[{"data":1,"prerenderedAt":1387},["ShallowReactive",2],{"subject-xiao-chuan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},490,"xiao-chuan","小船","小船画高清赏析","精选中国历代小船题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c00715b1dcc91c917d1b331827c42b8.jpg",0,117,[14,49,76,95,115,133,153,172,192,204,218,231,243,257,269,281,292,303,316,329,358,369,382,395,407,419,434,444,469,480,493,505,518,530,540,554,565,575,587,601,613,624,634,646,660,671,683,694,709,719,729,739,749,760,773,783,794,804,813,823,832,846,856,866,874,883,892,900,910,923,936,949,963,972,984,995,1004,1014,1024,1042,1051,1057,1066,1075,1084,1093,1102,1112,1121,1129,1139,1149,1157,1166,1174,1184,1191,1200,1208,1217,1227,1236,1245,1253,1262,1272,1283,1294,1305,1315,1326,1333,1344,1352,1361,1367,1378],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":46,"zanCount":47,"manualWeight":11,"mainColor":48},221381,"qian-li-jiang-shan-tu-juan-wang-xi-meng-221381","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35,36,37,38],"高清","国画","书画","长卷","青绿","设色","工笔","山水","山峰","河流","湖泊","树木","房屋","桥梁","云雾","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","宋画精选",[42,44,45],"人物画精选","设色画精选",22979,181,"795548",{"id":50,"slug":51,"title":52,"dynasty":53,"author":54,"museum":55,"description":56,"tags":57,"thumbUrl":68,"material":69,"size":70,"collection":71,"collections":72,"showCount":73,"zanCount":74,"manualWeight":11,"mainColor":75},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","元","吴镇","上海博物馆","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[23,58,24,25,26,59,60,61,62,63,64,34,65,32,7,66,67],"名画","水墨","山水画","皴法","孤舟","蓑笠","渔乐","山峦","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","纸本,水墨","33x651.6","山水画精选",[71],887,6,"BDBDBD",{"id":77,"slug":78,"title":79,"dynasty":53,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":90,"material":91,"size":91,"collection":91,"collections":92,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":75},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","赵孟頫","藏地不详","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,26,28,59,61,67,66,84,30,85,86,35,32,7,87,88,89],"书法","山","树","芦苇","村落","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg","",[],666,12,{"id":96,"slug":97,"title":98,"dynasty":18,"author":99,"museum":100,"description":101,"tags":102,"thumbUrl":109,"material":110,"size":111,"collection":42,"collections":112,"showCount":113,"zanCount":114,"manualWeight":11,"mainColor":48},218917,"guan-pu-tu-xia-gui-218917","观瀑图","夏圭","台北故宫博物院","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,59,28,103,61,30,104,105,7,106,107,108],"扇面","松树","瀑布","山石","亭","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","绢本,设色","24.7x25.7",[42],180,2,{"id":116,"slug":117,"title":118,"dynasty":119,"author":120,"museum":100,"description":121,"tags":122,"thumbUrl":130,"material":91,"size":91,"collection":91,"collections":131,"showCount":132,"zanCount":114,"manualWeight":11,"mainColor":48},226697,"jiang-xing-chu-xue-tu-quan-juan-zhao-gan-226697","江行初雪图全卷","五代十国","赵干","《江行初雪图》是五代时期画家赵干创作的一幅绢本水墨设色画作，现收藏于台北故宫博物院。\n《江行初雪图》全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,58,24,25,26,28,29,123,124,87,62,63,108,125,126,127,128,64,7,129],"江岸","枯树","人物","寒林","沙洲","初雪","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea9bf6aaac2d8f3ea6e83d5b869ee5c.jpg",[],179,{"id":134,"slug":135,"title":136,"dynasty":137,"author":138,"museum":139,"description":140,"tags":141,"thumbUrl":147,"material":148,"size":149,"collection":71,"collections":150,"showCount":151,"zanCount":152,"manualWeight":11,"mainColor":48},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","明","佚名","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[58,24,25,26,30,59,61,142,104,62,143,144,145,34,7,146,37],"临摹","远山","近水","峭壁","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","纸本,设色","27.8x96cm",[71],175,1,{"id":154,"slug":155,"title":156,"dynasty":18,"author":157,"museum":158,"description":159,"tags":160,"thumbUrl":167,"material":40,"size":168,"collection":169,"collections":170,"showCount":171,"zanCount":152,"manualWeight":11,"mainColor":75},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","美国波士顿博物馆","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,58,24,25,26,30,59,28,61,161,34,162,7,163,143,164,107,165,166],"淡墨","湖水","岸堤","草木","湖岸","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","纵19.1厘米，横161.3厘米","书法精选",[169],139,{"id":173,"slug":174,"title":175,"dynasty":176,"author":177,"museum":178,"description":179,"tags":180,"thumbUrl":187,"material":188,"size":189,"collection":71,"collections":190,"showCount":191,"zanCount":114,"manualWeight":11,"mainColor":75},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","清","恽寿平","日本京都国立博物馆","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,28,59,26,30,181,65,37,34,7,182,108,183,61,87,127,143,184,185,104,166,186],"夕阳","茅屋","飞鸟","近景","柳树","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 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横115.9厘米",[71,45],76,{"id":270,"slug":271,"title":272,"dynasty":53,"author":273,"museum":20,"description":274,"tags":275,"thumbUrl":276,"material":277,"size":278,"collection":91,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":75},233825,"xi-jiao-cao-tang-tu-zhou-wang-meng-233825","西郊草堂图轴","王蒙","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,25,250,59,28,61,30,182,34,106,108,7,125,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06eebb0aebdc366ff00a27db47c4ad97.jpg","纸本","纵97cm ，横27.2cm",[],66,{"id":282,"slug":283,"title":284,"dynasty":18,"author":285,"museum":81,"description":286,"tags":287,"thumbUrl":289,"material":91,"size":91,"collection":91,"collections":290,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":256},226544,"gui-zhao-tu-zhou-jing-hao-226544","归棹图轴","荆浩","五代十国时，虽然国家四分五裂战乱连年，南唐都城所在地却相对平稳，于是有了书画艺术的一个发展高峰期。特别是中国山水画发展的重要时期，一些画家在唐代以青绿或水墨青绿在屏障上挥写大山大水或松石林木的基础上，深入大自然中进行创作。五代时中国水墨山水画趋于成熟，以以荆浩、关仝为代表的北方画家和以董源、巨然为代表的南方画家创立了真实生动的雄伟北方峻岭和秀丽江南山川两大山水画体系，世称“荆、关、董、巨”。