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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。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[83,23,24,25,26,31,27,85,33,86,104,171,215,107,216,7],"孤石","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","绢本,水墨","169.1x101",[38],132,{"id":223,"slug":224,"title":46,"dynasty":147,"author":225,"museum":226,"description":227,"tags":228,"thumbUrl":229,"material":230,"size":125,"collection":38,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":42},219900,"shan-shui-tu-hong-ren-219900","弘仁","印第安纳波利斯艺术博物馆","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”。",[83,23,24,25,26,31,27,104,106,33,7,85,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg","纸本,水墨",[38],131,{"id":234,"slug":235,"title":236,"dynasty":18,"author":237,"museum":20,"description":238,"tags":239,"thumbUrl":244,"material":230,"size":245,"collection":205,"collections":246,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":42},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","文徵明","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[23,24,68,240,29,28,30,241,85,33,242,243,7,215],"工笔","人物","鹤","琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[205],130,{"id":249,"slug":250,"title":251,"dynasty":147,"author":252,"museum":253,"description":254,"tags":255,"thumbUrl":259,"material":230,"size":260,"collection":38,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":42},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","王原祁","南京博物院","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[23,24,27,26,31,85,256,49,87,171,33,257,7,258],"房屋","林木","山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[38],120,{"id":264,"slug":265,"title":266,"dynasty":147,"author":183,"museum":196,"description":267,"tags":268,"thumbUrl":271,"material":202,"size":272,"collection":125,"collections":273,"showCount":274,"zanCount":159,"manualWeight":11,"mainColor":42},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[23,24,120,26,27,31,29,30,28,269,67,139,85,33,121,270,7],"奇峰","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],118,{"id":276,"slug":277,"title":278,"dynasty":58,"author":279,"museum":280,"description":281,"tags":282,"thumbUrl":290,"material":70,"size":125,"collection":38,"collections":291,"showCount":274,"zanCount":74,"manualWeight":11,"mainColor":75},219171,"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","佚名","美国大都会艺术博物馆","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[83,23,120,137,26,283,33,85,284,285,7,286,287,288,289],"斧劈皴","江河","帆船","行人","四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[38],{"id":293,"slug":294,"title":295,"dynasty":147,"author":183,"museum":117,"description":296,"tags":297,"thumbUrl":300,"material":123,"size":124,"collection":125,"collections":301,"showCount":302,"zanCount":159,"manualWeight":11,"mainColor":42},288091,"shan-shui-tu-juan-shi-tao-288091","山水图卷","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。",[83,23,120,24,26,31,27,138,33,257,49,7,104,298,28,29,30,299],"篆书","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6af245446b0e5843dd2cd8f5b76edc.jpg",[],112,{"id":304,"slug":305,"title":7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湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[83,62,23,24,25,26,68,31,396,27,102,308,121,87,106,85,171,7,241],"披麻皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],72,{"id":401,"slug":402,"title":46,"dynasty":18,"author":403,"museum":20,"description":404,"tags":405,"thumbUrl":407,"material":218,"size":408,"collection":38,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":75},219837,"shan-shui-tu-dai-jin-219837","戴进","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。",[23,24,62,31,26,68,27,34,49,64,104,85,105,241,33,25,171,67,406,270,7],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[38],67,{"id":412,"slug":413,"title":414,"dynasty":18,"author":415,"museum":99,"description":416,"tags":417,"thumbUrl":422,"material":36,"size":423,"collection":38,"collections":424,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":75},220069,"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","董其昌","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。",[83,23,26,31,25,418,27,419,420,34,49,87,85,421,7],"文人画","松","杉","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[38],66,{"id":427,"slug":428,"title":429,"dynasty":18,"author":430,"museum":431,"description":432,"tags":433,"thumbUrl":434,"material":70,"size":435,"collection":38,"collections":436,"showCount":437,"zanCount":159,"manualWeight":11,"mainColor":75},219979,"qiu-shan-du-shu-tu-zhao-zuo-219979","秋山读书图","赵左","武汉博物馆","此作用高远、平远构图铺展秋山胜景，山峦层叠浑厚，以淡墨皴擦间杂赭石晕染，晕开秋山苍润暖意。近林木虬枝疏朗，丹黄点染秋叶，萧疏秋意扑面而来。水岸蜿蜒错落，村居隐于林泉之间，淡笔轻勾出幽居闲致。\n\n笔墨秀雅温润，以淡远之韵绘就山居清寂，将文人寄情林泉、幽居耕读的雅逸心境融于尺幅之间。淡墨轻岚间藏着静穆萧散的诗意，观之便如踏入秋山，似能聆山涧潺湲、沐林间清风，尽显文人山水抒情之妙。",[83,23,25,27,68,31,85,33,7,299,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d715d2c069e6ab53794d5fc6647f892.jpg","49x97cm",[38],65,{"id":439,"slug":440,"title":381,"dynasty":147,"author":148,"museum":196,"description":441,"tags":442,"thumbUrl":445,"material":202,"size":446,"collection":38,"collections":447,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":42},237575,"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n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。",[62,23,24,25,26,27,443,257,171,34,7,396,444],"峰峦","点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[38,205],62,{"id":450,"slug":451,"title":452,"dynasty":18,"author":453,"museum":454,"description":455,"tags":456,"thumbUrl":458,"material":459,"size":460,"collection":38,"collections":461,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":75},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","蓝瑛","旅顺博物馆","这幅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。