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cm",[69,100],"设色画精选",{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":107,"description":108,"tags":109,"thumbUrl":114,"material":67,"size":115,"collection":116,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":53},218931,"shan-ju-tu-yan-su-218931","山居图","宋","燕肃","台北故宫博物院","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,24,25,29,31,30,110,34,35,36,7,111,112,113],"山居","岩石","屋舍","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3","宋画精选",[116,69],282,{"id":120,"slug":121,"title":122,"dynasty":58,"author":123,"museum":124,"description":125,"tags":126,"thumbUrl":129,"material":97,"size":130,"collection":69,"collections":131,"showCount":132,"zanCount":133,"manualWeight":11,"mainColor":73},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅","私人收藏","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[24,63,30,29,31,81,127,38,83,36,111,64,128,7,112],"树","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[69],268,2,{"id":135,"slug":136,"title":137,"dynasty":138,"author":139,"museum":20,"description":140,"tags":141,"thumbUrl":147,"material":148,"size":149,"collection":69,"collections":150,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":53},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","快雪时晴图","元","黄公望","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,25,26,28,30,31,32,142,81,143,144,111,145,7,146],"印章","雪","枯树","小屋","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纸本","纵29.7厘米，横104.6厘米",[69,151],"水墨画精选",250,{"id":154,"slug":155,"title":156,"dynasty":105,"author":157,"museum":107,"description":158,"tags":159,"thumbUrl":162,"material":67,"size":163,"collection":69,"collections":164,"showCount":152,"zanCount":165,"manualWeight":11,"mainColor":73},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","马远","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,25,63,28,29,31,30,64,95,41,37,160,34,161,7],"明月","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[69],5,{"id":167,"slug":168,"title":169,"dynasty":138,"author":170,"museum":107,"description":171,"tags":172,"thumbUrl":175,"material":176,"size":177,"collection":69,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":73},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","王蒙","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。",[23,24,25,28,31,30,81,82,127,173,38,42,111,174,39,7],"孤舟","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","纸本,水墨","129x58.3cm",[69],221,{"id":181,"slug":182,"title":183,"dynasty":18,"author":184,"museum":185,"description":186,"tags":187,"thumbUrl":190,"material":97,"size":191,"collection":100,"collections":192,"showCount":193,"zanCount":72,"manualWeight":11,"mainColor":53},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍","王时敏","天津博物馆","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,28,29,31,30,81,188,35,112,161,7,189],"石","传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg","22.5x27.5",[100],195,{"id":195,"slug":196,"title":197,"dynasty":198,"author":199,"museum":107,"description":200,"tags":201,"thumbUrl":205,"material":97,"size":206,"collection":207,"collections":208,"showCount":209,"zanCount":72,"manualWeight":11,"mainColor":53},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","隋","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[23,24,25,29,30,41,202,35,34,203,7,204],"马","建筑","人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 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，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[23,24,25,63,28,31,30,35,34,7,38,42,248,128,249,112],"孤石","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[69],132,{"id":255,"slug":256,"title":257,"dynasty":105,"author":157,"museum":107,"description":258,"tags":259,"thumbUrl":268,"material":269,"size":270,"collection":116,"collections":271,"showCount":272,"zanCount":72,"manualWeight":11,"mainColor":53},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。",[23,229,24,231,28,29,260,261,31,30,41,262,263,7,264,35,42,40,265,266,267],"边角构图","兼工带写","柳树","飞鸟","春景","童子","文人","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","绢本设色","纵27.4厘米，横43.1厘米",[116,69,207,151],129,{"id":274,"slug":275,"title":276,"dynasty":58,"author":277,"museum":20,"description":278,"tags":279,"thumbUrl":281,"material":176,"size":282,"collection":69,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":53},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","董其昌","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。