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形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,60,61,27,62,29,30,32,63,31,35,64,65,66,7,67],"书画","水墨","三远法","流水","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分",[46,48,49],2376,17,{"id":75,"slug":76,"title":77,"dynasty":18,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":88,"material":89,"size":90,"collection":48,"collections":91,"showCount":92,"zanCount":93,"manualWeight":11,"mainColor":94},214316,"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[23,24,82,61,83,27,84,85,29,32,30,31,7,86,87],"长卷","临摹","书法","印章","人物","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","纸本,水墨","30.3x867.2",[48],1944,14,"BDBDBD",{"id":96,"slug":97,"title":98,"dynasty":18,"author":99,"museum":20,"description":100,"tags":101,"thumbUrl":106,"material":107,"size":108,"collection":46,"collections":109,"showCount":110,"zanCount":111,"manualWeight":11,"mainColor":94},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,102,24,60,82,61,27,29,30,32,34,63,103,104,105,35,7,65],"名画","孤舟","飞鸟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[46,48,49],1772,19,{"id":113,"slug":114,"title":115,"dynasty":116,"author":117,"museum":118,"description":119,"tags":120,"thumbUrl":123,"material":124,"size":125,"collection":48,"collections":126,"showCount":127,"zanCount":128,"manualWeight":11,"mainColor":94},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","元","王蒙","上海博物馆","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,60,61,27,26,29,30,31,32,121,7,35,85,84,122],"茅屋","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[48,49],1622,16,{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":144,"material":145,"size":146,"collection":48,"collections":147,"showCount":149,"zanCount":51,"manualWeight":11,"mainColor":52},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","明","仇英","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,60,26,138,139,140,29,86,141,34,32,30,35,87,142,64,7,143],"青绿","设色","工笔","楼阁","植被","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 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近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,60,26,29,61,27,64,31,32,65,35,7,256],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,4,{"id":263,"slug":264,"title":265,"dynasty":133,"author":266,"museum":176,"description":267,"tags":268,"thumbUrl":272,"material":273,"size":274,"collection":48,"collections":275,"showCount":276,"zanCount":277,"manualWeight":11,"mainColor":94},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,60,102,26,139,29,27,269,270,271,228,34,7,65,32,196,35],"仿古","山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纸本，墨笔","纵101.7厘米，横46.7厘米。",[48,148],549,1,{"id":279,"slug":280,"title":281,"dynasty":252,"author":282,"museum":20,"description":283,"tags":284,"thumbUrl":291,"material":69,"size":292,"collection":48,"collections":293,"showCount":294,"zanCount":295,"manualWeight":11,"mainColor":52},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","董源","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,102,60,26,29,139,285,32,30,160,286,86,64,142,7,287,288,289,165,290,27],"披麻皴","村落","民居","自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","纵156厘米，横160厘米",[48,49],422,2,{"id":297,"slug":298,"title":299,"dynasty":133,"author":266,"museum":176,"description":300,"tags":301,"thumbUrl":307,"material":308,"size":309,"collection":48,"collections":310,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":94},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,102,24,60,179,27,139,61,302,29,228,30,160,303,32,196,304,7,305,35,306],"文人画","牛","近树","坡岸","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[48,148],371,{"id":313,"slug":314,"title":315,"dynasty":252,"author":282,"museum":316,"description":317,"tags":318,"thumbUrl":319,"material":44,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山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,24,60,26,61,27,29,270,228,418,32,30,7],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[48],262,{"id":424,"slug":425,"title":426,"dynasty":154,"author":427,"museum":405,"description":428,"tags":429,"thumbUrl":430,"material":431,"size":432,"collection":48,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":94},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[102,24,60,83,139,27,29,31,228,30,7,35,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","纸本设色","226×83.4厘米",[48,49],255,{"id":436,"slug":437,"title":438,"dynasty":116,"author":439,"museum":176,"description":440,"tags":441,"thumbUrl":444,"material":44,"size":445,"collection":48,"collections":446,"showCount":447,"zanCount":295,"manualWeight":11,"mainColor":52},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","黄公望","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[23,27,61,139,29,64,442,443,7,65,240,105],"石壁","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[48,49],237,{"id":449,"slug":450,"title":451,"dynasty":18,"author":225,"museum":20,"description":452,"tags":453,"thumbUrl":456,"material":457,"size":458,"collection":46,"collections":459,"showCount":447,"zanCount":261,"manualWeight":11,"mainColor":52},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,102,82,61,27,84,85,29,34,63,103,454,214,455,121,30,7],"蓑笠","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","绢本,水墨","纵25.2厘米，横144.7厘米",[46],{"id":461,"slug":462,"title":463,"dynasty":116,"author":117,"museum":20,"description":464,"tags":465,"thumbUrl":468,"material":469,"size":470,"collection":48,"collections":471,"showCount":472,"zanCount":295,"manualWeight":11,"mainColor":52},218134,"dong-shan-cao-tang-tu-wang-meng-218134","东山草堂图","此幅系王蒙三十六岁（1343年）作。隔水茅堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。树干钩藤，山间苔点，极细微处，均无轻纵之笔，别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。",[23,24,61,29,27,30,32,466,87,467,7],"草堂","山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8557e18d738285b863560f57991f9e.jpg","纸本,设色","111.4x61cm",[48],234,{"id":474,"slug":475,"title":476,"dynasty":154,"author":477,"museum":405,"description":478,"tags":479,"thumbUrl":481,"material":273,"size":482,"collection":48,"collections":483,"showCount":484,"zanCount":295,"manualWeight":11,"mainColor":94},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","龚贤","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,102,24,60,82,61,27,29,270,358,240,480,31,7,105],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[48,49],229,{"id":486,"slug":487,"title":488,"dynasty":116,"author":117,"museum":20,"description":489,"tags":490,"thumbUrl":491,"material":89,"size":492,"collection":48,"collections":493,"showCount":494,"zanCount":11,"manualWeight":11,"mainColor":52},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[23,24,60,61,27,29,270,271,240,103,105,7,65,455,195,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[48],221,{"id":496,"slug":497,"title":498,"dynasty":18,"author":499,"museum":500,"description":501,"tags":502,"thumbUrl":504,"material":243,"size":184,"collection":48,"collections":505,"showCount":506,"zanCount":277,"manualWeight":11,"mainColor":52},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","刘松年","私人收藏","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[24,102,60,26,140,27,29,86,105,503,63,30,32,7,65],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[48],217,{"id":508,"slug":509,"title":510,"dynasty":133,"author":511,"museum":20,"description":512,"tags":513,"thumbUrl":514,"material":61,"size":515,"collection":48,"collections":516,"showCount":517,"zanCount":277,"manualWeight":11,"mainColor":94},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[24,60,26,61,27,29,228,31,30,86,197,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[48],213,{"id":519,"slug":520,"title":521,"dynasty":154,"author":522,"museum":523,"description":524,"tags":525,"thumbUrl":526,"material":469,"size":527,"collection":48,"collections":528,"showCount":529,"zanCount":295,"manualWeight":11,"mainColor":94},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁","大英博物馆","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,60,29,61,27,83,30,32,7,105,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[48],196,{"id":531,"slug":532,"title":533,"dynasty":18,"author":534,"museum":118,"description":535,"tags":536,"thumbUrl":539,"material":165,"size":540,"collection":46,"collections":541,"showCount":542,"zanCount":11,"manualWeight":11,"mainColor":52},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,24,60,537,61,139,27,29,213,214,538,159,86,212,392,7,270],"册页","马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[46,48,49],193,{"id":544,"slug":545,"title":546,"dynasty":133,"author":266,"museum":20,"description":547,"tags":548,"thumbUrl":549,"material":550,"size":184,"collection":48,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":94},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,60,29,83,27,61,377,30,32,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[48,49],187,{"id":554,"slug":555,"title":556,"dynasty":18,"author":557,"museum":20,"description":558,"tags":559,"thumbUrl":561,"material":89,"size":562,"collection":46,"collections":563,"showCount":564,"zanCount":295,"manualWeight":11,"mainColor":94},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","赵佶","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[23,24,60,26,61,27,29,560,32,7,103,35,85],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[46,48,49],183,{"id":566,"slug":567,"title":568,"dynasty":116,"author":117,"museum":20,"description":569,"tags":570,"thumbUrl":572,"material":469,"size":573,"collection":48,"collections":574,"showCount":575,"zanCount":277,"manualWeight":11,"mainColor":94},220808,"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[23,24,60,26,139,29,27,30,63,32,141,306,7,571],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40016c952c57aef101aaa6107539940.jpg","该幅68.7x42.5公分，诗塘25.2x42.2公分，全幅74.3公分",[48,148],180,{"id":577,"slug":578,"title":579,"dynasty":133,"author":580,"museum":20,"description":581,"tags":582,"thumbUrl":583,"material":89,"size":584,"collection":48,"collections":585,"showCount":586,"zanCount":261,"manualWeight":11,"mainColor":52},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","王绂","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,60,26,61,27,29,32,31,7,121,228,196,35,30,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[48],175,{"id":588,"slug":589,"title":590,"dynasty":116,"author":439,"museum":591,"description":592,"tags":593,"thumbUrl":600,"material":469,"size":601,"collection":48,"collections":602,"showCount":603,"zanCount":277,"manualWeight":11,"mainColor":52},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,102,60,61,27,29,30,103,32,141,594,595,596,597,7,598,196,599],"枯树","雪景","崖壁","屋舍","寒林","层岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[48],171,{"id":605,"slug":606,"title":607,"dynasty":154,"author":608,"museum":500,"description":609,"tags":610,"thumbUrl":618,"material":165,"size":619,"collection":167,"collections":620,"showCount":621,"zanCount":11,"manualWeight":11,"mainColor":52},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","沈铨","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,102,24,60,82,140,139,104,389,32,30,611,612,613,614,241,228,161,7,65,615,616,617],"荷花","仙鹤","禽鸟","花卉","孔雀","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[167,148],166,{"id":623,"slug":624,"title":625,"dynasty":116,"author":117,"museum":20,"description":626,"tags":627,"thumbUrl":628,"material":89,"size":629,"collection":49,"collections":630,"showCount":631,"zanCount":11,"manualWeight":11,"mainColor":94},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,60,61,139,27,29,64,32,30,195,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[49],164,{"id":633,"slug":634,"title":635,"dynasty":18,"author":636,"museum":328,"description":637,"tags":638,"thumbUrl":639,"material":243,"size":640,"collection":641,"collections":642,"showCount":643,"zanCount":11,"manualWeight":11,"mainColor":52},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,102,60,26,61,27,29,86,228,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm","人物画精选",[641,46],159,{"id":645,"slug":646,"title":647,"dynasty":18,"author":225,"museum":405,"description":648,"tags":649,"thumbUrl":650,"material":184,"size":184,"collection":184,"collections":651,"showCount":652,"zanCount":277,"manualWeight":11,"mainColor":94},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n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。\n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。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,102,82,60,139,27,86,29,228,30,32,7,85,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":654,"slug":655,"title":656,"dynasty":154,"author":657,"museum":500,"description":658,"tags":659,"thumbUrl":660,"material":469,"size":184,"collection":48,"collections":661,"showCount":652,"zanCount":277,"manualWeight":11,"mainColor":94},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,61,269,27,377,29,32,30,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[48],{"id":663,"slug":664,"title":665,"dynasty":18,"author":666,"museum":20,"description":667,"tags":668,"thumbUrl":669,"material":457,"size":670,"collection":46,"collections":671,"showCount":672,"zanCount":295,"manualWeight":11,"mainColor":94},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","佚名","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[23,24,61,27,29,270,480,32,104,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[46,48],155,{"id":674,"slug":675,"title":656,"dynasty":154,"author":676,"museum":500,"description":677,"tags":678,"thumbUrl":679,"material":469,"size":184,"collection":48,"collections":680,"showCount":672,"zanCount":11,"manualWeight":11,"mainColor":52},214603,"fang-gu-shan-shui-ce-wang-hui-214603","王翚","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,61,27,269,29,270,271,240,594,7,31,65,141,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[48],{"id":682,"slug":683,"title":684,"dynasty":18,"author":636,"museum":328,"description":685,"tags":686,"thumbUrl":687,"material":89,"size":688,"collection":48,"collections":689,"showCount":690,"zanCount":277,"manualWeight":11,"mainColor":52},218609,"shan-ju-xiao-si-tu-li-cheng-218609","山居萧寺图","积雪覆峦，寒林瘦劲，蟹爪枝如墨线垂曳，勾连起冬日山野的清寂。山间茅舍隐现，古寺檐角微露，溪流凝冰，石径蜿蜒，似藏着隐士的幽居岁月。笔墨苍劲中透着秀逸，卷云皴晕染出山峦肌理，留白处漾着雪意空濛。整体意境悠远淡远，尽显北宋山水的空灵与哲思，仿佛能听见林梢风过，窥见文人胸次里的丘壑万千。",[24,26,29,61,27,30,32,87,195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ad420f8495b67d554fa9e28bec96d.jpg","127.3x63.7cm",[48],150,{"id":692,"slug":693,"title":694,"dynasty":133,"author":327,"museum":20,"description":695,"tags":696,"thumbUrl":697,"material":698,"size":699,"collection":48,"collections":700,"showCount":701,"zanCount":295,"manualWeight":11,"mainColor":52},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,60,179,61,27,270,480,240,63,30,105,213,214,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[48,49],147,{"id":703,"slug":704,"title":705,"dynasty":154,"author":676,"museum":405,"description":706,"tags":707,"thumbUrl":708,"material":184,"size":184,"collection":184,"collections":709,"showCount":710,"zanCount":277,"manualWeight":11,"mainColor":94},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,82,61,29,27,30,32,35,31,7,64,86,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],146,{"id":712,"slug":713,"title":714,"dynasty":133,"author":266,"museum":20,"description":715,"tags":716,"thumbUrl":718,"material":89,"size":184,"collection":48,"collections":719,"showCount":720,"zanCount":277,"manualWeight":11,"mainColor":94},214616,"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[24,60,61,27,83,377,29,270,32,7,717],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[48],145,{"id":722,"slug":723,"title":724,"dynasty":18,"author":636,"museum":725,"description":726,"tags":727,"thumbUrl":731,"material":732,"size":733,"collection":46,"collections":734,"showCount":735,"zanCount":11,"manualWeight":11,"mainColor":52},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","辽宁省博物馆","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,102,60,82,29,27,139,728,196,32,30,35,729,44,730,40,7,256],"茂林","淡墨","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米",[46,48,49],144,{"id":737,"slug":738,"title":739,"dynasty":18,"author":99,"museum":500,"description":740,"tags":741,"thumbUrl":744,"material":243,"size":745,"collection":48,"collections":746,"showCount":747,"zanCount":261,"manualWeight":11,"mainColor":52},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,102,60,29,61,27,105,31,35,30,32,196,7,197,742,743],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[48],143,{"id":749,"slug":750,"title":751,"dynasty":252,"author":752,"museum":753,"description":754,"tags":755,"thumbUrl":758,"material":184,"size":184,"collection":184,"collections":759,"showCount":760,"zanCount":295,"manualWeight":11,"mainColor":52},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","巨然","美国克利夫兰艺术博物馆","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[23,24,102,26,61,27,29,270,240,30,7,756,757],"寺庙","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],140,{"id":762,"slug":763,"title":764,"dynasty":154,"author":477,"museum":316,"description":765,"tags":766,"thumbUrl":768,"material":89,"size":184,"collection":48,"collections":769,"showCount":770,"zanCount":277,"manualWeight":11,"mainColor":52},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[24,26,61,27,29,767,121,228,30,7,84,85],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[48],134,{"id":772,"slug":773,"title":774,"dynasty":252,"author":752,"museum":20,"description":775,"tags":776,"thumbUrl":779,"material":457,"size":780,"collection":48,"collections":781,"showCount":782,"zanCount":295,"manualWeight":11,"mainColor":52},220142,"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，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。",[23,24,60,26,61,27,29,32,30,198,105,7,392,777,778,597],"草木","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[48],132,{"id":784,"slug":785,"title":786,"dynasty":252,"author":253,"museum":20,"description":787,"tags":788,"thumbUrl":789,"material":44,"size":184,"collection":184,"collections":790,"showCount":791,"zanCount":277,"manualWeight":11,"mainColor":52},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[102,24,60,26,61,27,29,64,31,32,7,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],131,{"id":793,"slug":794,"title":795,"dynasty":18,"author":209,"museum":20,"description":796,"tags":797,"thumbUrl":802,"material":165,"size":803,"collection":46,"collections":804,"showCount":805,"zanCount":277,"manualWeight":11,"mainColor":94},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[23,102,24,179,61,139,354,798,27,29,86,241,104,198,366,32,7,196,799,800,801],"兼工带写","童子","文人","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[46,48,641,49],129,{"id":807,"slug":808,"title":809,"dynasty":116,"author":439,"museum":523,"description":810,"tags":811,"thumbUrl":813,"material":457,"size":184,"collection":48,"collections":814,"showCount":815,"zanCount":11,"manualWeight":11,"mainColor":52},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,24,60,26,61,27,29,64,32,812,7,85],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[48],125,{"id":817,"slug":818,"title":819,"dynasty":154,"author":522,"museum":820,"description":821,"tags":822,"thumbUrl":824,"material":89,"size":825,"collection":48,"collections":826,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":94},217884,"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","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。",[24,60,29,61,27,32,195,63,65,7,30,443,597,823],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[48],120,{"id":829,"slug":830,"title":831,"dynasty":18,"author":57,"museum":328,"description":832,"tags":833,"thumbUrl":836,"material":89,"size":184,"collection":48,"collections":837,"showCount":838,"zanCount":277,"manualWeight":11,"mainColor":52},219946,"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[24,29,26,44,61,27,834,64,65,32,7,835],"浅绛","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg",[48],117,{"id":840,"slug":841,"title":842,"dynasty":133,"author":327,"museum":176,"description":843,"tags":844,"thumbUrl":848,"material":849,"size":850,"collection":184,"collections":851,"showCount":852,"zanCount":277,"manualWeight":11,"mainColor":94},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,60,102,26,61,139,27,29,845,846,30,32,86,7,847],"桐树","鹤","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 ，设色","纵123.8cm，横62.6cm",[],116,{"id":854,"slug":855,"title":856,"dynasty":116,"author":439,"museum":405,"description":857,"tags":858,"thumbUrl":859,"material":184,"size":184,"collection":184,"collections":860,"showCount":861,"zanCount":277,"manualWeight":11,"mainColor":52},230907,"shan-shui-tu-ye-huang-gong-wang-230907","山水图页","危崖高峙于右侧，山石以干笔皴擦，淡赭敷色，苍劲朴拙尽显。林麓间村居错落，古木虬枝扶苏，溪岸萦回转绕，远山晕染出空濛清气。