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、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作品。",[83,23,120,26,31,27,457,7,85,49,64,63,33,121],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","纸本水墨","26.3x246.5",[38,205],{"id":463,"slug":464,"title":465,"dynasty":18,"author":415,"museum":117,"description":466,"tags":467,"thumbUrl":468,"material":123,"size":124,"collection":125,"collections":469,"showCount":470,"zanCount":11,"manualWeight":11,"mainColor":42},283738,"fang-gu-shan-shui-ce-shi-kai-dong-qi-chang-283738","仿古山水册（十开）","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[62,23,187,26,27,33,49,85,7,30,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9ee79f5dfee7fbf9889135e8f1f2b7.jpg",[],61,{"id":472,"slug":473,"title":474,"dynasty":147,"author":475,"museum":20,"description":476,"tags":477,"thumbUrl":480,"material":481,"size":482,"collection":38,"collections":483,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":75},224464,"lin-fan-kuan-xue-shan-tu-zhou-wang-hui-224464","临范宽雪山图轴","王翚","山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[83,23,137,478,31,26,68,479,33,66,7,25,169],"临摹","雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","绢本","本幅 187.7x115.5公分、全幅 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。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”。",[23,62,25,24,27,68,34,49,7,32,33,104,29,30,555],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],45,{"id":560,"slug":561,"title":562,"dynasty":164,"author":563,"museum":20,"description":564,"tags":565,"thumbUrl":567,"material":36,"size":568,"collection":38,"collections":569,"showCount":570,"zanCount":11,"manualWeight":11,"mainColor":75},287545,"qiu-lin-wan-he-tu-wang-meng-287545","秋林万壑图","王蒙","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。",[23,26,27,31,34,49,7,33,85,566,30,29],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15ff69f252c13c648f2d4d7c70f811a.jpg","68.3x45.6",[38],43,{"id":572,"slug":573,"title":574,"dynasty":164,"author":563,"museum":20,"description":564,"tags":575,"thumbUrl":577,"material":230,"size":578,"collection":125,"collections":579,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":42},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐",[62,23,24,25,26,27,49,64,576,67,85,7,30,29],"渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg","129x58.3cm",[],42,{"id":582,"slug":583,"title":584,"dynasty":147,"author":148,"museum":511,"description":585,"tags":586,"thumbUrl":587,"material":125,"size":125,"collection":38,"collections":588,"showCount":580,"zanCount":11,"manualWeight":11,"mainColor":589},202026,"shan-shui-tu-zhou-wang-shi-min-202026","山水图轴","此作笔墨苍润古雅，山石以细密皴法勾勒肌理，尽显苍劲质感。云雾轻笼山谷，虚实相生间拓展空间纵深，将远近峰峦自然衔接。山间林木葱茏，松枝虬劲，杂树错落，屋舍隐于林麓，小桥跨溪，流水潺潺，一派静谧悠远的山居气象。笔墨追摹元人遗韵，线条沉稳，墨色层次丰富，设色淡雅，尽显文人画清逸格调，传递出超然尘俗的林下之趣。",[27,31,26,68,34,49,7,85,67,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bec74577ee026a9bdc4fd614df8982.jpg",[38],"a69c8b",{"id":591,"slug":592,"title":593,"dynasty":147,"author":594,"museum":595,"description":596,"tags":597,"thumbUrl":600,"material":481,"size":601,"collection":38,"collections":602,"showCount":603,"zanCount":11,"manualWeight":11,"mainColor":75},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","王鉴","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。",[83,23,24,25,68,31,27,598,85,138,34,49,104,33,299,171,7,257,443,599,121],"山脉","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[38,205],41,{"id":605,"slug":606,"title":607,"dynasty":58,"author":279,"museum":511,"description":608,"tags":609,"thumbUrl":610,"material":125,"size":125,"collection":91,"collections":611,"showCount":603,"zanCount":11,"manualWeight":11,"mainColor":612},201746,"xi-shan-tu-juan-yi-ming-201746","溪山图卷","画面峰峦层叠，皴染结合的山石质感浑厚，如剑戟般刺破云雾。轻烟似纱缠绕峰谷，虚实相生间拓展空间纵深。山间林木葱茏，墨色浓淡交错尽显苍劲生机；溪畔屋舍隐现，与流水、舟楫相映，添了几分人间烟火气。远处水天相接，朦胧远山若隐若现，整体意境悠远静谧，尽显宋代山水画的雅致与深邃。",[23,27,120,26,31,121,33,257,171,7,270,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[91],"82786f",{"id":614,"slug":615,"title":616,"dynasty":58,"author":617,"museum":117,"description":618,"tags":619,"thumbUrl":623,"material":123,"size":124,"collection":125,"collections":624,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":75},288950,"xi-shan-xing-lv-tu-zhu-rui-288950","溪山行旅图","朱锐","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[23,137,26,31,169,620,66,33,7,621,622],"古道","车","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5e368d045f07f690c0d3294e3aae4.jpg",[],39,{"id":627,"slug":628,"title":629,"dynasty":18,"author":415,"museum":630,"description":631,"tags":632,"thumbUrl":633,"material":187,"size":634,"collection":125,"collections":635,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":125},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","香港中文大学文物馆","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[83,23,24,26,31,27,102,308,103,152,105,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg","30.5 × 23.8厘米",[],{"id":637,"slug":638,"title":584,"dynasty":639,"author":640,"museum":511,"description":641,"tags":642,"thumbUrl":643,"material":125,"size":125,"collection":38,"collections":644,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":645},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","近代","黄宾虹","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[23,24,25,26,31,27,106,34,33,121,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[38],"e1d9cb",{"id":647,"slug":648,"title":649,"dynasty":58,"author":650,"museum":20,"description":651,"tags":652,"thumbUrl":653,"material":218,"size":654,"collection":91,"collections":655,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":657},290337,"hua-xue-jing-zhou-li-tang-290337","画雪景轴","李唐","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[62,23,25,137,26,31,169,67,7,215,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209ee3197ccc570616f0231447ddfeca.jpg","197.2x107.1",[91],38,"37474F",{"id":659,"slug":660,"title":661,"dynasty":58,"author":662,"museum":20,"description":663,"tags":664,"thumbUrl":666,"material":123,"size":667,"collection":125,"collections":668,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":75},290305,"xue-jing-shan-shui-zhou-guo-xi-290305","雪景山水轴","郭熙","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,62,137,26,31,169,479,665,34,7,64,49],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6724961771742b335499a8184771c46.jpg","87.7x150.9",[],{"id":670,"slug":671,"title":672,"dynasty":147,"author":475,"museum":117,"description":673,"tags":674,"thumbUrl":677,"material":125,"size":125,"collection":125,"collections":678,