这里介绍荆浩绘画作品。",[23,58,24,25,250,59,61,30,62,108,107,183,34,125,143,288,7],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99961b5d997a891ba19d41dce3890d15.jpg",[],63,{"id":293,"slug":294,"title":295,"dynasty":176,"author":296,"museum":81,"description":297,"tags":298,"thumbUrl":300,"material":91,"size":91,"collection":71,"collections":301,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":75},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,25,26,59,142,61,30,251,108,62,107,299,106,125,104,185,35,7,143,239],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[71],58,{"id":304,"slug":305,"title":306,"dynasty":137,"author":307,"museum":20,"description":308,"tags":309,"thumbUrl":311,"material":312,"size":313,"collection":169,"collections":314,"showCount":315,"zanCount":11,"manualWeight":11,"mainColor":75},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","董其昌","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[24,25,250,59,61,58,30,85,86,35,32,7,310,104],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg","纸本，墨笔","纵101.5厘米，横46.3厘米",[169],52,{"id":317,"slug":318,"title":319,"dynasty":137,"author":320,"museum":20,"description":321,"tags":322,"thumbUrl":324,"material":325,"size":326,"collection":91,"collections":327,"showCount":328,"zanCount":11,"manualWeight":11,"mainColor":75},234971,"yun-shan-tu-zhou-shen-zhou-234971","云山图轴","沈周","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,250,59,30,61,85,323,34,107,32,7],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63fbcf4ecea4aec65a5d0eb188770189.jpg","纸本 ，局部淡设色","纵155.2cm，横73cm",[],50,{"id":330,"slug":331,"title":332,"dynasty":137,"author":333,"museum":100,"description":334,"tags":335,"thumbUrl":352,"material":353,"size":354,"collection":71,"collections":355,"showCount":357,"zanCount":152,"manualWeight":11,"mainColor":48},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,28,30,29,62,64,336,337,143,37,108,213,86,338,87,7,339,124,340,341,342,186,343,344,288,345,346,347,348,164,349,350,351],"竹","渔夫","草","岸石","汀渚","渔人","舟楫","浅滩","丛竹","远岫","霭气","水域","坡岸","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[71,356],"水墨画精选",48,{"id":359,"slug":360,"title":361,"dynasty":18,"author":138,"museum":55,"description":362,"tags":363,"thumbUrl":366,"material":110,"size":367,"collection":71,"collections":368,"showCount":357,"zanCount":152,"manualWeight":11,"mainColor":256},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[23,24,25,26,30,59,61,28,85,34,32,7,364,365,37,143],"建筑","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[71],{"id":370,"slug":371,"title":372,"dynasty":176,"author":373,"museum":20,"description":374,"tags":375,"thumbUrl":379,"material":110,"size":380,"collection":71,"collections":381,"showCount":357,"zanCount":152,"manualWeight":11,"mainColor":48},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","袁耀","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,28,376,29,30,85,104,377,378,7,37,34,107],"界画","楼阁","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[71],{"id":383,"slug":384,"title":385,"dynasty":137,"author":386,"museum":387,"description":388,"tags":389,"thumbUrl":391,"material":69,"size":392,"collection":71,"collections":393,"showCount":394,"zanCount":11,"manualWeight":11,"mainColor":75},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","唐寅","大英博物馆","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,26,59,28,30,390,34,35,7,143,61,66,67],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[71],47,{"id":396,"slug":397,"title":398,"dynasty":176,"author":399,"museum":20,"description":400,"tags":401,"thumbUrl":403,"material":91,"size":404,"collection":71,"collections":405,"showCount":406,"zanCount":152,"manualWeight":11,"mainColor":48},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","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。",[23,58,24,25,26,28,61,30,85,212,37,34,35,7,402],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[71,45],42,{"id":408,"slug":409,"title":410,"dynasty":137,"author":411,"museum":81,"description":412,"tags":413,"thumbUrl":415,"material":416,"size":417,"collection":91,"collections":418,"showCount":406,"zanCount":11,"manualWeight":11,"mainColor":48},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴","仇英","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,58,24,25,250,29,28,27,125,30,414,7,185],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg","未知","Xcm*Xcm",[],{"id":420,"slug":421,"title":422,"dynasty":137,"author":423,"museum":387,"description":424,"tags":425,"thumbUrl":430,"material":110,"size":431,"collection":44,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":48},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,25,59,61,28,30,108,62,426,125,299,64,7,427,428,339,34,342,341,429],"渔父","枯藤","溪谷","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[44,71],41,{"id":435,"slug":436,"title":437,"dynasty":137,"author":438,"museum":55,"description":439,"tags":440,"thumbUrl":441,"material":148,"size":442,"collection":91,"collections":443,"showCount":433,"zanCount":114,"manualWeight":11,"mainColor":75},214669,"san-jue-tu-5-yao-shou-214669","三绝图-5","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。",[24,25,28,30,61,238,85,86,35,7,108,125,67,299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623804a452b8a760df0fe03f12280c68.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":445,"slug":446,"title":447,"dynasty":448,"author":449,"museum":81,"description":450,"tags":451,"thumbUrl":465,"material":416,"size":417,"collection":466,"collections":467,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":48},226041,"sunset-on-the-seine-winter-effect-1880-mo-nai-226041","Sunset on the Seine, Winter Effect, 1880","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[452,453,181,32,454,7,124,455,456,457,458,459,34,347,460,461,462,463,38,464],"印象派","油画","水面倒影","雾气","岸边","冬日","天空","波光","光影捕捉","笔触灵动","色彩晕染","冬日景象","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg","油画精选",[466],40,{"id":470,"slug":471,"title":472,"dynasty":137,"author":138,"museum":387,"description":473,"tags":474,"thumbUrl":478,"material":148,"size":91,"collection":91,"collections":479,"showCount":468,"zanCount":152,"manualWeight":11,"mainColor":75},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,59,238,61,30,62,34,475,65,107,378,345,476,7,348,477],"山崖","松","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":176,"author":484,"museum":81,"description":485,"tags":486,"thumbUrl":490,"material":91,"size":91,"collection":91,"collections":491,"showCount":492,"zanCount":11,"manualWeight":11,"mainColor":75},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","王翚","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,25,26,28,61,30,85,212,86,124,487,7,107,488,183,105,37,106,489],"舟","屋舍","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],38,{"id":494,"slug":495,"title":496,"dynasty":448,"author":497,"museum":81,"description":498,"tags":499,"thumbUrl":502,"material":416,"size":417,"collection":466,"collections":503,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":48},225734,"de-aflader-in-arles-fan-gao-225734","De