbUrl":4593,"material":121,"size":86,"collection":42,"collections":4594,"showCount":4522,"zanCount":11,"manualWeight":11,"mainColor":46},216904,"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","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。",[23,24,25,162,161,28,57,61,29,33,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[42],{"id":4596,"slug":4597,"title":4598,"dynasty":173,"author":1340,"museum":78,"description":3177,"tags":4599,"thumbUrl":4600,"material":317,"size":396,"collection":86,"collections":4601,"showCount":4602,"zanCount":11,"manualWeight":11,"mainColor":46},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面",[24,25,464,27,81,36,37,58,29,7,118,34,302,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],49,{"id":4604,"slug":4605,"title":4606,"dynasty":173,"author":4607,"museum":78,"description":4608,"tags":4609,"thumbUrl":4610,"material":86,"size":4611,"collection":86,"collections":4612,"showCount":4602,"zanCount":11,"manualWeight":11,"mainColor":46},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,24,55,25,26,28,56,57,29,61,30,31,32,63,7,33,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":4614,"slug":4615,"title":4616,"dynasty":18,"author":19,"museum":175,"description":4617,"tags":4618,"thumbUrl":4619,"material":942,"size":4620,"collection":86,"collections":4621,"showCount":4602,"zanCount":11,"manualWeight":11,"mainColor":46},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[24,25,146,27,36,81,29,276,263,118,147,2029,7,100,101,181,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],{"id":4623,"slug":4624,"title":4625,"dynasty":94,"author":193,"museum":78,"description":4626,"tags":4627,"thumbUrl":4628,"material":86,"size":86,"collection":86,"collections":4629,"showCount":4602,"zanCount":11,"manualWeight":11,"mainColor":71},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[55,24,25,26,27,28,29,60,61,30,31,7,118,34,342,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":4631,"slug":4632,"title":4633,"dynasty":173,"author":4634,"museum":273,"description":4635,"tags":4636,"thumbUrl":4643,"material":4644,"size":4645,"collection":86,"collections":4646,"showCount":4602,"zanCount":11,"manualWeight":11,"mainColo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，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[55,24,487,146,27,36,2220,30,31,7,302,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],48,{"id":4694,"slug":4695,"title":220,"dynasty":94,"author":95,"museum":78,"description":2654,"tags":4696,"thumbUrl":4698,"material":317,"size":396,"collection":86,"collections":4699,"showCount":4692,"zanCount":11,"manualWeight":11,"mainColor":71},289596,"shan-shui-tu-xia-gui-289596",[23,24,27,29,84,7,30,1819,36,4697],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f91faa56e9550e9e42f9fcf92e22a.jpg",[],{"id":4701,"slug":4702,"title":4703,"dynasty":18,"author":4704,"museum":1051,"description":4705,"tags":4706,"thumbUrl":4707,"material":86,"size":86,"collection":42,"collections":4708,"showCount":4692,"zanCount":373,"manualWeight":11,"mainColor":46},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,24,26,28,29,36,874,2633,247,33,30,31,32,61,7,2498,147,101,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[42,68],{"id":4710,"slug":4711,"title":4712,"dynasty":173,"author":850,"museum":175,"description":4713,"tags":4714,"thumbUrl":4715,"material":121,"size":4716,"collection":42,"collections":4717,"showCount":4692,"zanCount":373,"manualWeight":11,"mainColor":71},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,28,161,57,29,276,416,61,1174,1291,99,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[42],{"id":4719,"slug":4720,"title":4721,"dynasty":173,"author":474,"museum":4722,"description":4723,"tags":4724,"thumbUrl":4726,"material":121,"size":86,"collection":42,"collections":4727,"showCount":4692,"zanCount":373,"manualWeight":11,"mainColor":71},216004,"di-jian-tu-shuo-cai-hui-ben-yi-ming-216004","帝鉴图说彩绘本","法国国家图书馆","轩敞的亭榭下，石阶层层延伸。上层人物或踞坐或侍立，衣饰色彩浓淡相宜；下层侍从手捧托盘拾级而上，步履从容。阶前执械的卫士身姿挺拔，添了几分庄重。画面左角树木葱郁，那株被红栏围绕的乔木尤为醒目；右侧松枝虬劲，石畔草木葳蕤。整幅画色调明润，线条细腻：飞檐的弧度、栏杆的纹理、人物的衣袂褶皱，皆刻画入微。既见建筑的精巧布局，又显人物的鲜活情态，仿佛将一段旧时的仪典场景凝于尺幅之间，静述着时光里的从容与雅致。",[24,28,57,161,60,61,7,118,687,686,4725,196],"侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg",[42],{"id":4729,"slug":4730,"title":4731,"dynasty":173,"author":4732,"museum":175,"description":4733,"tags":4734,"thumbUrl":4735,"material":212,"size":4736,"collection":42,"collections":4737,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":71},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,25,146,161,28,29,61,7,33,60,57,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[42],47,{"id":4740,"slug":4741,"title":497,"dynasty":173,"author":4742,"museum":78,"description":4743,"tags":4744,"thumbUrl":4745,"material":86,"size":86,"collection":86,"collections":4746,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},235620,"shan-shui-zhou-zhu-da-235620","朱耷","此作用淡墨干笔写层叠峰峦，删繁就简，以极简的勾勒皴擦塑造奇崛冷峻的山石体态，不着浓艳，尽是荒寒萧索。画面留白肆意，纵长构图牵引视线游走于丘壑之间，山居错落、枯木寒松点缀其间，愈发衬出山水空寂冷逸。笔墨疏淡却意韵悠长，将沉郁的遗世心绪尽数融于林泉丘壑，冷寂禅意漫溢纸面，尽显孤高疏淡的品格风骨。",[24,25,146,27,36,29,234,84,210,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666b9b8a9dd9e1bad95d24e8eaa187e7.jpg",[],{"id":4748,"slug":4749,"title":4750,"dynasty":18,"author":4751,"museum":175,"description":4752,"tags":4753,"thumbUrl":4754,"material":789,"size":4755,"collection":42,"collections":4756,"showCount":4738,"zanCount":373,"manualWeight":11,"mainColor":46},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","文嘉","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,162,28,29,36,60,7,34,33,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[42],{"id":4758,"slug":4759,"title":4760,"dynasty":173,"author":3347,"museum":78,"description":4761,"tags":4762,"thumbUrl":4763,"material":86,"size":86,"collection":86,"collections":4764,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,146,28,57,29,60,7,685,147,3005,1538,666,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":4766,"slug":4767,"title":4768,"dynasty":18,"author":650,"museum":96,"description":4769,"tags":4770,"thumbUrl":4771,"material":292,"size":1800,"collection":42,"collections":4772,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},220949,"shuang-lin-qiu-si-zhou-dong-qi-chang-220949","霜林秋思轴","此画近景崎岖不平的山石，其中有的山石较陡与中景的山石相粘接，近景的山石间有几棵树木，有的树干粗壮挺拔，有的枝干弯扭，但其枝叶茂密，大树下和山腰间有两间茅屋座落其间。\n中景的山石与远景的山石一样浓重；那片决定中、远景的距离感的白色炯云，上连霄汉，下通江湖，犹如“一炬之光，通体皆灵”。\n此画构图紧凑。\n画法上用淡笔勾出轮廓，作横笔米点皴；山石用润笔，连皴带擦，远处树不分叶，近树横点，画面突出主峰，渲染江南秀丽风光。\n从总体来看，此画笔墨清雅温和，秀润恬淡，能代表他的一般风格和思想情趣：董氏笔墨秀朗，此图可视为代表作。",[23,55,24,25,146,36,28,38,37,58,29,84,210,3511,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd267582e0fb38cd6c5d23cf8ca4e0a.jpg",[42,68],{"id":4774,"slug":4775,"title":4776,"dynasty":18,"author":4429,"museum":20,"description":4777,"tags":4778,"thumbUrl":4779,"material":40,"size":4780,"collection":123,"collections":4781,"showCount":4738,"zanCount":373,"manualWeight":11,"mainColor":46},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,18,24,25,26,28,57,38,37,58,60,61,7,33,34,196,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[123,768],{"id":4783,"slug":4784,"title":4785,"dynasty":391,"author":1723,"museum":96,"description":4786,"tags":4787,"thumbUrl":4788,"material":198,"size":4789,"collection":42,"collections":4790,"showCount":4738,"zanCount":11,"manualWeight":11,"mainColor":46},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,27,28,29,7,276,33,101,99,36,581],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[42],{"id":4792,"slug":4793,"title":4794,"dynasty":18,"author":4795,"museum":78,"description":4796,"tags":4797,"thumbUrl":4798,"material":317,"size":396,"collection":86,"collections":4799,"showCount":4800,"zanCount":373,"manualWeight":11,"mainColor":46},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[24,162,29,27,28,439,59,30,63,7,32,35,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],46,{"id":4802,"slug":4803,"title":528,"dynasty":94,"author":529,"museum":78,"description":4804,"tags":4805,"thumbUrl":4806,"material":317,"size":396,"collection":86,"collections":4807,"showCount":4800,"zanCount":373,"manualWeight":11,"mainColor":71},288643,"shu-se-ping-yuan-tu-guo-xi-288643","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。",[55,24,25,26,27,29,84,7,30,32,234,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":4809,"slug":4810,"title":4811,"dynasty":173,"author":4812,"museum":20,"description":4813,"tags":4814,"thumbUrl":4815,"material":292,"size":4816,"collection":86,"collections":4817,"showCount":4800,"zanCount":11,"manualWeight":11,"mainColor":71},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","袁江","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,161,57,28,29,61,7,33,34,832,30,196,583,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":4819,"slug":4820,"title":1682,"dynasty":173,"author":4821,"museum":78,"description":4822,"tags":4823,"thumbUrl":4824,"material":86,"size":86,"collection":86,"collections":4825,"showCount":4800,"zanCount":11,"manualWeight":11,"mainColor":46},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","邹一桂","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,24,146,28,36,29,30,31,7,416,34,61,60,302,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":4827,"slug":4828,"title":4829,"dynasty":18,"author":4704,"museum":258,"description":4830,"tags":4831,"thumbUrl":4837,"material":4838,"size":4839,"collection":42,"collections":4840,"showCount":4800,"zanCount":11,"manualWeight":11,"mainColor":46},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,26,28,36,29,34,33,61,7,30,31,99,178,2407,888,4832,290,777,100,4833,4036,4834,4835,4836],"丘壑","峰峦","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","纸本 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不及以前的作品生动清新。",[23,24,27,28,36,29,34,33,31,7,1840,247,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[42],{"id":4850,"slug":4851,"title":4852,"dynasty":18,"author":4853,"museum":96,"description":4854,"tags":4855,"thumbUrl":4856,"material":27,"size":86,"collection":107,"collections":4857,"showCount":4800,"zanCount":373,"manualWeight":11,"mainColor":71},219373,"shan-shui-tu-dan-chi-qiao-ge-wang-wen-219373","山水图-丹池樵歌","王问","山峦层叠如浪涌，皴笔与墨染交织，苍润中透着秀逸之气。峰麓间林木葱茏，几椽屋舍隐于幽径旁，似藏着尘外闲情。右下角人影孑立，许是负薪而归的樵者，虽无歌声入耳，却能从那悠然的姿态里，想见林泉间清歌回荡。淡墨晕出空濛氛围，山石的厚重与林木的疏朗相映，既显自然雄浑，又含文人雅致。丹池边的樵歌意趣，融于山水静谧之中，仿佛踏入一片远离尘嚣的桃源，心随画境渐次安宁。",[24,28,36,146,29,33,60,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f213dfe3146bfc7ca66ed0f86cc217.jpg",[107],{"id":4859,"slug":4860,"title":4861,"dynasty":18,"author":474,"museum":143,"description":4862,"tags":4863,"thumbUrl":4864,"material":40,"size":86,"collection":86,"collections":4865,"showCount":4800,"zanCount":373,"manualWeight":11,"mainColor":46},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,27,162,81,29,84,382,7,31,30,34,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":4867,"slug":4868,"title":4869,"dynasty":94,"author":353,"museum":530,"description":4870,"tags":4871,"thumbUrl":4874,"material":198,"size":2399,"collection":123,"collections":4875,"showCount":4800,"zanCount":524,"manualWeight":11,"mainColor":46},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,55,24,25,26,82,27,60,118,666,7,4872,1869,4873],"案几","景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg",[123],{"id":4877,"slug":4878,"title":4879,"dynasty":173,"author":474,"museum":78,"description":4880,"tags":4881,"thumbUrl":4884,"material":121,"size":86,"collection":86,"collections":4885,"showCount":4800,"zanCount":11,"manualWeight":11,"mainColor":71},216716,"hong-lou-meng-fu-tu-ce-2-yi-ming-216716","红楼梦赋图册-2","亭榭隐于蕉荫间，几缕倩影或凭栏凝思，或低语浅笑。衣袂如流云轻覆青石板，罗裙纹样似浸了江南的柔润。案头器物精巧，窗边陈设雅致，恰是红楼闺阁的寻常光景——无需喧哗，只那眼波流转的默契，便将女子们的温婉灵秀凝在笔墨间。园林清幽裹着人情暖意，软语里的细碎心事，随风散入芭蕉叶隙。笔墨清润，色彩雅致，将书中含蓄韵致化作眼前可触的静谧温柔，仿佛能闻见空气中浮动的淡香，窥见那段红楼旧梦的一角，让观者沉湎于这纸间流转的古典情长。",[23,57,28,162,60,83,7,61,33,196,4882,687,4883],"古装","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a767b05f29544d7c431926bc0754ea6.jpg",[],{"id":4887,"slug":4888,"title":4889,"dynasty":18,"author":326,"museum":78,"description":3204,"tags":4890,"thumbUrl":4891,"material":317,"size":396,"collection":86,"collections":4892,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":71},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴",[24,55,146,25,29,28,30,31,777,84,34,7,37,58,3339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],{"id":4894,"slug":4895,"title":4896,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":4897,"thumbUrl":4902,"material":292,"size":3848,"collection":86,"collections":4903,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":71},230102,"hong-lou-meng-183-sun-wen-230102","红楼梦183",[4898,57,28,24,60,61,7,196,1023,33,687,83,4899,4900,4901,1126],"清代","服饰","群像","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c666a7a5a3b8395196307e5628ac27.jpg",[],{"id":4905,"slug":4906,"title":4907,"dynasty":94,"author":529,"museum":78,"description":4908,"tags":4909,"thumbUrl":4910,"material":86,"size":86,"collection":86,"collections":4911,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":71},228914,"dai-du-tu-guo-xi-228914","待渡图","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,55,24,25,26,29,36,28,30,31,32,7,33,34,60,178,930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":4913,"slug":4914,"title":4915,"dynasty":18,"author":2665,"museum":52,"description":4916,"tags":4917,"thumbUrl":4918,"material":27,"size":4919,"collection":86,"collections":4920,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,25,26,27,28,29,36,38,58,37,61,30,31,32,7,33,34,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 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escription":4993,"tags":4994,"thumbUrl":4995,"material":198,"size":4996,"collection":86,"collections":4997,"showCount":4988,"zanCount":373,"manualWeight":11,"mainColor":71},287543,"song-xi-fan-yue-zhou-sheng-mao-287543","松溪泛月轴","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[55,24,25,146,29,27,28,36,570,31,32,84,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41b41217752380df4d2fb17d949ad269.jpg","135.3x59",[],{"id":4999,"slug":5000,"title":5001,"dynasty":94,"author":1766,"museum":78,"description":5002,"tags":5003,"thumbUrl":5004,"material":86,"size":86,"collection":86,"collections":5005,"showCount":4988,"zanCount":373,"manualWeight":11,"mainColor":71},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,25,24,55,26,56,28,57,36,37,58,29,60,61,30,31,32,7,234,1664,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":5007,"slug":5008,"title":5009,"dynasty":173,"author":1340,"museum":78,"description":3177,"tags":5010,"thumbUrl":5011,"material":317,"size":396,"collection":86,"collections":5012,"showCount":4988,"zanCount":373,"manualWeight":11,"mainColor":46},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[23,24,25,464,27,36,29,7,84,234,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":5014,"slug":5015,"title":5016,"dynasty":18,"author":4975,"museum":78,"description":5017,"tags":5018,"thumbUrl":5019,"material":5020,"size":5021,"collection":42,"collections":5022,"showCount":4988,"zanCount":11,"manualWeight":11,"mainColor":71},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,146,27,28,36,29,7,118,382,416,101,31,178,234,181,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[42,68],{"id":5024,"slug":5025,"title":5026,"dynasty":173,"author":3823,"museum":175,"description":5027,"tags":5028,"thumbUrl":5029,"material":40,"size":5030,"collection":42,"collections":5031,"showCount":4988,"zanCount":11,"manualWeight":11,"mainColor":46},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,25,29,1282,382,35,863,31,178,7,27,28,36,146,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[42],{"id":5033,"slug":5034,"title":5035,"dynasty":173,"author":5036,"museum":450,"description":5037,"tags":5038,"thumbUrl":5039,"material":40,"size":5040,"collection":42,"collections":5041,"showCount":4988,"zanCount":11,"manualWeight":11,"mainColor":46},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,25,146,27,36,29,276,7,30,31,32,33,35,99,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[42],{"id":5043,"slug":5044,"title":5045,"dynasty":18,"author":474,"museum":1396,"description":5046,"tags":5047,"thumbUrl":5048,"material":121,"size":5049,"collection":42,"collections":5050,"showCount":4988,"zanCount":11,"manualWeight":11,"mainColor":46},217883,"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[24,25,29,81,36,28,34,33,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[42],{"id":5052,"slug":5053,"title":5054,"dynasty":18,"author":4478,"museum":78,"description":5055,"tags":5056,"thumbUrl":5057,"material":317,"size":396,"collection":86,"collections":5058,"showCount":5059,"zanCount":11,"manualWeight":11,"mainColor":46},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,55,24,27,28,57,161,60,61,30,7,84,31,196,33,583,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],43,{"id":5061,"slug":5062,"title":5063,"dynasty":18,"author":114,"museum":78,"description":5064,"tags":5065,"thumbUrl":5068,"material":86,"size":86,"collection":86,"collections":5069,"showCount":5059,"zanCount":524,"manualWeight":11,"mainColor":71},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[23,24,26,28,57,60,7,33,119,5066,196,1664,5067],"石径","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":5071,"slug":5072,"title":5073,"dynasty":378,"author":474,"museum":78,"description":5074,"tags":5075,"thumbUrl":5076,"material":86,"size":86,"collection":86,"collections":5077,"showCount":5059,"zanCount":373,"manualWeight":11,"mainColor":71},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[23,24,25,56,28,29,161,61,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":5079,"slug":5080,"title":4104,"dynasty":18,"author":326,"museum":175,"description":5081,"tags":5082,"thumbUrl":5083,"material":5084,"size":4108,"collection":42,"collections":5085,"showCount":5059,"zanCount":373,"manualWeight":11,"mainColor":46},222339,"you-ren-yan-zuo-tu-zhou-tang-yin-222339","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。\n本幅右上有清代书法家王澍于雍正丁未年（雍正五年，1727年）十二月的题识，叙述了自己收藏此图并馈赠给惠山听松庵僧的经过。裱边及包首外签有当代书画家和鉴定家吴湖帆在庚寅年（1950年）为仲麟题签并记，文中除了记载王澍所云之事外，对惠山听松庵收藏的其他古代名画如王绂《竹炉图》的流传作了介绍，并对时事离乱之际文物的劫难发出了感喟。",[23,24,25,146,27,36,29,7,33,34,31,60,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d12d445bfae2e8d760c703ae5c64b78.jpg","纸本墨笔",[42,107],{"id":5087,"slug":5088,"title":5089,"dynasty":173,"author":639,"museum":175,"description":4086,"tags":5090,"thumbUrl":4088,"material":357,"size":5091,"collection":107,"collections":5092,"showCount":5059,"zanCount":11,"manualWeight":11,"mainColor":46},220113,"fang-mei-dao-ren-xi-ting-shan-se-tu-wang-jian-220113","仿梅道人溪亭山色图",[23,24,25,146,27,36,29,34,31,7,118,630],"纵87.4厘米，横45.7厘米",[107],{"id":5094,"slug":5095,"title":5096,"dynasty":378,"author":5097,"museum":96,"description":5098,"tags":5099,"thumbUrl":5100,"material":121,"size":5101,"collection":42,"collections":5102,"showCount":5059,"zanCount":373,"manualWeight":11,"mainColor":71},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","陈汝言","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[23,24,25,29,27,36,28,276,263,118,416,30,31,7,1081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 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致，左幅铺陈烟水浩渺，林石隐现，漾出清旷空寂之境；右隅收拢于山居幽地，古松蟠虬，草堂依林而筑。\n笔墨承浙派风骨，山石斧劈皴利落苍硬，林木勾勒精细入微，敷色浅淡清和，衬出山林沉静底色。堂内主客对坐晤谈，侍女侧立随侍，将林下雅集的闲逸自适藏于方寸之间，山涧激流的动势与堂中悠然静气相融相生，尽显文人幽居林泉、寄情丘壑的雅致襟怀。",[23,24,28,57,36,29,60,33,101,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],{"id":5247,"slug":5248,"title":5249,"dynasty":173,"author":639,"museum":5250,"description":5251,"tags":5252,"thumbUrl":5253,"material":292,"size":5254,"collection":42,"collections":5255,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":71},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","广州艺术博物院","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,25,146,28,36,29,1343,33,61,30,31,7,34,1840,100,777,888,4833,1080,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[42,107],{"id":5257,"slug":5258,"title":5259,"dynasty":173,"author":5260,"museum":96,"description":5261,"tags":5262,"thumbUrl":5263,"material":5264,"size":5265,"collection":42,"collections":5266,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":46},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,24,25,29,162,27,36,276,147,7,666,118,302,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[42,107],{"id":5268,"slug":5269,"title":1394,"dynasty":18,"author":2945,"museum":96,"description":5270,"tags":5271,"thumbUrl":5272,"material":292,"size":5273,"collection":42,"collections":5274,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":71},222596,"xi-shan-xue-ji-tu-lan-ying-222596","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,28,36,29,1282,32,962,382,416,34,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[42,68],{"id":5276,"slug":5277,"title":5278,"dynasty":18,"author":2945,"museum":258,"description":5279,"tags":5280,"thumbUrl":5284,"material":185,"size":5285,"collection":42,"collections":5286,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":71},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,28,36,29,33,34,7,35,31,583,100,147,4833,4832,888,1819,181,4036,5281,5282,5283],"淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[42,107],{"id":5288,"slug":5289,"title":5290,"dynasty":18,"author":1262,"museum":96,"description":5291,"tags":5292,"thumbUrl":5293,"material":249,"size":5294,"collection":42,"collections":5295,"showCount":5203,"zanCount":11,"manualWeigh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出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,56,28,57,26,25,38,29,60,32,31,7,33,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":5511,"slug":5512,"title":5513,"dynasty":378,"author":2065,"museum":78,"description":5514,"tags":5515,"thumbUrl":5516,"material":86,"size":86,"collection":86,"collections":5517,"showCount":5448,"zanCount":373,"manualWeight":11,"mainColor":71},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,27,28,29,36,32,60,247,33,7,61,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":5519,"slug":5520,"title":5521,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":5522,"thumbUrl":5523,"material":292,"size":3848,"collection":86,"collections":5524,"showCount":5448,"zanCount":11,"manualWeight":11,"mainColor":71},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160",[23,24,57,28,7,61,31,60,30,33,2147,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg",[],{"id":5526,"slug":5527,"title":5528,"dynasty":18,"author":19,"museum":96,"description":5529,"tags":5530,"thumbUrl":5532,"material":165,"size":86,"collection":86,"collections":5533,"showCount":5448,"zanCount":373,"manualWeight":11,"mainColor":46},222091,"tai-jing-lin-ting-tu-shen-zhou-222091","苔迳林亭图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,464,27,36,29,7,84,34,5531,58],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],{"id":5535,"slug":5536,"title":5537,"dynasty":94,"author":529,"museum":530,"description":1572,"tags":5538,"thumbUrl":5539,"material":5384,"size":535,"collection":105,"collections":5540,"showCount":5448,"zanCount":11,"manualWeight":11,"mainColor":46},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[23,24,25,26,487,27,28,36,57,37,38,58,29,118,32,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[105,42,107],{"id":5542,"slug":5543,"title":5544,"dynasty":94,"author":2157,"museum":96,"description":5545,"tags":5546,"thumbUrl":5547,"material":28,"size":86,"collection":42,"collections":5548,"showCount":5448,"zanCount":11,"manualWeight":11,"mainColor":46},219950,"he-ting-xiao-shu-tu-zhao-shi-lei-219950","荷亭消暑图","水岸铺陈开清寂夏景，临水亭台错落相衔，飞檐回廊隐在垂柳荫翳间，柔条拂过静波，将暑意揉碎在漾漾水色中。远景轻笼烟霭，把天地晕成淡润的墨色，消解了溽热烦躁。\n亭畔静立侍者，等候凭栏观水的主人，晕染出幽居消暑的松弛意趣。全图笔法秀润温婉，布景虚实相映，古雅绢色衬出一片临水纳凉的闲雅天地，将耽于林泉、静享幽夏的隐逸襟怀晕染尽致。",[23,55,24,25,162,57,28,161,7,2189,33,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa754d1f34c6e3092b4d0c8dc675fbfe9.jpg",[42],{"id":5550,"slug":5551,"title":5552,"dynasty":378,"author":5553,"museum":450,"description":5554,"tags":5555,"thumbUrl":5557,"material":357,"size":5558,"collection":42,"collections":5559,"showCount":5448,"zanCount":373,"manualWeight":11,"mainColor":46},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,25,146,27,36,38,58,29,874,7,33,34,35,100,5556],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[42],{"id":5561,"slug":5562,"title":5563,"dynasty":378,"author":5564,"museum":96,"description":5565,"tags":5566,"thumbUrl":5569,"material":121,"size":5570,"collection":86,"collections":5571,"showCount":5572,"zanCount":282,"manualWeight":11,"mainColor":71},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","吴廷晖","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,146,161,28,5567,61,29,33,931,7,5568],"龙舟","龙舟夺标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg","124.1x65.6",[],38,{"id":5574,"slug":5575,"title":5576,"dynasty":378,"author":884,"museum":78,"description":5577,"tags":5578,"thumbUrl":5579,"material":317,"size":396,"collection":86,"collections":5580,"showCount":5572,"zanCount":11,"manualWeight":11,"mainColor":46},287532,"xi-shan-cao-ge-huang-gong-wang-287532","溪山草阁","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[24,487,27,36,146,29,7,33,101,31,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28c154e8f183ddf69ea2b4c2e577964.jpg",[],{"id":5582,"slug":5583,"title":5584,"dynasty":18,"author":4478,"museum":78,"description":5585,"tags":5586,"thumbUrl":5587,"material":86,"size":5588,"collection":42,"collections":5589,"showCount":5572,"zanCount":11,"manualWeight":11,"mainColor":71},237638,"shan-shui-juan-li-shi-da-237638","山水卷","李士达（1550-1620），字通甫，号仰槐，江苏苏州人。万历二年（1574）进士，工画人物、山水。曾经论述画有五美：“苍、逸、奇、远、韵。”又有五恶：“嫩、板、刻、生、痴。”传世作品有《浔阳琵琶图》、《三驼图》、《西园雅集图》等。",[24,27,26,29,36,30,31,32,7,33,101,178,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[42,107],{"id":5591,"slug":5592,"title":5593,"dynasty":173,"author":1505,"museum":78,"description":1506,"tags":5594,"thumbUrl":5595,"material":317,"size":396,"collection":86,"collections":5596,"showCount":5572,"zanCount":11,"manualWeight":11,"mainColor":46},237366,"hong-ren-shan-shui-tu-zhou-hong-ren-237366","弘仁山水图轴",[24,25,146,27,36,29,439,7,234,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2198db8b7023d2d9d377941e9c3aa1.jpg",[],{"id":5598,"slug":5599,"title":5600,"dynasty":173,"author":3694,"museum":78,"description":5601,"tags":5602,"thumbUrl":5603,"material":86,"size":86,"collection":86,"collections":5604,"showCount":5572,"zanCount":373,"manualWeight":11,"mainColor":46},235674,"huang-shan-tian-dou-feng-tu-zhou-mei-qing-235674","黄山天都峰图轴","此作用高远章法铺陈景致，方折硬皴刻画嶙峋山石，层叠岩壁尽显峰峦雄崛之势。留白摹写空濛云海，衬出天都峰的高拔清逸。松下孤亭旁二人策杖对语，在雄奇山景晕染出世外幽意。\n题诗与山水相融，以书入画尽显新安画派灵秀苍劲。水墨晕染出清冷空寂的意境，既绘出黄山天险之姿，又寄寓画家对林泉高致的向往，笔致清隽，将自然奇绝与文人雅趣合为一体。",[24,25,55,146,27,36,29,1496,99,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c78ff500e4796524b4ff31de712606.jpg",[],{"id":5606,"slug":5607,"title":5608,"dynasty":173,"author":1158,"museum":175,"description":5609,"tags":5610,"thumbUrl":5612,"material":789,"size":86,"collection":86,"collections":5613,"showCount":5572,"zanCount":11,"manualWeight":11,"mainColor":46},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","九歌图卷","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(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,24,25,26,57,28,60,29,2818,7,342,343,5611,34,33,61,31,58],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":5615,"slug":5616,"title":5617,"dynasty":173,"author":5618,"museum":78,"description":5619,"tags":5620,"thumbUrl":5621,"material":86,"size":86,"collection":86,"collections":5622,"showCount":5572,"zanCount":11,"manualWeight":11,"mainColor":46},230234,"mo-xi-tu-ce-jin-nong-230234","墨戏图册","金农","这幅画以淡墨轻色晕染出初夏庭院的闲静意趣。垂拂的柳丝漫过墙头，池面散落点点花片，廊间文士负手凭栏，将心神沉溺在眼前景致里。画面与题诗相映，把荷开新晴后的慵懒缱绻缓缓晕开。\n\n简淡的线条勾勒出人物与庭院轮廓，浅施色彩晕染出江南空濛柔婉的氛围，形简而意足。将文人闲居的清雅心境藏在笔底，淡而有味，静中生情。松弛的书卷气漫在画面里，寥寥数笔便揉进中式文人的隐逸闲情，把江南初夏独有的缱绻诗意铺展开来，尽显文人画以意取胜的妙处，藏着日常闲居的松弛意趣，耐看又动人。",[24,25,162,27,28,58,37,60,685,303,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85b2036e93ac5dade0ec531e29c266f.jpg",[],{"id":5624,"slug":5625,"title":5626,"dynasty":173,"author":639,"museum":175,"description":5627,"tags":5628,"thumbUrl":5629,"material":212,"size":5630,"collection":42,"collections":5631,"showCount":5572,"zanCount":373,"manualWeight":11,"mainColor":71},224483,"ling-shang-bai-yun-tu-wang-jian-224483","岭上白云图","图绘山峦叠嶂，树木茁壮葱茏，山间、山脚处民居隐现，坐落于此犹如世外桃园，画面布局充实繁密，山石画法以黄公望为宗，于披麻皴后又用横点叠皴，或勾或点，各具风姿。笔法圆润，浓墨点苔。风格古朴高雅，具有大气淳厚之感，是幅不可多得的佳作。",[23,24,25,146,28,29,36,276,1978,118,7,61,101,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcc8e3e142af285a644cc82cafaa371.jpg","143.7x50.6cm",[42],{"id":5633,"slug":5634,"title":5635,"dynasty":173,"author":1340,"museum":78,"description":5636,"tags":5637,"thumbUrl":5638,"material":86,"size":86,"collection":86,"collections":5639,"showCount":5572,"zanCount":11,"manualWeight":11,"mainColor":46},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,25,26,28,36,29,276,263,118,382,342,1291,7,777,63,302,99,34,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,25,146,27,36,81,29,30,31,32,7,382,35,34,33,931,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[42],{"id":5718,"slug":5719,"title":5720,"dynasty":173,"author":1505,"museum":78,"description":5721,"tags":5722,"thumbUrl":5723,"material":86,"size":5724,"collection":86,"collections":5725,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},238030,"hong-ren-shan-shui-tu-ce-hong-ren-238030","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[55,24,25,162,27,36,29,234,31,382,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3f0273ba838ad249818da5b0f02d07.jpg","50×36",[],{"id":5727,"slug":5728,"title":5729,"dynasty":18,"author":5730,"museum":20,"description":5731,"tags":5732,"thumbUrl":5733,"material":608,"size":5734,"collection":42,"collections":5735,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},237262,"shen-hao-shan-shui-tu-ce-shen-hao-237262","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,25,162,27,36,29,276,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f016770f2129dbf2cceca137a9791c.jpg","15.2x23.6厘米",[42,107],{"id":5737,"slug":5738,"title":5739,"dynasty":18,"author":19,"museum":175,"description":5740,"tags":5741,"thumbUrl":5742,"material":5743,"size":5744,"collection":86,"collections":5745,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,25,464,27,28,36,29,7,416,34,60,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","金笺，设色","纵18厘米，横46厘米",[],{"id":5747,"slug":5748,"title":5749,"dynasty":173,"author":1750,"museum":78,"description":5750,"tags":5751,"thumbUrl":5752,"material":165,"size":86,"collection":86,"collections":5753,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},231940,"qiu-shan-tu-kun-can-231940","秋山图","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,55,24,25,26,27,28,36,29,382,34,31,32,569,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":5755,"slug":5756,"title":5757,"dynasty":173,"author":3823,"museum":175,"description":5758,"tags":5759,"thumbUrl":5760,"material":357,"size":5761,"collection":42,"collections":5762,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":46},220138,"quan-sheng-song-se-tu-wu-li-220138","泉声松色图","整幅构图分远、中、近铺设，层次分明。山峦层层叠嶂;溪水，曲行贯穿;树木，更加苍劲。整个画面，以凝练的笔法，展现出山水间、自然界的浑重拙朴、深醇沉郁的气韵。皴法繁密，明暗分明。较之前面两幅，笔力显得更加雄浑，墨色更加酣畅，色彩对比更加强烈。整个画面，上上下下，有众多房屋，而不见人影;有桥梁，却无人来渡;除水声外，不见人声，不闻鸟鸣，一切处在自然界的凝静之中;远山近壑之上，铺设着一层雪的白色，虽有苍劲的“松色”似有增色，但同时告知我们，此时节尚处在寒冷之中。",[23,24,27,36,29,31,416,276,30,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 横38厘米",[42],{"id":5764,"slug":5765,"title":5766,"dynasty":378,"author":484,"museum":96,"description":820,"tags":5767,"thumbUrl":5768,"material":40,"size":5769,"collection":42,"collections":5770,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},290836,"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴",[55,24,146,27,487,29,84,31,32,234,7,58,37,36,1065],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4",[42],36,{"id":5773,"slug":5774,"title":5775,"dynasty":378,"author":884,"museum":78,"description":5577,"tags":5776,"thumbUrl":5778,"material":317,"size":396,"collection":86,"collections":5779,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":71},290148,"zhi-lan-shi-tu-ke-luo-ban-huang-gong-wang-290148","芝兰室图 （珂罗版）",[23,24,27,29,36,34,33,1819,7,30,31,37,58,5777],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],{"id":5781,"slug":5782,"title":5783,"dynasty":173,"author":3186,"museum":78,"description":5784,"tags":5785,"thumbUrl":5787,"material":86,"size":86,"collection":42,"collections":5788,"showCount":5771,"zanCount":373,"manualWeight":11,"mainColor":71},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","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。",[24,26,487,27,36,5786,29,61,30,7,34,888,31,35,99],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[42,68],{"id":5790,"slug":5791,"title":2973,"dynasty":173,"author":1340,"museum":78,"description":2974,"tags":5792,"thumbUrl":5793,"material":86,"size":86,"collection":86,"collections":5794,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588",[55,24,25,162,27,28,36,1428,29,33,34,31,7,178,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":5796,"slug":5797,"title":5798,"dynasty":173,"author":1505,"museum":78,"description":5799,"tags":5800,"thumbUrl":5801,"material":86,"size":86,"collection":86,"collections":5802,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},235935,"tao-an-tu-zhou-hong-ren-235935","陶庵图轴","《弘仁陶庵图轴》是清代 本幅是作者送友人汪尧德的写生之作。\n汪尧德（162—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。\n早年客居松江，与 、 等文人交往。\n晚年家居年，以书画自娱。\n此图是弘仁与友人罗逸（字远游，歙县人）游 经过潜口时所绘汪尧德隐居之所。\n其屋舍傍山而筑，临溪而建，一片离尘幽美之景。\n作者以 和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[55,24,25,146,27,36,29,276,118,7,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":5804,"slug":5805,"title":5806,"dynasty":94,"author":95,"museum":1183,"description":5807,"tags":5808,"thumbUrl":5809,"material":534,"size":5810,"collection":86,"collections":5811,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，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。",[24,25,26,27,36,38,58,29,32,31,7,63,569,570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","全卷长达七米",[],{"id":5813,"slug":5814,"title":5815,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":5816,"thumbUrl":5822,"material":292,"size":3848,"collection":86,"collections":5823,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180",[23,57,28,161,60,61,7,685,2147,1044,687,33,5817,1869,5818,5819,5820,196,5821],"圆形窗","茶具","扇子","鸭子","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg",[],{"id":5825,"slug":5826,"title":5827,"dynasty":18,"author":326,"museum":5828,"description":5829,"tags":5830,"thumbUrl":5834,"material":789,"size":5835,"collection":123,"collections":5836,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},222361,"jin-chang-song-bie-tu-tang-yin-222361","金昌送别图","吴氏梅景书屋","图绘柳溪水岸边四人拱手作别，即将远去的朋友回头顾盼他的三个朋友，深含依依不舍之情，旁边一樵夫等待离别的人上船，即将扬帆起航。远处群山连绵，云雾霭霭，空旷高远。整幅图以水墨与淡设色相融合，使画面呈现出清雅的格调。",[23,24,26,27,28,29,60,30,31,32,61,5831,303,99,7,5832,5833],"群山","送别","依依不舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd1421c45dfa306f19591e4f68b6877.jpg","21×132cm",[123,107],{"id":5838,"slug":5839,"title":5840,"dynasty":94,"author":257,"museum":96,"description":4527,"tags":5841,"thumbUrl":5851,"material":292,"size":5852,"collection":86,"collections":5853,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册",[23,24,25,5842,162,27,36,29,84,34,234,7,247,382,101,5843,5844,614,5845,5846,5847,5848,5849,5850],"古画","自然景物","传统绘画","山间景物","山水景观","石质山体","树木景观","山石景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg","30.2x31.8",[],{"id":5855,"slug":5856,"title":5857,"dynasty":18,"author":5858,"museum":3168,"description":5859,"tags":5860,"thumbUrl":5861,"material":121,"size":5862,"collection":42,"collections":5863,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":71},220146,"shan-ting-tu-li-zai-220146","山亭图","李在","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,24,25,29,146,27,36,7,30,34,35,84,290,33,60,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[42],{"id":5865,"slug":5866,"title":5867,"dynasty":378,"author":484,"museum":450,"description":5868,"tags":5869,"thumbUrl":5871,"material":40,"size":5872,"collection":42,"collections":5873,"showCount":5771,"zanCount":524,"manualWeight":11,"mainColor":46},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[23,55,24,25,26,27,28,36,29,61,234,7,84,5870,302,34,33,58,37,38,344],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 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cm.",[42],{"id":5875,"slug":5876,"title":5877,"dynasty":173,"author":1340,"museum":1593,"description":5878,"tags":5879,"thumbUrl":5880,"material":121,"size":5881,"collection":42,"collections":5882,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":71},219847,"guan-e-tu-wang-hui-219847","观鹅图","此作用笔秀润，以高远山居搭配平远水色，远山巍峨苍浑，飞泉隐于云壑林麓间，清寂辽远。临水楼阁中，文士凭栏远眺，溪上白鹅悠游浮掠，浅滩处侍童持物静立。\n\n皴擦松柔，晕染淡净，林木苍古秀雅，亭台简雅空灵，取景错落舒展，将林泉幽居的闲逸雅致铺陈开来，尽显观鹅寄怀的隐逸雅兴，淡墨轻岚间浸透着静穆萧散的文人意趣，简淡中见隽永悠远的林下之风。",[24,146,27,36,28,29,60,7,63,33,34,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4100c5e85a00f55e5bd56e3b266434.jpg","130.5x39.4cm",[42],{"id":5884,"slug":5885,"title":5886,"dynasty":173,"author":474,"museum":96,"description":5887,"tags":5888,"thumbUrl":5891,"material":121,"size":5892,"collection":123,"collections":5893,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[55,24,25,162,28,57,60,5889,3005,3426,118,343,34,7,5890,1664],"神仙","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[123],{"id":5895,"slug":5896,"title":5897,"dynasty":18,"author":2665,"museum":96,"description":5898,"tags":5899,"thumbUrl":5900,"material":121,"size":5901,"collection":42,"collections":5902,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":71},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[24,25,146,27,36,58,29,60,61,30,33,31,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[42],{"id":5904,"slug":5905,"title":5906,"dynasty":18,"author":326,"museum":175,"description":5907,"tags":5908,"thumbUrl":5909,"material":357,"size":5910,"collection":107,"collections":5911,"showCount":5771,"zanCount":11,"manualWeight":11,"mainColor":46},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[23,24,25,26,27,28,57,36,37,38,58,60,29,61,33,34,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[107],{"id":5913,"slug":5914,"title":5915,"dynasty":94,"author":95,"museum":78,"description":2654,"tags":5916,"thumbUrl":5918,"material":317,"size":396,"collection":86,"collections":5919,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":71},290272,"hu-shan-fang-you-tu-xia-gui-290272","湖山访友图",[55,24,27,29,146,36,61,30,31,7,60,33,5917],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1ba42d2395c98b7ef4f0b2a513a2e3.jpg",[],35,{"id":5922,"slug":5923,"title":5924,"dynasty":173,"author":1384,"museum":78,"description":5925,"tags":5926,"thumbUrl":5927,"material":86,"size":86,"collection":42,"collections":5928,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":46},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[24,25,162,27,36,60,7,33,34,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[42,123,107],{"id":5930,"slug":5931,"title":5932,"dynasty":173,"author":1384,"museum":175,"description":5933,"tags":5934,"thumbUrl":5936,"material":185,"size":5937,"collection":42,"collections":5938,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":46},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[24,27,28,36,29,147,276,666,7,33,60,583,181,101,5935],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[42,68],{"id":5940,"slug":5941,"title":5942,"dynasty":18,"author":4751,"museum":78,"description":5943,"tags":5944,"thumbUrl":5945,"material":86,"size":86,"collection":42,"collections":5946,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":46},236404,"xiao-xiang-ba-jing-ce-wen-jia-236404","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,27,162,29,32,7,84,58,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[42,68],{"id":5948,"slug":5949,"title":5950,"dynasty":173,"author":1750,"museum":175,"description":5951,"tags":5952,"thumbUrl":5953,"material":789,"size":5954,"collection":86,"collections":5955,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":46},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,25,146,27,28,36,29,61,31,32,84,7,99,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":5957,"slug":5958,"title":5959,"dynasty":18,"author":4147,"museum":175,"description":5960,"tags":5961,"thumbUrl":5962,"material":789,"size":5963,"collection":86,"collections":5964,"showCount":5920,"zanCount":373,"manualWeight":11,"mainColor":46},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[24,28,36,146,29,61,7,163,33,34,60,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],{"id":5966,"slug":5967,"title":5968,"dynasty":18,"author":2896,"museum":175,"description":5969,"tags":5970,"thumbUrl":5971,"material":789,"size":5972,"collection":86,"collections":5973,"showCount":5920,"zanCount":373,"manualWeight":11,"mainColor":71},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,26,27,57,36,29,30,31,60,7,416,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":5975,"slug":5976,"title":5224,"dynasty":94,"author":3014,"museum":78,"description":5977,"tags":5978,"thumbUrl":5979,"material":292,"size":5980,"collection":86,"collections":5981,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":71},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","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。",[23,811,24,25,26,56,28,57,36,29,247,33,382,416,61,7,30,31,60,544,35,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":5983,"slug":5984,"title":5985,"dynasty":173,"author":5986,"museum":96,"description":5987,"tags":5988,"thumbUrl":5989,"material":86,"size":86,"collection":42,"collections":5990,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":46},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[23,24,25,162,82,27,762,37,29,60,7,33,234,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[42],{"id":5992,"slug":5993,"title":5994,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":5995,"thumbUrl":5996,"material":292,"size":3848,"collection":86,"collections":5997,"showCount":5920,"zanCount":11,"manualWeight":11,"mainColor":46},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,25,57,28,60,7,30,31,61,59,303,34,687,583,196,33,290,2179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":5999,"slug":6000,"title":6001,"dynasty":173,"author":3423,"museum":96,"description":6002,"tags":6003,"thumbUrl":6004,"material":249,"size":6005,"collection":42,"collections":6006,"showCount":5920,"zanCount":524,"manualWeight":11,"mainColor":71},222659,"jiang-shan-chun-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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。",[23,24,25,162,27,29,36,276,118,7,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058f786e47ba6cf40da75011cdde6f41.jpg",[],{"id":6073,"slug":6074,"title":6075,"dynasty":378,"author":884,"museum":78,"description":6076,"tags":6077,"thumbUrl":6078,"material":317,"size":396,"collection":86,"collections":6079,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":71},290821,"tian-chi-shi-bi-tu-zhou-huang-gong-wang-290821","天池石壁图轴","《天池石壁图》描绘了天池山水的景色，图中多用淡赭，染以墨青墨绿，层峦叠嶂，山石相间，陡崖、矾石高坡、岩块形态各异，姿态万千，展示了天池石壁的雄秀。",[24,55,146,29,27,28,36,34,33,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76bf999b054c15ee955a1c5b71c389b.jpg",[],34,{"id":6082,"slug":6083,"title":6084,"dynasty":94,"author":474,"museum":78,"description":6085,"tags":6086,"thumbUrl":6087,"material":86,"size":86,"collection":123,"collections":6088,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":71},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[55,24,25,26,57,82,28,60,29,3438,61,33,99,2818,544,7,83,81,58,31,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[123],{"id":6090,"slug":6091,"title":6092,"dynasty":18,"author":6093,"museum":78,"description":6094,"tags":6095,"thumbUrl":6096,"material":86,"size":86,"collection":123,"collections":6097,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":46},236018,"ren-wu-tu-ce-zhu-ting-ce-zhang-wen-nan-shou-mao-weng-236018","人物图册－竹亭策杖","文柟寿茂翁","画面取一角山居小景，竹亭凭崖兀立，修竹环拥生翠。石径之上，策杖老者携童子缓行，衣袂舒缓尽显悠然。笔墨清润苍秀，皴擦点染间衬出岩壑草木之生机，将林泉幽居的散淡隐逸铺陈开来。\n\n左侧题诗笔意舒展雅致，诗书合璧，为小品添了酬赠的温雅情致。整体意境萧疏淡远，尽显江南文人幽游林泉的闲情逸致，把超脱尘俗的林下风流藏进尺幅之间，尽显文人画寄兴山水的雅致内核。",[24,25,162,27,28,60,7,439,34,38,58,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7b1e5d7e83d196b36c3559a29ec377.jpg",[123,42],{"id":6099,"slug":6100,"title":6101,"dynasty":173,"author":727,"museum":78,"description":6102,"tags":6103,"thumbUrl":6104,"material":86,"size":86,"collection":86,"collections":6105,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":46},235683,"ceng-luan-you-xi-zhou-yun-shou-ping-235683","层峦幽溪轴","此作用笔松灵秀逸，以浅绛淡彩晕染山峦林泉，笔墨清简却意致悠长。层峦以淡墨轻勾慢皴，敷色明净素雅，衬出山石温润质感。幽溪蜿蜒穿谷而过，渔舟静泊水面，林麓崖畔错落隐着村舍山居，枝叶扶疏间尽显林下清寂。\n题跋与画作相生相融，以书入画更添文人气韵，将江南山野的幽闲之境铺陈开来，观之如踏入世外幽居，沉浸式感受林泉间安谧隐逸的雅趣，尽显文人山水以意驭笔的空灵格调。",[24,25,146,27,36,29,31,32,7,118,630,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54ca2ae0ddaf9169d825040fa333bfa.jpg",[],{"id":6107,"slug":6108,"title":3902,"dynasty":173,"author":3823,"museum":175,"description":6109,"tags":6110,"thumbUrl":6111,"material":942,"size":6112,"collection":42,"collections":6113,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":46},235015,"shan-shui-ce-wu-li-235015","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,25,162,27,28,29,30,7,382,34,1282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[42,107],{"id":6115,"slug":6116,"title":3902,"dynasty":173,"author":6117,"museum":6118,"description":6119,"tags":6120,"thumbUrl":6121,"material":86,"size":86,"collection":42,"collections":6122,"showCount":6080,"zanCount":373,"manualWeight":11,"mainColor":46},234102,"shan-shui-ce-wang-gai-234102","王概","荣宝斋","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[24,28,27,162,29,84,7,234,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c5d69c9f1d0968dfce493fa609542.jpg",[42],{"id":6124,"slug":6125,"title":6126,"dynasty":378,"author":6127,"museum":175,"description":6128,"tags":6129,"thumbUrl":6130,"material":165,"size":6131,"collection":86,"collections":6132,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":71},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","姚廷美","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,27,26,29,210,84,32,329,58,36,4948,261,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":6134,"slug":6135,"title":2924,"dynasty":18,"author":6136,"museum":78,"description":6137,"tags":6138,"thumbUrl":6139,"material":86,"size":86,"collection":86,"collections":6140,"showCount":6080,"zanCount":373,"manualWeight":11,"mainColor":46},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","丁云鹏","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,25,26,57,28,82,36,29,60,7,31,147,439,30,765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":6142,"slug":6143,"title":6144,"dynasty":18,"author":51,"museum":78,"description":6145,"tags":6146,"thumbUrl":6147,"material":86,"size":86,"collection":86,"collections":6148,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":46},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,25,26,56,28,57,37,38,29,61,30,31,63,7,666,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":6150,"slug":6151,"title":6152,"dynasty":378,"author":6153,"museum":78,"description":6154,"tags":6155,"thumbUrl":6156,"material":86,"size":86,"collection":86,"collections":6157,"showCount":6080,"zanCount":373,"manualWeight":11,"mainColor":71},228068,"lou-ge-tu-xia-yong-228068","楼阁图","夏永","这幅团扇界画依山构宇，层叠楼阁沿山势铺展，朱漆廊柱配青釉瓦当，飞檐翘角凌然欲飞，界笔走线匀细挺括，将台榭回廊的错落层次勾勒得分毫毕现，尽显楼阁的巍峨明丽。