\n\n全作用笔松灵秀逸，以简驭繁，淡设色晕染间将秋山萧疏淡远融于尺幅，既有山川厚重质感，又暗含文人幽寂散淡的隐逸意趣。于淡远中见雄浑，细微处藏丘壑，尽显林泉高致的悠然澹泊。",[24,60,377,61,27,29,270,32,195,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c55781314ada71bf26fe09b31ae6de.jpg",[],115,{"id":863,"slug":864,"title":865,"dynasty":154,"author":657,"museum":176,"description":866,"tags":867,"thumbUrl":869,"material":243,"size":870,"collection":48,"collections":871,"showCount":872,"zanCount":277,"manualWeight":11,"mainColor":94},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,24,60,82,138,139,29,27,64,32,7,868,35,256],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[48],109,{"id":874,"slug":875,"title":876,"dynasty":18,"author":19,"museum":20,"description":877,"tags":878,"thumbUrl":881,"material":44,"size":882,"collection":46,"collections":883,"showCount":884,"zanCount":11,"manualWeight":11,"mainColor":52},221393,"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[23,102,24,60,26,27,61,29,879,880,65,7,32,181],"秋林","飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[46,48,49],103,{"id":886,"slug":887,"title":888,"dynasty":889,"author":890,"museum":891,"description":892,"tags":893,"thumbUrl":894,"material":184,"size":184,"collection":184,"collections":895,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":94},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","民国","齐白石","Kyoto National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[24,61,26,27,29,30,32,35,195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],102,{"id":898,"slug":899,"title":900,"dynasty":133,"author":266,"museum":176,"description":901,"tags":902,"thumbUrl":903,"material":216,"size":904,"collection":48,"collections":905,"showCount":906,"zanCount":277,"manualWeight":11,"mainColor":94},220942,"shan-shui-zhou-dong-qi-chang-220942","山水轴","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,61,27,26,29,105,594,31,30,7,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[48,49],98,{"id":908,"slug":909,"title":463,"dynasty":116,"author":117,"museum":20,"description":910,"tags":911,"thumbUrl":912,"material":469,"size":913,"collection":48,"collections":914,"showCount":915,"zanCount":277,"manualWeight":11,"mainColor":94},220806,"dong-shan-cao-tang-tu-wang-meng-220806","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,61,139,27,29,32,228,30,87,7,64,195,596,443,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[48,49],94,{"id":917,"slug":918,"title":919,"dynasty":116,"author":117,"museum":20,"description":920,"tags":921,"thumbUrl":923,"material":469,"size":924,"collection":48,"collections":925,"showCount":926,"zanCount":277,"manualWeight":11,"mainColor":52},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,102,24,179,922,139,27,29,65,32,306,195,141,7],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 x 42.5cm",[48,148],90,{"id":928,"slug":929,"title":930,"dynasty":18,"author":404,"museum":931,"description":932,"tags":933,"thumbUrl":934,"material":44,"size":935,"collection":184,"collections":936,"showCount":937,"zanCount":11,"manualWeight":11,"mainColor":52},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","美国弗瑞尔美术馆","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,102,82,61,27,122,85,29,32,30,7,35,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],88,{"id":939,"slug":940,"title":941,"dynasty":252,"author":752,"museum":942,"description":943,"tags":944,"thumbUrl":945,"material":457,"size":946,"collection":48,"collections":947,"showCount":937,"zanCount":277,"manualWeight":11,"mainColor":52},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图","费城艺术博物馆","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，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。",[23,102,24,60,82,61,29,35,7,32,64,103,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[48],{"id":949,"slug":950,"title":951,"dynasty":116,"author":952,"museum":500,"description":953,"tags":954,"thumbUrl":958,"material":243,"size":959,"collection":48,"collections":960,"showCount":961,"zanCount":11,"manualWeight":11,"mainColor":52},217866,"chun-shan-you-qi-tu-sheng-mao-217866","春山游骑图","盛懋","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,29,139,27,86,159,34,141,105,32,30,955,196,304,87,956,957,7],"路径","游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[48],86,{"id":963,"slug":964,"title":965,"dynasty":116,"author":966,"museum":20,"description":967,"tags":968,"thumbUrl":970,"material":971,"size":972,"collection":48,"collections":973,"showCount":974,"zanCount":277,"manualWeight":11,"mainColor":52},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","高克恭","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,24,179,26,61,139,27,480,270,969,32,7,30,35,40],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[48,49],85,{"id":976,"slug":977,"title":978,"dynasty":154,"author":175,"museum":820,"description":979,"tags":980,"thumbUrl":981,"material":89,"size":982,"collection":48,"collections":983,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":94},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[24,60,26,61,27,29,270,31,7,32,597,65,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[48],81,{"id":986,"slug":987,"title":988,"dynasty":133,"author":666,"museum":931,"description":989,"tags":990,"thumbUrl":999,"material":431,"size":1000,"collection":184,"collections":1001,"showCount":1002,"zanCount":277,"manualWeight":11,"mainColor":52},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,82,139,140,27,29,991,992,159,993,994,995,996,997,32,65,7,331,998],"兽","虎","象","鹿","山羊","狮子","猴","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],80,{"id":1004,"slug":1005,"title":1006,"dynasty":116,"author":439,"museum":20,"description":1007,"tags":1008,"thumbUrl":1009,"material":44,"size":1010,"collection":48,"collections":1011,"showCount":1002,"zanCount":277,"manualWeight":11,"mainColor":52},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[24,60,26,61,27,29,30,32,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[48],{"id":1013,"slug":1014,"title":1015,"dynasty":18,"author":1016,"museum":405,"description":1017,"tags":1018,"thumbUrl":1027,"material":165,"size":1028,"collection":46,"collections":1029,"showCount":1030,"zanCount":277,"manualWeight":11,"mainColor":52},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","赵昌","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,24,102,82,140,139,389,1019,503,1020,1021,7,1022,1023,163,1024,1025,1026],"鹌鹑","荷","鸟","花草","藤蔓","浆果","野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[46,167,148],79,{"id":1032,"slug":1033,"title":521,"dynasty":154,"author":522,"museum":1034,"description":1035,"tags":1036,"thumbUrl":1039,"material":469,"size":1040,"collection":48,"collections":1041,"showCount":1030,"zanCount":11,"manualWeight":11,"mainColor":52},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","香港艺术馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,60,26,61,27,29,270,240,355,34,63,195,35,30,1037,286,7,599,66,1038,729],"古木","干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[48],{"id":1043,"slug":1044,"title":900,"dynasty":154,"author":522,"museum":405,"description":1045,"tags":1046,"thumbUrl":1047,"material":273,"size":1048,"collection":48,"collections":1049,"showCount":1050,"zanCount":11,"manualWeight":11,"mainColor":94},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,24,61,26,29,27,30,32,7,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[48],78,{"id":1052,"slug":1053,"title":1054,"dynasty":133,"author":266,"museum":20,"description":1055,"tags":1056,"thumbUrl":1057,"material":89,"size":184,"collection":48,"collections":1058,"showCount":1059,"zanCount":11,"manualWeight":11,"mainColor":94},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,60,377,61,139,29,560,32,35,30,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[48],77,{"id":1061,"slug":1062,"title":1063,"dynasty":889,"author":1064,"museum":1065,"description":1066,"tags":1067,"thumbUrl":1068,"material":431,"size":184,"collection":184,"collections":1069,"showCount":1070,"zanCount":11,"manualWeight":11,"mainColor":94},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","中国现当代美术文献研究中心","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,24,139,27,182,29,31,7,195,306,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],76,{"id":1072,"slug":1073,"title":1074,"dynasty":1075,"author":1076,"museum":753,"description":1077,"tags":1078,"thumbUrl":1080,"material":243,"size":1081,"collection":48,"collections":1082,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":52},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","雪景山水图","不详","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,26,61,27,29,1079,270,271,32,195,103,717,7,34],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[48],75,{"id":1085,"slug":1086,"title":1087,"dynasty":133,"author":666,"museum":523,"description":1088,"tags":1089,"thumbUrl":1094,"material":243,"size":184,"collection":167,"collections":1095,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":52},219015,"ping-an-tu-yi-ming-219015","平安图","坡岸之上，竹丛疏密有致，枝叶间光影流转。数只禽鸟散落其间，或低头啄食草籽，或侧身梳理羽翎，姿态各异却皆显安然。白菊清雅，红果艳艳，点缀在苍褐的底色上，如散落在时光里的星子。溪流蜿蜒而过，山石静默伫立，整个画面似被一层温润的古意包裹。每一处细节都藏着对自然生机的细腻捕捉，笔墨间流淌着恬淡的野趣，更将“平安”的美好期许悄然融入这一方天地，让观者于静谧中感受那份岁月沉淀的祥和与安然。",[24,82,140,139,389,1019,503,1090,1091,306,30,7,1092,1093],"菊","白花","小鸟","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8578e8b33b1c86d88f4b80524cd58b57.jpg",[167],{"id":1097,"slug":1098,"title":1099,"dynasty":133,"author":266,"museum":725,"description":1100,"tags":1101,"thumbUrl":1102,"material":1103,"size":1104,"collection":48,"collections":1105,"showCount":1106,"zanCount":11,"manualWeight":11,"mainColor":94},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[23,24,60,82,61,122,27,270,480,32,195,286,7,196,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[48,49],74,{"id":1108,"slug":1109,"title":1110,"dynasty":154,"author":1111,"museum":176,"description":1112,"tags":1113,"thumbUrl":1117,"material":469,"size":1118,"collection":48,"collections":1119,"showCount":1120,"zanCount":277,"manualWeight":11,"mainColor":94},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,60,82,139,140,27,84,122,85,29,1114,64,160,868,32,34,63,1115,35,121,1116,7],"桃花","人家","梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[48],73,{"id":1122,"slug":1123,"title":1124,"dynasty":154,"author":1125,"museum":176,"description":1126,"tags":1127,"thumbUrl":1128,"material":216,"size":1129,"collection":167,"collections":1130,"showCount":1131,"zanCount":295,"manualWeight":11,"mainColor":94},236353,"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[154,61,29,26,27,355,503,30,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[167,148],72,{"id":1133,"slug":1134,"title":1135,"dynasty":252,"author":752,"museum":405,"description":1136,"tags":1137,"thumbUrl":1138,"material":184,"size":184,"collection":184,"collections":1139,"showCount":1131,"zanCount":11,"manualWeight":11,"mainColor":52},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 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。",[23,102,24,60,26,61,139,27,285,29,270,271,35,65,228,32,7,597,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":1141,"slug":1142,"title":1143,"dynasty":154,"author":657,"museum":118,"description":1144,"tags":1145,"thumbUrl":1146,"material":243,"size":184,"collection":48,"collections":1147,"showCount":1131,"zanCount":277,"manualWeight":11,"mainColor":94},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,60,26,139,27,84,85,29,270,271,32,65,7,198,835,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[48],{"id":1149,"slug":1150,"title":1151,"dynasty":154,"author":522,"museum":725,"description":1152,"tags":1153,"thumbUrl":1155,"material":431,"size":1156,"collection":48,"collections":1157,"showCount":1158,"zanCount":277,"manualWeight":11,"mainColor":94},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[23,24,179,139,27,270,271,32,228,65,87,7,196,1154],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纵100cm，横44.7cm",[48],68,{"id":1160,"slug":1161,"title":1162,"dynasty":154,"author":676,"museum":176,"description":1163,"tags":1164,"thumbUrl":1165,"material":89,"size":1166,"collection":49,"collections":1167,"showCount":1158,"zanCount":277,"manualWeight":11,"mainColor":94},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[23,24,60,26,29,139,27,64,32,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[49,48],{"id":1169,"slug":1170,"title":1171,"dynasty":116,"author":666,"museum":20,"description":1172,"tags":1173,"thumbUrl":1174,"material":1175,"size":184,"collection":48,"collections":1176,"showCount":1158,"zanCount":11,"manualWeight":11,"mainColor":1177},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,24,179,83,27,139,595,30,594,63,195,196,304,228,7,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg","设色,绢本",[48],"37474F",{"id":1179,"slug":1180,"title":1181,"dynasty":252,"author":752,"museum":20,"description":1182,"tags":1183,"thumbUrl":1184,"material":69,"size":1185,"collection":48,"collections":1186,"showCount":1187,"zanCount":11,"manualWeight":11,"mainColor":52},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[24,179,26,61,139,27,835,30,32,7,256,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","156.2x77.2公分、全幅 78.3公分",[48],67,{"id":1189,"slug":1190,"title":1191,"dynasty":133,"author":1192,"museum":20,"description":1193,"tags":1194,"thumbUrl":1196,"material":457,"size":1197,"collection":48,"collections":1198,"showCount":1187,"zanCount":11,"manualWeight":11,"mainColor":52},219837,"shan-shui-tu-dai-jin-219837","山水图","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。",[24,60,102,27,61,139,29,34,63,103,105,32,31,86,30,26,7,64,197,1195,597],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[48],{"id":1200,"slug":1201,"title":1202,"dynasty":154,"author":1203,"museum":20,"description":1204,"tags":1205,"thumbUrl":1207,"material":107,"size":1208,"collection":48,"collections":1209,"showCount":1210,"zanCount":295,"manualWeight":11,"mainColor":52},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","吴历","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,24,82,138,139,29,270,480,240,104,87,198,31,30,1206,195,142,38,7],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[48],66,{"id":1212,"slug":1213,"title":1214,"dynasty":154,"author":676,"museum":405,"description":1215,"tags":1216,"thumbUrl":1218,"material":184,"size":184,"collection":48,"collections":1219,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":94},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,60,102,61,269,27,29,64,7,103,32,34,1217,65,35,777,256],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[48,49],65,{"id":1222,"slug":1223,"title":1224,"dynasty":116,"author":117,"museum":176,"description":1225,"tags":1226,"thumbUrl":1227,"material":243,"size":1228,"collection":48,"collections":1229,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":52},218423,"guan-shan-xiao-si-tu-wang-meng-218423","关山箫寺图","本幅设色，钤乾隆玉玺“大源藻”、“颛蓭”、“南韵斋印”、“荣王之印”，不见著录。",[23,24,60,26,139,29,141,32,31,104,30,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153baf897e72c84a87e44ac2e43245d8.jpg","纵161.7cm，横56cm",[48],{"id":1231,"slug":1232,"title":1233,"dynasty":116,"author":1234,"museum":135,"description":1235,"tags":1236,"thumbUrl":1237,"material":89,"size":1238,"collection":48,"collections":1239,"showCount":1220,"zanCount":277,"manualWeight":11,"mainColor":52},218328,"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[23,24,179,61,27,26,84,85,29,30,32,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[48],{"id":1241,"slug":1242,"title":1243,"dynasty":133,"author":1244,"museum":20,"description":1245,"tags":1246,"thumbUrl":1248,"material":139,"size":1249,"collection":48,"collections":1250,"showCount":1251,"zanCount":11,"manualWeight":11,"mainColor":94},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,60,82,139,27,29,34,141,32,30,196,1247,87,142,64,7],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[48,49],64,{"id":1253,"slug":1254,"title":1255,"dynasty":154,"author":676,"museum":20,"description":1256,"tags":1257,"thumbUrl":1258,"material":469,"size":1259,"collection":48,"collections":1260,"showCount":1251,"zanCount":11,"manualWeight":11,"mainColor":94},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,60,139,138,140,27,83,29,880,228,30,197,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3734e913cfe0bffb73c6f8b6b761edf6.jpg","89.5x37.7",[48,148],{"id":1262,"slug":1263,"title":1264,"dynasty":116,"author":1265,"museum":20,"description":1266,"tags":1267,"thumbUrl":1272,"material":124,"size":1273,"collection":184,"collections":1274,"showCount":1275,"zanCount":277,"manualWeight":11,"mainColor":94},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","倪瓒","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[24,61,29,27,122,85,270,240,331,195,392,1268,1269,1270,729,1271,466,7,65],"平远构图","题款","枯笔","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],63,{"id":1277,"slug":1278,"title":900,"dynasty":154,"author":175,"museum":176,"description":1279,"tags":1280,"thumbUrl":1282,"material":273,"size":1283,"collection":48,"collections":1284,"showCount":1285,"zanCount":11,"manualWeight":11,"mainColor":94},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。",[102,24,60,26,61,29,67,443,7,34,597,285,1281],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[48,49],62,{"id":1287,"slug":1288,"title":1289,"dynasty":133,"author":327,"museum":176,"description":1290,"tags":1291,"thumbUrl":1293,"material":202,"size":184,"collection":184,"collections":1294,"showCount":1285,"zanCount":11,"manualWeight":11,"mainColor":94},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,60,82,61,139,27,84,122,1292,29,30,32,7,105],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":1296,"slug":1297,"title":1298,"dynasty":133,"author":1299,"museum":20,"description":1300,"tags":1301,"thumbUrl":1304,"material":243,"size":1305,"collection":148,"collections":1306,"showCount":1285,"zanCount":11,"manualWeight":11,"mainColor":52},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[102,24,60,26,139,140,27,29,141,105,34,63,30,32,1302,1303,7,197],"台榭","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[148],{"id":1308,"slug":1309,"title":1310,"dynasty":154,"author":1203,"museum":176,"description":1311,"tags":1312,"thumbUrl":1313,"material":89,"size":1314,"collection":48,"collections":1315,"showCount":1285,"zanCount":11,"manualWeight":11,"mainColor":94},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,24,60,26,61,27,83,29,34,63,32,64,121,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[48],{"id":1317,"slug":1318,"title":1319,"dynasty":18,"author":666,"museum":20,"description":1320,"tags":1321,"thumbUrl":1323,"material":139,"size":1324,"collection":46,"collections":1325,"showCount":1326,"zanCount":11,"manualWeight":11,"mainColor":52},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。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。