aflader in Arles","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。",[453,500,181,32,7,125,501],"后印象派","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc05bc40c64fbdae3b6f88794c13f1fd.jpg",[466],37,{"id":506,"slug":507,"title":508,"dynasty":137,"author":411,"museum":509,"description":510,"tags":511,"thumbUrl":514,"material":515,"size":516,"collection":91,"collections":517,"showCount":504,"zanCount":11,"manualWeight":11,"mainColor":48},222212,"yu-di-tu-chou-ying-222212","渔笛图","美国纳尔逊阿特金斯艺术博物馆","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,29,28,30,34,35,62,64,108,125,512,7,61,143,513],"岩石","岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":519,"slug":520,"title":521,"dynasty":53,"author":522,"museum":100,"description":523,"tags":524,"thumbUrl":526,"material":28,"size":527,"collection":71,"collections":528,"showCount":529,"zanCount":114,"manualWeight":11,"mainColor":48},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","赵雍","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,24,60,58,250,61,28,30,62,34,106,108,35,104,7,65,339,525],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 107公分",[71,356],36,{"id":531,"slug":532,"title":533,"dynasty":18,"author":99,"museum":81,"description":534,"tags":535,"thumbUrl":537,"material":91,"size":91,"collection":91,"collections":538,"showCount":539,"zanCount":152,"manualWeight":11,"mainColor":48},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[58,24,25,26,59,61,30,31,32,34,62,7,536,512,38],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],35,{"id":541,"slug":542,"title":543,"dynasty":18,"author":544,"museum":81,"description":545,"tags":546,"thumbUrl":551,"material":91,"size":91,"collection":91,"collections":552,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":48},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）","许道宁","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,58,24,25,26,59,61,30,65,31,34,124,547,37,7,342,125,548,549,550],"江水","岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],34,{"id":555,"slug":556,"title":557,"dynasty":18,"author":558,"museum":81,"description":559,"tags":560,"thumbUrl":562,"material":91,"size":91,"collection":91,"collections":563,"showCount":564,"zanCount":11,"manualWeight":11,"mainColor":48},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页","李唐","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,59,28,61,561,30,105,106,34,107,32,143,288,7],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],33,{"id":566,"slug":567,"title":568,"dynasty":448,"author":497,"museum":81,"description":498,"tags":569,"thumbUrl":573,"material":416,"size":417,"collection":466,"collections":574,"showCount":564,"zanCount":11,"manualWeight":11,"mainColor":256},225725,"bridge-in-the-rain-after-hiroshige-october-november-fan-gao-225725","Bridge in the rain after Hiroshige (October - November )",[453,142,570,28,571,572,378,125,7,63],"浮世绘","桥","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F337d72a832471d826298eec3e42253f3.jpg",[466],{"id":576,"slug":577,"title":578,"dynasty":176,"author":579,"museum":223,"description":580,"tags":581,"thumbUrl":582,"material":583,"size":584,"collection":71,"collections":585,"showCount":586,"zanCount":11,"manualWeight":11,"mainColor":48},224334,"tang-jie-yuan-shi-yi-tu-yang-jin-224334","唐解元诗意图","杨晋","本幅平远构图，描绘了一幅江南山水的诗意画。画中农村景物写意，人物写真，花鸟草虫，夕阳芳草意境深远，远山起伏，湖光粼粼；山坡下竹篱茅舍；柳岸边微风摇曳，小舟上渔民捕鱼，乐而忘返；用笔以淡笔渴墨勾轮廓，稍作皴染；树叶以夹叶法绘制，虚实相间，自然天成。\n纵观全画是一幅恬静雅致、祥和安乐的江南水乡生活的再现，此为其难得佳作。",[23,24,26,28,29,61,30,32,7,34,35,251,143,37,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","绢本","35X195厘米",[71,45],32,{"id":588,"slug":589,"title":590,"dynasty":53,"author":591,"museum":100,"description":592,"tags":593,"thumbUrl":596,"material":597,"size":598,"collection":91,"collections":599,"showCount":600,"zanCount":114,"manualWeight":11,"mainColor":75},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[24,59,60,26,25,61,30,594,595,34,7,143,288,37,67],"孤石","沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],31,{"id":602,"slug":603,"title":604,"dynasty":137,"author":605,"museum":100,"description":606,"tags":607,"thumbUrl":610,"material":110,"size":91,"collection":71,"collections":611,"showCount":612,"zanCount":11,"manualWeight":11,"mainColor":75},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱谷","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,25,238,59,28,251,108,62,35,34,30,67,88,364,608,7,143,609],"河岸","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[71],29,{"id":614,"slug":615,"title":616,"dynasty":53,"author":617,"museum":100,"description":618,"tags":619,"thumbUrl":621,"material":110,"size":91,"collection":91,"collections":622,"showCount":623,"zanCount":11,"manualWeight":11,"mainColor":75},218829,"jiang-cun-huan-du-tu-zhu-de-run-218829","江村唤渡图","朱德润","纨扇间铺展的江村小景，似是元人袖中藏起的一段清寂时光。枯树以苍劲笔线勾勒，枝桠如蟹爪般遒劲，与岸边柔婉的垂柳相映成趣，刚柔之间晕开季节的况味。远山以淡墨轻染，隐于云雾之后，与近岸的村落、渡头形成虚实层次，水面留白似泛着轻烟，将天地空濛感拉得悠长。渡头人影虽小，却似携着一声唤渡轻响，打破山林静谧又让静意更显深沉。墨色浓淡相宜，绢本古雅质感衬得景致愈发悠远，笔意间藏着林泉之志的向往，将寻常渡头的片刻，凝成耐人寻味的水墨诗行。",[23,24,25,238,59,61,30,124,299,108,88,620,7],"渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754738568dfb446c4439248b95ec0a4d.jpg",[],27,{"id":625,"slug":626,"title":627,"dynasty":176,"author":628,"museum":81,"description":629,"tags":630,"thumbUrl":631,"material":416,"size":417,"collection":91,"collections":632,"showCount":633,"zanCount":152,"manualWeight":11,"mainColor":75},237648,"fang-zhao-da-nian-shan-shui-zhou-wu-li-237648","仿赵大年山水轴","吴历","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 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,25,250,28,30,142,62,299,35,34,608,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dec9a200d263bb4b383e2b08b8dd157.jpg",[],26,{"id":635,"slug":636,"title":637,"dynasty":18,"author":138,"museum":81,"description":638,"tags":639,"thumbUrl":643,"material":91,"size":91,"collection":91,"collections":644,"showCount":645,"zanCount":11,"manualWeight":11,"mainColor":75},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[58,24,25,103,28,29,125,185,640,641,7,642,212],"池塘","明月","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],23,{"id":647,"slug":648,"title":649,"dynasty":137,"author":650,"museum":651,"description":652,"tags":653,"thumbUrl":655,"material":656,"size":657,"collection":91,"collections":658,"showCount":659,"zanCount":11,"manualWeight":11,"mainColor":91},220737,"yan-jiang-die-zhang-tu-hua-xin-zuo-wen-bo-ren-220737","烟江叠嶂图画心左","文伯仁","香港中文大学文物馆","此作用平远之境铺展江天盛景，淡墨晕染烟波，留白尽显水汽氤氲。