\n\n青绿山水晕染雅致，石色清润，和明艳楼宇相映成趣，晕出缥缈出尘的仙山意境。下方江岸点缀行人舟楫，鲜活烟火气融入清寂山境，动静相生，整幅画面繁而不乱。画师以精微笔触，将界画的工整雅致和山水的空灵柔和相融，在尺幅团扇间铺展出一方兼具逸趣与精工的世外天地，尽显传统界画的独特意韵。",[23,24,57,161,56,28,29,61,60,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7acd25e761741b7385067a14721df4.jpg",[],{"id":6159,"slug":6160,"title":2924,"dynasty":94,"author":353,"museum":78,"description":6161,"tags":6162,"thumbUrl":6163,"material":86,"size":86,"collection":86,"collections":6164,"showCount":6080,"zanCount":373,"manualWeight":11,"mainColor":46},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,55,24,25,28,161,29,60,61,7,33,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":6166,"slug":6167,"title":6168,"dynasty":94,"author":474,"museum":96,"description":6169,"tags":6170,"thumbUrl":6171,"material":331,"size":6172,"collection":86,"collections":6173,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":71},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,26,57,28,82,60,196,33,61,1023,303,1869,83,234,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":6175,"slug":6176,"title":6177,"dynasty":18,"author":4704,"museum":530,"description":6178,"tags":6179,"thumbUrl":6180,"material":6181,"size":6182,"collection":42,"collections":6183,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":46},222835,"shan-shui-tu-zhou-xiao-yun-cong-222835","山水图轴","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[23,24,27,36,146,29,34,33,31,7,178,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[42,68],{"id":6185,"slug":6186,"title":6187,"dynasty":18,"author":221,"museum":530,"description":6188,"tags":6189,"thumbUrl":6191,"material":40,"size":6192,"collection":123,"collections":6193,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":46},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,25,26,27,36,29,118,6190,7,1948,35,37,38,58],"桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[123],{"id":6195,"slug":6196,"title":6197,"dynasty":173,"author":6198,"museum":20,"description":6199,"tags":6200,"thumbUrl":6201,"material":86,"size":86,"collection":42,"collections":6202,"showCount":6080,"zanCount":11,"manualWeight":11,"mainColor":6203},201836,"fang-ju-ran-fu-luan-nuan-cui-tu-zhou-zhang-pei-dun-201836","仿巨然浮峦暖翠图轴","张培敦","这幅画山峦层叠，峰势峻秀却不失温润，林木葱茏间溪流蜿蜒而下，亭台隐于岩壑之中，尽显江南山水的清幽雅致。笔墨运用细腻灵动，山石以皴法勾勒肌理，树木枝干虬劲，叶丛疏密有致，干湿浓淡的变化赋予画面丰富层次。整体意境静谧深远，仿佛可闻流水潺潺、松风阵阵，尽显文人山水画的意趣与神韵。",[29,27,36,7,31,81,146,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cbf1297b88d300aebc66e60d9904c0.jpg",[42],"93877a",{"id":6205,"slug":6206,"title":6207,"dynasty":18,"author":19,"museum":78,"description":1063,"tags":6208,"thumbUrl":6209,"material":317,"size":396,"collection":86,"collections":6210,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":46},290889,"liu-tang-qi-an-shen-zhou-290889","柳塘埼岸",[24,25,162,27,38,58,29,303,34,31,382,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cc443d8b8dfc69213b920a74481d9.jpg",[],33,{"id":6213,"slug":6214,"title":6215,"dynasty":18,"author":51,"museum":78,"description":6216,"tags":6217,"thumbUrl":6219,"material":317,"size":396,"collection":86,"collections":6220,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":46},290875,"xi-yuan-ya-ji-tu-zhou-chou-ying-290875","西园雅集图轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,146,82,27,60,7,416,30,687,1126,1538,58,2283,6218],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca9a6719c6a923f6b44368996834625.jpg",[],{"id":6222,"slug":6223,"title":6224,"dynasty":94,"author":3537,"museum":78,"description":6225,"tags":6226,"thumbUrl":6227,"material":317,"size":396,"collection":86,"collections":6228,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":399},290861,"qiu-shan-yu-ting-zhou-li-cheng-290861","秋山渔艇轴","李成（919～967）五代及北宋画家。字咸熙，唐宗室后裔。原籍长安（今陕西西安），先世系唐宗室，祖父李鼎曾任苏州刺史，于五代时避乱迁家营丘（今山东昌乐），故又称李成为李营丘。他博学多才，胸有大志，但不得施展，遂放意诗酒书画，后醉死陈州（今河南淮阳）客舍。擅山水，师承荆浩、关仝，并加以发展，多画郊野平远旷阔之景。多作平远寒林，画法简练，笔势锋利，好用淡墨，有“惜墨如金”之称；画山石好像卷动的云，后人称这种表现技法为“卷云皴”。",[24,146,29,30,31,32,329,7,61,36,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95e63285ff12ebf6a02129e321d325.jpg",[],{"id":6230,"slug":6231,"title":6232,"dynasty":94,"author":474,"museum":78,"description":6233,"tags":6234,"thumbUrl":6236,"material":317,"size":396,"collection":86,"collections":6237,"showCount":6211,"zanCount":524,"manualWeight":11,"mainColor":71},290758,"ke-si-shang-yuan-ying-xi-tu-zhou-yi-ming-290758","缂丝上元婴戏图轴","亭台枕着山水铺展底色，凭栏文人悠然观览，稚童四散嬉游，或展纸挥毫、或拨弦弄乐，逗引瑞兽、结伴追闹，憨态各异，灵动鲜活。\n\n通经断纬的技法让石青、朱红色块利落分明，晕开古雅沉静的底色。将庭院稚趣与幽淡景致相融，复刻出闲逸日常图景，又以婴戏暗喻多子多福的吉庆愿景，把精妙织绣技艺与雅致民俗意趣揉合一处，尽显旧时雅致的生活意趣与精湛造物匠心。",[24,146,5445,28,60,3321,7,119,6235,2767,61,2743],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0353f7509ad134b32cb56e4816b0140e.jpg",[],{"id":6239,"slug":6240,"title":6241,"dynasty":173,"author":1750,"museum":78,"description":6242,"tags":6243,"thumbUrl":6245,"material":317,"size":396,"collection":86,"collections":6246,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":46},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","秋山幽静图轴","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。",[55,24,146,27,29,30,31,32,61,7,210,84,6244,36,58,37,1840,1819],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":6248,"slug":6249,"title":5584,"dynasty":18,"author":3114,"museum":78,"description":6250,"tags":6251,"thumbUrl":6252,"material":86,"size":86,"collection":86,"collections":6253,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":46},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,26,27,36,25,29,276,263,84,30,31,32,7,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":6255,"slug":6256,"title":6257,"dynasty":378,"author":4170,"museum":175,"description":6258,"tags":6259,"thumbUrl":6260,"material":789,"size":6261,"collection":86,"collections":6262,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":71},233219,"you-ju-tu-juan-qian-xuan-233219","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[24,25,26,56,28,57,36,29,276,263,118,7,30,31,32,60,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg","纵27厘米, 横115.9厘米",[],{"id":6264,"slug":6265,"title":6266,"dynasty":94,"author":244,"museum":96,"description":6267,"tags":6268,"thumbUrl":6269,"material":165,"size":6270,"collection":86,"collections":6271,"showCount":6211,"zanCount":373,"manualWeight":11,"mainColor":71},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,25,26,57,28,161,37,60,61,29,544,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":6273,"slug":6274,"title":6275,"dynasty":18,"author":474,"museum":78,"description":6276,"tags":6277,"thumbUrl":6278,"material":86,"size":86,"collection":86,"collections":6279,"showCount":6211,"zanCount":373,"manualWeight":11,"mainColor":46},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[23,24,25,26,27,29,382,234,7,36,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":6281,"slug":6282,"title":6283,"dynasty":94,"author":193,"museum":78,"description":6284,"tags":6285,"thumbUrl":6286,"material":86,"size":86,"collection":86,"collections":6287,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":71},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,27,28,36,2218,29,302,34,33,7,952,178,930,1291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],{"id":6289,"slug":6290,"title":6291,"dynasty":173,"author":6292,"museum":78,"description":6293,"tags":6294,"thumbUrl":6295,"material":86,"size":86,"collection":86,"collections":6296,"showCount":6211,"zanCount":373,"manualWeight":11,"mainColor":46},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","孙逸","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,25,146,28,36,29,7,30,31,234,118,35,302,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":6298,"slug":6299,"title":1010,"dynasty":94,"author":474,"museum":78,"description":6300,"tags":6301,"thumbUrl":6302,"material":86,"size":86,"collection":86,"collections":6303,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":71},223627,"he-ting-xiao-xia-tu-yi-ming-223627","近岸古松盘曲如铁，老木横卧如长虹枕在浅草汀洲，野意自生。林间荷亭翼然明敞，朱棂黛瓦隐在浓荫里，将溽暑拦在林外，似有荷风穿窗而过，裹着清润凉意。杨柳柔条垂烟，轻蘸水面，把夏意晕成一片慵懒。\n\n远景山峦化在濛濛水汽里，只剩淡墨晕开的黛色轮廓，和烟水织就空濛底色。工写相融的笔触里，亭台勾勒精工，林木皴染苍润，淡墨烘出水汽蒸腾的溽暑空茫，把幽居消夏的闲静揉进画面。蝉声隐在叶底，时光漫过松荫，只余一室清凉，将盛夏的燥热尽数消解，藏起宋人藏在小景里的雅致闲情。",[23,24,55,28,57,36,58,29,7,33,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39d36753c7bf7f5e869b068f452a9c8.jpg",[],{"id":6305,"slug":6306,"title":6307,"dynasty":18,"author":927,"museum":96,"description":6308,"tags":6309,"thumbUrl":6310,"material":40,"size":6311,"collection":42,"collections":6312,"showCount":6211,"zanCount":373,"manualWeight":11,"mainColor":46},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,24,25,146,28,36,29,7,416,34,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[42,68],{"id":6314,"slug":6315,"title":6316,"dynasty":94,"author":1616,"museum":96,"description":6317,"tags":6318,"thumbUrl":6319,"material":292,"size":6320,"collection":768,"collections":6321,"showCount":6211,"zanCount":373,"manualWeight":11,"mainColor":127},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,24,25,26,28,57,29,60,3885,7,33,3511,38,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[768],{"id":6323,"slug":6324,"title":6325,"dynasty":18,"author":1483,"museum":96,"description":6326,"tags":6327,"thumbUrl":6329,"material":121,"size":6330,"collection":42,"collections":6331,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":71},220102,"qiu-shan-hong-shu-tu-zhao-zuo-220102","秋山红树图","赵左（约西元十六世纪）字文度，江苏松江人。善画山水，是苏松画派的首创人。　画中赵左自题「仿唐人杨升画」。按杨升（升）画山水得到张僧繇没骨法的妙处，有雪霁图、峒关蒲雪图传于世。这幅画多用青绿设色，山石不用皴纹，而用没骨法渍染，树叶也多用双钩，颇有唐画山水的遗风。但赵左受吴派绘画影响极深，故不像唐画华丽富贵，而饶有温润文雅的趣味。",[24,146,28,29,34,33,6328,7,36],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05043e0f78a9ef545d2fe53f138f9a40.jpg","本幅 150x53.7公分、全幅 56公分",[42],{"id":6333,"slug":6334,"title":6335,"dynasty":173,"author":1158,"museum":96,"description":6336,"tags":6337,"thumbUrl":6338,"material":6339,"size":6340,"collection":123,"collections":6341,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":46},219527,"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[24,25,57,28,82,81,60,544,1675,29,118,7,209,101,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","设色,纸本","94.5X54.7cm",[123],{"id":6343,"slug":6344,"title":6345,"dynasty":94,"author":474,"museum":96,"description":6346,"tags":6347,"thumbUrl":6348,"material":121,"size":6349,"collection":42,"collections":6350,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":71},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,25,29,28,161,36,7,33,61,34,1174,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[42],{"id":6352,"slug":6353,"title":6354,"dynasty":18,"author":221,"museum":96,"description":6355,"tags":6356,"thumbUrl":6358,"material":198,"size":6359,"collection":42,"collections":6360,"showCount":6211,"zanCount":11,"manualWeight":11,"mainColor":71},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[24,25,162,27,28,29,36,32,31,63,7,6357,30,84],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[42],{"id":6362,"slug":6363,"title":6364,"dynasty":378,"author":379,"museum":78,"description":6365,"tags":6366,"thumbUrl":6368,"material":317,"size":396,"collection":86,"collections":6369,"showCount":6370,"zanCount":373,"manualWeight":11,"mainColor":46},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[55,24,25,146,27,36,29,7,6367,34,100,37,58,1840],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c7a50eb639fedf1d8803cb1242ca91.jpg",[],32,{"id":6372,"slug":6373,"title":6374,"dynasty":173,"author":4742,"museum":78,"description":6375,"tags":6376,"thumbUrl":6377,"material":317,"size":396,"collection":86,"collections":6378,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":46},288172,"fang-guo-shu-shan-shui-tu-zhou-zhu-da-288172","仿郭恕山水图轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,25,146,27,36,81,29,34,33,7,58,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50eb3a950ce4abfb78da77a089adc40.jpg",[],{"id":6380,"slug":6381,"title":6382,"dynasty":18,"author":4751,"museum":175,"description":6383,"tags":6384,"thumbUrl":6386,"material":165,"size":6387,"collection":42,"collections":6388,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":71},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[24,25,146,27,36,843,29,33,7,6385,34,382,178,582,3350,416,100],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 宽32.5 cm",[42],{"id":6390,"slug":6391,"title":6392,"dynasty":173,"author":3694,"museum":175,"description":6393,"tags":6394,"thumbUrl":6395,"material":5341,"size":6396,"collection":42,"collections":6397,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":71},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[55,24,25,146,27,36,29,276,666,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","纵186.8厘米，横57厘米",[42],{"id":6399,"slug":6400,"title":6401,"dynasty":173,"author":6402,"museum":175,"description":6403,"tags":6404,"thumbUrl":6405,"material":249,"size":6406,"collection":86,"collections":6407,"showCount":6370,"zanCount":373,"manualWeight":11,"mainColor":71},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,26,28,56,57,36,29,59,31,30,32,60,33,99,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":6409,"slug":6410,"title":6411,"dynasty":94,"author":6412,"museum":175,"description":6413,"tags":6414,"thumbUrl":6415,"material":292,"size":6416,"collection":86,"collections":6417,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":46},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","赵昌","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,25,162,28,57,29,60,33,7,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":6419,"slug":6420,"title":6421,"dynasty":173,"author":850,"museum":78,"description":6422,"tags":6423,"thumbUrl":6424,"material":86,"size":86,"collection":86,"collections":6425,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":71},230157,"jiu-cheng-gong-tu-yuan-yao-230157","九成宫图","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,24,146,161,28,29,61,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":6427,"slug":6428,"title":6429,"dynasty":18,"author":5497,"museum":78,"description":6430,"tags":6431,"thumbUrl":6432,"material":86,"size":86,"collection":86,"collections":6433,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":127},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,24,25,146,27,36,29,34,33,100,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":6435,"slug":6436,"title":6437,"dynasty":173,"author":6438,"museum":78,"description":6439,"tags":6440,"thumbUrl":6441,"material":212,"size":6442,"collection":68,"collections":6443,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":71},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,25,55,146,29,36,27,34,416,302,35,7,33,30,60,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 横90CM",[68],{"id":6445,"slug":6446,"title":6447,"dynasty":173,"author":1750,"museum":258,"description":6448,"tags":6449,"thumbUrl":6450,"material":6451,"size":6452,"collection":86,"collections":6453,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":71},222664,"po-mo-xi-shan-tu-zhou-kun-can-222664","泼墨溪山图轴","《髡残泼墨溪山图》作者一反秃笔渴墨之常法，而以湿笔淡墨勾山画树，与大面积浑点泼墨融合生发，再以重墨刻画桥、屋、人物。用笔松动，施墨淋漓，画面酣畅而又蓊郁朴厚，洋溢着蓬勃生机。配以行草题跋，随意挥洒，粗服乱头，体现其独具的审美意趣。",[23,24,25,55,146,27,36,29,7,30,31,33,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053c5bca500d486edd2cf07e7d775590.jpg","纸本 水墨","77.2cmx27cm",[],{"id":6455,"slug":6456,"title":6457,"dynasty":18,"author":19,"museum":20,"description":6458,"tags":6459,"thumbUrl":6460,"material":249,"size":6461,"collection":86,"collections":6462,"showCount":6370,"zanCount":373,"manualWeight":11,"mainColor":46},222131,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222131","雨江名胜图册","此图是描绘长江淮河两岸名胜风景的册页，共十幅，每幅对页有沈周自题七绝一首，并有友人文嘉、王穉登等人题和诗。画面皆剪裁简明，情景融合，却构成诗意盎然的境界。用笔质朴、凝重，山峦的 繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,24,25,162,28,29,61,33,7,37,58,36,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":6464,"slug":6465,"title":6466,"dynasty":18,"author":287,"museum":96,"description":6467,"tags":6468,"thumbUrl":6469,"material":292,"size":6470,"collection":42,"collections":6471,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":71},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,24,28,29,57,303,30,31,61,7,60,178,99,5312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[42],{"id":6473,"slug":6474,"title":6475,"dynasty":18,"author":5172,"museum":96,"description":6476,"tags":6477,"thumbUrl":6478,"material":121,"size":6479,"collection":68,"collections":6480,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":71},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,24,29,28,36,146,30,31,7,118,34,544,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[68],{"id":6482,"slug":6483,"title":6484,"dynasty":18,"author":4366,"museum":96,"description":6485,"tags":6486,"thumbUrl":6488,"material":121,"size":6489,"collection":42,"collections":6490,"showCount":6370,"zanCount":11,"manualWeight":11,"mainColor":46},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[24,25,146,27,36,29,7,163,118,35,58,37,38,63,6487],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[42],{"id":6492,"slug":6493,"title":299,"dynasty":18,"author":51,"museum":78,"description":6216,"tags":6494,"thumbUrl":6495,"material":317,"size":396,"collection":86,"collections":6496,"showCount":5,"zanCount":373,"manualWeight":11,"mainColor":71},290873,"chun-shan-yin-shang-zhou-chou-ying-290873",[55,24,146,56,28,57,29,60,61,31,7,58,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1675e33be13137aeb68f7c392e602fd.jpg",[],{"id":6498,"slug":6499,"title":6500,"dynasty":378,"author":4170,"museum":78,"description":6501,"tags":6502,"thumbUrl":6504,"material":317,"size":396,"collection":86,"collections":6505,"showCount":5,"zanCount":373,"manualWeight":11,"mainColor":71},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,55,24,25,26,27,60,29,183,30,7,6503,2283,765,4681,37],"兰亭雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],{"id":6507,"slug":6508,"title":6509,"dynasty":378,"author":379,"museum":78,"description":6365,"tags":6510,"thumbUrl":6511,"material":317,"size":396,"collection":86,"collections":6512,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},290265,"you-bo-tan-hua-tu-ke-luo-ban-ni-zan-290265","忧钵昙花图（珂罗版）",[23,55,24,27,29,146,234,382,7,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eeb3b9939ce2b4038601b054b21059d.jpg",[],{"id":6514,"slug":6515,"title":6516,"dynasty":378,"author":1701,"museum":78,"description":6517,"tags":6518,"thumbUrl":6520,"material":317,"size":396,"collection":86,"collections":6521,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":71},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[55,24,25,146,27,29,36,30,31,7,61,33,34,6519,37,58],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":6523,"slug":6524,"title":6525,"dynasty":173,"author":6526,"museum":78,"description":6527,"tags":6528,"thumbUrl":6531,"material":86,"size":86,"collection":42,"collections":6532,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[24,28,29,36,1428,276,118,7,60,290,34,416,6529,58,30,209,35,4639,1840,6530,56,27,146],"枫树","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[42,68],{"id":6534,"slug":6535,"title":6536,"dynasty":173,"author":1505,"museum":175,"description":6537,"tags":6538,"thumbUrl":6539,"material":165,"size":86,"collection":86,"collections":6540,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},234128,"lin-yue-yi-qu-tu-juan-hong-ren-234128","林樾一区图卷","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[23,24,26,27,36,37,29,7,33,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9712d4963f78f40a5206cef1b5c061ab.jpg",[],{"id":6542,"slug":6543,"title":6544,"dynasty":173,"author":4935,"museum":175,"description":6545,"tags":6546,"thumbUrl":6547,"material":165,"size":86,"collection":86,"collections":6548,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","戴熙(公元1801-1860年)，清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘(今杭州)人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》、《题画偶录》等。画作有《云岚烟翠图》、《忆松图》、《满门风华》等。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,25,26,27,36,29,34,33,7,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":6550,"slug":6551,"title":6552,"dynasty":378,"author":484,"museum":96,"description":6553,"tags":6554,"thumbUrl":6555,"material":292,"size":6556,"collection":86,"collections":6557,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":71},232265,"xi-shan-gao-yi-tu-wang-meng-232265","溪山高逸图","远处高山耸立，冲出画面，山头层层叠叠，树木苍茫，左侧高山间，一线飞瀑直落而下，水珠四溅，山石中部又一飞泉，从岩间淙淙涌出，溪间奔湍，沿山脚蜿蜒曲折地流注而下。中景山腰处，松木成行。近景为坡岸，山石长有几株松树，有的枝干挺拔直上，有的枝干长满结节，有的松树枝叶盘曲有姿，十分茂密，相互交错，错落有致。在山间林中，有数间屋宇草堂，门窗敞开，堂中有一高士端坐其间，身穿宽服长袍，正在阅渎书卷，旁有书童侍立在旁。屋堂外的宽阔平地上有一只双翅展开的仙鹤。画幅左下角又一长者，身穿大袍，头戴官帽伫立在平地上，正在凝神地观赏四周优美的江南山山水水，十分悠闲自得。树下和山石旁留下一片水面，十分平静。款署：“叔明王蒙为菊窗琴友制图。”\n王蒙出身书画世家，外公就是元代书画家赵孟頫，所以他的画早期受赵孟頫的影响较深。后又综合唐宋名家，广采博览，故其画纵逸多姿，又独创渴笔解索皴法，终于跳出赵孟頫规矩之外，自开门户。画山水师法巨然，风格独特，“层巅奉律摩苍穹，咫尺可论千万重”。在元代山水画家中，是唯一以作品繁、密取胜者，构图回环重叠，结构复杂，笔墨熟练，重用笔而胜于用墨，强凋书法情趣，他的画构图繁复周密，以各种手法表现江南林木的苍郁茂盛和湿润感，是元代具有创造性的山水画大师，明清及近代画家几乎都学过他的画。此《溪山高逸图》，是他画构图繁复的山水画中代表作之一。\n此画构图繁密，密而不塞，密中求疏。全画用笔苍郁沉厚，颇见功力。山石皴笔用细如牛毛、略带波颤、层次繁密的“解索皴”，再加上用破笔点成的苔痕，苍苍茫茫，“望之而郁然深秀”。此画最大特点，作者善于表现江南深山溪谷草木华滋的蒙茸湿润之感。中近景树木用双勾法，树干曲折，一笔二过，树叶形状不一，填彩各异，但没有掩隐墨色的效果。纵观此图，画面崇山松木与溪流飞瀑相得益彰，有声有色，自然和谐，构图深远，结构密而不塞，与元代简洁之风大相径庭，充分体现了作者独特的风格。\n明代画家董孝初：“叔明此图，昔人评为第一，非浪语也。笔法之妙，布置之奇，如韩淮将兵，多多益办。……苍古秀润，沉雄浑厚，殆兼之矣。”\n当代画家张德宁：此图用湿笔在绢上反复勾皴渲染，其颇具个性的“牛毛皴”、“解索皴”，灵动而又凝重，笔墨清晰，有迹可循，深得历代画家的赞赏。",[24,25,146,27,28,36,29,33,7,31,34,35,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c886a58613a314ad3485c1fad4393.jpg","纵113.7厘米，横65.3厘米",[],{"id":6559,"slug":6560,"title":6561,"dynasty":94,"author":257,"museum":78,"description":6562,"tags":6563,"thumbUrl":6564,"material":86,"size":86,"collection":86,"collections":6565,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":71},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,55,25,146,27,28,29,36,247,34,33,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":6567,"slug":6568,"title":6569,"dynasty":173,"author":6570,"museum":78,"description":6571,"tags":6572,"thumbUrl":6573,"material":317,"size":396,"collection":86,"collections":6574,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},230357,"shan-shui-ce-ye-fan-qi-230357","山水册页","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[55,24,25,162,28,36,29,234,382,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":6576,"slug":6577,"title":6578,"dynasty":173,"author":1340,"museum":78,"description":6579,"tags":6580,"thumbUrl":6581,"material":86,"size":86,"collection":86,"collections":6582,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":71},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,55,24,25,26,28,29,81,36,31,32,33,63,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":6584,"slug":6585,"title":6586,"dynasty":173,"author":1515,"museum":96,"description":6587,"tags":6588,"thumbUrl":6589,"material":103,"size":6590,"collection":86,"collections":6591,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[23,24,25,146,27,36,29,33,6367,34,31,7,178,1715,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":6593,"slug":6594,"title":6595,"dynasty":173,"author":1515,"museum":175,"description":6596,"tags":6597,"thumbUrl":6598,"material":942,"size":6599,"collection":42,"collections":6600,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[23,24,25,146,27,36,29,276,263,33,101,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg","纵135厘米，横63厘米",[42],{"id":6602,"slug":6603,"title":6604,"dynasty":173,"author":6605,"museum":78,"description":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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,26,28,29,36,37,38,58,60,61,33,34,31,7,416,382,3511,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[42],{"id":6640,"slug":6641,"title":6642,"dynasty":18,"author":4429,"museum":143,"description":6643,"tags":6644,"thumbUrl":6645,"material":357,"size":6646,"collection":42,"collections":6647,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},219741,"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[23,24,27,36,81,146,29,1496,34,33,7,31,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[42],{"id":6649,"slug":6650,"title":6651,"dynasty":173,"author":6652,"museum":1122,"description":6653,"tags":6654,"thumbUrl":6655,"material":28,"size":86,"collection":42,"collections":6656,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},219058,"shan-shui-tu-shan-yue-ming-qiu-si-shang-rui-219058","山水图扇-月明秋思","上睿","扇面之上，月色如纱轻覆山林。疏林间几树浅黄晕开秋意，墨色浓淡交织出枝叶层叠的生趣，或深或浅的笔触里藏着自然的韵律。小径上三五身影闲步，衣袂飘飘似在共赏明月、低语秋思。右侧茅舍隐于树后，檐角与草木相映，静谧中透着烟火气。\n\n笔墨清润灵动，水墨晕染出空濛月色，秋意与清辉交融成悠然雅致的氛围。仿佛能触到秋夜微凉，望见月光流转的温柔，文人的闲情与秋日的清寂，凝于这一方扇面，满纸皆是诗意的秋思。",[23,24,464,28,29,570,118,7,60,343,34,1840,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11813952ce248c3a101af6a0ec5aea6f.jpg",[42],{"id":6658,"slug":6659,"title":6660,"dynasty":94,"author":6661,"museum":96,"description":6662,"tags":6663,"thumbUrl":6664,"material":121,"size":6665,"collection":42,"collections":6666,"showCount":5,"zanCount":373,"manualWeight":11,"mainColor":46},218688,"ying-shan-tu-wang-shen-218688","瀛山图","王诜","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,25,26,56,28,29,61,30,31,7,63,33,36,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[42],{"id":6668,"slug":6669,"title":6670,"dynasty":173,"author":1384,"museum":96,"description":6671,"tags":6672,"thumbUrl":6673,"material":40,"size":6674,"collection":42,"collections":6675,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,146,27,28,29,7,30,33,583,36,58,37,38,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[42],{"id":6677,"slug":6678,"title":6679,"dynasty":173,"author":4742,"museum":450,"description":6680,"tags":6681,"thumbUrl":6682,"material":357,"size":86,"collection":86,"collections":6683,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":46},214395,"shan-shui-tu-ce-3-zhu-da-214395","山水图册-3","淡墨皴出的山影若隐若现，疏枝横斜如写胸中丘壑。半露的小亭孑立山坳，似在静待清风叩扉。墨色枯润相济，浓处见骨，淡处生烟，留白处恰是山岚流动的空隙。画面无繁复铺陈，却于极简中藏着幽远的荒寒之境——似有人迹罕至的静谧，又含遗世独立的清寂。每一笔都似与天地对谈，将喧嚣滤尽，只留心与自然的默然相望。简淡笔墨里晕开的余韵，如一首冷寂的禅诗，让人见之忘俗，仿佛能听见山风掠过枝桠的轻响，触到水墨间流淌的清旷。",[23,24,27,162,36,29,7,118,34,58,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff80993fccdfe78a8262678da749c0a.jpg",[],{"id":6685,"slug":6686,"title":6687,"dynasty":18,"author":326,"museum":96,"description":6688,"tags":6689,"thumbUrl":6690,"material":357,"size":6691,"collection":86,"collections":6692,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":46},290842,"xi-zhou-hua-jiu-tu-zhou-tang-yin-290842","西洲话旧图轴","该画作山水、人物、花鸟，画中山重岭复，以小斧劈皴为之，雄伟险峻，而笔墨细秀，布局疏朗，风格秀逸清俊。",[24,146,27,37,38,58,382,234,7,60,439,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a8caa51702d0723ff578a2a8a49be70.jpg","110.7x52.3",[],30,{"id":6695,"slug":6696,"title":6697,"dynasty":18,"author":4366,"museum":175,"description":6698,"tags":6699,"thumbUrl":6700,"material":942,"size":6701,"collection":42,"collections":6702,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":46},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,25,146,27,36,29,276,118,84,302,31,30,34,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[42],{"id":6704,"slug":6705,"title":6706,"dynasty":173,"author":1340,"museum":20,"description":6707,"tags":6708,"thumbUrl":6709,"material":6710,"size":6711,"collection":42,"collections":6712,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,146,27,36,29,30,31,7,302,33,1496,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[42,107],{"id":6714,"slug":6715,"title":6716,"dynasty":173,"author":6717,"museum":175,"description":6718,"tags":6719,"thumbUrl":6720,"material":212,"size":86,"collection":42,"collections":6721,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":46},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[24,28,29,36,146,276,664,342,118,7,101,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[42,68],{"id":6723,"slug":6724,"title":6569,"dynasty":18,"author":2665,"museum":78,"description":6725,"tags":6726,"thumbUrl":6727,"material":86,"size":86,"collection":86,"collections":6728,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},234679,"shan-shui-ce-ye-xie-shi-chen-234679","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[55,24,25,162,27,36,29,7,30,31,84,34,33,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":6730,"slug":6731,"title":6732,"dynasty":18,"author":5114,"museum":175,"description":6733,"tags":6734,"thumbUrl":6735,"material":789,"size":86,"collection":86,"collections":6736,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":46},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,27,28,29,36,38,37,488,34,33,31,30,7,63,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":6738,"slug":6739,"title":6740,"dynasty":4498,"author":6741,"museum":78,"description":6742,"tags":6743,"thumbUrl":6745,"material":317,"size":396,"collection":86,"collections":6746,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,6744,28,161,29,61,60,30,33,34,7],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":6748,"slug":6749,"title":6750,"dynasty":18,"author":1262,"museum":78,"description":6751,"tags":6752,"thumbUrl":6753,"material":86,"size":86,"collection":86,"collections":6754,"showCount":6693,"zanCount":373,"manualWeight":11,"mainColor":46},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,55,24,25,26,57,28,60,61,7,30,31,234,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":6756,"slug":6757,"title":6758,"dynasty":18,"author":4975,"museum":78,"description":6759,"tags":6760,"thumbUrl":6761,"material":86,"size":86,"collection":86,"collections":6762,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,25,28,57,29,60,7,84,34,33,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":6764,"slug":6765,"title":6766,"dynasty":173,"author":1515,"museum":78,"description":6767,"tags":6768,"thumbUrl":6769,"material":86,"size":86,"collection":86,"collections":6770,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,24,25,146,27,36,29,30,31,84,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":6772,"slug":6773,"title":6774,"dynasty":173,"author":1147,"museum":78,"description":6775,"tags":6776,"thumbUrl":6777,"material":86,"size":86,"collection":86,"collections":6778,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":46},224404,"lu-tai-nan-shan-ji-cui-chang-juan-wang-yuan-qi-224404","麓台南山积翠长卷","此作以全景铺展江南盛景，浅绛间糅青绿晕染，层峦叠嶂迤逦开合，丘壑繁密却丝毫不失章法，尽显山川龙脉走势。汀渚渔舟、山居村舍错落点缀，水烟澹澹，山林苍郁，笔墨沉厚老辣，干笔皴擦间又带秀润，层层积染出山峦的雄浑华润质感。将元人简逸笔意化为沉雄苍浑的气度，恪守文人画理法的同时，以细密繁复的构图铺陈胸中丘壑，尽数绘就江南山川的郁茂苍翠与静穆灵秀，是兼具笔墨意趣与山水神韵的佳作。",[23,55,24,25,26,29,28,36,247,33,35,32,31,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a81172077ff8b61901ecd9eb2cce38.jpg",[],{"id":6780,"slug":6781,"title":6782,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":6783,"thumbUrl":6785,"material":292,"size":3848,"collection":86,"collections":6786,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},222923,"hong-lou-meng-48-sun-wen-222923","红楼梦48",[23,24,57,28,161,61,29,33,7,196,583,6784,35,181],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":6788,"slug":6789,"title":3961,"dynasty":378,"author":3962,"museum":96,"description":6790,"tags":6791,"thumbUrl":6792,"material":103,"size":6793,"collection":42,"collections":6794,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":46},221729,"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[23,24,55,25,146,27,36,29,7,33,58,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[42,107],{"id":6796,"slug":6797,"title":6798,"dynasty":2122,"author":6799,"museum":6800,"description":6801,"tags":6802,"thumbUrl":6804,"material":86,"size":86,"collection":86,"collections":6805,"showCount":6693,"zanCount":373,"manualWeight":11,"mainColor":46},220483,"hua-yuan-li-de-nv-shi-men-lin-feng-mian-220483","花园里的女士们","林风眠","Hong Kong Museum of Art","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[24,28,83,7,118,30,6803],"花园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234c27c6f796494ae7f1dd0aa3d3eaa3.jpg",[],{"id":6807,"slug":6808,"title":6809,"dynasty":173,"author":615,"museum":20,"description":1222,"tags":6810,"thumbUrl":6811,"material":165,"size":1225,"collection":86,"collections":6812,"showCount":6693,"zanCount":373,"manualWeight":11,"mainColor":46},219852,"ba-jing-shan-shui-tu-5-gong-xian-219852","八景山水图-5",[24,27,36,29,101,33,63,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddfe1b7d43fd1d3f803160a4402416a.jpg",[],{"id":6814,"slug":6815,"title":6816,"dynasty":378,"author":474,"museum":96,"description":6817,"tags":6818,"thumbUrl":6819,"material":292,"size":6820,"collection":42,"collections":6821,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},219492,"qiu-shan-tu-zhou-yi-ming-219492","秋山图轴","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[24,25,146,27,36,29,33,302,99,7,60,34,416,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[42],{"id":6823,"slug":6824,"title":6825,"dynasty":173,"author":474,"museum":78,"description":6826,"tags":6827,"thumbUrl":6829,"material":121,"size":86,"collection":86,"collections":6830,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":71},216719,"hong-lou-meng-fu-tu-ce-6-yi-ming-216719","红楼梦赋图册-6","疏朗亭廊下，草木扶疏，远处青芜与浅水隐约相连，清旷意境漫溢画面。亭中二人相对而立：一者素衣垂首，似含温婉心事；一者衣袂沉稳，姿态间藏着关切。笔墨柔婉，设色淡雅，亭柱的质朴纹理、草木的葱郁生机，与人物的娴静气质相融相生。画面虽简，却暗合红楼深处的细腻情愫——那段园林里的无声絮语，似将旧梦的雅致与怅惘，凝于尺幅之间，引人沉入古典仕女图的娴静韵致，遐想不尽。",[23,24,57,28,162,60,7,6828,118],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab6e5f06f547d4f83b04b352a321ef.jpg",[],{"id":6832,"slug":6833,"title":6177,"dynasty":6834,"author":6835,"museum":20,"description":6836,"tags":6837,"thumbUrl":6838,"material":86,"size":86,"collection":42,"collections":6839,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":6840},202994,"shan-shui-tu-zhou-wu-qin-mu-202994","近代","吴琴木","层峦叠嶂间，墨色浓淡交织出山林幽深之趣。山石以苍劲皴笔勾勒纹理，显浑厚质感；林木错落，墨点簇叶生机盎然；山间飞瀑流泉映带左右，添动势于静谧；山麓几椽茅舍隐于松荫，似有幽人寄情林泉。整幅作品笔墨雅致，兼具传统山水古雅韵致与近代灵动气息，将自然之趣与人文情怀融于尺幅。",[29,27,36,146,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98797b625000c03669d8fda6f105311.jpg",[42],"b9afa5",{"id":6842,"slug":6843,"title":6844,"dynasty":6834,"author":6845,"museum":20,"description":6846,"tags":6847,"thumbUrl":6848,"material":86,"size":86,"collection":42,"collections":6849,"showCount":6693,"zanCount":11,"manualWeight":11,"mainColor":6850},202821,"she-se-shan-shui-tu-zhou-pu-jin-202821","设色山水图轴","溥伒","画面以淡墨设色晕染山水，皴擦结合勾勒嶙峋山石肌理，苍劲松枝斜倚崖边，添几分清逸。山间隐现亭台藏幽居之趣，山下流水潺潺，一叶孤舟泛江，舟中人物闲适尽显渔乐之境。远景云雾轻笼，山峦层叠渐淡，营造悠远空濛意境。笔墨兼具传统文人画雅致与自然生机，淡彩晕染柔和，山石厚重与流水灵动形成对比，整体格调清旷淡远，引人入胜。",[24,28,29,32,36,329,7,416,31,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e6cdc3de82c80ac891e36313045737.jpg",[42],"c1bfb3",{"id":6852,"slug":6853,"title":6854,"dynasty":378,"author":379,"museum":78,"description":6365,"tags":6855,"thumbUrl":6856,"material":317,"size":396,"collection":86,"collections":6857,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":71},290266,"xiao-shan-shu-lin-tu-ke-luo-ban-ni-zan-290266","小山疏林图（珂罗版）",[23,24,55,25,27,29,84,234,7,58,37,6367,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6068a25a99e08d7d93bc7a1734380a3c.jpg",[],29,{"id":6860,"slug":6861,"title":6862,"dynasty":173,"author":748,"museum":78,"description":1112,"tags":6863,"thumbUrl":6864,"material":317,"size":396,"collection":86,"collections":6865,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":71},288212,"gu-mu-chui-yin-shen-se-shi-tao-288212","古木垂荫（深色）",[23,55,24,25,146,27,28,29,751,34,31,7,30,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8a7850faaf974bb88b01aee62393cc.jpg",[],{"id":6867,"slug":6868,"title":6177,"dynasty":18,"author":2665,"museum":78,"description":6869,"tags":6870,"thumbUrl":6871,"material":317,"size":396,"collection":86,"collections":6872,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":46},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,55,24,25,146,27,36,29,61,30,31,7,34,33,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":6874,"slug":6875,"title":6876,"dynasty":173,"author":6877,"museum":175,"description":6878,"tags":6879,"thumbUrl":6880,"material":86,"size":86,"collection":42,"collections":6881,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":46},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[24,27,146,29,30,31,7,63,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[42],{"id":6883,"slug":6884,"title":497,"dynasty":173,"author":4255,"museum":78,"description":6885,"tags":6886,"thumbUrl":6887,"material":86,"size":86,"collection":42,"collections":6888,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":46},237466,"shan-shui-zhou-jiang-yun-237466","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[24,146,29,27,36,7,302,34,33,4639,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[42,107],{"id":6890,"slug":6891,"title":6892,"dynasty":173,"author":1505,"museum":175,"description":6893,"tags":6894,"thumbUrl":6895,"material":185,"size":6896,"collection":86,"collections":6897,"showCount":6858,"zanCount":373,"manualWeight":11,"mainColor":46},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[24,25,55,146,27,36,7,118,29,234,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":6899,"slug":6900,"title":6901,"dynasty":378,"author":474,"museum":78,"description":6902,"tags":6903,"thumbUrl":6904,"material":86,"size":86,"collection":86,"collections":6905,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":71},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[23,24,25,464,28,36,27,29,30,31,7,60,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":6907,"slug":6908,"title":6909,"dynasty":173,"author":6910,"museum":78,"description":6911,"tags":6912,"thumbUrl":6913,"material":86,"size":86,"collection":86,"collections":6914,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":46},226631,"si-shi-shan-shui-04-pu-ru-226631","四时山水04","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,27,36,29,34,263,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65e67a5159c09f40a77dc77e0824644f.jpg",[],{"id":6916,"slug":6917,"title":6918,"dynasty":18,"author":4429,"museum":96,"description":6919,"tags":6920,"thumbUrl":6921,"material":185,"size":6922,"collection":733,"collections":6923,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":46},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,25,146,28,29,30,31,32,382,34,302,63,7,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[733,68],{"id":6925,"slug":6926,"title":6927,"dynasty":94,"author":2983,"museum":175,"description":6928,"tags":6929,"thumbUrl":6930,"material":212,"size":6931,"collection":105,"collections":6932,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":71},221627,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[24,25,26,82,28,29,60,33,7,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[105,42,68],{"id":6934,"slug":6935,"title":6936,"dynasty":173,"author":1340,"museum":78,"description":6937,"tags":6938,"thumbUrl":6940,"material":40,"size":6941,"collection":86,"collections":6942,"showCount":6858,"zanCount":11,"manualWeight":11,"mainColor":46},220134,"mo-gu-shan-shui-hua-2-wang-hui-220134","摹古山水画2","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,28,6939,36,29,7,31,34,33,99],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bffb832eccf43b9b7369932d121853.jpg","30.5×21.5",[],{"id":6944,"slug":6945,"title":6946,"dynasty":173,"author":6947,"museum":96,"description":6948,"tags":6949,"thumbUrl":6951,"material":357,"size":6952,"collection":42,"collections":6953,"showCount":6858,"zanCount":373,"manualWeight":11,"mainColor":46},219448,"kan-yun-dui-pu-tu-chen-shu-219448","看云对瀑图","陈书","瀑流自崖巅飞泻而下，如素练垂空，溅起的水雾与卷舒的云气交融漫过山腰，晕染出朦胧虚灵之境。近岸松枝苍劲，竹影婆娑，几竿修竹亭亭玉立，与古松相映成趣。林间隐见小亭一角，有人凭栏静坐，似在聆听瀑声、静观云态，物我两忘。笔墨以水墨为主，线条清劲中含柔婉，山石皴擦见质感，云雾用淡墨晕染，层次分明。整幅画将山水之幽、林泉之趣凝于尺幅，尽显文人雅士寄情自然的悠然心境，静穆中藏生机，恬淡里透禅意。",[24,487,27,36,146,6950,343,302,147,439,7,29,101,100,181,5843],"传统书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99274f7e4932bc229e46873d4ab1708e.jpg","79.7x51.8",[42],{"id":6955,"slug":6956,"title":6957,"dynasty":94,"author":3537,"museum":78,"description":6958,"tags":6959,"thumbUrl":6960,"material":317,"size":396,"collection":86,"collections":6961,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":71},289726,"qun-feng-xue-ji-tu-li-cheng-289726","群峰雪霁图","表现山高雪密瀑布寒泉，冈阜一亭翼然，左方飘绫上有高士奇题诗，中有“毫端师造化，画史重营丘”句。画上钤有乾隆、嘉庆、宣统等印。李成善于通过用淡墨涂抹，所作雪景，峰峦林层，凡烟支变灭，水石幽涧，树木萧森，山川险易，莫不曲尽其妙。民载中说他的画：“扫千里于咫尺，写万趣于指下”。",[23,24,487,146,27,36,1282,1076,34,382,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9427553ec2db7f169d0eb61b687360.jpg",[],28,{"id":6964,"slug":6965,"title":6966,"dynasty":18,"author":4751,"museum":78,"description":6967,"tags":6968,"thumbUrl":6969,"material":6970,"size":86,"collection":42,"collections":6971,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":46},237893,"wen-jia-shan-shui-zhou-wen-jia-237893","文嘉山水轴","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。渴来玉砚池中饮，饱向花笺纸上行。”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（1523年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[24,25,146,27,36,29,30,31,7,382,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[42,768],{"id":6973,"slug":6974,"title":497,"dynasty":173,"author":2467,"museum":78,"description":6975,"tags":6976,"thumbUrl":6977,"material":86,"size":86,"collection":42,"collections":6978,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":71},237467,"shan-shui-zhou-hua-yan-237467","华岩（1682～1756），一写作华嵒，福建上杭白砂里人。字德嵩，更字秋岳，号新罗山人、白沙道人等，老年自喻“飘篷者”。工画人物、山水、花鸟，草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[24,28,36,29,33,34,31,7,60,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93002429d8052a89366938df98869cff.jpg",[42,107],{"id":6980,"slug":6981,"title":6982,"dynasty":18,"author":4429,"museum":78,"description":6983,"tags":6984,"thumbUrl":6985,"material":317,"size":396,"collection":86,"collections":6986,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":46},237416,"shan-shui-shan-lu-zhi-237416","山水扇","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[24,25,464,28,36,29,7,118,234,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4a20d4c676566f1a237f2ff55f49b4.jpg",[],{"id":6988,"slug":6989,"title":6569,"dynasty":173,"author":6990,"museum":78,"description":6991,"tags":6992,"thumbUrl":6993,"material":86,"size":86,"collection":86,"collections":6994,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":46},235052,"shan-shui-ce-ye-xu-mei-235052","徐玫","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[24,25,162,28,36,29,31,7,84,302,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":6996,"slug":6997,"title":6998,"dynasty":173,"author":1750,"museum":175,"description":6999,"tags":7000,"thumbUrl":7001,"material":165,"size":7002,"collection":86,"collections":7003,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":46},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,25,146,27,36,58,38,29,30,31,32,7,63,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":7005,"slug":7006,"title":7007,"dynasty":18,"author":51,"museum":78,"description":7008,"tags":7009,"thumbUrl":7010,"material":317,"size":396,"collection":86,"collections":7011,"showCount":6962,"zanCount":373,"manualWeight":11,"mainColor":71},228441,"lan-ting-tu-shan-mian-chou-ying-22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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,28,57,60,7,439,33,29,36,5917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92709672d881dd58bce216d07ed75c8f.jpg",[],{"id":7021,"slug":7022,"title":7023,"dynasty":173,"author":1515,"museum":78,"description":7024,"tags":7025,"thumbUrl":7026,"material":86,"size":86,"collection":86,"collections":7027,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":71},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,25,26,1127,28,36,38,58,29,30,31,7,84,34,33,100,247,183,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":7029,"slug":7030,"title":7031,"dynasty":173,"author":7032,"museum":78,"description":7033,"tags":7034,"thumbUrl":7035,"material":86,"size":86,"collection":86,"collections":7036,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":46},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,26,27,28,36,81,58,37,29,61,33,416,382,31,32,7,1081,163,178,1715,583,30,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":7038,"slug":7039,"title":4542,"dynasty":1354,"author":474,"museum":175,"description":7040,"tags":7041,"thumbUrl":7042,"material":249,"size":7043,"collection":86,"collections":7044,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":71},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,25,26,161,28,57,61,29,60,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":7046,"slug":7047,"title":7048,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":7049,"thumbUrl":7050,"material":292,"size":3848,"collection":86,"collections":7051,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":71},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,24,57,28,60,29,7,30,31,61,33,34,59,687,1632,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97a37c528b5f370.jpg",[],{"id":7053,"slug":7054,"title":7055,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":7056,"thumbUrl":7059,"material":292,"size":3848,"collection":86,"collections":7060,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":46},222877,"hong-lou-meng-2-sun-wen-222877","红楼梦2",[23,24,57,28,161,7,61,60,83,7057,3845,7058,687,196,33,1948],"芭蕉树","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06983d53be2cd078301c222dda3eab3b.jpg",[],{"id":7062,"slug":7063,"title":7064,"dynasty":18,"author":326,"museum":175,"description":7065,"tags":7066,"thumbUrl":7075,"material":7076,"size":7077,"collection":768,"collections":7078,"showCount":6962,"zanCount":11,"manualWeight":11,"mainColor":46},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 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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。",[7160,368,28,60,63,7,7161],"壁画","唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d45984e666c87316ebe837b78138662.jpg",[],{"id":7165,"slug":7166,"title":7167,"dynasty":173,"author":1147,"museum":78,"description":7168,"tags":7169,"thumbUrl":7170,"material":86,"size":86,"collection":86,"collections":7171,"showCount":7118,"zanCount":11,"manualWeight":11,"mainColor":46},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","辋川图卷","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,24,26,28,27,29,36,30,31,32,7,61,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":7173,"slug":7174,"title":7175,"dynasty":173,"author":474,"museum":96,"description":7176,"tags":7177,"thumbUrl":7179,"material":103,"size":7180,"collection":86,"collections":7181,"showCount":7118,"zanCount":373,"manualWeight":11,"mainColor":71},223555,"qing-qian-long-xiu-yun-shan-lou-ge-zhou-yi-ming-223555","清乾隆绣云山楼阁轴","此图由乾隆绘制，民间艺人绣于锦帛上。