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平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[23,25,26,27,28,204,205,206,7],"枯木","竹子","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[40,158],138,{"id":213,"slug":214,"title":215,"dynasty":216,"author":217,"museum":218,"description":219,"tags":220,"thumbUrl":230,"material":139,"size":179,"collection":179,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":83},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","唐","王维","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[24,25,221,150,222,133,93,7,30,223,33,224,192,225,226,227,228,229],"壁画","拓本","亭台楼榭","舟楫","饮酒","弈棋","投壶","田园","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg",[],134,{"id":234,"slug":235,"title":236,"dynasty":88,"author":114,"museum":237,"description":238,"tags":239,"thumbUrl":247,"material":248,"size":249,"collection":179,"collections":250,"showCount":251,"zanCount":82,"manualWeight":11,"mainColor":44},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","藏地不详","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。",[23,24,25,240,133,30,7,29,135,134,241,31,34,151,33,35,137,98,242,243,244,136,245,246],"水墨画","印章","近水","秋景","飞鸟","枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg","未知","Xcm*Xcm",[],124,{"id":253,"slug":254,"title":255,"dynasty":18,"author":256,"museum":257,"description":258,"tags":259,"thumbUrl":269,"material":270,"size":271,"collection":272,"collections":273,"showCount":274,"zanCount":143,"manualWeight":11,"mainColor":83},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","赵孟頫","上海博物馆","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。",[25,94,260,7,261,192,137,34,262,31,263,264,265,266,267,268],"工笔","梧桐","围栏","草地","栏杆","建筑","地面","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","绢本,设色","29.5x59.7厘米","人物画精选",[272],101,{"id":276,"slug":277,"title":278,"dynasty":88,"author":89,"museum":257,"description":279,"tags":280,"thumbUrl":284,"material":178,"size":179,"collection":179,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":287},214658,"qiu-xing-ba-jing-tu-ce-1-dong-qi-chang-214658","秋兴八景图册-1","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[7,28,94,30,243,34,281,29,54,31,282,283],"册","云气","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dabbb12a6134bd0b3af4b7144fde3e.jpg",[],97,"37474F",{"id":289,"slug":290,"title":291,"dynasty":88,"author":292,"museum":20,"description":293,"tags":294,"thumbUrl":306,"material":140,"size":307,"collection":63,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":44},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。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。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\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。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,25,27,28,94,54,75,172,295,296,297,298,299,243,300,57,301,302,7,303,304,305],"莲蓬","鸭子","水草","芦苇","明代","禽鸟","植物","淡彩","写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[63,108],95,{"id":311,"slug":312,"title":313,"dynasty":88,"author":314,"museum":90,"description":315,"tags":316,"thumbUrl":318,"material":178,"size":319,"collection":40,"collections":320,"showCount":322,"zanCount":82,"manualWeight":11,"mainColor":44},219721,"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明","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。",[23,25,26,133,30,137,34,31,94,7,265,317],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[40,321],"书法精选",88,{"id":324,"slug":325,"title":326,"dynasty":216,"author":217