层叠峰峦以枯笔轻勾浅皴，苍秀松灵，在云雾中远近隐现，似随江雾漾动。汀渚沙洲错落其间，林木蓊郁，渔舟点点散于空茫江面，生机暗涌。\n\n画面虚实相生，将江南烟水的空濛柔婉尽数铺陈，把远眺江天的悠然意趣藏进疏密错落的景致里，以极简笔墨晕染出无尽悠远的水乡诗意，淡而弥远，尽显文人画清逸雅致的审美意趣，让观画者如临江岸，沉浸式触摸江南烟水的温润灵秀。",[23,24,25,26,59,61,30,65,34,7,547,37,654],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb26a5273e89c68c9cf3567f7ad1861.jpg","设色,纸本","25.6 × 360.8厘米",[],22,{"id":661,"slug":662,"title":663,"dynasty":448,"author":449,"museum":81,"description":450,"tags":664,"thumbUrl":668,"material":416,"size":417,"collection":466,"collections":669,"showCount":670,"zanCount":11,"manualWeight":11,"mainColor":75},226115,"the-seine-at-bougival-in-the-evening-1870-mo-nai-226115","The Seine at Bougival in the Evening, 1870",[453,452,460,32,665,7,364,34,666,454,667,462,461],"晚霞","草地","黄昏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce56a972635315838112f6d9f26c2f8d.jpg",[466],21,{"id":672,"slug":673,"title":674,"dynasty":176,"author":675,"museum":81,"description":676,"tags":677,"thumbUrl":681,"material":91,"size":91,"collection":91,"collections":682,"showCount":670,"zanCount":11,"manualWeight":11,"mainColor":48},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","吴昌硕","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,58,24,25,26,59,30,61,86,124,678,7,108,143,679,680],"石","竹子","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":684,"slug":685,"title":686,"dynasty":176,"author":687,"museum":81,"description":688,"tags":689,"thumbUrl":691,"material":416,"size":417,"collection":71,"collections":692,"showCount":693,"zanCount":11,"manualWeight":11,"mainColor":75},237389,"shan-shui-tu-ce-xue-xuan-237389","山水图册","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,28,238,30,85,212,86,7,185,65,348,690],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[71],19,{"id":695,"slug":696,"title":697,"dynasty":448,"author":449,"museum":81,"description":450,"tags":698,"thumbUrl":707,"material":416,"size":417,"collection":466,"collections":708,"showCount":693,"zanCount":11,"manualWeight":11,"mainColor":256},225954,"in-the-norve-gienne-1887-mo-nai-225954","In the Norvégienne, 1887",[452,453,699,462,125,700,701,702,7,378,703,704,705,706],"光影表现","女性","帽子","白裙","倒影","绿色植被","户外场景","自然光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ca7e1d0bffaa3b948a649c1ae03255.jpg",[466],{"id":710,"slug":711,"title":712,"dynasty":176,"author":138,"museum":81,"description":713,"tags":714,"thumbUrl":717,"material":91,"size":91,"collection":91,"collections":718,"showCount":693,"zanCount":11,"manualWeight":11,"mainColor":75},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。",[23,24,25,59,28,30,61,561,106,34,32,7,35,65,37,38,489,88,715,716],"峰岩","飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":720,"slug":721,"title":722,"dynasty":723,"author":724,"museum":81,"description":725,"tags":726,"thumbUrl":727,"material":69,"size":91,"collection":91,"collections":728,"showCount":693,"zanCount":11,"manualWeight":11,"mainColor":75},218169,"da-qian-kuang-tu-ce-9-zhang-da-qian-218169","大千狂涂册-9","民国","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,238,59,66,61,30,34,7,125,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc9e44d039f57472f130362d8701ab2.jpg",[],{"id":730,"slug":731,"title":732,"dynasty":176,"author":733,"museum":81,"description":734,"tags":735,"thumbUrl":736,"material":416,"size":417,"collection":91,"collections":737,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":75},235661,"shan-shui-ping-yuan-jiang-235661","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,376,29,28,30,377,34,32,7,125,107,185,143,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a984a5ebee0ef4d208db621d44f4f0.jpg",[],17,{"id":740,"slug":741,"title":742,"dynasty":18,"author":743,"museum":81,"description":744,"tags":745,"thumbUrl":746,"material":277,"size":747,"collection":91,"collections":748,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":48},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","赵构","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[23,58,24,25,250,59,61,30,62,64,34,143,378,337,32,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":750,"slug":751,"title":752,"dynasty":176,"author":753,"museum":651,"description":754,"tags":755,"thumbUrl":756,"material":757,"size":758,"collection":91,"collections":759,"showCount":738,"zanCount":11,"manualWeight":11,"mainColor":91},220731,"xun-qin-tu-4-huang-xiang-jian-220731","寻亲图4","黄向坚","此作用浅绛糅合青绿晕染山水，远景山峦以淡墨轻扫，烟岚浮动间尽显清旷辽远。中近景山石以披麻皴出质，敷色柔和雅致，苍松茂林重笔点染，郁郁苍苍。\n\n长卷铺陈开江南水乡泽国之景，汀洲错落，帆影浮沉于烟波间，板桥村居隐在林木深处，人物往来其间，将山川静穆与人间烟火相融。笔墨兼具元人山水的萧散意趣与吴门画派的雅致温润，未刻意渲染行旅艰涩，只把绵长意绪藏在山光水色里，整体清和淡远，缓缓铺展出江南温润诗意，在咫尺长卷晕染出悠远沉静的山水况味。",[24,25,26,28,30,34,32,7,251,143,239,107,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ef4d8c19a7a9454ed2cb6e14ceafe4.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[],{"id":761,"slug":762,"title":763,"dynasty":176,"author":764,"museum":81,"description":765,"tags":766,"thumbUrl":770,"material":91,"size":91,"collection":91,"collections":771,"showCount":772,"zanCount":11,"manualWeight":11,"mainColor":75},237771,"yuan-ji-shan-shui-tu-ce-shi-tao-237771","原济山水图册","石涛","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。",[24,59,28,238,61,30,62,124,108,594,67,299,608,7,767,768,769],"枯枝","淡彩","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdf2030026657b64f84e1fb3e57e390.jpg",[],16,{"id":774,"slug":775,"title":776,"dynasty":176,"author":138,"museum":81,"description":777,"tags":778,"thumbUrl":780,"material":91,"size":91,"collection":91,"collections":781,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":48},235670,"yuan-yao-shan-shui-ping-chun-tai-ming-yue-yi-ming-235670","袁耀山水屏-春台明月","此画以淡晕烟霭织就春夜底色，圆月悬于浅青长空，将清辉温柔泼洒在湖山间。重檐朱阁倚山而建，飞檐翘角揽着月色，檐下窗棂隐约透出暖意，与周遭盛放的花树、垂岸的柔柳相映，将人工雅意揉入湖山清景。\n\n水面扁舟轻泛，渔人慢摇船桨漾开细微波光，和静雅的楼台形成动静对照。整幅设色柔润秀雅，以淡墨晕染烟岚，把春夜湖山的空濛温婉尽数铺展。无需浓墨重彩，便将春台望月的清和诗意藏在每处细节里，观之如临其境，似能嗅到春夜湿润花香，耳闻水波轻拍船舷的浅响，尽显东方山水悠然禅意。",[24,28,376,29,30,641,377,34,7,378,779],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874e6605c1df06f174e906972637056.jpg",[],15,{"id":784,"slug":785,"title":786,"dynasty":137,"author":787,"museum":81,"description":788,"tags":789,"thumbUrl":792,"material":416,"size":417,"collection":91,"collections":793,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":75},234707,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234707","仿黄公望山水扇页","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。",[24,25,103,30,59,61,62,106,34,143,790,7,791],"近石","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c6b2ad4920afc675476c281ad0a6d.jpg",[],{"id":795,"slug":796,"title":797,"dynasty":137,"author":798,"museum":81,"description":799,"tags":800,"thumbUrl":802,"material":91,"size":91,"collection":91,"collections":803,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":75},228351,"shi-ba-jing-tu-ce-22-zhen-song-xu-228351","十八景图册22帧","宋旭","此作以半边崖岸半边水泽铺展画面，左侧危崖层叠，苍松山居错落，曲径蜿蜒伴行旅人，山石皴笔朴拙苍劲，带着沉厚古意。