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":42},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。",[83,23,24,120,68,31,27,102,308,103,66,675,676,104,7,63,105,121,33,171],"舟","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":680,"slug":681,"title":682,"dynasty":147,"author":683,"museum":117,"description":684,"tags":685,"thumbUrl":690,"material":123,"size":124,"collection":125,"collections":691,"showCount":692,"zanCount":74,"manualWeight":11,"mainColor":42},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","王槩","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[83,23,120,24,26,68,686,27,49,67,85,7,241,687,30,28,29,688,689],"龙舟","舟船","龙舟竞渡","民俗活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg",[],36,{"id":694,"slug":695,"title":696,"dynasty":58,"author":697,"museum":117,"description":698,"tags":699,"thumbUrl":701,"material":125,"size":125,"collection":125,"collections":702,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":75},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","刘松年","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[83,23,24,62,68,240,27,241,7,103,33,700,25],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],35,{"id":705,"slug":706,"title":707,"dynasty":58,"author":708,"museum":117,"description":709,"tags":710,"thumbUrl":712,"material":123,"size":124,"collection":125,"collections":713,"showCount":714,"zanCount":11,"manualWeight":11,"mainColor":75},290069,"guan-pu-tu-ma-yuan-290069","观瀑图","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。",[83,23,62,25,26,27,32,241,7,33,31,711],"观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff37bca2c65f632d778c3b87fd875bfa1.jpg",[],34,{"id":716,"slug":717,"title":718,"dynasty":18,"author":719,"museum":280,"description":720,"tags":721,"thumbUrl":732,"material":333,"size":733,"collection":38,"collections":734,"showCount":714,"zanCount":159,"manualWeight":11,"mainColor":42},219987,"si-shi-fang-gu-shan-shui-tu-wei-zhi-ke-219987","四时仿古山水图","魏之克","此长卷以淡墨浅彩铺展四时景致，移步换景间尽显文人山水意趣。画家以细劲淡笔勾勒山峦脉络，皴擦出岩岫肌理，林木点染疏密有致，随季候变换枯荣：春山明润，新枝浅黛；夏木蓊郁，浓荫藏亭；秋林萧疏，霜色点染；冬岭清寂，寒石留白。屋舍田圃错落丘壑间，溪泉萦回穿绕林麓，将四时山光物候悄然串联。整体气韵淡逸简远，师古而不拘泥，把仿古山水的程式笔墨化为灵动的丘园胜境，藏着古人寄迹林泉的隐逸幽怀，尽显雅致空灵的山水风神。",[83,23,120,722,26,68,31,27,723,724,566,725,7,726,727,728,729,730,731],"仿古山水","春山","夏木","冬岭","田圃","溪泉","亭台","文人山水","隐逸","淡逸空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b366db58b957e2587f750331f4c4cf3.jpg","105.83×59.58cm",[38],{"id":736,"slug":737,"title":738,"dynasty":164,"author":165,"museum":117,"description":739,"tags":740,"thumbUrl":742,"material":123,"size":124,"collection":125,"collections":743,"showCount":744,"zanCount":11,"manualWeight":11,"mainColor":75},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图","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》。",[83,23,120,24,27,26,31,67,85,7,49,28,741,30],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],33,{"id":746,"slug":747,"title":748,"dynasty":147,"author":252,"museum":117,"description":749,"tags":750,"thumbUrl":751,"material":123,"size":124,"collection":38,"collections":752,"showCount":744,"zanCount":11,"manualWeight":11,"mainColor":42},236859,"shan-shui-ce-wang-yuan-qi-236859","山水册","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[23,24,187,26,31,27,102,85,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e761a3d5bcf48ddf7d44981a19a3513.jpg",[38,753],"书法精选",{"id":755,"slug":756,"title":757,"dynasty":147,"author":758,"museum":117,"description":759,"tags":760,"thumbUrl":762,"material":123,"size":124,"collection":125,"collections":763,"showCount":764,"zanCount":11,"manualWeight":11,"mainColor":42},288452,"fu-yang-da-ling-tu-zhu-da-288452","富阳大岭图","朱耷","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。",[83,23,24,26,27,31,761,7,85,29,30],"山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e6667484c88095860699a15fea24f.jpg",[],32,{"id":766,"slug":767,"title":768,"dynasty":147,"author":183,"museum":117,"description":296,"tags":769,"thumbUrl":771,"material":123,"size":124,"collection":125,"collections":772,"showCount":764,"zanCount":11,"manualWeight":11,"mainColor":42},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图",[83,23,24,137,26,68,31,67,85,7,64,29,28,30,770],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg",[],{"id":774,"slug":775,"title":776,"dynasty":164,"author":777,"museum":196,"description":778,"tags":779,"thumbUrl":781,"material":782,"size":783,"collection":91,"collections":784,"showCount":764,"zanCount":11,"manualWeight":11,"mainColor":75},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","高克恭","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[83,23,137,25,31,68,102,331,103,7,34,49,63,780],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纸本设色","纵138.1厘米，横58.5厘米",[91,38,156],{"id":786,"slug":787,"title":788,"dynasty":147,"author":789,"museum":196,"description":790,"tags":791,"thumbUrl":794,"material":36,"size":795,"collection":38,"collections":796,"showCount":797,"zanCount":11,"manualWeight":11,"mainColor":42},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图","吴历","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[83,62,23,24,120,27,26,31,67,85,49,64,63,7,792,28,30,793],"江岸","晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[38],30,{"id":799,"slug":800,"title":801,"dynasty":58,"author":279,"museum":20,"description":802,"tags":803,"thumbUrl":806,"material":70,"size":807,"collection":91,"collections":808,"showCount":797,"zanCount":11,"manualWeight":11,"mainColor":75},289747,"song-yue-tu-zhou-yi-ming-289747","松月图轴","此画以古松为骨，虬干扭转斜出，鳞皴苍劲，松针攒簇如黛，垂丝摇曳间尽见古拙风姿。近岸坡石上，高士席地闲坐，侍童默立身侧，似共赴松间夜话，静揽山月清辉。远景山峦以淡墨晕染，林庐隐在烟岚之中，溪桥轻架水岸，虚实相映间晕开空濛夜色。