,"museum":237,"description":327,"tags":328,"thumbUrl":330,"material":140,"size":331,"collection":40,"collections":332,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":83},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[23,25,26,133,28,30,34,329,134,241,29,7],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[40,108],82,{"id":335,"slug":336,"title":337,"dynasty":338,"author":339,"museum":90,"description":340,"tags":341,"thumbUrl":342,"material":38,"size":343,"collection":40,"collections":344,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":44},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","清","王时敏","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,24,25,26,27,28,29,7,30,188,34,151,102,33,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[40],81,{"id":347,"slug":348,"title":349,"dynasty":88,"author":114,"museum":90,"description":350,"tags":351,"thumbUrl":357,"material":179,"size":179,"collection":179,"collections":358,"showCount":359,"zanCount":143,"manualWeight":11,"mainColor":44},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[25,240,94,7,29,27,30,352,353,354,192,33,355,356,98,191],"树","桂花","书屋","石头","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],73,{"id":361,"slug":362,"title":363,"dynasty":88,"author":89,"museum":167,"description":364,"tags":365,"thumbUrl":371,"material":178,"size":372,"collection":40,"collections":373,"showCount":374,"zanCount":11,"manualWeight":11,"mainColor":83},220069,"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","此图写茂林烟树，平坡浅屿之间，有村舍水榭隐现于崖边江尾。村后危峰矗起，高耸入云。山谷中飞泉奔突，大江远处，烟云弥漫，青山如黛，若在有无之间。画用巨然长披麻湿笔晕染。林际崖上，一片郁葱，仿佛被宿雨洗净，朝霞染过。崇祯元年戊辰，董其昌闲居江南，悠游湖山，耽于书画，正是艺术大成之时。此图画得轻松恬静，浑沦一体，右上所题自作诗，亦写出他功成名就乐于安闲自适的心态。读之令人入静。",[23,25,28,29,27,7,30,366,367,136,33,368,34,369,370],"松","杉","岩石","山间","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[40],66,{"id":376,"slug":377,"title":378,"dynasty":88,"author":314,"museum":90,"description":379,"tags":380,"thumbUrl":381,"material":178,"size":382,"collection":321,"collections":383,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[23,25,26,133,7,28,94,260,30,329,136,33,137,34,31,135,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[321,40],61,{"id":386,"slug":387,"title":388,"dynasty":49,"author":389,"museum":237,"description":390,"tags":391,"thumbUrl":394,"material":179,"size":179,"collection":179,"collections":395,"showCount":396,"zanCount":143,"manualWeight":11,"mainColor":83},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","苏轼","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[25,24,26,28,58,7,54,205,206,392,393,77],"竹枝","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],53,{"id":398,"slug":399,"title":400,"dynasty":88,"author":114,"museum":401,"description":402,"tags":403,"thumbUrl":404,"material":139,"size":405,"collection":179,"collections":406,"showCount":407,"zanCount":11,"manualWeight":11,"mainColor":44},220060,"hu-qiu-shi-er-jing-tu-ce-7-shen-zhou-220060","虎丘十二景图册-7","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[25,26,281,28,94,7,29,30,188,189,137,329,34,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372d7b5a499063934477af06b28b00c6.jpg","31.1×40.2cmx12",[],52,{"id":409,"slug":410,"title":411,"dynasty":88,"author":314,"museum":20,"description":412,"tags":413,"thumbUrl":415,"material":178,"size":416,"collection":108,"collections":417,"showCount":418,"zanCount":11,"manualWeight":11,"mainColor":83},219340,"jue-he-gao-xian-tu-wen-zheng-ming-219340","绝壑高闲图","深林密荫，悬壁周环，瀑布清冷，淙淙然仿佛可闻流水声。主来客坐，别无其它通径，真有与世隔绝之概。