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。",[23,24,102,26,29,27,61,270,1079,32,7,1322,103,812],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[46,48,49],60,{"id":1328,"slug":1329,"title":1330,"dynasty":154,"author":1331,"museum":1332,"description":1333,"tags":1334,"thumbUrl":1340,"material":44,"size":1341,"collection":184,"collections":1342,"showCount":1343,"zanCount":11,"manualWeight":11,"mainColor":94},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[24,60,139,140,1335,86,141,34,63,105,1114,30,1336,1303,32,1337,1338,1339,7],"界画","栏杆","回廊","假山","圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg","纵43.3厘米、横76.5厘米",[],59,{"id":1345,"slug":1346,"title":1347,"dynasty":116,"author":1348,"museum":176,"description":1349,"tags":1350,"thumbUrl":1351,"material":89,"size":1352,"collection":48,"collections":1353,"showCount":1343,"zanCount":295,"manualWeight":11,"mainColor":94},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","吴瑾","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[24,60,179,61,27,182,85,84,32,30,63,305,7,594,355,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[48],{"id":1355,"slug":1356,"title":1357,"dynasty":133,"author":1358,"museum":405,"description":1359,"tags":1360,"thumbUrl":1361,"material":184,"size":184,"collection":48,"collections":1362,"showCount":1363,"zanCount":11,"manualWeight":11,"mainColor":52},239193,"shan-chuan-ming-sheng-ce-song-xu-239193","山川名胜册","宋旭","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,139,29,27,377,270,271,240,198,86,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518b2ae9119abeee9db28c3ed23d5e41.jpg",[48,148],58,{"id":1365,"slug":1366,"title":1367,"dynasty":154,"author":1368,"museum":405,"description":1369,"tags":1370,"thumbUrl":1371,"material":184,"size":184,"collection":48,"collections":1372,"showCount":1363,"zanCount":11,"manualWeight":11,"mainColor":94},237873,"shan-shui-tu-zhou-kun-can-237873","山水图轴","髡残","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,61,27,26,60,122,85,29,64,32,31,256,7,65,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[48,1373],"书法精选",{"id":1375,"slug":1376,"title":1377,"dynasty":154,"author":1378,"museum":176,"description":1379,"tags":1380,"thumbUrl":1381,"material":1382,"size":1383,"collection":48,"collections":1384,"showCount":1363,"zanCount":11,"manualWeight":11,"mainColor":52},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","任熊","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,60,377,139,138,29,27,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[48],{"id":1386,"slug":1387,"title":1388,"dynasty":133,"author":1389,"museum":79,"description":1390,"tags":1391,"thumbUrl":1392,"material":89,"size":184,"collection":48,"collections":1393,"showCount":1363,"zanCount":11,"manualWeight":11,"mainColor":94},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[23,24,61,82,27,29,480,270,271,32,103,105,104,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[48,49],{"id":1395,"slug":1396,"title":1110,"dynasty":154,"author":1397,"museum":405,"description":1398,"tags":1399,"thumbUrl":1402,"material":184,"size":184,"collection":184,"collections":1403,"showCount":1404,"zanCount":277,"manualWeight":11,"mainColor":94},228983,"tao-yuan-tu-shi-tao-228983","石涛","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,60,82,139,29,61,27,64,35,286,195,32,104,63,198,1115,1114,1400,7,196,1401,86],"渔父","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],57,{"id":1406,"slug":1407,"title":1099,"dynasty":133,"author":266,"museum":725,"description":1100,"tags":1408,"thumbUrl":1410,"material":1411,"size":1412,"collection":48,"collections":1413,"showCount":1404,"zanCount":11,"manualWeight":11,"mainColor":94},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[23,24,60,82,61,27,122,84,85,29,480,32,195,196,1409,7],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","纸本水墨","卷纵29.3厘米横340.8厘米",[48,49],{"id":1415,"slug":1416,"title":1417,"dynasty":18,"author":1418,"museum":79,"description":1419,"tags":1420,"thumbUrl":1422,"material":457,"size":1423,"collection":46,"collections":1424,"showCount":1404,"zanCount":277,"manualWeight":11,"mainColor":52},219168,"ju-yuan-tu-yi-yuan-ji-219168","聚猿图","易元吉","此卷绘秋冬之季群猿攀援、饮涧、嬉戏之情形。所绘大小、老幼、黑白群猿三十余只，亦是一数量不菲的群猿聚居图。岩壑间群猿或坐或走、或仰或卧，或倒挂或直立，作者将群猿日常习居的情形淋漓尽致地表现出来。该图笔力富有弹性，突出其运动感。",[23,1421,24,60,82,61,29,991,997,27,140,32,65,7,343,1023],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b78cc151c53a8bbbe047d09cfe527b.jpg","纵41.3厘米，横146厘米",[46,49],{"id":1426,"slug":1427,"title":1428,"dynasty":116,"author":1429,"museum":316,"description":1430,"tags":1431,"thumbUrl":1433,"material":165,"size":1434,"collection":48,"collections":1435,"showCount":1436,"zanCount":277,"manualWeight":11,"mainColor":52},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","赵孟頫","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,102,24,60,82,922,139,140,86,159,63,32,161,30,1432,7],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[48],55,{"id":1438,"slug":1439,"title":521,"dynasty":154,"author":175,"museum":20,"description":1440,"tags":1441,"thumbUrl":1442,"material":89,"size":184,"collection":48,"collections":1443,"showCount":1436,"zanCount":277,"manualWeight":11,"mainColor":94},219375,"fang-huang-gong-wang-shan-shui-tu-wang-shi-min-219375","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，是清初画坛“四王”之首，年少时就开始从摹古入手，尤其对董其昌推崇备至的“吾家北苑”与黄公望山水，一直心摹手追。",[24,139,27,29,32,30,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ea8c386ca0491e6a6611eba2c86d73.jpg",[48],{"id":1445,"slug":1446,"title":1447,"dynasty":18,"author":19,"museum":316,"description":1448,"tags":1449,"thumbUrl":1450,"material":165,"size":1451,"collection":46,"collections":1452,"showCount":1453,"zanCount":11,"manualWeight":11,"mainColor":52},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,60,82,29,27,139,30,32,35,256,835,7,955,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg","40x603.3cm",[46,48,49],54,{"id":1455,"slug":1456,"title":1457,"dynasty":116,"author":1458,"museum":20,"description":1459,"tags":1460,"thumbUrl":1462,"material":243,"size":1463,"collection":48,"collections":1464,"showCount":1453,"zanCount":277,"manualWeight":11,"mainColor":52},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[23,24,60,26,61,27,29,228,1461,30,105,32,7,85],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[48],{"id":1466,"slug":1467,"title":1468,"dynasty":252,"author":752,"museum":20,"description":1469,"tags":1470,"thumbUrl":1471,"material":457,"size":1472,"collection":48,"collections":1473,"showCount":1474,"zanCount":277,"manualWeight":11,"mainColor":52},226699,"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[24,60,26,61,27,29,32,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[48],53,{"id":1476,"slug":1477,"title":1478,"dynasty":116,"author":1479,"museum":118,"description":1480,"tags":1481,"thumbUrl":1486,"material":89,"size":1487,"collection":49,"collections":1488,"showCount":1474,"zanCount":277,"manualWeight":11,"mainColor":52},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","方从义","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,61,27,29,1482,560,32,34,160,35,1483,1484,7,64,1485],"白云","山间","树木丛","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[49],{"id":1490,"slug":1491,"title":1492,"dynasty":133,"author":1493,"museum":523,"description":1494,"tags":1495,"thumbUrl":1496,"material":243,"size":1497,"collection":48,"collections":1498,"showCount":1474,"zanCount":11,"manualWeight":11,"mainColor":52},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，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",[23,24,60,29,139,27,1079,7,103,846,32,30,121,595,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[48],{"id":1500,"slug":1501,"title":1502,"dynasty":18,"author":1503,"museum":20,"description":1504,"tags":1505,"thumbUrl":1508,"material":243,"size":1509,"collection":48,"collections":1510,"showCount":1474,"zanCount":11,"manualWeight":11,"mainColor":94},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","燕文贵","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,102,24,60,1506,61,139,27,29,63,103,1507,32,595,7,598,30],"扇面","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[48,46],{"id":1512,"slug":1513,"title":1514,"dynasty":154,"author":1397,"museum":176,"description":1515,"tags":1516,"thumbUrl":1517,"material":202,"size":184,"collection":184,"collections":1518,"showCount":1519,"zanCount":277,"manualWeight":11,"mainColor":94},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,82,61,27,122,342,29,86,103,30,32,241,228,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],52,{"id":1521,"slug":1522,"title":1523,"dynasty":18,"author":666,"museum":20,"description":1524,"tags":1525,"thumbUrl":1533,"material":243,"size":1534,"collection":46,"collections":1535,"showCount":1519,"zanCount":11,"manualWeight":11,"mainColor":52},219014,"mu-niu-tu-yi-ming-219014","牧牛图","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,60,61,139,140,82,303,991,1526,32,161,30,34,7,29,729,27,1527,1528,1268,777,305,198,1529,1530,1531,1532],"牧童","田园","野趣","幼兽","动态","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[46],{"id":1537,"slug":1538,"title":1539,"dynasty":116,"author":1540,"museum":20,"description":1541,"tags":1542,"thumbUrl":1543,"material":469,"size":1544,"collection":48,"collections":1545,"showCount":1519,"zanCount":277,"manualWeight":11,"mainColor":94},214721,"xi-shan-yan-ai-tu-cui-yan-fu-214721","溪山烟霭图","崔彦辅","这幅画描绘了一座山和一条山脉，烟雾和雾气围绕着溪流。崔彦辅传世画迹罕见，此幅或学荆关，颇有新意。",[24,60,29,61,27,84,85,122,30,32,7,1485,392,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68b55b40754b6527e503dbf1a05080.jpg","71x39.2",[48],{"id":1547,"slug":1548,"title":1549,"dynasty":133,"author":1550,"museum":20,"description":1551,"tags":1552,"thumbUrl":1553,"material":469,"size":1554,"collection":48,"collections":1555,"showCount":1556,"zanCount":11,"manualWeight":11,"mainColor":94},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[24,60,26,61,139,29,30,594,86,195,36,65,7,27,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[48,148],51,{"id":1558,"slug":1559,"title":1560,"dynasty":154,"author":1561,"museum":405,"description":1562,"tags":1563,"thumbUrl":1565,"material":184,"size":184,"collection":184,"collections":1566,"showCount":1567,"zanCount":11,"manualWeight":11,"mainColor":52},238227,"qian-long-huang-di-song-yin-hui-bi-heng-zhou-zhang-zong-cang-238227","乾隆皇帝松荫挥笔横轴","张宗苍","《张宗苍等乾隆皇帝松荫挥笔横轴》是清乾隆时期 等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[102,24,60,1564,61,139,27,228,86,29,65,31,7,480],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],50,{"id":1569,"slug":1570,"title":1571,"dynasty":18,"author":57,"museum":405,"description":1572,"tags":1573,"thumbUrl":1577,"material":184,"size":184,"collection":184,"collections":1578,"showCount":1567,"zanCount":277,"manualWeight":11,"mainColor":52},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,1421,24,60,82,29,139,27,64,65,42,32,195,1574,86,1575,7,1576,955,84,85],"桥梁","马匹","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":1580,"slug":1581,"title":1582,"dynasty":154,"author":1583,"museum":20,"description":1584,"tags":1585,"thumbUrl":1586,"material":469,"size":1587,"collection":48,"collections":1588,"showCount":1567,"zanCount":277,"manualWeight":11,"mainColor":94},219332,"gui-yin-tu-tang-dai-219332","归隐图","唐岱","画山水师法王原祁，官内务府总管，以画只候内廷，康熙赐「画状元」。本幅画幽岩架屋，秋色满林，石磴盘空，泉流萦抱。用笔细致，山石多用干笔，带皴带擦，特重山势向背。",[24,60,29,139,27,30,32,64,105,7,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[48],{"id":1590,"slug":1591,"title":1592,"dynasty":133,"author":327,"museum":176,"description":1593,"tags":1594,"thumbUrl":1596,"material":273,"size":1597,"collection":184,"collections":1598,"showCount":1599,"zanCount":11,"manualWeight":11,"mainColor":94},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[24,60,26,61,27,83,29,270,271,240,355,1595,105,7,65,198,195],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],49,{"id":1601,"slug":1602,"title":1603,"dynasty":133,"author":1493,"museum":405,"description":1604,"tags":1605,"thumbUrl":1606,"material":184,"size":184,"collection":184,"collections":1607,"showCount":1599,"zanCount":277,"manualWeight":11,"mainColor":52},228424,"fang-zhao-yong-xi-shan-ting-quan-tu-lan-ying-228424","仿赵雍溪山听泉图","此作用笔苍劲老辣，层岩峻拔巍峨，以硬朗皴法写尽山石厚重质感，峭壁间飞泉垂落，似能闻声潺潺。山间林木虬曲多姿，红绿错杂，为幽寂山景添了几分灵动生机。\n\n画面一隅茅庐依水而设，隐士凭坐松下静听泉声，将林泉高致藏于丘壑之中。整体兼具元人山水的疏朗写意与浙派刚健气象，既绘出峰峦雄阔之态，又尽显林下幽居的萧散闲逸，把观泉听涛的雅趣融在山野烟岚里，清寂淡远的林下之逸跃然纸面。",[23,24,102,60,26,61,139,27,29,31,32,1247,65,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc4742071ff701ac6e53351aca5f7f5.jpg",[],{"id":1609,"slug":1610,"title":1611,"dynasty":133,"author":266,"museum":20,"description":1612,"tags":1613,"thumbUrl":1614,"material":89,"size":1615,"collection":48,"collections":1616,"showCount":1599,"zanCount":11,"manualWeight":11,"mainColor":94},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[23,24,102,60,26,61,27,29,32,30,7,196,304,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[48,49],{"id":1618,"slug":1619,"title":1191,"dynasty":133,"author":1620,"museum":1621,"description":1622,"tags":1623,"thumbUrl":1624,"material":469,"size":1625,"collection":48,"collections":1626,"showCount":1599,"zanCount":11,"manualWeight":11,"mainColor":94},218089,"shan-shui-tu-lu-zhi-218089","陆治","金贝尔艺术博物馆","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[23,24,179,27,61,30,32,256,87,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[48],{"id":1628,"slug":1629,"title":1630,"dynasty":154,"author":477,"museum":753,"description":1631,"tags":1632,"thumbUrl":1635,"material":89,"size":184,"collection":48,"collections":1636,"showCount":1637,"zanCount":11,"manualWeight":11,"mainColor":52},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,60,26,29,1633,27,560,35,32,7,31,30,1634],"积墨","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[48],48,{"id":1639,"slug":1640,"title":1641,"dynasty":133,"author":666,"museum":405,"description":1642,"tags":1643,"thumbUrl":1645,"material":1646,"size":1647,"collection":184,"collections":1648,"showCount":1649,"zanCount":11,"manualWeight":11,"mainColor":52},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[24,179,26,61,27,1644,31,7,32,83,85],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg","未知","Xcm*Xcm",[],47,{"id":1651,"slug":1652,"title":1653,"dynasty":154,"author":676,"museum":135,"description":1654,"tags":1655,"thumbUrl":1657,"material":1658,"size":1659,"collection":48,"collections":1660,"showCount":1649,"zanCount":11,"manualWeight":11,"mainColor":94},224463,"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[23,24,29,27,61,139,1656,270,240,63,31,65,228,198,7],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[48,49],{"id":1662,"slug":1663,"title":1664,"dynasty":154,"author":175,"museum":405,"description":1665,"tags":1666,"thumbUrl":1668,"material":1669,"size":1670,"collection":48,"collections":1671,"showCount":1649,"zanCount":11,"manualWeight":11,"mainColor":52},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,60,377,139,27,29,560,31,7,32,195,1667,65,777],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[48,1373,148],{"id":1673,"slug":1674,"title":1675,"dynasty":116,"author":952,"museum":20,"description":1676,"tags":1677,"thumbUrl":1679,"material":44,"size":1680,"collection":184,"collections":1681,"showCount":1682,"zanCount":277,"manualWeight":11,"mainColor":52},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,60,26,139,27,29,141,32,30,7,121,196,1678,142],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],46,{"id":1684,"slug":1685,"title":1686,"dynasty":133,"author":1687,"museum":725,"description":1688,"tags":1689,"thumbUrl":1690,"material":431,"size":1691,"collection":48,"collections":1692,"showCount":1682,"zanCount":11,"manualWeight":11,"mainColor":94},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","萧云从","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,60,82,139,29,27,61,64,65,32,7,35,34,286,392,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[48,148],{"id":1694,"slug":1695,"title":1696,"dynasty":133,"author":1687,"museum":135,"description":1697,"tags":1698,"thumbUrl":1703,"material":1704,"size":1705,"collection":48,"collections":1706,"showCount":1682,"zanCount":11,"manualWeight":11,"mainColor":94},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,82,139,27,29,30,32,141,105,34,63,35,196,1401,443,1699,955,597,7,67,66,1700,1701,1702],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","纸本 设色","30cmx590cm",[48,148],{"id":1708,"slug":1709,"title":1710,"dynasty":154,"author":1203,"museum":176,"description":1711,"tags":1712,"thumbUrl":1713,"material":469,"size":1714,"collection":48,"collections":1715,"showCount":1682,"zanCount":11,"manualWeight":11,"mainColor":94},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","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。",[23,102,24,60,82,61,27,29,32,35,160,103,196,1409,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[48,148],{"id":1717,"slug":1718,"title":1719,"dynasty":154,"author":676,"museum":405,"description":1720,"tags":1721,"thumbUrl":1725,"material":184,"size":184,"collection":184,"collections":1726,"showCount":1727,"zanCount":277,"manualWeight":11,"mainColor":52},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,1722,139,27,61,140,1723,64,7,1482,256,32,30,195,35,1724,87,31],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],45,{"id":1729,"slug":1730,"title":1731,"dynasty":133,"author":1732,"museum":20,"description":1733,"tags":1734,"thumbUrl":1736,"material":431,"size":1737,"collection":48,"collections":1738,"showCount":1727,"zanCount":11,"manualWeight":11,"mainColor":94},221990,"xie-qin-fang-you-li-zhou-wen-zheng-ming-221990","携琴访友立轴","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,60,26,61,29,34,63,30,32,121,86,7,1735,27],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348dbe09730d98eb99fa54d20f74dedf.jpg","纵63.4厘米，横29.2厘米",[48,49],{"id":1740,"slug":1741,"title":1742,"dynasty":154,"author":1397,"museum":405,"description":1743,"tags":1744,"thumbUrl":1745,"material":1646,"size":1647,"collection":184,"collections":1746,"showCount":1747,"zanCount":11,"manualWeight":11,"mainColor":94},289930,"dan-ya-ju-he-tu-zhou-shi-tao-289930","丹崖巨壑图轴","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。",[24,60,61,27,29,65,228,7,86,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff090c35d7e1dcc8c4a08bd16d3b69000.jpg",[],44,{"id":1749,"slug":1750,"title":1751,"dynasty":116,"author":1479,"museum":500,"description":1752,"tags":1753,"thumbUrl":1754,"material":89,"size":1755,"collection":48,"collections":1756,"showCount":1747,"zanCount":277,"manualWeight":11,"mainColor":94},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[23,102,24,60,82,61,29,27,85,122,64,35,32,256,7,196,1678,197,142,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[48],{"id":1758,"slug":1759,"title":1760,"dynasty":154,"author":657,"museum":176,"description":1761,"tags":1762,"thumbUrl":1763,"material":202,"size":1764,"collection":48,"collections":1765,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":94},236458,"dou-he-mi-lin-zhou-wang-jian-236458","陡壑密林轴","故宫博物院藏有康熙壬寅年（1662）年王鉴五十四岁作《陡壑密林图》轴，作品为纸本墨笔，纵56厘米，横35厘米。王鉴在画中自题：“黄子久有《陡壑密林图》为董思翁所藏，后归奉常烟翁，余时得纵观。雨窗岑寂，戏弄笔砚，漫师其法，不求形似也。壬寅小春望日写于染香庵中。王鉴。”下钤“王鉴之印”白文正方，起首钤“染香庵”朱文长方。画轴外题签：“廉州太守仿子久陡壑密林图山水真迹。辛丑三月重装。镂香阁惕庵珍秘。”为嘉兴王祖锡（1858－1908）旧物，画幅右下亦钤其鉴藏印：“惕安藏廉州画。”王祖锡藏有王鉴作品多件，如王鉴《溪山渔隐图》等。",[24,60,61,27,29,270,358,240,195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纵56厘米，横35厘米",[48,49,1373],43,{"id":1768,"slug":1769,"title":1770,"dynasty":154,"author":175,"museum":176,"description":1771,"tags":1772,"thumbUrl":1773,"material":273,"size":1774,"collection":184,"collections":1775,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":94},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","仙山楼阁图轴","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[24,60,26,29,141,32,560,7,195,61,27,30,196,304,955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":1777,"slug":1778,"title":1779,"dynasty":1075,"author":1780,"museum":405,"description":1781,"tags":1782,"thumbUrl":1796,"material":1646,"size":1647,"collection":1797,"collections":1798,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":52},225776,"les-vessenots-in-auvers-1890-fan-gao-225776","Les Vessenots in Auvers 1890","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[1783,1784,1785,1786,1787,1788,1789,1790,195,868,32,196,1791,7,161,1792,1793,1794,1795],"油画","后印象派","笔触粗犷","色彩鲜艳","设色明快","厚涂法","田野","花田","天空","山丘","农舍","绿植","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d96b48c7f50705bc820c7d8d46b723.jpg","油画精选",[1797],{"id":1800,"slug":1801,"title":1191,"dynasty":116,"author":1479,"museum":328,"description":1802,"tags":1803,"thumbUrl":1804,"material":89,"size":1805,"collection":48,"collections":1806,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":52},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[23,24,60,26,61,27,29,270,358,32,7,195,196,35,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[48],{"id":1808,"slug":1809,"title":1810,"dynasty":154,"author":1811,"museum":316,"description":1812,"tags":1813,"thumbUrl":1814,"material":89,"size":1815,"collection":48,"collections":1816,"showCount":1766,"zanCount":11,"manualWeight":11,"mainColor":52},219710,"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","戴本孝","《天台异松图》清 戴本孝 此图意写天台山水，山岩相叠，石桥飞架，怪松参差其间，飞泉直下，一老者隐居于此。巨壑皴写不繁，枯笔勾廓，以渴墨稍事皴擦，意境荒寒幽僻，深得元人气韵。\n图中左上角作者题款：天台异松，前人尝为之图，陆龟蒙记而赞之。曩从好事家见有摹本，未善也，因追以意图之。近闻异松已多归于冥漠。盖天地山川之奇，一经为尘眼所狎，自不能久。如此不觉兴慨也。鹰阿山天根樵夫本孝似君老道兄粲鉴，时丁卯长至。",[24,60,61,27,29,355,31,65,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c55221cddc6bd4a49aac3df454856d0.jpg","169.9×76.2cm",[48],{"id":1818,"slug":1819,"title":1820,"dynasty":133,"author":1821,"museum":118,"description":1822,"tags":1823,"thumbUrl":1829,"material":469,"size":1830,"collection":184,"collections":1831,"showCount":1766,"zanCount":277,"manualWeight":11,"mainColor":94},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,139,138,29,389,228,214,161,717,1824,104,7,1825,163,1826,1827,1828],"兔子","梅","小景","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":1833,"slug":1834,"title":1835,"dynasty":154,"author":1836,"museum":176,"description":1837,"tags":1838,"thumbUrl":1839,"material":124,"size":1840,"collection":48,"collections":1841,"showCount":1842,"zanCount":11,"manualWeight":11,"mainColor":94},237139,"qiu-jing-shan-shui-zhou-cha-shi-biao-237139","秋景山水轴","查士标","此图描绘秋天江南秀丽的山乡一隅景色，江南的秀丽山景，在秋日晴空中愈显得明媚秀美。画幅远景，崇山叠嶂，峰顶峦石，山顶平台，山头光秃，在山坡或山坳处，仅有稀疏杂树。山脚下一片空蒙。最下端为山石和坡岸，树木稀疏，树叶有些枯黄，呈现出一派深秋景色。画幅右下角为一泓溪水，溪水平静如镜，无丝毫波纹，在溪水上架有一座板桥，将两岸连接。板桥上有位长者策杖远眺，在尽情地观赏这里的山山水水。图的左上方有行书四行，为作者自题五言诗一首，款署：“癸丑九秋画以一如道长兄。查士标。”\n此画是查士标59岁时为友人所作。\n此画作者采用平远构图法，构图高远、严谨，造型虚实相间，近处树木舒展自如，形态历历可见。远处山石叠嶂，刻画精腻；山从枯笔淡墨画出后，稍加皴擦，尤其是山头仅寥寥几笔皴染。杂树稀少，点出了已到深秋时节。树以较湿润的笔墨勾点，施以淡色，有的树木采用点叶、夹叶树法。从此画中可以看出他师法倪瓒的笔法较多，但又都变成自己的笔意，又较云林山水画更具“动”感。此画颇具新意。