\n\n笔墨简逸苍劲，干湿浓淡层次分明，将松间幽寂的清旷之境铺陈开来，把林泉高致的隐逸襟怀藏于水墨留白中，观之如踏入松月夜境，浸沉在清远淡宕的古雅意趣里。",[23,26,25,27,106,241,7,804,805],"明月","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c182bc3c9569195506d170a7daf1a.jpg","129.8x74",[91],{"id":810,"slug":811,"title":812,"dynasty":58,"author":708,"museum":117,"description":709,"tags":813,"thumbUrl":816,"material":123,"size":124,"collection":125,"collections":817,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":75},289804,"han-yan-ji-xue-tu-ma-yuan-289804","寒岩积雪图",[62,23,25,26,27,169,814,815,804,106,66,7,241,525,31],"寒岩","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f93ef862367b2ca55ea4ca66889a885.jpg",[],29,{"id":820,"slug":821,"title":822,"dynasty":147,"author":475,"museum":117,"description":823,"tags":824,"thumbUrl":826,"material":827,"size":828,"collection":38,"collections":829,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":42},234713,"fang-gu-shan-shui-ce-wang-hui-234713","仿古山水册","《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。",[23,24,62,187,26,31,27,419,34,49,7,241,33,825],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","纸本，水墨","25.6厘米，横：20.5厘米",[38],{"id":831,"slug":832,"title":833,"dynasty":58,"author":834,"museum":117,"description":835,"tags":836,"thumbUrl":840,"material":125,"size":125,"collection":125,"collections":841,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":75},228030,"wei-sheng-huang-hun-tu-zhao-da-heng-228030","薇省黄昏图","赵大亨","暮色漫过深宅庭院，丹红与素白的花影缀在枝桠，晕开柔暖朦胧的晚意。敞轩之内，一人斜卧假寐，将白日倦怠揉进黄昏里。屋宇木构刻画清雅工细，层叠的瓦檐晕染出松弛闲散的日常氛围。远景青绿山影轻笼在烟岚里，与院内花木相映，将宅邸晕成一方避世的静谧天地。\n\n整幅设色温雅柔润，工细笔意里带着写意的松弛，把黄昏庭院慵懒闲散的氛围感烘托至极，将宋人的闲雅私居之美定格，尽显慢煮时光的雅致意趣，晕开淡淡的温柔余韵。",[83,23,837,68,838,7,85,27,839],"扇面","界画","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180cc436741e61cb1c56a0bdb9f2ef67.jpg",[],28,{"id":844,"slug":845,"title":846,"dynasty":18,"author":415,"museum":117,"description":466,"tags":847,"thumbUrl":849,"material":123,"size":124,"collection":125,"collections":850,"showCount":851,"zanCount":11,"manualWeight":11,"mainColor":75},287610,"fang-wen-zheng-ming-xi-shan-qiu-ji-tu-dong-qi-chang-287610","仿文徵明溪山秋霁图",[83,23,120,137,478,68,299,67,848,257,7,31],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70f2bf98b6ce2773a2ec1467d076c57e.jpg",[],27,{"id":853,"slug":854,"title":855,"dynasty":164,"author":856,"museum":20,"description":857,"tags":858,"thumbUrl":859,"material":70,"size":860,"collection":125,"collections":861,"showCount":851,"zanCount":11,"manualWeight":11,"mainColor":75},287597,"xue-xi-gui-zhao-zhou-zhu-de-run-287597","雪溪归棹轴","朱德润","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[23,27,25,169,64,34,49,66,33,7,31,555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90726182919826caa58237122e329861.jpg","144.9x85.2",[],{"id":863,"slug":864,"title":865,"dynasty":147,"author":475,"museum":117,"description":866,"tags":867,"thumbUrl":869,"material":36,"size":870,"collection":125,"collections":871,"showCount":851,"zanCount":11,"manualWeight":11,"mainColor":42},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4","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。",[83,23,24,868,68,26,31,27,34,49,64,85,33,7,139,598],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg","30.5×21.5",[],{"id":873,"slug":874,"title":875,"dynasty":164,"author":563,"museum":117,"description":876,"tags":877,"thumbUrl":878,"material":125,"size":125,"collection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咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[62,23,24,25,26,27,106,66,7,34,49,33,63,29,30,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],25,{"id":913,"slug":914,"title":915,"dynasty":164,"author":916,"museum":117,"description":917,"tags":918,"thumbUrl":920,"material":123,"size":124,"collection":125,"collections":921,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":42},290822,"yuan-shu-lin-yuan-shan-wu-zhen-290822","元疎林远山","吴镇","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[23,62,24,26,27,919,32,33,7,31,30,29],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeb34e136ba53cca7ce0b9820edabe6.jpg",[],{"id":923,"slug":924,"title":748,"dynasty":18,"author":925,"museum":196,"description":926,"tags":927,"thumbUrl":928,"material":929,"size":930,"collection":125,"collections":931,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":42},236325,"shan-shui-ce-song-xu-236325","宋旭","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。",[23,26,27,187,105,64,7,257,139,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6942f9cce57790f797b1cb0ff08a6128.jpg","纸本 ，设色","纵31cm，横42cm",[],{"id":933,"slug":934,"title":935,"dynasty":18,"author":415,"museum":117,"description":466,"tags":936,"thumbUrl":938,"material":123,"size":124,"collection":125,"collections":939,"showCount":940,"zanCount":11,"manualWeight":11,"mainColor":42},283749,"qiao-mu-zhou-yin-tu-zhou-dong-qi-chang-283749","乔木昼阴图轴",[23,26,25,27,937,67,7,121,29,30,31],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582d87c9d9d0f019697b81e9c1a0575d.jpg",[],23,{"id":942,"slug":943,"title":944,"dynasty":18,"author":279,"museum":184,"description":945,"tags":946,"thumbUrl":947,"material":36,"size":125,"collection":125,"collections":948,"showCount":940,"zanCount":11,"manualWeight":11,"mainColor":42},217948,"ming-ren-shan-shui-hua-ce-qi-yi-ming-217948","明人山水画册(七)","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。",[83,23,24,187,26,31,27,102,103,32,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265893252de5c9f63ff7626980bdf4ce.jpg",[],{"id":950,"slug":951,"title":952,"dynasty":18,"author":415,"museum":511,"description":953,"tags":954,"thumbUrl":955,"material":125,"size":125,"collection":38,"collections":956,"showCount":940,"zanCount":11,"manualWeight":11,"mainColor":957},203014,"shu-hua-ce-dong-qi-chang-203014","书画册","笔墨疏朗清逸，以书入画的笔意贯穿其间。山石用淡墨皴擦，林木以简笔勾勒，屋舍隐于丘壑间，尽显文人画的雅致禅意。右侧山水云雾氤氲，层峦叠嶂间透着空濛之趣；左侧丘林静谧，草木扶疏中藏着幽居之思。题跋行书流畅，与画作相映成趣，融诗书画于一册，尽显晚明文人的审美意趣。",[24,187,26,27,31,33,257,121,28,7,539,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cd3e7e67f2166a0c7ee53857daa63e.jpg",[38],"d7ccc2",{"id":959,"slug":960,"title":961,"dynasty":18,"author":962,"museum":117,"description":963,"tags":964,"thumbUrl":966,"material":123,"size":124,"collection":205,"collections":967,"showCount":968,"zanCount":11,"manualWeight":11,"mainColor":42},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟","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。",[83,23,120,137,68,31,33,139,64,7,138,34,257,965,67],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[205],22,{"id":970,"slug":971,"title":972,"dynasty":147,"author":183,"museum":117,"description":973,"tags":974,"thumbUrl":975,"material":125,"size":125,"collection":125,"collections":976,"showCount":968,"zanCount":11,"manualWeight":11,"mainColor":42},235881,"yuan-ji-shan-shui-tu-ce-shi-tao-235881","原济山水图册","近景茅舍隐于茂林，古木虬枝横斜，生机暗涌，远处危岩拔地而起，皴笔朴拙苍劲，苔点错落灵动，淡赭铺陈晕开清和秋意。