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。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[55,23,56,118,119,120,103,121,122,123,124,125,126,127,128,7,129,130,131,132,133,134,135,136,137,138,139],"纸本设色","山水画","纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","飞瀑","山溪","村落","危桥","古道","白云","松杉","远山","城镇","船舶","万里寻亲","忠孝情怀","丛林","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],36,1,{"id":145,"slug":146,"title":147,"dynasty":18,"author":148,"museum":99,"description":149,"tags":150,"thumbUrl":153,"material":69,"size":69,"collection":69,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":93},238998,"wen-jia-xia-shan-gao-yin-tu-zhou-yi-ming-238998","文嘉夏山高隐图轴","佚名","此作以层叠山峦铺展高远之境，崖间飞瀑悬垂而下，撞破岩壑沉静，为幽寂山林添就灵动生机。水畔草堂临流而建，屋中主人偃卧观山，阶下童子侍立，尽显山居高隐的闲雅意趣。\n\n画作笔墨温婉秀润，山石以披麻皴写就，淡墨晕染出清润质感，林木点染疏密得宜，浅淡设色衬出古雅格调，将寄情林泉、慕求幽居闲适的心境，融在烟林清旷的山水小景之中，意境萧散淡远，尽显文人山水画的雅逸之致。",[23,25,27,103,28,34,151,152,35,7,32,102],"瀑布","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a9341797746526cddd68189ee910.jpg",[],24,{"id":157,"slug":158,"title":159,"dynasty":51,"author":160,"museum":161,"description":162,"tags":163,"thumbUrl":169,"material":69,"size":69,"collection":69,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":172},201800,"shan-shui-tu-zhou-gao-cen-201800","山水图轴","高岑","上海博物馆","这幅山水图轴层次错落，意境清幽。远景峰峦叠嶂，皴笔勾勒山石肌理，尽显雄浑苍劲；中景林木葱茏，松针攒簇与枯树枝桠相映，掩映间屋舍隐现，似藏隐士闲居；近景溪流蜿蜒，瀑布潺潺，茅亭临岸，树木扶疏，一派静谧。笔墨兼融秀润与苍健，山石皴染结合，树木勾勒传神，整体营造出文人归隐的闲适之境，流露金陵画派清逸风骨。",[23,28,103,164,165,166,167,7,102,168],"流水","亭","松树","枯树","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0eba6f017f9fadc0a6a991c085ff5a.jpg",[],18,"947f64",{"id":174,"slug":175,"title":176,"dynasty":177,"author":178,"museum":20,"description":179,"tags":180,"thumbUrl":183,"material":184,"size":185,"collection":69,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":93},290418,"hua-xi-yu-yin-zhou-wang-meng-290418","花溪渔隐轴","元","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。",[82,23,24,25,26,28,164,181,7,102,35,105,103,182],"孤舟","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef55dc634c63946416c5b1d78e818ccc.jpg","纸本,水墨","129x58.3cm",[],17,{"id":189,"slug":190,"title":159,"dynasty":51,"author":191,"museum":161,"description":192,"tags":193,"thumbUrl":196,"material":69,"size":69,"collection":43,"collections":197,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":198},202114,"shan-shui-tu-zhou-dai-qu-heng-202114","戴忂亨","这幅山水图中，层岩叠嶂以皴法写就，纹理苍劲；树木或疏朗或繁密，枯枝与茂叶交织，生机暗藏。山间亭台隐于林麓，水边屋舍傍岸而居，笔墨雅致温润，构图虚实相生，将山水之清幽与田园之静谧融于一体，尽显文人山水的恬淡意趣，仿佛可闻林泉之音，可感山野之幽。",[23,28,103,165,7,26,194,195,55],"文人画","清代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3b1cc5dea9d928ed0975ec548a9ea1.jpg",[43],"a89a88",{"id":200,"slug":201,"title":202,"dynasty":51,"author":203,"museum":99,"description":204,"tags":205,"thumbUrl":206,"material":107,"size":108,"collection":69,"collections":207,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":46},288214,"ming-xian-quan-tu-mei-qing-288214","鸣弦泉图","梅清","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[55,82,23,24,25,26,28,166,102,7,104,105,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78782d685d7c355c35aa459672f57e31.jpg",[],16,{"id":210,"slug":211,"title":212,"dynasty":51,"author":213,"museum":99,"description":214,"tags":215,"thumbUrl":218,"material":107,"size":108,"collection":69,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":93},287726,"hua-hui-shan-shui-he-ce-wang-hui-287726","花卉山水合册","王翚","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,83,28,216,217,35,7,26,27,103],"雪景","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f17b26af96fc55fb4c6502c24e2502d.jpg",[],5,{"id":222,"slug":223,"title":224,"dynasty":18,"author":225,"museum":99,"description":226,"tags":227,"thumbUrl":230,"material":107,"size":108,"collection":69,"collections":231,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":46},236702,"guan-chao-tu-shan-ye-wang-jie-236702","观潮图扇页","汪介","汪介，原名鑒，字石如，浙江杭州人。專繪花卉，工于篆刻，著有《墨林今話》、《畊硯田齋筆記》、《廣印人傳》。",[23,24,228,26,103,28,229,7,35],"扇面","潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45790ad5fbf5a4c98a6ce94ff4e06337.jpg",[],{"id":233,"slug":234,"title":235,"dynasty":51,"author":236,"museum":161,"description":237,"tags":238,"thumbUrl":10,"material":69,"size":69,"collection":69,"collections":241,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":242},203423,"shan-shui-ce-qian-wei-cheng-203423","山水册","钱维城","墨色清润雅致，构图疏密得宜。上帧竹影摇曳，修竹倚石而立，茅舍隐于其间，草色淡远，尽显幽居之趣；下帧山峦以皴法写就，线条挺劲，路径蜿蜒通幽，屋宇藏于林麓，远山含黛，水色空濛。笔墨间既有细腻的点染，又有洒脱的勾勒，山石纹理与草木姿态相映成趣，营造出清旷淡远的山水意境，传递出文人画特有的闲静风骨。",[23,26,28,239,103,83,102,7,240],"竹","路",[],"c7b89d",1777535727736]