故他的画受到当时大鉴赏家宋荦的赞赏，称颂查氏是董其昌后一人而已，恽南田也把他与董其昌相提并论。",[24,61,139,27,26,29,30,32,594,306,34,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab3340f319cb8ed6f2dc547a11d1de3.jpg","纵179.8厘米，横73.8厘米",[48,49],42,{"id":1844,"slug":1845,"title":1846,"dynasty":154,"author":676,"museum":405,"description":1847,"tags":1848,"thumbUrl":1849,"material":1646,"size":1647,"collection":184,"collections":1850,"showCount":1842,"zanCount":11,"manualWeight":11,"mainColor":94},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴","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。”",[24,179,26,61,27,83,270,65,228,32,31,7,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],{"id":1852,"slug":1853,"title":1854,"dynasty":154,"author":175,"museum":405,"description":1855,"tags":1856,"thumbUrl":1857,"material":184,"size":184,"collection":184,"collections":1858,"showCount":1842,"zanCount":277,"manualWeight":11,"mainColor":94},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,102,29,139,27,377,270,271,31,7,32,30,35,812,86,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":1860,"slug":1861,"title":1862,"dynasty":18,"author":666,"museum":20,"description":1863,"tags":1864,"thumbUrl":1865,"material":243,"size":1866,"collection":48,"collections":1867,"showCount":1842,"zanCount":11,"manualWeight":11,"mainColor":52},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,60,102,26,61,27,29,1079,228,34,991,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[48],{"id":1869,"slug":1870,"title":1871,"dynasty":18,"author":499,"museum":405,"description":1872,"tags":1873,"thumbUrl":1875,"material":44,"size":1876,"collection":184,"collections":1877,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":52},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,102,24,60,82,29,27,139,64,141,32,105,212,1874,594,30,228,7,847,756,87],"行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],41,{"id":1880,"slug":1881,"title":1882,"dynasty":154,"author":657,"museum":1883,"description":1884,"tags":1885,"thumbUrl":1887,"material":44,"size":1888,"collection":48,"collections":1889,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":52},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","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。",[23,24,60,26,139,27,29,1886,32,141,34,63,105,30,835,7,597,443,67,42,35],"山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[48,49],{"id":1891,"slug":1892,"title":1893,"dynasty":133,"author":1493,"museum":20,"description":1894,"tags":1895,"thumbUrl":1896,"material":44,"size":1897,"collection":48,"collections":1898,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":52},222596,"xi-shan-xue-ji-tu-lan-ying-222596","溪山雪霁图","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,139,27,29,595,103,454,594,228,30,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[48,148],{"id":1900,"slug":1901,"title":1902,"dynasty":133,"author":1493,"museum":135,"description":1903,"tags":1904,"thumbUrl":1908,"material":202,"size":1909,"collection":48,"collections":1910,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":52},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，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。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、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绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,139,27,29,32,30,105,195,63,87,7,355,67,1699,443,1634,198,66,1905,1906,1907],"淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[48,49],{"id":1912,"slug":1913,"title":1914,"dynasty":154,"author":1203,"museum":176,"description":1915,"tags":1916,"thumbUrl":1919,"material":1920,"size":1921,"collection":48,"collections":1922,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":94},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,24,60,26,61,27,29,355,30,87,1917,1576,32,86,7,64,35,1303,1206,66,1918,1700],"小路","笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[48],{"id":1924,"slug":1925,"title":1926,"dynasty":18,"author":666,"museum":118,"description":1927,"tags":1928,"thumbUrl":1929,"material":184,"size":184,"collection":46,"collections":1930,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":1931},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。",[24,29,82,61,27,35,30,443,7,597,1195,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[46],"82786f",{"id":1933,"slug":1934,"title":1935,"dynasty":154,"author":522,"museum":405,"description":1936,"tags":1937,"thumbUrl":1940,"material":124,"size":184,"collection":48,"collections":1941,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":94},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[24,60,26,61,27,83,29,32,65,7,196,1401,1938,1939],"中景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[48,49],40,{"id":1944,"slug":1945,"title":1946,"dynasty":18,"author":1947,"museum":405,"description":1948,"tags":1949,"thumbUrl":1951,"material":184,"size":184,"collection":184,"collections":1952,"showCount":1942,"zanCount":277,"manualWeight":11,"mainColor":52},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","李迪","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,24,102,60,82,140,139,27,1950,991,240,214,161,7,104,84,85,30,305],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":1954,"slug":1955,"title":1956,"dynasty":154,"author":1957,"museum":753,"description":1958,"tags":1959,"thumbUrl":1960,"material":89,"size":1961,"collection":48,"collections":1962,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":94},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[23,24,61,82,84,85,27,29,30,32,31,256,196,35,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[48],{"id":1964,"slug":1965,"title":1966,"dynasty":154,"author":676,"museum":820,"description":1967,"tags":1968,"thumbUrl":1969,"material":469,"size":1970,"collection":48,"collections":1971,"showCount":1942,"zanCount":277,"manualWeight":11,"mainColor":52},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","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。",[24,179,139,27,730,560,32,7,30,835,35,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[48],{"id":1973,"slug":1974,"title":1975,"dynasty":154,"author":175,"museum":176,"description":1976,"tags":1977,"thumbUrl":1978,"material":243,"size":1979,"collection":48,"collections":1980,"showCount":1942,"zanCount":277,"manualWeight":11,"mainColor":52},219747,"du-fu-shi-yi-tu-wang-shi-min-219747","杜甫诗意图","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,24,60,82,179,61,139,503,32,30,7,34,105,63,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵39厘米，横25.5厘米",[48],{"id":1982,"slug":1983,"title":751,"dynasty":252,"author":752,"museum":753,"description":1984,"tags":1985,"thumbUrl":1986,"material":184,"size":184,"collection":184,"collections":1987,"showCount":1988,"zanCount":11,"manualWeight":11,"mainColor":52},227597,"xi-shan-lan-re-tu-ju-ran-227597","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,60,29,26,61,27,270,32,756,7,87,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cac38e11a74525e15e53089cd141edb.jpg",[],39,{"id":1990,"slug":1991,"title":1992,"dynasty":116,"author":1993,"museum":20,"description":1994,"tags":1995,"thumbUrl":1996,"material":202,"size":1997,"collection":48,"collections":1998,"showCount":1988,"zanCount":295,"manualWeight":11,"mainColor":94},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,60,26,61,27,29,31,32,87,65,35,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[48,49],{"id":2000,"slug":2001,"title":2002,"dynasty":133,"author":266,"museum":2003,"description":2004,"tags":2005,"thumbUrl":2006,"material":377,"size":2007,"collection":184,"collections":2008,"showCount":1988,"zanCount":11,"manualWeight":11,"mainColor":184},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。",[23,24,60,61,27,29,270,271,240,358,31,597,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg","30.5 × 23.8厘米",[],{"id":2010,"slug":2011,"title":2012,"dynasty":154,"author":2013,"museum":118,"description":2014,"tags":2015,"thumbUrl":2016,"material":243,"size":2017,"collection":641,"collections":2018,"showCount":1988,"zanCount":277,"manualWeight":11,"mainColor":94},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[24,179,26,61,139,27,30,31,63,103,195,228,594,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[641,48],{"id":2020,"slug":2021,"title":2022,"dynasty":116,"author":2023,"museum":20,"description":2024,"tags":2025,"thumbUrl":2026,"material":457,"size":184,"collection":48,"collections":2027,"showCount":1988,"zanCount":277,"manualWeight":11,"mainColor":94},218741,"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","张雨","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[23,24,60,61,139,27,29,595,594,30,121,598,7,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[48],{"id":2029,"slug":2030,"title":2031,"dynasty":154,"author":2032,"museum":523,"description":2033,"tags":2034,"thumbUrl":2038,"material":89,"size":2039,"collection":641,"collections":2040,"showCount":1988,"zanCount":11,"manualWeight":11,"mainColor":94},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","罗聘","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,61,342,140,27,2035,228,86,30,7,1023,1037,198,29,2036,2037,32,163],"书画结合","题跋","文人形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[641],{"id":2042,"slug":2043,"title":2044,"dynasty":116,"author":2045,"museum":500,"description":2046,"tags":2047,"thumbUrl":2049,"material":89,"size":2050,"collection":48,"collections":2051,"showCount":1988,"zanCount":277,"manualWeight":11,"mainColor":94},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,60,26,61,27,122,85,29,2048,105,32,30,195,7,2036],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[48],{"id":2053,"slug":2054,"title":2055,"dynasty":154,"author":1368,"museum":176,"description":2056,"tags":2057,"thumbUrl":2058,"material":273,"size":2059,"collection":184,"collections":2060,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":94},234953,"yu-xi-shan-gen-tu-kun-can-234953","雨洗山根图","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[24,61,179,27,270,271,32,30,103,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e57309da538f66ef8d198690cf3042b.jpg","纵103厘米，横59.9厘米",[],38,{"id":2063,"slug":2064,"title":656,"dynasty":133,"author":266,"museum":176,"description":2065,"tags":2066,"thumbUrl":2067,"material":2068,"size":2069,"collection":184,"collections":2070,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":94},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,60,377,122,84,85,139,27,29,32,30,7,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg","纸本，设色","纵26.3厘米，横25.5厘米",[],{"id":2072,"slug":2073,"title":2074,"dynasty":154,"author":175,"museum":176,"description":2075,"tags":2076,"thumbUrl":2077,"material":2068,"size":2078,"collection":184,"collections":2079,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":94},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[24,60,26,61,139,29,27,2048,1482,32,30,7,121,196,40,1154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":2081,"slug":2082,"title":2083,"dynasty":18,"author":57,"museum":405,"description":2084,"tags":2085,"thumbUrl":2090,"material":184,"size":184,"collection":184,"collections":2091,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":52},227413,"xue-shan-lan-re-tu-guo-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王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,102,24,179,83,27,61,139,26,270,271,32,34,195,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[48],{"id":2132,"slug":2133,"title":2134,"dynasty":154,"author":2135,"museum":405,"description":2136,"tags":2137,"thumbUrl":2138,"material":184,"size":184,"collection":167,"collections":2139,"showCount":2140,"zanCount":11,"manualWeight":11,"mainColor":52},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[24,60,26,139,140,86,159,104,29,240,7,161,163,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[167,641,148],36,{"id":2142,"slug":2143,"title":2144,"dynasty":154,"author":676,"museum":176,"description":1215,"tags":2145,"thumbUrl":2147,"material":273,"size":2148,"collection":48,"collections":2149,"showCount":2140,"zanCount":277,"manualWeight":11,"mainColor":94},236769,"zhu-qu-zhou-wang-hui-236769","竹趣轴",[24,26,61,27,29,503,7,30,32,812,196,1401,2146,777],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a53edaed5daacf78869c55444abcab9.jpg","纵138.8厘米，横29.9厘米",[48,49],{"id":2151,"slug":2152,"title":2153,"dynasty":116,"author":117,"museum":405,"description":2154,"tags":2155,"thumbUrl":2156,"material":184,"size":184,"collection":184,"collections":2157,"showCount":2158,"zanCount":11,"manualWeight":11,"mainColor":52},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","溪山秋色图卷","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,24,60,82,29,27,139,32,30,7,835,256,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],35,{"id":2160,"slug":2161,"title":2162,"dynasty":133,"author":2163,"museum":135,"description":2164,"tags":2165,"thumbUrl":2166,"material":2068,"size":2167,"collection":48,"collections":2168,"showCount":2158,"zanCount":11,"manualWeight":11,"mainColor":52},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图","丁云鹏","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,102,24,60,26,757,140,139,86,29,228,65,161,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg","140.7×58cm",[48,148],{"id":2170,"slug":2171,"title":1191,"dynasty":154,"author":1378,"museum":405,"description":2172,"tags":2173,"thumbUrl":2174,"material":139,"size":184,"collection":48,"collections":2175,"showCount":2158,"zanCount":277,"manualWeight":11,"mainColor":52},219836,"shan-shui-tu-ren-xiong-219836","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[23,24,139,138,27,29,560,32,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[48],{"id":2177,"slug":2178,"title":1751,"dynasty":116,"author":1479,"museum":942,"description":2179,"tags":2180,"thumbUrl":2183,"material":89,"size":2184,"collection":48,"collections":2185,"showCount":2158,"zanCount":277,"manualWeight":11,"mainColor":94},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,60,82,61,27,84,122,29,64,35,32,160,34,256,65,142,7,196,1401,2181,182,2182,2036,85],"留白","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[48],{"id":2187,"slug":2188,"title":1214,"dynasty":154,"author":676,"museum":405,"description":1215,"tags":2189,"thumbUrl":2190,"material":184,"size":184,"collection":184,"collections":2191,"showCount":2192,"zanCount":11,"manualWeight":11,"mainColor":94},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583",[24,61,60,537,269,83,27,85,270,358,240,355,200,7,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],34,{"id":2194,"slug":2195,"title":2196,"dynasty":154,"author":657,"museum":176,"description":2197,"tags":2198,"thumbUrl":2199,"material":273,"size":2200,"collection":48,"collections":2201,"showCount":2192,"zanCount":11,"manualWeight":11,"mainColor":94},236364,"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[24,179,61,26,27,270,271,32,65,87,35,256,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[48,49,1373],{"id":2203,"slug":2204,"title":2205,"dynasty":116,"author":2206,"museum":20,"description":2207,"tags":2208,"thumbUrl":2209,"material":124,"size":2210,"collection":184,"collections":2211,"showCount":2192,"zanCount":277,"manualWeight":11,"mainColor":94},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","管道升","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[24,61,29,503,7,103,121,196,1154,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 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积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,139,27,29,64,32,228,121,7,65,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[48],{"id":2243,"slug":2244,"title":2245,"dynasty":154,"author":1583,"museum":20,"description":2246,"tags":2247,"thumbUrl":2248,"material":139,"size":2249,"collection":184,"collections":2250,"showCount":2192,"zanCount":11,"manualWeight":11,"mainColor":94},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","仿王蒙山水轴","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,29,26,83,27,139,270,271,228,87,34,65,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":2252,"slug":2253,"title":2254,"dynasty":133,"author":2255,"museum":79,"description":2256,"tags":2257,"thumbUrl":2258,"material":89,"size":2259,"collection":48,"collections":2260,"showCount":2192,"zanCount":295,"manualWeight":11,"mainColor":94},219719,"qiu-lin-yuan-xiu-tu-yang-wen-cong-219719","秋林远岫图","杨文骢","此画构图可分远景、中景、近景三段式；远景为重山叠嶂，山峰林立，山间杂木和衰草丛生。山巅烟云缭绕，似与天相连：中景一片广阔的江水，一泓清流，平静如镜，近河岸处，山石露小，近景为坡岸山石，乱石横卧，坡石间树木和杂草丛生，一株株树木，根根枝干挺直而上，枝叶疏密相间，错落有致。若人居之，上可聆听萧萧山风，下可俯观静谧的江水。",[23,24,60,26,61,27,29,32,30,594,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d6d41811a6271aa2a6e27944c864f0.jpg","纵144.5厘米，横55.8厘米",[48],{"id":2262,"slug":2263,"title":2264,"dynasty":1075,"author":666,"museum":20,"description":2265,"tags":2266,"thumbUrl":2270,"material":44,"size":2271,"collection":48,"collections":2272,"showCount":2192,"zanCount":11,"manualWeight":11,"mainColor":52},219369,"wu-kuan-shan-shui-zhou-yi-ming-219369","无款山水轴","这幅山水轴以细腻笔触勾勒出静谧悠远的自然之境。前景林木扶疏，枝干交错间掩映着几椽茅舍，似有幽人闲坐，静听溪涧潺潺。中景溪流蜿蜒，石矶错落，墨色层次分明，尽显生机。远山层叠，云雾轻笼，墨色由浓转淡，渐次隐入天际，拓展出深远的空间感。山石皴染结合，苍劲中见温婉；树木点染有致，姿态自然生动。整体色调古雅沉静，笔墨意趣盎然，将自然之美与文人隐逸情怀融于一体，引人沉浸其中，体味那份远离尘嚣的恬淡与自在。",[102,24,179,26,61,27,139,443,2267,7,30,35,2268,2269],"茅舍","隐逸","恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7339aa747e902c48320949a28e177acb.jpg","84.5x65.6",[48],{"id":2274,"slug":2275,"title":2276,"dynasty":116,"author":2277,"museum":500,"description":2278,"tags":2279,"thumbUrl":2282,"material":89,"size":184,"collection":167,"collections":2283,"showCount":2192,"zanCount":11,"manualWeight":11,"mainColor":52},216725,"yi-yin-geng-shen-tu-du-ben-216725","伊尹耕莘图","杜本","伊尹耕莘图，又名伊尹莘图，是一部被认为是元朝最优秀的地图作品之一，是由元朝时期的地理学家杜本所创作的。\n\n该地图主要描述了中国当时的地理概况，包括各省、城市、河流、山脉、道路等信息。其中，最为突出的特点是对中国各省的精细描述，其中包括了各省的地理位置、面积、人口、资源、经济情况等信息。\n\n伊尹耕莘图被认为是中国历史上最为精确的地图之一，并被广泛应用于当时的军事、经济、文化等方面。它的创作也标志着中国地图制作技术的巨大发展，对中国地图学的发展产生了深远的影响。",[24,60,82,61,140,342,27,86,303,240,30,2280,7,2281],"土地","农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2087df4b0af8e6ce8e4200bf6af9f34a.jpg",[167],{"id":2285,"slug":2286,"title":2287,"dynasty":133,"author":2288,"museum":176,"description":2289,"tags":2290,"thumbUrl":2291,"material":2292,"size":2293,"collection":48,"collections":2294,"showCount":2295,"zanCount":277,"manualWeight":11,"mainColor":94},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","王铎","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,60,26,61,27,29,560,32,7,35,65,142,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纸本墨笔","纵95厘米，横36.4厘米",[48,1373],33,{"id":2297,"slug":2298,"title":2299,"dynasty":154,"author":676,"museum":176,"description":2300,"tags":2301,"thumbUrl":2302,"material":2303,"size":2304,"collection":48,"collections":2305,"showCount":2295,"zanCount":11,"manualWeight":11,"mainColor":94},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，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，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[24,26,61,27,29,270,31,32,195,7,65,142,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[48,49],{"id":2307,"slug":2308,"title":2309,"dynasty":133,"author":2163,"museum":20,"description":2310,"tags":2311,"thumbUrl":2312,"material":431,"size":2313,"collection":184,"collections":2314,"showCount":2295,"zanCount":277,"manualWeight":11,"mainColor":52},232691,"lu-shan-gao-tu-zhuang-biao-ding-yun-peng-232691","庐山高图（装裱）","此作构图紧凑密实，以细笔牛毛皴描写山石；有似王蒙的笔法，古朴厚实，浑然天成。在山体架构的布局上，又与沈周《庐山高》有些相似，甚至篆书题写《庐山高》三字的手法也和沈周作品基本雷同。