笔墨纵逸秀润，看似率意挥写，实则骨力内蕴，将实景奇崛与胸中丘壑相融。\n\n搭配上行书题跋，笔墨舒展跌宕，书画相映成趣，尽显文人雅韵。整幅小品以简淡构图承载蓬勃生机，借山川形貌抒发襟怀，将搜尽奇峰的体悟凝于尺幅之间，萧散清寂中藏着通透灵秀，尽显清寂淡远的文人山水意境，是借笔写心的精妙之作。",[23,24,187,26,68,27,215,85,7,30,29,28,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da1cb3425542def690c3e5f73f06ab4.jpg",[],{"id":978,"slug":979,"title":980,"dynasty":18,"author":279,"museum":981,"description":982,"tags":983,"thumbUrl":985,"material":986,"size":987,"collection":38,"collections":988,"showCount":968,"zanCount":11,"manualWeight":11,"mainColor":75},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","日本京都高桐院","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。",[83,120,23,62,24,27,287,31,68,138,34,49,104,7,687,67,85,984],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","绢本墨笔","35.1X661.9",[38,205],{"id":990,"slug":991,"title":584,"dynasty":147,"author":992,"museum":511,"description":993,"tags":994,"thumbUrl":995,"material":125,"size":125,"collection":38,"collections":996,"showCount":968,"zanCount":11,"manualWeight":11,"mainColor":997},201830,"shan-shui-tu-zhou-wan-shang-lin-201830","万上遴","画面以水墨晕染出层叠山峦，云雾轻笼峰巅，皴擦笔法勾勒山石肌理，苍劲中见灵动。前景老树虬枝横斜，墨色浓淡交错，掩映着几椽屋舍，隐现于林泉之间，逸趣盎然。笔墨简练却意境悠远，清幽之气扑面而来，仿佛置身静谧山林，与自然相融，体悟那份恬淡自在的心境。",[26,31,23,27,32,7,67,121,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcddf2a02330fdb51a4b15740e93cbb.jpg",[38],"8d8077",{"id":999,"slug":1000,"title":1001,"dynasty":211,"author":1002,"museum":117,"description":1003,"tags":1004,"thumbUrl":1005,"material":123,"size":124,"collection":125,"collections":1006,"showCount":1007,"zanCount":11,"manualWeight":11,"mainColor":42},289377,"xi-shan-yuan-xiu-tu-jing-hao-289377","溪山远岫图","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[83,62,23,837,27,26,31,67,85,7,555],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaaf0dd9927f4e6e4fb2fa2d0fcb8487.jpg",[],21,{"id":1009,"slug":1010,"title":1011,"dynasty":18,"author":1012,"museum":117,"description":1013,"tags":1014,"thumbUrl":1017,"material":123,"size":1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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。",[62,23,27,169,838,25,31,33,897,7,172,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa073fbe6026acf7b071e27be9e2b4dd.jpg",[],{"id":1117,"slug":1118,"title":1119,"dynasty":18,"author":453,"museum":196,"description":1120,"tags":1121,"thumbUrl":1123,"material":782,"size":1124,"collection":125,"collections":1125,"showCount":1107,"zanCount":11,"manualWeight":11,"mainColor":42},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。",[83,23,24,187,68,26,31,29,27,33,85,63,49,64,104,121,34,7,1122],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":1127,"slug":1128,"title":1129,"dynasty":147,"author":1130,"museum":511,"description":1131,"tags":1132,"thumbUrl":1134,"material":125,"size":125,"collection":38,"collections":1135,"showCount":1107,"zanCount":11,"manualWeight":11,"mainColor":1136},202208,"fang-yan-wen-gui-shan-shui-zhou-wang-jian-202208","仿燕文贵山水轴","王鑑","峰峦积雪皑皑，皴笔皴擦出山石嶙峋纹理，枯藤老树遒劲如铁，枝桠间透着冬日萧疏。屋舍错落于岩岫旁，溪流潺潺绕石而过，墨色浓淡相济，留白处显雪景空灵。仿燕文贵之法却融己意，笔墨兼具苍劲与雅致，静谧清旷的山林意境扑面而来，古画韵致尽显。",[27,31,478,68,49,1133,32,7,83],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4fea520bb7bab600acc3f1c3eb26e3.jpg",[38],"c0b8ac",{"id":1138,"slug":1139,"title":1140,"dynasty":18,"author":279,"museum":117,"description":1141,"tags":1142,"thumbUrl":1143,"material":123,"size":124,"collection":125,"collections":1144,"showCount":1145,"zanCount":11,"manualWeight":11,"mainColor":75},288145,"shan-shui-tu-ti-xu-dao-ning-yi-ming-288145","山水图(题许道宁)","此作用全景式平远构图铺展江湖胜境，烟波浩渺间峰峦连绵起伏，巨岩峻峭处飞瀑垂落，丘壑藏幽。浅汀洲渚错落点缀苍松杂木，渔舟泛于平湖之上，山居隐于林麓之间，处处漫着静谧萧散的野趣。\n\n画师以淡墨皴擦山峦，勾勒与渲染相融，将山石的浑厚质感与云水的空濛柔润相互映衬，树木取法苍劲笔意，简括灵动。整体色调古雅沉静，把平远、深远山水意境汇于一卷，铺展出旷远清逸的江南景致，尽显幽淡天然的文人山水意趣，引人神游林泉，体悟高致。",[83,23,24,120,62,27,49,64,106,170,105,7,85,31,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21189e70bdbdbedc3253fe6e38816672.jpg",[],18,{"id":1147,"slug":1148,"title":1149,"dynasty":147,"author":225,"museum":117,"description":227,"tags":1150,"thumbUrl":1151,"material":123,"size":124,"collection":125,"collections":1152,"showCount":1145,"zanCount":11,"manualWeight":11,"mainColor":42},235613,"hong-ren-shan-shui-ce-hong-ren-235613","弘仁山水册",[62,23,24,187,26,27,33,105,85,7,29,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1867ce4dc9b31ce435491971d24640c7.jpg",[],{"id":1154,"slug":1155,"title":1156,"dynasty":639,"author":640,"museum":511,"description":1157,"tags":1158,"thumbUrl":10,"material":125,"size":125,"collection":38,"collections":1160,"showCount":1145,"zanCount":11,"manualWeight":11,"mainColor":1161},202802,"ceng-luan-fei-pu-tu-zhou-huang-bin-hong-202802","层峦飞瀑图轴","层峦叠嶂间，飞瀑漱石溅玉，沿崖壁奔流而下，滋养谷底草木。山间屋舍错落隐于浓荫，小径蜿蜒向上，似引观者入幽境。笔墨苍劲老辣，皴擦点染结合，积墨与留白相映，山峦肌理浑厚，云雾缭绕处虚实相生。草木葱茏、山石嶙峋，既含自然野趣，又藏文人雅致，尽显山川灵秀与静谧生机，仿佛可闻泉声鸟语，可感林泉之乐。",[23,24,25,26,31,27,1159,7,86,241,83],"飞瀑",[38],"969487",{"id":1163,"slug":1164,"title":1165,"dynasty":164,"author":279,"museum":20,"description":1166,"tags":1167,"thumbUrl":1168,"material":230,"size":1169,"collection":38,"collections":1170,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":75},290737,"fang-mi-shi-yun-shan-zhou-yi-ming-290737","仿米氏云山轴","此幅画夏雨初过，山野溪畔水气弥漫，山脚林间云霭飘移，村屋、古寺掩映其间。山石以浓淡变化的“米点”层叠渲渍，再加色烘染，水份饱满。唯用笔构图板滞，应为明清之作。",[23,25,26,31,27,67,121,85,34,7,30,29,478],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd455344f176e2280f3d2ea4362701fd1.jpg","57x35.3",[38],17,{"id":1173,"slug":1174,"title":1175,"dynasty":18,"author":279,"museum":117,"description":1176,"tags":1177,"thumbUrl":1179,"material":123,"size":124,"collection":125,"collections":1180,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":75},289943,"fang-dong-yuan-xia-shan-tu-yi-ming-289943","仿董源夏山图","此作用笔追摹董源风骨，以披麻皴绘平缓山峦，苍润朴拙，晕染出江南夏山的氤氲空蒙。浩渺平湖横亘画面，洲渚间林木蓊郁，渔村山居错落隐现，三两渔舟泛于烟波间，野趣悠然满溢。