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（活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,25,26,56,57,58,29,32,59,7,60,37,33,61,39,62],"立轴","设色","山水","雪","飞鸟","房屋","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","绢本","56x102",[43,45,67],"水墨画精选",83,{"id":70,"slug":71,"title":72,"dynasty":18,"author":73,"museum":20,"description":74,"tags":75,"thumbUrl":85,"material":86,"size":87,"collection":88,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":48},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","吴琚","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[23,76,77,78,79,80,81,7,82,83,84,60],"书法","行书","墨","纸","印章","小桥","垂杨","花","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","绢","98.6x55.3cm","书法精选",[88],71,1,{"id":93,"slug":94,"title":95,"dynasty":96,"author":97,"museum":98,"description":99,"tags":100,"thumbUrl":106,"material":107,"size":108,"collection":45,"collections":109,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":48},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","明","吴伟","北京故宫博物院","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,25,26,56,101,102,29,58,31,7,103,104,62,32,36,105,37],"水墨画","写意","孤舟","渔者","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","绢本,水墨","纵122.8厘米，横75厘米",[45,110],"人物画精选",49,{"id":113,"slug":114,"title":115,"dynasty":96,"author":116,"museum":98,"description":117,"tags":118,"thumbUrl":139,"material":41,"size":140,"collection":88,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":143},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","胡俨","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[23,77,76,119,120,121,122,123,124,125,126,127,128,129,59,7,130,131,132,133,134,135,136,137,138],"题诗","笔墨","章法","结体","山房","竹","月","树","鹤","藤萝","苍松","舟","田舍","云","烟","风","雨","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纵27.3厘米，横45.5厘米",[88],42,"BDBDBD",{"id":145,"slug":146,"title":147,"dynasty":148,"author":149,"museum":150,"description":151,"tags":152,"thumbUrl":156,"material":42,"size":42,"collection":42,"collections":157,"showCount":158,"zanCount":47,"manualWeight":11,"mainColor":143},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","清","王翚","藏地不详","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,25,26,56,27,29,153,58,32,7,37,154,39,155],"临摹","云雾","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],34,{"id":160,"slug":161,"title":162,"dynasty":148,"author":163,"museum":98,"description":164,"tags":165,"thumbUrl":166,"material":167,"size":42,"collection":45,"collections":168,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":143},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[25,57,58,29,56,32,7,130,126,33,39,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg","绢本，设色",[45,169],"设色画精选",30,{"id":172,"slug":173,"title":174,"dynasty":18,"author":175,"museum":98,"description":176,"tags":177,"thumbUrl":184,"material":185,"size":186,"collection":42,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":48},234068,"liu-xi-wo-di-tu-ye-liang-kai-234068","柳溪卧笛图页","梁楷","图片放至最大时，可见一人卧岸吹笛，所绘人物微小，但几笔勾勒出一个人物形状和行为；而作背景的树木、岛屿以水墨状散开，如雾气般升腾。画面极简，但达到了无形即有形的精髓。\n梁楷（活动于十三世纪初期），南宋画家。祖上为东平(今属山东省)人，居钱塘(今浙江杭州)。工画人物、佛道、鬼神，兼善山水、花鸟。曾为画院待诏，并赐佩金带。但其性格豪放不羁，不耐画院规矩，将金带悬壁而去，人称“梁疯子”。画法有“细笔”、“减笔”两种，而概括飘逸的减笔画对后世影响极大。",[178,25,27,179,180,181,7,182,62,183],"宋画","简笔","册页","柳","人物","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067b2dd93936c97f26067414b882c22.jpg","绢本水墨","26.1×26.1cm",[],27,{"id":190,"slug":191,"title":192,"dynasty":96,"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