图绘仙境中金色云朵光芒耀眼，画面顶端楼宇飞檐翘壁，气势恢宏；从山底到达山顶的台阶数以千级，在山中蜿蜒向上；画上题：道洽三登",[23,4898,7178,146,161,28,29,61,7,416,1632,34],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ea82acf26ee7a9c9b7346c798aedd8.jpg","246.5x50.4cm",[],{"id":7183,"slug":7184,"title":7185,"dynasty":173,"author":1384,"museum":96,"description":7186,"tags":7187,"thumbUrl":7188,"material":28,"size":7189,"collection":42,"collections":7190,"showCount":7118,"zanCount":11,"manualWeight":11,"mainColor":46},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,25,146,27,36,29,276,666,343,7,33,100,37,58,4833,888,99,5556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[42,107],{"id":7192,"slug":7193,"title":2097,"dynasty":18,"author":2945,"museum":96,"description":5279,"tags":7194,"thumbUrl":7195,"material":292,"size":86,"collection":42,"collections":7196,"showCount":7118,"zanCount":11,"manualWeight":11,"mainColor":71},222592,"hua-xue-jing-zhou-lan-ying-222592",[23,24,146,28,29,36,1282,30,31,32,7,382,34,35,60,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[42,107],{"id":7198,"slug":7199,"title":7200,"dynasty":378,"author":474,"museum":20,"description":7201,"tags":7202,"thumbUrl":7203,"material":121,"size":7204,"collection":42,"collections":7205,"showCount":7118,"zanCount":11,"manualWeight":11,"mainColor":71},218216,"bi-wu-ting-xie-tu-yi-ming-218216","碧梧亭榭图","这幅画描绘的是一座美丽的亭子和榭廊，位于一片茂密的森林之中。亭子呈方形，由木构建筑搭建而成，四周环绕着一圈小山丘。亭子上方是一座榭廊，榭廊的栏杆由许多小木棍组成，看上去十分精致。\n\n在亭子的中心有一个圆形的池塘，池塘周围种满了许多花草，荷花、菊花、牡丹等各种鲜艳的花朵相互辉映，颜色鲜艳夺目。在池塘中央有一只小鸟儿正在游泳，一群小鸭子在岸边嬉戏。\n\n整幅画非常美丽，构图巧妙，色彩鲜艳，是一幅非常优秀的画作。它所描绘的这座亭子和榭廊，是人们在繁忙的城市生活中的一片净土，是人们放松身心的好去处。它也是一幅富有意境的画作，让人感受到自然的和谐与宁静。",[55,24,161,28,7,61,1044,33,58,2657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4393613c35a03edb85252ef3c1dbd1.jpg","26x22cm",[42],{"id":7207,"slug":7208,"title":7209,"dynasty":378,"author":484,"museum":96,"description":820,"tags":7210,"thumbUrl":7211,"material":317,"size":396,"collection":86,"collections":7212,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},290838,"xiu-zhu-yuan-shan-zhou-wang-meng-290838","修竹远山轴",[24,55,146,27,29,439,7,31,30,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba21185b71455e692695f9c1528909e.jpg",[],26,{"id":7215,"slug":7216,"title":7217,"dynasty":378,"author":379,"museum":78,"description":6365,"tags":7218,"thumbUrl":7219,"material":317,"size":396,"collection":86,"collections":7220,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},290833,"ping-lin-yuan-xiu-zhou-ni-zan-290833","平林远岫轴",[24,146,27,29,247,33,952,7,37,58,36,2225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04dfa51199c3ad35772c52d3f5762112.jpg",[],{"id":7222,"slug":7223,"title":7224,"dynasty":173,"author":727,"museum":78,"description":72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山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[55,24,25,146,27,36,29,61,30,416,99,34,7,31,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg",[],{"id":7244,"slug":7245,"title":7246,"dynasty":173,"author":3842,"museum":78,"description":7130,"tags":7247,"thumbUrl":7250,"material":317,"size":396,"collection":86,"collections":7251,"showCount":7213,"zanCount":373,"manualWeight":11,"mainColor":71},288397,"shi-tou-ji-da-guan-yuan-quan-jing-sun-wen-288397","石头记大观园全景",[23,24,25,28,57,161,61,7,1126,33,7248,7249],"大观园","石头记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205e83c05eb554dbccd238bc6a5449c6.jpg",[],{"id":7253,"slug":7254,"title":7255,"dynasty":18,"author":1483,"museum":175,"description":7256,"tags":7257,"thumbUrl":7258,"material":789,"size":7259,"collection":42,"collections":7260,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[24,25,146,27,28,36,29,84,32,31,234,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[42],{"id":7262,"slug":7263,"title":7264,"dynasty":173,"author":1340,"museum":273,"description":7265,"tags":7266,"thumbUrl":7268,"material":1705,"size":7269,"collection":42,"collections":7270,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,27,36,81,146,58,29,7267,34,33,30,31,32,7,99,302],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[42],{"id":7272,"slug":7273,"title":7274,"dynasty":173,"author":6117,"museum":175,"description":7275,"tags":7276,"thumbUrl":7277,"material":789,"size":7278,"collection":42,"collections":7279,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":127},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,25,146,27,28,29,416,382,7,31,34,99,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg","纵45.1厘米，横30.8厘米",[42],{"id":7281,"slug":7282,"title":7283,"dynasty":173,"author":1340,"museum":78,"description":7284,"tags":7285,"thumbUrl":7286,"material":86,"size":86,"collection":86,"collections":7287,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,25,146,27,29,36,7,439,118,30,58,290,34,100,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":7289,"slug":7290,"title":7291,"dynasty":173,"author":748,"museum":175,"description":7292,"tags":7293,"thumbUrl":7294,"material":7295,"size":7296,"collection":86,"collections":7297,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},234053,"yuan-ji-shan-shui-shan-shi-tao-234053","原济山水扇","石涛（1642年－1708年），清初画家。本姓朱，名若极，小字阿长，削发为僧后，更名元济、超济、原济，自称苦瓜和尚。游南京时，得长竿一枝，因号枝下叟，别署阿长，钝根，山乘客、济山僧、石道人、一枝阁。他的别号很多，还有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人、晚号瞎尊者、零丁老人等。与弘仁、髡残、朱耷合称“清初四僧”。\n其擅花果兰竹，兼工人物，尤善山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨恣肆，意境苍莽新奇，一反当时仿古之风。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品、折扇扇面；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。",[24,464,27,36,29,34,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2219facf2cfab380a36a40003b932061.jpg","金笺 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52.5x27.4公分、全幅 59.2x82公分",[],{"id":7335,"slug":7336,"title":7337,"dynasty":173,"author":1515,"museum":78,"description":7338,"tags":7339,"thumbUrl":7340,"material":86,"size":86,"collection":86,"collections":7341,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},224428,"shan-lou-ke-hua-tu-wang-shi-min-224428","山楼客话图","《山楼客话图》是王时敏八十岁之后作品，创作于清代，现藏于天津市艺术博物。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n山峦层叠，深壑溪流，茂林密布，水阁立于其间，名士在此高谈阔论。\n此画以赭墨为主，单纯而深厚，滋润而清脱。\n从笔墨技法来看，复古意味十分明显，皴笔细密，用多层次的皴染表现山体，墨色厚重，流露出作者“熟不甜，生不涩，淡而厚，实而清”的成熟面貌。\n王时敏 ， (1592-168)，明末清初画家。\n字逊之，号烟客、西庐老人等。\n江苏太仓人。\n王锡爵孙。\n出身明代官宦之家，崇桢初年曾任太常寺卿，所以也被称为“王奉常”。\n寄情诗文书画，家藏历代法书名画甚多，反复观摩，并曾得到董其昌等人的指点。\n擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。\n其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。\n与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n开创了山水画的“娄东派”，居清初画家“四王”之首。",[23,24,25,146,27,36,29,61,33,34,302,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2852667eb07d849f77f2b9ab7916caaf.jpg",[],{"id":7343,"slug":7344,"title":7345,"dynasty":173,"author":1384,"museum":96,"description":7346,"tags":7347,"thumbUrl":7348,"material":103,"size":7349,"collection":42,"collections":7350,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,25,146,27,36,29,247,416,302,7,35,100,101,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[42,107],{"id":7352,"slug":7353,"title":4534,"dynasty":173,"author":1384,"museum":96,"description":7186,"tags":7354,"thumbUrl":7359,"material":103,"size":7360,"collection":42,"collections":7361,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},223106,"yun-shan-tu-zhou-dong-bang-da-223106",[23,24,29,27,28,36,146,247,33,302,7,100,99,35,101,7355,7356,181,4036,178,2407,7357,918,7358],"丛林","谷地","留白","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[42,107],{"id":7363,"slug":7364,"title":7365,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":7366,"thumbUrl":7367,"material":292,"size":3848,"collection":86,"collections":7368,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":71},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,24,57,28,29,60,61,30,7,31,666,261,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":7370,"slug":7371,"title":7372,"dynasty":94,"author":4131,"museum":530,"description":7373,"tags":7374,"thumbUrl":7375,"material":292,"size":7376,"collection":105,"collections":7377,"showCount":7213,"zanCount":373,"manualWeight":11,"mainColor":46},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","秋山萧寺图","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,55,24,25,26,27,28,36,29,874,5227,33,34,99,247,210,84,181,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[105,42,107],{"id":7379,"slug":7380,"title":7381,"dynasty":378,"author":474,"museum":96,"description":7382,"tags":7383,"thumbUrl":7384,"material":121,"size":86,"collection":42,"collections":7385,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":46},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[23,24,25,162,27,28,29,118,7,31,36,84,6367,178,777,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[42],{"id":7387,"slug":7388,"title":7389,"dynasty":173,"author":7390,"museum":1396,"description":7391,"tags":7392,"thumbUrl":7394,"material":198,"size":7395,"collection":42,"collections":7396,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":71},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,487,27,36,276,7,30,31,33,35,60,34,4898,7393,146],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[42],{"id":7398,"slug":7399,"title":220,"dynasty":173,"author":1384,"museum":143,"description":7400,"tags":7401,"thumbUrl":7402,"material":357,"size":7403,"collection":42,"collections":7404,"showCount":7213,"zanCount":373,"manualWeight":11,"mainColor":46},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,24,27,36,146,29,30,31,7,63,234,33,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[42],{"id":7406,"slug":7407,"title":5488,"dynasty":173,"author":1750,"museum":20,"description":7408,"tags":7409,"thumbUrl":7410,"material":86,"size":86,"collection":42,"collections":7411,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":7412},203177,"shan-shui-tu-ce-kun-can-203177","笔墨苍劲沉郁，皴擦交织间勾勒出山峦嶙峋质感。岩崖松亭倚立，江天孤舟泛波，林麓屋舍错落，处处透着幽寂禅意。干湿浓淡的墨色层次丰富，题跋与朱印相映成趣，融自然之景与文人情致于一体，尽显清初山水的深邃韵味。",[24,29,162,27,36,147,7,32,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ef120f1567b7d89c36cd6f060d8d135.jpg",[42],"c8c2b9",{"id":7414,"slug":7415,"title":7416,"dynasty":94,"author":474,"museum":20,"description":7417,"tags":7418,"thumbUrl":7419,"material":86,"size":86,"collection":86,"collections":7420,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":7421},203027,"shan-lu-you-ting-tu-ye-deng-ce-yi-ming-203027","山麓幽亭图页等册","淡墨晕染的山峦如黛，云雾似轻纱漫过层峰，晕开悠远的空濛。近岸幽亭藏于疏林，孤舟静泊水湄，似载着未散的闲愁。笔触简淡却意韵绵长，将江南山麓的静谧与清寂凝于册页，尽显宋人山水的空灵之境。风过林梢，波泛轻纹，皆在墨色深浅间流转，引人步入那远离尘嚣的悠然天地。",[24,55,27,28,36,29,7,32,888,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73877aab2d2b61fb80cc416c3160f93c.jpg",[],"83644e",{"id":7423,"slug":7424,"title":7425,"dynasty":18,"author":7426,"museum":20,"description":7427,"tags":7428,"thumbUrl":7429,"material":86,"size":86,"collection":42,"collections":7430,"showCount":7213,"zanCount":11,"manualWeight":11,"mainColor":7431},202173,"wan-xi-diao-yin-tu-juan-chen-he-202173","宛溪钓隐图卷","陈鹤","画面以水墨皴染铺展宛溪山水之姿，峰峦起伏间林木错落，溪流蜿蜒穿绕于丘壑。孤舟泛波，渔翁垂纶，尽显钓隐之趣；山间茅舍亭台或隐于树荫、或傍水而建，偶有行人穿梭，添几分生活意韵。笔墨灵动，山石以皴法勾斫肌理，树木枝干苍劲、叶色浓淡相宜，整体意境清幽淡远，传递出文人向往的闲适山居之乐。",[24,26,29,27,36,31,32,329,7,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f63764c2f6574dd9dbd8ce1ca9f4cee.jpg",[42],"92846d",{"id":7433,"slug":7434,"title":7435,"dynasty":378,"author":484,"museum":78,"description":820,"tags":7436,"thumbUrl":7437,"material":317,"size":396,"collection":86,"collections":7438,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},290444,"lin-quan-qing-ji-tu-ke-luo-ban-wang-meng-290444","林泉清集图（珂罗版）",[23,55,24,146,27,29,36,84,34,7,37,58,1215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70217a7e0130994447fdb553a6eb776.jpg",[],25,{"id":7441,"slug":7442,"title":7443,"dynasty":378,"author":474,"museum":78,"description":7444,"tags":7445,"thumbUrl":7449,"material":317,"size":396,"collection":86,"collections":7450,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},290404,"hu-zhuang-xiao-xia-tu-yi-ming-290404","湖庄消夏图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[55,24,487,28,7,61,33,31,34,7446,60,7447,7448],"水岸","消夏","闲适","https:\u002F\u002Foss.chuangqi.store\u0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廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,25,162,28,57,161,60,61,7,2767,34,37,58,83,196,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd2236aae6940996a247db8ce2dd9c7.jpg","纵33.1厘米，横29.3厘米",[],{"id":7590,"slug":7591,"title":7592,"dynasty":378,"author":7593,"museum":175,"description":7594,"tags":7595,"thumbUrl":7596,"material":7597,"size":7598,"collection":86,"collections":7599,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},221824,"xiu-ye-xuan-tu-juan-zhu-de-run-221824","秀野轩图卷","朱德润","该图末有朱德润自识：“至正二十四年歲甲辰(1364年)四月十日，睢陽山人時年七十一歲。朱德潤並肩。”后钤私印两方。系朱氏临终前的极晚之作。是图画江南山川的平远之景，山林间有文人对坐于书斋中，笔法粗放纵逸，墨色简洁，有苍茫之意。画家大胆地将北宋李成、郭熙描绘北方山水的笔墨转化为表现江南风物的造型语言，并揉进了文人儒雅清澹的审美意趣。画中的书斋为“秀野轩”，将文人的书斋和活动绘于佳山秀水中，是这个时期新出现的山水画题材，直接影响了元末明初早期吴派山水画的审美取向。\n清《佩文斋画谱》、《江村画目》著录。",[23,24,25,26,27,36,38,37,58,29,7,33,30,31,234,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02fb9773db03d4b1979437c1858da6bd.jpg","纸本，水墨淡设色","纵28.3厘米，横210厘米",[],{"id":7601,"slug":7602,"title":7603,"dynasty":94,"author":474,"museum":450,"description":7604,"tags":7605,"thumbUrl":7607,"material":121,"size":86,"collection":42,"collections":7608,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":71},218577,"jiang-shang-guan-chao-tu-yi-ming-218577","江上观潮图","远处的山峰被画在了一起，连绵不断地蜿蜒着。在画面中间，潮水上涨，白色的波浪呈直线运行。在近景中，画了一个宫廷船的桅杆，船上有一群人。宫室半隐在蜿蜒的岩石中，周围是树木。",[23,24,464,28,29,32,33,7,178,7606,58],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7805309f6a61fe6741cdc38d4d0a8a4.jpg",[42],{"id":7610,"slug":7611,"title":7612,"dynasty":18,"author":474,"museum":143,"description":4862,"tags":7613,"thumbUrl":7614,"material":40,"size":86,"collection":86,"collections":7615,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},217947,"ming-ren-shan-shui-hua-ce-ba-yi-ming-217947","明人山水画册(八)",[23,24,27,29,36,162,276,261,118,101,30,31,7,382,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2356510e2a70855153eec32a2869937b.jpg",[],{"id":7617,"slug":7618,"title":7619,"dynasty":173,"author":1340,"museum":143,"description":7620,"tags":7621,"thumbUrl":7622,"material":40,"size":7623,"collection":86,"collections":7624,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},217216,"fang-gu-shan-shui-shi-er-kai-er-wang-hui-217216","仿古山水十二开(二)","此册王翚仿古十二开",[24,27,36,1428,7,439,118,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0ce9ae8b63ec98491ecccf10cc4ad2.jpg","25x35.4cm",[],{"id":7626,"slug":7627,"title":7628,"dynasty":173,"author":639,"museum":20,"description":897,"tags":7629,"thumbUrl":7630,"material":40,"size":900,"collection":86,"collections":7631,"showCount":7439,"zanCount":373,"manualWeight":11,"mainColor":46},216977,"fang-song-yuan-shan-shui-ce-8-wang-jian-216977","仿宋元山水册-8",[23,24,25,29,81,28,36,162,34,31,33,99,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31137973a74e5dcf920e4c89fd5788c.jpg",[],{"id":7633,"slug":7634,"title":7635,"dynasty":173,"author":474,"museum":78,"description":7636,"tags":7637,"thumbUrl":7638,"material":357,"size":86,"collection":42,"collections":7639,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},215618,"tian-xia-ming-shan-tu-ce-yi-ming-215618","天下名山图册","层峦叠嶂间，墨线勾勒出山脊嶙峋之势，皴擦点染晕开草木苍劲生机。几株古松挺立于峰巅，枝干虬曲如铁，似与流云低语。山间小径蜿蜒，行人三两成簇，或行或驻，为静谧山林添几分烟火气。右侧山谷隐现亭台楼阁，飞檐翘角藏于茂林修竹间，与山石流水相映成趣。画面布局疏密有致，留白处似有云雾流转，虚实相生尽显山川悠远意境。笔墨虽简，却将自然雄浑与人文雅致融于一纸，仿佛能闻松涛阵阵、涧水潺潺，叫人沉醉于这方清幽天地。",[24,25,162,82,27,36,29,276,33,7,61,30,31,3149,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd70bb88931916c051d525147647bc23.jpg",[42],{"id":7641,"slug":7642,"title":7643,"dynasty":18,"author":2925,"museum":4430,"description":7644,"tags":7645,"thumbUrl":7646,"material":121,"size":7647,"collection":42,"collections":7648,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":46},215035,"guan-quan-tu-qian-gu-215035","观泉图","观泉图是指观泉长卷，这是一幅长卷画，由明朝的画家钱毂所作。这幅画的主题是自然景观，特别是泉水。画中展示了许多美丽的泉水景观，包括瀑布、山谷和山峦。画中还有许多人物，这些人物正在欣赏这些壮观的景色。这幅画被认为是明朝画家中最著名的代表作之一，被许多人所珍视。",[23,24,25,464,28,36,29,118,101,60,7,3265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d465b09f21549d0433c2addbedb4f9.jpg","38x17.5cm",[42],{"id":7650,"slug":7651,"title":7652,"dynasty":173,"author":7653,"museum":20,"description":7654,"tags":7655,"thumbUrl":7656,"material":86,"size":86,"collection":42,"collections":7657,"showCount":7439,"zanCount":11,"manualWeight":11,"mainColor":7658},201839,"kong-shan-ji-xue-tu-zhou-wang-su-201839","空山积雪图轴","王素","积雪覆裹峰峦，层岩叠嶂间，淡墨晕染出雪的莹润与空濛。山石以细笔勾廓，皴法轻施，既现肌理又衬雪色皎洁。山间小径隐现，几间茅舍依偎寒林，枯枝疏朗，似含清寂之韵。近处树木枝干虬劲，干笔皴擦见苍劲；远处山影淡远，留白与墨色交织，拓延悠远意境。笔墨简练却意趣丰盈，清逸雅致中透着文人超然物外的心境，将冬日空山的静谧之美凝于尺幅，尽显自然与心性的交融之妙。",[24,29,36,28,234,84,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68aaa7a7d515d65fdfe9c3105b2b00e.jpg",[42],"bca372",{"id":7660,"slug":7661,"title":7662,"dynasty":173,"author":7663,"museum":20,"description":7664,"tags":7665,"thumbUrl":7666,"material":86,"size"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ug":7721,"title":7722,"dynasty":173,"author":7723,"museum":78,"description":7724,"tags":7725,"thumbUrl":7726,"material":317,"size":396,"collection":86,"collections":7727,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},235278,"ren-wu-gu-shi-ce-fan-xue-yi-235278","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,25,162,57,28,60,61,7,83,2743,34,1023,687,686,7058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76b242492325dde8fcec18b836c2f25.jpg",[],{"id":7729,"slug":7730,"title":7731,"dynasty":378,"author":4170,"museum":175,"description":7732,"tags":7733,"thumbUrl":7734,"material":789,"size":7735,"collection":86,"collections":7736,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[55,24,25,26,28,29,27,36,37,38,344,58,30,31,32,7,33,329,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg","纵26.5厘米，横111.6厘米",[],{"id":7738,"slug":7739,"title":7740,"dynasty":18,"author":7741,"museum":96,"description":7742,"tags":7743,"thumbUrl":7745,"material":165,"size":7746,"collection":86,"collections":7747,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},232694,"pin-cha-tu-ju-jie-232694","品茶图","居节","居节，明代吴门画家，文徵明弟子。在文门子弟、门生当中，居节的声名不若文彭、文嘉、王榖祥、周天球、陆治、钱榖等人显赫，但却能克绍恩师艺风，善画能诗，有着相当高的艺术水平。",[24,25,146,27,28,29,60,33,31,37,38,58,7,843,7744,1127],"题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":7749,"slug":7750,"title":7751,"dynasty":94,"author":474,"museum":96,"description":7752,"tags":7753,"thumbUrl":7759,"material":165,"size":7760,"collection":86,"collections":7761,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[55,24,25,29,146,27,36,7754,1081,7755,7756,7757,7758,3005,34,84,30,31,7],"山岭","茅亭","荷塘","泛舟","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":7763,"slug":7764,"title":7765,"dynasty":173,"author":1340,"museum":78,"description":7766,"tags":7767,"thumbUrl":7768,"material":86,"size":86,"collection":86,"collections":7769,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[24,25,27,36,29,2388,7,302,31,34,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":7771,"slug":7772,"title":1111,"dynasty":173,"author":4812,"museum":78,"description":7773,"tags":7774,"thumbUrl":7775,"material":86,"size":86,"collection":86,"collections":7776,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},228953,"shan-shui-li-zhou-yuan-jiang-228953","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[24,146,28,29,302,33,35,32,7,161,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":7778,"slug":7779,"title":7780,"dynasty":94,"author":1073,"museum":78,"description":7781,"tags":7782,"thumbUrl":7783,"material":86,"size":86,"collection":86,"collections":7784,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,55,25,26,27,36,29,33,30,31,32,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":7786,"slug":7787,"title":7788,"dynasty":173,"author":3694,"museum":78,"description":7789,"tags":7790,"thumbUrl":7791,"material":86,"size":86,"collection":86,"collections":7792,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,24,25,146,27,36,29,234,7,147,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":7794,"slug":7795,"title":7796,"dynasty":173,"author":3655,"museum":273,"description":7797,"tags":7798,"thumbUrl":7799,"material":165,"size":7800,"collection":42,"collections":7801,"showCount":89,"zanCount":373,"manualWeight":11,"mainColor":71},224164,"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[23,24,55,25,28,161,36,29,61,31,32,34,302,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[42],{"id":7803,"slug":7804,"title":7805,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":7806,"thumbUrl":7807,"material":292,"size":3848,"collection":86,"collections":7808,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},222962,"hong-lou-meng-87-sun-wen-222962","红楼梦87",[23,57,28,56,161,7,30,61,60,29,7068,33,34,1125,196,2767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc11a0901c1842776189869693f3bf0.jpg",[],{"id":7810,"slug":7811,"title":6177,"dynasty":18,"author":2945,"museum":78,"description":7812,"tags":7813,"thumbUrl":7814,"material":86,"size":7815,"collection":86,"collections":7816,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":71},222589,"shan-shui-tu-zhou-lan-ying-222589","蓝瑛绘画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。",[23,24,146,28,36,29,34,416,35,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3137530f69bbbbed7b90a40b906f24f9.jpg","70x38",[],{"id":7818,"slug":7819,"title":7820,"dynasty":18,"author":650,"museum":96,"description":7821,"tags":7822,"thumbUrl":7823,"material":1705,"size":7824,"collection":42,"collections":7825,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},220958,"qiu-shan-lin-ting-dong-qi-chang-220958","秋山林亭","董其昌《秋山林亭》扇面",[23,24,25,464,27,36,29,7,33,34,2264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df9fd07e012519044242350341ba5b9.jpg","35x60.4",[42,107],{"id":7827,"slug":7828,"title":7829,"dynasty":94,"author":7830,"museum":96,"description":7831,"tags":7832,"thumbUrl":7833,"material":121,"size":7834,"collection":68,"collections":7835,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":46},218874,"shui-xie-he-xiang-tu-ma-yong-zhong-218874","水榭荷香图","马永忠","这幅画描绘了一座水上宫殿，高耸入云，周围是垂柳树，岩石和宫殿的边框用青绿涂抹。",[23,24,25,28,161,162,61,685,263,33,931,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6285e4bd1b8792b86fd7d346f2b0a86c.jpg","25.3x31.1",[68],{"id":7837,"slug":7838,"title":4517,"dynasty":378,"author":4170,"museum":78,"description":4518,"tags":7839,"thumbUrl":7840,"material":317,"size":396,"collection":86,"collections":7841,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":46},290934,"lan-ting-guan-e-tu-qian-xuan-290934",[23,55,24,26,56,28,57,29,7,33,439,4173,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8744c94812f8aa13025d9c4a895ac31.jpg",[],23,{"id":7844,"slug":7845,"title":7846,"dynasty":18,"author":474,"museum":78,"description":7847,"tags":7848,"thumbUrl":7849,"material":317,"size":396,"collection":86,"collections":7850,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":71},290807,"xi-yuan-ya-ji-zhou-yi-ming-290807","西园雅集轴","此作以全景铺展雅集盛景，远景层峦用淡墨晕染，山势逶迤清旷，衬出郊野幽远底色。庭园内回廊错落，松石茂林点缀其间，芭蕉苍松分置各处，晕染出雅致的林泉氛围。\n画中人物各得其所：亭下围坐清谈，池畔展卷品赏，林间挥毫题咏，衣袂舒展，神态悠然生动，尽得文人士子从容风流。设色调和古雅，绢本沉郁底色托出工细笔致，将雅集的闲情逸致融于山水亭台之间，笔致工丽却不失灵韵，复刻出千古流传的林下雅会，尽显文心雅致与古典意趣。",[55,24,146,28,57,161,60,61,29,439,7,1126,2283,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0294fa54610df6db4182742c6ecb128a.jpg",[],{"id":7852,"slug":7853,"title":7854,"dynasty":94,"author":1766,"museum":96,"description":1767,"tags":7855,"thumbUrl":7857,"material":357,"size":7858,"collection":86,"collections":7859,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":71},290503,"chu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，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,55,7932,57,918,28,56,27,29,439,59,7933,7,687,34,33,60,7934,7935,7936,7937],"设色纸本","奇石","茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":7941,"slug":7942,"title":7943,"dynasty":94,"author":474,"museum":175,"description":7944,"tags":7945,"thumbUrl":7946,"material":165,"size":7947,"collection":42,"collections":7948,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":71},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,25,26,81,27,36,29,118,302,101,7,31,60,234,30,382,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[42,107],{"id":7950,"slug":7951,"title":1682,"dynasty":173,"author":7952,"museum":96,"description":7953,"tags":7954,"thumbUrl":7955,"material":86,"size":7956,"collection":42,"collections":7957,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":46},222850,"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,25,146,27,28,36,29,31,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[42,68],{"id":7959,"slug":7960,"title":7961,"dynasty":18,"author":19,"museum":273,"description":7962,"tags":7963,"thumbUrl":7964,"material":789,"size":7965,"collection":86,"collections":7966,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":46},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,55,24,25,26,27,28,38,37,58,36,843,7,118,30,31,60,4311,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":7968,"slug":7969,"title":2982,"dynasty":94,"author":2983,"museum":273,"description":7970,"tags":7971,"thumbUrl":7972,"material":292,"size":7973,"collection":86,"collections":7974,"showCount":7842,"zanCount":373,"manualWeight":11,"mainColor":71},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[23,24,55,26,82,27,25,58,29,60,7,33,34,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":7976,"slug":7977,"title":7978,"dynasty":18,"author":650,"museum":3168,"description":7979,"tags":7980,"thumbUrl":7981,"material":162,"size":7982,"collection":86,"collections":7983,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":86},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,25,27,36,81,29,276,118,7,101,58,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg","30.5 × 23.8厘米",[],{"id":7985,"slug":7986,"title":7987,"dynasty":18,"author":1091,"museum":2666,"description":7988,"tags":7989,"thumbUrl":7990,"material":165,"size":86,"collection":42,"collections":7991,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":46},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,24,27,146,29,34,33,416,30,7,36,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[42],{"id":7993,"slug":7994,"title":7995,"dynasty":378,"author":5363,"museum":96,"description":7996,"tags":7997,"thumbUrl":7998,"material":357,"size":7999,"collection":42,"collections":8000,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":46},218769,"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[23,24,25,27,36,29,7,439,118,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[42],{"id":8002,"slug":8003,"title":8004,"dynasty":18,"author":474,"museum":8005,"description":8006,"tags":8007,"thumbUrl":8008,"material":121,"size":86,"collection":42,"collections":8009,"showCount":7842,"zanCount":11,"manualWeight":11,"mainColor":46},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[24,27,28,29,31,7,382,234,63,36,1840,178,1608,918,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[42],{"id":8011,"slug":8012,"title":497,"dynasty":18,"author":5497,"museum":78,"description":8013,"tags":8014,"thumbUrl":8015,"material":317,"size":396,"collection":86,"collections":8016,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},290551,"shan-shui-zhou-xu-ben-290551","徐贲（1335-1380年），字幼文，南直隶毗陵（今江苏常州市）人。后迁平江（今江苏苏州）城北，自号北郭生，元末明初画家、诗人。吴中四杰之一，明初十才子之一。\n张士诚抗元，招为僚属。张士诚死后，俆贲与张羽避居吴兴（今浙江省湖州市）。洪武七年（1374），被荐入朝，洪武九年（1376）春，奉使晋、冀，授给事中。历任御史、刑部主事、广西参议，官至河南左布政使。洪武十一年（1378），大军征讨洮岷，以军队过境，犒劳失时，下狱。洪武十三年（1380），以“犒师不周”处死。",[24,27,29,146,58,36,61,30,31,32,33,34,7,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc1786958bb41a964d7d69070c1211b.jpg",[],22,{"id":8019,"slug":8020,"title":1010,"dynasty":94,"author":474,"museum":78,"description":8021,"tags":8022,"thumbUrl":8024,"material":317,"size":396,"collection":86,"collections":8025,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":71},289958,"he-ting-xiao-xia-tu-yi-ming-289958","以淡墨晕染远山，将夏意空濛铺陈开来，水汽裹挟着氤氲绿意浸满绢素。近岸古松虬劲苍郁，枝桠斜探如擎盖，为画面撑起沉稳骨架。临水亭台飞檐翘角，静立在松荫柳色间，似将溽暑隔绝在外，只留一襟荷风、满耳蝉鸣。\n\n笔墨简淡清润，山石以淡赭晕染兼短笔皴擦，写出夏山的温润松软；柳树以湿笔点叶，带着雨后的鲜灵润泽。留白处恍若十里平湖，虚渺间让观画人恍可涉水凭栏，偷取半日幽凉。整幅画未刻意描摹夏景喧嚣，只以亭台松柳、烟水云山，把夏日慵闲散淡揉进笔墨里，藏着宋人雅致从容，一帧小景盛满江南盛夏清寂诗意。",[55,24,487,161,27,28,7,61,2056,29,8023,7448,36,58],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc18535677b22b77b6786af0a3a74489.jpg",[],{"id":8027,"slug":8028,"title":8029,"dynasty":18,"author":5858,"museum":78,"description":8030,"tags":8031,"thumbUrl":8032,"material":317,"size":396,"collection":86,"collections":8033,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":71},289789,"shan-cun-tu-li-zai-289789","山村图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[55,24,29,61,35,32,63,210,84,31,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501868e78597399ce0c3278de9863e44.jpg",[],{"id":8035,"slug":8036,"title":8037,"dynasty":94,"author":529,"museum":96,"description":5453,"tags":8038,"thumbUrl":8039,"material":317,"size":396,"collection":86,"collections":8040,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":399},288271,"feng-nian-rui-xue-tu-guo-xi-288271","丰年瑞雪图",[24,146,29,27,36,1282,34,33,7,30,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed85e399afa0ec95a0db923ec9ae547.jpg",[],{"id":8042,"slug":8043,"title":8044,"dynasty":94,"author":474,"museum":78,"description":8045,"tags":8046,"thumbUrl":8048,"material":317,"size":8049,"collection":86,"collections":8050,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},287554,"qiu-shan-wen-hui-tu-yi-ming-287554","秋山文会图","此作以全景山水铺陈，高远与深远兼具，层峦叠嶂以青绿晕染，古雅苍朴。山峦以披麻皴细致勾勒，苔点攒簇，尽显秋山蓊郁厚重的质感。林麓间隐见亭台雅集，文士幽会于泉石山林间，将山居幽趣与文人情致相融。\n\n虽岁久色褪，仍可见精工雅致的风骨，以秋山沉厚底色衬出文会清逸，将林泉高致寄于层叠山岚之中，尽显天人合一的文人画意趣。",[24,55,25,146,56,28,36,29,60,61,7,33,34,1840,8047],"文会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60265df5aad0964cb0673dcbec174592.jpg","95x24.8",[],{"id":8052,"slug":8053,"title":8054,"dynasty":18,"author":650,"museum":78,"description":8055,"tags":8056,"thumbUrl":8057,"material":317,"size":396,"collection":86,"collections":8058,"showCount":8017,"zanCount":373,"manualWeight":11,"mainColor":46},283774,"lin-he-jing-shi-yi-tu-zhou-dong-qi-chang-283774","林和靖诗意图轴","此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。",[24,55,146,27,29,30,31,84,34,7,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde5cabc181c1cbd8bf88ecac7a2e3fe.jpg",[],{"id":8060,"slug":8061,"title":8062,"dynasty":18,"author":650,"museum":78,"description":7704,"tags":8063,"thumbUrl":8064,"material":317,"size":396,"collection":86,"collections":8065,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},283739,"bao-hua-shan-zhuang-tu-ce-ba-kai-dong-qi-chang-283739","宝华山庄图册（八开）",[24,162,27,36,29,1840,7,30,31,33,61,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751091c3049470a475a93a684e5e6fa8.jpg",[],{"id":8067,"slug":8068,"title":8069,"dynasty":18,"author":4032,"museum":78,"description":8070,"tags":8071,"thumbUrl":8072,"material":317,"size":396,"collection":42,"collections":8073,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},235764,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[24,25,162,27,29,32,31,7,234,84,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[42],{"id":8075,"slug":8076,"title":8077,"dynasty":18,"author":4704,"museum":78,"description":8078,"tags":8079,"thumbUrl":8080,"material":317,"size":396,"collection":86,"collections":8081,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":71},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[24,25,146,27,36,29,261,33,61,34,1162,1818,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],{"id":8083,"slug":8084,"title":7722,"dynasty":173,"author":7723,"museum":78,"description":8085,"tags":8086,"thumbUrl":8087,"material":86,"size":86,"collection":86,"collections":8088,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},235276,"ren-wu-gu-shi-ce-fan-xue-yi-235276","此作以工笔重彩绘就庭院闲景，朱红廊柱配青绿松柳，设色明丽古雅。界画工细精准，楼阁栏楯分毫毕现，衬出院邸的规整雅致。画面中凭榻而坐的主人与环侍仕女情态各别，仕女衣袂轻扬，眉目柔婉温婉，将深闺雅宴的慵闲日常铺陈开来。笔致秀润细腻，人物神态灵动传神，把世家宅邸的松弛闲逸氛围烘托恰到好处，藏着古典闺阁的雅致意趣，是工笔人物叙事中的精巧佳构。",[162,57,28,161,60,83,61,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F838d87f548eb8bee324572f09d18b51d.jpg",[],{"id":8090,"slug":8091,"title":8092,"dynasty":18,"author":4429,"museum":78,"description":8093,"tags":8094,"thumbUrl":8095,"material":86,"size":86,"collection":86,"collections":8096,"showCount":8017,"zanCount":373,"manualWeight":11,"mainColor":46},235164,"san-feng-chun-se-zhou-lu-zhi-235164","三峰春色轴","此作以淡绛浅绘铺展春日丘壑，取高远构图，层峦奇崛苍劲，勾勒皴擦尽显山石嶙峋骨相。空阔春水横陈其间，汀渚错落，寒林带浅红新芽，村居隐于林麓溪畔，淡远清寂里暗蕴初春风光。\n笔墨秀挺劲爽，设色清简克制，只以淡赭轻染峰林枝梢，衬出春寒未褪的润雅生机，将江南早春的疏朗清远晕染纸上，意境萧散淡和，尽显文人山水雅淡出尘之致。",[24,146,27,36,29,1496,33,1174,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50e2117ede6573ff78446f0cb4dcf51.jpg",[],{"id":8098,"slug":8099,"title":8100,"dynasty":173,"author":748,"museum":175,"description":8101,"tags":8102,"thumbUrl":8103,"material":7305,"size":920,"collection":86,"collections":8104,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},235000,"yuan-ji-shan-shui-tu-ce-shi-tao-235000","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,27,162,36,29,234,63,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F827300976b1c7e0d41a3cb96f2232948.jpg",[],{"id":8106,"slug":8107,"title":3902,"dynasty":18,"author":650,"museum":175,"description":8108,"tags":8109,"thumbUrl":8110,"material":5403,"size":2409,"collection":86,"collections":8111,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},234059,"shan-shui-ce-dong-qi-chang-234059","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[55,24,25,162,28,27,36,29,30,31,7,84,210,34,33],"https:\u002F\u002Foss.chuangqi.store\u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的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,25,26,29,28,27,38,762,58,36,276,263,7,118,101,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":8129,"slug":8130,"title":8131,"dynasty":378,"author":2065,"museum":78,"description":8132,"tags":8133,"thumbUrl":8134,"material":86,"size":86,"collection":86,"collections":8135,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":71},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,25,26,28,29,36,276,263,32,33,60,31,7,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":8137,"slug":8138,"title":3881,"dynasty":94,"author":353,"museum":78,"description":8139,"tags":8140,"thumbUrl":8141,"material":86,"size":86,"collection":86,"collections":8142,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":71},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,25,26,82,28,60,29,7,30,31,32,33,61,37,58,196,3415,776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":8144,"slug":8145,"title":8146,"dynasty":173,"author":3694,"museum":78,"description":8147,"tags":8148,"thumbUrl":8149,"material":86,"size":86,"collection":86,"collections":8150,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":71},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,25,29,27,36,146,1496,416,99,7,60,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":8152,"slug":8153,"title":8154,"dynasty":173,"author":8155,"museum":78,"description":8156,"tags":8157,"thumbUrl":8158,"material":317,"size":396,"collection":86,"collections":8159,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},224158,"fang-zhao-da-nian-zhou-li-224158","仿赵大年","周笠","周笠，字牧山，清嘉定人，周颢之侄。善刻竹，与周颢齐名。擅长绘画，山水师法元四家，水墨花卉生意盎然。周笠少时与周颢同学画，同刻竹，但各得其意，各不相袭。清人评其作品“生意远出，神气内涵，万点当虚，千层叠起，浑厚中自露秀色”。周笠晚年客居扬州，六十岁而病卒，今传世作品较少。",[23,24,28,29,7,60,118,81,58,37,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe513da2bebf872dfea6fb96b6d62e632.jpg",[],{"id":8161,"slug":8162,"title":8163,"dynasty":18,"author":474,"museum":4395,"description":8164,"tags":8165,"thumbUrl":8166,"material":534,"size":8167,"collection":42,"collections":8168,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":71},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,26,24,55,25,29,3934,36,28,61,30,31,7,777,3438,247,33,1428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[42,107],{"id":8170,"slug":8171,"title":8172,"dynasty":173,"author":1384,"museum":96,"description":7186,"tags":8173,"thumbUrl":8175,"material":165,"size":8176,"collection":42,"collections":8177,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[23,24,25,146,27,36,58,29,182,8174,30,31,32,7,60,34,33],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[42,107],{"id":8179,"slug":8180,"title":8181,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8182,"thumbUrl":8183,"material":292,"size":3848,"collection":86,"collections":8184,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[23,24,57,28,56,29,61,30,31,60,7,33,34,196,290,687,2770,178,1715,489,1126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4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被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[23,24,25,162,27,36,29,118,276,60,7,178,582,983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ae8e14ea491b022cb2182598655da5.jpg","30.6x20.7cm",[42],{"id":8263,"slug":8264,"title":8265,"dynasty":173,"author":748,"museum":450,"description":8266,"tags":8267,"thumbUrl":8268,"material":40,"size":8269,"collection":733,"collections":8270,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":46},214562,"mo-zui-za-hua-tu-ce-5-shi-tao-214562","墨醉杂画图册-5","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,27,162,29,30,31,7,118,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03764d89703a85a5c1c4ed5cbf14bef2.jpg","纵51.4厘米，横35.4厘米",[733],{"id":8272,"slug":8273,"title":8274,"dynasty":173,"author":8275,"museum":20,"description":8276,"tags":8277,"thumbUrl":8279,"material":86,"size":86,"collection":42,"collections":8280,"showCount":8017,"zanCount":11,"manualWeight":11,"mainColor":8281},202136,"xi-shan-yu-zhou-tu-zhou-zhou-chang-yan-202136","溪山渔舟图轴","周昌言","此图绘溪山胜景，层岩叠嶂间皴法细腻，山石纹理毕现，尽显嶙峋之态。古木扶疏，亭台错落于林泉旁，雅致清幽。溪流曲绕，渔舟轻泛，桨动波生，漾出一派渔乐闲情。远景云雾氤氲，峰峦隐现，虚实相映间拓延了悠远意境。笔墨娴静，设色淡雅，整体气韵清和，将山水之秀与渔隐之趣融于一纸，尽显传统山水画的韵致与情味。",[29,8278,7,36,28,329,27,23],"渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6bbf2c7143ec52b2aa0ba432fd1a8b.jpg",[42],"916736",{"id":8283,"slug":8284,"title":8285,"dynasty":94,"author":8286,"museum":78,"description":8287,"tags":8288,"thumbUrl":8289,"material":317,"size":396,"collection":86,"collections":8290,"showCount":8291,"zanCount":373,"manualWeight":11,"mainColor":46},291003,"tang-song-yuan-hua-ji-jin-ce-mai-chun-mei-yuan-lu-zong-gui-291003","唐宋元画集锦册 买春梅苑","鲁宗贵","鲁宗贵，钱塘（今浙江省杭州）人，南宋画家。工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙，尤长于写生，鸡雏乳鸭，颇有生意。传世作品有《春韵鸣喜图》。",[24,25,162,28,38,58,29,60,2388,7,30,31,7448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad15f308e18ebb9211341caaa5a1ba7.jpg",[],21,{"id":8293,"slug":8294,"title":8295,"dynasty":18,"author":51,"museum":96,"description":6216,"tags":8296,"thumbUrl":8298,"material":317,"size":396,"collection":86,"collections":8299,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},290869,"tong-yin-zhou-jing-tu-zhou-chou-ying-290869","桐阴昼静图轴",[55,24,146,56,28,57,29,8297,31,302,7,247,37,58,2657],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8163886d5a7378a788f41f5a260d606.jpg",[],{"id":8301,"slug":8302,"title":8303,"dynasty":18,"author":8304,"museum":96,"description":8305,"tags":8306,"thumbUrl":8307,"material":40,"size":8308,"collection":86,"collections":8309,"showCount":8291,"zanCount":373,"manualWeight":11,"mainColor":46},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","岁朝图轴","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[24,146,55,27,36,29,61,30,31,34,84,416,196,60,7,58,37,38,2821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":8311,"slug":8312,"title":8313,"dynasty":173,"author":1158,"museum":78,"description":8314,"tags":8315,"thumbUrl":8316,"material":317,"size":396,"collection":86,"collections":8317,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},290213,"xing-le-tu-jing-xin-ding-guan-peng-290213","行乐图镜心","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》。",[23,464,24,55,25,28,57,60,61,7,3913,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ce0b24dce09204b5c80da6d033aaa.jpg",[],{"id":8319,"slug":8320,"title":8321,"dynasty":391,"author":8322,"museum":96,"description":8323,"tags":8324,"thumbUrl":8325,"material":317,"size":396,"collection":86,"collections":8326,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},289773,"kan-shu-tu-huang-quan-289773","勘书图","黄筌","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面。\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[23,55,24,25,146,28,60,61,29,7,58,37,161,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35154778504952e4d2bcf608d1e747fc.jpg",[],{"id":8328,"slug":8329,"title":220,"dynasty":94,"author":8330,"museum":96,"description":8331,"tags":8332,"thumbUrl":8333,"material":198,"size":8334,"collection":86,"collections":8335,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},289107,"shan-shui-tu-gou-long-shuang-289107","勾龙爽","勾龙爽，又名句龙爽，四川人，生卒年月不详。\n宋代宫廷画家，擅长人物画。神宗时官翰林待诏。时称他画的人物“其状质野，有返朴之意。” 作品有《西成民乐图卷》《岁丰图卷》等。",[24,55,487,27,36,32,7,30,247,1174,33,37,58,7448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":8337,"slug":8338,"title":8339,"dynasty":94,"author":95,"museum":78,"description":8340,"tags":8341,"thumbUrl":8342,"material":317,"size":396,"collection":86,"collections":8343,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},287718,"xi-hu-liu-ting-tu-xia-gui-287718","西湖柳艇图","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[55,24,487,27,28,36,303,30,31,32,7,61,7856,329,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":8345,"slug":8346,"title":8347,"dynasty":18,"author":2945,"museum":78,"description":8348,"tags":8349,"thumbUrl":8351,"material":317,"size":396,"collection":86,"collections":8352,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":399},287606,"yun-he-gao-yi-tu-li-zhou-yuan-tu-lan-ying-287606","云壑高逸图立轴(原图)","高山之麓，丘岗片片，山泉淙淙；溪流清鸣，绕贯其中；丛花簇草，竞相吐艳；桃李明艳，繁枝雍雍，像是在奏响的晚春妙曲。林深之处，溪水岸旁，一白衫红裤的老者，在茅亭内候客。亭外木桥上，有一红衣老者，向茅亭走来。",[23,55,24,146,27,487,7,30,31,2056,34,60,99,36,8350],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cd84ca765b062920e0b7469166d281.jpg",[],{"id":8354,"slug":8355,"title":8356,"dynasty":173,"author":3069,"museum":78,"description":8357,"tags":8358,"thumbUrl":8359,"material":86,"size":86,"collection":86,"collections":8360,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},239056,"shan-shui-hua-niao-ce-yang-jin-239056","山水花鸟册","此帧以淡墨晕染烟霭远山，浅皴轻点绘就嶙峋危崖。崖顶古松盘曲若游龙，半遮山亭，似有幽人凭槛远眺江帆。山径逶迤接引视线，山下村居田亩隐于墨色浅深间，野趣自生。\n\n全幅笔致松秀简淡，将江南山水的温润清和融于尺幅之中。浅淡烟岚晕化开天地边界，远江帆影轻似闲云，悠悠漾开山水纵深感。左侧题字清雅，笔墨与画意相映成趣，以极简笔墨勾勒出林泉高致，尽显文人寄情丘壑的闲淡意趣。",[24,27,162,36,29,7,32,118,34,35,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfc4436b9b6be9d016480c45a840438.jpg",[],{"id":8362,"slug":8363,"title":8364,"dynasty":18,"author":7741,"museum":78,"description":8365,"tags":8366,"thumbUrl":8367,"material":86,"size":86,"collection":42,"collections":8368,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,25,146,27,36,37,58,29,7,33,34,60,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[42,107,768],{"id":8370,"slug":8371,"title":8372,"dynasty":173,"author":8373,"museum":78,"description":8374,"tags":8375,"thumbUrl":8376,"material":86,"size":86,"collection":42,"collections":8377,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},238980,"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[24,25,162,27,28,29,36,30,31,118,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[42,123,68],{"id":8379,"slug":8380,"title":8100,"dynasty":173,"author":748,"museum":78,"description":1112,"tags":8381,"thumbUrl":8382,"material":86,"size":86,"collection":86,"collections":8383,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},237770,"yuan-ji-shan-shui-tu-ce-shi-tao-237770",[24,25,162,27,36,29,382,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0569d30c8c1e7e5d53b701ff531c8ac.jpg",[],{"id":8385,"slug":8386,"title":5488,"dynasty":173,"author":8387,"museum":78,"description":8388,"tags":8389,"thumbUrl":8390,"material":317,"size":396,"collection":42,"collections":8391,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},237479,"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,162,27,29,36,38,58,276,263,118,30,35,7,1948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[42],{"id":8393,"slug":8394,"title":8395,"dynasty":18,"author":8396,"museum":78,"description":8397,"tags":8398,"thumbUrl":8399,"material":317,"size":396,"collection":86,"collections":8400,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},237404,"shan-shui-shan-mian-xie-dao-ling-237404","山水扇面","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[464,24,29,27,36,61,30,31,32,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":8402,"slug":8403,"title":3902,"dynasty":173,"author":1878,"museum":78,"description":8404,"tags":8405,"thumbUrl":8406,"material":86,"size":86,"collection":42,"collections":8407,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},237099,"shan-shui-ce-cha-shi-biao-237099","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,162,27,36,29,276,263,118,7,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[42],{"id":8409,"slug":8410,"title":497,"dynasty":18,"author":8411,"museum":78,"description":8412,"tags":8413,"thumbUrl":8414,"material":86,"size":86,"collection":42,"collections":8415,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},237095,"shan-shui-zhou-xu-hong-ze-237095","徐弘泽","徐弘泽，字润卿，号春门，自号所浪老人，浙江嘉兴人，明嘉靖间书画名家，书法从赴孟俯取途，晚爱张伯雨，遂与姚绶颉颃，画出入元，明诸大家，与李晔，陈继儒相埒。",[24,146,28,29,84,1948,7,60,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88b84f122c9d61a2d5bc9fc317e6025.jpg",[42],{"id":8417,"slug":8418,"title":8364,"dynasty":18,"author":7741,"museum":78,"description":8365,"tags":8419,"thumbUrl":8420,"material":86,"size":86,"collection":42,"collections":8421,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},236923,"ju-jie-shan-shui-zhou-ju-jie-236923",[24,25,146,27,36,29,118,302,34,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[42,107],{"id":8423,"slug":8424,"title":8425,"dynasty":18,"author":4429,"museum":78,"description":6983,"tags":8426,"thumbUrl":8427,"material":317,"size":396,"collection":86,"collections":8428,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},235532,"shan-shui-shan-ye-lu-zhi-235532","山水扇页",[464,24,25,27,28,29,33,7,31,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe1ef5fbf574dd1807ab602c8ebf44d.jpg",[],{"id":8430,"slug":8431,"title":3902,"dynasty":18,"author":3942,"museum":78,"description":8432,"tags":8433,"thumbUrl":8434,"material":86,"size":86,"collection":42,"collections":8435,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},234664,"shan-shui-ce-shao-mi-234664","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[24,27,36,162,29,7,234,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4269d646d2ab43af2063d5c5f19277c0.jpg",[42],{"id":8437,"slug":8438,"title":8439,"dynasty":173,"author":474,"museum":175,"description":8440,"tags":8441,"thumbUrl":8443,"material":212,"size":8444,"collection":86,"collections":8445,"showCount":8291,"zanCount":373,"manualWeight":11,"mainColor":46},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,28,57,161,60,61,30,31,7,544,33,2766,3026,8442,931,29],"街道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":8447,"slug":8448,"title":8449,"dynasty":18,"author":1262,"museum":175,"description":8450,"tags":8451,"thumbUrl":8452,"material":942,"size":8453,"collection":86,"collections":8454,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},233820,"wen-zheng-ming-xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-233820","文徵明溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[24,25,146,27,29,36,60,30,31,84,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552fc7d9d84394f4ffb4d99f2e9e7dd7.jpg","纵95.8厘米，横48.7厘米",[],{"id":8456,"slug":8457,"title":8458,"dynasty":1354,"author":4543,"museum":175,"description":8459,"tags":8460,"thumbUrl":8461,"material":165,"size":8462,"collection":86,"collections":8463,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},232987,"jiu-cheng-bi-shu-tu-ye-li-si-xun-232987","九成避暑图页","此幅为清宫旧藏，是故宫博物院庋藏的几幅时代较早、传为唐人的绘画作品之一。