\n\n全图以平远章法铺展丘壑，苔点繁密缀于山体，尽显草木华滋之态，复刻出南宗山水平淡天真的意趣，将夏日山林的温润葱郁与水滨幽寂融为一体，把江南夏景的淡远生机尽显于绢素之上，是得董源神韵的仿古佳制。",[83,62,23,120,137,68,31,67,1178,257,7,687,478],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba79ab403ce26b026d8e1580f30d144.jpg",[],{"id":1182,"slug":1183,"title":1184,"dynasty":18,"author":415,"museum":117,"description":466,"tags":1185,"thumbUrl":1186,"material":123,"size":124,"collection":125,"collections":1187,"showCount":1171,"zanCount":11,"manualWeight":11,"mainColor":42},283751,"qi-xia-si-shi-yi-tu-zhou-dong-qi-chang-283751","栖霞寺诗意图轴",[62,23,24,25,26,27,67,85,7,49,29,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d4bb1db2fef7caa8986b31a95ba498.jpg",[],{"id":1189,"slug":1190,"title":584,"dynasty"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，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。",[23,24,837,26,27,169,85,33,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73fc28e16c28d2d8c79e704fcf828365.jpg",[],{"id":1205,"slug":1206,"title":748,"dynasty":18,"author":19,"museum":511,"description":1207,"tags":1208,"thumbUrl":1210,"material":125,"size":125,"collection":38,"collections":1211,"showCount":1171,"zanCount":159,"manualWeight":11,"mainColor":1212},203331,"shan-shui-ce-shen-zhou-203331","画面以青绿设色晕染峰峦，陡峭崖壁层叠耸峙，如剑戟刺破天际。山脚苍松虬劲，枝干盘曲，松针细密如簇，墨色浓淡交错显其苍古。几间屋舍隐于松石间，白墙黛瓦与青绿山水相映，添烟火气却不扰清寂。左侧题跋笔墨流畅，行书婉转见骨力，与画作相得益彰；旁钤朱印，朱红与青绿、墨色形成对比，更显雅致。整幅作品青绿明丽，又含文人清幽，山石皴染结合，树木勾勒精细，构图疏密有致，融山水之秀与居停之静于一册，尽显古雅意境。",[1209,68,27,187,31,28,30,106,7,33,83],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a572b3372dba04ac295f815000697bd.jpg",[38],"d2bea3",{"id":1214,"slug":1215,"title":1216,"dynasty":164,"author":279,"museum":117,"description":1217,"tags":1218,"thumbUrl":1223,"material":123,"size":124,"collection":125,"collections":1224,"showCount":1225,"zanCount":11,"manualWeight":11,"mainColor":75},290799,"xi-qiao-feng-yu-zhou-yi-ming-290799","溪桥风雨轴","录入：石渠宝笈初编（养心殿），上册，668页；故宫书画录（卷八），第四册，71页；故宫书画图录，第五册，247-248页",[23,25,26,68,241,1219,34,7,1220,1221,1222,27,30],"美人","柳树","芭蕉","风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa98b74ce73c39e18efdf62315e0ddca.jpg",[],16,{"id":1227,"slug":1228,"title":1229,"dynasty":164,"author":349,"museum":117,"description":1230,"tags":1231,"thumbUrl":1237,"material":123,"size":124,"collection":125,"collections":1238,"showCount":1225,"zanCount":11,"manualWeight":11,"mainColor":75},290267,"jia-shu-you-huang-tu-ke-luo-ban-ni-zan-290267","嘉树幽篁图（珂罗版）","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》。",[83,23,24,120,26,137,1232,173,1233,7,1234,1235,1178,28,30,1043,1236],"珂罗版","平畴","嘉树","幽篁","萧疏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f53faf8501d2817c109bebc226cba2.jpg",[],{"id":1240,"slug":1241,"title":1242,"dynasty":18,"author":1243,"museum":280,"description":1244,"tags":1245,"thumbUrl":1246,"material":481,"size":1247,"collection":125,"collections":1248,"showCount":1225,"zanCount":11,"manualWeight":11,"mainColor":75},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[83,23,26,68,187,120,31,27,34,49,64,32,7,138,241,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 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由京师贡补工部令史，选充行台掾，擢山东西道按察司经历，历河南道按察司判官，大中时，官至刑部尚书。画山水初学二米，后学董源、李成笔法，专取写意气韵，亦擅长墨竹，与文湖州并驰，造诣精绝。",[62,23,25,26,27,7,85,121,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b32823c8dee2143a81c0ef5b0d559c6.jpg",[],14,{"id":1323,"slug":1324,"title":1325,"dynasty":164,"author":563,"museum":117,"description":564,"tags":1326,"thumbUrl":1327,"material":123,"size":124,"collection":125,"collections":1328,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":75},290447,"shan-shui-tu-ke-luo-ban-wang-meng-290447","山水图（珂罗版）",[83,23,62,27,26,31,106,49,7,33,34,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc127099e6c7fab1a64f19b3062698b5.jpg",[],{"id":1330,"slug":1331,"title":1332,"dynasty":18,"author":415,"museum":117,"description":466,"tags":1333,"thumbUrl":1334,"material":123,"size":124,"collection":125,"collections":1335,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},283724,"hua-chan-shi-xiao-jing-tu-ce-dong-qi-chang-283724","画禅室小景图册",[23,24,187,26,137,28,30,31,761,7,85,67,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2d3a31157a8e2a8f3646e3e282b8d8.jpg",[],{"id":1337,"slug":1338,"title":1339,"dynasty":18,"author":415,"museum":117,"description":466,"tags":1340,"thumbUrl":1341,"material":123,"size":124,"collection":125,"collections":1342,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":42},283641,"shan-shui-tu-chu-tian-qing-xiao-dong-qi-chang-283641","山水图(楚天清晓)",[83,62,23,24,25,26,27,34,49,66,33,7,31,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e6c5f60900682bcca2421464d12b76.jpg",[],{"id":1344,"slug":1345,"title":1346,"dynasty":18,"author":1347,"museum":20,"description":1348,"tags":1349,"thumbUrl":1350,"material":481,"size":1351,"collection":125,"collections":1352,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":75},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159","山庄高逸轴","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[83,23,137,25,26,31,102,308,34,49,64,104,138,1133,32,241,105,780,7,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":1354,"slug":1355,"title":1356,"dynasty":164,"author":1357,"museum":117,"description":1358,"tags":1359,"thumbUrl":1360,"material":123,"size":124,"collection":125,"collections":1361,"showCount":1362,"zanCount":11,"manualWeight":11,"mainColor":75},283632,"hua-han-yan-ji-xue-zhang-yu-283632","画寒岩积雪","张羽","张羽（1333－1385）元末明初文人。字来仪，更字附凤，号静居，浔阳（今江西九江）人，后移居吴兴（今浙江湖州），与高启、杨基、徐贲称为“吴中四杰”，又与高启、王行、徐贲等十人，人称“北郭十才子”，亦为明初十才子之一。官至太常丞，山水宗法米氏父子，诗作笔力雄放俊逸，著有《静居集》。",[23,24,27,25,26,66,33,815,7,173,1178,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0864a3421ac5a684a16b934dfe59e80.jpg",[],13,{"id":1364,"slug":1365,"title":1366,"dynasty":18,"author":1012,"museum":511,"description":1367,"tags":1368,"thumbUrl":1370,"material":70,"size":1371,"collection":125,"collections":1372,"showCount":1362,"zanCount":11,"manualWeight":11,"mainColor":75},219777,"lin-song-ren-hua-ce-3-chou-ying-219777","临宋人画册-3","《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。",[23,24,187,478,240,68,241,7,85,1369],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282710dc33ec5660385edb66147e8f3e.jpg","27.2x25.5厘米",[],{"id":1374,"slug":1375,"title":1376,"dynasty":147,"author":1377,"museum":630,"description":1378,"tags":1379,"thumbUrl":1384,"material":1385,"size":1386,"collection":125,"collections":1387,"showCount":1388,"zanCount":11,"manualWeight":11,"mainColor":125},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，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。",[83,23,24,62,187,27,67,1380,1381,7,34,49,1382,26,1383],"高树","竹丛","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],12,{"id":1390,"slug":1391,"title":584,"dynasty":147,"author":1392,"museum":511,"description":1393,"tags":1394,"thumbUrl":1395,"material":125,"size":125,"collection":38,"collections":1396,"showCount":1388,"zanCount":11,"manualWeight":11,"mainColor":1397},201973,"shan-shui-tu-zhou-yong-rong-201973","永瑢","这幅山水图以水墨为基调，笔墨清润雅致。