右侧水网交织，田畴铺陈，远岸村舍隐现，江帆点点悠游烟波间，浅淡设色晕染出江南水泽的温润空濛。笔墨简淡清逸，将林泉野趣与水乡旷远融于一帧，淡远空寂里晕开江南村居的闲静诗意，尽显寄情丘壑的文人意趣，勾勒出独属于晚明的清雅山居图景。",[23,24,25,238,28,61,30,34,32,7,146,183,801,512],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774acef0daf4b9d1744d2d7de32dfd1f.jpg",[],{"id":805,"slug":806,"title":221,"dynasty":176,"author":222,"museum":81,"description":807,"tags":808,"thumbUrl":809,"material":810,"size":811,"collection":71,"collections":812,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":75},224254,"shan-shui-tu-cha-shi-biao-224254","图中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。 作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。",[23,24,30,59,28,185,378,125,226,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg","纸本设色","纵90.1厘米，横36.7厘米",[71],{"id":814,"slug":815,"title":816,"dynasty":176,"author":817,"museum":81,"description":818,"tags":819,"thumbUrl":820,"material":416,"size":417,"collection":91,"collections":821,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":75},235616,"hong-ren-shan-shui-ce-hong-ren-235616","弘仁山水册","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[58,24,25,59,61,561,30,62,107,143,347,7,35,458],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21bf3c93c3dcba2e1955d6f4a94d4dd.jpg",[],14,{"id":824,"slug":825,"title":826,"dynasty":448,"author":449,"museum":81,"description":450,"tags":827,"thumbUrl":830,"material":416,"size":417,"collection":466,"collections":831,"showCount":822,"zanCount":11,"manualWeight":11,"mainColor":48},226031,"small-boat-on-the-small-branch-of-the-seine-at-argenteuil-1872-mo-nai-226031","Small Boat on the Small Branch of the Seine at Argenteuil, 1872",[452,453,828,460,462,7,829,32,378,703,34,456,666,458,125],"外光写生","帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19734cf7c3fb1f269ec7e8c284ca0e.jpg",[466],{"id":833,"slug":834,"title":835,"dynasty":176,"author":222,"museum":20,"description":836,"tags":837,"thumbUrl":842,"material":312,"size":843,"collection":91,"collections":844,"showCount":845,"zanCount":152,"manualWeight":11,"mainColor":75},233874,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233874","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,59,60,838,839,34,62,35,378,7,87,185,840,841],"白描","清代","水面景物","淡墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e43c4efc42a9b7fb86aea3f999be41c.jpg","纵32.8cm，横52.8cm",[],13,{"id":847,"slug":848,"title":849,"dynasty":137,"author":850,"museum":81,"description":851,"tags":852,"thumbUrl":853,"material":277,"size":854,"collection":91,"collections":855,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":75},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[23,24,25,26,59,838,61,67,84,66,30,594,34,124,35,7,143,512,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":857,"slug":858,"title":859,"dynasty":18,"author":860,"museum":81,"description":861,"tags":862,"thumbUrl":864,"material":91,"size":91,"collection":91,"collections":865,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":75},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","江亭揽胜图","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,25,103,28,30,66,547,143,104,863,7,106],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":867,"slug":868,"title":869,"dynasty":448,"author":138,"museum":81,"description":870,"tags":871,"thumbUrl":872,"material":91,"size":91,"collection":91,"collections":873,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":75},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[570,28,30,62,7,34,106,347,801,35,377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":875,"slug":876,"title":877,"dynasty":176,"author":878,"museum":247,"description":879,"tags":880,"thumbUrl":881,"material":148,"size":91,"collection":91,"collections":882,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":75},214819,"shan-shui-hua-hui-tu-ce-2-gao-feng-han-214819","山水花卉图册-2","高凤翰","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,238,59,28,30,251,183,34,35,7,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a60e84bf06c1ef5e8e26698a7abd53.jpg",[],{"id":884,"slug":885,"title":886,"dynasty":448,"author":449,"museum":81,"description":450,"tags":887,"thumbUrl":890,"material":416,"size":417,"collection":466,"collections":891,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":256},225996,"pierre-auguste-renoir-claude-monet-with-mme-henriot-1880-mo-nai-225996","Pierre Auguste Renoir - Claude Monet with Mme Henriot, 1880",[453,452,460,888,461,7,125,162,703,889],"色彩明快","水面波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa26bba423ab6e74f0bfab3a732d058d.jpg",[466],{"id":893,"slug":894,"title":895,"dynasty":448,"author":449,"museum":81,"description":450,"tags":896,"thumbUrl":898,"material":416,"size":417,"collection":466,"collections":899,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":75},225970,"lavacourt-under-snow-1879-mo-nai-225970","Lavacourt under Snow, 1879",[452,453,699,462,897,35,124,32,7,143],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151957d2f99c73ba27a5386c24def036.jpg",[466],{"id":901,"slug":902,"title":903,"dynasty":18,"author":904,"museum":100,"description":905,"tags":906,"thumbUrl":908,"material":583,"size":91,"collection":91,"collections":909,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":75},218673,"xi-hu-shi-jing-tu-ping-hu-qiu-yue-ye-xiao-yan-218673","西湖十景图-平湖秋月","叶肖岩","秋夜湖光如镜，远山淡笼烟霞，墨色轻染出清寂的秋意。水面无波，似映着朦胧月色，岸边林木疏朗，隐见小舟泊于汀渚。左侧行书笔意婉转，与山水景致相映成趣，诗画交融间，藏着南宋文人的闲淡心境。笔墨简淡却意境悠远，仿佛能触到湖面的微凉，闻见夜露的清芬，将平湖秋月的空灵静谧凝于尺幅。