此图与其八十岁所作「古木寒泉」有相通之处，但不及其简链。",[25,26,28,94,29,7,30,192,34,31,32,414,246],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c19e7ef475d412fcce34d90c5a2f1f7.jpg","148.9x177.9cm",[108],49,{"id":420,"slug":421,"title":422,"dynasty":88,"author":89,"museum":115,"description":423,"tags":424,"thumbUrl":426,"material":427,"size":428,"collection":321,"collections":429,"showCount":430,"zanCount":11,"manualWeight":11,"mainColor":44},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,25,26,133,28,30,29,7,135,134,241,120,34,283,136,33,102,153,191,31,425,190],"竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[321],48,{"id":432,"slug":433,"title":434,"dynasty":18,"author":256,"museum":90,"description":435,"tags":436,"thumbUrl":437,"material":438,"size":439,"collection":40,"collections":440,"showCount":441,"zanCou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Color":83},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉","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。”",[25,26,27,28,29,7,30,34,137,538,31,152,98,99,539,95,100],"水波","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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98cm",[40],{"id":554,"slug":555,"title":556,"dynasty":88,"author":89,"museum":90,"description":557,"tags":558,"thumbUrl":559,"material":528,"size":560,"collection":179,"collections":561,"showCount":562,"zanCount":11,"manualWeight":11,"mainColor":44},233960,"zeng-jia-xuan-shan-shui-tu-zhou-dong-qi-chang-233960","赠稼轩山水图轴","此画构图取势平远，树石简繁相参，敛放有致，与同年作者所作《佘山游境图》轴相比，在笔势运转上更显刚健挺拔。渲染则多湿笔浓墨，墨气纵横，得草树、坡石蓊郁润泽之态。\n据题跋可知此图为作者于丙寅年所作，三年后，即“己巳”（明崇祯二年，1629年）寄赠瞿稼轩。“稼轩”是瞿式耜的号。此图从一个侧面反映了明末文人之间以诗文书画相契赏的风尚。",[25,240,29,7,27,30,34,368,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff6910377fde107bd3ffc655005365f6.jpg","纵101.3cm，横46.3cm",[],28,{"id":564,"slug":565,"title":566,"dynasty":88,"author":114,"museum":20,"description":567,"tags":568,"thumbUrl":573,"material":140,"size":574,"collection":179,"collections":575,"showCount":562,"zanCount":11,"manualWeight":11,"mainColor":44},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,25,26,28,94,134,7,30,569,136,137,570,571,192,572],"柳树","池塘","浮萍","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":577,"slug":578,"title":579,"dynasty":18,"author":19,"museum":580,"description":581,"tags":582,"thumbUrl":592,"material":139,"size":593,"collection":179,"collections":594,"showCount":595,"zanCount":11,"manualWeight":11,"mainColor":44},232639,"shui-zhu-ju-tu-ni-zan-232639","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,25,93,7,583,190,584,585,472,136,119,120,586,587,588,589,590,591,135,241,29],"青绿设色","修竹","坡石","水渚","仙居","静谧","荒寒","幽冷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],25,{"id":597,"slug":598,"title":599,"dynasty":88,"author":600,"museum":20,"description":601,"tags":602,"thumbUrl":605,"material":139,"size":606,"collection":179,"collections":607,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[25,26,27,28,94,30,192,34,33,135,134,241,137,7,603,604],"题款","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb09016bd62c010c7b21fc206e650aa.jpg","本幅 