层叠的山石以皴法勾勒纹理，线条劲挺又不失灵动，岩壁间飞瀑垂落，添了几分生机。山脚林木错落，枝叶以淡墨点染，疏密有致；几间屋舍隐于树丛后，若隐若现，更显静谧幽深。整体构图虚实相生，意境悠远，尽显文人山水的淡泊雅致，仿佛让人置身于清幽的山林间，忘却尘嚣。",[23,26,27,31,85,7,105,33,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2192d62200bae7e87d4518378ae704bf.jpg",[38],"bb9c7a",{"id":1399,"slug":1400,"title":1401,"dynasty":18,"author":1402,"museum":20,"description":1403,"tags":1404,"thumbUrl":1410,"material":230,"size":1411,"collection":205,"collections":1412,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":42},290945,"xue-shan-xing-lv-tu-zhou-qian-gu-290945","雪山行旅图轴","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[23,25,137,26,31,169,479,34,49,66,1405,1406,1407,1408,7,1409],"苍松","行旅人物","马","山谷","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c0d9a198fbba7297e3d5b3a912b68.jpg","288.2x56.1",[205],11,{"id":1415,"slug":1416,"title":1417,"dynasty":58,"author":279,"museum":117,"description":1418,"tags":1419,"thumbUrl":1420,"material":123,"size":124,"collection":125,"collections":1421,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":75},289120,"xie-qin-xian-bu-tu-yi-ming-289120","携琴闲步图","此作尽显宋人林居雅逸之趣。嶙峋怪石错立，古松虬曲盘桓，苍润笔墨绘就老松霜皮黛色，枝桠舒展如盖，自带浑古苍劲之态。左侧茅舍隐于山石间，回廊半遮，暗衬山居幽寂无扰。平坡之上，策杖士人徐行，似携琴欲赴山友之约，闲缓步履间尽显萧散意趣。远景山峦以淡墨晕染，虚实相生，将空濛山野收于尺幅，咫尺含千里之思。全画笔致简秀雅润，设色古淡沉静，以留白烘托出清寂悠然的隐逸氛围，将文人士大夫寄情林泉、静享丘壑的雅怀融在方寸之间，是宋人小品山水以小见大、借景抒怀的精妙之作。",[23,62,137,106,215,7,31,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64fca472cc1a0c887e7007bd6cf8da4.jpg",[],{"id":1423,"slug":1424,"title":1425,"dynasty":18,"author":279,"museum":117,"description":1426,"tags":1427,"thumbUrl":1428,"material":123,"size":124,"collection":125,"collections":1429,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":75},288164,"fang-dong-yuan-shan-shui-tu-yi-ming-288164","仿董源山水图","此作用平远铺展全景江南山水，烟波澹澹的江面与连绵柔缓的浅丘相映，苍郁林木间散落村舍人家，尽显水乡温润氤氲的灵秀气质。\n画师以披麻皴写山石，淡墨晕染出苍润层次，笔触简淡柔婉，追摹出平淡天真的山水意趣，带着宋初山水的浑厚静穆。整卷气息悠长静谧，将江南丘林的秀雅与村居的悠然融为一体，仿若带人走入了古意绵长的隐逸山居，尽显古典山水的悠远韵致。",[83,23,120,24,27,68,31,67,85,7,63,1178,478,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74ea0075c3b07b6830bfb8c1b90d62a.jpg",[],{"id":1431,"slug":1432,"title":1433,"dynasty":18,"author":415,"museum":117,"description":466,"tags":1434,"thumbUrl":1435,"material":123,"size":124,"collection":125,"collections":1436,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":75},283710,"shan-shui-tu-shan-ye-dong-qi-chang-283710","山水图扇页",[837,23,62,24,26,27,67,85,7,29,30,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3145563fc20ba22dd7f74f84c37588a1.jpg",[],{"id":1438,"slug":1439,"title":1440,"dynasty":147,"author":1441,"museum":117,"description":1442,"tags":1443,"thumbUrl":1444,"material":125,"size":125,"collection":125,"collections":1445,"showCount":1413,"zanCount":159,"manualWeight":11,"mainColor":75},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","闭户著书图","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[83,23,24,25,68,31,27,106,33,105,49,138,7,241,85,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":1447,"slug":1448,"title":46,"dynasty":18,"author":1449,"museum":20,"description":1450,"tags":1451,"thumbUrl":1452,"material":125,"size":125,"collection":125,"collections":1453,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":42},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[83,23,24,837,27,26,68,31,102,103,34,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":1455,"slug":1456,"title":1457,"dynasty":18,"author":453,"museum":511,"description":1458,"tags":1459,"thumbUrl":1461,"material":125,"size":125,"collection":38,"collections":1462,"showCount":1413,"zanCount":11,"manualWeight":11,"mainColor":1463},202233,"fang-dong-ju-shan-shui-zhou-lan-ying-202233","仿董巨山水轴","这幅山水轴师法董源、巨然的平淡天真，又融入蓝瑛苍劲秀逸的个人笔意。层叠山峦以温润皴法晕染，林木葱茏间溪流婉转，屋舍隐于幽径旁，尽显江南山水的静谧幽深。笔墨厚重与灵动兼具，山石勾勒皴染相济，树木点染疏密有致，营造出深远空间层次与古雅意境，堪称蓝瑛师古而化的典范之作。",[27,31,68,67,85,171,7,1460,83],"仿董巨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3717cf30fc95c40e648ce9b10c3ea3.jpg",[38],"84755f",{"id":1465,"slug":1466,"title":1467,"dynasty":147,"author":1468,"museum":117,"description":1469,"tags":1470,"thumbUrl":1472,"material":123,"size":124,"collection":125,"collections":1473,"showCount":1474,"zanCount":11,"manualWeight":11,"mainColor":42},290431,"jing-wei-shu-ji-shi-shi-wen-juan-dong-gao-290431","泾渭蜀纪实诗文卷","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，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），首席军机大臣，上书房总师傅，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，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[83,120,23,24,68,1209,27,139,67,7,29,28,1471],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef2f3667c968e7989f9a935ff5bf5351.jpg",[],10,{"id":1476,"slug":1477,"title":1325,"dynasty":164,"author":1478,"museum":117,"description":1479,"tags":1480,"thumbUrl":1481,"material":123,"size":124,"collection":125,"collections":1482,"showCount":1474,"zanCount":11,"manualWeight":11,"mainColor":75},290262,"shan-shui-tu-ke-luo-ban-fang-cong-yi-290262","方从义","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[83,23,24,26,27,64,49,85,7,121,63,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ebd6c74865923ae26353a3a93def9d.jpg",[],{"id":1484,"slug":1485,"title":1486,"dynasty":18,"author":1487,"museum":117,"description":1488,"tags":1489,"thumbUrl":1490,"material":123,"size":124,"collection":125,"collections":1491,"showCount":1474,"zanCount":159,"manualWeight":11,"mainColor":42},236394,"mao-shan-shang-gong-tu-shan-ye-tang-zhi-qi-236394","茅山上宫图扇页","唐志契","唐志契(xiè)，1579——1651，字敷五，又字玄生、元生，海陵（今江苏泰州）人。精于绘事，著有《绘事微言》。 《书.舜典》：“帝曰：‘契(Xiè)，百姓不亲，五品不逊，汝作司徒，敬敷五教，在宽。’” 《诗.商颂.玄鸟》：“天命玄鸟，降而生商。”《史记.殷本纪》：“殷契(Xiè)，母曰简狄，有娀氏之女，为帝喾次妃。