乾隆题诗中有“九成琼殿叠，百道玉泉翻”句，认为此图写九成宫。事实上，画面描绘的是贵族出行和游乐的场面，繁密富丽，充满亭台殿阁，其间人物、鞍马、舟车往来。画法虽具大小李将军“金碧山水”传派的特点，实为南宋画家所作。",[56,28,161,29,61,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febf97e3a54593299e198f3eff15e7d0e.jpg","纵28.5cm，横31.6cm",[],{"id":8465,"slug":8466,"title":8467,"dynasty":94,"author":392,"museum":3882,"description":8468,"tags":8469,"thumbUrl":8470,"material":165,"size":86,"collection":86,"collections":8471,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,487,27,28,36,57,37,38,58,60,29,34,33,209,7,94,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":8473,"slug":8474,"title":8475,"dynasty":18,"author":8476,"museum":96,"description":8477,"tags":8478,"thumbUrl":8479,"material":165,"size":8480,"collection":86,"collections":8481,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,25,146,28,36,81,58,29,60,61,30,31,544,416,302,863,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":8483,"slug":8484,"title":5372,"dynasty":18,"author":474,"museum":78,"description":8485,"tags":8486,"thumbUrl":8487,"material":86,"size":86,"collection":86,"collections":8488,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,55,24,25,26,28,56,57,36,58,37,29,61,30,31,7,33,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":8490,"slug":8491,"title":1749,"dynasty":18,"author":4751,"museum":78,"description":8492,"tags":8493,"thumbUrl":8494,"material":86,"size":86,"collection":86,"collections":8495,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":127},228755,"shan-shui-tu-juan-wen-jia-228755","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,25,26,27,36,29,33,34,99,7,31,665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":8497,"slug":8498,"title":8499,"dynasty":173,"author":639,"museum":78,"description":8500,"tags":8501,"thumbUrl":8502,"material":317,"size":396,"collection":86,"collections":8503,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},224482,"shan-shui-tu-shan-mian-wang-jian-224482","山水图扇面","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,24,25,464,29,28,36,34,33,178,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":8505,"slug":8506,"title":8507,"dynasty":173,"author":1340,"museum":78,"description":8508,"tags":8509,"thumbUrl":8510,"material":86,"size":86,"collection":86,"collections":8511,"showCount":8291,"zanCount":524,"manualWeight":11,"mainColor":46},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,24,25,146,27,36,29,276,302,31,30,84,7,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":8513,"slug":8514,"title":8515,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8516,"thumbUrl":8519,"material":292,"size":3848,"collection":86,"collections":8520,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},223036,"hong-lou-meng-161-sun-wen-223036","红楼梦161",[23,24,57,28,25,60,83,5463,8517,7,34,31,1023,1126,8518,196],"楼台亭阁","红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcab8469eabf055dc70312e1a4e6fabb3.jpg",[],{"id":8522,"slug":8523,"title":8524,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8525,"thumbUrl":8526,"material":292,"size":3848,"collection":86,"collections":8527,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},223018,"hong-lou-meng-143-sun-wen-223018","红楼梦143",[23,24,57,28,60,7,30,31,33,61,29,687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a19995a4847d6851179196e17d3fca.jpg",[],{"id":8529,"slug":8530,"title":8531,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8532,"thumbUrl":8533,"material":292,"size":3848,"collection":86,"collections":8534,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},222912,"hong-lou-meng-37-sun-wen-222912","红楼梦37",[23,57,28,161,60,83,196,439,29,583,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44dc558540f4d6b844829f7415cf33b0.jpg",[],{"id":8536,"slug":8537,"title":8538,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8539,"thumbUrl":8540,"material":292,"size":3848,"collection":86,"collections":8541,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},222882,"hong-lou-meng-7-sun-wen-222882","红楼梦7",[23,24,55,57,28,60,61,30,31,7,7563,33,687,29,1869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c7e9c57c5191efaad6178b445f8396.jpg",[],{"id":8543,"slug":8544,"title":8545,"dynasty":173,"author":2144,"museum":175,"description":7584,"tags":8546,"thumbUrl":8547,"material":212,"size":7587,"collection":86,"collections":8548,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},222870,"shi-gong-ci-tu-ce-09-leng-mei-222870","十宫词图册09",[23,24,25,162,37,38,28,57,60,61,7,196,545,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0cfacbb125c73cfee62496604deddc.jpg",[],{"id":8550,"slug":8551,"title":8552,"dynasty":18,"author":474,"museum":1593,"description":8553,"tags":8554,"thumbUrl":8555,"material":198,"size":86,"collection":42,"collections":8556,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},219897,"jun-ling-tu-yi-ming-219897","峻岭图","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[24,25,146,27,29,416,34,33,583,60,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[42],{"id":8558,"slug":8559,"title":8560,"dynasty":173,"author":8561,"museum":96,"description":8562,"tags":8563,"thumbUrl":8564,"material":40,"size":8565,"collection":42,"collections":8566,"showCount":8291,"zanCount":373,"manualWeight":11,"mainColor":71},219431,"fan-cheng-da-mai-chi-dai-ci-tu-cao-kui-yin-219431","范成大卖痴呆词图","曹夔音","这幅画是范成达农历十二月村田乐府诗中关于卖痴呆症的诗。 苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 于是跨年夜过后，孩子们在街上游行，大喊大叫卖痴呆症。",[24,25,146,28,29,60,61,382,35,34,7,58,57,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe24ffa84bd65559c421b643f58bad25.jpg","纵113横28.7厘米",[42,123],{"id":8568,"slug":8569,"title":8570,"dynasty":18,"author":221,"museum":96,"description":8571,"tags":8572,"thumbUrl":8573,"material":121,"size":86,"collection":123,"collections":8574,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},219364,"mo-li-gong-lin-lian-she-tu-wen-zheng-ming-219364","摹李公麟莲社图","本幅画莲社十八贤士图，按晋时慧远高僧，于庐山建立白莲社，聚众百二十三人，修念佛学，时陶潜辞官居栗里，慧远致书陶潜，邀请参加，陶潜答曰：“许我酒就来。”慧远答应。陶潜每来社中，或时才至，不久即攒眉而去。幅中乘篮舆者即是陶潜。幅中设色，用笔均去文仇水准颇远，为后世托名。",[24,25,81,28,60,29,33,544,37,58,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e13b06d2397288d1823e0ca8f2b717b.jpg",[123],{"id":8576,"slug":8577,"title":8578,"dynasty":18,"author":51,"museum":78,"description":8579,"tags":8580,"thumbUrl":8581,"material":121,"size":86,"collection":86,"collections":8582,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":71},216281,"er-shi-si-xiao-tu-10-chou-ying-216281","二十四孝图-10","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,57,28,161,60,7,118,687,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecd8ded062398fdd76d11bcd1fba569.jpg",[],{"id":8584,"slug":8585,"title":8586,"dynasty":378,"author":474,"museum":115,"description":8587,"tags":8588,"thumbUrl":8589,"material":198,"size":86,"collection":86,"collections":8590,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":46},214606,"shan-ge-liang-ting-tu-yi-ming-214606","山阁凉亭图","元代是中国历史上的一个时期，时间大约在公元1271年至公元1368年。\n\n佚名是一个术语，用于描述一些文献或艺术品的作者未知或不详的情况。因此，如果一幅画的作者是佚名，则我们并不知道创作这幅画的人是谁。\n\n山阁凉亭图是一幅中国画，其中展现了一个山阁凉亭的景色。凉亭是一种设计精美的户外建筑，通常设在花园、公园或池塘边，供人休息或观赏风景。山阁凉亭图可能描绘了一个美丽的山阁凉亭，周围环绕着美丽的山景。",[23,24,25,161,27,29,7,61,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe27321a916c6a22e06cd6aa95e65ac.jpg",[],{"id":8592,"slug":8593,"title":497,"dynasty":6834,"author":2123,"museum":20,"description":8594,"tags":8595,"thumbUrl":8597,"material":86,"size":86,"collection":42,"collections":8598,"showCount":8291,"zanCount":11,"manualWeight":11,"mainColor":8599},202825,"shan-shui-zhou-huang-bin-hong-202825","这幅山水轴笔墨苍劲浑厚，意境幽远深沉。上部山峦层叠，以浓淡干湿的墨色皴擦点染，山体纹理交错，尽显雄奇厚重之态；山脚下溪流蜿蜒，屋舍隐于苍松翠柏间，岸边亭台小巧，林木错落有致，一派静谧的山居气象。画家运用积墨与破墨技法，墨色层次丰富，线条刚柔相济，既承传统山水的笔墨精髓，又融入个人对自然的深刻体悟，画面气韵生动，于苍莽中见清幽，引人步入林泉之境，心生向往。",[24,29,36,27,7,777,33,247,100,3873,8596,23],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4686603adc4b2ff54977912a749d19c.jpg",[42],"c2beb2",{"id":8601,"slug":8602,"title":8603,"dynasty":18,"author":4751,"museum":78,"description":8604,"tags":8605,"thumbUrl":8606,"material":317,"size":396,"collection":86,"collections":8607,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},290890,"fang-lu-shan-shi-hua-zhou-wen-jia-290890","仿庐山诗画轴","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[55,24,146,27,28,29,60,30,31,7,34,302,416,1080,37,58,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899bf88344a7d97e4c15d38f0af5a263.jpg",[],20,{"id":8610,"slug":8611,"title":8612,"dynasty":94,"author":8613,"museum":78,"description":8614,"tags":8615,"thumbUrl":8616,"material":317,"size":396,"collection":86,"collections":8617,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":71},289656,"jiang-ting-wan-tiao-tu-zhu-guang-pu-289656","江亭晚眺图","朱光普","[宋]字东美，汴（今河南开封）人。南渡（一一二七）补入画院。",[464,24,487,7,32,33,183,1077,30,27,28,3339],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bc08ea9cd11e3633b5ffd65194ddc0.jpg",[],{"id":8619,"slug":8620,"title":8621,"dynasty":173,"author":474,"museum":78,"description":8622,"tags":8623,"thumbUrl":8624,"material":317,"size":396,"collection":86,"collections":8625,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":71},288296,"fang-xia-gui-jiang-shan-qing-yuan-tu-juan-yi-ming-288296","仿夏圭江山清远图卷","此作用夏圭一角半边取景意趣，长卷铺展江天胜景。崖岸之上虬松古拙苍劲，盘根错节间尽显老辣笔力，斧劈皴利落勾出山岩棱线，墨色干湿层叠，晕染出山石的厚重质感。江上古桥连亭，汀洲幽寂，远山澹濛隐现，天际江帆点点，将江南水岸的寥廓清寂徐徐铺陈。\n\n全画简淡空灵，复刻出南宋院体山水的清远意韵。卷后题跋笔墨苍秀，字画合璧，摹古之中自有沉静雅致，把江天浩渺、林泉幽寂的诗意缓缓晕开，尽显水墨山水的简远之美。",[23,24,26,27,487,36,416,34,30,7,32,178,31,37,38,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e74ac76f0fa05870332bd8feadb13.jpg",[],{"id":8627,"slug":8628,"title":8629,"dynasty":173,"author":8630,"museum":175,"description":8631,"tags":8632,"thumbUrl":8635,"material":7076,"size":8636,"collection":768,"collections":8637,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},240043,"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[146,38,37,7,5777,439,570,8633,343,8634,2208,3668],"山光","波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[768],{"id":8639,"slug":8640,"title":3902,"dynasty":173,"author":8641,"museum":78,"description":8642,"tags":8643,"thumbUrl":8644,"material":86,"size":86,"collection":42,"collections":8645,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},236076,"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[24,27,162,36,29,34,416,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[42],{"id":8647,"slug":8648,"title":8649,"dynasty":18,"author":474,"museum":78,"description":8650,"tags":8651,"thumbUrl":8652,"material":86,"size":86,"collection":86,"collections":8653,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[24,25,162,28,29,276,666,33,31,7,37,38,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":8655,"slug":8656,"title":8657,"dynasty":18,"author":474,"museum":175,"description":8658,"tags":8659,"thumbUrl":8661,"material":942,"size":8662,"collection":86,"collections":8663,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":71},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,146,28,29,60,261,2388,34,382,32,36,7,290,33,583,8660,918],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg","纵83.5厘米，横47.2厘米",[],{"id":8665,"slug":8666,"title":8667,"dynasty":18,"author":8668,"museum":78,"description":8669,"tags":8670,"thumbUrl":8671,"material":317,"size":396,"collection":86,"collections":8672,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},234826,"jiang-nan-chun-se-tu-shan-wen-cong-jian-234826","江南春色图扇","文从简","文从简（1574年—1648年）字彦可，号枕烟老人，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明曾孙，明末清初画家。\n崇祯十三年（1640年）拔贡，入清后退居林下，以书画自娱。",[464,24,25,29,28,31,32,303,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9775cd52498585ad3bd8ab52b20e0ceb.jpg",[],{"id":8674,"slug":8675,"title":8676,"dynasty":173,"author":8677,"museum":175,"description":8678,"tags":8679,"thumbUrl":8680,"material":789,"size":8681,"collection":42,"collections":8682,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},233918,"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,27,36,162,29,7,33,101,60,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[42,733],{"id":8684,"slug":8685,"title":915,"dynasty":173,"author":748,"museum":175,"description":916,"tags":8686,"thumbUrl":8687,"material":165,"size":920,"collection":86,"collections":8688,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},233124,"yuan-ji-shan-shui-ce-shi-tao-233124",[24,27,28,36,162,29,61,30,31,32,7,33,35,178,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg",[],{"id":8690,"slug":8691,"title":8692,"dynasty":173,"author":474,"museum":78,"description":8693,"tags":8694,"thumbUrl":8696,"material":317,"size":396,"collection":86,"collections":8697,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,28,57,36,26,29,61,30,31,209,7,33,35,1345,8695,173],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":8699,"slug":8700,"title":8701,"dynasty":173,"author":8702,"museum":78,"description":8703,"tags":8704,"thumbUrl":8705,"material":86,"size":86,"collection":86,"collections":8706,"showCount":8608,"zanCount":373,"manu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(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,25,26,27,36,29,60,61,30,31,32,7,63,210,84,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":8716,"slug":8717,"title":8718,"dynasty":173,"author":1878,"museum":78,"description":8719,"tags":8720,"thumbUrl":8721,"material":86,"size":86,"collection":86,"collections":8722,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[23,24,146,27,36,82,29,7,382,630,34,31,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":8724,"slug":8725,"title":8726,"dynasty":173,"author":474,"museum":78,"description":8727,"tags":8728,"thumbUrl":8730,"material":86,"size":86,"collection":86,"collections":8731,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":71},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,55,24,25,26,57,28,161,29,61,60,3438,59,7,8729,35,196,2769,687,34,952,3026,33],"桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":8733,"slug":8734,"title":8735,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8736,"thumbUrl":8739,"material":292,"size":3848,"collection":86,"collections":8740,"showCount":8608,"zanCount":373,"manualWeight":11,"mainColor":46},223052,"hong-lou-meng-177-sun-wen-223052","红楼梦177",[23,24,25,57,28,26,60,7,61,34,1023,196,687,8737,8738],"床榻","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71049a41291c5a33dc9344bead0b1215.jpg",[],{"id":8742,"slug":8743,"title":8744,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8745,"thumbUrl":8746,"material":292,"size":3848,"collection":86,"collections":8747,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":71},223042,"hong-lou-meng-167-sun-wen-223042","红楼梦167",[23,24,57,28,60,61,30,7,29,33,196,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aabc155038cf6916dca7447d819276.jpg",[],{"id":8749,"slug":8750,"title":8751,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8752,"thumbUrl":8753,"material":292,"size":3848,"collection":86,"collections":8754,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},223000,"hong-lou-meng-125-sun-wen-223000","红楼梦125",[23,24,57,28,26,60,5463,61,30,31,7,59,1126,29,2767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac58242e2054c8fba0b1a1f2c176f5e.jpg",[],{"id":8756,"slug":8757,"title":8758,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8759,"thumbUrl":8760,"material":292,"size":3848,"collection":86,"collections":8761,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},222958,"hong-lou-meng-83-sun-wen-222958","红楼梦83",[23,24,25,57,28,60,61,30,31,7,29,303,687,196,2179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7403ace2ce41dd5ba217ead338cf78bf.jpg",[],{"id":8763,"slug":8764,"title":8765,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":8766,"thumbUrl":8768,"material":292,"size":3848,"collection":86,"collections":8769,"showCount":8608,"zanCount":373,"manualWeight":11,"mainColor":46},222920,"hong-lou-meng-45-sun-wen-222920","红楼梦45",[23,55,24,57,28,26,60,5463,61,7,29,2767,8518,7248,161,8767],"形神兼备","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd58349a79fa56d0b22fd85a66dbad93.jpg",[],{"id":8771,"slug":8772,"title":8773,"dynasty":18,"author":326,"museum":8774,"description":8775,"tags":8776,"thumbUrl":8777,"material":789,"size":8778,"collection":86,"collections":8779,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},222360,"ye-ting-ai-rui-tu-juan-tang-yin-222360","野亭霭瑞图卷","美国基怀尔","画卷中古木阴郁，霭云布岫，溪流潺潺，山径曲折，一童子负草药归来。右边一茅庐，一老者坐于其间，前方置有笔、砚、纸，略作沉思状。画面发展到左面三分之二处 ，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,26,27,38,37,29,36,7,416,34,63,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":8781,"slug":8782,"title":220,"dynasty":18,"author":5114,"museum":3168,"description":8783,"tags":8784,"thumbUrl":8785,"material":8786,"size":8787,"collection":86,"collections":8788,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":86},220662,"shan-shui-tu-li-liu-fang-220662","李流芳，初字茂宰，后字长蘅，号檀园、香海、六浮道人、慎娱居士，祖籍安徽歙县丰南，侨居上海嘉定。万历三十四年（1606）举乡试，后五次会试皆不第。至天启二年（1622）第六次北上应试，闻金兵攻陷广宁，又感时局昏暗，遂绝意仕途南归，以书画自娱。诗文方面，与唐时升、程嘉璲（1565-1643）、娄坚（1567-1631）合称「嘉定四先生」。绘画上又与董其昌（1555-1636）、王时敏（1592-1680）同誉「画中九友」。\n\n此卷山水绘于绢上，画坡石虚亭高树，河水远山，一片宁寂。虽是草草而就，却显现元代大师黄公望（1269-1354）、倪瓒（1301-1374）笔意，且墨色苍润、笔法峻爽简洁，当是晚年之作。画上作者自识：「欲晴不晴山翠浓，欲雨不雨林霏重，幽人不来谁领此，溪潮急处晚来风。」更见寄情山川之意。此卷曾为晚明大收藏家朱之赤（17世纪）收藏，后面有清初著名鉴藏家高士奇（1645-1703）跋，至近代为广州小画舫斋收藏，终于1999年入藏文物馆。",[23,55,24,25,26,27,36,29,7,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5a525f194403dc4909e63b6409e00.jpg","水墨,绢本,手卷","画心：32×205.2厘米 徒步：32×31厘米 含装裱：32.7×819.5厘米",[],{"id":8790,"slug":8791,"title":8792,"dynasty":378,"author":474,"museum":8793,"description":8794,"tags":8795,"thumbUrl":8796,"material":121,"size":86,"collection":42,"collections":8797,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":71},219938,"sheng-you-tu-yi-ming-219938","胜游图","辛辛那提艺术博物馆","此作用高远构景，层叠主峰如蟠踞巨兽，以利落斧劈皴勾勒山石肌理，浓墨晕染出苍莽厚重的质感。飞瀑自崖间垂落，破开山的沉郁静默。虬曲林木错落山间，苍松劲挺，点染出萧疏古雅的秋意。崖畔水滨各筑幽居，隐于林泉烟霭之间，暗合林泉高致的隐逸雅趣。通篇水墨简淡，空濛悠远的意境里，揉合了山川雄奇与林下闲逸，尽显文人避世寄情山水的幽怀。",[23,24,25,146,29,27,36,28,34,33,302,7,61,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a97e286122166a0963868c260fb265.jpg",[42],{"id":8799,"slug":8800,"title":8801,"dynasty":173,"author":1340,"museum":143,"description":7620,"tags":8802,"thumbUrl":8811,"material":40,"size":7623,"collection":86,"collections":8812,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},217214,"fang-gu-shan-shui-shi-er-kai-si-wang-hui-217214","仿古山水十二开(四)",[24,27,36,162,29,32,7,33,34,31,178,1174,8803,8804,8805,8806,8807,8808,8809,8810],"林间小屋","层叠山峦","树木丛生","山石错落","水面孤舟","近景山石","中景树木小屋","远景山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb4730a38b7c25f23dbc3beb36ddadf.jpg",[],{"id":8814,"slug":8815,"title":8816,"dynasty":173,"author":474,"museum":78,"description":8817,"tags":8818,"thumbUrl":8819,"material":121,"size":86,"collection":86,"collections":8820,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":71},216700,"hong-lou-meng-fu-tu-ce-21-yi-ming-216700","红楼梦赋图册-21","亭榭半敞，粉帘轻垂，温柔勾连起内外景致。亭中二人对坐案前，案上器物雅致，似正叙谈品物，衣饰纹样细腻入微；亭外侍女持器侍立，身姿恭谨，与阶下花木、石景相映成趣。画面以淡雅色调铺陈，绿栏粉幕、鲜妍花草交织出古典闺阁的娴静气息。笔触工细，帘上花纹、石畔细草、人物神情皆含温婉韵致，仿佛将红楼梦中从容雅致的日常定格，让观者窥见旧时闺阁里一段清宁时光，感受那份藏于细节中的古典诗意。",[23,24,28,57,162,60,83,61,7,1948,2179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1e036fdb42a86e193d00710ae2287e.jpg",[],{"id":8822,"slug":8823,"title":8824,"dynasty":173,"author":1340,"museum":450,"description":8825,"tags":8826,"thumbUrl":8827,"material":40,"size":86,"collection":86,"collections":8828,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},214595,"fang-gu-shan-shui-ce-9-wang-hui-214595","仿古山水册-9","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,27,36,162,1428,29,31,34,416,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efa7cdc48efdef063636c7dcce22728.jpg",[],{"id":8830,"slug":8831,"title":8832,"dynasty":173,"author":1340,"museum":450,"description":8825,"tags":8833,"thumbUrl":8835,"material":40,"size":86,"collection":86,"collections":8836,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":46},214593,"fang-gu-shan-shui-ce-11-wang-hui-214593","仿古山水册-11",[55,24,25,162,28,27,29,36,1428,7,30,31,60,118,8834],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c1d131f029dfc768e60ded3c71e002.jpg",[],{"id":8838,"slug":8839,"title":8840,"dynasty":173,"author":8841,"museum":20,"description":8842,"tags":8843,"thumbUrl":8844,"material":86,"size":86,"collection":42,"collections":8845,"showCount":8608,"zanCount":11,"manualWeight":11,"mainColor":8846},201898,"lin-wang-meng-lin-quan-qing-ji-tu-zhou-gu-yun-201898","临王蒙林泉清集图轴","顾澐","此作临摹王蒙，笔墨深谙其法。层叠山峦以解索皴勾勒，线条如虬龙盘绕，晕染出苍劲肌理；老树虬枝横斜，松针密匝，尽显古木峥嵘。山坳间亭榭隐约，数人围坐品茗清谈，林泉雅集之闲适跃然纸上。画面虚实相济，浓淡交错，既保留原作幽深静谧之致，又融入自身对山水的体悟，文人画的雅致与清逸尽在其中，为临摹佳作。",[24,29,81,36,84,7,27,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca037d8d8480d96f45fd4a1bddbddb7.jpg",[42],"a39385",{"id":8848,"slug":8849,"title":3711,"dynasty":378,"author":484,"museum":96,"description":3712,"tags":8850,"thumbUrl":8852,"material":317,"size":396,"collection":86,"collections":8853,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},290831,"xi-shan-gao-yi-zhou-wang-meng-290831",[24,146,29,36,28,7,31,84,416,2584,8851,37,58],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660a5fbcc2acc542b720d3d43b3f5381.jpg",[],{"id":8855,"slug":8856,"title":8857,"dynasty":173,"author":8858,"museum":78,"description":8859,"tags":8860,"thumbUrl":8861,"material":317,"size":396,"collection":86,"collections":8862,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},290513,"shen-liu-du-shu-tang-tu-wang-su-290513","深柳读书堂图","王愫","王愫 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字存素，号林屋，一号朴庐，江苏太仓诸生，侨居苏州。原祁侄。山水乾墨重笔不加渲染，得元人简澹法。",[23,24,25,28,56,29,7,33,60,58,37,7448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2682a6cf5351bd32976b04d9134f98d.jpg",[],{"id":8864,"slug":8865,"title":8866,"dynasty":378,"author":1193,"museum":78,"description":8867,"tags":8868,"thumbUrl":8869,"material":317,"size":396,"collection":86,"collections":8870,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},290432,"ting-song-tu-zhao-yuan-290432","听松图","赵原，中国元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。",[24,55,27,29,146,416,30,31,7,60,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00db89c58ef9a5b2f15c3378bc30e1c.jpg",[],{"id":8872,"slug":8873,"title":8874,"dynasty":94,"author":95,"museum":78,"description":8875,"tags":8876,"thumbUrl":8877,"material":317,"size":396,"collection":86,"collections":8878,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,55,25,464,27,29,439,2235,7,30,31,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":8880,"slug":8881,"title":8882,"dynasty":173,"author":8677,"museum":78,"description":8883,"tags":8884,"thumbUrl":8885,"material":317,"size":396,"collection":42,"collections":8886,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},237716,"wu-sheng-shi-yi-tu-ce-huang-yi-237716","无声诗意图册","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。",[24,25,162,82,27,29,382,7,234,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daad7599809d3ad232a5bec970b5b7b.jpg",[42],{"id":8888,"slug":8889,"title":6982,"dynasty":18,"author":4429,"museum":78,"description":6983,"tags":8890,"thumbUrl":8891,"material":317,"size":396,"collection":86,"collections":8892,"showCount":109,"zanCount":373,"manualWeight":11,"mainColor":46},237418,"shan-shui-shan-lu-zhi-237418",[24,25,464,29,36,28,276,118,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc2286a29440d23512f2e1af77a0ce.jpg",[],{"id":8894,"slug":8895,"title":8896,"dynasty":173,"author":2467,"museum":78,"description":8897,"tags":8898,"thumbUrl":8899,"material":86,"size":86,"collection":42,"collections":8900,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},236422,"song-yin-bing-pei-zhou-hua-yan-236422","松荫并辔轴","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[24,25,146,28,29,147,7,544,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2f02f42a1ce64c75b2663783c6c24e.jpg",[42,68],{"id":8902,"slug":8903,"title":497,"dynasty":173,"author":8904,"museum":175,"description":8905,"tags":8906,"thumbUrl":8907,"material":86,"size":86,"collection":42,"collections":8908,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,25,146,27,36,29,1496,302,33,35,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[42,107],{"id":8910,"slug":8911,"title":8912,"dynasty":173,"author":3069,"museum":78,"description":8913,"tags":8914,"thumbUrl":8915,"material":86,"size":86,"collection":86,"collections":8916,"showCount":109,"zanCount":373,"manualWeight":11,"mainColor":46},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,25,162,27,36,81,29,302,952,33,7,1948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],{"id":8918,"slug":8919,"title":8920,"dynasty":173,"author":1878,"museum":78,"description":8921,"tags":8922,"thumbUrl":8923,"material":86,"size":86,"collection":86,"collections":8924,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[24,25,55,146,27,29,7,439,234,118,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":8926,"slug":8927,"title":8928,"dynasty":18,"author":8929,"museum":78,"description":8930,"tags":8931,"thumbUrl":8932,"material":86,"size":86,"collection":86,"collections":8933,"showCount":109,"zanCount":373,"manualWeight":11,"mainColor":46},234221,"an-mo-bi-lan-ting-tu-juan-wang-yun-234221","安墨笔兰亭图卷","王允","《王允安墨笔兰亭图卷》是明代画家王允安创作的一幅画。\n《墨笔兰亭图》卷，明，王允安绘，纵21.7cm，横44cm。",[23,24,26,27,82,29,60,33,34,30,31,7,2283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b51d88b8f0e32cb20a94bceb55ed39.jpg",[],{"id":8935,"slug":8936,"title":8937,"dynasty":173,"author":1750,"museum":175,"description":8938,"tags":8939,"thumbUrl":8940,"material":789,"size":8941,"collection":86,"collections":8942,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,55,24,25,26,27,36,38,4681,37,58,29,276,263,118,7,35,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":8944,"slug":8945,"title":8946,"dynasty":173,"author":3186,"museum":175,"description":8947,"tags":8948,"thumbUrl":8949,"material":292,"size":86,"collection":86,"collections":8950,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},234111,"hua-hong-li-jiao-shi-ming-qin-shi-yi-juan-zhang-zong-cang-234111","画弘历蕉石鸣琴诗意卷","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\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,26,28,29,7,33,1948,35,290,58,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b204362fe8e043dbf4856d2c360dfbc.jpg",[],{"id":8952,"slug":8953,"title":6177,"dynasty":173,"author":174,"museum":175,"description":8954,"tags":8955,"thumbUrl":8956,"material":942,"size":8957,"collection":86,"collections":8958,"showCount":109,"zanCount":373,"manualWeight":11,"mainColor":46},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,25,146,27,36,28,29,33,302,34,35,100,101,7,58,3965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":8960,"slug":8961,"title":8962,"dynasty":4498,"author":474,"museum":78,"description":8963,"tags":8964,"thumbUrl":8965,"material":317,"size":396,"collection":86,"collections":8966,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,25,26,28,161,57,368,61,30,31,7,29,33,34,2236,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":8968,"slug":8969,"title":2571,"dynasty":173,"author":6570,"museum":78,"description":6571,"tags":8970,"thumbUrl":8971,"material":317,"size":396,"collection":86,"collections":8972,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355",[23,24,25,26,28,57,29,7,60,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":8974,"slug":8975,"title":8976,"dynasty":173,"author":1340,"museum":78,"description":8977,"tags":8978,"thumbUrl":8979,"material":86,"size":86,"collection":86,"collections":8980,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},229020,"song-qiao-tang-tu-juan-wang-hui-229020","松乔堂图卷","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,26,28,29,36,416,34,35,178,33,7,31,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":8982,"slug":8983,"title":8984,"dynasty":18,"author":8985,"museum":78,"description":8986,"tags":8987,"thumbUrl":8989,"material":86,"size":86,"collection":86,"collections":8990,"showCount":109,"zanCount":373,"manualWeight":11,"mainColor":46},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,26,28,57,60,29,30,31,7,416,630,59,765,8988,1163,38],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":8992,"slug":8993,"title":8994,"dynasty":173,"author":6910,"museum":78,"description":6911,"tags":8995,"thumbUrl":8996,"material":86,"size":86,"collection":86,"collections":8997,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,27,28,36,162,29,34,416,31,7,63,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":8999,"slug":9000,"title":9001,"dynasty":173,"author":850,"museum":175,"description":2915,"tags":9002,"thumbUrl":9003,"material":212,"size":2918,"collection":86,"collections":9004,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},223286,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-gang-yan-xue-yuan-yao-223286","山水四条屏-扬州四景-平岗艳雪",[23,24,25,28,57,161,29,7,30,2388,261,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909e836a0258d68f302808fe9b398499.jpg",[],{"id":9006,"slug":9007,"title":9008,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":9009,"thumbUrl":9010,"material":292,"size":3848,"collection":86,"collections":9011,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},222953,"hong-lou-meng-78-sun-wen-222953","红楼梦78",[23,57,28,161,60,61,30,33,196,83,7,35,687,1632,6784,4899,1126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13e859bbe3be51184fcf4d9dec58bd.jpg",[],{"id":9013,"slug":9014,"title":9015,"dynasty":18,"author":9016,"museum":9017,"description":9018,"tags":9019,"thumbUrl":9021,"material":212,"size":9022,"collection":86,"collections":9023,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","宋旭","山东省博物馆","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,24,25,146,27,36,57,29,147,9020,30,31,34,33,7],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":9025,"slug":9026,"title":8077,"dynasty":18,"author":4704,"museum":175,"description":9027,"tags":9028,"thumbUrl":9029,"material":789,"size":9030,"collection":86,"collections":9031,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":71},222840,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-222840","萧云从的山水画风格多样，但贯穿其中的基本风貌是笔墨多方折而枯瘦，且在方折的骨体中加入一些皴擦，略有渲染，显得笔墨丰富而灵活。当时，松江派绘画风靡画坛，其画多柔曲的线条、秀润的笔墨，萧氏则改用直折的线条、枯瘦爽利的墨色，可谓别具一格。《国朝画征录》评论萧云从的画称：“不专宗法，自成一家，笔亦清快可喜。”道出了萧云从绘画风格的关键所在。他的画并非具体地宗法某一家，但可看出是从宋元画法中演变而来，不宋不元，即宋即元，又明确地表现出萧氏自身的艺术特色。此图虽是描绘雪景，表现手法与平时稍异，但仍可看出萧氏画作的典型特征。\n画面采用高远法构图描绘层岩绝巘。布局丰满，但山间茂密树丛的蓬松枝杈使画面气脉贯通，虽满却不迫塞。山石形廓较为方硬，凹陷处的皴擦笔笔精到；树木刻画亦极工致，用笔细劲清快，描绘树干纹理、树叶形状一丝不苟。地子则巧妙地留白，用以表现大面积山石及树木枝干上的积雪。皑皑白雪在以淡墨晕染的阴郁天空的衬托下愈发显得清寂萧索。但近景的树脚、石隙间偶尔显露出数竿篠竹，树木枝干染以藤黄，树叶则分别施以朱红、汁绿，这一切都使观者在寒冬的肃杀气氛中隐隐感受到蕴藏着的盎然生机，在历代雪景作品中可谓别开生面。这一方面是由于作者有着对自然界的独特感受，同时也昭示着萧云从内心涌动的希望。\n其时，明宗室诸王流亡各地，除弘光、隆武、永历等主要政权外，臣民奉宗室起兵抗清者所在尚多，且颇具声势。萧氏作为明朝遗民，无时无刻不关注着这些复国大事。题识中的“时得三秦好音”似即指此类事件。\n萧云从曾精研杜诗，著有《杜律细》一卷。其诗亦继承杜诗传统，多即事忧时之作，如此画题诗便是一例。诗中“皇旅云腾度渭河”、“将军高唱大风歌”等句更是雄浑奔放，音韵铿锵，与画面相互映照，真切地表现出萧云从作为明代遗民的思想感情。",[23,24,146,27,57,36,29,261,60,7,61,118,34,1818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d303d9b585f987c4fc189dc35570.jpg","纵125.3厘米，横47.7厘米",[],{"id":9033,"slug":9034,"title":9035,"dynasty":173,"author":9036,"museum":96,"description":9037,"tags":9038,"thumbUrl":9040,"material":265,"size":9041,"collection":42,"collections":9042,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[23,24,25,146,28,29,36,38,58,874,9039,33,32,7,34,31],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[42,68],{"id":9044,"slug":9045,"title":9046,"dynasty":18,"author":2945,"museum":175,"description":9047,"tags":9048,"thumbUrl":9049,"material":608,"size":9050,"collection":86,"collections":9051,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,25,162,28,27,36,37,29,34,33,63,31,32,7,99,30,777,2179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":9053,"slug":9054,"title":9055,"dynasty":18,"author":2665,"museum":273,"description":9056,"tags":9057,"thumbUrl":9058,"material":7471,"size":9059,"collection":86,"collections":9060,"showCount":109,"zanCount":373,"manualWeight":11,"mainColor":71},222078,"hu-fu-chun-qing-tu-xie-shi-chen-222078","虎阜春晴图","《明谢时臣虎阜春晴图》是明代画家谢时臣的作品，此画虚实结合，层次分明，笔墨稳健，湿墨渲染，衬托出江南春日胜迹的润郁宜人之色。此图为作者晚年对虎丘写生之作。\n谢时臣的作品笔法酣畅，墨色稳健，气势恢弘，与他同时期的吴门画派诸家的画则气格相对狭小，这更显出谢时臣绘画的魄力之大。但是，如果把他的作品和沈周、文徵明的作品做一比较，就会发现他的作品略显匠气。正如清代姜绍书在《无声诗史》中对谢时臣画的评价：“长卷巨幛，纵横自如，气势有余，韵秀不足。”\n《虎阜春晴》的布局来看，此图既有王蒙层峦叠嶂、构图紧密的绘画特点，又有谢时臣自己的绘画特征。曲折的山间小路和弯曲的流水给画面平添了无限的意趣。这样，欣赏者的目光就可以随之缓缓上移。远处江面开阔，云气缭绕。画面轻灵生动，意境开阔，于大幅之中透露出精致、典雅的格调。\n《图绘宝鉴续纂》称谢时臣的山水画“人物点缀，极其潇洒”。点景人物虽然只是山水画的点缀，不是独立的一种艺术表现形式，但它作为一种特殊的情感表现载体，赋予了山水画更多的思想色彩。它是山水画中必不可少的组成部分，常常具有“点睛”的作用。能否表现好点景人物，是衡量画家艺术水平高低的一个重要因素。由《虎阜春晴》来看，谢时臣不愧为绘制点景人物的能手。全图有近三十个点景人物，虽寥寥数笔，但都神态毕现、栩栩如生。譬如，近景船头有一人，手捧杂物，双腿微曲，正等船靠岸。画家把他等船的专注神情很好地刻画出来。更让人叫绝的是，画家仅用两笔就把远景舟船中的艄公和船客生动地表现出来。",[23,24,27,36,161,146,29,61,30,31,32,7,60,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5a2216ff13e70d6b7a9c5d0713dc22.jpg","纵162.4厘米，横39.2厘米",[],{"id":9062,"slug":9063,"title":9064,"dynasty":2122,"author":9065,"museum":78,"description":9066,"tags":9067,"thumbUrl":9068,"material":357,"size":86,"collection":86,"collections":9069,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},218169,"da-qian-kuang-tu-ce-9-zhang-da-qian-218169","大千狂涂册-9","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,162,27,38,36,29,33,1291,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc9e44d039f57472f130362d8701ab2.jpg",[],{"id":9071,"slug":9072,"title":9073,"dynasty":94,"author":9074,"museum":365,"description":9075,"tags":9076,"thumbUrl":9077,"material":121,"size":9078,"collection":86,"collections":9079,"showCount":109,"zanCount":373,"manualWeight":11,"mainColor":46},216915,"xiang-shan-jiu-lao-tu-7-ma-xing-zu-216915","香山九老图-7","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,25,57,28,60,29,439,84,31,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996c941b8274f0bb1a5f2f589e1f3156.jpg","27.1x217.2",[],{"id":9081,"slug":9082,"title":9083,"dynasty":173,"author":474,"museum":96,"description":9084,"tags":9085,"thumbUrl":9086,"material":121,"size":86,"collection":86,"collections":9087,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":46},215199,"sheng-ping-le-shi-tu-ce-6-yi-ming-215199","升平乐事图册-6","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,28,57,162,60,83,2743,59,118,7,687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ed03b9eec74522513d72406bad1568.jpg",[],{"id":9089,"slug":9090,"title":9091,"dynasty":18,"author":9092,"museum":20,"description":9093,"tags":9094,"thumbUrl":9095,"material":86,"size":86,"collection":42,"collections":9096,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":9097},202980,"shan-shui-hua-niao-shu-fa-ji-ce-gu-yi-de-202980","山水花鸟书法集册","顾懿德","层叠山峦间云雾轻笼，青绿设色晕染峰峦温润质感，山石以皴法勾勒肌理，显古朴苍劲。山腰楼阁隐于林木，似藏人家；山麓亭台依水而筑，旁有松柏挺秀，枝桠舒展含文人意趣。构图虚实相生，云雾留白衬出山峦深远，笔墨兼具工致与写意，既有自然山水的清幽之境，又藏文人雅士寄情林泉的闲适情怀，尽显明代文人山水的雅致韵味。",[29,28,36,7,61,56,24,162,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0ff3c2f05a11cacc4c50a3c50bea6c1.jpg",[42],"c19c74",{"id":9099,"slug":9100,"title":9101,"dynasty":173,"author":4634,"museum":78,"description":9102,"tags":9103,"thumbUrl":9104,"material":317,"size":396,"collection":86,"collections":9105,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},290560,"zai-mei-tu-zhou-xu-yang-290560","载梅图轴","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[24,55,146,28,57,29,61,30,31,7,32,33,60,2388,58,7448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffc941dba86a2bf7a200c460c0b3b69c.jpg",[],18,{"id":9108,"slug":9109,"title":9110,"dynasty":378,"author":484,"museum":78,"description":820,"tags":9111,"thumbUrl":9112,"material":317,"size":396,"collection":86,"collections":9113,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":71},290448,"shan-shui-tu-zhou-ke-luo-ban-wang-meng-290448","山水图轴（珂罗版）",[23,55,24,27,29,146,36,247,888,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b0240ac5439bff960e9a16637c156e.jpg",[],{"id":9115,"slug":9116,"title":9117,"dynasty":94,"author":474,"museum":96,"descript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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”。",[24,25,162,27,57,439,7,666,29,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a28434c91ceeec5004c2ce64fc3df1.jpg",[],{"id":9160,"slug":9161,"title":497,"dynasty":18,"author":4366,"museum":78,"description":9162,"tags":9163,"thumbUrl":9164,"material":86,"size":86,"collection":42,"collections":9165,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":71},237146,"shan-shui-zhou-xiang-sheng-mo-237146","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[55,24,25,146,27,29,36,118,7,666,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[42],{"id":9167,"slug":9168,"title":9169,"dynasty":173,"author":9170,"museum":78,"description":9171,"tags":9172,"thumbUrl":9173,"material":86,"size":86,"collection":42,"collections":9174,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},235866,"za-hua-ce-zhang-sheng-235866","杂画册","章声","此作为左书右画的合璧佳构。画中危崖壁立，飞瀑直泻千尺，谷中云雾翻涌，将山林晕染如幻梦仙境。崖边古松虬枝斜曳，苍劲灵动，松荫石台上逸士凭栏观瀑，点出林泉高致的雅趣，笔致秀逸清润，以淡墨晕开云烟，铺展出山水空濛幽深之态。左侧行书题诗笔力清劲潇洒，诗画呼应，将观瀑遐思与山林幽寂融为一体，尽显文人画诗画相生的悠远意境，整体简淡空灵，藏着传统文人寄情山水的雅怀。",[24,25,162,28,27,38,36,29,416,34,302,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2324cce7eaa003ae31ade295c1345c57.jpg",[42],{"id":9176,"slug":9177,"title":5584,"dynasty":18,"author":9178,"museum":78,"description":9179,"tags":9180,"thumbUrl":9181,"material":86,"size":86,"collection":86,"collections":9182,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},235679,"shan-shui-juan-chen-xun-235679","陈询","淡墨晕开清寂底色，绘就郊野幽居之景。茅庐错落隐于林木间，屋中对坐似有清谈，篱扉板桥、寒林浅水环合铺展闲逸天地。用笔松秀简淡，枯笔勾勒林木枝桠，湿墨晕染坡岸水汽，淡赭轻敷晕出冬春之交的萧疏温软。取景平远，以留白衬出水意空濛，将林下幽居、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[23,55,24,25,26,27,36,29,7,30,31,33,180,60,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":9184,"slug":9185,"title":9186,"dynasty":173,"author":9187,"museum":78,"description":9188,"tags":9189,"thumbUrl":9192,"material":86,"size":86,"collection":86,"collections":9193,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":71},235677,"qing-shan-hong-shu-tu-zhou-chen-zi-235677","青山红树图轴","陈字","此作用笔苍劲工致，以重墨勾勒山石肌理，皴染结合尽显岩岳雄浑厚重，流云如练缠绕峰腰，将崇山衬得愈发灵秀高古。山间丹枫红树层层叠叠，艳色破开深褐山石的沉郁，撞出深秋浓烈鲜活的意趣。\n右侧江天豁然开朗，波光澹澹间渔翁撑舟徐行，远山含黛，汀洲茅亭隐逸一隅，添就萧散悠然的野趣。整体布局左实右虚，将秋山的浓艳高旷与江湖的清远闲和相融，兼具北派山水的雄强与南宗山水的温婉意境，笔底尽是秋日林泉的静美诗意。",[24,25,146,28,29,36,9190,6328,32,31,7,34,33,99,9191,302],"青山","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d14541ecf43948d98b6bf7cc947723c.jpg",[],{"id":9195,"slug":9196,"title":9197,"dynasty":18,"author":4751,"museum":175,"description":4752,"tags":9198,"thumbUrl":9199,"material":789,"size":4755,"collection":86,"collections":9200,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},234813,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-qi-bao-quan-tu-ye-wen-jia-234813","吴门诸家寿袁方斋三绝册-文嘉七宝泉图页",[24,25,162,28,29,36,276,263,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8510ca52467ad2e0007a4cae545cd54c.jpg",[],{"id":9202,"slug":9203,"title":9204,"dynasty":18,"author":326,"museum":96,"description":9205,"tags":9206,"thumbUrl":9207,"material":292,"size":9208,"collection":86,"collections":9209,"showCount":9106,"zanCount":373,"manualWeight":11,"mainColor":71},232667,"shan-lu-song-sheng-tu-tang-yin-232667","山路松声图","唐寅此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。\n图绘一山高耸，有一泉水自山腰拾级而上，汇入河中。山脚有一小桥跨泉连接山路，桥上两人，老者仰首侧耳，似听泉流松声，一童携琴随后。泉畔是茂密的松林，枝干虬曲，藤蔓缠身。一条崎岖不平的野路，蜿蜒通向山间。\n唐寅16岁中秀才，29岁在乡试中获第一名“解元”，30岁赴京赶考，大好的前途指日可待。岂料一同赶考的大地主徐经暗中贿赂主考官家的仆人从而得到试题，事情败落后，倒霉的唐寅也遭受牵连，甚至经受刑拷凌辱。一向恃才傲物的他经受如此大的打击后，对官场产生了强烈的反感，从此放荡不羁。失意后的唐寅游遍名山大川，千山万水了然于心，因此他的山水画中充满了吴地山水的景象，《山路松声图》就是他山水画的代表作。\n图中描绘了一座高耸的山峰，一汪泉水从山腰处流下，汇入清澈见底的河中。泉水边是葱郁的松林，藤蔓环绕在曲曲折折的枝干上。山脚下有一座小桥横跨河水，桥上一老人仰着头，似乎在倾听泉声，又好像在欣赏阵阵松涛，其后有一少年抱着琴跟随。唐伯虎在画上题诗道：“女几山前野路横，松声偏解合泉声。试从静里闲倾耳，便觉冲然道气生。”表达了他向往与世无争、闲淡自然生活的理想。\n图中松树枝叶的画法，从夏圭中来，但远比之繁盛、写实。以细劲的中锋勾勒，转折顿挫，不乏法度。山石硬朗，棱角分明，显然是李、郭的画法，但不师郭熙的卷云皴，也不施马、夏的斧劈皴，而是一种带有唐寅个人风格的线皴，较之许道宁的直线皴更为随意、疏松。勾笔较浓，而皴笔较淡，以浓点分出石的构成和层次，墨色通透而儒雅。用笔顿挫转折，遒劲飞舞，巧妙地点出了松声之意境。山的结体，错落盘桓，层次清晰，景致优美，而且真实感很强，有北宋全景山水的韵致。背景的处理极为简括，炕炕洛藩，给人以空旷萧瑟、冷漠寂寥的感受。\n此画构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。",[24,487,146,27,36,28,276,147,31,302,234,209,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9b8101070ee6720dcb0d5f2a0f287e.jpg","纵194.5厘米，横102.8厘米",[],{"id":9211,"slug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创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,25,26,27,29,30,31,32,7,63,33,37,38,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":9253,"slug":9254,"title":9255,"dynasty":94,"author":2374,"museum":78,"description":9256,"tags":9257,"thumbUrl":9258,"material":86,"size":86,"collection":86,"collections":9259,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":71},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,55,24,25,26,28,29,36,60,544,416,247,99,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":9261,"slug":9262,"title":220,"dynasty":173,"author":9263,"museum":78,"description":9264,"tags":9265,"thumbUrl":9266,"material":9267,"size":86,"collection":68,"collections":9268,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[23,24,27,146,29,33,7,34,35,630,416,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg","水墨纸本",[68],{"id":9270,"slug":9271,"title":9272,"dynasty":378,"author":474,"museum":78,"description":9273,"tags":9274,"thumbUrl":9275,"material":608,"size":9276,"collection":86,"collections":9277,"showCount":9106,"zanCount":373,"manualWeight":11,"mainColor":71},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","仿巨然山水图","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[23,24,487,28,36,34,33,30,31,7,290,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":9279,"slug":9280,"title":9281,"dynasty":173,"author":9282,"museum":78,"description":9283,"tags":9284,"thumbUrl":9285,"material":86,"size":86,"collection":42,"collections":9286,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},223248,"shan-shui-1-pu-hua-223248","山水1","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,25,146,27,28,36,29,276,118,416,101,99,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[42,107],{"id":9288,"slug":9289,"title":9290,"dynasty":173,"author":9291,"museum":96,"description":9292,"tags":9293,"thumbUrl":9294,"material":86,"size":9295,"collection":42,"collections":9296,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},222845,"wan-qing-qing-yin-hong-wu-222845","万顷清阴","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,28,36,162,29,7,31,33,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e86d17ce180690e506b45cdbf2ef30.jpg","32x38",[42,68],{"id":9298,"slug":9299,"title":9300,"dynasty":94,"author":9301,"museum":175,"description":9302,"tags":9303,"thumbUrl":9309,"material":165,"size":9310,"collection":768,"collections":9311,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,38,37,26,9304,58,276,263,343,261,3091,7,666,9305,3885,5777,9306,4948,7073,7074,9307,342,147,3094,9308,664,439,2388],"墨迹","林","桂","芙蓉","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[768],{"id":9313,"slug":9314,"title":9315,"dynasty":94,"author":9316,"museum":530,"description":9317,"tags":9318,"thumbUrl":9319,"material":212,"size":9320,"collection":86,"collections":9321,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":9322},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[23,24,25,26,29,329,32,962,31,30,28,36,7,63,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],"FDD835",{"id":9324,"slug":9325,"title":9326,"dynasty":173,"author":1505,"museum":175,"description":9327,"tags":9328,"thumbUrl":9329,"material":165,"size":9330,"collection":86,"collections":9331,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},220302,"huang-shan-tu-ce-24-hong-ren-220302","黄山图册-24","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,162,27,36,29,7,302,416,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0f1eea5eec9fa20d8d4c3de009e2b.jpg","21.5x18.3厘米",[],{"id":9333,"slug":9334,"title":220,"dynasty":173,"author":9335,"museum":450,"description":9336,"tags":9337,"thumbUrl":9338,"material":198,"size":9339,"collection":42,"collections":9340,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":71},220066,"shan-shui-tu-zha-shi-biao-220066","査士标","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[24,25,146,27,36,29,30,31,7,63,33,101,147,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[42],{"id":9342,"slug":9343,"title":9344,"dynasty":18,"author":19,"museum":1396,"description":9345,"tags":9346,"thumbUrl":9347,"material":357,"size":9348,"collection":123,"collections":9349,"showCount":9106,"zanCount":11,"manualWeight":11,"mainColor":46},219622,"gao-xian-jian-bie-tu-shen-zhou-219622","高贤饯别图","此作为书画合卷，前段行书长札笔力苍劲老辣，笔墨朴拙醇厚，信中铺陈故旧饯别往还，文辞质朴真挚，将江南文人的温厚交谊娓娓道来。\n后段山水以淡墨写意，浅设色晕染出江南暮春风物，林亭错落，烟波澹荡，将临别缱绻心绪融于咫尺尺幅。