江南水乡的雅致，秋夜湖景的静谧，皆在这一方画卷中缓缓流淌，尽显宋人的审美意趣。",[23,24,25,238,59,28,30,641,594,34,7,907,106],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfb40a0e7d764088ae5815d0d9ce724.jpg",[],{"id":911,"slug":912,"title":913,"dynasty":448,"author":449,"museum":81,"description":450,"tags":914,"thumbUrl":920,"material":416,"size":417,"collection":466,"collections":921,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":75},226089,"the-point-de-la-heve-honfleur-1864-mo-nai-226089","The Point de la Heve, Honfleur, 1864",[453,452,915,916,917,7,125,918,919],"海滨","悬崖","沙滩","阴天","海景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9f2be6d5fa85711a161bf633cea537.jpg",[466],11,{"id":924,"slug":925,"title":926,"dynasty":448,"author":449,"museum":81,"description":450,"tags":927,"thumbUrl":934,"material":416,"size":417,"collection":466,"collections":935,"showCount":922,"zanCount":11,"manualWeight":11,"mainColor":75},226024,"san-giorggio-maggiore-1908-mo-nai-226024","San Giorggio Maggiore, 1908",[453,452,699,462,928,347,7,929,930,931,889,458,932,933],"朦胧笔触","教堂","钟楼","建筑群","远景","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d982d8d320fa2db48e60dd9adcfb75.jpg",[466],{"id":937,"slug":938,"title":939,"dynasty":448,"author":449,"museum":81,"description":450,"tags":940,"thumbUrl":946,"material":416,"size":417,"collection":466,"collections":947,"showCount":948,"zanCount":11,"manualWeight":11,"mainColor":48},225965,"la-grenouille-re-1869-mo-nai-225965","La Grenouillère, 1869",[453,452,378,7,941,125,34,942,703,943,32,944,699,945],"浮台","遮阳棚","阳光","岸边植被","笔触轻快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe04e3099fcb04d5276a0722af4553b23.jpg",[466],10,{"id":950,"slug":951,"title":952,"dynasty":448,"author":449,"museum":81,"description":450,"tags":953,"thumbUrl":960,"material":416,"size":417,"collection":466,"collections":961,"showCount":948,"zanCount":11,"manualWeight":11,"mainColor":962},225952,"ice-floes-on-the-seine-at-bougival-1867-1868-mo-nai-225952","Ice Floes on the Seine at Bougival, 1867-1868",[452,453,954,955,897,608,7,125,34,956,957,958,378,959],"塞纳河","浮冰","冬季","光影","笔触","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff519e7b27f9724e1f44b873238c8f722.jpg",[466],"F48FB1",{"id":964,"slug":965,"title":966,"dynasty":448,"author":138,"museum":81,"description":967,"tags":968,"thumbUrl":970,"material":91,"size":91,"collection":91,"collections":971,"showCount":948,"zanCount":11,"manualWeight":11,"mainColor":75},225304,"fu-shi-hui-30-yi-ming-225304","浮世绘30","这幅水乡绘卷以平远构图铺展清和景致，浅黄柔晕铺就天光水色，将暮晓时分的朦胧温柔晕染开来。黛色屋舍错落隐在深绿林木间，石砌水湾静泊扁舟，三两行人沿岸徐行，漫溢着松弛的市井闲趣。远景沙洲浅丘层叠延展，把水面切作温润色块，留白悠然悠远。\n整体用色雅致沉静，线条舒展柔和，将水乡村居的日常晕化为清寂温婉的诗意，把寻常烟火里的平和闲淡定格在纸面，尽显独有的恬淡意韵。",[570,969,28,30,108,62,35,34,536,608,7],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a933d83a2b6302429975b653fdfa31.jpg",[],{"id":973,"slug":974,"title":975,"dynasty":176,"author":976,"museum":81,"description":977,"tags":978,"thumbUrl":981,"material":91,"size":91,"collection":91,"collections":982,"showCount":983,"zanCount":11,"manualWeight":11,"mainColor":75},234609,"chun-gou-ting-tu-wan-shan-yang-liu-gu-234609","春钩艇图纨扇","杨柳谷","杨柳谷清江苏常熟人。柳桥弟，画如其兄。\n按《韬养斋笔记》有杨念伯字柳谷，以字行。善画柳，设色参以西法，尤觉生动。山水清超绝俗，尤擅摹古。当为一人。嘉庆十八年（1813年）作山水图，现存北京故宫博物院。其一子，杨裕晖，字少古，善画，能续家法，稍逊乃翁。",[58,24,25,103,28,61,30,185,979,62,108,7,980],"桃花","春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8acf6efc66be6f463452bc717e516a.jpg",[],9,{"id":985,"slug":986,"title":987,"dynasty":448,"author":449,"museum":81,"description":450,"tags":988,"thumbUrl":993,"material":416,"size":417,"collection":466,"collections":994,"showCount":983,"zanCount":11,"manualWeight":11,"mainColor":48},226140,"vetheuil-in-winter-1878-79-mo-nai-226140","Vetheuil in Winter, 1878-79",[452,453,699,989,990,897,378,991,7,125,364,929,992,703,458],"短促笔触","冬天","冰块","小镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbe28e90f7f7dc0b6f9149c678905be.jpg",[466],{"id":996,"slug":997,"title":998,"dynasty":448,"author":449,"museum":81,"description":450,"tags":999,"thumbUrl":1002,"material":416,"size":417,"collection":466,"collections":1003,"showCount":983,"zanCount":152,"manualWeight":11,"mainColor":75},226117,"the-seine-at-vetheuil-3-1879-mo-nai-226117","The Seine at Vetheuil 3, 1879",[452,453,957,1000,958,32,7,125,1001,929,34,458,378,703,364,38],"色彩","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4230a1310934af7a33c7e702131decd3.jpg",[466],{"id":1005,"slug":1006,"title":1007,"dynasty":137,"author":138,"museum":81,"description":1008,"tags":1009,"thumbUrl":1011,"material":91,"size":91,"collection":91,"collections":1012,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":48},239310,"cha-shao-liang-mo-bi-yu-fu-tu-shan-mian-yi-ming-239310","查劭良墨笔渔父图扇面","此作用金笺墨笔绘就江渚幽居之景，疏柳欹斜，条叶舒展含风，湖石错落映带浅滩。扁舟横泊，渔父隐于舱中，静享江天寥廓闲逸。\n\n笔墨简逸苍润，以写意之笔勾勒点染，脱尽繁缛，淡墨晕染出江南水畔清寂空疏的氛围。题识与画境相融，以极简笔意藏起江湖渔隐的恬然自适，寥寥数笔便将幽独萧散的隐逸之思烘托尽致，尽显文人画以画明志、遣兴抒怀的精妙意韵。",[24,103,59,1010,61,30,62,63,64,185,106,7],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496ed84ecdee9172809f4eaddc0f3c5e.jpg",[],8,{"id":1015,"slug":1016,"title":1017,"dynasty":176,"author":1018,"museum":81,"description":1019,"tags":1020,"thumbUrl":1022,"material":416,"size":417,"collection":91,"collections":1023,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":75},237961,"qiu-jing-shan-shui-ye-zhang-ke-237961","秋景山水页","张柯","此作以秋山平湖为景，近岸崖石皴法朴厚，丹红、苍蓝林木错落，点染出深秋斑斓意趣，层岩间垂落的山泉更添灵动。空阔湖面间，几艘帆船静泊浅滩，汀洲村舍隐在烟霭之中，远景峰峦晕染如黛，淡远朦胧。左下角溪桥上的行旅缓步徐行，为清寂秋山增添了烟火暖意。\n\n画作以浅绛设色糅合水墨皴擦，色调清雅温润，笔墨简淡却意境悠长，将秋日山湖的清旷淡远铺陈开来，尽显文人山水的闲澹野逸之美，藏着秋日山林的幽寂萧散况味。",[24,28,30,238,61,106,34,347,7,35,1021,125,143,571,67],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f7609a10352d1d52dc64546c286f4b.jpg",[],{"id":1025,"slug":1026,"title":1027,"dynasty":448,"author":449,"museum":81,"description":450,"tags":1028,"thumbUrl":1040,"material":416,"size":417,"collection":466,"collections":1041,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":48},226090,"the-pointe-de-la-he-ve-at-low-tide-1865-mo-nai-226090","The Pointe de La Hève at Low Tide, 1865",[452,453,699,1029,1030,1031,916,1032,512,1033,1034,125,7,1035,917,458,1036,1037,1038,1039],"色彩捕捉","海滩","低潮","海浪","马车","马匹","木桩","云朵","远帆","湿滩涂","礁石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3452ead06af6265c752436484a33985b.jpg",[466],{"id":1043,"slug":1044,"title":686,"dynasty":176,"author":1045,"museum":81,"description":1046,"tags":1047,"thumbUrl":1048,"material":416,"size":417,"collection":91,"collections":1049,"showCount":1050,"zanCount":11,"manualWeight":11,"mainColor":75},237487,"shan-shui-tu-ce-yao-song-237487","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,238,59,84,66,61,67,30,594,34,7,347,145,932,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f53938c1969f1a58b6dd58cd34eed5.jpg",[],7,{"id":1052,"slug":1053,"title":686,"dynasty":176,"author":1045,"museum":81,"description":1046,"tags":1054,"thumbUrl":1055,"material":416,"size":417,"collection":91,"collections":1056,"showCount":1050,"zanCount":11,"manualWeight":11,"mainColor":75},237481,"shan-shui-tu-ce-yao-song-237481",[24,25,238,66,59,30,35,34,863,7,125,108,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67170ba59ffaae6f0e74b8fbcae0fc5.jpg",[],{"id":1058,"slug":1059,"title":1060,"dynasty":137,"author":1061,"museum":