所绘山头的岩石为卷云皴，造就这种看似有动态的效果，此类笔法在丁云鹏的作品中很少见。",[24,60,26,29,140,27,139,63,30,32,35,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c9ae8dad645098bbcb66538a53dd21.jpg","193.8xx98.1厘米",[],{"id":2316,"slug":2317,"title":2318,"dynasty":116,"author":1993,"museum":753,"description":2319,"tags":2320,"thumbUrl":2321,"material":44,"size":2322,"collection":48,"collections":2323,"showCount":2295,"zanCount":277,"manualWeight":11,"mainColor":94},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,60,61,27,26,270,31,7,65,32,63,30,64,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[48,49],{"id":2325,"slug":2326,"title":2327,"dynasty":18,"author":2328,"museum":176,"description":2329,"tags":2330,"thumbUrl":2333,"material":2334,"size":2335,"collection":184,"collections":2336,"showCount":2295,"zanCount":11,"manualWeight":11,"mainColor":52},221607,"liu-xi-wo-di-tu-liang-kai-221607","柳溪卧笛图","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。",[23,24,102,60,61,2331,29,86,241,7,2332],"减笔","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a56bcc78c55ff8ae9cf7480874e52a.jpg","绢本水墨","26.1×26.1cm",[],{"id":2338,"slug":2339,"title":2340,"dynasty":154,"author":427,"museum":20,"description":2341,"tags":2342,"thumbUrl":2343,"material":89,"size":2344,"collection":48,"collections":2345,"showCount":2295,"zanCount":11,"manualWeight":11,"mainColor":94},219482,"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[24,26,61,29,34,30,7,32,594,27,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[48],{"id":2347,"slug":2348,"title":2349,"dynasty":116,"author":1265,"museum":405,"description":2350,"tags":2351,"thumbUrl":2353,"material":1646,"size":1647,"collection":184,"collections":2354,"showCount":2355,"zanCount":277,"manualWeight":11,"mainColor":94},290839,"wan-he-qiu-ting-zhou-ni-zan-290839","万壑秋亭轴","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》。",[102,24,60,26,61,27,29,105,2352,30,7,84,85,835],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c7a50eb639fedf1d8803cb1242ca91.jpg",[],32,{"id":2357,"slug":2358,"title":2359,"dynasty":133,"author":2360,"museum":176,"description":2361,"tags":2362,"thumbUrl":2365,"material":124,"size":2366,"collection":48,"collections":2367,"showCount":2355,"zanCount":11,"manualWeight":11,"mainColor":52},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。”",[24,60,26,61,27,302,29,32,105,2363,30,594,196,304,2364,228,7],"水波","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 宽32.5 cm",[48],{"id":2369,"slug":2370,"title":2371,"dynasty":116,"author":666,"museum":176,"description":2372,"tags":2373,"thumbUrl":2374,"material":698,"size":2375,"collection":184,"collections":2376,"showCount":2355,"zanCount":277,"manualWeight":11,"mainColor":52},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,60,26,29,83,27,61,139,64,32,213,214,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","纵164厘米横105.3厘米",[],{"id":2378,"slug":2379,"title":2380,"dynasty":133,"author":2381,"museum":405,"description":2382,"tags":2383,"thumbUrl":2384,"material":184,"size":184,"collection":184,"collections":2385,"showCount":2355,"zanCount":11,"manualWeight":11,"mainColor":2386},228260,"xi-shan-tu-xu-ben-228260","溪山图","徐贲","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[23,24,60,26,61,27,29,30,32,7,105,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],"F48FB1",{"id":2388,"slug":2389,"title":2390,"dynasty":154,"author":1583,"museum":20,"description":2391,"tags":2392,"thumbUrl":2393,"material":1704,"size":2394,"collection":184,"collections":2395,"showCount":2355,"zanCount":11,"manualWeight":11,"mainColor":94},223101,"fang-fan-kuan-qiu-shan-pu-bu-zhou-tang-dai-223101","仿范宽秋山瀑布轴","图绘峰峦高耸，幽谷溪流，缥缈的岚气中，有瀑布奔泻而下。\n是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处。",[23,102,24,60,26,139,27,83,29,2048,31,228,30,7,34,32,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5329ade25972de17d15cf4d5af47324.jpg","325.8x89.5",[],{"id":2397,"slug":2398,"title":2399,"dynasty":154,"author":2400,"museum":20,"description":2401,"tags":2402,"thumbUrl":2405,"material":124,"size":2406,"collection":48,"collections":2407,"showCount":2355,"zanCount":170,"manualWeight":11,"mainColor":52},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[102,24,60,26,61,27,29,2403,595,7,65,594,35,2404],"群峰","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[48],{"id":2409,"slug":2410,"title":2411,"dynasty":154,"author":657,"museum":20,"description":2412,"tags":2413,"thumbUrl":2415,"material":124,"size":184,"collection":48,"collections":2416,"showCount":2417,"zanCount":277,"manualWeight":11,"mainColor":94},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,60,102,26,139,27,29,64,7,32,228,331,65,2414],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[48],31,{"id":2419,"slug":2420,"title":2421,"dynasty":133,"author":2422,"museum":405,"description":2423,"tags":2424,"thumbUrl":2425,"material":184,"size":184,"collection":184,"collections":2426,"showCount":2417,"zanCount":11,"manualWeight":11,"mainColor":52},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","卞文瑜","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,60,82,61,27,122,84,85,29,270,32,195,7,35,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":2428,"slug":2429,"title":2430,"dynasty":116,"author":666,"museum":176,"description":2431,"tags":2432,"thumbUrl":2433,"material":44,"size":2434,"collection":46,"collections":2435,"showCount":2417,"zanCount":11,"manualWeight":11,"mainColor":52},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,26,61,27,139,29,2087,594,31,30,7,195,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[46],{"id":2437,"slug":2438,"title":2439,"dynasty":116,"author":966,"museum":20,"description":2440,"tags":2441,"thumbUrl":2444,"material":2445,"size":2446,"collection":48,"collections":2447,"showCount":2417,"zanCount":277,"manualWeight":11,"mainColor":52},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,102,24,60,26,61,27,29,2442,1482,32,34,63,196,304,35,30,778,7,777,1699,2443],"青山","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[48,49],{"id":2449,"slug":2450,"title":2451,"dynasty":154,"author":1583,"museum":20,"description":2452,"tags":2453,"thumbUrl":2454,"material":89,"size":2455,"collection":48,"collections":2456,"showCount":2417,"zanCount":11,"manualWeight":11,"mainColor":94},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[102,24,60,26,61,27,29,270,358,32,34,7,195,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[48],{"id":2458,"slug":2459,"title":2460,"dynasty":116,"author":2461,"museum":176,"description":2462,"tags":2463,"thumbUrl":2464,"material":2465,"size":2466,"collection":184,"collections":2467,"showCount":2468,"zanCount":277,"manualWeight":11,"mainColor":52},233844,"hua-shan-shui-zhou-li-shi-xing-233844","画山水轴","李士行","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[24,60,26,61,139,29,32,30,63,196,27,7,304,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","绢本，墨笔","纵：106.2厘米，横：52.7厘米",[],30,{"id":2470,"slug":2471,"title":2472,"dynasty":154,"author":2473,"museum":20,"description":2474,"tags":2475,"thumbUrl":2476,"material":69,"size":2477,"collection":48,"collections":2478,"showCount":2468,"zanCount":277,"manualWeight":11,"mainColor":94},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,60,26,138,139,27,29,32,7,812,306,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[48,148],{"id":2480,"slug":2481,"title":2482,"dynasty":18,"author":2483,"museum":405,"description":2484,"tags":2485,"thumbUrl":2488,"material":139,"size":2489,"collection":46,"collections":2490,"showCount":2468,"zanCount":11,"manualWeight":11,"mainColor":94},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,102,24,60,2486,179,139,27,29,32,306,86,7,65,196,2487],"宋代","林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[46,48,148],{"id":2492,"slug":2493,"title":2494,"dynasty":18,"author":557,"museum":20,"description":2495,"tags":2496,"thumbUrl":2497,"material":89,"size":562,"collection":184,"collections":2498,"showCount":2499,"zanCount":11,"manualWeight":11,"mainColor":94},288510,"xi-shan-qiu-se-tu-zhao-ji-288510","溪山秋色图","图中描绘的烟岚雾气迷漫，群峰隐现其间，溪水曲环，江面空阔，渔民捕捞，舟船停泊，秋叶杂树点缀在山头坡岸，完全是一派江湖渔乐的景象。画法上用笔潇洒，点染苍润，是当时画院中的另一种风格。全图中天空留白很大，用鸟瞰法取景，表现出无限辽阔深远的意境。",[102,24,179,61,29,35,32,7,103,835,85,84,27],"https:\u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祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,102,24,60,82,61,29,27,64,32,7,286,835,84,2036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549c065a57fcd8e41e55a4d3ea391e6.jpg",[],27,{"id":2581,"slug":2582,"title":2583,"dynasty":154,"author":2584,"museum":20,"description":2585,"tags":2586,"thumbUrl":2587,"material":139,"size":2588,"collection":48,"collections":2589,"showCount":2579,"zanCount":11,"manualWeight":11,"mainColor":94},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,60,26,61,27,29,270,358,480,105,32,7,84,85,67,443,35,2036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[48,49],{"id":2591,"slug":2592,"title":2593,"dynasty":133,"author":1493,"museum":20,"description":2594,"tags":2595,"thumbUrl":2599,"material":44,"size":1897,"collection":48,"collections":2600,"showCount":2579,"zanCount":11,"manualWeight":11,"mainColor":52},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,139,27,26,29,1079,32,7,31,65,812,86,594,228,30,595,2596,598,2597,2598],"水榭","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg",[48,148],{"id":2602,"slug":2603,"title":2604,"dynasty":133,"author":2163,"museum":176,"description":2605,"tags":2606,"thumbUrl":2607,"material":184,"size":184,"collection":48,"collections":2608,"showCount":2609,"zanCount":11,"manualWeight":11,"mainColor":52},236913,"guan-mei-tu-zhou-ding-yun-peng-236913","观梅图轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[24,60,26,61,140,27,29,1825,86,214,213,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[48,49],26,{"id":2611,"slug":2612,"title":2613,"dynasty":154,"author":676,"museum":405,"description":2614,"tags":2615,"thumbUrl":2616,"material":184,"size":184,"collection":184,"collections":2617,"showCount":2609,"zanCount":11,"manualWeight":11,"mainColor":94},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,60,26,61,29,27,105,503,240,34,85,955,30,7,1303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":2619,"slug":2620,"title":2621,"dynasty":154,"author":657,"museum":20,"description":2622,"tags":2623,"thumbUrl":2625,"material":107,"size":2626,"collection":184,"collections":2627,"showCount":2609,"zanCount":277,"manualWeight":11,"mainColor":94},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[23,102,24,179,139,27,2624,83,879,756,34,63,30,32,141,105,7,196],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 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白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[24,60,26,61,27,85,29,32,31,30,7,1247,392,594,2784],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":2789,"slug":2790,"title":2791,"dynasty":154,"author":2792,"museum":405,"description":2793,"tags":2794,"thumbUrl":2795,"material":184,"size":184,"collection":184,"collections":2796,"showCount":2777,"zanCount":11,"manualWeight":11,"mainColor":94},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","邹一桂","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,24,26,29,27,61,64,35,32,195,7,228,594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":2798,"slug":2799,"title":2800,"dynasty":154,"author":676,"museum":405,"description":2801,"tags":2802,"thumbUrl":2803,"material":184,"size":184,"collection":184,"collections":2804,"showCount":2777,"zanCount":11,"manualWeight":11,"mainColor":94},224453,"fu-chun-da-ling-tu-wang-hui-224453","富春大岭图","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,24,60,26,139,29,27,560,35,32,7,65,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":2806,"slug":2807,"title":2808,"dynasty":18,"author":666,"museum":20,"description":2809,"tags":2810,"thumbUrl":2812,"material":2813,"size":2814,"collection":184,"collections":2815,"showCount":2777,"zanCount":11,"manualWeight":11,"mainColor":94},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,24,26,61,27,29,64,65,32,35,7,198,256,2811],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","纸本 水墨","126.3x49.7厘米",[],{"id":2817,"slug":2818,"title":2819,"dynasty":133,"author":1493,"museum":20,"description":2820,"tags":2821,"thumbUrl":2822,"material":243,"size":2823,"collection":48,"collections":2824,"showCount":2777,"zanCount":11,"manualWeight":11,"mainColor":52},222597,"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[23,24,60,26,139,27,29,228,141,30,7,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[48,148],{"id":2826,"slug":2827,"title":2828,"dynasty":133,"author":2829,"museum":20,"description":2830,"tags":2831,"thumbUrl":2832,"material":107,"size":2833,"collection":184,"collections":2834,"showCount":2777,"zanCount":277,"manualWeight":11,"mainColor":94},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","仿王蒙山水","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,24,60,26,61,27,83,29,228,30,31,7,812,32,64,847,198,142,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":2836,"slug":2837,"title":2838,"dynasty":133,"author":2839,"museum":405,"description":2840,"tags":2841,"thumbUrl":2842,"material":184,"size":184,"collection":48,"collections":2843,"showCount":2844,"zanCount":11,"manualWeight":11,"mainColor":94},236923,"ju-jie-shan-shui-zhou-ju-jie-236923","居节山水轴","居节","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[24,60,26,61,27,29,240,31,30,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[48,49],21,{"id":2846,"slug":2847,"title":2848,"dynasty":133,"author":2849,"museum":405,"description":2850,"tags":2851,"thumbUrl":2852,"material":1646,"size":1647,"collection":184,"collections":2853,"showCount":2844,"zanCount":11,"manualWeight":11,"mainColor":94},236811,"shan-shui-shan-mian-liu-yuan-qi-236811","山水扇面","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,1506,29,61,139,27,30,32,31,812,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6dd3b962fbdb6a810552885f1d4de.jpg",[],{"id":2855,"slug":2856,"title":2857,"dynasty":133,"author":327,"museum":176,"description":2858,"tags":2859,"thumbUrl":2860,"material":2292,"size":2861,"collection":184,"collections":2862,"showCount":2844,"zanCount":11,"manualWeight":11,"mainColor":94},232998,"si-chao-xuan-zao-zhen-ce-kong-lin-ji-yu-ye-shen-zhou-232998","四朝选藻贞册-空林积雨页","此图原载《四朝选藻册》，作者沈周用率笔随意点染丛林、云雨、平冈、小溪和房舍。用笔灵活潇洒，一气呵成，于简率之中见生动秀逸之致。画上左上方作诗二首，款：乙未九月积雨作《雨闷》二首，复作此景书之。是日忽晴，吾意彼苍，亦闻颠崖赤子私讽之语而见悯耶。念七日周。乙未为公元一四七五年，时沈周四十九岁。钤启南一印。右上方有吴宽题记一则，钤胸中天地一印。又钤安仪周家珍藏印。对开有清高宗弘历题诗，钤太上皇帝之宝等鉴藏印多方，曾经清安岐、清乾隆内府收藏。\n“久雨阴连结，晴天安在哉？”这件作品是画家在积雨郁闷之日所作。画中描绘一平坡后的雨中树林景色。画面构景简洁，坡石后的林中溪水，缓缓流淌。低屋掩映，云气弥漫，雨雾迷朦。画家以粗笔而写，墨色浑润，淡墨渲染，使画面显得湿气欲滴，阴雨连绵与画家郁闷难解的情绪跃然画上，与画家自题两首诗恰相对照。其一曰：“茅檐何日霁，溜响漫沉沉，气郁惟添睡，愁多亦怕吟。积润变鸣琴。安得东轩月，皓然当我襟。”\n沈周出身诗画世家，祖孟渊、父恒吉、伯贞吉，均以诗画名满吴中，祖上收藏甚丰，对古人诗画见多识广。沈周一生不仕，淡泊功名，博览勤学，仅“以丹青以自适”，专心从事丹青与诗文艺术，毕生勤於诗画创作，声誉卓著，德高望重。其艺术质朴而有情致，画风纯化，刻苦研究前人的优秀理论与技法，融会贯通，创立了自己的风格，成为我国十五世纪下半叶在戴进之後最有影响最具独创力的一位画家，在绘画、书法和文学艺术方面都取得了卓越的成就，其最杰出的当表现在绘画方面，嘉靖年间苏州名士王登在《吴郡丹青志》中称“先生石田绘事为当代第一”，绘画兼收并蓄，人物、山水、花鸟无不精通。\n沈周绘画以山水为主，宗法元四家，远取董（源）、巨（然），中年宗元四家笔墨，尤其推崇黄公望，晚年醉心吴镇，与自家学养融为独特风格，结构谨严，用笔苍劲沉着，墨色浓厚，气韵雄逸，在明中期画坛兴起画风剧变之潮。以他为发端，其门人文徵明继之，合唐寅、仇英为一局，树起吴门画派旗帜，广学“唐宋名流及胜国贤胜，上下千载，纵横百辈”皆“兼综条贯，莫不揽其精微”（明朱谋□《画史会要》），成就之巨，在中明画坛骤立巨峰，影响所及，数百年不变，其画艺彪炳画史，成就卓然。同时，沈周作为一代画坛宗匠，其於诗文、书法无一不能，无一不精，其诗意清新，“面试《凤凰台赋》，援笔而就，咸以为不减王子安”（清钱谦益《列朝诗集小传》）。其书法师黄山谷而不染他体，去山谷行书之捍，多灵便秀逸。时人以其诗、书、画为三绝。",[24,60,377,61,27,122,84,182,29,32,7,256,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea074939e6dab7adace5c129ec5c8c97.jpg","纵21.7厘米 横29.2厘米",[],{"id":2864,"slug":2865,"title":2866,"dynasty":154,"author":2867,"museum":20,"description":2868,"tags":2869,"thumbUrl":2871,"material":431,"size":2872,"collection":48,"collections":2873,"showCount":2844,"zanCount":11,"manualWeight":11,"mainColor":94},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴","钱维城","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,60,26,29,27,139,270,271,32,195,7,196,85,30,2870],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg","63.7x31.8",[48,148],{"id":2875,"slug":2876,"title":2877,"dynasty":18,"author":666,"museum":20,"description":2878,"tags":2879,"thumbUrl":2881,"material":243,"size":2882,"collection":48,"collections":2883,"showCount":2844,"zanCount":11,"manualWeight":11,"mainColor":94},218705,"xue-xi-gu-si-tu-yi-ming-218705","雪溪古寺图","这幅画描绘了一个山村和一座耸立在深雪中的山谷中的古寺，一个骑驴的和尚与一个拿着雨伞的仆人一起走在雪地里。这幅画的尺寸很小，是郭熙风格的典范，画中的小屋和小刺沏是程式化的，可能是元明时期的作品。",[23,24,60,61,27,29,1079,2880,30,32,7,87,595],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b70cfa37a2e0c165015de0b7e5d2a2.jpg","24.5x25",[48],{"id":2885,"slug":2886,"title":900,"dynasty":2887,"author":2888,"museum":118,"description":2889,"tags":2890,"thumbUrl":2892,"material":184,"size":184,"collection":48,"collections":2893,"showCount":2844,"zanCount":11,"manualWeight":11,"mainColor":2894},202825,"shan-shui-zhou-huang-bin-hong-202825","近代","黄宾虹","这幅山水轴笔墨苍劲浑厚，意境幽远深沉。上部山峦层叠，以浓淡干湿的墨色皴擦点染，山体纹理交错，尽显雄奇厚重之态；山脚下溪流蜿蜒，屋舍隐于苍松翠柏间，岸边亭台小巧，林木错落有致，一派静谧的山居气象。画家运用积墨与破墨技法，墨色层次丰富，线条刚柔相济，既承传统山水的笔墨精髓，又融入个人对自然的深刻体悟，画面气韵生动，于苍莽中见清幽，引人步入林泉之境，心生向往。",[24,29,27,61,105,597,32,64,7,1633,2891,23],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4686603adc4b2ff54977912a749d19c.jpg",[48],"c2beb2",{"id":2896,"slug":2897,"title":2898,"dynasty":154,"author":2899,"museum":2900,"description":2901,"tags":2902,"thumbUrl":2904,"material":202,"size":2905,"collection":48,"collections":2906,"showCount":2907,"zanCount":11,"manualWeight":11,"mainColor":94},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞","浙江省博物馆","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,29,61,27,26,34,30,214,32,467,35,7,66,2903,85,1270,182],"书法题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[48,49],20,{"id":2909,"slug":2910,"title":2911,"dynasty":154,"author":2912,"museum":405,"description":2913,"tags":2914,"thumbUrl":2915,"material":184,"size":184,"collection":184,"collections":2916,"showCount":2907,"zanCount":11,"manualWeight":11,"mainColor":94},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","朱耷","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[24,61,377,27,85,29,30,32,195,196,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":2918,"slug":2919,"title":2920,"dynasty":133,"author":2921,"museum":405,"description":2922,"tags":2923,"thumbUrl":2924,"material":184,"size":184,"collection":184,"collections":2925,"showCount":2907,"zanCount":277,"manualWeight":11,"mainColor":52},228280,"wu-xie-shan-tu-zhou-chen-hong-shou-228280","五泄山图轴","陈洪绶","《五泄山志》是《五泄山志》编纂委员会编纂的地方志。\n本志记述范围，重点是五泄风景主景区9．5平方公里，以在建景区5平方公里为环界。\n有些必要涉及的人、物、事件，记述范围为传统意义上的整个五泄区域内。\n记述年代，上限不定，下限至2年，个别事件延伸到成稿之时。\n封面 五泄山志 《五泄山志》编纂委员会顾问 《五泄山志》编纂委员会 《五泄山志》编纂室 图片 江泽民与夏征农亲切握手 尉健行视察五泄 俞正声视察五泄 张德江视察五泄 曾培炎视察五泄 五泄导游图 绿树掩清溪 五泄水上森林公园 五泄东龙湫 夹岩烟雨 五泄东湫阁 白鹤临湖 五泄春来早 春在溪头 西源——绿色氧吧 银杏秋韵 江南罕见楠木林 画舫迎客 空气洁净蓝天白云 溪水悠悠 西源步幽亭 灵默真身塔 五泄禅寺 唐·灵默舍利子宝瓶 南北朝砖雕观音 果实(种子)化石 五泄古石器 灵默禅师舍利子 古寺玉兰 山龟 水濑 穿山甲 鸳鸯 眼镜蛇 花蝶 金钱豹 山鸡 蝶恋石蒜花 编纂人员合影 荣誉 陈洪绶《五泄图轴》 五泄山水甲天下 附图 序 《五泄山志》编辑凡例 概述 大事记 目录 第一篇 地理环境 第一章 自然地理 第一节 地理位置 第二节 地理面积 第三节 地理交通 第二章 地质地形 第一节 地质地层 第二节 风景地貌 第三节 土壤 第四节 地形成因 第三章 水文 第一节 水系 第二节 水文测量 第三节 雨量 第四节 经流量、水位 第五节 水质供水量 第四章 旅游气象 第一节 温度和日照 第二节 雨日和概率 第三节 雾和风 第四节 霜和雪 第二篇 自然资源 第五章 植物 第一节 木本植物 第二节 草本药物 第三节 古树名木 第六章 动物 第一节 哺乳纲(兽类) 第二节 鸟纲(禽类) 第三节 爬行纲 第四节 两栖、鱼纲 第五节 昆虫纲 第六节 其它类 第七章 土特产 第一节 土纸 第二节 茶叶 第三节 竹笋 第四节 干鲜果 第三篇 景区沿革 第八章 五泄畈村 第一节 姓氏由来 第二节 群落区划 第三节 移民外迁 第九章 五泄林场 第一节 历史演变 第二节 森林培育 第三节 森林管护 第四节 经营规划 第十章 五泄水库(五泄湖) 第一节 历史背景 第二节 建库经过 第三节 工程规模 第四节 工程效益 第五节 大坝除险加固 第六节 管理体制 第四篇 景区开发 第十一章 县级景区 第一节 项目提出 第二节 组织调查 第三节 确定建设 第四节 合力开发 第五节 首期规划 第六节 开通观瀑通道 第十二章 省级景区 第一节 实地调查 第二节 科学考察 第三节 组织考察 第三节 总体规划 第四节 批准省级景区 第十三章 国家重点风景名胜区 第一节 申报 第二节 创建 第三节 考察与评估 第四节 总体规划 第五篇 风景名胜 第十四章 平湖揽胜 第一节 紫藤长廊 第二节 坝顶揽胜 第三节 平湖泛舟 第四节 湖上观峰 第五节 湖后景观 第十五章 五级飞瀑 第一节 蛟龙出海 第二节 烈马奔腾 第三节 诸态备出 第四节 珠濂飘洒 第五节 隽永奇巧 第十六章 西源探幽 第一节 幽谷 第二节 奇峰 第三节 险崖 第四节 怪石 第五节 清溪碧潭 第六节 朱林 第七节 趣桥 第八节 紫微岭 第九节 刘龙坪 第十七章 开发中的景点 第一节 青口 第二节 玉京洞 第三节 遗址与沈氏宗祠 第六篇 宗教 第十八章 沿革 第一节 历史变迁 第二节 日寇罪迹 第三节 兴衰历程 第十九章 高僧 第一节 灵默 第二节 藏奂 第三节 良价 第四节 正元 第五节 苏溪 第六节 贯休 第七节 茂真 第八节 智三 第九节 敏康 第十节 慈明 第二十章 五泄禅寺 第一节 地理位置 第二节 悠久历史 第三节 寺院佛像 第四节 如意宝塔 第五节 寺院特色 第二十一章 良价祖庭 第一节 曹洞圣迹 第二节 良价出师图 第三节 祖师纪念像 第四节 曹洞宗风 第二十二章 寺院藏品 第一节 灵默石棺 第二节 舍利子宝瓶 第三节 祖师白玉像 第四节 佛像、陶俑、砖雕瓦档 第五节 匾牌、碑刻、字画 第二十三章 佛教活动 第一节 建立、健全寺内规章 制度 第二节 编印五泄禅寺史迹 第三节 开展佛教文化交流 第七篇 管理 第二十四章 管理机构 第一节 行政隶属 第二节 机构沿革 第三节 五泄风景旅游管理局 第四节 公安派出所 第二十五章 现代专业管理 第一节 文物管理 第二节 防火管理 第三节 林木管理 第四节 水库管理 第五节 卫生管理 第六节 规划管理 第七节 工商管理 第八节 安全管理 第八篇 旅游 第二十六章 游览活动 第一节 名人游山 第二节 旅游线路 第三节 大型活动 第二十七章 旅游接待 第一节 五泄旅游公司 第二节 诸暨旅行社 第三节 五泄游客接待中心 第二十八章 服务设施 第一节 馆舍 第二节 交通 第三节 通讯 第四节 商店 第五节 水电 第六节 娱乐 第二十九章 名产 第一节 土特产 第二节 风味小吃 第三节 工艺品 第九篇 文学艺术 第三十章 史志典籍摘抄 第一节 专著拾英 第二节 辞书条目 第三节 史志摘录 第四节 禅史节选 第三十一章 诗词 第一节 五泄胜景(综合篇) 第二节 飞瀑奇观 第三节 西源峡谷 第四节 禅寺觅踪 第五节 平湖掠影 第六节 歌曲 第七节 外围(规划)景点拾零 第三十二章 散记 第一节 游踪散记 第二节 游记纵揽 第三节 开发纪实 第三十三章 石刻联额 第一节 摩崖石刻 第二节 匾额楹联 第三节 书画墨宝 附：编余文化 第三十四章 民间传说 第一节 神话传说 第二节 民间故事 第三节 佚事旧闻 附：本志编辑参考书目 后记 版权页",[23,24,60,26,61,27,29,30,32,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4a8237865cb94c15e5ec9b1b99a949.jpg",[],{"id":2927,"slug":2928,"title":2929,"dynasty":133,"author":266,"museum":176,"description":2930,"tags":2931,"thumbUrl":2932,"material":216,"size":2933,"collection":48,"collections":2934,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":94},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村图","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[24,60,26,29,27,61,64,32,228,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg","纵78.5厘米，横30.2厘米",[48],{"id":2936,"slug":2937,"title":2938,"dynasty":133,"author":2360,"museum":405,"description":2939,"tags":2940,"thumbUrl":2941,"material":184,"size":184,"collection":184,"collections":2942,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":94},237478,"guan-pu-tu-zhou-wen-jia-237478","观瀑图轴","此作用高远章法铺展景致，山峦以淡墨轻皴，留白晕出空濛云气，层叠峰峦间苍松虬劲挺秀。涧谷飞瀑蜿蜒穿林而下，松下幽人临流观瀑，野逸悠然。\n\n笔墨秀雅温润，以淡赭轻敷晕染山林，简淡笔触里尽显苍润质感，尽显清隽雅致的意趣。