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陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,25,26,281,28,54,57,170,94,7,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d121de0c7b60ae8254169e2a821ad98.jpg","32.5×57.3厘米",[],9,{"id":870,"slug":871,"title":861,"dynasty":88,"author":292,"museum":862,"description":863,"tags":872,"thumbUrl":873,"material":140,"size":866,"collection":179,"collections":874,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":44},222561,"hua-hui-tu-ce-chen-chun-222561",[23,25,26,118,7,54,28,94,75,57,134,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a412704b978a282ce6585b92561f445.jpg",[],{"id":876,"slug":877,"title":878,"dynasty":88,"author":879,"museum":257,"description":880,"tags":881,"thumbUrl":884,"material":179,"size":179,"collection":40,"collections":885,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":886},202205,"xue-shan-hui-qin-tu-zhou-tang-yin-202205","雪山会琴图轴","唐寅","寒林雪景铺展于幅，层峦叠嶂间枯木虬枝交错，山石以简练线条勾勒，皴擦晕染间显苍劲肌理。山间茅舍内，雅士围坐抚琴，暖意暗萦；山径之上，旅人策马徐行，似向雅集而来。笔墨兼具细腻与疏放，清冷雪景中藏人间雅趣，既彰山水雄浑之态，又显文人逸致情怀，韵致悠长。",[25,30,29,192,329,882,883,7,23],"马","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4ea91b28215e094e76b2d9ca600f7f.jpg",[40],"ab9f96",{"id":888,"slug":889,"title":890,"dynasty":18,"author":891,"museum":257,"description":892,"tags":893,"thumbUrl":896,"material":179,"size":179,"collection":40,"collections":897,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":898},201770,"shan-shui-tu-juan-lu-guang-201770","山水图卷","陆广","淡墨轻皴，烟峦隐现。卷中山石以披麻皴写就，肌理温润；林木葱郁，枝干劲挺，点叶错落有致。溪流蜿蜒穿岩过谷，近处茅舍依岸筑立，竹树环绕，尽显幽居之趣。画面虚实相生，留白处似有云气流动，意境清旷淡远，得元人山水萧散之致。笔墨取法黄公望的秀逸与王蒙的细密，皴染结合，层次丰富，于简淡中见深致。整体气息雅致，将文人对自然的眷恋融于尺幅，是元代文人山水画的典型风貌。",[30,28,29,842,7,100,493,119,894,711,895,23],"烟峦","元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb16106c1eb300fe48c746a498f9cb72.jpg",[40],"c6b28d",{"id":900,"slug":901,"title":902,"dynasty":88,"author":89,"museum":257,"description":903,"tags":904,"thumbUrl":905,"material":179,"size":179,"collection":40,"collections":906,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":907},201734,"lu-he-zeng-bie-tu-zhou-dong-qi-chang-201734","潞河赠别图轴","这幅画以淡墨皴染营造清旷山水之境。近处苍松虬劲，山石以简练皴笔勾勒，间杂疏林；中景小桥横跨溪流，流水潺潺；远景山峦层叠，云雾轻笼，尽显江南景致的雅致。笔墨疏朗灵动，线条温润，既得自然野趣，又含文人画空灵韵味。赠别之情隐于山水间，含蓄深沉，不着一字却尽得风流。画面布局疏密有致，意境淡远，是文人画风格的典型体现，尽显笔墨功力与意境营造的极致追求。",[25,30,7,711,29,95,31,136,33,120,27,748,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F020d9a6eb4e3829c2236b26a50a48160.jpg",[40],"d3c6a8",{"id":909,"slug":910,"title":911,"dynasty":88,"author":114,"museum":257,"description":912,"tags":913,"thumbUrl":915,"material":179,"size":179,"collection":40,"collections":916,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":917},201535,"fang-ni-shan-shui-zhou-shen-zhou-201535","仿倪山水轴","淡墨皴染的山石旁，几株树木疏朗错落，枯干携疏枝，繁叶间透出清浅意趣。一只飞鸟划破空濛，留白处晕开幽远静穆。笔墨简淡却藏韵致，构图疏旷得倪瓒遗风，空灵中凝着文人的旷达与清寂，似将山间清寂与悠远凝于方寸，引观者沉于这份远离尘嚣的疏淡之美。",[28,30,206,244,29,150,34,31,914,7,23],"留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a558445e77925e3332c85f9ec4ede2.jpg",[40],"b3a38d",{"id":919,"slug":920,"title":921,"dynasty":88,"author":922,"museum":90,"description":923,"tags":924,"thumbUrl":925,"material":194,"size":926,"collection":179,"collections":927,"showCount":928,"zanCount":11,"manualWeight":11,"mainColor":44},234156,"san-you-tu-wen-zheng-ming-234156","三友图","文徴明","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,25,26,133,28,134,135,7,54,74,55,723,355,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],8,{"id":930,"slug":931,"title":932,"dynasty":338,"author":796,"museum":237,"description":933,"tags":934,"thumbUrl":943,"material":179,"size":179,"collection":179,"collections":944,"showCount":928,"zanCount":11,"manualWeight":11,"mainColor":44},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,25,133,93,7,94,29,495,120,935,936,937,938,939,940,941,135,241,942],"村居","渔舟","汀渚","江水","秋暮","幽寂淡远","清旷","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a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