整卷书卷气沛然，叙事抒情与笔墨意趣相融无间，尽显吴门文人间酬唱寄情的风雅日常，笔墨间漫溢出平和温厚的文人品格，是文心与画境相映的绝佳范本。",[24,25,26,27,28,60,38,37,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5aa41795e30a32b8269de302bb1eed6.jpg","纵26.5横162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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。”\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。",[24,25,162,27,81,36,58,29,7,118,382,178,1715,181,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[42],{"id":9536,"slug":9537,"title":3902,"dynasty":18,"author":9538,"museum":78,"description":9539,"tags":9540,"thumbUrl":9541,"material":86,"size":86,"collection":42,"collections":9542,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":46},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[24,25,162,27,28,29,7,84,30,31,234,178,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[42],{"id":9544,"slug":9545,"title":3902,"dynasty":173,"author":2467,"museum":3882,"description":3903,"tags":9546,"thumbUrl":9547,"material":86,"size":86,"collection":42,"collections":9548,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":46},236729,"shan-shui-ce-hua-yan-236729",[24,25,162,28,27,29,7,2189,234,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[42,68],{"id":9550,"slug":9551,"title":3902,"dynasty":173,"author":9552,"museum":78,"description":9553,"tags":9554,"thumbUrl":9555,"material":292,"size":86,"collection":42,"collections":9556,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":46},236496,"shan-shui-ce-cheng-ming-236496","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[24,25,162,27,36,29,34,33,382,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36e79a5f9b30c0ba5a08df138da30a.jpg",[42,68],{"id":9558,"slug":9559,"title":9560,"dynasty":173,"author":4812,"museum":78,"description":9561,"tags":9562,"thumbUrl":9563,"material":317,"size":396,"collection":86,"collections":9564,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":46},235661,"shan-shui-ping-yuan-jiang-235661","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,161,57,28,29,61,33,952,1291,60,7,303,178,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a984a5ebee0ef4d208db621d44f4f0.jpg",[],{"id":9566,"slug":9567,"title":9560,"dynasty":173,"author":4812,"museum":78,"description":9561,"tags":9568,"thumbUrl":9569,"material":317,"size":396,"collection":86,"collections":9570,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":46},235659,"shan-shui-ping-yuan-jiang-235659",[24,161,28,57,29,61,7,30,33,34,60,685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba0ef29879681b083ef4cf3223e4053.jpg",[],{"id":9572,"slug":9573,"title":9574,"dynasty":173,"author":474,"museum":78,"description":9575,"tags":9576,"thumbUrl":9578,"material":86,"size":86,"collection":86,"collections":9579,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":46},235157,"hong-ren-shan-shui-ce-yi-ming-235157","弘仁山水册","此作为诗画合璧佳构，笔墨简淡疏朗，尽显清逸禅意。画面以淡墨晕染山峦，空灵悠远，山腹石拱如天工开辟，苍松沿溪亭亭如盖，平岸浅溪蜿蜒，村舍错落林间石畔，烟火气隐于清冷丘壑之间。\n\n题书清隽雅致，诗句与画境相契，松杉引径，夕照里野村人家渺远，古寺钟声融在暮霞里，将画中静穆清冷的意境铺展开来。淡笔轻皴里藏着幽远超脱的文人襟怀，观之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[24,25,162,27,29,36,37,38,58,276,263,33,416,569,209,7,234,31,9577],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],{"id":9581,"slug":9582,"title":9583,"dynasty":18,"author":9584,"museum":175,"description":9585,"tags":9586,"thumbUrl":9587,"material":165,"size":86,"collection":86,"collections":9588,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":127},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,25,26,82,57,60,544,61,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":9590,"slug":9591,"title":9592,"dynasty":18,"author":19,"museum":20,"description":9593,"tags":9594,"thumbUrl":9595,"material":165,"size":9596,"collection":86,"collections":9597,"showCount":9449,"zanCount":11,"manualWeight":11,"mainColor":46},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,27,28,36,38,344,37,58,29,33,60,3438,952,34,416,630,7,32],"https:\u002F\u002Foss.chuan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39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,26,27,29,36,37,38,58,276,263,33,7,30,31,32,101,35,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":9927,"slug":9928,"title":9929,"dynasty":18,"author":9930,"museum":78,"description":9931,"tags":9932,"thumbUrl":9933,"material":86,"size":86,"collection":86,"collections":9934,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":46},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,25,26,27,57,29,30,31,61,7,84,209,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":9936,"slug":9937,"title":9938,"dynasty":18,"author":4751,"museum":175,"description":9939,"tags":9940,"thumbUrl":9941,"material":165,"size":86,"collection":86,"collections":9942,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":46},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,25,26,27,29,36,37,58,38,33,30,31,7,63,180,178,930,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":9944,"slug":9945,"title":9946,"dynasty":173,"author":3186,"museum":175,"description":8947,"tags":9947,"thumbUrl":9948,"material":292,"size":86,"collection":86,"collections":9949,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":71},234110,"hua-hong-li-ping-shan-tang-shi-yi-juan-zhang-zong-cang-234110","画弘历平山堂诗意卷",[24,25,26,28,29,61,7,33,58,37,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7c98fe5c42d9369522f0ec973ba1a1.jpg",[],{"id":9951,"slug":9952,"title":9953,"dynasty":173,"author":3186,"museum":175,"description":8947,"tags":9954,"thumbUrl":9955,"material":292,"size":86,"collection":86,"collections":9956,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":71},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[55,24,25,26,27,28,29,416,61,30,31,32,7,58,33,35,931,178,1715,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":9958,"slug":9959,"title":9960,"dynasty":173,"author":1878,"museum":175,"description":9961,"tags":9962,"thumbUrl":9963,"material":942,"size":9964,"collection":86,"collections":9965,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":46},233871,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233871","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,27,487,162,36,276,263,7,416,382,101,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445edf7b1c27c418f24ac44e35eb046f.jpg","纵32.8cm，横52.8cm",[],{"id":9967,"slug":9968,"title":9969,"dynasty":378,"author":379,"museum":78,"description":9970,"tags":9971,"thumbUrl":9972,"material":165,"size":9973,"collection":86,"collections":9974,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":46},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,25,26,27,36,38,37,55,29,234,33,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":9976,"slug":9977,"title":9978,"dynasty":4498,"author":474,"museum":78,"description":9979,"tags":9980,"thumbUrl":9982,"material":86,"size":86,"collection":86,"collections":9983,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":46},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,25,26,28,57,161,29,60,61,32,962,544,118,343,9981,31,329,30,7],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":9985,"slug":9986,"title":1425,"dynasty":173,"author":1340,"museum":78,"description":9987,"tags":9988,"thumbUrl":9989,"material":86,"size":86,"collection":86,"collections":9990,"showCount":126,"zanCount":373,"manualWeight":11,"mainColor":46},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。"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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,27,29,146,81,37,58,382,7,833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad3e85835ca1b452c5ebd01bb0bc60c.jpg",[],{"id":10145,"slug":10146,"title":3902,"dynasty":173,"author":10147,"museum":78,"description":10148,"tags":10149,"thumbUrl":10150,"material":86,"size":86,"collection":42,"collections":10151,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":71},239005,"shan-shui-ce-li-dong-239005","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,25,162,28,27,36,29,30,31,7,33,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[42,68],{"id":10153,"slug":10154,"title":10155,"dynasty":94,"author":3369,"museum":78,"description":10156,"tags":10157,"thumbUrl":10158,"material":86,"size":86,"collection":86,"collections":10159,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":71},238957,"guan-shan-ji-xue-tu-ye-yan-su-238957","关山积雪图页","层峦素雪覆裹，棱脉以淡墨皴擦晕染，将隆冬山巅的萧寒厚重尽显。枯木虬枝错落山间，褪去芳华尽显遒劲风骨，山坳茅舍隐现板桥通途，车马徐行于雪径，为冷寂天地晕开些许烟火暖意。\n\n右上林峦间佛塔藏幽，左上危崖栈道飞桥凌虚，为山水添出世清寂。整作设色古雅简澹，以赭石托出积雪留白，融全景山势的辽远与边角意趣于一体，在荒寒冬景里暗渡生息，尽显于萧寒中暗藏温柔生机的山水意韵。",[24,28,36,2218,29,276,3372,382,30,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f78e16e9053b9cf2cbd0db2de712553.jpg",[],{"id":10161,"slug":10162,"title":3902,"dynasty":173,"author":10163,"museum":78,"description":10164,"tags":10165,"thumbUrl":10169,"material":86,"size":86,"collection":42,"collections":10170,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":71},237896,"shan-shui-ce-cheng-hui-hao-237896","程徽灏","此作以枯淡笔墨绘就秋山幽居，浅绛设色晕染出清秋山林萧疏之致。山峦以披麻皴写意铺展，笔意松脱苍劲，淡墨晕开云气，衬出山峦空濛悠远。溪岸林木错落，木叶疏朗，茅舍板桥隐逸其间，野趣悠然自生。\n\n题款与画面浑然相融，留白衬出山川空寂，将林泉高致的隐逸情怀寄于尺幅间。简笔勾勒却骨力暗藏，淡墨轻敷而意韵悠长，尽显文人山水小品的雅致风骨，于浅淡中尽显林下风流。",[24,27,36,162,29,7,84,34,33,382,10166,10167,614,10168],"山体","小亭","皴染结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e88565ddc648d685889817fc186807.jpg",[42,107],{"id":10172,"slug":10173,"title":10174,"dynasty":173,"author":10175,"museum":78,"description":10176,"tags":10177,"thumbUrl":10178,"material":86,"size":86,"collection":42,"collections":10179,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[24,25,146,28,57,36,29,60,61,30,7,1808,1809,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[42,768],{"id":10181,"slug":10182,"title":497,"dynasty":18,"author":4159,"museum":78,"description":10183,"tags":10184,"thumbUrl":10185,"material":317,"size":396,"collection":86,"collections":10186,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},236017,"shan-shui-zhou-fang-yi-zhi-236017","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[24,25,146,27,36,29,34,416,30,31,7,178,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef511a540cd7c362a9bfeac870dc8c0a.jpg",[],{"id":10188,"slug":10189,"title":10190,"dynasty":173,"author":474,"museum":78,"description":10191,"tags":10192,"thumbUrl":10193,"material":86,"size":86,"collection":86,"collections":10194,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},235865,"nv-dao-zi-fang-zhu-shan-shui-ye-yi-ming-235865","女道子仿朱山水页","此作用水墨写意铺展山林幽境，以淡墨晕染远山，烟岚裹挟群峰，主峰奇峭挺秀，留白晕化出空濛雾霭，将山野清寂之态尽数铺陈。近岸林木苍郁错落，掩映一隅山居茅舍，笔致简淡却意态饱满，寥寥数笔便勾勒出林泉栖居的静穆意趣。\n\n左侧行书题文以文人典故衬出品鉴雅意，书画相映成趣。整作墨色干湿相济，淡墨取韵、浓墨提神，于简淡苍润间尽显清逸萧散的林下之风，寄寓着文人寄情林泉、静守丘壑的幽怀。",[24,25,162,27,36,38,29,7,118,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d82adf3f8cec5ebf66ff3fb046aab3a.jpg",[],{"id":10196,"slug":10197,"title":10198,"dynasty":18,"author":474,"museum":78,"description":10199,"tags":10200,"thumbUrl":10201,"material":86,"size":86,"collection":86,"collections":10202,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":71},235054,"shen-shi-lan-ting-xiu-xie-tu-juan-yi-ming-235054","沈时兰亭修褉图卷","此作用青绿设色铺陈林泉雅集，苍松茂柳环合掩映，青绿山石古雅沉静，将林下幽境晕染得清旷悠然。左侧文士或围坐清谈，或凭石闲憩，神态萧散清和，衣袂舒展自带林下风流，暗合流觞曲水之雅意。林间隐着简雅亭台，衬出集会的雅致氛围。右侧水扁舟轻泛，对岸轩阁凭栏，将林泉之景延展得悠远空灵。\n\n画作工写兼具，古旧绢色晕染出温润古意，将文会吟咏唱和的悠然光景复刻于卷上，漫溢出文人集会的从容风雅，尽显林泉雅集的清逸意趣。",[24,25,26,28,57,60,7,31,32,118,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455cd376df096daa4f2307bb08f68e66.jpg",[],{"id":10204,"slug":10205,"title":10206,"dynasty":18,"author":2945,"museum":78,"description":10207,"tags":10208,"thumbUrl":10209,"material":86,"size":86,"collection":86,"collections":10210,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[464,27,36,81,29,32,7,382,34,178,60,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":10212,"slug":10213,"title":10214,"dynasty":18,"author":7083,"museum":78,"description":10215,"tags":10216,"thumbUrl":10217,"material":86,"size":86,"collection":86,"collections":10218,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},234209,"shu-hua-he-bi-juan-liu-jue-234209","书画合璧卷","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。",[23,55,24,25,26,37,38,27,36,29,7,33,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2727e34c1088f093d9673232a8eced1b.jpg",[],{"id":10220,"slug":10221,"title":10222,"dynasty":18,"author":1262,"museum":78,"description":10223,"tags":10224,"thumbUrl":10225,"material":86,"size":86,"collection":86,"collections":10226,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","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。 [1]\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”。",[23,24,25,26,27,38,37,58,29,60,30,31,7,1254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":10228,"slug":10229,"title":3902,"dynasty":18,"author":650,"museum":175,"description":8108,"tags":10230,"thumbUrl":10231,"material":5403,"size":2409,"collection":86,"collections":10232,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},234061,"shan-shui-ce-dong-qi-chang-234061",[24,25,162,27,36,29,31,234,33,3965,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":10234,"slug":10235,"title":3902,"dynasty":18,"author":2945,"museum":175,"description":10236,"tags":10237,"thumbUrl":10238,"material":608,"size":10239,"collection":86,"collections":10240,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[24,25,162,27,36,29,7,31,34,33,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg","57×39 公分",[],{"id":10242,"slug":10243,"title":10244,"dynasty":173,"author":748,"museum":175,"description":10245,"tags":10246,"thumbUrl":10248,"material":789,"size":10249,"collection":86,"collections":10250,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773","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。",[24,25,162,27,28,29,33,10247,31,34,60,38,58,36,7,30],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg","纵27厘米，横21.3厘米",[],{"id":10252,"slug":10253,"title":915,"dynasty":173,"author":748,"museum":175,"description":916,"tags":10254,"thumbUrl":10255,"material":165,"size":920,"collection":86,"collections":10256,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},233126,"yuan-ji-shan-shui-ce-shi-tao-233126",[55,24,25,162,27,36,29,234,84,7,60,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a307905955c7d593b96754ac05d484.jpg",[],{"id":10258,"slug":10259,"title":10260,"dynasty":18,"author":4366,"museum":96,"description":10261,"tags":10262,"thumbUrl":10263,"material":165,"size":10264,"collection":86,"collections":10265,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,26,27,29,36,37,38,58,34,33,31,30,7,60,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":10267,"slug":10268,"title":10269,"dynasty":18,"author":1262,"museum":78,"description":10270,"tags":10271,"thumbUrl":10272,"material":86,"size":86,"collection":86,"collections":10273,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图","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”。",[23,24,25,26,27,36,38,58,29,302,33,34,7,32,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":10275,"slug":10276,"title":10277,"dynasty":18,"author":10278,"museum":115,"description":10279,"tags":10280,"thumbUrl":10281,"material":165,"size":10282,"collection":86,"collections":10283,"showCount":10135,"zanCount":373,"manualWeight":11,"mainColor":71},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,24,28,36,146,29,302,7,33,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 x 38.1cm",[],{"id":10285,"slug":10286,"title":10287,"dynasty":173,"author":10288,"museum":1122,"description":10289,"tags":10290,"thumbUrl":10291,"material":7932,"size":10292,"collection":86,"collections":10293,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,24,27,146,29,36,81,30,31,7,84,1496,302,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":10295,"slug":10296,"title":10297,"dynasty":4498,"author":6741,"museum":78,"description":6742,"tags":10298,"thumbUrl":10299,"material":317,"size":396,"collection":86,"collections":10300,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风",[24,25,146,27,36,29,7,33,34,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":10302,"slug":10303,"title":10304,"dynasty":4498,"author":2763,"museum":78,"description":10305,"tags":10306,"thumbUrl":10307,"material":86,"size":86,"collection":86,"collections":10308,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":71},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,26,57,28,161,60,61,29,30,31,7,33,342,2766,99,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],{"id":10310,"slug":10311,"title":10312,"dynasty":18,"author":474,"museum":78,"description":10313,"tags":10314,"thumbUrl":10315,"material":86,"size":86,"collection":86,"collections":10316,"showCount":10135,"zanCount":373,"manualWeight":11,"mainColor":9322},228790,"yan-he-qing-hui-ce-yi-ming-228790","岩壑清晖册","此作用笔秀润淡逸，以柔缓皴染晕出山峦烟岚，将远山融在朦胧霭气之中，虚实相生，铺展出幽远空寂的天地。近景苍树虬劲蓊郁，旁侧修竹亭亭，与山居茅檐相映成趣。\n\n廊下士人斜卧凭栏，似在静听竹风，阶侧童子敛声侍立，寥寥数笔便勾勒出林下幽居的松弛意态。淡赭绢底晕出古雅暖意，整幅画将林泉高致的文人心境藏在笔墨之间，以清简构图传递出萧散闲雅的山居意趣，尽显幽栖丘壑、寄情烟霞的林下风流。",[24,55,25,162,28,57,36,29,7,439,118,61,60,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d18bef70057de2123fbe18762c9072.jpg",[],{"id":10318,"slug":10319,"title":10320,"dynasty":18,"author":10321,"museum":78,"description":10322,"tags":10323,"thumbUrl":10324,"material":86,"size":86,"collection":86,"collections":10325,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},228491,"you-he-tu-du-jin-228491","友鹤图","杜堇","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,24,25,26,27,38,58,37,29,60,147,439,234,7,3005],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":10327,"slug":10328,"title":10329,"dynasty":18,"author":4366,"museum":78,"description":10330,"tags":10331,"thumbUrl":10332,"material":86,"size":86,"collection":86,"collections":10333,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":71},228310,"min-you-tu-xiang-sheng-mo-228310","闽游图","此作以平远长卷铺展江天胜景，江波婉转，矶岩错落百态，或嶙峋如剑，或浑朴似卧牛，尽现山水奇崛灵动之姿。山间村舍错落，江上扁舟泛波，旅人、渔者隐于林泉，烟火意趣暗藏苍莽丘壑之中。用笔清劲秀逸，淡墨晕染出空濛悠远的氤氲气韵，将漫游所见的山水奇景与乡野闲趣融为一体，以文人视角定格千里江川的悠然意致，尽显清雅苍润的山水格调。",[23,24,25,26,27,28,36,29,34,33,61,30,31,32,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56cb2f0f807be7ba59799de60f9c362.jpg",[],{"id":10335,"slug":10336,"title":10337,"dynasty":378,"author":7904,"museum":78,"description":10338,"tags":10339,"thumbUrl":10340,"material":86,"size":86,"collection":86,"collections":10341,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":46},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,25,26,27,38,344,37,36,58,29,32,7,33,34,99,31,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":10343,"slug":10344,"title":10345,"dynasty":4498,"author":474,"museum":78,"description":10346,"tags":10347,"thumbUrl":10350,"material":317,"size":396,"collection":86,"collections":10351,"showCount":10135,"zanCount":11,"manualWeight":11,"mainColor":399},225313,"fu-shi-hui-48-yi-ming-225313","浮世绘48","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[10348,10349,28,57,60,83,61,7,630,33,34,583,1538],"浮世绘","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac7ff525e9b9ad13515af96fc67cf3c4.jpg",[],{"id":10353,"slug":10354,"title":10355,"dynasty":173,"author":1340,"museum":78,"description":10356,"tags":10357,"thumbUrl":10358,"material":86,"size":86,"collection":86,"collections":10359,"showCount":10135,"zanCount":373,"manualWeight":11,"mainColor":46},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具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彦宗,又字子述",[24,25,162,27,29,7,303,416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0cacaeb23cdf518d56ce5c74bd9e36.jpg",[42],{"id":10543,"slug":10544,"title":9885,"dynasty":173,"author":1750,"museum":175,"description":9886,"tags":10545,"thumbUrl":10546,"material":4283,"size":9889,"collection":86,"collections":10547,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},234968,"wu-wai-tian-yuan-tu-ce-kun-can-234968",[24,25,55,162,27,36,38,37,29,34,33,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb83a200d601cbbccabe8731da975f46.jpg",[],{"id":10549,"slug":10550,"title":10551,"dynasty":18,"author":4751,"museum":175,"description":4752,"tags":10552,"thumbUrl":10553,"material":789,"size":4755,"collection":86,"collections":10554,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},234807,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-yang-he-jian-tu-ye-wen-jia-234807","吴门诸家寿袁方斋三绝册-养鹤涧图页",[24,25,162,28,29,118,7,31,3005,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb209611b069597ed97b0b3f1804b6054.jpg",[],{"id":10556,"slug":10557,"title":3693,"dynasty":173,"author":10558,"museum":175,"description":10559,"tags":10560,"thumbUrl":10561,"material":789,"size":86,"collection":86,"collections":10562,"showCount":10459,"zanCount":524,"manualWeight":11,"mainColor":46},234767,"huang-shan-tu-ce-jiang-zhu-234767","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,162,28,29,34,61,30,31,7,33,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c19b8f917096bf3b23a305e7fcab4ed.jpg",[],{"id":10564,"slug":10565,"title":3902,"dynasty":173,"author":10566,"museum":175,"description":10567,"tags":10568,"thumbUrl":10570,"material":789,"size":86,"collection":86,"collections":10571,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,28,27,36,2218,58,29,416,10569,34,31,7,33],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":10573,"slug":10574,"title":10575,"dynasty":173,"author":4580,"museum":175,"description":10576,"tags":10577,"thumbUrl":10578,"material":249,"size":10579,"collection":86,"collections":10580,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":71},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱小园闲咏图册","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n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”。",[24,28,162,37,58,29,34,33,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg","25.7×33厘米",[],{"id":10582,"slug":10583,"title":10584,"dynasty":18,"author":10585,"museum":175,"description":10586,"tags":10587,"thumbUrl":10588,"material":212,"size":10589,"collection":86,"collections":10590,"showCount":10459,"zanCount":373,"manualWeight":11,"mainColor":46},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,25,26,28,36,37,29,30,31,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":10592,"slug":10593,"title":10594,"dynasty":173,"author":1340,"museum":175,"description":4844,"tags":10595,"thumbUrl":10596,"material":212,"size":10597,"collection":86,"collections":10598,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,25,55,26,28,29,36,570,30,31,3438,33,61,7,416,303,35,1620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":10600,"slug":10601,"title":4924,"dynasty":173,"author":10602,"museum":78,"description":10603,"tags":10604,"thumbUrl":10605,"material":86,"size":86,"collection":86,"collections":10606,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},234150,"shan-shui-he-juan-liu-ru-shi-234150","柳如是","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[23,24,25,26,27,82,36,38,58,29,30,31,7,33,34,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":10608,"slug":10609,"title":10610,"dynasty":18,"author":1262,"museum":175,"description":10611,"tags":10612,"thumbUrl":10613,"material":249,"size":10614,"collection":86,"collections":10615,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,25,26,28,57,36,38,37,29,7,30,31,34,33,35,776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":10617,"slug":10618,"title":10619,"dynasty":94,"author":10620,"museum":175,"description":10621,"tags":10622,"thumbUrl":10623,"material":292,"size":10624,"collection":86,"collections":10625,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},233851,"he-quan-cao-tang-ke-hua-tu-ye-he-quan-233851","何荃草堂客话图页","何筌","《草堂客话图》为南宋画家何荃所作。画左方松树干上署“辛卯何筌制”五字款。裱边题签“何荃草堂客话图”。对幅李佐贤跋云：“此幅旧题‘何筌《草堂客话》’，系梁蕉林相国笔迹。按筌名画谱无徵，不知此题何所据，然画笔细入毫芒，无微不到而一丝不乱，工雅兼长，洵属宋人真实本领，元以后无此画境矣。”\n图绘乡间草堂两间，绿柳、青松、翠竹环绕其间。左侧屋内两人对坐，一童子侍立院中。右侧亭内一人侧躺，神态悠闲。乡间小路上孩童三三两两，嬉戏游玩。\n何荃，南宋画家，生卒年不详。",[24,25,162,27,28,29,61,30,31,60,33,7,36,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4373cb59dd54263cc79e2110d7f29cec.jpg","24x23cm",[],{"id":10627,"slug":10628,"title":10629,"dynasty":18,"author":51,"museum":175,"description":2216,"tags":10630,"thumbUrl":10631,"material":212,"size":10632,"collection":86,"collections":10633,"showCount":10459,"zanCount":11,"manualWeight":11,"mainColor":46},233763,"ren-wu-gu-shi-ce-10-chou-ying-233763","人物故事册10",[55,24,25,2218,57,28,29,60,33,34,952,7,2219],"https:\u002F\u002Foss.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author":2925,"museum":78,"description":10893,"tags":10894,"thumbUrl":10895,"material":86,"size":86,"collection":86,"collections":10896,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,25,27,36,162,29,7,33,34,35,100,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":10898,"slug":10899,"title":1425,"dynasty":173,"author":1340,"museum":78,"description":10900,"tags":10901,"thumbUrl":10903,"material":185,"size":10904,"collection":86,"collections":10905,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},234717,"fang-gu-shan-shui-ce-wang-hui-234717","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,25,162,27,36,81,29,84,7,439,178,10902,34,1174,4150,58],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","25.6厘米，横：20.5厘米",[],{"id":10907,"slug":10908,"title":10909,"dynasty":18,"author":474,"museum":175,"description":10910,"tags":10911,"thumbUrl":10912,"material":86,"size":86,"collection":86,"collections":10913,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":71},234211,"yue-dai-xi-shan-xiao-si-tu-juan-yi-ming-234211","岳岱溪山萧寺图卷","此作以长卷铺展山野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,55,24,25,26,27,28,36,29,61,30,31,7,63,210,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":10915,"slug":10916,"title":10917,"dynasty":173,"author":1878,"museum":78,"description":10918,"tags":10919,"thumbUrl":10921,"material":86,"size":86,"collection":86,"collections":10922,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,24,26,27,29,36,276,263,7,118,35,32,101,149,5434,180,303,179,10920,63],"沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":10924,"slug":10925,"title":10926,"dynasty":18,"author":474,"museum":175,"description":10927,"tags":10928,"thumbUrl":10929,"material":789,"size":86,"collection":86,"collections":10930,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[23,24,25,26,27,29,60,38,4681,37,58,33,31,32,7,63,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":10932,"slug":10933,"title":10934,"dynasty":173,"author":1340,"museum":78,"description":10935,"tags":10936,"thumbUrl":10937,"material":86,"size":86,"collection":86,"collections":10938,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":127},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","江山秋色图","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,27,36,28,29,30,31,34,33,302,7,58,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":10940,"slug":10941,"title":10942,"dynasty":173,"author":10943,"museum":78,"description":10944,"tags":10945,"thumbUrl":10946,"material":86,"size":86,"collection":86,"collections":10947,"showC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的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,146,27,28,57,36,29,488,35,33,34,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":10949,"slug":10950,"title":10951,"dynasty":18,"author":2925,"museum":78,"description":10952,"tags":10953,"thumbUrl":10954,"material":86,"size":86,"collection":86,"collections":10955,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,162,28,27,29,36,247,99,31,30,61,33,63,7,34,181,60,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":10957,"slug":10958,"title":10959,"dynasty":18,"author":4366,"museum":78,"description":10960,"tags":10961,"thumbUrl":10962,"material":86,"size":86,"collection":86,"collections":10963,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[23,24,25,26,27,29,36,58,37,38,34,33,952,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":10965,"slug":10966,"title":10967,"dynasty":378,"author":10968,"museum":78,"description":10969,"tags":10970,"thumbUrl":10971,"material":86,"size":86,"collection":86,"collections":10972,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":399},228029,"fang-you-tu-zhao-yong-228029","访友图","赵雍","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,24,28,29,36,60,7,33,30,31,209,210,84,63,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":10974,"slug":10975,"title":10976,"dynasty":94,"author":474,"museum":78,"description":10977,"tags":10978,"thumbUrl":10979,"material":86,"size":86,"collection":86,"collections":10980,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[55,24,25,28,29,7,416,178,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":10982,"slug":10983,"title":10984,"dynasty":94,"author":474,"museum":78,"description":10985,"tags":10986,"thumbUrl":10987,"material":86,"size":86,"collection":86,"collections":10988,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":71},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,55,24,25,161,57,28,29,61,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":10990,"slug":10991,"title":10992,"dynasty":173,"author":1515,"museum":78,"description":10993,"tags":10994,"thumbUrl":10995,"material":10996,"size":10997,"collection":86,"collections":10998,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":71},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,27,28,36,162,29,34,31,7,35,33,30,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg","墨色绢本","48x32",[],{"id":11000,"slug":11001,"title":11002,"dynasty":173,"author":2467,"museum":78,"description":11003,"tags":11004,"thumbUrl":11005,"material":86,"size":86,"collection":86,"collections":11006,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":71},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,146,28,57,36,29,60,30,31,7,35,416,34,5434,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":11008,"slug":11009,"title":11010,"dynasty":378,"author":474,"museum":78,"description":11011,"tags":11012,"thumbUrl":11013,"material":86,"size":86,"collection":86,"collections":11014,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":71},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,55,24,25,162,28,161,57,60,61,7,2189,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":11016,"slug":11017,"title":4964,"dynasty":378,"author":474,"museum":96,"description":11018,"tags":11019,"thumbUrl":11020,"material":11021,"size":11022,"collection":86,"collections":11023,"showCount":10796,"zanCount":373,"manualWeight":11,"mainColor":71},223508,"lin-ting-qiu-se-tu-yi-ming-223508","沿江冈陵起伏，霜气已深，岁将暮矣。满山寒林卓立，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收网，朝起江村，各有所事。\n本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空阔，气象萧疏，使人凛然而有寒意。无款印。",[23,24,55,25,27,36,29,7,210,84,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e60592ae246de35dc4631b352b3bbc3.jpg","绢本浅设色","27.5x50.7厘米",[],{"id":11025,"slug":11026,"title":11027,"dynasty":173,"author":3842,"museum":1122,"description":3843,"tags":11028,"thumbUrl":11029,"material":292,"size":3848,"collection":86,"collections":11030,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,25,26,57,28,7,61,60,303,1023,34,59,1126,687,1125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":11032,"slug":11033,"title":11034,"dynasty":18,"author":4429,"museum":258,"description":6919,"tags":11035,"thumbUrl":11036,"material":165,"size":11037,"collection":86,"collections":11038,"showCount":10796,"zanCount":11,"manualWeight":11,"mainColor":46},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴",[23,24,25,55,146,27,36,29,261,2388,61,32,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":11040,"slug":11041,"title":11042,"dynasty":378,"author":3167,"museum":3168,"description":11043,"tags":11044,"thumbUrl":11045,"material":11046,"size":11047,"collection":86,"collections":11048,"showCount":10796,"zanCount":373,"manualWeight":11,"mainColor":86},220658,"you-ting-yuan-xiu-tu-tao-xuan-220658","幽亭远岫图","《幽亭远岫图》为陶铉现存仅知的作品，画幅左上方有陶氏款识，说明是至正五年（1345）为友人王迪简所绘。陶铉生平仅元代夏文彦《图绘宝鉴》中有简短记载，谓陶氏号菊村 ，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,24,55,146,27,36,29,7,118,439,1948,263,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","水墨,纸本,立轴","画心：58×31.7厘米 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(1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,55,25,162,27,36,29,247,7,35,99,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8d4db09053f098e95e9302d75be369.jpg",[],{"id":11143,"slug":11144,"title":11145,"dynasty":173,"author":11146,"museum":78,"description":11147,"tags":11148,"thumbUrl":11150,"material":317,"size":396,"collection":86,"collections":11151,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},290597,"li-ting-lan-ai-zhou-zhang-ruo-cheng-290597","笠亭岚霭轴","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[24,146,27,29,7,382,34,58,36,1254,37,11149],"雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce9df91f18d73772922409452cc1e397.jpg",[],{"id":11153,"slug":11154,"title":11155,"dynasty":18,"author":650,"museum":78,"description":7704,"tags":11156,"thumbUrl":11157,"material":317,"size":396,"collection":86,"collections":11158,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},283719,"jia-shu-chui-yin-tu-zhou-dong-qi-chang-283719","嘉树垂荫图轴",[24,25,146,27,29,7,34,84,37,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66b384a91d0ebbfffebf386380377a3.jpg",[],{"id":11160,"slug":11161,"title":11162,"dynasty":173,"author":474,"museum":78,"description":11163,"tags":11164,"thumbUrl":11168,"material":317,"size":396,"collection":86,"collections":11169,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},272836,"zi-tan-mu-bian-zuo-qian-ci-bai-di-qing-hua-shan-shui-tu-cha-ping-yi-ming-272836","紫檀木边座嵌瓷白地青花山水图插屏","青花瓷（blue 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porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[11165,11166,9475,11167,1664,29,32,30,31,7,33,60,247],"青花","陶瓷","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed00e7621d03287f1ae29c4fb16db2f.jpg",[],{"id":11171,"slug":11172,"title":9153,"dynasty":173,"author":9154,"museum":78,"description":9155,"tags":11173,"thumbUrl":11174,"material":86,"size":86,"collection":86,"collections":11175,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[24,25,162,28,57,37,58,7,61,33,34,1023,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":11177,"slug":11178,"title":9153,"dynasty":173,"author":9154,"museum":78,"description":9155,"tags":11179,"thumbUrl":11180,"material":86,"size":86,"collection":86,"collections":11181,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,25,162,28,56,27,29,34,33,382,7,31,58,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":11183,"slug":11184,"title":8425,"dynasty":18,"author":3114,"museum":78,"description":11185,"tags":11186,"thumbUrl":11188,"material":317,"size":396,"collection":86,"collections":11189,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":127},237964,"shan-shui-shan-ye-wen-bo-ren-237964","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[464,27,36,29,33,34,952,60,7,11187,2407],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0d74be524d3c7e5a4ee1128812e7204.jpg",[],{"id":11191,"slug":11192,"title":5488,"dynasty":173,"author":3793,"museum":78,"description":11193,"tags":11194,"thumbUrl":11195,"material":86,"size":86,"collection":42,"collections":11196,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,25,162,27,36,37,58,29,33,34,31,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[42,733],{"id":11198,"slug":11199,"title":5488,"dynasty":173,"author":11200,"museum":78,"description":11201,"tags":11202,"thumbUrl":11203,"material":86,"size":86,"collection":42,"collections":11204,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},237773,"shan-shui-tu-ce-ye-xin-237773","叶欣","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,25,162,28,29,32,7,33,34,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[42],{"id":11206,"slug":11207,"title":3902,"dynasty":173,"author":6292,"museum":175,"description":11208,"tags":11209,"thumbUrl":11210,"material":789,"size":86,"collection":86,"collections":11211,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},237191,"shan-shui-ce-sun-yi-237191","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,29,162,28,36,276,666,147,118,263,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed226bcb7451e0855a0e8ac8e024d137.jpg",[],{"id":11213,"slug":11214,"title":11215,"dynasty":18,"author":8476,"museum":78,"description":11216,"tags":11217,"thumbUrl":11218,"material":317,"size":396,"collection":86,"collections":11219,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},236292,"fang-dong-ju-shan-shui-shan-zheng-zhong-236292","仿董巨山水扇","郑重，字千里，号无著，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身。亦画山水小景。摹仿宋、元体均精妍。万历四十年（1612）临王蒙葛仙移居图，顺治五年（1648）作《十月岭梅图》。《无声诗史、歙县志、故宫书画集、风雨楼扇粹》。",[24,25,464,27,36,29,7,33,34,178,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed8d49fe244e8fef28c5ebf7ff8baf7.jpg",[],{"id":11221,"slug":11222,"title":11223,"dynasty":18,"author":11224,"museum":78,"description":11225,"tags":11226,"thumbUrl":11227,"material":86,"size":86,"collection":86,"collections":11228,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},235839,"yu-nv-tan-tu-ye-zhu-lang-235839","玉女潭图页","朱朗","此作用笔温润雅致，右侧幽谷深潭静卧山坳，苍岩皴笔朴拙苍劲，潭水以淡墨晕染出澄澈空濛之态。临潭水榭半隐于松荫翠色中，隐约有人凭栏观览，将林泉雅意收于咫尺画幅。\n\n左侧题咏行书笔致清逸舒展，诗画相映，衬出潭水的仙灵意境。整幅工写兼施，将江南山水的温婉秀润与文人幽居雅兴相融，以细腻笔墨勾勒出涤净尘俗的林泉胜境，尽显寄情山水的抒情意趣。",[24,25,28,29,38,36,58,7,33,31,34,583,99,181,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa612ad865fbda0ae6c6443e63e8c7ad5.jpg",[],{"id":11230,"slug":11231,"title":11232,"dynasty":173,"author":474,"museum":78,"description":11233,"tags":11234,"thumbUrl":11235,"material":86,"size":86,"collection":86,"collections":11236,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},235669,"yuan-yao-shan-shui-ping-wan-song-die-cui-yi-ming-235669","袁耀山水屏-万松叠翠","此作以平远之法铺展意境，烟波浩渺的水中央渔舟错落，漾出鲜活的烟火意趣。近岸孤亭翼然矗立，凭栏可尽览春水汤汤。层叠山峦渐次抬升，古松苍劲蟠虬遍布崖间，粉花点缀在青绿间晕开春日暖意，山坳间云烟漫溢，柔化了山石嶙峋棱角。\n\n笔墨清润雅致，皴染兼具，既勾勒出山峦肌理脉络，又以淡色晕染出江南山水的氤氲温润。静穆丘壑与渔家日常相映相融，将春日江南的安闲悠然藏入尺幅，融写景之真与写意之柔，尽显清润平和的山水意韵。",[24,25,28,57,36,29,147,61,342,34,33,99,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647fdf8eda29f8f9c0689b73a349e40c.jpg",[],{"id":11238,"slug":11239,"title":3902,"dynasty":18,"author":11240,"museum":78,"description":11241,"tags":11242,"thumbUrl":11243,"material":317,"size":396,"collection":86,"collections":11244,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},235354,"shan-shui-ce-zhang-fu-yang-235354","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[24,25,162,27,29,4681,58,36,7,439,34,180,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F881b45a415a6b7ceebf1003120b8678b.jpg",[],{"id":11246,"slug":11247,"title":3902,"dynasty":173,"author":4742,"museum":78,"description":11248,"tags":11249,"thumbUrl":11250,"material":86,"size":86,"collection":86,"collections":11251,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},235168,"shan-shui-ce-zhu-da-235168","淡墨轻勾慢染，主峰隐在晕开的烟岚之中，留白似流岚将山形托得愈发幽寂高旷。下方丘峦错落，林木萧疏，数笔点染便勾勒出山野荒寒之态，全无繁复皴擦，却把天地空茫尽数铺陈。\n\n以极简笔墨写就山河寥廓，留白如江上寒烟，将冷寂淡远的意趣藏在笔墨间隙，不见半分烟火气，只剩山水与心神默然对谈。朱红印色落在素纸之上，冷暖相映，更衬出画面空灵淡远，仿佛将孤寂心绪随着淡墨晕开在纸间，余韵悠长。",[24,25,162,27,29,918,6487,33,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6749c4cf97a18419b7e316209411ff4f.jpg",[],{"id":11253,"slug":11254,"title":3902,"dynasty":173,"author":3823,"museum":175,"description":6109,"tags":11255,"thumbUrl":11256,"material":942,"size":6112,"collection":86,"collections":11257,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},235017,"shan-shui-ce-wu-li-235017",[24,27,29,162,36,7,118,34,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a9bf9b278d1b6f75273acc3fd1ce95.jpg",[],{"id":11259,"slug":11260,"title":9885,"dynasty":173,"author":1750,"museum":175,"description":9886,"tags":11261,"thumbUrl":11262,"material":4283,"size":9889,"collection":86,"collections":11263,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},234966,"wu-wai-tian-yuan-tu-ce-kun-can-234966",[24,25,162,27,29,147,666,7,3965,2088,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb02271028ddcb05ec95b99f2e0965.jpg",[],{"id":11265,"slug":11266,"title":6569,"dynasty":173,"author":11267,"museum":78,"description":11268,"tags":11269,"thumbUrl":11270,"material":86,"size":86,"collection":86,"collections":11271,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},234677,"shan-shui-ce-ye-tong-yu-xiu-234677","佟毓秀","佟毓秀生卒年不详，字钟山，襄平（今辽宁辽阳）人，汉军正蓝旗人。\n光绪版《中国人名大辞典》云佟氏“仕至甘肃巡抚，善画山水。”除甘肃巡抚，佟毓秀还在康熙二十七年（1688）出仕云南巡抚。\n《中国美术家人名辞典》称其：“曾游钱封之门。山水率笔纵横排奡，与蓝瑛相似，惟嫌气格过于粗豪。老年又以枯涩见长。卒年八十余。”钱封工画山水，落笔高古，品格绝尘，一时名人从游者众。蓝瑛明末清初名山水画家，宗法宋元，又自成一家，落笔秀润，晚年笔力苍劲，气象峻迈。从辞书上悉，佟毓秀的山水是以粗率为特点的。",[24,27,162,29,7,118,34,263,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d83db5cfac4b04eaabd238ebe03ace5.jpg",[],{"id":11273,"slug":11274,"title":11275,"dynasty":18,"author":2945,"museum":78,"description":10207,"tags":11276,"thumbUrl":11277,"material":86,"size":86,"collection":86,"collections":11278,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},234637,"fang-ni-yun-lin-shan-shui-shan-ye-lan-ying-234637","仿倪云林山水扇页",[24,25,464,27,81,36,29,118,34,178,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1600bed19ce55d40b46ed0b1d4f262d8.jpg",[],{"id":11280,"slug":11281,"title":11282,"dynasty":173,"author":11283,"museum":78,"description":11284,"tags":11285,"thumbUrl":11286,"material":86,"size":86,"collection":86,"collections":11287,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},234612,"shan-shui-wan-shan-zhang-zhi-wan-234612","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[55,24,25,464,27,36,276,302,7,118,34,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8481e7d89e0da642dc11c5e031fd6b.jpg",[],{"id":11289,"slug":11290,"title":11291,"dynasty":18,"author":2945,"museum":175,"description":10207,"tags":11292,"thumbUrl":11293,"material":86,"size":86,"collection":86,"collections":11294,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":399},234476,"fang-mi-fei-shan-shui-shan-ye-lan-ying-234476","仿米芾山水扇页",[24,464,27,29,81,7,63,34,99,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a5a4290051bbe9bdc2e265db525275.jpg",[],{"id":11296,"slug":11297,"title":11298,"dynasty":173,"author":727,"museum":175,"description":11299,"tags":11300,"thumbUrl":11301,"material":185,"size":86,"collection":86,"collections":11302,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,24,25,26,27,82,38,762,58,439,29,118,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":11304,"slug":11305,"title":11306,"dynasty":18,"author":51,"museum":175,"description":10586,"tags":11307,"thumbUrl":11308,"material":212,"size":10589,"collection":86,"collections":11309,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷",[24,25,26,28,57,36,38,37,58,29,60,61,30,31,7,63,33,180,178,1715,1081,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg",[],{"id":11311,"slug":11312,"title":11313,"dynasty":18,"author":11314,"museum":96,"description":11315,"tags":11316,"thumbUrl":11317,"material":5384,"size":11318,"collection":86,"collections":11319,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},231407,"xiao-xiang-ba-jing-ba-kai-zhang-fu-231407","潇湘八景八开","张复","张復（1546—约1631），字元春，号苓石，江苏太仓人。少年时从钱榖学画，山水摹荆浩、关仝、马远、夏珪、黄公望、沈周，博采众长，晚年自成一家，为吴门画派名家。",[23,24,25,162,27,36,161,29,61,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d47fbd7178128b198163f92967b60e.jpg","40x36cm",[],{"id":11321,"slug":11322,"title":8499,"dynasty":173,"author":6652,"museum":78,"description":11323,"tags":11324,"thumbUrl":11325,"material":317,"size":396,"collection":86,"collections":11326,"showCount":153,"zanCount":373,"manualWeight":11,"mainColor":46},230923,"shan-shui-tu-shan-mian-shang-rui-230923","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,464,27,28,29,33,7,60,570,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":11328,"slug":11329,"title":11330,"dynasty":4498,"author":474,"museum":78,"description":11331,"tags":11332,"thumbUrl":11333,"material":317,"size":396,"collection":86,"collections":11334,"showCount":153,"zanCount":373,"manualWeight":11,"mainColor":46},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,25,26,28,1428,58,29,60,31,33,99,34,7,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":11336,"slug":11337,"title":11338,"dynasty":4498,"author":11339,"museum":78,"description":11340,"tags":11341,"thumbUrl":11342,"material":317,"size":396,"collection":86,"collections":11343,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,25,146,27,36,29,34,416,7,31,1254,2029,84,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":11345,"slug":11346,"title":11347,"dynasty":18,"author":474,"museum":78,"description":11348,"tags":11349,"thumbUrl":11350,"material":86,"size":86,"collection":86,"collections":11351,"showCount":153,"zanCount":373,"manualWeight":11,"mainColor":71},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,25,55,26,57,28,60,61,30,31,7,544,29,33,34,3149,2769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":11353,"slug":11354,"title":11355,"dynasty":18,"author":1091,"museum":78,"description":11356,"tags":11357,"thumbUrl":11358,"material":86,"size":86,"collection":86,"collections":11359,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,25,162,28,27,29,570,7,33,1174,38,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":11361,"slug":11362,"title":11363,"dynasty":18,"author":1212,"museum":78,"description":11364,"tags":11365,"thumbUrl":11366,"material":86,"size":86,"collection":86,"collections":11367,"showCount":153,"zanCount":373,"manualWeight":11,"mainColor":46},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,25,26,27,57,38,29,60,7,30,31,33,101,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":11369,"slug":11370,"title":2395,"dynasty":94,"author":353,"museum":78,"description":11371,"tags":11372,"thumbUrl":11373,"material":86,"size":86,"collection":86,"collections":11374,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},227582,"xiao-jing-tu-juan-li-gong-lin-227582","李公麟，北宋著名画家，字伯时，号龙眠居士，北宋舒州(今桐城)人。其白描绘画为当时第一，《宣和画谱》第七卷评价他的作品曰：“(龙眠)尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。”\n\n《孝经》大约成书于公元前350-公元前200年，在北宋时被列入“十三经”，成为儒家经典之一。李公麟的话中加入了他对孝道的理解，作品将道德承载功用与书法功底结合，以及宋人以书法来翻译古人模拟自然的画法。",[23,55,24,25,26,82,27,60,61,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750ead0dcaa7216f7a4c885b5bc5545.jpg",[],{"id":11376,"slug":11377,"title":11378,"dynasty":94,"author":474,"museum":78,"description":11379,"tags":11380,"thumbUrl":11381,"material":86,"size":86,"collection":86,"collections":11382,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},223642,"peng-ying-xian-guan-tu-yi-ming-223642","蓬瀛仙馆图","此作以界画笔法层叠绘出仙山楼阁，殿宇廊庑排布严整精巧，错落掩映于深林茂树之间，汀岸临水铺展，烟波轻笼，晕染出缥缈出尘的世外氛围。\n\n整幅设色古雅沉静，线条工致秀挺，将想象中的仙乡胜境具象呈现，带着宋画特有的含蓄清远。