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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[23,24,25,26,27,28,29,7,30,31],"国画","名画","水墨","飞鸟","枯柳","池塘","疏林","秋意","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg","未知","Xcm*Xcm","",[],46,"795548",{"id":40,"slug":41,"title":42,"dynasty":18,"author":43,"museum":20,"description":44,"tags":45,"thumbUrl":54,"material":33,"size":34,"collection":35,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":38},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[23,46,47,25,48,49,50,51,52,7,53],"长卷","山水画","孤舟","流水","山峦","村居","树木","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],31,{"id":58,"slug":59,"title":60,"dynasty":18,"author":61,"museum":20,"description":62,"tags":63,"thumbUrl":72,"material":33,"size":34,"collection":35,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":38},289874,"liu-xi-fang-you-tu-xia-gui-289874","柳溪访友图","夏圭","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。",[64,23,47,65,25,53,66,67,68,49,69,70,71,7],"高清","立轴","竹","柳","小桥","远山","人物","访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777befa1eac54675a38881e0f1287846.jpg",[],29,{"id":76,"slug":77,"title":78,"dynasty":18,"author":79,"museum":20,"description":80,"tags":81,"thumbUrl":86,"material":33,"size":34,"collection":35,"collections":87,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":88},288729,"yuan-pu-gui-fan-tu-mu-xi-288729","远浦归帆图","牧溪","法常，南宋画家。僧，号牧溪，蜀（今四川）人，生卒年不详，其艺术活动主要约在13世纪60－80年代之际。薜居下（乾德初兵部侍郎）之后，宣和间在长沙出家，南宋理宗、度宗时为临安（今杭州）长庆寺僧，与日僧圆尔辨圆（1202—1280）同为径山无准禅师（1178—1249）之法嗣。性英爽，嗜酒。正义爱国，敢于语伤奸相贾似道，遭追捕后，避祸于绍兴丘氏家。至元朝，在天台山万年寺圆寂。法常既是位佛教阐扬者，又是位天才画家。工山水、佛像、人物、龙虎、猿鹤、禽鸟、树石、芦雁等，皆能随笔写成，极有生决心书，墨法蕴藉，幽淡含蓄，形简神完，回味无穷。他继承发扬了石恪、梁楷之水墨简笔法，对沈周、徐渭、八大、“扬州八怪”等均有影响。虽在生时受冷遇，却开后世文士禅僧墨戏之先河，并对日本水墨画之发展产生巨大影响，被誉为“日本画道之大恩人”。",[64,24,23,82,46,25,83,48,84,85,51,7],"书画","山水","老树","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72a6c21acecbf019c1048b0e1f9f786.jpg",[],"BDBDBD",{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":99,"material":33,"size":34,"collection":35,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":38},289339,"song-gang-mu-se-tu-zhao-ling-rang-289339","松冈暮色图","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。",[95,23,24,47,96,50,97,7,25,53,98],"扇面","松树","暮色","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1045ff175934a36d2831e2fc740593d1.jpg",[],26,{"id":103,"slug":104,"title":105,"dynasty":18,"author":106,"museum":20,"description":107,"tags":108,"thumbUrl":111,"material":33,"size":34,"collection":35,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":38},289882,"shan-shui-tu-ma-yuan-289882","山水图","马远","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。",[64,23,83,48,25,65,53,109,50,110,7],"渔乐","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb806c0688b564342fb3084494197250f.jpg",[],24,{"id":115,"slug":116,"title":117,"dynasty":18,"author":118,"museum":20,"description":119,"tags":120,"thumbUrl":126,"material":33,"size":34,"collection":35,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":38},288546,"dong-jing-shan-shui-tu-li-gong-nian-288546","冬景山水图","李公年","李公年，男，画家，[宋]尝为提点江浙刑狱公事。善画山水，运笔立意，风格不下前辈。写四时之图，甚有水云余思，至于写朝暮景趣，作长江日出，疎林晚照，真若物像出没于空旷有无之间。作有《宣和画谱》.",[64,24,23,82,65,25,83,121,122,123,69,7,124,125],"冬景","枯树","寒林","荒寒","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73e7ea30fdbb06234008179e1525049.jpg",[],12,{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":20,"description":135,"tags":136,"thumbUrl":10,"material":33,"size":34,"collection":143,"collections":144,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":88},226073,"the-great-canal-venice-1908-mo-nai-226073","The Great Canal, Venice, 1908","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[137,138,139,110,140,7,141,142],"油画","印象派","运河","穹顶建筑","水城","船桩","油画精选",[143],10,{"id":147,"slug":148,"title":149,"dynasty":18,"author":150,"museum":20,"description":151,"tags":152,"thumbUrl":157,"material":33,"size":34,"collection":35,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":38},290230,"xi-ge-yuan-tiao-tu-yi-ming-290230","溪阁远眺图","佚名","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,24,47,153,52,154,7,155,53,156],"楼阁","山石","设色","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc85ecea43c84548c23ba63233f6785.jpg",[],5,1777535736410]