题诗与画境相融，将林泉高致的隐逸情怀藏于尺幅间，把文人寄情山水、静享丘壑的雅怀，化作可感的画面，是明代文人山水画中寓情于景的典型佳构。",[102,24,60,26,61,27,29,31,32,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f782bbeca3d1ae43c0ee0954efdb627.jpg",[],{"id":2944,"slug":2945,"title":2946,"dynasty":154,"author":2947,"museum":405,"description":2948,"tags":2949,"thumbUrl":2950,"material":184,"size":184,"collection":184,"collections":2951,"showCount":111,"zanCount":277,"manualWeight":11,"mainColor":94},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","奚冈","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[24,26,61,27,29,65,32,195,7,196,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":2953,"slug":2954,"title":1367,"dynasty":154,"author":192,"museum":176,"description":2955,"tags":2956,"thumbUrl":2957,"material":273,"size":2958,"collection":184,"collections":2959,"showCount":111,"zanCount":277,"manualWeight":11,"mainColor":94},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,60,26,61,27,139,29,32,31,30,195,7,65,105,85,1917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":2961,"slug":2962,"title":2963,"dynasty":116,"author":666,"museum":20,"description":2964,"tags":2965,"thumbUrl":2966,"material":2967,"size":2968,"collection":184,"collections":2969,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":52},231399,"qiu-shan-tu-yi-ming-231399","秋山图","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[24,60,29,27,61,139,270,240,63,30,835,65,443,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 水墨","46.3x57.1厘米",[],{"id":2971,"slug":2972,"title":2973,"dynasty":133,"author":2974,"museum":405,"description":2975,"tags":2976,"thumbUrl":2977,"material":1646,"size":1647,"collection":184,"collections":2978,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":94},230927,"shan-shui-tu-shan-mian-wen-xi-230927","山水图扇面","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[1506,24,60,61,27,29,228,30,86,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":2980,"slug":2981,"title":1367,"dynasty":154,"author":175,"museum":405,"description":2982,"tags":2983,"thumbUrl":2984,"material":184,"size":184,"collection":184,"collections":2985,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":94},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,102,24,60,26,61,29,32,30,195,7,228,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":2987,"slug":2988,"title":2989,"dynasty":154,"author":666,"museum":405,"description":2990,"tags":2991,"thumbUrl":2993,"material":184,"size":184,"collection":184,"collections":2994,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":94},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,60,61,139,29,27,537,30,32,160,2099,195,64,35,142,7,286,2992,880],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":2996,"slug":2997,"title":2998,"dynasty":154,"author":1203,"museum":405,"description":2999,"tags":3000,"thumbUrl":3001,"material":1646,"size":1647,"collection":184,"collections":3002,"showCount":3003,"zanCount":11,"manualWeight":11,"mainColor":94},235636,"fang-gu-shan-shui-ping-wu-li-235636","仿古山水屏","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 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佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,60,82,139,29,27,83,85,122,84,270,271,32,195,141,34,105,7,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":3150,"slug":3151,"title":521,"dynasty":154,"author":676,"museum":405,"description":3152,"tags":3153,"thumbUrl":3154,"material":184,"size":184,"collection":184,"collections":3155,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":94},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,24,60,26,139,27,29,32,65,7,196,35,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":3157,"slug":3158,"title":3159,"dynasty":154,"author":1836,"museum":405,"description":3160,"tags":3161,"thumbUrl":3163,"material":124,"size":184,"collection":48,"collections":3164,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":52},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,60,139,29,27,270,240,105,34,63,955,30,7,256,32,3162],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[48],{"id":3166,"slug":3167,"title":3168,"dynasty":133,"author":3169,"museum":118,"description":3170,"tags":3171,"thumbUrl":3172,"material":184,"size":184,"collection":48,"collections":3173,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":3174},203250,"fang-gu-shan-shui-tu-ce-shen-hao-203250","仿古山水图册","沈颢","这幅山水册页笔墨清逸，山石以简淡皴法勾勒晕染，云气缠绕峰峦间，丘壑藏幽韵。左侧山居隐于松枫之下，几案陈设隐约可见，流露文人雅逸；右侧溪流蜿蜒，岸树疏朗，远山层叠如黛，意境空灵悠远。画风承古意而蕴新致，设色淡雅却见生机，将山水之幽与居停之静融为一体，尽显文人山水的空灵与雅致。",[24,29,377,139,27,228,1634,7,196,302,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c42135d4dc2ec9c04b7764bafbc6625.jpg",[48],"d3cec6",{"id":3176,"slug":3177,"title":3178,"dynasty":2887,"author":3179,"museum":118,"description":3180,"tags":3181,"thumbUrl":3182,"material":184,"size":184,"collection":48,"collections":3183,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":3184},202969,"chun-yan-die-cui-tu-zhou-xiao-jun-xian-202969","春岩叠翠图轴","萧俊贤","画面中山峦层叠，云雾缭绕间，苍松挺劲，枝叶繁茂，似有清风拂过。山间瀑布潺潺而下，汇入溪流，水声仿佛可闻。崖畔茅屋隐现，添了几分隐逸之趣。笔墨上，山石以皴擦结合晕染，质感厚重；树木用浓淡墨色点染，层次分明。整体意境清幽，尽显春日山林的生机与静谧，传递出文人雅士对自然的向往与哲思。",[29,61,139,27,228,31,121,35,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f10fbcbeaa4cd0e3b5181bc5ec59a3.jpg",[48],"bcb2a3",{"id":3186,"slug":3187,"title":3188,"dynasty":2887,"author":3189,"museum":118,"description":3190,"tags":3191,"thumbUrl":10,"material":184,"size":184,"collection":48,"collections":3196,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":3197},202889,"xi-zhou-nong-di-tu-zhou-pu-ru-202889","溪舟弄笛图轴","溥儒","嶙峋山石旁，苍松虬枝横斜，松间藤蔓轻垂，点缀些许金黄。清溪之上，两艘扁舟缓行，一舟中人持笛吹奏，另一舟者静坐聆听，意态闲适。笔墨细腻雅致，山石以淡墨皴擦出纹理，松针勾勒细密灵动，人物情态鲜活。整体意境空灵悠远，将文人雅士寄情山水的闲逸之趣尽显无遗。",[24,29,27,103,355,7,86,3192,3193,3194,3195,23],"工写结合","笔墨雅致","寄情山水","闲逸",[48],"b7ad9f",{"id":3199,"slug":3200,"title":3201,"dynasty":154,"author":2947,"museum":118,"description":3202,"tags":3203,"thumbUrl":3204,"material":184,"size":184,"collection":48,"collections":3205,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":3206},202190,"fang-wang-shi-min-xi-shan-qiu-xiao-tu-zhou-xi-gang-202190","仿王时敏溪山秋晓图轴","画面层峦起伏，晨雾轻笼山间，似将晓未晓的秋意漫溢开来。林木疏密有致，或挺拔或萧散，尽显秋树的苍劲之态。山坳间隐约可见村落屋舍，与蜿蜒溪流相映，添了几分人间烟火气。笔墨上皴染相间，线条温润，墨色层次丰富，既得古雅神韵，又透出清逸笔致，整体意境悠远静谧，如临秋晓山涧，闻风过林梢之声。",[24,29,27,61,26,286,7,38,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16f5dd80408d7c533e17e9b14ada30b.jpg",[48],"cec2b9",{"id":3208,"slug":3209,"title":3210,"dynasty":154,"author":1397,"museum":405,"description":3211,"tags":3212,"thumbUrl":3213,"material":184,"size":184,"collection":184,"collections":3214,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":94},235522,"yuan-ji-shan-shui-tu-ce-shi-tao-235522","原济山水图册","此作用枯笔淡墨绘就山水幽居之境。远山清瘦层叠，烟岚轻笼峰腰，晕染出空濛淡远之致。近处怪石盘迂，苍松杂木错落生姿，茅舍半隐林麓，林下幽人对坐抚琴，尽得林泉高致。\n\n左侧题诗与画面相映成趣，笔致萧散简淡，以诗衬画，将静听松风、默然会意的雅逸心境铺展纸上。整体画风疏秀空灵，脱尽尘俗，以极简笔墨勾勒悠远林下之思，把文人耽爱山水、寄情丝桐的襟怀融于尺幅间，淡而弥永，意韵悠长。",[24,61,377,27,29,392,32,121,196,1154,7,957,1303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9ee25418441b56893f0e81e4198921.jpg",[],{"id":3216,"slug":3217,"title":3218,"dynasty":133,"author":1732,"museum":753,"description":3219,"tags":3220,"thumbUrl":3221,"material":124,"size":3222,"collection":184,"collections":3223,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":94},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[102,24,60,26,139,27,29,30,31,32,7,63,1576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":3225,"slug":3226,"title":3227,"dynasty":133,"author":1620,"museum":753,"description":3228,"tags":3229,"thumbUrl":3230,"material":124,"size":3231,"collection":184,"collections":3232,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":94},231943,"fang-ni-yun-lin-qiu-xia-tu-lu-zhi-231943","仿倪云林秋霞图","秋色画阔，长堤深幽，幽幽幽幽，寂静无声。 晚年山水杰作。",[23,24,25,26,27,29,64,7,594,65,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a4c833b694c49f7fa5fbf3c4a1a23d.jpg","109.1x45.8厘米",[],{"id":3234,"slug":3235,"title":3236,"dynasty":154,"author":3237,"museum":118,"description":3238,"tags":3239,"thumbUrl":3240,"material":184,"size":184,"collection":48,"collections":3241,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":3242},203431,"shan-jing-ri-zhang-tu-zhou-huang-ying-zhan-203431","山静日长图轴","黄应湛","层岩叠壑间，松荫覆屋，文人围坐清谈，一派悠然。远处峰峦隐现，楼阁错落林麓，山泉潺潺，飞鸟掠空，尽显山林静穆。笔墨苍润，皴法细腻，山石轮廓以墨线勾勒，复加皴擦点染，树木枝叶繁密，层次分明。设色古朴淡雅，褐赭基调衬出山林幽寂，意境清旷，恰合“山静日长”之闲适，映现文人向往的林泉之趣。",[23,24,60,26,139,27,29,270,271,32,228,105,141,65,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49cf864f477c34f0805802e5ff38bd2e.jpg",[48],"84765e",{"id":3244,"slug":3245,"title":3246,"dynasty":133,"author":666,"museum":405,"description":3247,"tags":3248,"thumbUrl":3249,"material":1646,"size":1647,"collection":184,"collections":3250,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},287952,"fang-li-tang-hao-pu-tu-juan-yi-ming-287952","仿李唐濠濮图卷","此作用笔追摹北宗风骨，取景溪山幽隅。左岸危岩崚嶒，古木盘根错结于石罅，虬曲苍劲，枝叶攒簇如盖；右岸林樾荫蔽，二雅士临流趺坐，静听溪声、观览山光。\n山石以斧劈皴挥写，方硬利落，尽显岩壑沉厚质感；水纹细劲萦回，状摹出溪涧清浅潺湲之态。整幅以古雅底色衬出林泉幽寂，将文人寄情山水的闲淡襟怀，融于雄健笔墨之中，萧散出尘，兼具雄浑骨力与幽远意境。",[23,24,82,179,139,27,30,7,3048,800,1531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f11da397377cad1cc1e22134625497e.jpg",[],{"id":3252,"slug":3253,"title":3254,"dynasty":154,"author":2473,"museum":405,"description":3255,"tags":3256,"thumbUrl":3257,"material":184,"size":184,"collection":148,"collections":3258,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":2386},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,60,82,139,29,140,86,159,993,32,30,35,195,7,85,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[148],{"id":3260,"slug":3261,"title":3262,"dynasty":133,"author":327,"museum":176,"description":3263,"tags":3264,"thumbUrl":3266,"material":431,"size":3267,"collection":184,"collections":3268,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,102,24,60,82,61,139,122,27,29,3265,32,195,64,198,7],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","画323×33cm；跋64×33cm",[],{"id":3270,"slug":3271,"title":3272,"dynasty":133,"author":2921,"museum":753,"description":3273,"tags":3274,"thumbUrl":3275,"material":44,"size":3276,"collection":184,"collections":3277,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[102,24,60,26,61,27,29,32,594,30,31,7,197,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":3279,"slug":3280,"title":3281,"dynasty":154,"author":676,"museum":405,"description":3282,"tags":3283,"thumbUrl":3284,"material":184,"size":184,"collection":184,"collections":3285,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,24,60,26,61,27,29,31,228,195,32,30,7,64,1303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":3287,"slug":3288,"title":3289,"dynasty":18,"author":666,"museum":405,"description":3290,"tags":3291,"thumbUrl":3292,"material":184,"size":184,"collection":184,"collections":3293,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":52},223671,"xue-xi-fang-mu-tu-ye-yi-ming-223671","雪溪放牧图页","萧寒冬日的溪岸，淡墨晕染出铺陈的积雪，留白尽显空寂清寒。几株古木依偎而生，虬枝带着残叶，苍劲古朴的身姿在素净雪色间愈显沉郁，将冬日荒郊的萧索尽数铺展。\n\n溪滩处，小童策杖引牛踏水而行，憨态的水牛缓涉浅流，细碎的动态打破了天地的岑寂，为这片清冷雪景晕开一缕烟火暖意。\n\n整幅小品以极简的笔墨勾勒意境，淡墨扫雪、枯笔写树，于留白中烘托出深静的冬日氛围，萧寒里带着鲜活的生趣，尽显以小见大的雅致意趣，将冬日郊野的清寂与悠然牧歌融为一卷，淡远悠长。",[23,24,139,1506,29,1079,303,240,7,717],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a98cdb3acb6a785bb5f2a05d96d3bfe.jpg",[],{"id":3295,"slug":3296,"title":3297,"dynasty":154,"author":3298,"museum":176,"description":3299,"tags":3300,"thumbUrl":3301,"material":2068,"size":3302,"collection":48,"collections":3303,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},222668,"shang-shan-si-hao-tu-huang-shen-222668","商山四皓图","黄慎","此图描绘的是秦末东园公、绮里季、夏黄公、甪里隐于商山（今陕西省商县东南）的故事。四人皆80高龄，为避秦暴政而隐居商山，时人称之为“商山四皓”。西汉初，高祖屡召之而不得。后，高祖欲废太子刘盈，改立戚夫人子赵王如意，群臣谏而不听。吕后用张良计，礼遇四皓。高祖以为太子既得此四皓，羽翼已成，只得打消了废太子之念。图中峰峦高耸，飞瀑流泉，意境幽雅。人物的分布错落有致，形貌神态生动自然，笔墨放纵而又不失法度，为黄慎晚年之佳作。",[23,24,61,139,27,29,86,228,847,31,65,198,32,197,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2950074f1e7dcfc0fcd64cd290cf3c9f.jpg","纵120.2厘米，横68.3厘米",[48,49],{"id":3305,"slug":3306,"title":3307,"dynasty":154,"author":657,"museum":118,"description":3308,"tags":3309,"thumbUrl":3310,"material":469,"size":3311,"collection":184,"collections":3312,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},216981,"fang-song-yuan-shan-shui-ce-6-wang-jian-216981","仿宋元山水册-6","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,179,139,27,83,377,64,32,63,34,105,35,306,65,7,142,1576,31,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46f5271914a2b4ff894633cf7a7a1fc.jpg","纵55.4厘米，横36.0厘米",[],{"id":3314,"slug":3315,"title":3316,"dynasty":154,"author":657,"museum":500,"description":658,"tags":3317,"thumbUrl":3318,"material":469,"size":184,"collection":184,"collections":3319,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":94},215026,"fang-gu-shan-shui-ce-5-wang-jian-215026","仿古山水册-5",[24,60,61,27,377,269,29,30,32,7,64,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa703daa34e1d4c2eecb58a6ce02119.jpg",[],{"id":3321,"slug":3322,"title":656,"dynasty":154,"author":175,"museum":118,"description":3323,"tags":3324,"thumbUrl":3325,"material":184,"size":184,"collection":48,"collections":3326,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":3327},203342,"fang-gu-shan-shui-ce-wang-shi-min-203342","层峦叠嶂间林木苍郁，墨色晕染出宋元山水的古雅风骨。披麻皴法勾勒山石肌理，线条含蓄温润，虚实相生中藏着幽深林泉之趣。山间亭榭隐现，溪流绕石，一派静谧悠远的文人丘壑，尽显淡泊雅致的笔墨情韵。",[24,60,377,61,29,27,64,443,2146,7,269,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b9cc291f63cc7b45b4fd61e771e90fe.jpg",[48],"d1c8b3",{"id":3329,"slug":3330,"title":3331,"dynasty":2887,"author":2888,"museum":118,"description":3332,"tags":3333,"thumbUrl":3334,"material":184,"siz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"collections":3411,"showCount":3412,"zanCount":11,"manualWeight":11,"mainColor":94},237874,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237874","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,60,61,27,269,377,85,29,32,30,7,196,304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb48a113fab782bf8d9c30d4411519b.jpg",[],13,{"id":3414,"slug":3415,"title":3416,"dynasty":133,"author":3417,"museum":405,"description":3418,"tags":3419,"thumbUrl":3420,"material":184,"size":184,"collection":184,"collections":3421,"showCount":3412,"zanCount":11,"manualWeight":11,"mainColor":94},234804,"qian-gu-shan-shui-dan-ye-qian-gu-234804","钱穀山水单页","钱毂","钱穀（1508—1578），字叔宝，号罄室、句吴逸民，自号罄室子，长洲（今江苏苏州）人，吴越国王族钱氏的后人。少孤贫，迨壮始知读书，游文太史徵明门下，研习画法。画名甚著，且书、诗、文俱精妙。\n现藏于苏州博物馆的钱穀《摹吴镇、倪云林山水》卷为纸本水墨，纵31.5厘米、横148.5厘米，题款“钱穀”，钤“叔宝”白文方印。此作为我们观察、研究钱穀的仿古绘画面貌提供了资料。\n钱穀所处时代的吴中，形成了一个以文徵明为核心的精英文化圈。而成为文徵明的弟子，即意味着他进入了这个核心圈，共享圈内的资源。与诸多文徵明的弟子一样，他长期为老师代笔。这表明，钱穀的画风在很长时间内与文徵明的画风相当接近。除了替师捉刀之外，他也十分注重自己的个人创作。清代徐沁在《明画录》中评价钱穀“作山水不名其师学，而自腾踔于梅花、一峰、石田间，爽朗可爱”。从中可以看出，钱穀已意识到创作不应拘泥于文氏风格。他后期的绘画转师沈周及“元四家”，即是一种应变的策略。《摹吴镇、倪云林山水》卷便是他求变的产物。\n摹写前人的作品，注重从前人的画法中吸取营养，是画家自我提升的一个重要法门。吴门绘画特别推崇元人的笔墨。因此，钱穀追摹吴镇、倪瓒作品的举动也是不难理解的事情。在吴中的文化圈中，“元四家”的作品备受青睐、流传颇多，钱穀想要观赏这些作品自然也不是难事。因此在临仿元人绘画时，可供他选择的画作应是比较丰富的。在《摹吴镇、倪云林山水》卷中，他采用的并不是常见的不与原作相似、带有强烈个人印记的“神会”模仿，而是较为忠实地学习元代画家的风格特征，隐去了自己的笔法痕迹。不过，他的摹写并不是对某一画作的如实临摹，而是将不同画作的绘画元素转摹组合到同一个画面之中。",[24,60,61,27,377,29,105,32,30,195,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":3423,"slug":3424,"title":3425,"dynasty":133,"author":3426,"museum":405,"description":3427,"tags":3428,"thumbUrl":3432,"material":2068,"size":184,"collection":184,"collections":3433,"showCount":3412,"zanCount":277,"manualWeight":11,"mainColor":94},234183,"shan-shui-juan-chen-lian-234183","山水卷","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,24,60,82,61,29,27,270,271,32,35,560,65,3429,40,7,1699,198,163,142,3430,1485,594,3431,286,256],"远岫","层峦叠嶂","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":3435,"slug":3436,"title":3437,"dynasty":154,"author":2584,"museum":405,"description":3438,"tags":3439,"thumbUrl":3440,"material":184,"size":184,"collection":184,"collections":3441,"showCount":3412,"zanCount":11,"manualWeight":11,"mainColor":52},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,24,60,82,61,29,270,480,240,31,104,7,196,304,30,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":3443,"slug":3444,"title":3445,"dynasty":154,"author":1368,"museum":118,"description":3446,"tags":3447,"thumbUrl":3448,"material":184,"size":184,"collection":48,"collections":3449,"showCount":3412,"zanCount":11,"manualWeight":11,"mainColor":3450},201780,"xi-shan-wu-jin-tu-juan-kun-can-201780","溪山无尽图卷","这幅长卷以层层递进的山水景致铺展，层岩叠嶂间云雾轻绕，溪流蜿蜒穿过户部，松竹苍劲挺拔，枝桠间透着古拙生机。笔墨上干笔皴擦与湿墨晕染交织，皴法多变，山石纹理厚重，草木葱茏处见细腻。偶有茅亭隐于林间，孤舟泛于水面，禅意与野趣相融，尽显悠远超脱的意境。题字与印章错落有致，书画印合一，更添文人气息。",[24,82,29,27,61,139,103,105,355,7,85,84,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99480e5efa74e7e448708e978006b80.jpg",[48],"bcb3aa",{"id":3452,"slug":3453,"title":3454,"dynasty":133,"author":266,"museum":118,"description":3455,"tags":3456,"thumbUrl":3458,"material":184,"size":184,"collection":48,"collections":3459,"showCount":3412,"zanCount":277,"manualWeight":11,"mainColor":3460},201412,"shan-cun-qing-ji-tu-zhou-dong-qi-chang-201412","山村清霁图轴","霁色初开的山村，岚气渐散。远山层叠，以披麻皴轻敷淡染，墨色空灵；近树虬劲，枝干如篆籀游走，尽显“以书入画”之韵。溪流潺潺穿林而过，屋舍隐于草木间，错落有致。画面布局疏密得宜，远近层次分明，笔墨疏淡却见苍劲，意境清远静谧，似藏悠然世外的田园诗意，引人沉醉于这文人画的逸趣与空灵之境。",[24,29,27,61,26,32,195,7,3457,23],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf451b18255921a261ff14211ab61fd.jpg",[48],"b6a98f",{"id":3462,"slug":3463,"title":3464,"dynasty":154,"author":1583,"museum":405,"description":3465,"tags":3466,"thumbUrl":3467,"material":184,"size":184,"collection":184,"collections":3468,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":94},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","雪景山水轴","整幅画作以淡墨晕染铺就天地寒寂，细劲线条勾勒出山石苍硬肌理。积雪覆裹峰峦，以留白晕染出雪色蓬松清冽，将隆冬山野的素净空濛尽显。枯木虬曲错落，萧瑟枝桠衬出山境荒寒，山坳隐见山居，为冷寂添了一缕烟火暖意。\n\n作画兼具苍劲与秀润，勾勒皴擦间刻画出山石的嶙峋质感，以空白代雪，虚实相生间烘托出冬日山林的静谧萧寒，借景抒怀，尽显文人山水的澹远雅逸意境。",[24,60,26,61,139,27,29,270,271,1079,594,195,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":3470,"slug":3471,"title":3472,"dynasty":133,"author":3473,"museum":405,"description":3474,"tags":3475,"thumbUrl":3476,"material":184,"size":184,"collection":184,"collections":3477,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":52},239212,"bai-ma-tu-juan-xu-bao-239212","百马图卷","许宝","《百马图卷》作者明代 许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,82,139,140,27,159,991,32,30,161,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":3479,"slug":3480,"title":3481,"dynasty":154,"author":3482,"museum":405,"description":3483,"tags":3484,"thumbUrl":3485,"material":184,"size":184,"collection":184,"collections":3486,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":94},234612,"shan-shui-wan-shan-zhang-zhi-wan-234612","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[102,24,60,1506,61,27,270,31,105,240,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8481e7d89e0da642dc11c5e031fd6b.jpg",[],{"id":3488,"slug":3489,"title":3490,"dynasty":116,"author":1993,"museum":405,"description":3491,"tags":3492,"thumbUrl":3493,"material":184,"size":184,"collection":184,"collections":3494,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":52},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,60,26,61,27,29,30,31,32,7,196,1154,142,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":3496,"slug":3497,"title":3498,"dynasty":154,"author":3499,"museum":405,"description":3500,"tags":3501,"thumbUrl":3502,"material":184,"size":184,"collection":184,"collections":3503,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":52},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","华嵒","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[23,24,60,82,139,27,29,879,7,65,86,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":3505,"slug":3506,"title":1367,"dynasty":154,"author":3507,"museum":118,"description":3508,"tags":3509,"thumbUrl":3510,"material":184,"size":184,"collection":48,"collections":3511,"showCount":247,"zanCount":11,"manualWeight":11,"mainColor":3512},202003,"shan-shui-tu-zhou-chen-lv-zu-202003","陈率祖","这幅画作笔墨清润雅致，山峦层叠起伏，以皴法皴擦出山石肌理，墨色浓淡交错间晕染出远近景深。林木疏密有致，或点染或勾勒，枝叶鲜活，掩映着几处村落屋舍，质朴恬淡，流露田园生趣。溪流蜿蜒穿绕画面，水面留白与墨色相映，添得空灵之韵。整体构图虚实相生，意境宁静悠远，于简淡笔墨中见深致，尽显文人山水画的闲适意趣，仿佛让人置身于清幽静谧的山水田园间。",[61,29,27,64,443,286,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae96bcacb38c031370748f51cfd3b01.jpg",[48],"b5a491",{"id":3514,"slug":3515,"title":3516,"dynasty":18,"author":666,"museum":405,"description":3517,"tags":3518,"thumbUrl":3520,"material":1646,"size":1647,"collection":184,"collections":3521,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":52},290236,"liu-xi-chun-se-tu-yi-ming-290236","柳溪春色图","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。",[23,1506,24,102,179,139,241,7,196,3519],"春色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb40b39ccd657ea05d0275059be3c109.jpg",[],11,{"id":3524,"slug":3525,"title":3526,"dynasty":154,"author":3527,"museum":405,"description":3528,"tags":3529,"thumbUrl":3530,"material":184,"size":184,"collection":184,"collections":3531,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},238833,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238833","董诰墨庄览胜图册","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），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，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,60,377,139,29,27,84,85,34,63,32,105,270,271,121,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6eba943f2863483400997f8cce665d.jpg",[],{"id":3533,"slug":3534,"title":3535,"dynasty":154,"author":3536,"museum":176,"description":3537,"tags":3538,"thumbUrl":3539,"material":2068,"size":184,"collection":184,"collections":3540,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},237185,"shan-shui-ce-sun-yi-237185","山水册","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[102,24,60,377,139,27,29,270,271,240,594,228,717,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964fa9306cfae7607af1e90144e6216e.jpg",[],{"id":3542,"slug":3543,"title":3544,"dynasty":154,"author":676,"museum":405,"description":3545,"tags":3546,"thumbUrl":3548,"material":184,"size":184,"collection":184,"collections":3549,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},235779,"ming-xian-ji-jin-ce-liu-xi-yan-yu-ye-wang-hui-235779","名贤集锦册-柳溪烟雨页","此作以水墨晕染出江南烟柳水村之境。