搭配题诗呼应画境，把环山临水的清隽意趣与可望不可即的幽邃雅致相融，观之恍若踏入蓬阆，暂别俗世喧嚣，神游这片清幽仙境。",[23,24,25,464,161,28,61,7,29,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9ee517b14027e7e9f1d81a16ef3f7f.jpg",[],{"id":11384,"slug":11385,"title":11386,"dynasty":173,"author":474,"museum":78,"description":11387,"tags":11388,"thumbUrl":11389,"material":86,"size":86,"collection":86,"collections":11390,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,27,28,29,32,31,34,33,7,329,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":11392,"slug":11393,"title":11394,"dynasty":18,"author":11395,"museum":175,"description":11396,"tags":11397,"thumbUrl":11398,"material":292,"size":11399,"collection":86,"collections":11400,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},222428,"pan-che-tu-ce-li-xi-yan-222428","盘车图册","李希颜","李希颜，字愚庵，河南郏县人，生平不详，明代儒学家，他性格严峻，品行修养高，博览群书。朱元璋当了皇帝以后，因人推荐，亲自书写了诏书，把李希颜召进宫殿，选定他做王子们的教师。这些王子就是后来被皇帝分封的十位藩王。\n李希颜向十位小王子讲授尧舜禹商汤，行大仁、仗大义的道理与事迹，这些小王子，难免有不听教导、顽皮的时候。李希颜执教严厉，虽然是王子，有不服教育或不认真学习的，他照样用笔管打他们的脑门。打得多了，脑门上便留下了痕迹。有一天，朱元璋抚摸着小王子被打的伤痕，十分生气。马皇后知道原因后，大声的反问说：“哪里有用尧、舜的标准，来教训你儿子，反使你发脾气的?” 朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[23,24,29,28,36,61,34,33,2797,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":11402,"slug":11403,"title":11404,"dynasty":18,"author":19,"museum":20,"description":11405,"tags":11406,"thumbUrl":11407,"material":249,"size":11408,"collection":86,"collections":11409,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},222095,"liang-jiang-ming-sheng-tu-ce-7-shen-zhou-222095","两江名胜图册7","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,25,162,28,36,37,29,61,7,33,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92c5733a504a3bb180575dd9ea581efd.jpg","42.2×23.8厘米",[],{"id":11411,"slug":11412,"title":11413,"dynasty":173,"author":850,"museum":175,"description":4713,"tags":11414,"thumbUrl":11415,"material":121,"size":4716,"collection":86,"collections":11416,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":71},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪",[55,24,29,161,28,61,7,30,60,34,33,1282,2388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg",[],{"id":11418,"slug":11419,"title":11420,"dynasty":173,"author":474,"museum":4722,"description":11421,"tags":11422,"thumbUrl":11423,"material":165,"size":86,"collection":86,"collections":11424,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":399},216859,"xi-xiang-ji-tu-ce-24-yi-ming-216859","西厢记图册-24","绿树垂荫覆着半开的竹帘，庭院里湖石嶙峋，花草点缀其间。人物情态宛然：凭栏端坐者衣袂素雅，眸光似含笑意；立者二人相对低语，身形凑近，似有密语相诉；周遭草木扶疏，笔墨细腻勾描枝叶纹理与衣纹流转，淡彩晕染出清润雅致的氛围。画面将西厢故事里才子佳人的幽微情愫藏于细节，每一处景物皆默默诉说着那段古典爱情中的温柔试探与悄然心动，让观者在这一方小天地里，触摸到含蓄深沉的古典浪漫。",[55,24,25,162,28,57,60,83,118,666,3885,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9211cf2606321e2aefdebf9c10e0291.jpg",[],{"id":11426,"slug":11427,"title":11428,"dynasty":173,"author":639,"museum":450,"description":1426,"tags":11429,"thumbUrl":11430,"material":40,"size":86,"collection":86,"collections":11431,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},215015,"fang-gu-shan-shui-ce-14-wang-jian-215015","仿古山水册-14",[23,24,25,55,162,27,36,29,33,34,30,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2efea2262a97f2f0a8dacae0339853.jpg",[],{"id":11433,"slug":11434,"title":11435,"dynasty":173,"author":748,"museum":365,"description":9384,"tags":11436,"thumbUrl":11437,"material":40,"size":9387,"collection":86,"collections":11438,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":46},214526,"yi-jin-ling-ce-8-shi-tao-214526","忆金陵册-8",[24,25,162,27,36,29,7,31,234,58,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75951298d9f9cb463c2e3032e8fb2dd0.jpg",[],{"id":11440,"slug":11441,"title":497,"dynasty":6834,"author":2123,"museum":20,"description":11442,"tags":11443,"thumbUrl":11444,"material":86,"size":86,"collection":42,"collections":11445,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":8599},202849,"shan-shui-zhou-huang-bin-hong-202849","此作笔墨苍劲浑厚，皴擦点染交织出山林幽致。远山以浓淡墨积染，云雾留白虚实相生，近景山居隐于古木间，亭台临流，溪水潺潺，一派静谧清旷。线条老辣，墨色层次丰富，传统皴法与文人意境相融，仿佛可居可游，尽显山水之灵秀与笔墨之韵味。",[29,27,36,7,31,84,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb29091f45e7b226ab300b5095e829a3.jpg",[42],{"id":11447,"slug":11448,"title":11449,"dynasty":173,"author":11450,"museum":20,"description":11451,"tags":11452,"thumbUrl":11453,"material":86,"size":86,"collection":42,"collections":11454,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":11455},201737,"song-ting-wen-qiu-tu-zhou-zou-zhe-201737","松亭问秋图轴","邹喆","画面山峦层叠，皴法苍劲，山石轮廓勾勒硬朗，尽显丘壑之奇崛。几株古松虬枝横斜，笔墨灵动间见苍劲秀逸；山间小亭隐于松石旁，似待知音驻足。溪流潺潺穿林而过，衬出秋山清寂悠远之境。皴染结合，墨色浓淡相宜，既含北地山水的雄浑气势，又藏江南草木的秀润质感，意境清旷，引人入胜，尽显文人山水的雅致情韵。",[24,29,36,147,7,34,146,6530,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c906f84cc0319d7d78d6e8fc0ae3237.jpg",[42],"c09f7f",{"id":11457,"slug":11458,"title":11459,"dynasty":94,"author":474,"museum":78,"description":11460,"tags":11461,"thumbUrl":11462,"material":317,"size":396,"collection":86,"collections":11463,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":71},290623,"fang-zhang-seng-yao-shan-shui-zhou-yi-ming-290623","倣张僧繇山水轴","张僧繇，吴(今江苏苏州)人。梁天监中(502-518)为武陵王国侍郎。善道释人物，所绘没骨山水，于画坛为绝诣，后人仿之者甚多。楼观曾云：「梁天监中，张僧繇每于缣素上，不用墨笔，独以青绿重色，图成峰岚泉石，谓之没骨法。」此幅画山石用颜色填染，不用墨笔皴擦，以丹朱青绿为主色，并用白粉烘云点树，故觉奇彩艳发，神气飞扬，全幅散发著一种古厚沉鬱的气氛。然其风格笔触则似出于明末蓝瑛一门之手。",[24,55,146,56,28,29,7,33,81,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40a1b3228d7785e68ab8b572f8e3238d.jpg",[],{"id":11465,"slug":11466,"title":11467,"dynasty":18,"author":4751,"museum":78,"description":8604,"tags":11468,"thumbUrl":11469,"material":317,"size":3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淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[55,24,28,36,161,29,61,31,32,7,30,302,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":11537,"slug":11538,"title":5488,"dynasty":173,"author":3823,"museum":78,"description":11539,"tags":11540,"thumbUrl":11542,"material":86,"size":86,"collection":86,"collections":11543,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},235647,"shan-shui-tu-ce-wu-li-235647","近岸枯木虬枝遒劲，疏朗错落，坡石茅舍隐于一隅，野趣盎然。淡墨晕染远山，浑茫温润，点点飞鸟掠过长天，衬出江天寥廓空寂。右上角题诗寄怀，笔意萧散，与画面意境相融无间。\n\n整幅笔墨秀雅苍润，干笔皴擦尽显山石质感，淡墨铺陈晕染出深秋清寒气韵。以极简布景勾勒荒寒山居之境，将萧瑟秋意与静穆禅意揉合尺幅，尽显文人写意风神，淡远悠长，余韵袅袅。",[24,25,162,27,29,7,63,84,234,614,11541],"传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd83ad502c2b79feb48c37b8ae49fc.jpg",[],{"id":11545,"slug":11546,"title":8100,"dynasty":173,"author":748,"museum":78,"description":11547,"tags":11548,"thumbUrl":11549,"material":86,"size":86,"collection":86,"collections":11550,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},235524,"yuan-ji-shan-shui-tu-ce-shi-tao-235524","枯笔轻勾远景山居，林木萧疏散淡，坡崖以苔点皴擦出苍润质感，留白作溪田野径，将郊野清寂秋意铺展纸上。\n\n整幅画作简净空灵，以少胜多，不着浓墨重彩，却藏丘壑于心间。笔意松秀随性，毫无雕琢痕迹，题款轻附边角，与画面浑然一体，尽显文人山水的静穆禅意。仿佛能听见山风穿林而过，溪田静默无言，将郊野的清幽闲淡与文人情思相融，淡而有味，简而意足，把山水的天然意趣藏于简淡笔墨之中。",[24,25,162,27,36,29,33,7,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a44354a3e42f4bc287386a2df18f00.jpg",[],{"id":11552,"slug":11553,"title":9894,"dynasty":173,"author":6292,"museum":175,"description":9895,"tags":11554,"thumbUrl":11555,"material":789,"size":9898,"collection":86,"collections":11556,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},235028,"bai-ying-lou-tu-ce-ye-sun-yi-235028",[24,25,162,28,29,36,7,30,31,32,118,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056592b81dfa53b5a1a4c3aeedbef075.jpg",[],{"id":11558,"slug":11559,"title":11560,"dynasty":173,"author":10288,"museum":78,"description":11561,"tags":11562,"thumbUrl":11563,"material":86,"size":86,"collection":86,"collections":11564,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},234622,"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[24,464,29,28,36,81,7,118,34,178,1174,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":11566,"slug":11567,"title":11282,"dynasty":173,"author":11283,"museum":78,"description":11284,"tags":11568,"thumbUrl":11569,"material":86,"size":86,"collection":86,"collections":11570,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},234611,"shan-shui-wan-shan-zhang-zhi-wan-234611",[24,464,28,29,36,7,33,178,263,2147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246c0a28a14775872551e950cec067a7.jpg",[],{"id":11572,"slug":11573,"title":3902,"dynasty":173,"author":9036,"museum":1122,"description":11574,"tags":11575,"thumbUrl":11576,"material":185,"size":11577,"collection":86,"collections":11578,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},234308,"shan-shui-ce-he-yi-234308","赫奕(生卒年不详）清朝画家。一作颐，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正白旗人。官至工部尚书。性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。卒年七十七。清代绘画在当时政治、经济、思想、文化等方面的影响下，呈现出特定的时代风貌。卷轴画延续元、明以来的趋势,文人画风靡,山水画勃兴，水墨写意画法盛行。文人画呈现出崇古和创新两种趋向。在题材内容、思想情趣、笔墨技巧等方面各有不同的追求，并形成纷繁的风格和流派。谈论画理、画法的理论著作，多论述元代以来的文人画,并侧重于山水画,探讨其历史发展及艺术特点。专论画法的许多著作,往往图文并茂,以图谱形式出现。清 赫奕-山水图册现藏于旅顺博物馆。",[24,27,36,162,29,34,33,31,32,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":11580,"slug":11581,"title":3902,"dynasty":18,"author":11582,"museum":78,"description":11583,"tags":11584,"thumbUrl":11585,"material":86,"size":86,"collection":42,"collections":11586,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[23,24,25,162,27,36,38,29,276,263,30,7,33,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[42],{"id":11588,"slug":11589,"title":11590,"dynasty":173,"author":8641,"museum":175,"description":11591,"tags":11592,"thumbUrl":11593,"material":185,"size":86,"collection":86,"collections":11594,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,26,27,29,36,34,33,302,100,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":11596,"slug":11597,"title":11598,"dynasty":18,"author":4751,"museum":175,"description":11599,"tags":11600,"thumbUrl":11601,"material":165,"size":11602,"collection":86,"collections":11603,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,26,27,36,38,37,29,7267,99,247,33,1344,35,30,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":11605,"slug":11606,"title":1329,"dynasty":18,"author":1262,"museum":175,"description":11607,"tags":11608,"thumbUrl":11609,"material":3362,"size":2575,"collection":86,"collections":11610,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,25,26,28,57,38,29,7,60,31,30,33,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":11612,"slug":11613,"title":11614,"dynasty":173,"author":8677,"museum":175,"description":11615,"tags":11616,"thumbUrl":11617,"material":165,"size":11618,"collection":86,"collections":11619,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","访古纪游图册","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[24,25,162,27,36,58,37,38,29,234,7,33,101,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":11621,"slug":11622,"title":10646,"dynasty":18,"author":1262,"museum":175,"description":10647,"tags":11623,"thumbUrl":11624,"material":165,"size":10650,"collection":86,"collections":11625,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},232960,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232960",[24,25,162,38,58,82,27,29,84,630,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee28d2c156fc7135d314b5111aca8d44.jpg",[],{"id":11627,"slug":11628,"title":11629,"dynasty":378,"author":1683,"museum":96,"description":11630,"tags":11631,"thumbUrl":11632,"material":103,"size":11633,"collection":86,"collections":11634,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":71},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,24,25,26,27,36,38,37,58,29,32,30,31,7,63,84,234,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":11636,"slug":11637,"title":11638,"dynasty":94,"author":353,"museum":530,"description":11639,"tags":11640,"thumbUrl":11641,"material":11642,"size":11643,"collection":86,"collections":11644,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[23,55,24,25,26,82,60,29,583,61,7,58,37,762,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 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cm",[],{"id":11646,"slug":11647,"title":6569,"dynasty":173,"author":11648,"museum":78,"description":11649,"tags":11650,"thumbUrl":11651,"material":86,"size":86,"collection":86,"collections":11652,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[24,25,162,28,29,34,416,7,863,58,36,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":11654,"slug":11655,"title":11656,"dynasty":173,"author":1340,"museum":78,"description":11657,"tags":11658,"thumbUrl":11659,"material":86,"size":86,"collection":86,"collections":11660,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":71},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,25,26,81,29,33,32,63,329,36,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":11662,"slug":11663,"title":11664,"dynasty":94,"author":474,"museum":78,"description":11665,"tags":11666,"thumbUrl":11667,"material":86,"size":86,"collection":86,"collections":11668,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":71},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,55,24,25,464,161,57,28,29,7,33,60,61,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":11670,"slug":11671,"title":11672,"dynasty":94,"author":474,"museum":78,"description":11673,"tags":11674,"thumbUrl":11675,"material":86,"size":86,"collection":86,"collections":11676,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":71},227851,"shan-ju-dui-yi-tu-yi-ming-227851","山居对奕图","此作以边角取景，尽显空灵淡远的韵致。右侧山居隐于苍松荫翳之下，屋舍素朴雅致，藏着林泉高隐的闲趣。古松虬曲苍劲，墨色苍润勾勒出老干新枝的清劲姿态，左侧松枝斜出，与右侧景致遥相呼应。\n\n大片留白晕染出烟岚空濛的远山，虚渺朦胧如幻似真。设色淡雅清润，水墨晕染出江南山霭的柔婉，尺幅之间铺陈出世外幽居的恬然意境，将林泉高致藏于简淡取景之中，于方寸间见天地悠远，尽显山水小品以小见大的隽永之美。",[23,55,24,25,464,28,36,29,118,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe44c22249e2b9611ed2dc25841e8fab.jpg",[],{"id":11678,"slug":11679,"title":3881,"dynasty":94,"author":353,"museum":78,"description":8139,"tags":11680,"thumbUrl":11681,"material":86,"size":86,"collection":86,"collections":11682,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":71},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[23,24,25,26,82,27,60,29,32,7,63,31,37,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":11684,"slug":11685,"title":11686,"dynasty":94,"author":353,"museum":78,"description":11687,"tags":11688,"thumbUrl":11689,"material":86,"size":86,"collection":86,"collections":11690,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","群仙高会图卷","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[23,24,25,26,82,29,60,61,63,234,7,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":11692,"slug":11693,"title":11694,"dynasty":94,"author":4131,"museum":78,"description":11695,"tags":11696,"thumbUrl":11697,"material":86,"size":86,"collection":86,"collections":11698,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[23,24,25,464,27,36,29,32,7,84,234,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":11700,"slug":11701,"title":11702,"dynasty":94,"author":474,"museum":2248,"description":11703,"tags":11704,"thumbUrl":11705,"material":212,"size":11706,"collection":86,"collections":11707,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":71},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,25,26,28,57,29,60,61,30,31,32,33,7,38,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":11709,"slug":11710,"title":11711,"dynasty":173,"author":615,"museum":20,"description":5653,"tags":11712,"thumbUrl":11713,"material":2253,"size":11714,"collection":86,"collections":11715,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":46},222615,"shan-shui-ba-jing-5-gong-xian-222615","山水八景-5",[23,24,25,162,27,36,29,84,7,34,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa329c651f4d05a616990e35cfffa22.jpg","纵24.4 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年入日本川端画学校学习油画，1918-1923 年于太平洋美术学校学习油画。1923 年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[24,28,29,179,31,7,3149,118,1948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":12104,"slug":12105,"title":12106,"dynasty":173,"author":1505,"museum":175,"description":9327,"tags":12107,"thumbUrl":12108,"material":165,"size":9330,"collection":86,"collections":12109,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":46},220277,"huang-shan-tu-ce-47-hong-ren-220277","黄山图册-47",[23,24,27,36,162,29,7,30,31,34,84,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6cda6b166036c2ddff5b9d2083d9e2.jpg",[],{"id":12111,"slug":12112,"title":12113,"dynasty":173,"author":1927,"museum":4590,"description":4591,"tags":12114,"thumbUrl":12115,"material":121,"size":86,"collection":86,"collections":12116,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":46},216899,"qian-long-nan-xun-zhu-bi-tu-ye-4-qian-wei-cheng-216899","乾隆南巡驻跸图页-4",[23,24,28,57,29,61,7,33,31,63,161,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2faf8b2694a019248be9c508b319d07b.jpg",[],{"id":12118,"slug":12119,"title":12120,"dynasty":18,"author":221,"museum":175,"description":12121,"tags":12122,"thumbUrl":12123,"material":357,"size":12124,"collection":86,"collections":12125,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":46},214870,"shan-shui-ce-10-wen-zheng-ming-214870","山水册-10","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,24,25,162,27,28,29,118,34,31,7,36,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd277b11b6610c2bd7c039c5093ab69.jpg","28.5x15.7cm",[],{"id":12127,"slug":12128,"title":12129,"dynasty":6834,"author":6910,"museum":20,"description":12130,"tags":12131,"thumbUrl":12132,"material":86,"size":86,"collection":42,"collections":12133,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":12134},203284,"qiu-shan-ting-quan-tu-zhou-pu-ru-203284","秋山听泉图轴","画面中，清泉漱石穿谷而过，秋林丹翠相间，亭台隐于岩麓，幽人凭栏凝听泉声潺潺。笔墨细腻清逸，山石以皴法写就，纹理毕现；设色淡雅，红叶点染秋意，与苍松青岩相映成趣。意境静谧悠远，融自然生机与文人雅趣，尽显山林隐逸之悠然。",[24,146,29,28,36,7,31,34,25,3511,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd34d6b265ed2936549cc990d04e98591.jpg",[42],"ddd5c5",{"id":12136,"slug":12137,"title":12138,"dynasty":173,"author":1878,"museum":20,"description":12139,"tags":12140,"thumbUrl":12141,"material":86,"size":86,"collection":42,"collections":12142,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":12143},203262,"fang-gu-shan-shui-tu-ce-cha-shi-biao-203262","仿古山水图册","画面构图虚实相映，近景老树虬枝旁逸，掩映亭台一角；山间小径行人依稀，添些许生活意趣。中景楼阁依山构势，飞檐翘角以界画技法精绘，梁柱门窗勾勒细致入微。远景山峦层叠，云雾轻笼，笔墨疏朗清逸，皴染互用，既袭古贤山水之幽远意境，又融自身疏简之韵致，将建筑精巧与自然旷远相契，尽显文人画雅致格调。",[24,25,162,161,29,61,36,28,60,7,84,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93a1a1394a38d7a6cce904c6617b824.jpg",[42],"7f644e",{"id":12145,"slug":12146,"title":12147,"dynasty":6834,"author":2123,"museum":20,"description":12148,"tags":12149,"thumbUrl":12150,"material":86,"size":86,"collection":42,"collections":12151,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":12152},202955,"huang-shan-ji-you-tu-zhou-huang-bin-hong-202955","黄山纪游图轴","墨色浓淡交错，皴笔勾勒山石筋骨，淡墨晕染云雾，山峦似隐似现。亭中独坐之人与周遭枯树、溪流相映，清寂雅致。画面以文人笔墨写黄山之景，意境悠远，尽显传统山水的笔墨意趣与深邃情怀。",[24,27,28,36,146,29,7,84,31,234,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626bd145b267ba132a1f8aecd6ca5d4f.jpg",[42],"d7cebe",{"id":12154,"slug":12155,"title":12156,"dynasty":173,"author":12157,"museum":20,"description":12158,"tags":12159,"thumbUrl":12160,"material":86,"size":86,"collection":42,"collections":12161,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":12162},202199,"fang-wen-xiu-cheng-shan-shui-zhou-pan-gong-shou-202199","仿文休承山水轴","潘恭寿","笔墨承文氏家法，皴染细腻温润。近景树石苍劲，枝干虬曲，苔点繁密；中景水榭临流，幽人凭栏，意境清寂；远景山峦层叠，云雾轻笼，留白得宜。设色淡雅，构图疏密有致，既守文休承的秀逸之韵，又添灵动生机。题跋行书流畅，印章朱红点缀，诗画相映成趣，尽显文人山水的雅致意趣。",[24,29,146,81,28,36,7,60,58,38,37,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c736b62783f1ecf479f812be953177.jpg",[42],"a19381",{"id":12164,"slug":12165,"title":6177,"dynasty":173,"author":12166,"museum":20,"description":12167,"tags":12168,"thumbUrl":12169,"material":86,"size":86,"collection":42,"collections":12170,"showCount":11805,"zanCount":11,"manualWeight":11,"mainColor":12171},202090,"shan-shui-tu-zhou-wu-you-202090","吴攸","这幅山水图轴笔墨雅致，近景峭壁嶙峋，草木葱茏间隐现屋舍，溪流蜿蜒绕岸，树木姿态各异，枝干遒劲，叶色层次分明。中远景山峦起伏，墨色由浓转淡，云雾氤氲其间，虚实相生。山石以皴法勾勒肌理，线条精准，设色清雅，尽显自然生趣与文人画的空灵意境，仿佛让人置身静谧山林，心随景宁。",[24,29,146,36,28,31,33,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a02719e4bb4ba65b50a44bdeea4271.jpg",[42],"cba878",{"id":12173,"slug":12174,"title":3134,"dynasty":173,"author":4732,"museum":20,"description":12175,"tags":12176,"thumbUrl":12177,"material":86,"size":86,"collection":42,"collections":12178,"s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，主峰巍峨苍润，苔点皴擦勾勒出山石古拙肌理，尽显厚重质感。山腰松林攒簇，枝桠灵动似携山风簌簌有声。幽谷间村舍隐于林木，流泉绕石潺湲，将山居野逸之趣藏于尺幅之间。\n\n此作用笔兼取干湿，干笔皴擦见山石苍劲，湿墨晕染铺就空濛底色，浅淡设色含蓄温润，暗合宋元山水的林下余韵，将江南山水的温润空濛凝缩于册页。不见雕琢匠气，只留幽寂淡远的文人意趣，观之便如身临空山，听松涛泉响，涤尽俗尘。",[24,25,162,27,36,81,29,34,33,99,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdcf654195c2227b0a54329bda003c3.jpg",[],{"id":12375,"slug":12376,"title":3902,"dynasty":173,"author":1147,"museum":78,"description":12377,"tags":12378,"thumbUrl":12379,"material":86,"size":86,"collection":86,"collections":12380,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},236050,"shan-shui-ce-wang-yuan-qi-236050","此作用平远视角铺展春日江乡，近岸山居临水而建，柳丝如烟垂拂，桃樱绽点丹红，草木华滋晕染融融春意。以浅绛设色晕染山色，淡墨皴擦勾勒丘林肌理，远景云水空濛，汀渚花树浮沉烟岚之间，虚实相生营造出空灵淡远的韵致，将春日山水的清和闲适尽数铺陈，尽显文人寄情丘壑的雅逸襟怀。",[24,487,162,28,36,29,59,30,31,7,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe512d3ae8f8afd41df0c7f6cefd04d77.jpg",[],{"id":12382,"slug":12383,"title":12384,"dynasty":18,"author":4032,"museum":78,"description":8070,"tags":12385,"thumbUrl":12386,"material":317,"size":396,"collection":86,"collections":12387,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235953,"fang-wu-zhen-shan-shui-shan-chen-chun-235953","仿吴镇山水扇",[464,24,27,29,118,7,58,81,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649442b846db5f45bd2a309255d302df.jpg",[],{"id":12389,"slug":12390,"title":12391,"dynasty":18,"author":12392,"museum":78,"description":12393,"tags":12394,"thumbUrl":12395,"material":86,"size":86,"collection":86,"collections":12396,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235844,"jin-shan-tu-ye-wang-gu-xiang-235844","金山图页","王谷祥","此作用笔极简，右侧设色清浅柔润，以青绿轻染江心孤丘，苍松错落覆于山巅，寥寥数笔点出江中片帆、汀渚小石，大幅留白铺陈出扬子江的空阔辽远，将金山浮于江心的缥缈灵秀尽数展现。\n\n左侧行书题跋笔意隽秀挺劲，文辞详述金山形胜，书画合璧，以文衬景，把江南名刹的烟水诗意娓娓道来，淡墨轻岚间藏着悠远清宁的山水逸情，尽显淡雅疏朗的文人审美意趣。",[24,25,2218,27,28,38,37,29,276,33,7,263,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c3a799516fa8158ff1c5f6ac466aec.jpg",[],{"id":12398,"slug":12399,"title":5488,"dynasty":173,"author":3823,"museum":78,"description":12400,"tags":12401,"thumbUrl":12402,"material":86,"size":86,"collection":86,"collections":12403,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235641,"shan-shui-tu-ce-wu-li-235641","这幅山水以淡墨晕染出空濛烟雨之境，层叠远山隐在烟霭间，虚实相生，将江南雨后的山岚雾气尽数铺展。近景村居错落依偎松林修竹，屋舍俨然，带着悠然野逸的田园意趣。笔墨松秀苍润，以留白衬出烟林清润的朦胧质感，既有元人山水的萧散简淡，又晕染出温润的烟火暖意。边角题诗与笔墨意境呼应，诗画交融，将文人幽居林泉的理想铺陈开来，整体清和淡远，藏着静穆安宁的山居诗意，尽显江南山林雨后的静谧清润之美。",[24,25,162,27,29,276,118,35,7,99,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9887841a41a50cb5eb71badbb3c5ccfe.jpg",[],{"id":12405,"slug":12406,"title":12407,"dynasty":18,"author":474,"museum":78,"description":12408,"tags":12409,"thumbUrl":12410,"material":317,"size":396,"collection":86,"collections":12411,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235529,"lu-zhi-ju-qu-chun-xiao-ye-yi-ming-235529","陆治具区春晓页","此作为金笺扇面淡设色山水，以虚实相生之法铺陈意境。左侧层岩叠嶂，皴笔清刚爽利，山间柳丝拂垂，山居隐于林麓间，晕染出春日融融暖意。右侧则留白写意湖天浩渺，汀渚远岫轻描淡写，漾出水乡春晓空阔清灵的韵致。题识与朱印错落排布，书画印相映成趣，尽得文人山水的简雅逸趣，将江南春晓的温婉诗意凝于尺幅之间，淡冶雅致，尽显悠远超脱的林下之风。",[55,24,25,464,28,36,29,33,34,7,63,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfe6d46d5f07787ea6aef707f51c64d.jpg",[],{"id":12413,"slug":12414,"title":8100,"dynasty":173,"author":748,"museum":78,"description":1112,"tags":12415,"thumbUrl":12416,"material":317,"size":396,"collection":86,"collections":12417,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235518,"yuan-ji-shan-shui-tu-ce-shi-tao-235518",[24,25,27,162,36,29,630,63,7,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0cd6d5b1ed5c33a810caed58cc099c.jpg",[],{"id":12419,"slug":12420,"title":5488,"dynasty":18,"author":10537,"museum":78,"description":10538,"tags":12421,"thumbUrl":12422,"material":317,"size":396,"collection":86,"collections":12423,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235462,"shan-shui-tu-ce-pan-zheng-235462",[24,27,162,36,29,32,382,234,7,31,329,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf288a160fc81e09e1e83153a888f3a.jpg",[],{"id":12425,"slug":12426,"title":12427,"dynasty":173,"author":639,"museum":78,"description":9523,"tags":12428,"thumbUrl":12429,"material":317,"size":396,"collection":86,"collections":12430,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235344,"fang-gu-shu-hua-ce-wang-jian-235344","仿古书画册",[24,25,162,28,27,29,30,31,7,33,34,35,37,58,36,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":12432,"slug":12433,"title":12434,"dynasty":18,"author":4487,"museum":175,"description":12435,"tags":12436,"thumbUrl":12437,"material":86,"size":86,"collection":86,"collections":12438,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},235014,"le-zhi-lun-gui-qu-lai-ci-shu-hua-ce-zhang-rui-tu-235014","乐志论归去来辞书画册","该书画册为纸本，共11页，书及款7。页，墨笔画4页。\n题签：张二水书画合璧精品，渔隐题签。印文：骏叔。\n绘画部分题识：（一）白毫庵，瑞图作。印文：无画氏。（二）白毫庵，图。印文：张瑞图印。（三）白毫庵，图。印文：瑞图。（四）白毫庵，图。印文：瑞图。每页均有题句，其中两页录《归去来辞》句，其书分别为行书《乐志论》及“果亭山人瑞图”款；行书“归去来辞”。\n该作主要是以元代大画家黄公望的画法画出的，骨格苍劲，点染清逸，用笔颇有灵气，画面上山石、树木、楼阁、村舍皆刻划严谨，画境富于古意。其画皆山水，用笔秀逸，各有意境，颇得生机。\n第一幅绘雾松图，用的都是黄公望画法，第二幅溪桥雾霁图，画树法与王铎相仿，第三幅溪岸图，中锋行笔，超凡脱俗，落墨沉重，凛然生气，第四幅雪山寒松图，以偏锋笔力，劲健横撑，耸肩方折，风骨摇醉，恰似 他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[24,25,162,27,29,7,33,31,36,58,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":12440,"slug":12441,"title":12442,"dynasty":173,"author":474,"museum":78,"description":12443,"tags":12444,"thumbUrl":12445,"material":317,"size":396,"collection":86,"collections":12446,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[464,27,28,918,60,2235,439,7,234,29,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],{"id":12448,"slug":12449,"title":3902,"dynasty":173,"author":1878,"museum":78,"description":11950,"tags":12450,"thumbUrl":12451,"material":86,"size":86,"collection":86,"collections":12452,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},234644,"shan-shui-ce-cha-shi-biao-234644",[24,25,162,27,38,29,118,7,30,31,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":12454,"slug":12455,"title":11282,"dynasty":173,"author":11283,"museum":78,"description":11284,"tags":12456,"thumbUrl":12457,"material":86,"size":86,"collection":86,"collections":12458,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613",[24,25,55,464,27,36,29,30,31,302,33,101,439,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":12460,"slug":12461,"title":12462,"dynasty":173,"author":1340,"museum":175,"description":12463,"tags":12464,"thumbUrl":12465,"material":4283,"size":12466,"collection":86,"collections":12467,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","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。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[24,25,55,146,27,36,29,439,7,32,34,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":12469,"slug":12470,"title":1749,"dynasty":18,"author":326,"museum":78,"description":3204,"tags":12471,"thumbUrl":12472,"material":86,"size":86,"collection":86,"collections":12473,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},234116,"shan-shui-tu-juan-tang-yin-234116",[24,25,26,28,36,38,37,58,29,32,31,7,63,84,234,30,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":12475,"slug":12476,"title":9960,"dynasty":173,"author":1878,"museum":175,"description":9961,"tags":12477,"thumbUrl":12478,"material":942,"size":9964,"collection":86,"collections":12479,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},233873,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233873",[24,27,162,36,84,234,439,7,60,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f67dc7e616a181631a9047abcec4ab2.jpg",[],{"id":12481,"slug":12482,"title":8499,"dynasty":18,"author":4853,"museum":78,"description":12483,"tags":12484,"thumbUrl":12485,"material":317,"size":396,"collection":86,"collections":12486,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},230929,"shan-shui-tu-shan-mian-wang-wen-230929","王闿（kǎi）运（1833—1916），晚清经学家、文学家。字壬秋，又字壬父，号湘绮，世称湘绮先生。咸丰二年（1852）举人，曾任肃顺家庭教师，后入曾国藩幕府。1880年入川，主持成都尊经书院。后主讲于长沙思贤讲舍、衡州船山书院、南昌高等学堂。授翰林院检讨，加侍读衔。辛亥革命后任清史馆馆长。著有《湘绮楼诗集、文集、日记》等。",[24,25,464,27,36,29,84,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0c458d558107f65a6614c148f4e979.jpg",[],{"id":12488,"slug":12489,"title":9628,"dynasty":173,"author":1147,"museum":78,"description":12490,"tags":12491,"thumbUrl":12492,"material":86,"size":86,"collection":86,"collections":12493,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,26,27,36,29,247,33,35,7,100,30,101,489,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":12495,"slug":12496,"title":12497,"dynasty":173,"author":474,"museum":96,"description":12498,"tags":12499,"thumbUrl":12500,"material":789,"size":12501,"collection":86,"collections":12502,"showCount":138,"zanCount":373,"manualWeight":11,"mainColor":71},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,57,28,161,60,61,7,30,31,34,33,544,545,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":12504,"slug":12505,"title":12506,"dynasty":173,"author":615,"museum":20,"description":5653,"tags":12507,"thumbUrl":12508,"material":2253,"size":11714,"collection":86,"collections":12509,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},222616,"shan-shui-ba-jing-6-gong-xian-222616","山水八景-6",[23,24,27,36,29,30,31,7,33,180,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca709e50a46343aff080d2027c3af031.jpg",[],{"id":12511,"slug":12512,"title":12513,"dynasty":94,"author":2983,"museum":273,"description":12514,"tags":12515,"thumbUrl":12516,"material":212,"size":12517,"collection":86,"collections":12518,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":71},221454,"lu-song-san-pian-ma-he-zhi-221454","鲁颂三篇","《鲁颂三篇》分别为《閟宫》、《駉》和《有駜》，缺少《鲁颂》中的第四篇《泮水》，《駉》中呈现出在青山绿水中众多马匹；《有駜》描绘的是鲁公和群臣宴会饮酒的场景；《閟宫》描绘鲁公建成宏伟庙宇的壮观景像。旧传赵构书，马和之画。",[23,55,24,25,26,82,161,60,61,544,4461,29,33,7,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d532e107749e9c2ec1d277d48845.jpg","25.5X297.3cm",[],{"id":12520,"slug":12521,"title":12522,"dynasty":173,"author":1505,"museum":175,"description":9327,"tags":12523,"thumbUrl":12524,"material":165,"size":9330,"collection":86,"collections":12525,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},220269,"huang-shan-tu-ce-54-hong-ren-220269","黄山图册-54",[23,24,25,162,27,36,29,34,33,302,31,30,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401bec41f44a4edc09937bc3c7c92336.jpg",[],{"id":12527,"slug":12528,"title":12529,"dynasty":18,"author":51,"museum":20,"description":12530,"tags":12531,"thumbUrl":12532,"material":121,"size":12533,"collection":86,"collections":12534,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":71},219768,"lin-song-ren-hua-ce-11-chou-ying-219768","临宋人画册-11","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,25,464,81,28,57,60,7,33,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc468dfb839584e25cdb34a8e1326213a.jpg","27.2x25.5厘米",[],{"id":12536,"slug":12537,"title":12538,"dynasty":94,"author":474,"museum":96,"description":12539,"tags":12540,"thumbUrl":12541,"material":27,"size":86,"collection":42,"collections":12542,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},219029,"song-feng-lou-guan-tu-yi-ming-219029","松风楼观图","苍松盘崖而立，虬枝如铁，松针层叠间似有山风穿林，涛声隐隐。山麓楼阁隐于青霭，飞檐轻挑云影，凭栏处烟水横陈，远山如黛，天地间尽是清旷之息。题跋笔墨苍劲，与画面的松风意境相融，仿佛引观者步入林泉深处：听松涛漱石，看云气萦楼，暂别尘事烦扰。构图疏密得宜，近景松石沉厚与远景烟波淡远形成虚实相生，墨色层次细腻，尽显山水楼阁的雅致幽远，让人于尺幅间领略自然与人文交织的静谧之美。",[23,24,25,162,28,161,29,416,61,7,33,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e60bfe4a7cf9653d7fcbd81b140377d.jpg",[42],{"id":12544,"slug":12545,"title":12546,"dynasty":173,"author":1927,"museum":4590,"description":4591,"tags":12547,"thumbUrl":12548,"material":121,"size":86,"collection":86,"collections":12549,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},216882,"qian-long-nan-xun-zhu-bi-tu-ye-23-qian-wei-cheng-216882","乾隆南巡驻跸图页-23",[23,24,28,161,57,61,29,33,7,196,583,34,489,1126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e17e24d7a01156a64477cff6db0527d.jpg",[],{"id":12551,"slug":12552,"title":12553,"dynasty":173,"author":639,"museum":450,"description":1426,"tags":12554,"thumbUrl":12555,"material":40,"size":86,"collection":86,"collections":12556,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},215023,"fang-gu-shan-shui-ce-7-wang-jian-215023","仿古山水册-7",[24,27,36,162,81,29,416,7,31,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb65c5f001cf69f851fc2a2bceec7948c.jpg",[],{"id":12558,"slug":12559,"title":12560,"dynasty":173,"author":12561,"museum":450,"description":12562,"tags":12563,"thumbUrl":12564,"material":357,"size":86,"collection":86,"collections":12565,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},214493,"shui-mo-tu-ce-10-zheng-min-214493","水墨图册-10","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[23,24,25,27,162,38,36,29,7,118,178,12015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e451a5ca2a21daecedb3a464b69e68.jpg",[],{"id":12567,"slug":12568,"title":12569,"dynasty":173,"author":12570,"museum":1122,"description":12571,"tags":12572,"thumbUrl":12573,"material":357,"size":12574,"collection":86,"collections":12575,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":46},214488,"cheng-fang-fang-gu-shan-shui-tu-3-cheng-fang-214488","程淓仿古山水图-3","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[23,24,27,29,1428,36,84,7,63,34,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d11d51c1210de873d9f02ecf78891c.jpg","28x17cm",[],{"id":12577,"slug":12578,"title":12579,"dynasty":173,"author":4742,"museum":450,"description":12580,"tags":12581,"thumbUrl":12582,"material":40,"size":86,"collection":86,"collections":12583,"showCount":138,"zanCount":373,"manualWeight":11,"mainColor":46},214375,"tian-guang-yun-jing-tu-ce-3-zhu-da-214375","天光云景图册-3","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,27,36,162,58,29,276,118,35,7,343,666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705bd5dffcc371cdd75a36c158966065.jpg",[],{"id":12585,"slug":12586,"title":12587,"dynasty":6834,"author":12588,"museum":20,"description":12589,"tags":12590,"thumbUrl":12591,"material":86,"size":86,"collection":42,"collections":12592,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":12593},203397,"lin-ni-yuan-lu-shan-shui-tu-zhou-wu-zheng-203397","临倪元璐山水图轴","吴徵","层峦叠嶂间，苍松挺秀于岩畔，虬枝盘曲，松针细密如簇；山径蜿蜒穿林而过，隐见红衣人影点缀，添几分生机。远处江天辽阔，烟波浩渺中孤舟泛波，远山如黛，亭台倚于峭壁，清旷悠远之致油然而生。用笔苍劲含秀逸，山石以皴法写肌理，墨色浓淡相宜，设色淡雅含蓄，既循倪元璐笔意，又融自家情韵，尽显传统山水笔墨情趣与文人风骨，静谧深邃的意境引人入胜。",[29,81,36,28,147,32,7,27,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2bbbf9c1da95d99346ea8593f575d39.jpg",[42],"b1a79b",{"id":12595,"slug":12596,"title":12597,"dynasty":6834,"author":12598,"museum":20,"description":12599,"tags":12600,"thumbUrl":12602,"material":86,"size":86,"collection":42,"collections":12603,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":12604},203288,"jiao-ting-hua-jiu-tu-zhou-fu-bao-shi-203288","蕉亭话旧图轴","傅抱石","画面中山峦以淋漓水墨皴擦，云雾氤氲间透出苍茫气韵；瀑布隐于岩隙，草木用简劲笔触勾勒，蕉叶舒展带清雅之致。茅亭之下，二人对坐低语，笔墨简练却神情毕现，尽显文人话旧的闲逸温情。整体意境悠远，水墨与淡色交融自然，既承传统山水的空灵，又具独特笔墨张力，将山水灵秀与人文意趣融于一纸，读之令人心生向往。",[24,29,27,28,7,60,36,12601,7755,2283,23],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67e9b0ec59c9bd05bfc2c28e7282bf2.jpg",[42],"beb4a7",{"id":12606,"slug":12607,"title":3059,"dynasty":173,"author":12608,"museum":20,"description":12609,"tags":12610,"thumbUrl":12611,"material":86,"size":86,"collection":42,"collections":12612,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":12613},202245,"xi-hu-tu-juan-mo-er-sen-202245","莫尔森","长卷舒展，西湖景致徐徐铺陈。烟波轻笼的湖面之上，洲岛错落，亭台楼阁隐于葱茏林木间，或依岸筑居，或临水而建，尽显江南雅致。远处山峦层叠，皴法勾勒岩壑肌理，草木点缀生机；近处堤岸蜿蜒，树影婆娑，偶有孤舟泛波，添得几分闲适。设色淡雅清新，工笔细绘与写意晕染相融，既捕捉西湖山水的自然灵韵，又含人文栖居的温润气息，将湖光山色的宁静悠远凝于尺幅之间。",[24,26,29,28,7,61,32,57,36,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6962fbd0e8b455c1813bc25af9a0dbb0.jpg",[42],"cbc1af",{"id":12615,"slug":12616,"title":6215,"dynasty":173,"author":12617,"museum":20,"description":12618,"tags":12619,"thumbUrl":12621,"material":86,"size":86,"collection":42,"collections":12622,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":12623},201959,"xi-yuan-ya-ji-tu-zhou-lv-huan-cheng-201959","吕焕成","画面铺展文人雅集的幽致图景：松石掩映间，飞瀑垂落如练，亭台错落于林麓。雅士们或围案品茗论道，或凭栏观瀑凝神，或漫步园林赏景，神态悠然自得。笔墨细腻工致，人物衣袂线条流畅，设色古朴雅致，山水景物以淡赭晕染，松石用浓墨点染，层次分明。整体氛围静谧清旷，尽显文人超然物外的精神世界，仿佛能闻林间松风与席间清谈相和。",[24,146,60,29,57,28,7,12620,31,1126,23],"松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254e4300247a34f857c864d124d41a71.jpg",[42],"543e23",{"id":12625,"slug":12626,"title":12627,"dynasty":173,"author":9424,"museum":20,"description":12628,"tags":12629,"thumbUrl":12630,"material":86,"size":86,"collection":42,"collections":12631,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":12632},201764,"shan-ju-chun-xiao-tu-zhou-lu-dao-huai-201764","山居春晓图轴","层峦叠嶂间云雾轻笼，春山似被晕染得空灵悠远。山麓茅舍错落，虬松倚石，疏柳含翠，小桥跨溪连岸，流水潺潺映带生机。亭中雅士凭栏，静赏春晓景致，山间楼阁隐于林麓深处，与自然浑然相融。笔墨细腻，皴染结合，山石肌理分明，树木姿态鲜活，浅淡设色更添春意融融。整幅画意境清幽淡远，既展山水之秀，又藏山居之闲，尽显文人寄情林泉的雅致心境。",[29,36,28,30,31,7,33,1819,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F527771c6f2977ac0a0c29df0723dd004.jpg",[42],"c2ae9f",{"id":12634,"slug":12635,"title":12636,"dynasty":18,"author":221,"museum":20,"description":12637,"tags":12638,"thumbUrl":12640,"material":86,"size":86,"collection":42,"collections":12641,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":12642},201549,"fang-ni-zan-jiang-nan-chun-shi-yi-tu-juan-wen-zheng-ming-201549","仿倪瓒江南春诗意图卷","此作笔墨简淡清劲，承倪瓒疏朗空灵之韵，以清逸线条勾勒山峦轮廓，水墨晕染间显悠远意境。开阔水面与疏树远山相映，亭舍隐于坡岸，似藏文人幽居之趣。画面留白得当，气韵流动，尽显江南山水的静谧清雅，亦见文氏对倪派山水的精妙诠释。",[27,29,7,81,36,26,12639,23],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6012d9d72a4f6ac07e66c13e71ee53d9.jpg",[42],"b29d86",{"id":12644,"slug":12645,"title":6816,"dynasty":378,"author":474,"museum":78,"description":12646,"tags":12647,"thumbUrl":1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、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”。",[5445,12695,28,12696,12697,12698,60,63,61,12699,7,2767,12700],"宗教画","阿弥陀佛","佛像","菩萨","祥云","极乐世界","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af6e893afaf030dfc4f1793cf213ecf.jpg",[],{"id":12704,"slug":12705,"title":11851,"dynasty":18,"author":9016,"museum":78,"description":10863,"tags":12706,"thumbUrl":12707,"material":86,"size":86,"collection":86,"collections":12708,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":71},239188,"shan-chuan-ming-sheng-ce-song-xu-239188",[24,25,162,28,29,32,63,7,33,101,31,569,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beed5e7c4bbda589082a4279bbfbf2b.jpg",[],{"id":12710,"slug":12711,"title":12712,"dynasty":173,"author":474,"museum":78,"description":12713,"tags":12714,"thumbUrl":12715,"material":86,"size":86,"collection":42,"collections":12716,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":127},238893,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238893","董诰春华集庆册","这是诗画合璧的雅致册页，上下两开各揽一境。上开绘庭院春景，亭台依着花木错落，嫩色初绽的枝桠探入闲庭，将春日闲居的恬然藏在方寸之间。下开写汀渚泛舟，柳丝蘸着春水漾开涟漪，扁舟悠游，尽揽江野春柔。\n\n设色清妍秀润，勾勒温婉细腻，工致中带着写意松弛。配书小楷隽秀端丽，诗书画意相融，将文人情思寄寓春日景致里。浅淡笔墨晕开江南春日元气，静赏间便能触摸清和雅致的春日意趣，余韵悠长。",[24,25,162,28,57,29,7,30,31,440,2388,59,61,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3ea22d6afddc092a8d36cd92c6dd4.jpg",[42,107],{"id":12718,"slug":12719,"title":12720,"dynasty":173,"author":9291,"museum":78,"description":12721,"tags":12722,"thumbUrl":12723,"material":86,"size":86,"collection":86,"collections":12724,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},238103,"hong-wu-shan-shui-ce-hong-wu-238103","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,27,36,37,58,162,29,276,31,7,63,84,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea702a0b848736e7d8aabe7965edd89.jpg",[],{"id":12726,"slug":12727,"title":3902,"dynasty":173,"author":12728,"museum":175,"description":12729,"tags":12730,"thumbUrl":12731,"material":86,"size":86,"collection":86,"collections":12732,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},237560,"shan-shui-ce-wen-dian-237560","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[55,24,25,162,27,36,29,276,263,118,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199e373a36592cff98d9b99deebcf353.jpg",[],{"id":12734,"slug":12735,"title":12736,"dynasty":18,"author":9584,"museum":78,"description":12737,"tags":12738,"thumbUrl":12739,"material":317,"size":396,"collection":86,"collections":12740,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},237378,"mo-chou-hu-shan-zhang-han-237378","莫愁湖扇","张瀚（1510—1593），字子文，号元洲 ，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,25,464,28,27,36,30,31,35,33,303,730,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":12742,"slug":12743,"title":12744,"dynasty":173,"author":12745,"museum":78,"description":12746,"tags":12747,"thumbUrl":12748,"material":165,"size":86,"collection":86,"collections":12749,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","补景古臣松梅观鹤图像并附山水册","徐佐","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,25,162,27,36,29,30,7,33,34,61,37,58,31,583,5556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":12751,"slug":12752,"title":3902,"dynasty":18,"author":9016,"museum":175,"description":12753,"tags":12754,"thumbUrl":12755,"material":7305,"size":12756,"collection":86,"collections":12757,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},236908,"shan-shui-ce-song-xu-236908","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,25,162,27,28,36,29,302,30,31,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg","纵31cm，横42cm",[],{"id":12759,"slug":12760,"title":3902,"dynasty":173,"author":1147,"museum":78,"description":12761,"tags":12762,"thumbUrl":12763,"material":317,"size":396,"collection":86,"collections":12764,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},236860,"shan-shui-ce-wang-yuan-qi-236860","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,162,27,28,36,29,118,666,7,776,178,1715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633eb9f8b4163d37394a1a0247798738.jpg",[],{"id":12766,"slug":12767,"title":12768,"dynasty":173,"author":1878,"museum":78,"description":12769,"tags":12770,"thumbUrl":12771,"material":86,"size":86,"collection":86,"collections":12772,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},236577,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236577","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[24,25,162,27,38,58,29,84,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee557396aff50c5074a6a47c1a85ad5.jpg",[],{"id":12774,"slug":12775,"title":12768,"dynasty":173,"author":1878,"museum":78,"description":12769,"tags":12776,"thumbUrl":12777,"material":86,"size":86,"collection":86,"collections":12778,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},236575,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236575",[24,25,162,27,38,58,36,29,118,32,60,7,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa500eae7a23d41f6746de1ac5b6f218e.jpg",[],{"id":12780,"slug":12781,"title":12782,"dynasty":18,"author":12783,"museum":175,"description":12784,"tags":12785,"thumbUrl":12786,"material":165,"size":12787,"collection":86,"collections":12788,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},236494,"shan-shui-ren-wu-ce-guo-fen-ya-236494","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,25,162,27,28,29,60,1282,382,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f9203896a1b64f9b9ef4aa06722fd9.jpg","纵38.8厘米，横60.4厘米",[],{"id":12790,"slug":12791,"title":5942,"dynasty":18,"author":4751,"museum":78,"description":5943,"tags":12792,"thumbUrl":12793,"material":86,"size":86,"collection":86,"collections":12794,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},236408,"xiao-xiang-ba-jing-ce-wen-jia-236408",[24,25,162,27,36,29,61,7,33,34,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ed7536b187e8a91088501410f554325.jpg",[],{"id":12796,"slug":12797,"title":3902,"dynasty":173,"author":8641,"museum":78,"description":12798,"tags":12799,"thumbUrl":12800,"material":86,"size":86,"collection":86,"collections":12801,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[24,25,55,162,27,28,36,29,276,118,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":12803,"slug":12804,"title":3902,"dynasty":18,"author":12805,"museum":78,"description":12806,"tags":12807,"thumbUrl":12808,"material":86,"size":86,"collection":86,"collections":12809,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},235973,"shan-shui-ce-cheng-jia-sui-235973","程嘉燧","此作用淡墨轻皴勾勒山居景致，枯树虬枝斜出，茅舍错落于浅岸，远山晕染如黛，数点飞鸟划破空寂，笔墨极简却意韵悠长，画面清空淡雅，褪去所有繁饰，独留萧寒幽寂的林下氛围。\n\n右侧行书题诗笔意清隽疏朗，诗中夜雨孤庭、松风茶经之句，与画中景致相映成趣。以画寄兴，诗画交融，尽显幽淡孤洁的文人襟怀，将山水作为安放心神的归处，于简淡萧散之中，藏着沉静出尘的文人情思。",[24,25,162,27,38,58,29,84,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdbc7c2eae54d56198a7d05c3c79ada.jpg",[],{"id":12811,"slug":12812,"title":12813,"dynasty":173,"author":12157,"museum":78,"description":12814,"tags":12815,"thumbUrl":12816,"material":86,"size":86,"collection":86,"collections":12817,"showCount":216,"zanCount":373,"manualWeight":11,"mainColor":46},235933,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235933","湖山梵刹图册","此作用浅赭花青晕染远峰，清润朦胧似笼轻烟，淡墨勾描林岸，留白铺陈湖面，极尽淡远空寂之致。近岸古寺隐于青林，浮屠卓立，湖面轻舟破烟而行，水雾漫过山峦林梢，将梵刹晕染得空灵出尘。\n\n右上角题诗以行书挥就，笔致清隽，书画相映成趣。整体笔墨简淡秀雅，以虚代实，把江南佛刹的幽寂禅意融于湖山烟霭之中，尽显文人情致，观之如临江南幽境，尘虑尽消。",[24,25,162,27,28,36,29,61,7,63,33,5227,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5781fae1c86903fb34e4c1100f474ab.jpg",[],{"id":12819,"slug":12820,"title":12821,"dynasty":18,"author":4366,"museum":78,"description":12822,"tags":12823,"thumbUrl":12824,"material":317,"size":396,"collection":86,"collections":12825,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},235691,"shan-shui-hua-hui-ce-xiang-sheng-mo-235691","山水花卉册","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,27,162,36,29,60,84,7,34,31,178,33,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d1280937be3d9c6e933102baa569e8.jpg",[],{"id":12827,"slug":12828,"title":12829,"dynasty":173,"author":1340,"museum":78,"description":12830,"tags":12831,"thumbUrl":12832,"material":86,"size":86,"collection":86,"collections":12833,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},235607,"yu-feng-kan-yue-tu-zhou-wang-hui-235607","玉峰看月图轴","干淡墨色晕染出萧疏冬景，修竹劲挺伴寒林，浅溪潺湲漫过板桥，林间隐着茅舍，远山轻笼在朦胧烟霭里，似与天相接。\n笔墨松秀简淡，以留白衬出月夜空寂清旷，将文人看月雅集的诗意融在山水间。