81,"description":1062,"tags":1063,"thumbUrl":1064,"material":91,"size":91,"collection":91,"collections":1065,"showCount":1050,"zanCount":11,"manualWeight":11,"mainColor":962},234542,"shan-shui-shan-wei-zhi-huang-234542","山水扇","魏之璜","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,103,59,61,30,62,34,106,7,125,512,525,143,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c8d9009f51d706882f0458f6f08902.jpg",[],{"id":1067,"slug":1068,"title":1069,"dynasty":176,"author":484,"museum":81,"description":1070,"tags":1071,"thumbUrl":1073,"material":91,"size":91,"collection":91,"collections":1074,"showCount":1050,"zanCount":11,"manualWeight":11,"mainColor":48},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,26,28,30,61,29,33,34,7,182,536,679,87,1072,183],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":176,"author":1079,"museum":81,"description":1080,"tags":1081,"thumbUrl":1082,"material":416,"size":417,"collection":91,"collections":1083,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},239464,"ming-qing-zhu-jia-ji-jin-ce-shan-shui-ye-cheng-shi-tong-239464","明清诸家集锦册-山水页","程士桐","此作为水墨山水小品，以大片留白铺就浩渺江面，尽显水天寥廓之意。近岸苇草轻曳，线条简劲疏朗，墨色枯淡间带着秋意萧疏。扁舟静浮江上，舟头老翁垂竿闲坐，神态悠然，将寄迹江湖的散淡隐逸之心藏于画中。\n\n远景山峦以淡墨轻染，略作勾勒便晕出山峦汀洲的朦胧之态，与江面相融，晕染出空濛淡远的烟水气象。全作笔墨清简淡远，不着浓彩，以简淡枯涩的笔意写就荒寒闲逸的秋江之景，把文人寄情山水、超然物外的雅趣藏于方寸之间，淡而有味，简中见韵。",[24,25,58,59,238,30,62,183,87,125,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d76d97f70943be63ba7b864ceb2294.jpg",[],{"id":1085,"slug":1086,"title":1087,"dynasty":176,"author":1088,"museum":81,"description":1089,"tags":1090,"thumbUrl":1091,"material":91,"size":91,"collection":91,"collections":1092,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},238104,"hong-wu-shan-shui-ce-hong-wu-238104","弘旿山水册","弘旿","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。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《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，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,238,59,28,30,86,678,7,35,67,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8792684124431ea5ed75feb11f6a9de5.jpg",[],{"id":1094,"slug":1095,"title":1096,"dynasty":137,"author":1097,"museum":81,"description":1098,"tags":1099,"thumbUrl":1100,"material":416,"size":417,"collection":91,"collections":1101,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":48},236953,"shan-shui-shan-ye-zhu-shi-ying-236953","山水扇页","朱士瑛","朱士瑛[清]工细，人物似仇英。",[24,25,103,59,61,30,34,106,378,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054be235b44c7350599d4da24ad6adee.jpg",[],{"id":1103,"slug":1104,"title":1105,"dynasty":176,"author":138,"museum":20,"description":1106,"tags":1107,"thumbUrl":1108,"material":1109,"size":1110,"collection":91,"collections":1111,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":48},234899,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234899","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。",[24,25,238,59,28,30,61,66,62,63,34,512,108,7,104,67,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ad99601fd92d64dfce53d08f3e5d05.jpg","绢本设色","25.7×33厘米",[],{"id":1113,"slug":1114,"title":1115,"dynasty":448,"author":449,"museum":81,"description":450,"tags":1116,"thumbUrl":1119,"material":416,"size":417,"collection":466,"collections":1120,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":48},226074,"the-havre-museum-1873-mo-nai-226074","The Havre Museum, 1873",[452,453,828,1117,829,364,378,1118,7,125,918],"港口","波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22fea6ddf1d25eef8ccf5ff0b5d9c18.jpg",[466],{"id":1122,"slug":1123,"title":1124,"dynasty":448,"author":449,"museum":81,"description":450,"tags":1125,"thumbUrl":1127,"material":416,"size":417,"collection":466,"collections":1128,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":256},225964,"la-barque-1890-mo-nai-225964","La Barque, 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ription":1204,"tags":1205,"thumbUrl":1206,"material":91,"size":91,"collection":91,"collections":1207,"showCount":1183,"zanCount":11,"manualWeight":11,"mainColor":75},225357,"fu-shi-hui-113-yi-ming-225357","浮世绘113","远景山峦晕染出空濛晨霭，山巅藏着幽蓝古寺飞檐。中景洲渚之上，虬劲古松与披覆粉白花云的樱树错落，深浅绿意铺陈出春日融融生机。近处长桥横跨碧水，行人负担徐行，渔舟浮于水面，渔人俯身忙碌，将市井烟火揉入山水清景。\n\n整体用色明快雅致，以蓝绿为基调烘托出春日清润柔和，平涂色块带着独有的装饰美感，将自然之景与日常闲趣糅合，定格下郊野水乡的安闲诗意，把春日里松弛悠然的氛围晕染在纸面之上。",[570,969,28,251,108,34,143,125,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c73237d61e65c645d77b79f4db7ab.jpg",[],{"id":1209,"slug":1210,"title":1211,"dynasty":176,"author":138,"museum":81,"description":1212,"tags":1213,"thumbUrl":1214,"material":416,"size":417,"collection":91,"collections":1215,"showCount":1216,"zanCount":11,"manualWeight":11,"mainColor":48},236295,"du-hua-shan-shui-tu-shan-ye-yi-ming-236295","□度画山水图扇页","这帧泥金扇面笔墨简淡疏朗，以平远章法铺陈山水。近岸枯木虬枝错落，林下山居掩映，扁舟轻泛波心，野逸之趣盎然。远景山峦以淡墨晕染，虚实间晕开空濛烟岚，留白处尽显山水空寂之境。\n\n题款与画面相映成趣，墨色与泥金底色交融古雅华贵。整体笔意萧散，以简驭繁，将文人山水的清冷淡远尽数铺展，寥寥数笔勾勒出幽寂出尘的林泉隐居之致，尽显清雅绝尘的林下风韵，简中见韵，淡而不寡。",[103,24,59,30,86,251,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd13feb5d0210db319e0f68aed02567.jpg",[],3,{"id":1218,"slug":1219,"title":1220,"dynasty":176,"author":1221,"museum":55,"description":1222,"tags":1223,"thumbUrl":1224,"material":91,"size":91,"collection":91,"collections":1225,"showCount":1216,"zanCount":11,"manualWeight":11,"mainColor":1226},202546,"fang-wang-hui-shan-shui-tu-zhou-ren-yu-202546","仿王翚山水图轴","任预","这幅山水图绘层峦远岫，近岸疏林，亭台掩映其间，水面帆影轻摇。山石以皴法写就，纹理苍劲；树木勾勒细致，枝干挺拔；亭台布局错落，尽显雅致。笔墨兼具细腻与浑厚，设色淡雅温润，营造出静谧悠远的文人山水意境，似可闻林泉之音，感受那份远离尘嚣的悠然恬淡。",[30,61,146,34,7,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65194d909900b0fb5f3366394057e1e8.jpg",[],"957350",{"id":1228,"slug":1229,"title":1230,"dynasty":176,"author":1231,"museum":81,"description":1232,"tags":1233,"thumbUrl":1234,"material":91,"size":91,"collection":91,"collections":1235,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":75},238754,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238754","画弘历拟古诗意图册","董邦达","此作诗画合璧，左文右图尽显文人雅趣。远山以淡墨晕染，朦胧如黛，铺陈出江天寥廓的空寂。近岸以细腻皴法写山石草木，苍润秀雅，野意盎然。水面之上两艘渔舟轻漾，舟中人物神态松弛，或低语或抬手，将江上行旅的悠然野趣具象呈现。\n\n笔墨清润柔和，留白烘托出山水间的空寂禅意，搭配左侧行书题诗，诗画相映，将寄情山水的文人心怀融于尺幅之间，平和悠远，把江乡闲游的恬澹况味娓娓道来。",[24,59,30,238,61,108,62,125,65,34,378,106,7,37,801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcfe32360689195263600ec19b3582d.jpg",[],{"id":1237,"slug":1238,"title":1239,"dynasty":176,"author":138,"museum":81,"description":1240,"tags":1241,"thumbUrl":1243,"material":91,"size":91,"collection":91,"collections":1244,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":75},235909,"yuan-ji-shan-shui-tu-ye-yi-ming-235909","原济山水图页","这幅小品以淡墨轻勾慢染，铺就江乡闲趣。