远山在空濛烟雨间晕化成淡墨虚影，与云天相融，尽显虚灵空寂之态。近岸垂柳成林，浓墨点染枝叶，摇曳生姿，浅墨绘就长堤水渚，疏密有致。水面之上，渔翁独撑小舟悠然泛行，柳荫下木桥横卧，衬出乡野幽寂之趣。画面虚实相生，淡墨写远、浓墨绘近，将烟雨笼罩下的朦胧诗意尽显无遗，笔墨简淡却意韵悠长，藏着寄情林泉、归向野逸的文人雅趣，尽显山水小品的空灵雅致。",[24,60,377,61,29,241,7,3547,35,103,1217,196,32],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a06f5961504c5c8bb6c4c16bd19efaa.jpg",[],{"id":3551,"slug":3552,"title":3553,"dynasty":154,"author":3554,"museum":176,"description":3555,"tags":3556,"thumbUrl":3557,"material":202,"size":184,"collection":184,"collections":3558,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,82,61,29,27,30,32,31,7,105,34,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":3560,"slug":3561,"title":2430,"dynasty":18,"author":666,"museum":20,"description":3562,"tags":3563,"thumbUrl":3564,"material":698,"size":3565,"collection":184,"collections":3566,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":52},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,179,26,61,27,2087,33,65,594,955,63,86,36,32,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":3568,"slug":3569,"title":3535,"dynasty":116,"author":3570,"museum":176,"description":3571,"tags":3572,"thumbUrl":3573,"material":2068,"size":3574,"collection":184,"collections":3575,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":52},233174,"shan-shui-ce-cao-zhi-bai-233174","曹知白","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,61,27,377,84,122,29,270,271,32,34,195,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36164595fe8368b20261ba6fa14b9e1.jpg","纵33.1cm，横27.4cm",[],{"id":3577,"slug":3578,"title":3579,"dynasty":133,"author":2163,"museum":405,"description":3580,"tags":3581,"thumbUrl":3582,"material":184,"size":184,"collection":184,"collections":3583,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,26,29,139,140,27,270,31,480,228,7,86,32,35,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":3585,"slug":3586,"title":3587,"dynasty":18,"author":666,"museum":405,"description":3588,"tags":3589,"thumbUrl":3591,"material":184,"size":184,"collection":184,"collections":3592,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":52},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[23,24,60,537,61,139,29,103,3590,32,7,196,85],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":3594,"slug":3595,"title":3596,"dynasty":18,"author":78,"museum":405,"description":3597,"tags":3598,"thumbUrl":3599,"material":184,"size":184,"collection":184,"collections":3600,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":52},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,102,24,60,342,139,27,29,31,86,65,32,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":3602,"slug":3603,"title":3604,"dynasty":154,"author":3527,"museum":20,"description":3605,"tags":3606,"thumbUrl":3608,"material":1704,"size":3609,"collection":184,"collections":3610,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,139,140,27,29,377,64,32,7,991,159,161,594,392,63,198,366,3607,305,66,834],"牧畜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","22.9x26厘米",[],{"id":3612,"slug":3613,"title":3614,"dynasty":18,"author":3615,"museum":20,"description":3616,"tags":3617,"thumbUrl":3619,"material":3620,"size":3621,"collection":184,"collections":3622,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},221427,"sui-gu-xian-chou-yan-su-221427","邃谷仙俦","燕肃","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,60,377,61,139,29,30,32,7,27,1037,3618,65],"溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a40a76ca3da825b71a02dad0c2b328c.jpg","扇","40.2x66.3",[],{"id":3624,"slug":3625,"title":3626,"dynasty":154,"author":657,"museum":500,"description":658,"tags":3627,"thumbUrl":3628,"material":469,"size":184,"collection":184,"collections":3629,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":94},215016,"fang-gu-shan-shui-ce-13-wang-jian-215016","仿古山水册-13",[23,24,61,27,269,377,29,32,30,7,195,31,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffff0a327c7574c7a82bd7738402c35c8.jpg",[],{"id":3631,"slug":3632,"title":3633,"dynasty":133,"author":1493,"museum":118,"description":3634,"tags":3635,"thumbUrl":3637,"material":184,"size":184,"collection":48,"collections":3638,"showCount":3522,"zanCount":11,"manualWeight":11,"mainColor":3639},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。",[29,27,139,64,32,7,597,3636,23],"仿董巨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3717cf30fc95c40e648ce9b10c3ea3.jpg",[48],"84755f",{"id":3641,"slug":3642,"title":1367,"dynasty":154,"author":3643,"museum":118,"description":3644,"tags":3645,"thumbUrl":3646,"material":184,"size":184,"collection":48,"collections":3647,"showCount":3522,"zanCount":277,"manualWeight":11,"mainColor":3648},202043,"shan-shui-tu-zhou-zhu-xuan-202043","朱轩","画面以水墨写意铺陈山水之趣，近处枯藤老树倚着嶙峋孤石而生，几间茅舍隐于林下，溪流绕石潺潺而过；远处山峦用淡墨皴染，线条疏朗，留白处漾出空濛悠远的意境。用笔简淡却意韵深厚，皴法细腻勾勒山石肌理，墨色层次晕染自然，尽显文人山水的清寂雅致，观之如入幽林深处，心绪随之沉静。",[61,29,27,214,392,2267,7,182,302,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d62665f6a0eb3fed5dfc9ea9e67dbac.jpg",[48],"c1a387",{"id":3650,"slug":3651,"title":3652,"dynasty":116,"author":1265,"museum":405,"description":2350,"tags":3653,"thumbUrl":3654,"material":1646,"size":1647,"collection":184,"collections":3655,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":2386},287306,"lin-xi-qing-yin-tu-juan-ni-zan-287306","林溪清隐图卷",[23,24,102,82,60,61,122,84,503,29,85,2268,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c9a683588fa53ede3255dbac057270.jpg",[],{"id":3657,"slug":3658,"title":3535,"dynasty":154,"author":3659,"museum":405,"description":3660,"tags":3661,"thumbUrl":3662,"material":184,"size":184,"collection":184,"collections":3663,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":94},238144,"shan-shui-ce-yun-xi-238144","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,139,61,27,377,270,271,35,195,32,198,7,717,595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f3ef880ac7f04f143208f381793708.jpg",[],{"id":3665,"slug":3666,"title":3535,"dynasty":154,"author":3536,"museum":176,"description":3537,"tags":3667,"thumbUrl":3669,"material":2068,"size":184,"collection":184,"collections":3670,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":94},237188,"shan-shui-ce-sun-yi-237188",[24,60,377,61,139,27,29,595,30,594,195,3668,7,392],"雪峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6324878be9cb5df7ff8c9067c7b79125.jpg",[],{"id":3672,"slug":3673,"title":3674,"dynasty":154,"author":3675,"museum":405,"description":3676,"tags":3677,"thumbUrl":3678,"material":184,"size":184,"collection":184,"collections":3679,"showCount":233,"zanCount":11,"manualWeight":11,"mainColor":94},236952,"ye-xue-wan-shan-lu-hui-236952","夜雪纨扇","陆恢","此作以淡墨晕染出萧寒雪夜，圆幅间铺展出清旷冬景。远山素雪覆顶，借留白晕染出积雪蓬松质感，隐于烟霭间尽显苍茫空寂。近岸枯木虬曲疏朗，枝桠劲瘦如铁，与远处墨色沉凝的松丛相映，于素净里生出层次变化。浅滩寒水缓流，雪覆岸渚，冷寂里藏着幽微生机。\n\n画家以枯笔写枯枝，淡墨铺雪色，虚实相生间将冬夜山野的静谧冷冽尽数铺陈，搭配题识笔墨，融文思与画意于一体，尽显冲淡安闲的文人意趣，把雪后孤清远寂的冬日意境刻画得淋漓尽致。",[24,1506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此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,24,61,27,26,29,595,31,256,32,30,63,86,7,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":3939,"slug":3940,"title":3941,"dynasty":154,"author":657,"museum":500,"description":658,"tags":3942,"thumbUrl":3943,"material":469,"size":184,"collection":184,"collections":3944,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":94},215013,"fang-gu-shan-shui-ce-16-wang-jian-215013","仿古山水册-16",[23,24,60,377,61,269,27,29,32,30,63,195,196,304,65,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3127628e515577f3ff665edc54ac18.jpg",[],{"id":3946,"slug":3947,"title":656,"dynasty":133,"author":3948,"museum":118,"description":3949,"tags":3950,"thumbUrl":3951,"material":184,"size":184,"collection":48,"collections":3952,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":3953},203465,"fang-gu-shan-shui-ce-yun-xiang-203465","恽向","这幅山水以水墨为基调，干笔皴擦与淡墨晕染交织，山峦层叠间见苍劲质感，皴法细密勾勒出山石纹理；林木疏密有致，墨色浓淡相间尽显葱茏意态，几间茅舍隐于林下，添清幽之趣却无喧嚣。仿古意趣浓厚，追摹宋元笔意却融入自身韵致，山石勾勒简练，墨色温润沉厚，整体画面静谧悠远，似能让人感受到山林间的清寂之风，尽显文人画的雅致与古拙。",[23,24,60,61,27,377,84,85,29,32,228,30,7,195,196,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c233ceace0d052277ef7c6007ee54.jpg",[48],"817666",{"id":3955,"slug":3956,"title":3957,"dynasty":2887,"author":3958,"museum":118,"description":3959,"tags":3960,"thumbUrl":3961,"material":184,"size":184,"collection":48,"collections":3962,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":3963},203162,"yang-zai-shi-yi-tu-zhou-wu-dai-qiu-203162","杨载诗意图轴","吴待秋","画面层峦起伏，林木葱茏，溪流蜿蜒穿绕谷涧，几间屋舍隐于林麓间，尽显静谧悠远的山居意趣。笔墨运用娴熟，山石以皴法勾勒纹理，线条刚柔相济；林木枝叶繁密，墨色浓淡交错，层次分明。设色清雅温润，不事浓艳，却将自然生机融入山水间。整体意境恬淡悠然，似将诗意中的野旷悠然具象化，传递出文人山水的雅致韵致与对自然的深切体悟。",[29,27,139,443,7,597,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a59a6b9b7a54698405518c95a0b19f8.jpg",[48],"b1a895",{"id":3965,"slug":3966,"title":3967,"dynasty":154,"author":676,"museum":118,"description":3968,"tags":3969,"thumbUrl":3971,"material":184,"size":184,"collection":48,"collections":3972,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":3973},202198,"fang-da-chi-shan-shui-zhou-wang-hui-202198","仿大痴山水轴","这幅山水师法黄公望笔意，笔墨清润雅致。峰峦以淡墨皴擦，线条疏宕有致；林木枯荣相间，点染间见生机；山间屋舍错落隐现，溪流穿谷而下，意境悠远宁静。布局开合有度，既承大痴山水的萧散简远之韵，又融入自身灵动的笔意，尽显文人画的悠然雅致与深远情致。",[24,29,27,443,597,7,2182,302,3970,23],"仿大痴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897ea7defaffd18358c2eb96f7f5a4bb.jpg",[48],"cebeb1",{"id":3975,"slug":3976,"title":3977,"dynasty":154,"author":3978,"museum":405,"description":3979,"tags":3980,"thumbUrl":3983,"material":184,"size":184,"collection":184,"collections":3984,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},238951,"shan-shui-ce-ye-xu-ji-238951","山水册页","徐稷","此作用笔秀润温婉，取景错落有致。远景山峦以淡墨铺底，敷染浅青淡赭，晕染出空蒙氤氲的烟岚之态，一道飞瀑垂落山坳，破了山林沉静，添入灵动生机。近景苍松虬劲挺拔，坡岸林木错落，茅庐隐于松荫竹篱间，浅滩静水如镜，将草木坡岸揽入其中。\n\n整体画风恬静淡远，以文人意趣写山居幽境，笔墨间带着松弛的闲雅之感，落款题字与朱印排布和谐，文气盎然，仿若将观者带入林泉高致的世外山居，尽显悠然淡逸的林下之风。",[24,60,377,139,29,228,31,30,32,195,7,64,27,3981,3982],"传统","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],{"id":3986,"slug":3987,"title":3526,"dynasty":154,"author":3527,"museum":405,"description":3528,"tags":3988,"thumbUrl":3989,"material":184,"size":184,"collection":184,"collections":3990,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827",[24,60,377,61,139,29,595,594,598,30,1507,812,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d752b98269b50249bb4911e5586c67.jpg",[],{"id":3992,"slug":3993,"title":3994,"dynasty":133,"author":3849,"museum":405,"description":3995,"tags":3996,"thumbUrl":3997,"material":1646,"size":1647,"collection":184,"collections":3998,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},237837,"shan-shui-shan-xiang-sheng-mo-237837","山水扇","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。",[24,1506,61,27,29,32,717,64,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062ad21da55ac0ffed439d1a3a048337.jpg",[],{"id":4000,"slug":4001,"title":4002,"dynasty":154,"author":2867,"museum":405,"description":4003,"tags":4004,"thumbUrl":4005,"material":184,"size":184,"collection":167,"collections":4006,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":52},236200,"hua-shan-shui-jin-de-ying-shu-he-dong-po-you-xi-hu-shi-cheng-shan-qian-wei-cheng-236200","画山水金德瑛书和东坡游西湖诗成扇","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[24,60,1506,29,139,27,64,32,7,35,84,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55cc7d22ebee3ba8b86de8420b0949c8.jpg",[167],{"id":4008,"slug":4009,"title":4010,"dynasty":154,"author":657,"museum":405,"description":4011,"tags":4012,"thumbUrl":4013,"material":1646,"size":1647,"collection":184,"collections":4014,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},235342,"fang-gu-shu-hua-ce-wang-jian-235342","仿古书画册","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[24,60,377,139,29,27,30,32,7,195,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8342c055e93dd7a721d4cb1cb560485.jpg",[],{"id":4016,"slug":4017,"title":4018,"dynasty":154,"author":666,"museum":176,"description":4019,"tags":4020,"thumbUrl":4021,"material":165,"size":4022,"collection":184,"collections":4023,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":52},234906,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234906","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,60,377,139,29,503,358,7,32,84,122,85,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b8a8499067624af6ef4001e403dd02.jpg","25.7×33厘米",[],{"id":4025,"slug":4026,"title":3913,"dynasty":154,"author":4027,"museum":176,"description":4028,"tags":4029,"thumbUrl":4030,"material":2068,"size":184,"collection":184,"collections":4031,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},234765,"huang-shan-tu-ce-jiang-zhu-234765","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,60,377,61,29,31,30,32,7,27,122,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf74a250f35a7dfb40b3453148928cfa.jpg",[],{"id":4033,"slug":4034,"title":4035,"dynasty":18,"author":666,"museum":176,"description":4036,"tags":4037,"thumbUrl":4040,"material":165,"size":4041,"collection":184,"collections":4042,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},234017,"liu-xi-diao-ting-tu-ye-yi-ming-234017","柳溪钓艇图页","此图原载《历代名笔集胜册》第一册。图画溪江岸柳，土坡茅舍，溪中一渔翁戴草笠穿蓑衣垂钓。远处山影一抹，景物疏朗，意趣无穷。作者用花青、石绿画丛树和柳页，白粉点柳花，赭脱减笔画茅舍。设色清丽丰富，层次分明。构图采用局部取景法。用笔简练秀逸，几脱画院习气。此图旧题签马远画，但究其画风与马远无相似之处，故改为无名氏作。画中钤有“真赏”、“宜尔子孙”、“信公珍赏”、“会侯珍藏”、“都尉耿信公书画之章”等藏印多方。曾经清人耿昭忠收藏，《虚斋名画录》著录。",[24,60,537,61,139,29,241,7,103,196,304,4038,140,455,4039,2536,27],"水景","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b0db537c474e6e93fd4294004a01a7.jpg","纵23、横24.5厘米",[],{"id":4044,"slug":4045,"title":4046,"dynasty":18,"author":666,"museum":176,"description":4047,"tags":4048,"thumbUrl":4050,"material":145,"size":4051,"collection":184,"collections":4052,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,60,1506,140,61,2811,241,4049,159,86,29,32,161,7,1526,27],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","23.5×25.6cm",[],{"id":4054,"slug":4055,"title":4056,"dynasty":18,"author":666,"museum":20,"description":4057,"tags":4058,"thumbUrl":4059,"material":1411,"size":2814,"collection":184,"collections":4060,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},231346,"qian-yan-wan-he-tu-yi-ming-231346","千岩万壑图","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[2486,24,60,102,26,61,27,29,65,32,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg",[],{"id":4062,"slug":4063,"title":4064,"dynasty":154,"author":522,"museum":405,"description":4065,"tags":4066,"thumbUrl":4067,"material":184,"size":184,"collection":184,"collections":4068,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,24,60,29,26,139,27,270,271,32,228,65,34,7,35,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":4070,"slug":4071,"title":4072,"dynasty":154,"author":4073,"museum":4074,"description":4075,"tags":4076,"thumbUrl":4078,"material":4079,"size":4080,"collection":184,"collections":4081,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},222652,"zhi-hua-xi-lie-zhi-hua-zhu-xi-gao-qi-pei-222652","指画系列-指画·竹溪","高其佩","美国纳尔逊阿特金斯艺术博物馆","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,4077,61,503,7,32,163],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde50c2552559fadc928067e60eecddd0.jpg","浅设色","35.88x57.31cm",[],{"id":4083,"slug":4084,"title":4085,"dynasty":133,"author":2288,"museum":135,"description":4086,"tags":4087,"thumbUrl":4094,"material":124,"size":4095,"collection":184,"collections":4096,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":52},222535,"zi-shu-shi-hu-wu-shou-juan-wang-duo-222535","自书石湖五首卷","释文：石湖 物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[23,84,122,82,61,85,29,756,742,4088,4089,104,7,4090,4091,2146,1634,4092,4093],"桂树","兰草","石穴","柴门","饮酒","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":4098,"slug":4099,"title":4100,"dynasty":154,"author":1125,"museum":176,"description":2667,"tags":4101,"thumbUrl":4102,"material":124,"size":2671,"collection":184,"collections":4103,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":94},220268,"huang-shan-tu-ce-55-hong-ren-220268","黄山图册-55",[23,24,102,60,377,61,27,29,270,31,7,594,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e8d7ae05bf959121243bd3db7d7d49.jpg",[],{"id":4105,"slug":4106,"title":4107,"dynasty":154,"author":2013,"museum":118,"description":4108,"tags":4109,"thumbUrl":4111,"material":184,"size":184,"collection":184,"collections":4112,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":4113},202726,"jiang-shan-wu-jin-tu-juan-gao-cen-202726","江山无尽图卷","长卷铺展，峰峦错落间林木扶疏，枯藤老树傍崖而立，苍松挺劲。山间屋舍隐现，溪流蜿蜒穿石而过；江面烟波浩渺，孤舟泛波，远景水天相接，尽显江山悠远之致。笔墨技法上，皴法勾勒山石肌理，层次分明；水墨晕染与淡设色相融，清雅自然，将山水的雄浑与灵秀交织，传递出无尽的静谧与壮阔。",[29,82,27,61,139,103,213,214,597,7,4110,443,23],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33449f505b5ad793bf9504529863861.jpg",[],"000000",{"id":4115,"slug":4116,"title":3481,"dynasty":116,"author":666,"museum":118,"description":4117,"tags":4118,"thumbUrl":4119,"material":184,"size":184,"collection":184,"collections":4120,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":4121},202639,"shan-shui-wan-shan-yi-ming-202639","画面以淡设色铺展山水意境，山峦叠嶂间云雾轻拢，松枝虬曲苍劲，溪水潺潺绕石而过。山石以皴法勾勒纹理，线条细腻且富有层次，尽显丘壑之幽深；树木笔法简练却神形兼备，枝叶疏密有致，添几分自然野趣。近处坡岸错落，隐约可见小径蜿蜒，似藏林泉隐者之居，传递出元人山水特有的清幽淡远之韵。方寸纨扇间纳天地之阔，将自然的静谧与人文的雅致交融，尽显古典山水的含蓄之美。",[24,1506,139,27,29,355,7,35,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea04161c686e6c9dd4b2557b99c23e1.jpg",[],"897550",{"id":4123,"slug":4124,"title":1367,"dynasty":154,"author":4125,"museum":118,"description":4126,"tags":4127,"thumbUrl":4128,"material":184,"size":184,"collection":48,"collections":4129,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":4130},201883,"shan-shui-tu-zhou-zhou-tan-201883","周坦","此图绘层岩叠嶂，高崖耸峙，山间林木疏朗，隐现屋宇。下方溪流蜿蜒，岸畔茅舍错落，杂树生姿，远岫含烟，一派清寂悠远的山居景致。笔墨上，山石以皴法勾勒，线条劲挺灵动，墨色浓淡相宜，层次分明；树木枝干虬劲，叶态各异，尽显自然生趣。构图疏密有致，虚实相生，简淡中见深远，传递出文人画特有的闲适旷达，仿佛可闻山涧风声，可观林泉之乐。",[29,61,27,26,7,443,64,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa86b7f851698938350453efc5fa980f.jpg",[48],"ae8a52",{"id":4132,"slug":4133,"title":3869,"dynasty":154,"author":4134,"museum":118,"description":4135,"tags":4136,"thumbUrl":4137,"material":184,"size":184,"collection":48,"collections":4138,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":4139},201680,"shan-shui-tu-juan-zhang-yi-gu-201680","张一鹄","这幅山水长卷笔墨清逸，山峦层叠间林木疏密有致，溪流婉转绕丘壑而行，几处屋舍隐于树影山石旁，尽显江南景致的温婉与静谧。画家以娴熟的皴法勾勒山石肌理，墨色浓淡相宜，点染出草木的丰茂生机，线条灵动中透着沉稳，于简淡构图里藏深远意境。画面似可闻林风轻拂、溪水潺潺，文人画的抒情意趣跃然纸上，传递出自然与心境相融的清幽之美。",[24,60,82,61,29,27,64,32,7,597,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce98ca9f658b46e6f0c6e2698cae865.jpg",[48],"cebca0",{"id":4141,"slug":4142,"title":4143,"dynasty":133,"author":1620,"museum":118,"description":4144,"tags":4145,"thumbUrl":4147,"material":184,"size":184,"collection":48,"collections":4148,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":4149},201604,"tao-yuan-tu-zhou-lu-zhi-201604","桃源图轴","层峦叠嶂间岩岫奇崛，细劲线条勾勒山石轮廓，皴擦结合尽显肌理之美。山间溪流蜿蜒穿石，隐入幽洞似通秘境。坡岸古松虬枝盘曲，苍劲枝叶与嶙峋山石相映。远景云雾轻笼，峰峦若隐若现，营造出静谧幽深的桃源意境。笔墨清逸，设色淡雅，既承吴门秀雅之风，又具刚健笔意，将文人心中的隐逸理想融入山水，虚实相生间尽显桃源之幽美。",[24,29,27,139,742,7,4146,1114,23],"岩洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d263871d2b74ab8ec8654094f3bf8f3.jpg",[48],"b09367",{"id":4151,"slug":4152,"title":4153,"dynasty":154,"author":522,"museum":405,"description":4154,"tags":4155,"thumbUrl":4156,"material":184,"size":184,"collection":184,"collections":4157,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":94},239462,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-yuan-qi-239462","清初六大家集册-山水页","此作用笔苍劲老辣，以干笔积墨反复皴擦，山峦层叠间尽显丘壑幽深。高远山势裹挟飞泉垂落，平远水畔山居错落，林木扶苏掩映村居，咫尺画幅铺展出萧散淡远的山居清景。墨色干湿浓淡相济，苍润浑厚间带着元人山水的简淡意趣，却又自具沉雄苍莽的厚重质感，将江南山水的温润灵秀与文人画的书卷静气相融，笔底元气淋漓，于细碎皴染中见整饬章法，静穆雅致中藏着自然生机，尽显正统山水画的隽永风神。",[102,24,60,377,61,27,29,270,358,240,503,195,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1160b0f5169ea7571f4877751466b.jpg",[],{"id":4159,"slug":4160,"title":4161,"dynasty":154,"author":4162,"museum":405,"description":4163,"tags":4164,"thumbUrl":4165,"material":184,"size":184,"collection":184,"collections":4166,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":94},239202,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239202","三大名山十二图册","徐枋","此帧以书画合璧尽显文人雅趣。右侧山水取观瀑之景，危崖层叠高耸，飞瀑垂空直下，古松虬劲扎根崖壁，崖畔亭台凌然悬空。山涧清流漱石，林麓间隐现村居，意境幽寂清旷。以干笔皴擦勾勒山石肌理，墨色干湿互济，苍润相生，尽显林壑深秀之致。