画中人物凭桥而立，似在静候月色浸漫林野，处处尽显闲淡幽远的林下意趣，把江南冬日的清寂和文人心底的旷达雅致揉作一处，尽显水墨山水的含蓄余韵。",[24,25,146,27,36,29,439,84,30,31,7,570,58,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8fb01f05805753af11d11ec086684.jpg",[],{"id":12835,"slug":12836,"title":3902,"dynasty":173,"author":1878,"museum":78,"description":10140,"tags":12837,"thumbUrl":12838,"material":317,"size":396,"collection":86,"collections":12839,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},235511,"shan-shui-ce-cha-shi-biao-235511",[24,25,162,27,29,7,118,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177f7e64bed84d50149916f9ac5a233a.jpg",[],{"id":12841,"slug":12842,"title":5488,"dynasty":18,"author":10537,"museum":78,"description":10538,"tags":12843,"thumbUrl":12844,"material":317,"size":396,"collection":86,"collections":12845,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},235459,"shan-shui-tu-ce-pan-zheng-235459",[24,25,162,27,29,34,33,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1b50898e9bd4edc7235bf9f4e29afb0.jpg",[],{"id":12847,"slug":12848,"title":10575,"dynasty":173,"author":474,"museum":175,"description":12849,"tags":12850,"thumbUrl":12851,"material":249,"size":10579,"collection":86,"collections":12852,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":71},234910,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234910","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。",[24,25,162,28,38,29,61,31,33,34,60,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b8e1bad87b05d46979f6aefb01cfad.jpg",[],{"id":12854,"slug":12855,"title":3902,"dynasty":173,"author":1878,"museum":78,"description":11950,"tags":12856,"thumbUrl":12857,"material":86,"size":86,"collection":86,"collections":12858,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},234646,"shan-shui-ce-cha-shi-biao-234646",[24,25,162,38,28,27,36,29,7,33,30,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d074d877d902b1927f623c2683b05e.jpg",[],{"id":12860,"slug":12861,"title":12862,"dynasty":18,"author":12863,"museum":78,"description":6725,"tags":12864,"thumbUrl":12865,"material":86,"size":86,"collection":86,"collections":12866,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":71},234543,"shan-shui-ren-wu-shan-xue-heng-234543","山水人物扇","薛恒",[55,24,25,464,28,36,29,60,416,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023ac82acfab9e807163bedf66f87e34.jpg",[],{"id":12868,"slug":12869,"title":3902,"dynasty":173,"author":1147,"museum":175,"description":12870,"tags":12871,"thumbUrl":12872,"material":12873,"size":12874,"collection":86,"collections":12875,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},234304,"shan-shui-ce-wang-yuan-qi-234304","本幅共十二开，二、五、六、九、十、十二为墨笔，余均为设色。末开自识，款“康熙乙酉垂阳日王原祁题于彀治堂”。引首王撰书：“六法金针”，有董揆、董寿平等印多方。实系画12开，字12开，应以画为主，字作附件。\n王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,162,27,36,29,34,33,58,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0762a3eec0a65f59d303bfcfc56d44.jpg","纸本 ，设色\u002F墨笔","纵48.1cm，横32.4cm",[],{"id":12877,"slug":12878,"title":12879,"dynasty":18,"author":1262,"museum":175,"description":12880,"tags":12881,"thumbUrl":12882,"material":212,"size":12883,"collection":86,"collections":12884,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":127},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,25,26,27,28,38,37,29,33,30,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":12886,"slug":12887,"title":12888,"dynasty":173,"author":12889,"museum":78,"description":12890,"tags":12891,"thumbUrl":12892,"material":86,"size":86,"collection":86,"collections":12893,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},234218,"gu-shan-tan-mei-juan-fei-dan-xu-234218","孤山探梅卷","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[23,24,25,26,27,28,57,38,762,37,29,2388,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3be1175cb06f441b1110bd428095b.jpg",[],{"id":12895,"slug":12896,"title":12897,"dynasty":18,"author":6136,"museum":175,"description":12898,"tags":12899,"thumbUrl":12900,"material":789,"size":86,"collection":86,"collections":12901,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","云白山青图卷","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,26,27,29,36,1496,99,33,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":12903,"slug":12904,"title":3902,"dynasty":173,"author":615,"museum":175,"description":12905,"tags":12906,"thumbUrl":12907,"material":942,"size":12908,"collection":86,"collections":12909,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},233973,"shan-shui-ce-gong-xian-233973","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,27,36,162,29,234,33,1174,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7c4e867cb34626de1215535caa7f51.jpg","纵22.2厘米，横33.2厘米",[],{"id":12911,"slug":12912,"title":12913,"dynasty":18,"author":51,"museum":175,"description":2216,"tags":12914,"thumbUrl":12915,"material":212,"size":10632,"collection":86,"collections":12916,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":71},233758,"ren-wu-gu-shi-ce-5-chou-ying-233758","人物故事册5",[24,25,162,57,28,29,60,7,33,247,180,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5085027baa8e94e1b14d676b966a38.jpg",[],{"id":12918,"slug":12919,"title":12920,"dynasty":173,"author":3041,"museum":175,"description":12921,"tags":12922,"thumbUrl":12923,"material":789,"size":12924,"collection":86,"collections":12925,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},233453,"ren-wu-shan-shui-ce-luo-pin-233453","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,25,162,27,28,60,84,2189,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdc0cb6cc09557977d6c19bb8f10aac.jpg","纵24.2厘米，横30.7厘米",[],{"id":12927,"slug":12928,"title":12929,"dynasty":173,"author":1147,"museum":175,"description":12930,"tags":12931,"thumbUrl":12932,"material":12933,"size":12934,"collection":86,"collections":12935,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},233167,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233167","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,55,25,162,28,36,29,34,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff993efacc5c1ae5affddb96fb99508ff.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[],{"id":12937,"slug":12938,"title":9711,"dynasty":378,"author":474,"museum":175,"description":1536,"tags":12939,"thumbUrl":12940,"material":212,"size":1540,"collection":86,"collections":12941,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":71},232978,"dong-shan-si-zhu-tu-zhou-yi-ming-232978",[24,55,25,146,28,36,29,60,61,33,31,544,1538,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98e152ed9ac1c0e02b156c7be7bf14ca.jpg",[],{"id":12943,"slug":12944,"title":12945,"dynasty":94,"author":8613,"museum":78,"description":12946,"tags":12947,"thumbUrl":12948,"material":86,"size":12949,"collection":86,"collections":12950,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},232822,"jiang-ting-wan-tiao-tu-shu-fa-zhu-guang-pu-232822","江亭晚眺图(书法)","这帧泥金团扇行书，笔意灵动婉转，牵丝映带间尽显文人疏淡意趣。字句勾勒出江亭向晚，烟波万顷、斜晖脉脉的暮色秋景，渔舟远归的闲寂意境和笔墨相融。\n笔势或舒展或收敛，粗细枯湿富于变化，结体欹正相生，既有晋人行书的萧散，又兼具尚意书风的随性。朱红钤印与泥金底色相映成趣，暖润古雅。整体书卷气浓厚，将书法意韵和诗意画境完美结合，尽显风雅襟怀，是一件兼具笔墨审美与意境营造的小品佳作。",[37,38,58,27,7,32,569,31,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478051a108a0fa18ec58772b26d39b5.jpg","23.9x24.3",[],{"id":12952,"slug":12953,"title":12954,"dynasty":4498,"author":12955,"museum":78,"description":12956,"tags":12957,"thumbUrl":12958,"material":317,"size":396,"collection":86,"collections":12959,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},231674,"hu-shan-xiao-jing-tu-tian-you-song-xi-231674","湖山小景图","天游松溪","此作用上下分段的别致构图，上部行书题文与下部山水呼应成趣。近景危崖兀立，古松虬枝横斜，崖畔隐见古刹飞檐；右下汀洲之上楼阁错落，板桥连岸，渔舟系于浅渚，尽是江南水乡的悠然意态。远景烟水浩渺，峰峦浮沉在暖赭晕染的暮色间，水天相融晕出黄昏的柔暖朦胧。\n\n笔墨秀雅空灵，淡赭水墨晕染天色，山峦以简括斧劈皴带出硬朗骨相，苍松劲挺见风神，烟波轻笼见淡远。书画合璧，题文叙湖山雅事，画中藏林泉高致，将日暮湖游的清旷襟怀晕在纸间，尽显江南暮色的温软诗意，抒写出文人心中的山水闲逸之趣。",[23,24,25,146,27,28,29,61,30,31,32,7,234,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965469d075c6f7df24eb35b019b91297.jpg",[],{"id":12961,"slug":12962,"title":12963,"dynasty":4498,"author":12964,"museum":78,"description":12965,"tags":12966,"thumbUrl":12967,"material":317,"size":396,"collection":86,"collections":12968,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},231621,"shi-ting-shi-dai-zu-shi-xiang-yan-ji-zhu-tu-zhou-shou-ye-yuan-xin-231621","室町时代 祖师香严击竹图轴","狩野元信","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,25,146,27,29,34,343,33,7,36,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c3265a6890f36d3cdda0376c234bd0.jpg",[],{"id":12970,"slug":12971,"title":12972,"dynasty":4498,"author":11339,"museum":78,"description":11340,"tags":12973,"thumbUrl":12974,"material":317,"size":396,"collection":86,"collections":12975,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":46},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 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隐于繁林之间，左见飞泉落涧，对岸烟水柔波漾着垂杨。以干笔皴擦、湿墨晕染交织出山林层次，苍润相生。繁密笔致却毫无拥塞之感，疏密错落间铺展出夏日山居的清和意趣。将林泉高致的隐逸襟怀寄寓尺幅，实景丘壑与文人幽怀相融，萧散悠然的林下之风漫溢纸面，尽显淡远恬和的山水雅韵。",[24,25,55,162,27,36,58,29,147,7,31,234,1819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90fc4bdee8bb93e59055c54cda66ee5d.jpg",[],{"id":13264,"slug":13265,"title":5488,"dynasty":173,"author":3823,"museum":78,"description":13266,"tags":13267,"thumbUrl":13268,"material":86,"size":86,"collection":86,"collections":13269,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},235645,"shan-shui-tu-ce-wu-li-235645","这幅山水以干笔皴擦铺陈丘壑，近岸村居错落疏朗，枯木伴卧波板桥，水色空濛间晕开江南平畴的幽寂。远山层叠浑厚，飞泉隐挂崖壁，林麓苍郁朴拙。\n\n笔墨苍秀简淡，带着元人山水的萧散意韵，将闲居丘壑的雅兴藏在淡墨轻岚中。整幅画恬澹冲和，缓缓铺展出山居清旷之致，把文人静穆的幽怀融于笔墨，于简淡中见沉郁朴厚的气韵，尽显文人山水画的雅致意趣。",[24,27,36,162,37,58,29,30,31,84,234,7,35,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e75ceb242252b4cd4f81ea3cef5820.jpg",[],{"id":13271,"slug":13272,"title":13273,"dynasty":173,"author":1147,"museum":78,"description":13274,"tags":13275,"thumbUrl":13276,"material":165,"size":13277,"collection":86,"collections":13278,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},234884,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234884","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,162,28,36,38,58,29,34,33,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278684601db67ff294f02c8e9134663a.jpg","纵21厘米，横27厘米",[],{"id":13280,"slug":13281,"title":13273,"dynasty":173,"author":1147,"museum":78,"description":13274,"tags":13282,"thumbUrl":13283,"material":165,"size":13277,"collection":86,"collections":13284,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},234877,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234877",[24,25,162,27,28,36,29,34,33,302,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feb2c689622a16e6b2665e84435ded2.jpg",[],{"id":13286,"slug":13287,"title":1425,"dynasty":173,"author":1340,"museum":78,"description":10900,"tags":13288,"thumbUrl":13289,"material":185,"size":10904,"collection":86,"collections":13290,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},234716,"fang-gu-shan-shui-ce-wang-hui-234716",[24,25,162,27,29,147,439,34,31,7,118,36,58,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4ad8c583772a1f582c6129c6abb9f6.jpg",[],{"id":13292,"slug":13293,"title":13294,"dynasty":173,"author":9433,"museum":175,"description":13295,"tags":13296,"thumbUrl":13297,"material":185,"size":86,"collection":86,"collections":13298,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[24,25,162,27,36,38,58,29,234,7,1496,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":13300,"slug":13301,"title":13302,"dynasty":18,"author":13303,"museum":175,"description":13304,"tags":13305,"thumbUrl":13306,"material":165,"size":86,"collection":86,"collections":13307,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,25,26,38,28,57,27,29,61,30,31,7,439,118,35,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":13309,"slug":13310,"title":3902,"dynasty":173,"author":615,"museum":175,"description":12905,"tags":13311,"thumbUrl":13312,"material":942,"size":12908,"collection":86,"collections":13313,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":71},233984,"shan-shui-ce-gong-xian-233984",[24,55,25,162,27,36,29,118,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f29f18b9b87227933839758e1c857f.jpg",[],{"id":13315,"slug":13316,"title":3693,"dynasty":173,"author":3694,"museum":175,"description":3695,"tags":13317,"thumbUrl":13318,"material":789,"size":3698,"collection":86,"collections":13319,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},233889,"huang-shan-tu-ce-mei-qing-233889",[24,27,29,162,36,276,416,7,99,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5662b96905e1fb069fb3633b5122a2dd.jpg",[],{"id":13321,"slug":13322,"title":12929,"dynasty":173,"author":1147,"museum":175,"description":12930,"tags":13323,"thumbUrl":13324,"material":12933,"size":12934,"collection":86,"collections":13325,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},233166,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233166",[24,27,36,162,29,34,33,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac71ef002cf26051ca62aa81d91a501a.jpg",[],{"id":13327,"slug":13328,"title":12929,"dynasty":173,"author":1147,"museum":175,"description":12930,"tags":13329,"thumbUrl":13330,"material":12933,"size":12934,"collection":86,"collections":13331,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},233161,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233161",[24,25,162,27,36,58,29,34,33,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2b802df4257c3c27bb3d8b5cad9e6b.jpg",[],{"id":13333,"slug":13334,"title":13335,"dynasty":378,"author":474,"museum":96,"description":13336,"tags":13337,"thumbUrl":13338,"material":534,"size":13339,"collection":86,"collections":13340,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":71},233131,"xue-shan-xing-lv-tu-zhou-yi-ming-233131","雪山行旅图轴","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,25,146,27,36,29,4378,382,7,31,2633,1282,302,262,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec435ee8ae34d835aa5872355d8cde09.jpg","纵106厘米，横51.5厘米",[],{"id":13342,"slug":13343,"title":13344,"dynasty":173,"author":1384,"museum":78,"description":13345,"tags":13346,"thumbUrl":13347,"material":86,"size":86,"collection":86,"collections":13348,"showCount":239,"zanCount":373,"manualWeight":11,"mainColor":46},228964,"mo-miao-zhu-lin-si-ce-dong-bang-da-228964","墨妙珠林（巳）册","此作左诗右画，书画合璧。白描山水以淡墨写尽仙仓岩幽境，层峦叠嶂皴法清隽，林麓萧疏错落，清溪萦回于谷中，山坳茅舍隐现，简淡笔墨晕染出静穆空寂的山居意趣。\n\n左侧行书题诗笔致温润秀逸，结体舒展雅致，诗句咏叹山中丰饶自在，与画境相互生发。整幅以素淡之韵，将林泉高致融于方寸间，尽显文人山水清和散澹的雅怀，藏静穆淡远的山水诗意于笔墨之中，是文人书画小品的佳制。",[24,25,162,27,29,276,263,7,33,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b8290b9dc65f14bc553c5723165ae6.jpg",[],{"id":13350,"slug":13351,"title":13352,"dynasty":18,"author":13353,"museum":78,"description":13354,"tags":13355,"thumbUrl":13356,"material":86,"size":86,"collection":86,"collections":13357,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图","冷谦","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[23,24,25,26,28,57,344,38,29,61,60,33,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":13359,"slug":13360,"title":13361,"dynasty":378,"author":474,"museum":78,"description":13362,"tags":13363,"thumbUrl":13364,"material":86,"size":86,"collection":86,"collections":13365,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":71},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[23,24,27,29,162,82,36,210,84,439,234,30,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":13367,"slug":13368,"title":13369,"dynasty":94,"author":474,"museum":78,"description":13370,"tags":13371,"thumbUrl":13372,"material":86,"size":86,"collection":86,"collections":13373,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,162,464,27,28,57,29,7,1948,33,60,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":13375,"slug":13376,"title":13377,"dynasty":173,"author":1340,"museum":78,"description":13378,"tags":13379,"thumbUrl":13380,"material":86,"size":86,"collection":86,"collections":13381,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":71},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,24,25,146,27,36,147,1829,7,30,31,234,58,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":13383,"slug":13384,"title":13385,"dynasty":173,"author":474,"museum":530,"description":13386,"tags":13387,"thumbUrl":13388,"material":13389,"size":13390,"collection":86,"collections":13391,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":71},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[24,25,26,82,368,60,29,30,31,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","絹本、設色","35x849cm",[],{"id":13393,"slug":13394,"title":13395,"dynasty":173,"author":1158,"museum":13396,"description":13397,"tags":13398,"thumbUrl":13406,"material":789,"size":13407,"collection":86,"collections":13408,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,24,25,26,57,28,368,60,7,416,13399,13400,13401,13402,12699,13403,12698,13404,13405,4725],"狮子","莲花","飞天","宝盖","罗汉","佛","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg","纵33厘米、横1635厘米",[],{"id":13410,"slug":13411,"title":13412,"dynasty":18,"author":10321,"museum":78,"description":13413,"tags":13414,"thumbUrl":13416,"material":165,"size":86,"collection":86,"collections":13417,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":399},217192,"shui-hu-quan-tu-1-du-jin-217192","水浒全图-1","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[24,25,162,57,82,28,60,61,544,13415,545,29,7,209,63,4461],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262a05366f8cae91236b34689ff2ac4d.jpg",[],{"id":13419,"slug":13420,"title":13421,"dynasty":173,"author":639,"museum":20,"description":897,"tags":13422,"thumbUrl":13423,"material":40,"size":900,"collection":86,"collections":13424,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},216979,"fang-song-yuan-shan-shui-ce-7-wang-jian-216979","仿宋元山水册-7",[23,24,27,36,81,29,30,31,7,33,302,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d1e60ccc7907f935532a20d50acbba.jpg",[],{"id":13426,"slug":13427,"title":13428,"dynasty":173,"author":1927,"museum":4590,"description":4591,"tags":13429,"thumbUrl":13430,"material":121,"size":86,"collection":86,"collections":13431,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":46},216893,"qian-long-nan-xun-zhu-bi-tu-ye-13-qian-wei-cheng-216893","乾隆南巡驻跸图页-13",[23,24,28,161,57,162,36,29,61,7,33,416,2770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2863ced8cf924989f8045ad66f6daa.jpg",[],{"id":13433,"slug":13434,"title":13435,"dynasty":173,"author":2467,"museum":20,"description":13436,"tags":13437,"thumbUrl":13438,"material":86,"size":86,"collection":42,"collections":13439,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":13440},203302,"gao-ting-shan-kan-mei-tu-ce-hua-yan-203302","皋亭山看梅图册","冬日元气裹挟清寒，梅枝疏影横斜，绽蕊于山野间。亭台错落，小桥卧波，二三身影缓步其间，似与暗香对语。笔触灵动，淡墨勾枝轻点花萼，水墨晕染出空濛天色与覆雪肌理，衬得梅蕊愈显清妍。飞鸟掠过天际添生机，整体意境清雅悠远，将文人寻梅探幽的闲致心境融于尺幅，尽显江南冬日赏梅的诗意况味。",[162,27,28,2388,7,30,63,29,82,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3588ead388873c12f90e4e4768924d63.jpg",[42],"dbd5cc",{"id":13442,"slug":13443,"title":13444,"dynasty":18,"author":13445,"museum":20,"description":13446,"tags":13447,"thumbUrl":13450,"material":86,"size":86,"collection":123,"collections":13451,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":9784},201509,"han-gong-chun-xiao-tu-juan-you-qiu-201509","汉宫春晓图卷","尤求","画卷铺展，汉宫春日的雍容景致徐徐浮现。亭台楼阁间，仕女们或临窗对弈，或凭栏观花，或泛舟湖上，情态生动自然。线条细劲流畅，白描技法勾勒出人物衣袂的轻盈与建筑的精巧，界画工整精准，尽显宫苑的规制与雅致。花木扶疏，山石点缀，春日的生机与宫廷的闲逸交融，每一处细节皆见匠心。画面空间转换巧妙，从庭院到室内，从舟楫到轩榭，层次分明，宛如一部流动的宫苑生活长卷，将汉宫春晓的温婉与繁华尽纳其中。",[82,161,57,60,61,7,3438,7058,34,26,5463,13448,13449,23],"宫苑","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c2c91d643b9d3f8440d1a033708222.jpg",[123],{"id":13453,"slug":13454,"title":13455,"dynasty":173,"author":1505,"museum":20,"description":13456,"tags":13457,"thumbUrl":13458,"material":86,"size":86,"collection":42,"collections":13459,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":13460},201470,"lin-quan-chun-mu-tu-zhou-hong-ren-201470","林泉春暮图轴","画面清寂悠远，山石以干笔淡墨勾勒，线条挺劲方折，皴擦简洁却见骨力。孤石旁枝桠疏展，山巅林木簇生；岩间小亭隐现，似藏幽人逸趣。春暮的宁静漫溢其间，意境空灵淡远，尽显山水之清旷，流露超尘脱俗的雅致与对自然的深挚体悟。",[24,27,29,36,34,7,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66bb8d03c3ea066d560362a963c85f1.jpg",[42],"b3aba3",{"id":13462,"slug":13463,"title":13464,"dynasty":18,"author":19,"museum":20,"description":13465,"tags":13466,"thumbUrl":13467,"material":86,"size":86,"collection":42,"collections":13468,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":9784},201414,"xi-shan-ji-you-tu-juan-shen-zhou-201414","西山纪游图卷","此卷以水墨绘就，山峦起伏层叠，笔墨苍劲浑厚，尽显吴门画派文人山水的雅致。峰峦用披麻皴皴染结合，山石纹理毕现；林木以浓淡墨点染，枝繁叶茂间生机流动。山间亭台隐约，小桥跨溪，流水蜿蜒，孤舟泊岸，景致清幽淡远，似将西山游历之趣凝于尺幅。笔墨随景变幻，重墨点苔增韵，轻笔写水传情，虚实相生中，寄寓画家寄情山水的闲适心境与对自然的深切眷恋。",[55,24,25,26,27,29,36,7,30,31,32,23],"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尽显仿古山水的清丽韵致。",[24,25,27,36,81,29,61,30,31,32,7,33,34,99,5434,930,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F457231bba39a2a53c514ce0d5484f458.jpg",[],{"id":13602,"slug":13603,"title":3902,"dynasty":173,"author":11495,"museum":78,"description":13604,"tags":13605,"thumbUrl":13606,"material":86,"size":86,"collection":86,"collections":13607,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":127},238159,"shan-shui-ce-yun-xi-238159","此作为诗画合璧的小品佳作，右侧绘秋山幽居：枯木虬枝遒劲疏朗，几点红萼点缀梢头，石矶层叠错落，远山藏着村居茅舍，淡墨轻晕出秋空的朦胧寥廓，留白衬出空山幽寂萧疏的秋日况味。\n\n左侧馆阁体书法秀雅端整，诗句咏叹秋山意趣，笔墨与画境两相呼应。整体不重繁复皴染，以简淡笔触勾勒秋山清景，诗书画印相融无间，将深秋山居的清远幽阔，与不必远寻秋意的闲适禅思融为一体，尽显文人画雅致淡然的意趣风骨。",[24,55,29,162,28,36,34,84,210,63,7,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc174c8671d9221e24b4fdcff1c019032.jpg",[],{"id":13609,"slug":13610,"title":3902,"dynasty":173,"author":13611,"museum":78,"description":13612,"tags":13613,"thumbUrl":13614,"material":86,"size":86,"collection":86,"collections":13615,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},237981,"shan-shui-ce-zhang-geng-237981","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,27,162,36,29,32,84,234,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9284971e037bcb8c782d61992981497.jpg",[],{"id":13617,"slug":13618,"title":3902,"dynasty":18,"author":5730,"museum":78,"description":13619,"tags":13620,"thumbUrl":13621,"material":317,"size":396,"collection":86,"collections":13622,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},237632,"shan-shui-ce-shen-hao-237632","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[55,24,25,162,27,36,58,29,84,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b457dc617d1126829937c67a0e2d91c.jpg",[],{"id":13624,"slug":13625,"title":5488,"dynasty":173,"author":8387,"museum":78,"description":8388,"tags":13626,"thumbUrl":13627,"material":317,"size":396,"collection":86,"collections":13628,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},237486,"shan-shui-tu-ce-yao-song-237486",[24,25,162,4681,27,36,29,118,34,7,180,2088,416],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2736daa6a5070b4358b8996e1e8055c.jpg",[],{"id":13630,"slug":13631,"title":13206,"dynasty":173,"author":13207,"museum":78,"description":13208,"tags":13632,"thumbUrl":13633,"material":86,"size":86,"collection":86,"collections":13634,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},237165,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237165",[24,25,162,28,29,60,118,666,31,7,63,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873f87dd7dab04d94e7cf4557e1a2582.jpg",[],{"id":13636,"slug":13637,"title":3902,"dynasty":173,"author":1878,"museum":78,"description":8404,"tags":13638,"thumbUrl":13639,"material":86,"size":86,"collection":86,"collections":13640,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},237105,"shan-shui-ce-cha-shi-biao-237105",[24,25,162,27,36,29,118,34,178,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fb5e9d1890d251b011b4a8fe5e6865.jpg",[],{"id":13642,"slug":13643,"title":12744,"dynasty":173,"author":12745,"museum":78,"description":13644,"tags":13645,"thumbUrl":13646,"material":165,"size":86,"collection":86,"collections":13647,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},237068,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237068","水墨浅绘林亭水畔，双松苍劲卓立，草屋幽藏于林下，浅滩汀洲横陈远浦，留白铺就空寂萧散的淡远意境。笔致清瘦秀雅，以极简笔墨勾勒出幽居林下的闲澹之景，暗合题诗中的隐逸意趣。诗书合璧，墨色朴淡松秀，不见浓丽敷色，尽以线条晕染出林下观览的清寂闲情，将简逸风骨藏于尺幅之间，淡墨之中自有悠长余韵，尽显清雅绝尘的林下雅兴。",[24,25,162,27,82,29,147,7,30,234,118,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e103788a96e8976d06a0220665940d.jpg",[],{"id":13649,"slug":13650,"title":13651,"dynasty":18,"author":13652,"museum":175,"description":13653,"tags":13654,"thumbUrl":13655,"material":165,"size":86,"collection":86,"collections":13656,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},237010,"xi-zhu-ce-zhu-ying-237010","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,25,162,27,29,439,118,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1b34f36d3d366d7b85519eef1bbba0.jpg",[],{"id":13658,"slug":13659,"title":3902,"dynasty":18,"author":9016,"museum":175,"description":12753,"tags":13660,"thumbUrl":13661,"material":7305,"size":12756,"collection":86,"collections":13662,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},236906,"shan-shui-ce-song-xu-236906",[24,25,162,28,36,29,32,569,7,84,209,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eded255add548b04be279de94216f6.jpg",[],{"id":13664,"slug":13665,"title":13666,"dynasty":173,"author":13667,"museum":175,"description":13668,"tags":13669,"thumbUrl":13670,"material":86,"size":86,"collection":86,"collections":13671,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},236651,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236651","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,25,162,27,38,58,29,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e25e07014b20d25a46053e1615f944.jpg",[],{"id":13673,"slug":13674,"title":13234,"dynasty":173,"author":2477,"museum":175,"description":13235,"tags":13675,"thumbUrl":13676,"material":212,"size":13238,"collection":86,"collections":13677,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},236122,"shan-shui-lou-ge-ce-chen-mei-236122",[24,25,162,28,161,38,58,29,61,31,32,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6a606f121402f2bc390f06fb8ac3af.jpg",[],{"id":13679,"slug":13680,"title":2973,"dynasty":173,"author":474,"museum":78,"description":13681,"tags":13682,"thumbUrl":13683,"material":86,"size":86,"collection":86,"collections":13684,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},236060,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236060","此作以淡墨轻皴绘就平林寒野，近岸枯木疏枝交错，浅赭点染残叶，晕开初冬萧索意趣。右下角茅舍隐于坡林之间，野水蜿蜒远去，遥岸淡影朦胧。滩涂上三两牧群徐行，衬得天地愈见空寂悠然。\n\n全作用笔松秀温润，设色清浅雅致，以留白铺展平远之境，将郊野荒寒闲逸融于尺幅。淡而有味，简中见韵，尽显含蓄静穆的仿古意趣，悠悠晕开江南冬野清远淡宕的诗意。",[24,25,162,81,27,28,29,210,84,7,63,1254,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a4d524989c1b3b6d1da5f119753f62.jpg",[],{"id":13686,"slug":13687,"title":3902,"dynasty":173,"author":1147,"museum":78,"description":13688,"tags":13689,"thumbUrl":13690,"material":86,"size":86,"collection":86,"collections":13691,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},236045,"shan-shui-ce-wang-yuan-qi-236045","此作用淡墨渴笔绘就，近处危石嶙峋，修竹劲挺清疏，古木倚石而立，林梢后隐见草庐，漾出幽居世外的闲寂。平湖横陈中景，远山以干笔皴擦，淡墨晕染，山峦错落朦胧，似笼着轻烟，晕出空寂萧疏的氛围感。\n笔墨简淡松秀，以留白造境，凭虚实相生勾勒山川丘壑的静穆悠远，不着浓艳敷色，全以笔墨意趣铺就清旷淡远的禅意，观之如临幽寂林泉，心下悠然沉静。",[24,25,162,27,36,29,7,118,439,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730960dc4a489440549caf97a31a5c00.jpg",[],{"id":13693,"slug":13694,"title":13695,"dynasty":18,"author":6093,"museum":78,"description":13696,"tags":13697,"thumbUrl":13698,"material":86,"size":86,"collection":86,"collections":13699,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},236020,"ren-wu-tu-ce-jie-qian-lv-ren-wen-nan-shou-mao-weng-236020","人物图册－阶前旅人","此作用笔松秀简淡，淡设晕染出乡野幽居之景。柴扉小屋静立坡岸，旅人临阶轻叩，将羁旅投宿的温软烟火气，揉进林木扶苏、苔石隐现的清寂山野里，动静之间，恰到好处。\n左侧题诗与画境相映成趣，隽雅书法配搭闲淡诗句，把杜诗中的酒意闲情融在笔墨之中。整体萧散疏朗，带着独有的简淡天真，于尺幅之间铺陈出悠远林下诗意，藏着旧时文人对幽居雅趣的追慕，诗画合璧，意境淡远悠长。",[24,25,162,28,38,58,29,60,33,34,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd13592dbc8d988fb7271b43340dd571.jpg",[],{"id":13701,"slug":13702,"title":12813,"dynasty":173,"author":12157,"museum":78,"description":13703,"tags":13704,"thumbUrl":13705,"material":86,"size":86,"collection":86,"collections":13706,"showCount":188,"zanCount":373,"manualWeight":11,"mainColor":46},235924,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235924","此作用浅设色晕染山峦，清润秀雅的青赭色调晕出柔婉的山势，烟岚轻笼，尽显江南丘壑的温润空灵。山寺藏于松壑之间，屋舍错落隐于虬松茂林之中，松枝苍劲盘曲，古意盎然。下层溪谷山居伴溪桥流水，林木葱茏静谧。\n\n诗画相衬，笔墨秀逸明净，将禅意融于湖山烟岚里，勾勒出萧散出尘的梵刹胜境，观之如临清净佛国，足以涤荡俗虑，尽显清寂雅致的世外意趣。",[24,25,55,162,28,36,29,61,30,31,84,209,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e938a92c09b488d00a732c47d06f0ca.jpg",[],{"id":13708,"slug":13709,"title":13560,"dynasty":173,"author":11200,"museum":78,"description":13710,"tags":13711,"thumbUrl":13712,"material":86,"size":86,"collection":86,"collections":13713,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},235863,"shan-shui-ye-ye-xin-235863","此作用笔秀雅松灵，以浅绛轻敷山石林木，山居隐于苍松之下，坡陀间幽人策杖徐行，远山以淡墨晕染，烟岚浮动，尽显空寂淡远之致。\n左侧行书题诗笔致萧散，与画面意境融契无间，将江南山水的温润清和尽数铺展。整幅诗画合璧，淡宕的笔墨间浸透文人幽居林泉的雅逸襟怀，简淡中见深致，素朴中含隽永，把山水林泉的静美与林下幽居的意趣合而为一，尽显文人小品画的悠然格调。",[24,25,162,38,27,29,7,234,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d2468dbdcf6e2e037f3317ba07355.jpg",[],{"id":13715,"slug":13716,"title":13717,"dynasty":173,"author":474,"museum":78,"description":13718,"tags":13719,"thumbUrl":13720,"material":317,"size":396,"collection":86,"collections":13721,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[24,25,464,27,36,38,58,29,118,630,30,31,63,7,32,60,84,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":13723,"slug":13724,"title":1425,"dynasty":18,"author":5730,"museum":78,"description":13725,"tags":13726,"thumbUrl":13727,"material":86,"size":86,"collection":86,"collections":13728,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},235626,"fang-gu-shan-shui-ce-shen-hao-235626","此作以淡墨晕染山峦，皴擦相济刻画出山石嶙峋肌理，近坡石错落横生，浅波隐现溪石，蜿蜒栈道串联谷中村居与山巅古寺，远景峰峦淡化为浅灰虚影，虚实相生晕染出悠远空寂的山林意境。\n\n右上题字朱印雅致点缀，文人气韵悠然暗合仿古意趣。笔墨简淡松灵，不刻意雕琢却尽得山水真趣，将林泉幽居的静穆逸致融于尺幅之中，尽显文人画尚意抒情的特质，是师法古人又自出机杼的小品佳制。",[55,24,25,162,27,28,36,81,29,234,31,84,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211c9dc6b8ace33b6a81cfb116839d6b.jpg",[],{"id":13730,"slug":13731,"title":5488,"dynasty":18,"author":10537,"museum":78,"description":13732,"tags":13733,"thumbUrl":13734,"material":86,"size":86,"collection":86,"collections":13735,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},235457,"shan-shui-tu-ce-pan-zheng-235457","此作用笔简劲老辣，以干笔淡墨皴擦出山石嶙峋质感，留白代作平湖，虚实相生。崖壁间山居错落藏于岩岫，野趣盎然。近湖畔孤亭孑立，细柱撑顶，更衬出山水清寂空阔。右上角朱印点睛，静穆水墨中晕开一抹亮色。整体意境萧散淡远，尽显文人画简淡空灵意趣，以极简笔墨写尽林泉幽居之致，观之如临无人之境，俗念俱消。",[24,25,162,27,36,29,7,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4339426ce7db412654a1b123d4ac7c8d.jpg",[],{"id":13737,"slug":13738,"title":3902,"dynasty":173,"author":11200,"museum":78,"description":13739,"tags":13740,"thumbUrl":13741,"material":86,"size":86,"collection":86,"collections":13742,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":127},235177,"shan-shui-ce-ye-xin-235177","此作用笔松秀温润，浅绛设色晕染出清寂秋意。近景古松虬曲苍劲，与朴拙顽石相伴，侧旁矮木扶疏，点簇出细碎秋华，野趣盎然。中景茅篱村居错落，隐于林畔，篱舍俨然透着幽居闲情。远景以淡墨轻烘浅染，虚化山影，凭立二人又为冷寂添了几分烟火暖意。整幅意境萧散淡远，将江南村居的秋日闲逸铺陈开来，藏着静穆清和的林下意趣，引人沉湎于这避世幽居的松弛意韵之中。",[24,25,162,28,27,29,118,101,7,178,777,4873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fabbe8f9f9767e04fb87cddb801f23.jpg",[],{"id":13744,"slug":13745,"title":3902,"dynasty":173,"author":11200,"museum":78,"description":13746,"tags":13747,"thumbUrl":13748,"material":86,"size":86,"collection":86,"collections":13749,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},235175,"shan-shui-ce-ye-xin-235175","此作画境清逸淡远，以秀挺笔触勾勒危崖叠嶂，皴擦简净清疏，淡晕山石肌理，尽显山峦空阔之姿。左侧苍松半掩山居，丹色霜叶点染秋韵，右侧木桥引渡，红衣行人缓步，为冷寂山境晕开暖意。远山佛塔隐现峰巅，暗合禅意。\n\n全幅设色简淡明净，留白衬出丘林空寂，将幽居静穆与山野生机相融，笔法温婉秀雅，以淡墨轻色晕染出江南山水的秀润空灵，简淡间漫溢出悠远的山居诗意，尽显淡逸雅致的山水意趣。",[24,25,162,27,28,36,29,7,30,60,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c352f4a9005fb53019459306174bf3.jpg",[],{"id":13751,"slug":13752,"title":3902,"dynasty":18,"author":5114,"museum":78,"description":13753,"tags":13754,"thumbUrl":13755,"material":86,"size":86,"collection":86,"collections":13756,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":71},235154,"shan-shui-ce-li-liu-fang-235154","此作用笔简淡松灵，淡墨晕染出虚渺远山，如笼轻烟，留白铺就清寂天地。右侧枯木虬曲苍劲，丛树错落交叠，笔墨勾勒尽显草木枯荣之态，飞瀑自丘峦间垂落，掩映茅舍二三，暗合幽寂氛围。\n\n题字与画面浑然相融，笔意萧散简远，以水墨写尽文人心底的淡远幽情，未以繁复设色，仅以干湿浓淡的墨色层次，铺展出冷寂清和的山居意趣，尽显萧散简远的林下之风，将寒夜灯下的幽闲淡远意蕴藏于尺幅之间。",[55,24,25,162,27,36,29,302,7,118,439,34,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a98e86ecf81b6a859d443cfea31890.jpg",[],{"id":13758,"slug":13759,"title":5488,"dynasty":173,"author":2467,"museum":78,"description":13760,"tags":13761,"thumbUrl":13762,"material":86,"size":86,"collection":86,"collections":13763,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},235077,"shan-shui-tu-ce-hua-yan-235077","此作淡墨写江岸山居，近渚古木盘曲苍劲，茅庐隐于林樾，静听江澜絮语。远山以枯笔轻皴，淡晕烟岚，晕染出空濛淡远之境，满幅幽寂萧散。左侧行书题诗笔致清逸隽秀，诗画相映，将林泉高致的文人心境托举而出。简淡尺幅中藏静穆生机，把幽居林下、寄情烟霞的雅逸襟怀融于笔墨间，尽显中式山水留白意趣，是文人诗画相融的绝佳范本。",[24,25,162,27,36,38,29,7,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c784099b798e42c13443fbedfb8428.jpg",[],{"id":13765,"slug":13766,"title":10575,"dynasty":173,"author":474,"museum":175,"description":12849,"tags":13767,"thumbUrl":13768,"material":249,"size":10579,"collection":86,"collections":13769,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":71},234903,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234903",[24,25,162,38,28,57,36,29,2388,7,61,60,261,34,33,952,1282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711ec21c2b74711dce512776b1b5b456.jpg",[],{"id":13771,"slug":13772,"title":13273,"dynasty":173,"author":1147,"museum":78,"description":13274,"tags":13773,"thumbUrl":13774,"material":165,"size":13277,"collection":86,"collections":13775,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},234883,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234883",[24,162,27,36,1428,29,234,33,7,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8b0cce110bfb67b33a9bc773241b5.jpg",[],{"id":13777,"slug":13778,"title":13779,"dynasty":173,"author":13780,"museum":78,"description":13781,"tags":13782,"thumbUrl":13783,"material":86,"size":86,"collection":86,"collections":13784,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},234823,"yu-shan-zhu-xian-he-bi-ce-yun-he-xian-ju-tu-ce-ye-cai-yuan-234823","虞山诸贤合璧册-云壑仙居图册页","蔡远","虞山派又称“虞山山水画派”简称“虞山派”。为“云间画派”两大支流之一。“虞山派”包括“虞山画派”、“虞山诗派”、“虞山印派”、“虞山琴派”、“虞山派藏书楼”、“虞山派红木雕刻”、“虞山派微雕”和“虞山书法派”等等。一首《“虞山派”歌》曰：“虞山藏书读书乐，铁琴唻铜剑臫頭第一楼條；虞山画派王翬创，画祖还有黄公望；虞山琴派严天池，古琴艺术传万世；虞山印派林鹤田，篆刻刀法气宇轩；虞山诗派钱牧斋，绛云书楼胸中载；虞山书法不成派，草圣张旭醉唐代”。",[24,25,27,29,162,36,30,31,247,99,33,7,58,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a07f03dda9cd3e7eb54f8891eca37b.jpg",[],{"id":13786,"slug":13787,"title":3902,"dynasty":173,"author":1384,"museum":175,"description":13788,"tags":13789,"thumbUrl":13790,"material":86,"size":86,"collection":86,"collections":13791,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},234794,"shan-shui-ce-dong-bang-da-234794","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,27,28,162,29,118,439,34,7,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875ca397370e0f4af62fcea9fca3f34f.jpg",[],{"id":13793,"slug":13794,"title":13795,"dynasty":18,"author":474,"museum":78,"description":6725,"tags":13796,"thumbUrl":13797,"material":86,"size":86,"collection":86,"collections":13798,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":71},234695,"ming-ren-dong-shan-si-zhu-tu-wan-shan-yi-ming-234695","明人东山丝竹图纨扇",[24,25,464,28,57,60,83,33,34,1538,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd09617bcb4db10d2d7a50e44da7cbe.jpg",[],{"id":13800,"slug":13801,"title":11282,"dynasty":173,"author":11283,"museum":78,"description":11284,"tags":13802,"thumbUrl":13803,"material":86,"size":86,"collection":86,"collections":13804,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},234669,"shan-shui-wan-shan-zhang-zhi-wan-234669",[24,25,464,27,36,29,84,7,234,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8564562cf635c390306476346180fd6f.jpg",[],{"id":13806,"slug":13807,"title":13808,"dynasty":173,"author":1340,"museum":175,"description":13809,"tags":13810,"thumbUrl":13811,"material":86,"size":86,"collection":86,"collections":13812,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},234513,"qiu-lin-ye-zhang-tu-wang-hui-234513","秋林曳杖图","魏晋以来，杖的含义开始拓宽；以物喻人，杖也喻为品德高洁的符号。\n到唐宋，杖不再专属是老人之物，而是年轻化、文学化。杖开始与文人、与文学跬步不离。\n甚至说，几乎所有文人、诗人的作品里，都曾出现过杖的踪影。尤其是宋人，对杖的描述，就有九节杖、桄榔杖、藤杖、铁杖、鸠杖、寿杖、锡杖、玉杖、棁杖等等。\n最寻常的杖材，当是竹、藤、木。\n如竹杖，文人喜好用斑竹；斑竹有雅意，也叫湘妃竹，名字还有个美丽的故事。晋代张华《博物志》载：尧之二女，舜之二妃，曰湘夫人，帝崩，二妃啼，以涕挥竹，竹尽斑。\n斑竹为杖，自有渊源。白居易说：闲携斑竹杖，徐曳黄麻屦。元明时代的戏曲《荆钗记·启媒》里亦有：软红泥踏青时候，试蹑青鞋，慢拖斑竹，去寻良友。\n斑竹上的星星点点如星河，且每根竹材的星点大有不同，这些恐怕都是文人喜爱斑竹杖的原因。毕竟在传统的审美情趣里，常以新奇为美。\n以奇为美的追求，更能体现在藤杖的身上。\n关于藤杖的形容就有藤枝、老藤、枯藤、瘦藤、古藤、乌藤、青藤、红藤、朱藤、赤藤等，文人追求奇美，藤条的生长能更奇巧，因而极为适宜作为藤杖。\n譬如清初画圣王翚画像，即手持一枝奇怪的藤木杖，其杖头藤条宛延辗转，奇妙非常。古天一曾释出一件奇藤杖，与王翚的持杖对比，有异曲同工之妙。\n这些都是文人追求清奇的结果。\n他们热衷于奇辟之物。清新而奇妙的藤杖，在视觉上，从不同的角度观之，情趣迥异，可谓有“横看成岭侧成峰，远近高低各不同”的审美意味。\n换言之，古代文人寻求独特的杖，就像寻求一件文房、一件古董一样；他们不仅把杖当成工具，还把杖看作是文具。\n按理杖为老人所用，然而像苏轼、陆游、辛弃疾，在中青年时期即已杖在手中，可见杖与年龄并非天然相关。策杖，主要还是显示闲畅心境和作为一种生活习惯。",[24,27,36,29,60,33,31,34,181,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35474947d506ba3f20faf7c4c1b8f5a.jpg",[],{"id":13814,"slug":13815,"title":13816,"dynasty":173,"author":474,"museum":78,"description":13817,"tags":13818,"thumbUrl":13820,"material":86,"size":86,"collection":86,"collections":13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淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,25,55,162,27,36,29,7,84,34,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd79e322948a0d5f2ab1ad1c41afc92.jpg",[],{"id":13861,"slug":13862,"title":12929,"dynasty":173,"author":1147,"museum":175,"description":12930,"tags":13863,"thumbUrl":13864,"material":12933,"size":12934,"collection":86,"collections":13865,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},233165,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233165",[24,25,162,27,28,36,58,29,34,33,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f1f70d967f351069bf5cfca45a740c8.jpg",[],{"id":13867,"slug":13868,"title":13869,"dynasty":173,"author":9036,"museum":96,"description":13870,"tags":13871,"thumbUrl":13872,"material":292,"size":13873,"collection":86,"collections":13874,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":46},232678,"qiu-shan-ping-yuan-tu-he-yi-232678","秋山平远图","此作用平远之法铺展秋景，近岸苍松虬劲，杂木以丹黄点染，将秋意揉进枝叶肌理，茅庐依水而居，野趣横生。平湖如镜，一舟独泛，载着闲逸随波漫行，汀渚蒹葭苍苍，晕开渺渺秋光。远景山峦轻笼烟霭，墨色澹宕清润，将秋山空寂辽远铺陈开来。\n\n画作以元人笔意写就，浅设色晕染出疏淡秋韵，配上行书题诗，书画相融，尽抒林泉幽栖的隐逸襟怀，把秋日郊野的萧散闲雅，晕成一卷可赏可居的诗意天地。",[24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法松秀温雅，以淡墨反复皴擦晕染，不见刻露之笔，处处透着静穆淡远的意境，将江南山水的柔婉清幽与文人向往的林泉雅趣融为一体，观之如身临幽寂山野，足以涤荡尘心。",[24,25,162,27,81,36,29,302,33,952,99,34,30,7,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae085406406d31950536f0b8ca2ee6f.jpg",[],{"id":14343,"slug":14344,"title":2973,"dynasty":173,"author":474,"museum":78,"description":14345,"tags":14346,"thumbUrl":14347,"material":86,"size":86,"collection":86,"collections":14348,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},236063,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236063","此作用笔苍劲老辣，以细密干笔勾勒山峦，披麻皴皴擦山石肌理，层叠岩峦兼具高远、深远之致，硬朗质感尽显。谷中溪流蜿蜒回转，为沉静山景添灵动生机。林木排布疏密得宜，虬松横斜、茂林簇拥，错落之间晕染出山野幽寂意趣。\n\n全幅以焦墨写就，气息苍浑古雅，追摹宋元山水意韵，仿古却不泥古，将林下隐逸之境铺陈开来。静穆丘壑藏着秀逸情致，尺幅之中笔墨简澹却意韵悠长，尽显沉稳醇厚的仿古笔墨功力，观之便如踏入幽寂山居，揽获林泉雅趣。",[24,25,162,27,36,81,58,29,34,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9300aae1fac661607e253e9eeea9c6.jpg",[],{"id":14350,"slug":14351,"title":3902,"dynasty":173,"author":1147,"museum":78,"description":14352,"tags":14353,"thumbUrl":14354,"material":86,"size":86,"collection":86,"collections":14355,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},236054,"shan-shui-ce-wang-yuan-qi-236054","此作用笔苍劲老辣，以干笔枯墨反复皴擦山峦，层层铺陈出山石浑厚苍润的质感。山峦开合有致，高远与深远兼得，尽显层林叠嶂的幽深意境。林木错落穿插，姿态古拙秀挺，山居村舍掩映在林泉烟霭之间，晕染出江南山野的幽寂清宁。\n\n画面气息高古静穆，师法元人笔意，将文人山水的书卷气融于笔墨之中，于简淡疏朗里藏着沉郁苍茫的力道，缓缓铺展出林泉高致的悠然意趣，让观画之人仿佛踏入这清幽山居，沉醉在这份安谧雅致的山水之境。",[24,25,162,27,29,36,33,30,31,34,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6812b912b7fec3140154e618a8e51b1e.jpg",[],{"id":14357,"slug":14358,"title":14359,"dynasty":173,"author":474,"museum":78,"description":14360,"tags":14361,"thumbUrl":14362,"material":86,"size":86,"collection":86,"collections":14363,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},235989,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235989","半山山水人物册","这幅淡墨山水以留白造境，尽显简澹空灵。坡岸以干笔淡墨皴擦，苍润相生，带着松弛的山野意趣。崖边杂木疏朗错落，枝桠轻逸，晕染出清寂秋意。近岸奇石嶙峋，极简勾勒衬出水畔生趣。水榭静立岸侧，柴扉半掩，似藏幽人闲居的意趣。\n\n整幅画舍去繁丽设色，以水墨浓淡晕染悠远空寂的山水氛围，将文人寄情林泉的雅逸心境藏在留白与淡墨之间，笔致简净萧散，淡而有味，尽显幽寂淡远的林下之风。",[24,25,162,27,36,29,34,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8833b6b46e79827720239e467fd7d0d0.jpg",[],{"id":14365,"slug":14366,"title":14359,"dynasty":173,"author":474,"museum":78,"description":14367,"tags":14368,"thumbUrl":14369,"material":86,"size":86,"collection":86,"collections":14370,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},235984,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235984","此作用笔松灵简淡，以枯笔勾皴石骨，淡墨晕染山石苍润质感。主峰奇崛高拔，岩间苔木轻缀，暗藏山野生机。左侧流泉沿石涧蜿蜒而下，似有声韵潺潺而出。右侧山麓茅舍掩映，素朴圆窗透着幽居闲意，远景疏木淡描、板桥横陈，留白铺就空寂开阔的意境。整幅以少胜多，萧疏清寂，将林泉隐逸的意趣融于尺幅间，尽显文人山水静穆淡远的旨趣，笔底尽是幽居林泉的恬然逸致。",[24,25,162,27,36,29,234,84,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af1ecce7d9c3d96decf8ee1b9840d56.jpg",[],{"id":14372,"slug":14373,"title":5488,"dynasty":173,"author":14374,"museum":78,"description":14375,"tags":14376,"thumbUrl":14377,"material":317,"size":396,"collection":86,"collections":14378,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},235905,"shan-shui-tu-ce-guan-quan-235905","官铨","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,25,162,27,38,29,7,84,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0eaa7a87b7ac9157db6bf743b98cc8.jpg",[],{"id":14380,"slug":14381,"title":5488,"dynasty":173,"author":14374,"museum":78,"description":14375,"tags":14382,"thumbUrl":14383,"material":317,"size":396,"collection":86,"collections":14384,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},235904,"shan-shui-tu-ce-guan-quan-235904",[24,25,162,38,27,36,29,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554022a25b0e04b5053a9dfe3fcb9fa0.jpg",[],{"id":14386,"slug":14387,"title":14388,"dynasty":18,"author":14389,"museum":78,"description":14390,"tags":14391,"thumbUrl":14392,"material":86,"size":86,"collection":86,"collections":14393,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","陆师道","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[24,25,162,28,36,38,58,37,29,276,263,33,416,7,178,2908,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],{"id":14395,"slug":14396,"title":6982,"dynasty":173,"author":1340,"museum":78,"description":3177,"tags":14397,"thumbUrl":14398,"material":317,"size":396,"collection":86,"collections":14399,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},235810,"shan-shui-shan-wang-hui-235810",[24,25,464,27,29,7,33,84,60,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e6daf7e7598c2bb21603e31c2a8cb3a.jpg",[],{"id":14401,"slug":14402,"title":1425,"dynasty":173,"author":14403,"museum":78,"description":14404,"tags":14405,"thumbUrl":14406,"material":317,"size":396,"collection":86,"collections":1440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轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,57,28,38,37,58,60,83,61,7,570,33,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe28a13ec087287115be0adb00a9fe29.jpg",[],{"id":14468,"slug":14469,"title":1425,"dynasty":173,"author":1340,"museum":78,"description":10900,"tags":14470,"thumbUrl":14471,"material":185,"size":10904,"collection":86,"collections":14472,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},234715,"fang-gu-shan-shui-ce-wang-hui-234715",[24,25,55,162,27,36,1428,29,382,34,60,99,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca9f3af74811c30e2439f3313491490.jpg",[],{"id":14474,"slug":14475,"title":3902,"dynasty":18,"author":3942,"museum":78,"description":8432,"tags":14476,"thumbUrl":14477,"material":86,"size":86,"collection":86,"collections":14478,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},234665,"shan-shui-ce-shao-mi-234665",[55,24,25,162,27,36,29,234,84,31,32,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1a6a24b24c48b15067832ea331eb98.jpg",[],{"id":14480,"slug":14481,"title":14482,"dynasty":173,"author":6947,"museum":78,"description":14483,"tags":14484,"thumbUrl":14485,"material":185,"size":86,"collection":86,"collections":14486,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,55,24,25,26,28,57,38,58,29,416,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":14488,"slug":14489,"title":14490,"dynasty":173,"author":14491,"museum":175,"description":14492,"tags":14493,"thumbUrl":14494,"material":212,"size":14495,"collection":86,"collections":14496,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},234189,"jin-jie-ren-hua-xiang-ding-gao-234189","靳介人画像","丁皋","画面表现的是暮春时节，茅亭绿柳，渚清荷新，一士人左手执卷，右手扶膝，正襟危坐于岸边石凳上，身旁石几上置书函、茗盏之属，一小童执扇对炉烹茶。环境清新雅逸，文人雅士闲适的生活情景跃然纸上。\n从题跋内容分析，画中主人公靳介人为官吏，但具体行状不详，尚待进一步考察。画中人物的表现方法与波臣派风格略有差异，面部平涂较多，皴染不足，故而显得较平，但眉宇间神气盎然，亦为传神之佳作。在波臣派作品中，将人物置于山水之间的肖像画多为合作之画，有喧宾夺主者，有人、景布置不谐者，而此图情景合一，将人融于景物之中，通过环境衬托人物清逸的品质，无疑是一件成功之作。",[23,24,25,57,28,60,303,263,685,7,666,2237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56539146803162af663c1bb64e0bbb.jpg","纵36厘米，横131.8厘米",[],{"id":14498,"slug":14499,"title":14500,"dynasty":94,"author":2983,"museum":175,"description":14501,"tags":14502,"thumbUrl":14503,"material":249,"size":14504,"collection":86,"collections":14505,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":71},233989,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233989","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[55,24,25,162,82,27,28,60,7,84,34,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6335300d6c06ab16b07654d665d0d6f7.jpg","60.33x41.04厘米",[],{"id":14507,"slug":14508,"title":12920,"dynasty":173,"author":3041,"museum":175,"description":12921,"tags":14509,"thumbUrl":14510,"material":789,"size":12924,"collection":86,"collections":14511,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},233443,"ren-wu-shan-shui-ce-luo-pin-233443",[24,25,27,28,162,36,60,29,7,63,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F097138de6a206ef03745cea85302a03e.jpg",[],{"id":14513,"slug":14514,"title":14515,"dynasty":4498,"author":14516,"museum":78,"description":14517,"tags":14518,"thumbUrl":14519,"material":317,"size":396,"collection":86,"collections":14520,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},231726,"lian-cang-shi-qi-zhen-shou-shen-ren-hui-xi-tu-juan-ruo-xia-guo-231726","鎌仓时期 镇守神人绘系图卷","若狭国","日本古代的令制国之一，属北陆道，又称若州。若狭国的领域大约为福井县的岭南。",[23,5842,25,26,28,60,61,7,368,57,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5299f5c116a0eed7fa5bc763bc696ac1.jpg",[],{"id":14522,"slug":14523,"title":14524,"dynasty":4498,"author":14525,"museum":78,"description":14526,"tags":14527,"thumbUrl":14528,"material":317,"size":396,"collection":86,"collections":14529,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下）","狩野探幽","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[24,25,162,27,28,82,29,440,60,61,30,31,2388,5777,439,3885,234,7,63,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f0f3f9d209b31058c7b680bf600a6.jpg",[],{"id":14531,"slug":14532,"title":14533,"dynasty":4498,"author":14534,"museum":78,"description":14535,"tags":14536,"thumbUrl":14537,"material":86,"size":86,"collection":86,"collections":14538,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},231581,"jiang-hu-shi-dai-xiao-xiang-ba-jing-tu-juan-shou-ye-chang-xin-231581","江户时代萧湘八景图卷","狩野常信","此作用淡墨轻晕出空濛烟岚，山峦在水雾里迤逦起伏，或显或隐，晕染出悠远的纵深。江面烟波浩渺，归雁列队掠过长空，江渚间村居错落、渔舟泛波，林舍与茂树点缀水岸，将水乡闲逸日常藏进山水间。