三人行浴，见玄鸟堕其卵，简狄取吞之，因孕生契(Xiè)。”",[837,23,62,24,26,27,67,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db2960a2de25a616e7f1a70b076637a.jpg",[],{"id":1493,"slug":1494,"title":1495,"dynasty":885,"author":279,"museum":117,"description":1496,"tags":1497,"thumbUrl":1505,"material":125,"size":125,"collection":125,"collections":1506,"showCount":1474,"zanCount":11,"manualWeight":11,"mainColor":42},231694,"jiang-hu-shi-qi-ying-yi-die-shi-er-yue-tu-juan-yi-ming-231694","江户时期 英一蝶十二月图卷","这幅长卷铺陈出鲜活的市井浮生，水岸舟楫往来摇荡，市肆街巷串联起岁时日常。茶寮酒幌招展，宾客围坐言笑晏晏；贩夫走卒穿行长街，挑担叫卖的身影生动鲜活。亭台掩映在松柳浓荫，屋舍错落间见邻里闲话的松弛意趣。\n\n淡墨轻敷晕染出水色天光，线条细腻灵动勾勒众生百态，将岁时里的烟火温热与雅致闲情尽数揉入长卷，把日常俗事绘成温柔的时代剪影，让百年前的俗世风物宛在眼前。",[83,23,120,68,26,241,270,1498,1499,1500,1501,7,728,85,1502,1503,1504],"水岸","市肆","街巷","茶寮","市井生活","烟火气","闲情雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169b830ee82cd17c77c2038154101eb1.jpg",[],{"id":1508,"slug":1509,"title":1510,"dynasty":147,"author":252,"museum":117,"description":1511,"tags":1512,"thumbUrl":1519,"material":125,"size":125,"collection":125,"collections":1520,"showCount":1474,"zanCount":11,"manualWeight":11,"mainColor":42},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","仿大痴山水图","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[83,23,62,24,137,26,68,33,49,34,7,1513,85,1514,31,396,1515,418,1516,1517,30,1518],"飞泉","林壑","干笔积墨","幽寂","清旷雅致","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":1522,"slug":1523,"title":1524,"dynasty":18,"author":415,"museum":117,"description":466,"tags":1525,"thumbUrl":1528,"material":123,"size":124,"collection":125,"collections":1529,"showCount":1530,"zanCount":11,"manualWeight":11,"mainColor":42},283708,"pan-gu-xu-shu-hua-he-bi-juan-dong-qi-chang-283708","盘谷序书画合璧卷",[83,62,23,120,1526,68,27,67,85,7,1527,29,30],"书画合璧","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9014f8bc1998914af824e954e462d91d.jpg",[],9,{"id":1532,"slug":1533,"title":1534,"dynasty":147,"author":279,"museum":117,"description":1535,"tags":1536,"thumbUrl":1537,"material":125,"size":125,"collection":125,"collections":1538,"showCount":1530,"zanCount":11,"manualWeight":11,"mainColor":42},234485,"qing-jiang-zuo-wen-xin-ji-ce-zou-zhe-shan-shui-ce-ye-yi-ming-234485","清江左文心集册-邹喆山水册页","明末清初，金陵特殊的政治、经济、文化地位，使其集聚了一大批画家，用龚贤的话来说：“今日画家以江南最盛，江南十郡以首郡为盛，郡中著名者且数十辈，但能吮笔者岂止千人？”① 江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[23,26,68,31,187,27,33,85,7,1178,67,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceffa03dc34c80a37f79d6bb2778e258.jpg",[],{"id":1540,"slug":1541,"title":1542,"dynasty":147,"author":1543,"museum":511,"description":1544,"tags":1545,"thumbUrl":1546,"material":230,"size":1547,"collection":125,"collections":1548,"showCount":1530,"zanCount":11,"manualWeight":11,"mainColor":42},214711,"shan-shui-ce-6-gao-xiang-214711","山水册-6","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[23,26,31,187,27,103,33,7,241,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1185175bc485486c06acb335f72dd874.jpg","纵23.9 厘米，横55.4 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、Kesi 或 Chinese silk 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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[2045,2046,1816,27,85,7,30,29,1369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc5cf7eaf6f355dc89c5430c0483eca.jpg",[],{"id":2501,"slug":2502,"title":2503,"dynasty":147,"author":279,"museum":117,"description":2504,"tags":2505,"thumbUrl":2507,"material":123,"size":124,"collection":125,"collections":2508,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},269501,"huang-yang-mu-diao-lin-mu-ren-wu-tu-bi-tong-yi-ming-269501","黄杨木雕林木人物图笔筒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[2046,1930,2506,241,257,7],"笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f8cd8d1632245eeefe38a9f56def8e1.jpg",[],{"id":2510,"slug":2511,"title":2512,"dynasty":147,"author":279,"museum":117,"description":2513,"tags":2514,"thumbUrl":2517,"material":123,"size":124,"collection":125,"collections":2518,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":657},261653,"dou-qing-you-hua-hua-shan-shui-tu-bi-tong-yi-ming-261653","豆青釉划花山水图笔筒","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[2479,1369,2506,2515,27,2516,85,7],"划花","豆青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db35be1661e6048c4806c4eb6ea14d.jpg",[],{"id":2520,"slug":2521,"title":2522,"dynasty":147,"author":279,"museum":117,"description":2523,"tags":2524,"thumbUrl":2526,"material":123,"size":124,"collection":125,"collections":2527,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},261196,"you-li-san-se-shan-shui-wen-bi-tong-yi-ming-261196","釉里三色山水纹笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[2479,2506,2525,27,241,85,7],"釉里三色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4e323ddfa39cf01c082a12a5da36cd.jpg",[],{"id":2529,"slug":2530,"title":748,"dynasty":147,"author":2531,"museum":20,"description":2532,"tags":2533,"thumbUrl":2534,"material":68,"size":2535,"collection":125,"collections":2536,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},238261,"shan-shui-ce-zhang-yan-238261","张演","此作用淡墨晕染远景云山，崖壁以披麻皴写就，留白烘出烟岚云气，虚实相映间尽显林泉空濛之态。近景苍松翠柏错落簇拥山居，屋中二人对坐清谈，将文人雅兴寄于林壑幽居之中。\n\n设色浅淡清润，山石皴法秀雅温润，林木疏密有致，掩映出隐逸悠然的山居日常。画面静穆淡远，把出世幽寂与雅集闲趣融为一体，尽显寄情丘壑的文人意趣，将江南山居的清寂闲雅铺陈开来。",[23,68,27,187,31,102,308,103,152,121,241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3afabc94eb74caaf779a5438b23437.jpg","37.1x31.7",[],{"id":2538,"slug":2539,"title":2540,"dynasty":147,"author":2541,"museum":511,"description":2542,"tags":2543,"thumbUrl":2546,"material":125,"size":125,"collection":125,"collections":2547,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2548},203217,"shui-hui-yuan-jiu-zhi-shu-hua-ce-shen-fu-203217","水绘园旧址书画册","沈复","笔墨绘就的江南园林景致，林木葱茏间屋舍错落隐现，溪流潺潺绕岸而过，小桥横跨其上，尽显清幽雅致。淡墨皴法晕染山石草木，线条灵动勾勒枝叶屋宇，左侧行书笔意流畅自然，与右侧山水相映成趣。书画一体，将文人的闲适心境融入尺幅之中，于册页间传递出恬淡的生活意趣与细腻的艺术韵味。",[27,28,26,68,34,49,7,257,187,31,1632,418,2544,2545],"淡墨","工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e684a9beb368d88d6741958653abba.jpg",[],"c4bcab",{"id":2550,"slug":2551,"title":2552,"dynasty":147,"author":2553,"museum":511,"description":2554,"tags":2555,"thumbUrl":2556,"material":125,"size":1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