近岸枯草疏疏，点出暮秋清寂。江面上两艘帆船借风徐行，船仓、帆柱细节分明，暗衬出行舟的悠然意态。\n\n右侧丹赭山崖以泼墨晕染间杂短线皴擦，苍劲朴拙，和清浅柔缓的江水形成刚柔对照。远岸村居错落，黛瓦白墙隐在墨色山峦之下，和烟霭相融，悄然晕开幽远宁静。\n\n整体设色淡雅清和，水墨与浅赭相互映衬，笔致简括写意，淡墨晕开江面漾漾水色，寥寥数笔便将江上行旅的闲淡、江村栖居的安然揉在尺幅间，晕染出江南水乡独有的温润悠然。",[24,59,28,238,30,7,108,1242,88],"岸草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f3d2ffbd8d5bfd732d4718e79ab924.jpg",[],{"id":1246,"slug":1247,"title":1248,"dynasty":448,"author":138,"museum":81,"description":1249,"tags":1250,"thumbUrl":1251,"material":416,"size":417,"collection":91,"collections":1252,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":48},225519,"fu-shi-hui-277-yi-ming-225519","浮世绘277","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[570,969,28,32,7,34,104,185,125,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551995d5f931ddf21b2f4d280d74c5c2.jpg",[],{"id":1254,"slug":1255,"title":1256,"dynasty":448,"author":138,"museum":81,"description":1257,"tags":1258,"thumbUrl":1260,"material":91,"size":91,"collection":91,"collections":1261,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":75},225308,"fu-shi-hui-38-yi-ming-225308","浮世绘38","幽蓝湖面漾着柔波，两艘渔舟悠然泛行。汀渚错落，松枝覆着薄雪，丹红枝桠点缀其间，为萧寒冬日晕开暖意。林峦掩映处隐着屋舍，静锁一湾幽谧湖泽。远景雪色铺陈，淡墨晕开的雪原尽头，富士山素净伫立，似遗世独立的白玉。\n\n画面以平远构景，留白铺就清寂冬韵，蓝白主调糅合暖棕朱红，消融了彻骨寒意，兼具装饰意趣与侘寂之美，将东瀛冬湖的幽玄诗意晕染开来，定格下雪后天地的安恬静美，尽显和风特有的清冷雅致。",[570,969,28,30,104,1259,347,7,85,458],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b6529e193e91b830fa1b2ab289206.jpg",[],{"id":1263,"slug":1264,"title":1265,"dynasty":137,"author":1266,"museum":55,"description":1267,"tags":1268,"thumbUrl":1269,"material":277,"size":1270,"collection":91,"collections":1271,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":75},219781,"za-hua-ce-7-guo-xu-219781","杂画册-7","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,59,238,61,30,32,7,34,182,106,84,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd043a0626a157e329bd01f4fab1a5787.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":1273,"slug":1274,"title":1275,"dynasty":448,"author":138,"museum":81,"description":1276,"tags":1277,"thumbUrl":1281,"material":416,"size":417,"collection":91,"collections":1282,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":75},289280,"philips-koninck-river-landscape-with-a-man-standing-yi-ming-289280","Philips Koninck--River Landscape with a Man Standing","这幅风景画作以松弛晕染的笔触，铺陈出河畔乡野的日常图景。前景里临水搭建的糙顶棚屋静立浅岸，渔人垂身站在泊船边，身影凝定，将河畔的闲散氛围晕开。棕褐的泥岸蔓延向远方，水面映着天色漾开灰柔波纹，朦胧的林木错落分布，远处的村舍隐在轻雾般的色调里，消融在淡灰的天际下。\n\n整体色调沉柔质朴，泥土的暖棕与水色的冷灰相映，带着湿润的乡野气息，把郊野清晨或薄暮的慵懒静谧尽数封存，将平淡日常晕染出悠远的诗意，仿佛能听见河畔的风掠过林梢，漫着松弛治愈的乡野烟火气。",[453,1278,32,7,1279,34,125,1280,918],"风景","民居","乡村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c42e73892391f4d69050503328aa94.jpg",[],{"id":1284,"slug":1285,"title":1286,"dynasty":448,"author":138,"museum":81,"description":1287,"tags":1288,"thumbUrl":1292,"material":416,"size":417,"collection":91,"collections":1293,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":75},289234,"rembrandt-houses-by-the-water-yi-ming-289234","Rembrandt--Houses by the Water","这幅速写以松弛灵动的线条，晕染出临水村居的日常。没有繁复修饰，仅用简练顿挫的排线，勾勒出木屋的坡面肌理与错落轮廓，粗粝笔触暗合乡野建筑的质朴质感。水面只用寥寥线条轻扫倒影，与岸上屋舍形成虚实呼应。两个矮小结实的行人，为静谧画面添上烟火暖意，仿佛能听见水畔的闲谈与水波轻响。\n\n画作以最克制的笔触，将乡野水畔的松弛安宁定格，带着速写独有的鲜活随性，把水乡日常的恬淡氛围悄然留存，粗朴间藏着对平凡景致的细腻捕捉。",[1289,1290,1291,1279,32,7,125],"素描","速写","风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d22f8908c9f19014f1cf5f08e84a5db.jpg",[],{"id":1295,"slug":1296,"title":1297,"dynasty":448,"author":138,"museum":81,"description":1298,"tags":1299,"thumbUrl":1303,"material":416,"size":417,"collection":91,"collections":1304,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":75},289096,"jean-honore-fragonard-riverside-village-dominated-yi-ming-289096","Jean Honoré Fragonard--Riverside Village Dominated","这幅素描以柔和的明暗层次晕开河畔村落的日常。前景水岸芦苇轻摇，小舟静泊，带着渔夫归家的松弛烟火气。中景的茅草村舍朴拙错落，排线勾勒出墙面与屋顶的岁月斑驳，葱郁林木以朦胧笔触掩映其间，柔化了屋舍硬朗的轮廓。\n\n远景塔楼隐在薄雾里，晕开朦胧的悠远氛围感。没有浓烈色彩，仅以深浅织就松弛韵致，将乡野河畔的恬淡安宁揉进朦胧天色，凝固住旧时光里沉静又温柔的乡野诗意。",[1289,1291,1300,88,1301,1302,34,32,7,125],"河畔","茅草屋","塔楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f07f7fa346032291ee2617b8ff0ba70.jpg",[],{"id":1306,"slug":1307,"title":1308,"dynasty":448,"author":138,"museum":81,"description":1309,"tags":1310,"thumbUrl":1313,"material":416,"size":417,"collection":91,"collections":1314,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":75},288786,"pierre-puget-a-frigate-at-sea-yi-ming-288786","Pierre Puget--A Frigate at Sea","阴沉朦胧的海天之间，巨型战舰正乘风破浪，满张的船帆在风中猎猎鼓动，繁复桅杆交织错落，尽显大航海时代的雄浑气魄。笔触细腻写实，船体密布的炮窗、甲板上攒动的水手，将远洋航行的蓬勃张力与征途日常的细节尽数还原。\n\n翻涌的浪涛以晕染勾勒，在明暗深浅间烘托出海面的动荡，远景里的小帆船与主舰形成鲜明尺度对比，衬得巨舰愈发巍峨，右下角礁石旁忙碌的水手则让画面多了几分生活气，让远航的浪漫里又糅杂着鲜活的真实。水雾朦胧了天地边界，将冒险的豪情与远洋的厚重揉为一体，静帧里仿佛能听见海风呼啸、浪击船舷。",[1289,1311,829,1032,1312,125,7],"海景画","海面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F638a472df26c774076f048bb360b3547.jpg",[],{"id":1316,"slug":1317,"title":1318,"dynasty":448,"author":138,"museum":81,"description":1319,"tags":1320,"thumbUrl":1324,"material":416,"size":417,"collection":91,"collections":1325,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":75},288561,"attributed-to-pier-francesco-mola-saint-john-the-baptist-preaching-yi-ming-288561","attributed to Pier Francesco Mola--Saint John the Baptist Preaching","这幅草稿以红棕与棕褐淡墨随性铺陈，灵动线条一气呵成。施洗者约翰立在台前抬手宣讲，围坐的信众神态各异，或凝神静听，或私语沉思，将传道的庄肃氛围悄然烘托。右侧河畔几人正登舟离岸，远景椰树舒展、山峦朦胧，晕开荒蛮又松弛的河畔底色。\n没有精细刻画，仅以简笔捕捉人物动态与场景气韵，将传道现场鲜活平和的瞬间定格。潦草却精准的笔触里藏着朴素的叙事张力，随性间尽显对神态与氛围的精妙把控。",[1321,1289,125,1322,1323,7],"宗教画","讲道","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6060f6878f7571d11ea188b804f9f6f6.jpg",[],{"id":1327,"slug":1328,"title":1142,"dynasty":176,"author":1231,"museum":81,"description":1329,"tags":1330,"thumbUrl":1331,"material":416,"size":417,"collection":91,"collections":1332,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":75},238702,"shan-shui-ce-dong-bang-da-238702","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，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、虞山派之间。与董源、董其昌并称“三董”。",[24,59,61,238,30,85,212,34,124,35,7,512,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b6fbdf6b7285b5de1546c3c749b411.jpg",[],{"id":1334,"slug":1335,"title":1336,"dynasty":448,"author":1337,"museum":81,"description":1338,"tags":1339,"thumbUrl":1342,"material":416,"size":417,"collection":91,"collections":1343,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":48},230629,"rembrandt-harmensz-van-rijn-0263-lun-bo-lang-230629","Rembrandt Harmensz.van Rijn - 0263","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van 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