\n画家以极简笔墨勾勒物象，淡彩点染草木，把潇湘山水的清寂灵秀揉进温润雅致的笔墨意趣里，整体意境澹泊空灵，将烟波水乡的幽远禅意晕散开来，仿佛能闻见水畔林风，窥见渔樵往来的悠然日常，尽显山水间的澹然诗意。",[23,24,26,27,28,29,36,7,32,63,61,31,34,33,570,329,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf1073186518574b343a552415ea54d.jpg",[],{"id":14540,"slug":14541,"title":14542,"dynasty":18,"author":927,"museum":96,"description":14543,"tags":14544,"thumbUrl":14545,"material":165,"size":14546,"collection":86,"collections":14547,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[24,25,146,28,29,33,7,61,34,99,36,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":14549,"slug":14550,"title":6177,"dynasty":18,"author":474,"museum":78,"description":14551,"tags":14552,"thumbUrl":14553,"material":86,"size":86,"collection":86,"collections":14554,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":127},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,24,27,29,146,36,416,32,7,31,34,178,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":14556,"slug":14557,"title":14558,"dynasty":4498,"author":14559,"museum":78,"description":14560,"tags":14561,"thumbUrl":14565,"material":317,"size":396,"collection":86,"collections":14566,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,25,26,28,57,82,81,58,440,60,32,63,9307,7068,7,61,31,464,14562,14563,14564,147,439,34,30,83,2819,3149,2179,33,5067,38,344],"孔雀","雉鸡","燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":14568,"slug":14569,"title":14570,"dynasty":173,"author":6717,"museum":78,"description":14571,"tags":14572,"thumbUrl":14573,"material":86,"size":86,"collection":86,"collections":14574,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":46},230256,"hua-chun-tai-tong-le-ce-huang-yue-230256","画春台同乐册","此作以淡墨轻晕铺就月夜园林景致，题诗衬景，将清宵幽寂意趣娓娓道来。月上宵空，清光晕染水岸屋舍，错落庭园隐于林木间，竹树疏密相宜，水岸亭台凌波而立，垂柳轻拂水面，石岸错落点缀浅滩，铺展出江南私园的雅致闲静。\n\n笔致秀润简淡，留白尽显月色空濛，将文人耽于静夜闲读的隐逸心境融于笔墨。淡着色晕染出草木清润，屋舍朴雅简净，整体萧疏淡远，尽显文人山水小品悠然闲淡的意韵，把夜色里园林的静谧雅韵全然铺陈开来。",[24,25,162,27,7,61,33,630,31,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5f5de249117605e5d665e899be726f.jpg",[],{"id":14576,"slug":14577,"title":14578,"dynasty":4498,"author":474,"museum":78,"description":14579,"tags":14580,"thumbUrl":14581,"material":86,"size":86,"collection":86,"collections":1458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御制五律一章，以宠其行，行至山东临清以病卒。",[24,55,26,29,27,487,33,34,7,8695,58,37,1840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23648be720832d58f975e3904b328687.jpg",[],{"id":14797,"slug":14798,"title":4497,"dynasty":4498,"author":474,"museum":78,"description":14799,"tags":14800,"thumbUrl":14801,"material":317,"size":396,"collection":86,"collections":14802,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":71},290017,"shan-shi-qing-lan-tu-yi-ming-290017","列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[23,24,55,25,146,27,29,36,61,30,31,32,7,34,416,3247,1819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":14804,"slug":14805,"title":14806,"dynasty":4498,"author":14807,"museum":78,"description":14808,"tags":14809,"thumbUrl":14810,"material":317,"size":396,"collection":86,"collections":14811,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},289367,"tu-dao-chao-tun-tu-qing-mu-mu-mi-289367","兔道朝暾图","青木木米","此作用笔兼具中日山水意趣，取景开合相生。远山以淡墨晕染出空濛烟岚，峰峦轮廓温润朴拙，暗合米家山水氤氲之态。近岸桃红柳翠，板桥通幽，山居藏于虬枝茂叶间，清溪蜿蜒穿谷，渔舟泛波划破春水静澜。\n\n右侧崖壁题笔古雅，笔墨干湿浓淡交叠，苍松怪石兼具苍劲秀逸之姿。将春日溪山的清寂生机揉为一处，渔樵幽隐之趣暗含其间，把文人寄兴林泉的澹然幽怀，晕染进烟柳春山之中，静穆又暗藏灵动意韵。",[23,24,487,28,27,36,29,30,31,32,7,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":14813,"slug":14814,"title":14815,"dynasty":173,"author":474,"museum":78,"description":14816,"tags":14817,"thumbUrl":14821,"material":317,"size":396,"collection":86,"collections":14822,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":399},274473,"tong-du-jin-xian-he-tuo-ting-shi-biao-yi-ming-274473","铜镀金仙鹤驮亭式表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[14818,14819,3005,7,14820,14144,1664],"金器","铜制","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b73e28cd31834be07d1a9c32405763.jpg",[],{"id":14824,"slug":14825,"title":14826,"dynasty":173,"author":474,"museum":78,"description":14827,"tags":14828,"thumbUrl":14830,"material":317,"size":396,"collection":86,"collections":14831,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":399},272879,"zi-tan-mu-bian-qian-yu-shan-shui-tu-gua-ping-yi-ming-272879","紫檀木边嵌玉山水图挂屏","此挂屏以黑漆为底，取各色玉料巧作镶嵌，晕染出一方江南园林胜景。远景山峦叠翠，亭台隐于林麓，题字墨韵点衬风雅；近岸柳丝垂波，临水轩榭明丽雅致，舟船泛于湖面，桥上雅士晤谈晏晏，意态悠然。\n\n匠者借玉石天然色泽区分景致层次，深浅玉色晕开远近空间，将江南烟霭温润之美凝于屏中。紫檀边框沉稳内敛，把文人山水意趣与百宝嵌工艺相融，静赏间如身临水墨江南，尽显清代工造的精巧匠心与雅致审美。",[9473,14142,9475,14829,29,61,30,31,60,7,33,37,32],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78abdb89b00f3b0e9ae27403638350f2.jpg",[],{"id":14833,"slug":14834,"title":14835,"dynasty":173,"author":474,"museum":78,"description":14836,"tags":14837,"thumbUrl":14840,"material":317,"size":396,"collection":86,"collections":14841,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},272848,"zi-tan-mu-bian-zuo-qian-ya-gu-dian-cui-ren-wu-tu-cha-ping-yi-ming-272848","紫檀木边座嵌牙骨点翠人物图插屏","此作以紫檀为骨，雕纹古雅工致，屏心借牙骨点翠施艺。黑地如夜，托衬得画面明丽雅致。\n画面铺陈江南雅集盛景：山峦以点翠晕出幽蓝清润的层叠意趣，亭台水榭错落其间，士人泛舟游赏、亭中晤谈、桥上流连，稚童嬉闹点缀角落，人物衣袂飘然、神态鲜活，将文人雅聚的闲情逸趣尽数铺展。\n百宝嵌的精妙工艺揉合古典文人意趣，既是雅致陈设，亦是清代匠造审美与文人情思融合的精巧之作。",[11167,9475,14838,14839,14829,60,7,30,61,29,28,1664],"牙骨","点翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6fd3d510d18881a34432014c6f4534.jpg",[],{"id":14843,"slug":14844,"title":14845,"dynasty":173,"author":474,"museum":78,"description":12693,"tags":14846,"thumbUrl":14849,"material":317,"size":396,"collection":86,"collections":14850,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":71},268764,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268764","缂丝群仙庆寿图轴",[146,5445,28,57,14847,14848,60,61,416,34,7068,7],"群仙","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709fa53f24531d77c1aa8cc6ceb5db01.jpg",[],{"id":14852,"slug":14853,"title":14854,"dynasty":173,"author":474,"museum":78,"description":14140,"tags":14855,"thumbUrl":14858,"material":317,"size":396,"collection":86,"collections":14859,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":399},252054,"qian-long-ti-shi-bi-yu-chun-ye-yan-tao-li-tu-yuan-bi-tong-yi-ming-252054","乾隆题诗碧玉春夜宴桃李图圆笔筒",[4898,14142,14144,14856,60,14857,29,7,63],"浮雕","桃李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf46b8c0676a22027cc7b148643b97d4.jpg",[],{"id":14861,"slug":14862,"title":14863,"dynasty":18,"author":474,"museum":78,"description":14864,"tags":14865,"thumbUrl":14867,"material":317,"size":396,"collection":86,"collections":14868,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},246232,"ti-cai-long-zhou-tu-he-ye-shi-pan-yi-ming-246232","剔彩龙舟图荷叶式盘","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。",[18,10349,14866,14144,28,5567,2147,7,61,2818],"剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1512a6620f5c7d1dabf386ba38bf931c.jpg",[],{"id":14870,"slug":14871,"title":3902,"dynasty":173,"author":1878,"museum":78,"description":10140,"tags":14872,"thumbUrl":14873,"material":317,"size":396,"collection":86,"collections":14874,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},239328,"shan-shui-ce-cha-shi-biao-239328",[24,25,162,27,29,118,7,38,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f4ab800b5b8e48eb760bb84c2c7d29.jpg",[],{"id":14876,"slug":14877,"title":5488,"dynasty":18,"author":927,"museum":78,"description":14878,"tags":14879,"thumbUrl":14880,"material":317,"size":396,"collection":86,"collections":14881,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},239315,"shan-shui-tu-ce-zhang-hong-239315","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。",[24,25,162,27,36,29,7,63,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc86ec2412a16b479cced18daf2452d.jpg",[],{"id":14883,"slug":14884,"title":14885,"dynasty":173,"author":6877,"museum":78,"description":14886,"tags":14887,"thumbUrl":14890,"material":86,"size":86,"collection":86,"collections":14891,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},239210,"za-hua-juan-tang-ying-239210","杂画卷","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[23,24,25,26,27,28,29,7,32,63,14888,544,14889,1254,33,101,37,58],"鸡","松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":14893,"slug":14894,"title":13115,"dynasty":173,"author":5712,"museum":78,"description":14895,"tags":14896,"thumbUrl":14897,"material":86,"size":86,"collection":86,"collections":14898,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},239203,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239203","此作书画合璧，以干笔淡墨绘就山林古寺。层峦叠嶂间松荫翳然，板桥通幽，行人缓步徐行，意境清寂淡远，尽显静穆出尘之致。\n行书题诗笔致清劲萧散，与画面的野逸气息彼此呼应。笔墨洗练不事雕琢，以留白烘托出空寂禅意，将山水的幽邃与沉郁清介的襟怀相融，淡墨皴擦间漫溢出荒寒雅静的林下之风，是寄寓了文人孤高心性的山水佳作。",[24,27,29,36,162,37,58,30,31,416,34,61,7,33,863,8729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e51aa9b0ddb8cc46ad09ca88e82366.jpg",[],{"id":14900,"slug":14901,"title":14902,"dynasty":173,"author":3186,"museum":78,"description":14903,"tags":14904,"thumbUrl":14905,"material":86,"size":86,"collection":86,"collections":14906,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},239131,"shan-shui-he-hui-ce-zhang-zong-cang-239131","山水合绘册","此作以平远视界铺展江南野趣，水墨轻施，淡岚氤氲。坡岸间松石错落，杂木萧疏清瘦，几杆修竹伴衬茅庐隐于林泉之间，尽得幽居雅意。水面空蒙浩渺，远山层叠晕染如黛，淡而有神，将平野清寂之景晕染雅致。笔墨松秀简淡脱尽繁缛，题款朴拙古雅与画面浑然相融，尽显文人画萧散静穆的林下之风，将林泉高致的隐逸情怀寄寓淡墨浅痕中，整幅清润秀雅，尽显平和悠远的山水逸趣。",[24,25,162,27,36,29,382,234,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff743d229cc696c06725a7445e18885e8.jpg",[],{"id":14908,"slug":14909,"title":14902,"dynasty":173,"author":3186,"museum":78,"description":14781,"tags":14910,"thumbUrl":14911,"material":317,"size":396,"collection":86,"collections":14912,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},239129,"shan-shui-he-hui-ce-zhang-zong-cang-239129",[24,27,162,29,439,7,234,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70698e4f1bcb7e38491e55857ed5ea5.jpg",[],{"id":14914,"slug":14915,"title":14902,"dynasty":173,"author":3186,"museum":78,"description":14781,"tags":14916,"thumbUrl":14917,"material":317,"size":396,"collection":86,"collections":14918,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},239127,"shan-shui-he-hui-ce-zhang-zong-cang-239127",[24,162,27,36,29,118,439,7,178,12015,832,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2093dac5beacc3643d478b8d5b2aca.jpg",[],{"id":14920,"slug":14921,"title":3902,"dynasty":173,"author":10147,"museum":78,"description":10148,"tags":14922,"thumbUrl":14926,"material":86,"size":86,"collection":86,"collections":14927,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":71},239006,"shan-shui-ce-li-dong-239006",[24,25,162,28,36,29,382,34,544,33,14923,1174,7,14924,14925],"坡地","树林","石堆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e5bc217d19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(明)字水若。会稽 (今属绍兴)人。",[55,24,464,27,36,29,34,416,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0799918be9c4268b935a14092bceb21f.jpg",[],{"id":15038,"slug":15039,"title":3902,"dynasty":18,"author":5730,"museum":78,"description":15040,"tags":15041,"thumbUrl":15042,"material":86,"size":86,"collection":86,"collections":15043,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},237634,"shan-shui-ce-shen-hao-237634","此作用笔简逸空灵，近景坡岸茅舍清寂敞亮，屋侧古松倚山挺出，虬枝斜曳自带苍古意韵。以干笔皴擦表现山石嶙峋肌理，淡墨晕染山峦，留白化作平湖，将远近景致自然衔接。远处峰峦以淡墨轻扫，朦胧悠远，衬出空寂萧散的氛围。\n\n全画不见繁复刻画，以极简笔墨写尽林泉幽居之雅，将山居的静穆淡远尽数铺展，暗含文人寄情山水、栖心丘壑的隐逸之思，尽显文人山水疏淡清和的意趣。",[24,27,29,162,36,7,234,84,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeddc31dbfe2a1b9bb4ca9675ed01a45.jpg",[],{"id":15045,"slug":15046,"title":3902,"dynasty":18,"author":15047,"museum":96,"description":15048,"tags":15049,"thumbUrl":15050,"material":165,"size":86,"collection":86,"collections":15051,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":71},237435,"shan-shui-ce-jiang-qian-237435","蒋乾","蒋嵩，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为「狂态邪学」。",[24,25,162,28,36,29,30,31,7,147,439,60,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2486eb2359c6a02f2a753ded94a267da.jpg",[],{"id":15053,"slug":15054,"title":15055,"dynasty":173,"author":1340,"museum":96,"description":15056,"tags":15057,"thumbUrl":15058,"material":165,"size":86,"collection":86,"collections":15059,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},237383,"shan-shui-ce-song-jun-ye-fang-da-chi-shan-shui-ye-wang-hui-237383","山水册-宋骏业仿大痴山水页","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。",[24,25,162,27,29,36,81,33,35,34,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb1c965398a2ee9f3b80e7e2f75d7c3.jpg",[],{"id":15061,"slug":15062,"title":3902,"dynasty":173,"author":10855,"museum":78,"description":15063,"tags":15064,"thumbUrl":15065,"material":165,"size":86,"collection":86,"collections":15066,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},237375,"shan-shui-ce-wang-jiu-237375","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,162,28,27,29,7,118,34,38,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36058b13f0c78ccf235607fa307501b5.jpg",[],{"id":15068,"slug":15069,"title":15070,"dynasty":18,"author":927,"museum":78,"description":14878,"tags":15071,"thumbUrl":15072,"material":317,"size":396,"collection":86,"collections":15073,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},237361,"si-ren-he-hua-xiao-xiang-jing-shan-zhang-hong-237361","四人合画潇湘景扇",[24,25,464,29,27,28,33,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60887480d7b25658bcc1ec3efbd8ef48.jpg",[],{"id":15075,"slug":15076,"title":3902,"dynasty":173,"author":1878,"museum":78,"description":8404,"tags":15077,"thumbUrl":15078,"material":86,"size":86,"collection":86,"collections":15079,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},237109,"shan-shui-ce-cha-shi-biao-237109",[24,25,27,36,162,29,7,33,60,178,12015,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34ebe8e0ebe5a598d59b78eb9a784da.jpg",[],{"id":15081,"slug":15082,"title":3902,"dynasty":18,"author":11922,"museum":78,"description":11923,"tags":15083,"thumbUrl":15084,"material":165,"size":86,"collection":86,"collections":15085,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},237038,"shan-shui-ce-li-hang-zhi-237038",[24,27,162,36,29,84,30,31,7,234,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a579f29aa8dbba2b788e39f201e5c7e.jpg",[],{"id":15087,"slug":15088,"title":3902,"dynasty":173,"author":15089,"museum":78,"description":15090,"tags":15091,"thumbUrl":15092,"material":317,"size":396,"collection":86,"collections":15093,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},236990,"shan-shui-ce-zhang-xi-236990","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,25,162,27,38,58,36,29,147,302,7,99,276,666,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f199c1ef3dfe5efda921fbdd3f59a5.jpg",[],{"id":15095,"slug":15096,"title":15097,"dynasty":18,"a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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,162,27,36,29,118,302,3965,7,58,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947d8a7d1ff2847a29d70d56bed1f9b.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":15425,"slug":15426,"title":15427,"dynasty":18,"author":927,"museum":1122,"description":15428,"tags":15429,"thumbUrl":15430,"material":40,"size":86,"collection":86,"collections":15431,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},217909,"shi-ji-jun-chen-gu-shi-tu-3-zhang-hong-217909","史记君臣故事图-3","亭下红袍者端坐案前，案侧屏风绘淡远山水，与阶前苍树相映成趣。阶下数人或持杖恭立，或俯身叩拜，衣袂轻扬间，君臣间的恭谨氛围呼之欲出。线条细劲流转，勾勒人物神情毕肖；设色温润雅致，红袍的明艳与草木的青褐形成微妙对比，既见写实功底，又含文人画的清逸韵致。画面似凝住史记中的某段瞬间，无需多言，那段君臣互动的往事已在笔墨间缓缓铺展——每一处细节都藏着故事的余韵，让观者仿佛能触到千年之前的那缕庄重与温情。",[24,25,28,57,60,7,12639,1664,29,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a3b88a6d25487d0abf198d7e47936a3.jpg",[],{"id":15433,"slug":15434,"title":15435,"dynasty":173,"author":1927,"museum":4590,"description":4591,"tags":15436,"thumbUrl":15438,"material":121,"size":86,"collection":86,"collections":15439,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},216895,"qian-long-nan-xun-zhu-bi-tu-ye-11-qian-wei-cheng-216895","乾隆南巡驻跸图页-11",[23,24,28,161,57,61,7,33,15437,2769,1345,6014,35],"院落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f27c87870ea9d4475da8757fd58e4.jpg",[],{"id":15441,"slug":15442,"title":15443,"dynasty":173,"author":1927,"museum":4590,"description":4591,"tags":15444,"thumbUrl":15445,"material":121,"size":86,"collection":86,"collections":15446,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},216890,"qian-long-nan-xun-zhu-bi-tu-ye-20-qian-wei-cheng-216890","乾隆南巡驻跸图页-20",[23,24,28,161,162,61,7,30,33,196,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a65755c58602b04ab3ecf5e4544700b.jpg",[],{"id":15448,"slug":15449,"title":15450,"dynasty":18,"author":3594,"museum":96,"description":15451,"tags":15452,"thumbUrl":15453,"material":121,"size":15454,"collection":86,"collections":15455,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},216761,"jiu-lao-tu-9-huang-biao-216761","九老图-9","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[55,24,25,26,762,38,60,7,10368,29,57,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97bcf52c3b82faae9cfa2fb82489097.jpg","27.2x193",[],{"id":15457,"slug":15458,"title":15459,"dynasty":18,"author":51,"museum":96,"description":15460,"tags":15461,"thumbUrl":15462,"material":121,"size":15463,"collection":86,"collections":15464,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":46},214898,"di-wang-dao-tong-wan-nian-tu-ce-18-chou-ying-214898","帝王道统万年图册-18","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,25,162,57,28,161,60,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeeb85c2f4741141636da3f92aeefa70.jpg","32.5*32.6",[],{"id":15466,"slug":15467,"title":15468,"dynasty":173,"author":15469,"museum":20,"description":15470,"tags":15471,"thumbUrl":15472,"material":86,"size":86,"collection":42,"collections":15473,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":15474},203417,"shan-shui-shi-ti-he-ce-gao-xiang-203417","山水诗题合册","高翔","这幅山水以淡墨晕染为底，线条简括灵动，山石轮廓勾勒随性却见清劲骨力，皴擦间流露文人画特有的简逸之气。近景疏木萧散，枝桠姿态天然；中景隐现屋舍亭宇，似藏幽人居停之境；远山淡远如黛，留白处若萦轻烟，整体营造出静谧悠远的超然氛围。笔墨不尚繁复，全凭水墨层次与线条韵味传递意趣，尽显清代文人山水的简淡天真与清幽之致。",[29,27,36,234,7,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058cd7810811cb813c0ff2f6c8e1d5f3.jpg",[42],"c9bdb6",{"id":15476,"slug":15477,"title":15478,"dynasty":6834,"author":6835,"museum":20,"description":15479,"tags":15480,"thumbUrl":15482,"material":86,"size":86,"collection":42,"collections":15483,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":15484},203396,"fang-dong-yuan-shan-shui-tu-zhou-wu-qin-mu-203396","仿董源山水图轴","这幅山水取法前贤，笔墨清润雅致。层叠山峦以披麻皴写就，线条舒缓，皴染相济间尽显苍润质感；山间林木疏密有致，浓淡墨色交织，枝桠伸展自然。谷底瀑布垂落，小径蜿蜒穿林，几椽茅舍隐于岩畔，添得人间烟火气；远处山巅亭台隐约，似邀人登临远眺。整体构图开合有度，意境悠远恬淡，既承江南山水的秀逸神韵，又融个人笔墨意趣，尽显传统山水画可居可游的雅致之境。",[24,29,581,27,146,36,7,15481,302,888,81,23],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b4542a91b64d87b680c50fed884daf.jpg",[42],"aa937f",{"id":15486,"slug":15487,"title":15488,"dynasty":173,"author":727,"museum":20,"description":15489,"tags":15490,"thumbUrl":15492,"material":86,"size":86,"collection":86,"collections":15493,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":15494},203301,"shan-shui-tu-he-ce-yun-shou-ping-203301","山水图合册","笔墨疏秀间见清逸之韵，构图简约中藏空灵之境。孤石以淡墨皴擦，线条洗练却含苍劲；亭畔老树虬枝轻展，浅设色晕染出秋意，流水绕阶，亭榭隐于林麓，一派悠然野趣。画面摒弃浓艳，以简胜繁，将自然清幽与文人雅致融于尺幅，尽显笔底性灵。",[24,25,162,27,28,29,234,7,84,31,15491],"皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd465b2ecf12ba2bb23d323c2dbaa88c5.jpg",[],"d6ccc0",{"id":15496,"slug":15497,"title":15498,"dynasty":6834,"author":2123,"museum":20,"description":15499,"tags":15500,"thumbUrl":10,"material":86,"size":86,"collection":86,"collections":15501,"showCount":457,"zanCount":11,"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其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[37,762,162,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b55c5ae57e759c16dba8c1018c3e99.jpg",[],{"id":15612,"slug":15613,"title":15614,"dynasty":4498,"author":474,"museum":78,"description":15615,"tags":15616,"thumbUrl":15617,"material":317,"size":396,"collection":86,"collections":15618,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},281567,"juan-ben-cai-hui-shan-shui-ren-wu-tu-zhou-yi-ming-281567","绢本彩绘山水人物图轴","此作画风清雅秀润，以水泽汀洲铺展意境，苍劲古松错落排布于渚岸，枝桠挺秀，葱郁华滋。构图以蜿蜒水面分割景致，平远取景搭配崖壁飞瀑的高远之态，层次舒展灵动。浅绛间掺青绿晕染山石，色调清和柔润，亭台山居、渡桥扁舟点缀其间，不着笔刻意刻画人物，却暗合林泉幽隐之趣。整体意境澹泊悠然，将文人林下栖居的避世闲情融于山川松涛中，尽显传统山水寄兴言情的雅致内核，观之如身临幽寂林泉，静享山野清宁。",[24,146,292,28,57,29,416,302,30,31,32,7,61,1819,7448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c762a3713447f38fd382e4fabbc12af.jpg",[],{"id":15620,"slug":15621,"title":15622,"dynasty":173,"author":474,"museum":78,"description":15623,"tags":15624,"thumbUrl":15627,"material":317,"size":396,"collection":86,"collections":15628,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":71},274505,"zi-tan-kuang-qun-xian-zhu-shou-cha-ping-zhong-yi-ming-274505","紫檀框群仙祝寿插屏钟","最早的钟原本是指古代汉族 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。即取以市大布制棉衣以施寒者，乡里称善人，卒年六十七 。著有《响泉集》、《梁溪诗钞》。",[25,38,58,28,730,61,7,15654],"秋水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3bbc5aec8ed12d63dc3e4f6a9f4af7.jpg",[],{"id":15658,"slug":15659,"title":11614,"dynasty":173,"author":8677,"museum":78,"description":15660,"tags":15661,"thumbUrl":15662,"material":86,"size":86,"collection":86,"collections":15663,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},239533,"fang-gu-ji-you-tu-ce-huang-yi-239533","画面左右疏密相生，左侧题跋笔墨朴拙舒展，行书苍劲清逸，与右侧山水浑然相融。干笔淡墨晕出山峦秋意，屋舍错落隐于枯木疏枝之间，简括写意，留白空灵幽寂。\n\n整体以书入画，笔致简劲清脱，将寻古幽怀寄寓淡墨轻岚之中，尽显文人雅淡意趣。萧索淡远的山居小景，与长篇题咏相映成趣，诗画合璧，笔简而意足，漫溢出静穆古雅的林下之风。",[24,25,162,27,28,29,7,35,33,34,58,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703d15fabc404980d71f616584a315.jpg",[],{"id":15665,"slug":15666,"title":15667,"dynasty":173,"author":13506,"museum":78,"description":15668,"tags":15669,"thumbUrl":15670,"material":86,"size":86,"collection":86,"collections":15671,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},239382,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239382","画载月十咏诗意册","此作用浅绛绘就秋日林居之景，近处村舍错落，篱墙萦回，丹枫杂树点染出秋意暖色，村居意趣悠然。中景烟水空濛，淡墨晕开渺渺水汽，洲渚间霜林疏朗，留白铺就开阔平远的意境。远景峰峦舒缓延绵，左侧孤峰拔地而起，奇崛醒目，为淡远山水添了几分峭拔。\n\n笔墨秀雅松灵，以干笔皴擦出山石肌理，淡赭、花青轻敷晕染，色调清润柔和。右上角题诗衬景，诗画交融，将载月归游的诗意融于萧淡秋光里，整体气息安闲淡远，褪去尘嚣烟火，尽显文人画雅致静穆的林泉意韵。",[24,25,162,28,36,29,234,7,35,33,178,99,582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec62eee0d9bbb718c9e92e17c565eca.jpg",[],{"id":15673,"slug":15674,"title":15667,"dynasty":173,"author":13506,"museum":78,"description":15675,"tags":15676,"thumbUrl":15677,"material":86,"size":86,"collection":86,"collections":15678,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},239374,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239374","此作用淡墨晕开烟霭，将平远松林笼在空濛清寂之中。坡岸虬松挺秀苍劲，鳞枝舒展如盖，清涧蜿蜒穿石而出，带着山涧微凉沁入画中。右侧崖畔茅庐静立，伴着孤松幽石，似在候着载月归人。\n淡笔轻皴山石，浅设晕染铺就雅淡底色，边角题诗与画境呼应相融，把林下幽居、待月听松的文人雅趣晕散开，尽显疏朗简淡的雅致意境，将幽寂旷远的林泉之思藏进每一处笔墨里。",[24,25,162,27,36,58,29,416,34,7,31,99,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0f977b1a423f77688eff26e207c30c.jpg",[],{"id":15680,"slug":15681,"title":15667,"dynasty":173,"author":13506,"museum":78,"description":7953,"tags":15682,"thumbUrl":15683,"material":317,"size":396,"collection":86,"collections":15684,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},239372,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239372",[24,25,162,27,28,161,82,29,7,84,210,570,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60223ec76359aa218bac089dcfe6d84f.jpg",[],{"id":15686,"slug":15687,"title":14902,"dynasty":173,"author":3186,"museum":78,"description":15688,"tags":15689,"thumbUrl":15690,"material":86,"size":86,"collection":86,"collections":15691,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},239128,"shan-shui-he-hui-ce-zhang-zong-cang-239128","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》。",[24,25,162,27,36,29,7,439,382,31,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51769c9ca6acc7b93c0cf228380035a0.jpg",[],{"id":15693,"slug":15694,"title":3902,"dynasty":173,"author":3069,"museum":78,"description":3070,"tags":15695,"thumbUrl":15696,"material":86,"size":86,"collection":86,"collections":15697,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238991,"shan-shui-ce-yang-jin-238991",[24,25,162,28,36,29,7,33,247,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13caab2507087585aef86486557b05ef.jpg",[],{"id":15699,"slug":15700,"title":3902,"dynasty":173,"author":3069,"museum":78,"description":3070,"tags":15701,"thumbUrl":15702,"material":86,"size":86,"collection":86,"collections":15703,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238985,"shan-shui-ce-yang-jin-238985",[24,25,162,27,36,29,84,34,7,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb402a1992d698b79b96c5722c050d7f4.jpg",[],{"id":15705,"slug":15706,"title":896,"dynasty":173,"author":9154,"museum":78,"description":15707,"tags":15708,"thumbUrl":15715,"material":86,"size":86,"collection":86,"collections":15716,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238906,"fang-song-yuan-shan-shui-ce-dong-gao-238906","此作用笔清润淡远，以淡墨晕染出山林野居之境。层叠奇峰或峻削如戟，或浑厚苍莽，以宋元古法皴擦出山石肌理，古意盎然。\n\n水泽之畔，村居错落隐于茂林修竹间，草木俯仰生姿，尽显幽谧生机。滩头水榭凌波而立，一叶扁舟随波徐行，渔者垂坐船头，野逸闲淡的意趣扑面而来。\n\n画面以留白衬出水色空濛，不见浓墨重彩，只以简淡笔墨铺陈出萧散清远的林泉之境，将寄情山水的雅意藏于每一处勾勒晕染之中。",[24,25,162,27,36,29,15709,15710,15711,7,32,329,15712,15713,15714],"奇峰","茂林修竹","村居","水泽","野逸闲淡","萧散清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dae855bd383daac77f5cf6c0db70c0.jpg",[],{"id":15718,"slug":15719,"title":13130,"dynasty":173,"author":1384,"museum":78,"description":15720,"tags":15721,"thumbUrl":15722,"material":86,"size":86,"collection":86,"collections":15723,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238767,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238767","此作用淡墨晕染出空濛水色天色，近处亭台错落虬枝苍劲，凭栏雅士静赏烟波，远景孤阁浮于浅渚，虚实相生，将咫尺画幅拉出悠远景深。\n\n笔墨清润秀雅，全以淡墨皴擦勾勒物象，不着浓艳却氤氲出江南水畔的静谧诗意。右侧题诗与画作呼应，诗画交融，把闲居寄情山水的雅趣娓娓道来，尽显文人画诗画合一的意境，淡而不寡，简中见雅，将林下幽居的恬然心境铺陈在尺幅之间。",[24,25,162,27,29,7,61,118,666,570,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6829138d75650b4323d6f7e0b2fe54.jpg",[],{"id":15725,"slug":15726,"title":13130,"dynasty":173,"author":1384,"museum":78,"description":15727,"tags":15728,"thumbUrl":15729,"material":86,"size":86,"collection":86,"collections":15730,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238763,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238763","此作诗画合璧，淡墨轻晕间尽显雅逸之致。近景庭院里，古木虬枝旁立着玲珑湖石，屋舍隐于翠色间，白衣文士徐行其间，似正沉醉林泉幽意。远景烟波澹澹，汀渚之上楼阁隐现于薄雾中，咫尺画幅铺展出悠远空寂的意境。\n笔致清润温婉，以极简的水墨皴擦勾勒物象，褪去浓艳，以淡素色调烘托出疏旷闲雅的氛围。书法与绘境相互呼应，将诗文里林下悠游的诗意凝注于画面，把文人闲居赏景的澹然心境具象展现，诗画相映，尽显中式水墨含蓄隽永的独特意趣。",[24,25,162,27,28,29,7,61,60,33,34,37,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16c16111bf4f1c7e459eab1e241f936.jpg",[],{"id":15732,"slug":15733,"title":13130,"dynasty":173,"author":1384,"museum":78,"description":15734,"tags":15735,"thumbUrl":15736,"material":86,"size":86,"collection":86,"collections":15737,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238759,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238759","此作用笔秀润清和，以虚实相生之构，铺展幽澹山居之境。近景林木蓊郁，掩映雅居，凭窗文士幽坐观览，皴擦简淡却将苍润意态尽数带出，屋舍回廊雅致合宜，尽显林泉雅趣。远景留白作水，浅渚孤楼仅以简笔勾勒，点苔缀草便生出空濛远意。\n\n左侧题诗与画面呼应，诗画相融，将文人寄情山水、静享幽居的澹泊心境铺陈开来。淡墨轻岚间，不见浓丽敷色，却以极简水墨层次晕染出东方隐逸美学的极致，清逸温婉的气韵里，尽显天人合一的山居雅思。",[24,25,162,27,29,7,61,33,34,58,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7856fd13f3cee1a5261aaab7aa5a33b4.jpg",[],{"id":15739,"slug":15740,"title":13130,"dynasty":173,"author":1384,"museum":78,"description":15741,"tags":15742,"thumbUrl":15743,"material":86,"size":86,"collection":86,"collections":15744,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238757,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238757","此作用平远与深远构图相融，右侧层峦叠嶂，林木蓊郁苍润，以干笔皴擦勾勒山石肌理，兼具苍劲秀润之致；左侧汀洲延展，板桥轻架水面，亭台隐于烟柳间，晕染出江南水畔的空濛淡远。\n\n笔墨松灵厚重兼具，以水墨晕染铺就清和底色，将山林沉静与水乡温婉相融。题诗与绘景呼应，把观景抒怀的雅致心绪藏于尺幅间，尽显冲淡平和的文人意趣，铺展出悠然古雅的古典山水意境。",[24,25,162,27,29,61,30,31,7,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf66004e493c9b8ba5dce33cf664e8b8.jpg",[],{"id":15746,"slug":15747,"title":13130,"dynasty":173,"author":1384,"museum":78,"description":15748,"tags":15749,"thumbUrl":15750,"material":86,"size":86,"collection":86,"collections":15751,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},238750,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238750","此作分为两段景致，右幅层岩峻拔，山道隐于苍林茂叶间，水墨皴擦勾勒出山体质感，古意萧森，尽显林泉幽寂之致。左幅绘平野送别，篱舍错落、嘉木扶苏，驻车长者与将行友人相对，侍从恭立旁侧，人物情态温雅缱绻，惜别之意流于眉目之间。\n\n整幅以淡墨晕染，笔致松秀简淡，书画合璧，将诗文间的怀远别情融于尺幅。丘壑之静穆与赠别之温情相映，既有山野林泉的清远恬和，又藏人情往复的温润深挚，尽显文人诗意画的抒情意趣，意境清和雅致，暗合中式水墨的含蓄之美。",[24,162,27,36,29,60,544,7,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc34e80017b62c88abd7e87afbb22704a.jpg",[],{"id":15753,"slug":15754,"title":13130,"dynasty":173,"author":1384,"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Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,10348,28,60,10819,7,33,35,16126,16127,569],"土丘","水池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3691c67ea1f3ab10fba325b2c3239f.jpg",[],{"id":16131,"slug":16132,"title":16133,"dynasty":173,"author":474,"museum":78,"description":16134,"tags":16135,"thumbUrl":16136,"material":317,"size":396,"collection":86,"collections":16137,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},229788,"yu-xi-qiao-song-bie-cha-ping-yi-ming-229788","玉溪桥送别插屏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[4898,14142,14144,14856,29,7,60,2029,2388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdf6878f703f79837d1abdb90fcd0d68.jpg",[],{"id":16139,"slug":16140,"title":16141,"dynasty":94,"author":474,"museum":78,"description":16142,"tags":16143,"thumbUrl":16145,"material":86,"size":86,"collection":86,"collections":16146,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},227343,"shi-jing-wang-chang-juan-yi-ming-227343","十经王（长卷）","五代 佚名《佛说十王经》，此卷全称《佛说阎罗王授记四众预修生七往生净土经》，简称《佛说十王经》。为卷轴式手抄彩绘卷，本经卷属晚唐五代时期，画风古朴，十分珍罕。\n\n卷首绘释迦牟尼呈说法状安住于莲座上，两边是佛弟子舍利弗和目连。十王对称坐于佛之下二侧，十王身后各有二判官。中间位置圣坛两边为道明和尚和梳双髻的善恶二童子。经文后紧随地藏、龙树、观音、长悲、陀罗尼和金刚藏六大菩萨，显示了地藏菩萨在十王信仰中的重要地位。随后是黑衣使者乘黑马、把黑幡，为阎罗王派去检亡人家功德。",[23,24,25,26,57,82,28,368,60,61,63,7,29,37,16144,38,762,344,4938,4681,36],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F851d716be6da3651ccf0a4f96ab7d66e.jpg",[],{"id":16148,"slug":16149,"title":16150,"dynasty":1354,"author":474,"museum":78,"description":16151,"tags":16152,"thumbUrl":16153,"material":317,"size":396,"collection":86,"collections":16154,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":71},227114,"hai-shou-pu-tao-wen-jing-8-yi-ming-227114","海兽葡萄纹镜-8","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。",[24,25,29,28,234,30,59,58,34,33,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fc5af77fc87fecb506467f9c818316.jpg",[],{"id":16156,"slug":16157,"title":16158,"dynasty":18,"author":474,"museum":78,"description":16159,"tags":16160,"thumbUrl":16165,"material":86,"size":86,"collection":86,"collections":16166,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,25,26,28,57,60,7,61,30,31,440,37,38,762,58,2251,2252,2253,2254,16161,545,4301,16162,16163,9475,16164,2388,5777,439,3885,2189,7068,5067,2819,1254,544,4461],"礼器","饪食器","典籍","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":16168,"slug":16169,"title":16170,"dynasty":173,"author":11146,"museum":78,"description":16171,"tags":16172,"thumbUrl":16173,"material":249,"size":16174,"collection":86,"collections":16175,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},223255,"yan-shan-ba-jing-tu-2-tai-ye-qiu-feng-zhang-ruo-cheng-223255","燕山八景图-2-太液秋风","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,24,25,29,28,161,61,7,32,382,58,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3b62de7a2ab18ba86850270195a108.jpg","34.7cm，横40.3cm",[],{"id":16177,"slug":16178,"title":16179,"dynasty":173,"author":1384,"museum":96,"description":16180,"tags":16181,"thumbUrl":16182,"material":16183,"size":16184,"collection":86,"collections":16185,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":46},223114,"liu-lang-wen-ying-zhou-dong-bang-da-223114","柳浪闻莺轴","绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[23,24,146,27,28,36,29,1829,7,33,30,583,31,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5be68a7e5d6e64376f4ae160ef00626.jpg","轴 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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,25,162,81,27,36,29,30,31,33,34,178,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b45a9ecd58a4bf0a2f3ac5cea04180.jpg",[],{"id":16789,"slug":16790,"title":3902,"dynasty":173,"author":15977,"museum":78,"description":16791,"tags":16792,"thumbUrl":16793,"material":86,"size":86,"collection":86,"collections":16794,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},235945,"shan-shui-ce-qi-zhi-jia-235945","此作用极简淡墨铺陈丘林野景，坡岸之上古松斜欹，杂木荒寒，枝桠错落间尽现初冬萧索意趣。远山以干笔淡皴轻勾，墨色晕染出空濛清旷的幽远意境，留白处尽显山水疏朗空寂之态。\n\n左幅行书题跋笔致秀逸舒展，与画面的清简格调浑然相融，书画相映，衬出文人雅逸的林下之风。全作用笔简净含蓄，以清冷淡远的笔墨勾勒出冲淡冷寂的山水意韵，尽显文人画中萧散淡远的审美意趣。",[24,25,162,27,36,38,58,29,33,234,30,7,34,10902,84,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfe5cbbdc3931077709f5f8b72cba5a.jpg",[],{"id":16796,"slug":16797,"title":3902,"dynasty":173,"author":15977,"museum":78,"description":16798,"tags":16799,"thumbUrl":16800,"material":86,"size":86,"collection":86,"collections":16801,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},235942,"shan-shui-ce-qi-zhi-jia-235942","此作用笔苍秀凝练，层峦错落间，山居屋舍隐现于林木葱茏之中，将江南山林的幽寂清逸徐徐铺展。山石以短皴晕染，浑厚朴拙间尽显丘壑之致，林木枝桠苍劲舒展，疏密排布暗藏留白意趣。\n\n左侧行书题字笔意舒展流畅，笔墨与画境相映成趣，书画合璧尽显文人雅韵。整体意境萧散淡远，带着沉寂简淡的遗民意趣，以简约笔触勾勒出林泉栖居的超然之境，藏着传统文人寄情山水的沉静风骨，尽显幽绝尘寰的林下之风。",[24,25,162,27,36,38,29,33,34,7,63,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756e5fb7bb40da78f8b18c2b5afcf144.jpg",[],{"id":16803,"slug":16804,"title":5488,"dynasty":173,"author":16805,"museum":78,"description":16806,"tags":16807,"thumbUrl":16808,"material":317,"size":396,"collection":86,"collections":16809,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},235918,"shan-shui-tu-ce-mei-chong-235918","梅翀","梅翀，明末清初画家，字培翌、培翼，号鹿墅，安徽宣城人，生卒年不详，艺术家，代表作《幽林探胜图》等。",[24,25,162,27,29,36,234,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9de35d6ab334a6dff958cc15b276a8.jpg",[],{"id":16811,"slug":16812,"title":16813,"dynasty":18,"author":474,"museum":78,"description":16814,"tags":16815,"thumbUrl":16816,"material":86,"size":86,"collection":86,"collections":16817,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},235848,"qian-gu-yang-shan-tu-ye-yi-ming-235848","钱榖阳山图页","此作为诗画合璧的小品，远山以淡墨轻皴，苍润雄浑，峰峦间古松错落，寺观隐现林麓，晕染出幽寂高旷的山林意趣。近岸村居疏朗，林木扶疏，一人策杖徐行，野逸闲静之态宛然眼前。\n\n行书题跋笔致清隽，叙写阳山旧典，书画相映成趣，尽显吴门文人淡泊萧散的审美意韵。淡设色晕染柔和雅致，将江南丘壑的灵秀静美与人文底蕴相融，尺幅之间藏尽吴中林泉的悠悠古韵。",[24,25,29,27,28,36,162,276,118,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5be3d191d554ecb479bc65a7e556f3a.jpg",[],{"id":16819,"slug":16820,"title":16821,"dynasty":18,"author":474,"museum":78,"description":16822,"tags":16823,"thumbUrl":16824,"material":317,"size":396,"collection":86,"collections":16825,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},235144,"chen-dan-zhong-shan-shui-ce-yi-ming-235144","陈丹衷山水册","此作用淡墨写意绘就山林村居之景，古木虬枝苍郁繁茂，以浓墨点染苔痕木叶，蓊蓊郁郁间，林麓茅庐隐现，留白作水，清寂空远，尽显幽居野逸之趣。\n\n左侧行书题诗笔墨清隽，与画作意境相融，诗画合璧，勾勒出避世耽书、自适林下的襟怀。简淡萧疏的笔致里，浸透了文人追慕林泉高致的隐逸意趣，虽笔调简率，却以少胜多，将山野幽居的恬然之境晕染尽致，尽显静绝尘嚣的林下雅意。",[24,25,162,27,29,33,34,7,38,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387a0f3dfe3745d52e9198594c3015.jpg",[],{"id":16827,"slug":16828,"title":3902,"dynasty":173,"author":1147,"museum":78,"description":16829,"tags":16830,"thumbUrl":16831,"material":86,"size":86,"collection":86,"collections":16832,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},235105,"shan-shui-ce-wang-yuan-qi-235105","此作以开合之景铺陈丘壑，近岸林木错落，山居藏于深篁，行人策蹇徐行，野趣自生；中崖崔嵬蓊郁，水湾汀渚勾连景深；远景烟波澹澹，以淡墨晕染远山，留白拓出空蒙悠远之境。\n笔墨承袭娄东一派，干笔积墨皴擦苍润浑厚，墨色层叠通透，浅赭敷色清隽雅致，揉合江南山水秀逸与山川厚重温润，于细密笔触间藏着林泉悠游的文人意趣，尽显正统山水的沉静古韵，将幽居林壑的雅兴融于尺幅之中。",[24,25,162,36,27,29,276,263,33,7,34,952,888],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fb96223967675c054e83d8e58173349.jpg",[],{"id":16834,"slug":16835,"title":16836,"dynasty":173,"author":16837,"museum":78,"description":16838,"tags":16839,"thumbUrl":16840,"material":86,"size":86,"collection":86,"collections":16841,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},235069,"zhu-jia-shan-shui-ce-ye-hua-hui-ye-wang-jing-235069","诸家山水册页-花卉页","王敬","此作用淡墨晕染远山，以披麻皴轻写山峦肌理，笔墨松秀柔润，晕出烟雨溟蒙的空寂氛围。近处水岸错落，苍松扶苏含翠，柳丝轻笼烟岚，板桥茅舍、水上亭台次第铺陈，取景简淡却层次丰盈，尽显江南水村的清润闲雅。\n题诗与画面相映成趣，诗画交融，以极简笔致勾勒幽远静穆的林下诗意，尽显文人画尚简重意的特质。笔致萧散空灵，淡而不薄，简而愈远，悠悠见出林下清寂的隐逸襟怀，整体氤氲着静雅出尘的水墨诗意。",[24,27,36,162,29,7,30,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113368b18e266db2890ec5f45fafef56.jpg",[],{"id":16843,"slug":16844,"title":3902,"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山水图轴","这幅水墨山水以枯笔勾皴山石肌理，淡墨晕染烟岚，层岩峻岫隐于空濛雾气中，虚实相生铺展出春日山野的清寂空阔。\n\n汀洲古松挺劲苍秀，溪畔行人策杖徐行，山腰楼宇藏于林峦间，动静相映，尽显林泉幽致。题诗与画境呼应，诗画合璧，将春山烟雨间的林下幽居意趣娓娓道来，笔简意赅尽显文人山水的萧散雅逸，观之如踏入烟岚春山，漫染林泉间的闲淡古韵。",[23,24,25,146,27,36,29,61,416,60,302,34,99,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b5a4ac76cd422e8c48ebe8c84dbbe7.jpg",[],{"id":17001,"slug":17002,"title":17003,"dynasty":94,"author":474,"museum":78,"description":17004,"tags":17005,"thumbUrl":17006,"material":86,"size":86,"collection":86,"collections":17007,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},227872,"lin-jian-heng-ting-tu-yi-ming-227872","林间横亭图","淡墨轻勾亭台回廊，顺着坡地林木错落排布，线条清劲秀雅，不见繁复皴染，只以极简笔触铺陈画面。朦胧烟霭晕开在绢面之上，将实景晕化在虚茫之中，消弭了边界，让林亭隐在氤氲淡雾之间。\n\n整幅画克制又含蓄，不见人声喧嚷，只留空寂萧疏的静谧，将文人寄情林泉的幽怀藏在尺幅之中，以少胜多，以简见深，把中式园林的雅致清逸晕染恰到好处，淡远空灵，余韵悠悠，尽显宋画小品独有的雅致意趣。",[23,24,25,55,161,27,7,33,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522847744a2d59b60bc0fb0d7321978c.jpg",[],{"id":17009,"slug":17010,"title":17011,"dynasty":173,"author":17012,"museum":78,"description":17013,"tags":17014,"thumbUrl":17015,"material":86,"size":86,"collection":86,"collections":17016,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},224108,"shan-shui-hua-hui-ce-jiu-fu-mei-224108","山水花卉冊(九)","傅眉","此作以扇面取景，分作两段景致。上部烟柳笼堤，淡墨晕染远山，云气朦胧悠远，柳枝如烟似雾，苍劲枝干托曳柔条，刚柔相济，汀渚水色空濛，漾出幽寂春寒之意。下半幅叠石临流，水榭孤悬矶石之上，碧波萦回石畔，古松盘曲于岩岫之间，笔墨苍润朴拙。\n全作用浅赭铺陈底色，墨色浓淡掩映，将江南水岸早春的清寂闲雅凝于尺幅，既有文人画的简淡空灵，又带着质朴厚重的笔致，意境萧散淡远，尽显静穆幽隽的林下之致，雅静悠然，余韵悠长。",[23,24,27,28,162,29,7,31,30,118,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812487675da15e438230aa404acdf6dc.jpg",[],{"id":17018,"slug":17019,"title":17020,"dynasty":173,"author":11146,"museum":78,"description":16171,"tags":17021,"thumbUrl":17022,"material":249,"size":16174,"collection":86,"collections":17023,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},223256,"yan-shan-ba-jing-tu-3-yu-quan-bao-tu-zhang-ruo-cheng-223256","燕山八景图-3-玉泉趵突",[23,24,25,28,57,161,29,61,7,31,33,247,58,6610,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373761839aeb80cac29caf4127449b4b.jpg",[],{"id":17025,"slug":17026,"title":17027,"dynasty":173,"author":17028,"museum":530,"description":17029,"tags":17030,"thumbUrl":17031,"material":13043,"size":17032,"collection":86,"collections":17033,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},222636,"shan-shui-shu-fa-ce-liu-kai-2-gao-feng-han-222636","山水书法册六开-2","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,25,162,28,27,37,38,29,7,59,33,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d133bad1288c0f92c3dd591e2a742fc.jpg","31.8x24.8厘米",[],{"id":17035,"slug":17036,"title":17037,"dynasty":173,"author":474,"museum":4722,"description":17038,"tags":17039,"thumbUrl":17040,"material":121,"size":86,"collection":86,"collections":17041,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},215982,"di-jian-tu-shuo-cai-hui-ben-23-yi-ming-215982","帝鉴图说彩绘本-23","亭榭立于苍松翠柏间，青瓦覆顶，红栏绕阶，一派古雅气象。亭内数人对坐，衣袂轻扬间似有嘉言相授；庭中仆从躬身侍立，一侧有人牵马候于朱门旁，动静相宜。色彩晕染细腻，青绿与朱红交织出温润的古意，人物神态鲜活，细节处见匠心。这幅画以生动场景再现历史典故，于雅致的笔墨间传递为政之智，既保留了绘本的观赏性，又暗含教化深意，尽显传统绘画的韵味与内涵。\n\n（注：文案聚焦画面场景、色彩、人物动态及作品内涵，语言凝练且富有画面感，符合展览介绍的需求，未提及无需录入的信息，修辞上运用了描写与抒情结合的手法，增强可读性。）",[24,55,57,28,161,60,7,61,33,63,687,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c2ef50d8346beaadce38739e8f36c4.jpg",[],{"id":17043,"slug":17044,"title":17045,"dynasty":173,"author":474,"museum":4722,"description":17046,"tags":17047,"thumbUrl":17048,"material":121,"size":86,"collection":86,"collections":17049,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},215961,"di-jian-tu-shuo-cai-hui-ben-47-yi-ming-215961","帝鉴图说彩绘本-47","亭榭翼然立于绿茵间，朱檐映着天光，檐下人物或立或语，衣纹细腻如流水，神态间藏着恭肃与恳谈之意。庭中稚童携袖奔走，似是打破沉静的活泼注脚，松枝虬曲如篆，小池泛着幽蓝，草木皆以淡墨细描，晕染出清雅的古意。整幅画以细腻笔触铺陈场景，既还原了典故中的情境，又以雅致的色彩与构图传递出劝诫的深意——于平和景致中见治世之思，于人物互动里藏修身之智，是传统叙事绘画中“文以载道”的生动体现，每一处细节皆如徐徐展开的书卷，引观者在赏心悦目中体悟历史的镜鉴。",[55,24,25,28,57,7,61,60,33,2237,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf5896c897e7a176c51e96a38d685a3.jpg",[],{"id":17051,"slug":17052,"title":17053,"dynasty":173,"author":474,"museum":4722,"description":17054,"tags":17055,"thumbUrl":17056,"material":121,"size":86,"collection":86,"collections":17057,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},215956,"di-jian-tu-shuo-cai-hui-ben-54-yi-ming-215956","帝鉴图说彩绘本-54","飞檐翘角的亭榭临栏而立，朱红立柱撑起青蓝瓦顶，檐角似欲凌云。亭畔绿树扶疏，枝叶如盖；红衣旗帜于杆头猎猎，与白色栏杆相映成趣。地面青灰铺展，数人衣袂飘飘，或持物而立，或相携而行，神态鲜活如生——有人昂首似语，有人俯身若听，动态间藏着烟火气。山石以淡墨皴染，纹理有致；远处天色朦胧，一只飞鸟掠过，更添空灵感。整幅画作工笔细腻，色彩雅致古朴，人物衣纹流转自然，建筑构件勾勒精准，草木山石晕染得宜。画面似将一段旧时光凝住，宁静中透着生动，让人恍若踏入古代庭园，窥见那时的从容与意趣。",[24,25,162,28,57,161,60,7,33,34,687,2769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbbf468e3715617c8759c0cf60f6f06.jpg",[],{"id":17059,"slug":17060,"title":17061,"dynasty":173,"author":474,"museum":4722,"description":17062,"tags":17063,"thumbUrl":17064,"material":121,"size":86,"collection":86,"collections":17065,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},215944,"di-jian-tu-shuo-cai-hui-ben-62-yi-ming-215944","帝鉴图说彩绘本-62","画面层叠铺展，青绿山水间，朱红宫阙与灰褐城墙相映成趣。城楼下铁骑扬尘，将士披甲执旗，动感跃然纸上；城楼之上，帷幔轻垂，人物或对坐议事，或凭栏远眺，神态毕肖。笔触细腻勾勒衣袂褶皱、建筑斗拱，色彩明丽却不失古雅，将场景庄重与人物鲜活融于一体。构图疏密有致，从山间隘口到高台楼阁，叙事性与观赏性兼具，似在无声诉说尘封史事，尽显传统工笔重彩的韵味与张力。",[24,28,57,161,60,61,29,544,7,33,2769],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13e2f66ce437cf48fbf744d4b60b150c.jpg",[],{"id":17067,"slug":17068,"title":17069,"dynasty":173,"author":474,"museum":4722,"description":17070,"tags":17071,"thumbUrl":17072,"material":121,"size":86,"collection":86,"collections":17073,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":71},215942,"di-jian-tu-shuo-cai-hui-ben-61-yi-ming-215942","帝鉴图说彩绘本-61","远处宫阙隐于云霭之间，近处苍松虬劲，水岸开阔。人物群像鲜活生动：或立或跪，或低语议事，或躬身行礼，伞盖与马匹点缀其间，似是君臣巡行或问政的场景。工笔彩绘细腻雅致，衣袂纹理清晰，人物神态各异，将历史瞬间凝于绢素之上。松枝的苍劲与人物的鲜活相映成趣，云雾的朦胧与场景的真切交织，尽显传统叙事画的独特韵味，让观者仿佛能窥见往昔的庄重与生动，感受历史场景的温度。",[24,28,57,162,60,544,416,29,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbd66d9c327670a2ba6a89713b46a0d.jpg",[],{"id":17075,"slug":17076,"title":17077,"dynasty":173,"author":1661,"museum":78,"description":17078,"tags":17079,"thumbUrl":17080,"material":40,"size":86,"collection":86,"collections":17081,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":46},215072,"tui-bei-tu-ce-36-jiao-bing-zhen-215072","推背图册-36","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,57,28,162,60,7,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3f0325794a8c106f3a1b42f18a6a87.jpg",[],{"id":17083,"slug":17084,"title":17085,"dynasty":173,"author":5986,"museum":96,"description":17086,"tags":17087,"thumbUrl":17088,"material":121,"size":86,"collection":86,"collections":17089,"showCount":524,"zanCount":11,"manualWeight":11,"mainColor":399},215046,"shu-hua-he-bi-tu-c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字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。\n同治六年（1867年）乡试副贡，官内阁中书，协办侍读，江苏候补知府。\n工书、画，晚寓上海盘梓山房，以此自给。画以山水著称。宗娄东四家，清远高妙，无时流霸悍草率习气。对于古画之鉴别尤精。书摹其祖绍基，亦得其神似。少精篆刻，宗秦汉，晚年倦于酬世不复作。有印文曰清凉山下转轮僧。收藏古印甚多，有《颐素斋印存》六卷传世。卒年八十一。",[24,25,464,27,29,36,30,31,32,7,33,247,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead678894b438df0db08e139fb584e16.jpg",[],{"id":17883,"slug":17884,"title":17885,"dynasty":173,"author":17886,"museum":175,"description":17887,"tags":17888,"thumbUrl":17894,"material":86,"size":86,"collection":86,"collections":17895,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":46},234511,"shu-qi-lv-er-shou-ce-ye-li-guang-di-234511","书七律二首册页","李光地","李光地(1642-1718)，字晋卿，号厚庵，别号榕村，福建安溪人。康熙九年(1670)进士，历任翰林院编修、翰林学士、兵部右侍郎、直隶巡抚，协助平定三藩之乱、统一台湾，康熙四十四年(1705年)，拜文渊阁大学士兼吏部尚书。著有《四书解》、《性理精义》、《朱子全书》等书。\n康熙帝：“李光地谨慎清勤，始终一节，学问渊博。朕知之最真，知朕亦无过光地者。”",[37,38,58,2218,439,17889,17890,17891,17892,7,3094,3668,3091,9305,3265,666,17893,10368],"藤","峰","涧","寺","谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8452eb7ec141e137b956ad933afcc9.jpg",[],{"id":17897,"slug":17898,"title":3902,"dynasty":173,"author":10566,"museum":78,"description":10567,"tags":17899,"thumbUrl":17901,"material":86,"size":86,"collection":86,"collections":17902,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":46},234335,"shan-shui-ce-jin-ting-biao-234335",[24,28,27,36,162,29,302,31,7,32,33,34,17900,3511,9237],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34846dcf9ef1f18d02f22e70333a216b.jpg",[],{"id":17904,"slug":17905,"title":3693,"dynasty":173,"author":3694,"museum":175,"description":3695,"tags":17906,"thumbUrl":17907,"material":789,"size":3698,"collection":86,"collections":17908,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":46},233157,"huang-shan-tu-ce-mei-qing-233157",[24,55,27,36,29,416,7,34,33,178,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098a29238b2f771e9bc73d9be6b2f031.jpg",[],{"id":17910,"slug":17911,"title":17912,"dynasty":173,"author":12570,"museum":78,"description":17913,"tags":17914,"thumbUrl":17915,"material":86,"size":86,"collection":86,"collections":17916,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":46},230916,"fang-gu-shan-shui-tu-cheng-fang-230916","仿古山水图","此作取法高克恭，以淡墨晕染崖壁，浓墨点簇峰顶林木，勾勒出山崖雄峻之势，留白铺陈云气，衬出山巅空濛高远。临水处林木蓊郁，两间吊脚山居错落其间，朴拙雅致，尽得幽居野趣。\n\n整幅水墨简淡疏朗，以少胜多，将栖林遁世的闲雅襟怀藏于笔墨之间，淡墨轻皴里漾着出尘静谧的林下之风，意韵悠长，尽显文人画寄情山水的悠然意趣。",[24,25,27,1428,36,29,118,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4066cf35e26ef6ff299f9fad3ad8cd14.jpg",[],{"id":17918,"slug":17919,"title":17920,"dynasty":173,"author":474,"museum":78,"description":17921,"tags":17922,"thumbUrl":17927,"material":317,"size":396,"collection":86,"collections":17928,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":71},229829,"bai-yu-lan-ting-xiu-xie-tu-shan-zi-yi-ming-229829","白玉兰亭修楔图山子","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[14142,14144,17923,60,29,7,33,31,17924,14856,17925,17926],"清代风格","圆雕","文人聚会","曲水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3237b8a2e680f00af18f1e98f45bb4.jpg",[],{"id":17930,"slug":17931,"title":17932,"dynasty":173,"author":1384,"museum":78,"description":17933,"tags":17934,"thumbUrl":17935,"material":86,"size":86,"collection":86,"collections":17936,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":46},228962,"dong-shan-hua-ce-shu-shu-ji-ti-dong-bang-da-228962","东山画册(舒树基题)","此作用浅绛设色写秋日湖山，以平远章法铺陈意境。留白为湖，水天相融，远山以淡墨晕染，空灵朦胧；近山石骨以枯笔皴擦，苍朴松秀，间缀丹黄点染秋叶，晕开清浅秋意。\n\n岸边杂木疏朗，枝桠简劲，残叶挂梢尽显萧寒疏淡。湖畔草庐临水而栖，孑然独立，暗合林泉高致的隐逸之思。整幅笔墨简净松灵，不做繁复刻画，以淡墨轻色营造出萧散空寂的文人心境，尽显清逸雅趣，将秋山静水的幽寂之美娓娓道来。",[24,25,162,27,28,29,382,1948,1291,31,7,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1471484eaca0742ecb66abf0c643e65e.jpg",[],{"id":17938,"slug":17939,"title":15416,"dynasty":173,"author":15417,"museum":3168,"description":15418,"tags":17940,"thumbUrl":17942,"material":15421,"size":15422,"colle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