左侧行书笔力苍劲古雅，文辞清逸疏朗，笔墨意趣与山水意境呼应相合，尽显萧散淡远的隐逸意涵，是文人寄兴的佳构。",[24,61,27,122,84,85,377,29,31,105,228,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5bebba4e6122dd5281cbdd6ba6bbd1.jpg",[],{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所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,102,24,60,26,29,139,27,270,1079,4326,240,195,65,7,86,4327,594,4328],"车","骆驼","石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":4332,"slug":4333,"title":4334,"dynasty":154,"author":3821,"museum":118,"description":4335,"tags":4336,"thumbUrl":4337,"material":184,"size":184,"collection":48,"collections":4338,"showCount":4256,"zanCount":11,"manualWeight":11,"mainColor":4339},203345,"shu-hua-ji-ce-gao-xiang-203345","书画集册","墨色与淡彩晕染山水，皴笔勾勒山峦肌理，林木葱茏间溪流隐现，野趣盎然。右侧行书笔意流畅，与山水意境相契，书画合璧尽显文人雅韵，逸气扑人，藏着清逸悠远的心境与笔墨情致。",[24,60,377,139,29,122,27,443,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1a9958658a2e096ecb365252aa602.jpg",[48],"81664c",{"id":4341,"slug":4342,"title":4343,"dynasty":154,"author":676,"museum":118,"description":4344,"tags":4345,"thumbUrl":4347,"material":184,"size":184,"collection":184,"collections":4348,"showCount":4256,"zanCount":11,"manualWeight":11,"mainColor":4349},202376,"qun-feng-chun-ai-tu-juan-wang-hui-202376","群峰春霭图卷","春霭氤氲，漫过山峦叠嶂，晕染出朦胧诗意。群峰错落，或浓墨勾勒，或淡彩晕染，皴法细腻处见山石肌理，设色清雅间显草木生机。林木扶疏，枝干虬劲，新芽初绽；溪流蜿蜒，小桥横跨，亭台隐现于林麓间，一派春日山乡的静谧悠远。笔墨兼具南北宗之长，融古意于自然，既得山川雄浑之态，又含江南秀润之韵，尽显春日山水的灵动与生机。",[24,179,82,139,27,2403,4346,443,7,256,270],"春霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7573718e4085c673aa362d42b452111.jpg",[],"967f51",{"id":4351,"slug":4352,"title":1367,"dynasty":154,"author":4353,"museum":118,"description":4354,"tags":4355,"thumbUrl":4356,"material":184,"size":184,"collection":48,"collections":4357,"showCount":4256,"zanCount":11,"manualWeight":11,"mainColor":4358},201834,"shan-shui-tu-zhou-zhang-yun-201834","张芸","淡墨皴染间，山水意趣渐生。近景枯树盘曲，茅舍隐于枝桠下；山间溪流缓淌，石径依稀；中景山峦层叠，林木疏朗有致；远景云雾轻笼峰巅，添几分悠远。笔墨简淡却韵致悠长，萧疏山林间藏着静谧幽境，似能闻得山风轻拂、溪水潺潺。",[61,27,26,29,213,214,2267,196,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33f5da2b0604236207c72509457c956.jpg",[48],"956c3f",{"id":4360,"slug":4361,"title":1367,"dynasty":154,"author":4362,"museum":118,"description":4363,"tags":4364,"thumbUrl":4366,"material":184,"size":184,"collection":184,"collections":4367,"showCount":4256,"zanCount":11,"manualWeight":11,"mainColor":4368},201653,"shan-shui-tu-zhou-di-da-kun-201653","翟大坤","这幅山水图轴笔墨清润雅致，构图层次深远。峰峦以淡墨皴染，间施赭石设色，苍劲中透着秀逸；林木疏密有致，或浓墨点簇或细笔勾描，生机勃发。山间溪流蜿蜒穿村，屋舍错落隐于烟霞林木间，茅顶素墙与自然相融，尽显宁静山居之趣。幽谷瀑布飞泻，添灵动之韵；整体意境悠远，似可闻鸟语溪声，引人沉醉于文人画的雅致自然之境。",[24,29,139,27,26,443,7,597,2182,4365],"意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d88fbf4016cb9e56c0d30b10ba9134.jpg",[],"d3c5b1",{"id":4370,"slug":4371,"title":3535,"dynasty":154,"author":1583,"museum":405,"description":4372,"tags":4373,"thumbUrl":4376,"material":184,"size":184,"collection":184,"collections":4377,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":94},238202,"shan-shui-ce-tang-dai-238202","此帧以干笔淡墨绘就平远溪山，近岸村居错落隐于茂林，清溪萦回脉脉，远山以披麻皴写出，淡墨晕染出空濛烟岚，尽显温润秀雅的静谧意境。题诗呼应画中幽居之趣，笔致清隽端雅，诗画相融，将林泉高致寄于尺幅之中。以极简墨色铺陈，勾勒出尘嚣尽褪的山居雅境，淡而不薄，简而愈远，藏着寄情丘壑的隐逸襟怀，尽显传统山水以画载道的文人意趣。",[24,60,377,61,27,122,84,29,270,32,195,7,67,4374,4375],"沙","涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668eb5906780377193669be9a7fe4a69.jpg",[],{"id":4379,"slug":4380,"title":4381,"dynasty":154,"author":676,"museum":20,"description":4382,"tags":4383,"thumbUrl":4384,"material":124,"size":184,"collection":184,"collections":4385,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":94},237383,"shan-shui-ce-song-jun-ye-fang-da-chi-shan-shui-ye-wang-hui-237383","山水册-宋骏业仿大痴山水页","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王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,60,377,61,29,27,83,32,195,30,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb1c965398a2ee9f3b80e7e2f75d7c3.jpg",[],{"id":4387,"slug":4388,"title":3913,"dynasty":154,"author":3914,"museum":176,"description":3915,"tags":4389,"thumbUrl":4390,"material":2068,"size":3918,"collection":184,"collections":4391,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":94},233437,"huang-shan-tu-ce-mei-qing-233437",[24,61,27,377,29,30,32,105,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdce42118300daa669efb50dde5b2cbc.jpg",[],{"id":4393,"slug":4394,"title":4395,"dynasty":1075,"author":4396,"museum":405,"description":4397,"tags":4398,"thumbUrl":4405,"material":1646,"size":1647,"collection":184,"collections":4406,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":1177},232282,"a-er-ma-9-lao-lun-si-a-er-ma-ta-de-ma-232282","阿尔玛9","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,377,61,139,27,29,30,32,7,65,142,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e8dd964b884c9dda7d01940026e604.jpg",[],{"id":4546,"slug":4547,"title":4548,"dynasty":18,"author":666,"museum":176,"description":4549,"tags":4550,"thumbUrl":4554,"material":44,"size":4555,"collection":184,"collections":4556,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":94},234024,"liu-tang-du-shu-tu-ye-yi-ming-234024","柳堂读书图页","画湖岸风光，院落间散落着小屋和房屋，四周苍松翠柳环绕。 书生专心在室内学习，孩子们在户外陪伴。 栅栏坡度平缓，碎石散落，草丛稀疏。 对岸，丛林幽幽，溪水蜿蜒。 作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[102,24,60,537,140,139,27,29,4551,4552,32,228,717,7,4553,195],"柳","堂屋","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":4558,"slug":4559,"title":4560,"dynasty":4561,"author":666,"museum":405,"description":4562,"tags":4563,"thumbUrl":4564,"material":1646,"size":1647,"collection":184,"collections":4565,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":52},227114,"hai-shou-pu-tao-wen-jing-8-yi-ming-227114","海兽葡萄纹镜-8","唐","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[24,60,29,139,392,34,1114,85,30,32,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fc5af77fc87fecb506467f9c818316.jpg",[],{"id":4567,"slug":4568,"title":4569,"dynasty":154,"author":4570,"museum":176,"description":4571,"tags":4572,"thumbUrl":4576,"material":184,"size":4577,"collection":184,"collections":4578,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":94},223174,"geng-zhi-tu-ce-jiao-bing-zhen-223174","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[102,24,60,377,140,139,86,2281,4573,7,32,34,2280,1527,4574,4575],"田埂","农耕","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf0903dbb43da13b65095d4d0ad615c.jpg","34.7cm×27.7cm",[],{"id":4580,"slug":4581,"title":4582,"dynasty":154,"author":4583,"museum":2003,"description":4584,"tags":4585,"thumbUrl":4586,"material":4587,"size":4588,"collection":184,"collections":4589,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":184},220745,"shan-shui-ji-2-wang-shi-min-weng-ling-wu-hong-deng-220745","山水集2","王時敏,翁陵,吳宏等","此作用笔苍润古拙，以干笔淡墨晕开冬日山林。远山以披麻皴写就，苔点错落晕出山峦肌理，层叠间藏着云霭轻烟，丘壑深幽。近岸林木扶苏，苍松劲挺，朴拙村居隐在林泉之间，水湾田埂蜿蜒，将山居烟火揉进清寂山水里。\n\n整幅画带着沉静的书卷气，萧散简远似元人笔意，把林泉高致的隐逸情怀融在水墨晕染中。观之如临山隅，似能听见风穿松叶，静看炊烟漫过梢头，将山野的幽澹之美缓缓铺陈，尽显平和温润的文人意趣。",[24,61,27,29,32,195,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d005a97c210d78b089596d1c77312e.jpg","水墨,紙本,冊","各約22 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14.2厘米",[],{"id":4591,"slug":4592,"title":4593,"dynasty":154,"author":666,"museum":500,"description":4594,"tags":4595,"thumbUrl":4597,"material":469,"size":184,"collection":184,"collections":4598,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":94},216241,"shi-quan-tu-ce-3-yi-ming-216241","十犬图册-3","此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。画法工整，具有一定的程式。对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[23,24,60,377,140,139,4596,991,32,161,717,7],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1b5553a0dc5a3b64847b7c48e378c0.jpg",[],{"id":4600,"slug":4601,"title":4602,"dynasty":2887,"author":3189,"museum":118,"description":4603,"tags":4604,"thumbUrl":4606,"material":184,"size":184,"collection":184,"collections":4607,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":4608},203110,"cao-tang-xian-ju-tu-zhou-pu-ru-203110","草堂闲居图轴","画面以淡设色铺陈山水，松竹苍秀，溪流绕石潺潺，小桥横卧其上，草堂隐于林麓之侧，屋内人影悠然，尽显幽居闲致。笔墨清逸雅致，山石以皴法勾勒肌理，树木枝干挺劲，叶色点染细腻，远山轻描如烟霭，近景浓淡相宜。整体意境静谧悠远，藏文人雅士寄情林泉的淡泊心境，尽展传统山水的诗意格调与笔墨韵味。",[24,29,139,27,466,4605,7,34,26,302],"松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca64ace45b822e0e091150299008d413.jpg",[],"d2c0a2",{"id":4610,"slug":4611,"title":656,"dynasty":154,"author":175,"museum":118,"description":4612,"tags":4613,"thumbUrl":4615,"material":184,"size":184,"collection":48,"collections":4616,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":3327},203095,"fang-gu-shan-shui-ce-wang-shi-min-203095","山峦层叠起伏，林木疏密有致，墨色的浓淡干湿交织出悠远的山水意境。山石以披麻皴勾勒，笔触温润苍劲，尽显古雅醇厚之态。溪流蜿蜒穿林，亭舍隐于幽径旁，似藏文人逸趣，氛围清幽淡远。画作承宋元山水遗风，仿古而不泥古，笔墨凝练，气韵生动，尽显文人山水的雅致情韵。",[29,27,61,377,83,30,443,7,4614,23],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22262f8bcec7312455b25f9b76327492.jpg",[48],{"id":4618,"slug":4619,"title":4620,"dynasty":154,"author":4621,"museum":118,"description":4622,"tags":4623,"thumbUrl":4624,"material":184,"size":184,"collection":184,"collections":4625,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":4626},202254,"fang-ju-ran-xi-shan-wu-jin-tu-zhou-yun-shou-ping-202254","仿巨然溪山无尽图轴","恽寿平","画面中山峦层叠，皴染相济，笔墨苍润间透着清逸之韵。溪流蜿蜒穿林，绕石而过，孤舟一叶泛于碧波，似载着烟水间的闲逸。树木疏密错落，或挺拔或虬曲，与淡墨晕染的山石相映成趣。虽为临摹巨然，却融入自身清雅意趣，苍莽山水间见空灵，尽显江南溪山的悠远意境，笔墨流淌着文人画的恬淡情致。",[24,29,83,27,103,61,26,32,7,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febfef7e2f9f3b347680fc8a562c17529.jpg",[],"9f8c7a",{"id":4628,"slug":4629,"title":4630,"dynasty":154,"author":4631,"museum":118,"description":4632,"tags":4633,"thumbUrl":4635,"material":184,"size":184,"collection":48,"collections":4636,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":4637},201654,"xian-ju-piao-miao-tu-zhou-cha-shi-biao-201654","仙居飘渺图轴","查士標","层岩对峙间，云雾轻笼，溪流穿涧而下，几株古松倚石而立，枝叶疏朗。山石以淡墨皴擦，线条简劲，肌理分明；树木勾勒点染，苍劲中见清逸。远处峰峦隐现于烟霭，近处亭桥依稀，似有隐者居停，却又淡然无痕，恰合缥缈之韵。笔墨清润疏淡，意境空灵悠远，于简淡中藏深致，将山水之幽寂与超尘之趣融于一纸，引人入胜。",[24,29,61,27,26,355,7,30,105,4634,23],"空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ba2ddb32cc3a38934fd3375af6a07c5.jpg",[48],"baaa92",{"id":4639,"slug":4640,"title":4641,"dynasty":133,"author":511,"museum":118,"description":4642,"tags":4643,"thumbUrl":4645,"material":184,"size":184,"collection":48,"collections":4646,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":4647},201476,"xing-hua-xian-guan-tu-zhou-tang-yin-201476","杏花仙馆图轴","苍崖壁立如削，古松盘曲于岩间，枝干虬劲，松针若簇。溪流穿石而过，潺潺有声，近岸茅舍几间，隐于林木。笔墨兼工带写，山石勾勒简练，皴染相济，显嶙峋之态；松枝用笔细劲，墨色浓淡相宜。小径上二人对语，情态悠然，衬出山林的清寂雅逸。画面融院体之精谨与文人之洒脱，意境淡远，尽显山水间寄寓的超脱情怀。",[302,798,27,29,742,2267,7,847,86,26,4644,23],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7c06352007ce7d383be6e8cec1bc79.jpg",[48],"85654b",{"id":4649,"slug":4650,"title":4651,"dynasty":154,"author":1203,"museum":118,"description":4652,"tags":4653,"thumbUrl":4654,"material":184,"size":184,"collection":48,"collections":4655,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":4656},201471,"shou-xu-qing-yu-shan-shui-tu-zhou-wu-li-201471","寿许青屿山水图轴","近景山石以繁密皴法勾勒，纹理苍劲，林木葱郁间藏亭台一角，溪流绕石潺潺，生机流动；中景湖面留白开阔，似笼轻烟，与远处淡染的山峦相映，层次悠远。笔墨融宋元技法，设色清雅温润，苍石、茂林、静亭与空濛水面交织，意境幽远恬淡，既显文人山水的雅致韵致，亦蕴祝寿之诚挚心意，于静谧中见生机，于悠远中藏温情。",[24,60,26,139,29,105,27,7,32,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04bd7963eba3c377ace2b2190b096b5.jpg",[48],"b7afa6",{"id":4658,"slug":4659,"title":4660,"dynasty":133,"author":327,"museum":118,"description":4661,"tags":4662,"thumbUrl":4663,"material":184,"size":184,"collection":48,"collections":4664,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":4665},201394,"yun-ji-ting-zhou-tu-zhou-shen-zhou-201394","云际停舟图轴","层岩叠嶂间云雾轻笼，林木葱茏处亭台隐现，山间溪流蜿蜒穿石，近岸古松虬枝横斜，苍劲中透着秀逸。一叶扁舟静泊水畔，似载旅人凝思远眺，天地间满是幽寂清旷之韵。笔墨上以皴法写山石肌理，线条沉稳，设色淡雅温润，既摹自然野趣，又融文人幽居之思，于苍莽中见细腻，尽显明代文人山水的雅致情致。",[24,29,139,27,103,742,256,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddc741d3164ef50fabc75bab817c2fa.jpg",[48],"7c6750",{"id":4667,"slug":4668,"title":3535,"dynasty":154,"author":2584,"museum":405,"description":4528,"tags":4669,"thumbUrl":4670,"material":1646,"size":1647,"collection":184,"collections":4671,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时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,60,61,27,377,29,32,30,64,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e6a3a64b12c015bae5f53cd2979965.jpg",[],{"id":4732,"slug":4733,"title":4734,"dynasty":154,"author":4735,"museum":176,"description":4736,"tags":4737,"thumbUrl":4738,"material":165,"size":4739,"collection":184,"collections":4740,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":94},233814,"shan-shui-ce-3-fu-shan-233814","山水册3","傅山","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,60,377,61,139,29,27,32,306,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa817d033cc6da595ad8e3876f794a281.jpg","纵36.5厘米，横37厘米",[],{"id":4742,"slug":4743,"title":4744,"dynasty":154,"author":4745,"museum":118,"description":4746,"tags":4747,"thumbUrl":4748,"material":184,"size":184,"collection":48,"collections":4749,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":4750},203453,"shao-ling-shi-yi-tu-ce-gu-fu-zhen-203453","少陵诗意图册","顾符稹","画面以水墨为底，皴擦与晕染交织，山峦在云雾中浮沉。近处林木苍劲，亭阁隐于浓荫，小径蜿蜒通幽；远处峰峦层叠，烟霭缭绕，留白处尽现空濛之韵。笔墨灵动，既勾勒山石的嶙峋，又晕染云雾的轻柔，恰将少陵诗中江山迷蒙的意境凝于尺幅。文人画的雅致与诗意的悠远相融，每一处笔触都藏着对诗境的解读，让山水不仅是景，更是情与韵的载体。",[23,24,60,377,61,29,30,35,141,32,7,27,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265343004079023f189a901974de33a5.jpg",[48],"c8b5aa",{"id":4752,"slug":4753,"title":900,"dynasty":2887,"author":4754,"museum":118,"description":4755,"tags":4756,"thumbUrl":4757,"material":184,"size":184,"collection":184,"collections":4758,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":4759},202741,"shan-shui-zhou-wang-tong-yu-202741","王同愈","画面层峦叠嶂，云雾如缕轻笼峰谷，山石以灵动皴法勾勒，线条刚柔相济，纹理毕现；林木错落，枯枝与苍松相映成趣，姿态万千；溪流蜿蜒穿石而过，似携潺潺水声。笔墨淡雅却意蕴深厚，将自然山水的静谧与文人画的雅致融于一体，营造出清幽旷远的意境，引人驻足其间，感受山林之趣。",[24,61,29,27,30,32,7,35,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a4f31dd3982361ea3f6e2682f82ad4.jpg",[],"c7c4b7",{"id":4761,"slug":4762,"title":1181,"dynasty":154,"author":4763,"museum":118,"description":4764,"tags":4765,"thumbUrl":4766,"material":184,"size":184,"collection":184,"collections":4767,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":4768},202710,"qiu-shan-tu-zhou-jiang-zhi-jun-202710","蒋之均","秋山凝翠转苍，笔墨苍劲中见秀润。近处溪石嶙峋，流水蜿蜒穿隙；中景茅舍掩映于疏林之间，静谧无喧；远处峰峦叠嶂，皴法细密，纹理毕现。树木枝桠舒展，或浓荫或疏落，尽显秋意萧疏。画面构图层次分明，远近相映成趣，意境清旷悠远，传递出秋日山居的恬淡之趣。笔墨运用娴熟，山石皴擦结合，线条刚柔相济，树木点染有致，于简淡中见深致，尽显清代山水画的雅致风貌。",[24,29,26,27,30,7,32,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a501a014880d57263386274e9035ac.jpg",[],"b99582",{"id":4770,"slug":4771,"title":4772,"dynasty":154,"author":4773,"museum":118,"description":4774,"tags":4775,"thumbUrl":4776,"material":184,"size":184,"collection":184,"collections":4777,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":4778},202539,"lin-li-zhu-nen-shan-shui-zhou-gao-yong-202539","临李竹嫩山水轴","高邕","此作笔墨苍劲，山峦以流畅皴线勾勒，叠嶂起伏间尽显雄浑气势。山间林木错落，墨色浓淡相宜，枝叶疏密有致，生机暗藏。掩映于树丛间的亭台质朴雅致，与自然山水浑然一体。山间溪流蜿蜒，虽未着多色，却似有声韵流淌。整幅画作既得原作神韵，又融入自身笔意，尽显传统山水画的意境之美，观之如入清幽之境，心神俱宁。",[24,29,83,27,105,32,7,61,4476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fdaa3011c7d1f3ab5f9ed88a0b10a4.jpg",[],"aca39b",{"id":4780,"slug":4781,"title":4782,"dynasty":133,"author":4783,"museum":118,"description":4784,"tags":4785,"thumbUrl":4786,"material":184,"size":184,"collection":184,"collections":4787,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":4788},202482,"duan-ya-zhong-cui-tu-zhou-chen-guan-202482","断崖重翠图轴","陈祼","断崖峭壁间，翠色层层叠叠，草木葱茏欲滴。山间溪流蜿蜒，或隐于林麓，或泻于岩隙，水声似可闻。近处松下，雅士对坐清谈，尽显幽居之趣。笔墨技法上，山石以皴擦结合，线条劲挺灵动；树木用点染法，枝叶繁茂层次分明。淡设色晕染自然，水墨清雅中添山林生机。整体意境清幽深远，传递出人与自然相融的静谧之美，尽显文人画的逸致与风骨。",[24,29,26,139,27,32,30,7,86,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7e8d27542676d5893cb49f3eb1149a.jpg",[],"c2b3a6",{"id":4790,"slug":4791,"title":4792,"dynasty":154,"author":4793,"museum":118,"description":4794,"tags":4795,"thumbUrl":4797,"material":184,"size":184,"collection":184,"collections":4798,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":4799},202429,"zhong-kui-tu-zhou-fei-dan-xu-202429","钟馗图轴","费丹旭","画面中钟馗衣袂宽博，神态沉稳从容，随侍童子抱物紧随，恭谨之态毕现。背景枯木疏朗，枝干虬劲，溪流潺潺绕石而过，山石错落，清寂悠远的氛围扑面而来。画家以流畅细腻的线条勾勒人物衣纹与景物轮廓，设色淡雅温润；人物刻画既保留钟馗的威严气度，又褪去传统形象的凶戾，添了几分文人式的温厚秀逸。笔墨间尽显清隽雅致之韵，将钟馗形象赋予新的文人审美意趣，为清代人物画中兼具传统意蕴与个性表达的佳作。",[140,139,86,594,7,30,799,1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传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[23,24,60,377,61,139,29,27,30,32,35,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c16628a71a3ce28f5931e147056363.jpg",[],{"id":5206,"slug":5207,"title":5208,"dynasty":154,"author":666,"museum":405,"description":5209,"tags":5210,"thumbUrl":5211,"material":89,"size":184,"collection":184,"collections":5212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},215577,"tian-xia-ming-shan-tu-43-yi-ming-215577","天下名山图-43","层峦叠嶂间，云雾似轻纱漫卷，隐现峰脊的朦胧轮廓。线条以枯润相济之笔勾勒山石肌理，疏密交错铺陈远近层次——近山皴法细密，显嶙峋质感；远山淡墨轻描，融于烟霭。溪涧蜿蜒穿谷，潺潺水声似在耳畔，岸边古木虬枝舒展，枝叶以点染之法晕开，与山石刚劲形成柔化对比。画面无艳色，却以墨色浓淡、线条虚实，晕染出山水的空灵静谧，仿佛置身烟霞深处，听风过林梢，观云卷云舒，尽得传统山水“以形写神”的韵致，将自然清幽与文人逸趣融于尺幅之间。",[24,60,377,342,27,29,270,271,32,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F106674d8fb39a71b15171189f61e4da4.jpg",[],{"id":5214,"slug":5215,"title":5216,"dynasty":154,"author":666,"museum":405,"description":5217,"tags":5218,"thumbUrl":5219,"material":89,"size":184,"collection":184,"collections":5220,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},215566,"tian-xia-ming-shan-tu-60-yi-ming-215566","天下名山图-60","峰峦嵯峨，以劲挺线条勾勒嶙峋骨相，或拔地耸峙，或错落相依。山间溪流蜿蜒穿石，石矶横陈，水波以细劲笔触摹写，清冽之态毕现。林木疏朗，枝桠扶疏，岩畔树间隐现茅舍，似藏幽人逸趣。构图开合有致，远近层次分明，笔墨简而意足。留白处含烟云之韵，勾勒间见丘壑之奇，于方寸间尽显山水清幽旷远。仿佛可闻林泉漱石之声，窥见隐者抱膝之居，尽显传统山水雅韵，藏纳自然与人文交融的静谧之美。",[102,24,60,377,342,29,30,32,7,64,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2114518a42d45b973aa01b136bf1e62b.jpg",[],{"id":5222,"slug":5223,"title":5224,"dynasty":154,"author":666,"museum":405,"description":5225,"tags":5226,"thumbUrl":5227,"material":89,"size":184,"collection":184,"collections":5228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":94},215557,"tian-xia-ming-shan-tu-64-yi-ming-215557","天下名山图-64","线条婉转勾勒层峦叠嶂，山岩肌理若隐若现，松影婆娑于峰侧，添几分清逸。林麓间茅舍隐现，似藏幽人逸趣；下方水色空濛，或为溪流或平湖，映带山林，更显静谧。整幅图景以简淡之笔写山水真意，无浓墨重彩却见丘壑深致，流露着文人山水的清雅与隐逸之思，仿佛可闻林间风吟、涧水潺湲，引人入这一方悠然天地。",[24,60,377,342,27,29,228,30,7,32,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dc816dc6edde9e138fae4d59f6bddf.jpg",[],{"id":5230,"slug":5231,"title":373,"dynasty":154,"author":4621,"museum":118,"description":5232,"tags":5233,"thumbUrl":5234,"material":184,"size":184,"collection":48,"collections":5235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":5236},203059,"shan-shui-tu-ce-yun-shou-ping-203059","这幅山水图册页笔墨清润秀逸，山峦叠嶂间以浅淡皴染勾勒，林木扶疏，茅舍错落溪边，溪流潺潺绕石而过，意境空灵悠远。题跋行书笔势流畅，与画面浑然一体，文气盎然。观者仿佛步入幽林深处，听泉观山，心随境宁，尽显文人山水的雅致与淡然。",[29,377,61,27,443,121,7,84,122,139,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff491261e35c367030ff47d3d9e690073.jpg",[48],"d9bc99",{"id":5238,"slug":5239,"title":5240,"dynasty":154,"author":676,"museum":118,"description":5241,"tags":5242,"thumbUrl":5243,"material":184,"size":184,"collection":184,"collections":5244,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":5245},202510,"fang-huang-gong-wang-yun-shan-tu-zhou-wang-hui-202510","仿黄公望云山图轴","画面中山峦起伏，云雾轻笼，似隐似现间透着空灵。树木或苍劲或秀逸，错落于坡岸溪旁，溪流蜿蜒穿林而过，漾起清浅诗意。笔墨上，皴染相济，山石以披麻皴写就，纹理细腻；云雾用淡墨晕染，虚实相生。既得黄公望萧散简远之韵，又融自身秀逸灵动之姿，将江南山水的静谧悠远凝于尺幅，尽显文人画的笔墨情致。",[24,29,61,27,83,35,64,32,7,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91048a90fbeca6551bc87900bfc94a8.jpg",[],"bdb8b2",{"id":5247,"slug":5248,"title":5249,"dynasty":154,"author":3376,"museum":118,"description":5250,"tags":5251,"thumbUrl":5252,"material":184,"size":184,"collection":184,"collections":5253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":5254},202490,"fang-ni-yun-lin-lao-shu-yuan-shan-tu-zhou-wang-jian-202490","仿倪云林老树远山图轴","这幅画作追摹倪云林笔意，画面清冷萧疏：几株老树虬枝疏朗，枯藤悬垂，树下溪流萦回，山石错落；远处山峦淡远，以简淡墨色晕染，尽显空濛之致。王鉴以精湛笔墨诠释云林神韵，线条简劲利落，山石用折带皴勾勒，墨色层次清雅，构图空灵留白，既保留倪氏“逸笔草草”的疏旷，又融入自身温润厚重的笔意。整幅画清幽淡远，意境悠远，是清代摹古山水的典范之作，展现了对元人山水精神的深刻把握与艺术传承。",[29,213,214,196,7,812,61,27,83,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b80f8c7e10579159af44b83bd437b8d.jpg",[],"c4b9af",{"id":5256,"slug":5257,"title":5258,"dynasty":154,"author":1561,"museum":118,"description":5259,"tags":5260,"thumbUrl":5262,"material":184,"size":184,"collection":184,"collections":5263,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":5264},202379,"wan-mu-qi-feng-tu-zhou-zhang-zong-cang-202379","万木奇峰图轴","奇峰突兀，层峦叠翠间云雾缥缈，似将天地连缀。山麓万木扶疏，枝干苍劲，与嶙峋怪石交织成趣。林间小径隐现，溪流潺潺，漾起清寂之韵。笔墨以干笔皴擦写山石肌理，墨色浓淡相济晕染林木层次，意境幽远，尽显山水画的雄浑雅致与自然生机。",[29,61,27,3389,5261,7,198,30,23],"万木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28d2996b3fee401aaf2863470a8d961.jpg",[],"b0a393",{"id":5266,"slug":5267,"title":5268,"dynasty":154,"author":676,"museum":118,"description":5269,"tags":5270,"thumbUrl":5271,"material":184,"size":184,"collection":184,"collections":5272,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":4113},202250,"han-lin-ya-qu-tu-juan-wang-hui-202250","寒林雅趣图卷","画面以水墨铺陈，寒林枝干遒劲，或挺或虬，笔墨间透出苍劲古拙之态。远山层峦叠嶂，淡墨皴擦晕染出朦胧韵致；近景山石纹理清晰，溪流蜿蜒穿林而过。飞鸟成阵掠过天际，为静谧的寒林添几分灵动。构图疏密相宜，笔墨融宋元诸家之长，既显传统功底，又含自然生趣，尽显山水雅韵。",[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