\u2028　　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。",[23,24,30,28,31,27,32,33,142,81,127,64,44,7,111,280],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[69,151],115,{"id":286,"slug":287,"title":288,"dynasty":58,"author":123,"museum":289,"description":290,"tags":291,"thumbUrl":293,"material":294,"size":295,"collection":49,"collections":296,"showCount":297,"zanCount":133,"manualWeight":11,"mainColor":53},232644,"hua-shan-tu-tang-yin-232644","华山图","美国克利夫兰艺术博物馆","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[24,28,31,29,30,34,83,35,36,161,248,7,292],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","纸本浅设色","116.4x41.4厘米",[],114,{"id":299,"slug":300,"title":301,"dynasty":58,"author":302,"museum":107,"description":303,"tags":304,"thumbUrl":305,"material":176,"size":306,"collection":69,"collections":307,"showCount":308,"zanCount":72,"manualWeight":11,"mainColor":53},220364,"shu-shan-tu-xu-ben-220364","蜀山图","徐贲","此图的蜀山非四川蜀山，而是指在江苏省宜兴东南的蜀山，苏轼爱其风景似蜀，故名。元末徐贲隐居于此。此图是徐贲居住山中时所作。画幅上方，徐贲以小楷长题，其中交代了作此画的原委：“吕山人自吴来访。余蜀山中登临燕赏，遂留数日。孤琴野艇，倏然告归。因画一纸以赠，并诗以道山居之乐，盖将以邀吾山人卜邻尔。噫!余今因画赋诗，君归而观此，必旋能因诗而念我山居也。栖霞憩月当翘首以待”。可见，此图的表现主题为山居归隐。在画面处理上，此图构图平稳，布局充实、满当而不拥堵；在表现技法上，山石作披麻皴，树木则勾点结合。全图用笔萧散、灵活自然，墨色干湿结合，雅淡透润，正好表现出蜀山灵秀之气。《蜀山图》是他的代表作。",[23,24,25,28,31,30,34,35,7,40,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a18ec46e445f532bd8e15851f452eb0.jpg","纵127．3厘米，横66．3厘米",[69,151],111,{"id":310,"slug":311,"title":312,"dynasty":138,"author":313,"museum":314,"description":315,"tags":316,"thumbUrl":318,"material":269,"size":319,"collection":69,"collections":320,"showCount":321,"zanCount":322,"manualWeight":11,"mainColor":73},221754,"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","盛懋","美国纳尔逊阿特金斯艺术博物馆","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[23,24,25,63,29,31,30,38,173,35,34,41,36,7,113,317],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[69,100],109,3,{"id":324,"slug":325,"title":326,"dynasty":18,"author":184,"museum":107,"description":327,"tags":328,"thumbUrl":329,"material":67,"size":330,"collection":69,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":53},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[24,29,31,30,64,34,36,35,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[69],104,{"id":334,"slug":335,"title":336,"dynasty":138,"author":337,"museum":20,"description":338,"tags":339,"thumbUrl":341,"material":176,"size":342,"collection":69,"collections":343,"showCount":344,"zanCount":322,"manualWeight":11,"mainColor":53},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[24,25,28,31,30,40,340,95,34,36,7,142],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[69],102,{"id":346,"slug":347,"title":348,"dynasty":18,"author":349,"museum":60,"description":350,"tags":351,"thumbUrl":353,"material":148,"size":354,"collection":49,"collections":355,"showCount":356,"zanCount":133,"manualWeight":11,"mainColor":73},214351,"san-jue-shan-shui-ce-9-hua-yan-214351","三绝山水册-9","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,29,30,352,31,34,35,83,7,110],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aac573368897f7bf21b023fae6ca30c.jpg","23.4x15.8",[],101,{"id":358,"slug":359,"title":360,"dynasty":244,"author":245,"museum":107,"description":361,"tags":362,"thumbUrl":365,"material":176,"size":366,"collection":69,"collections":367,"showCount":368,"zanCount":11,"manualWeight":11,"mainColor":53},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","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。",[23,24,229,25,26,28,31,33,32,142,30,34,35,83,363,173,161,364,7],"小溪","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[69],98,{"id":370,"slug":371,"title":372,"dynasty":138,"author":170,"museum":107,"description":373,"tags":374,"thumbUrl":377,"material":97,"size":378,"collection":69,"collections":379,"showCount":380,"zanCount":72,"manualWeight":11,"mainColor":53},220806,"dong-shan-cao-tang-tu-wang-meng-220806","东山草堂图","《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。",[23,24,28,29,31,30,35,64,34,203,42,364,39,375,376,7],"崖壁","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[69,151],94,{"id":382,"slug":383,"title":384,"dynasty":18,"author":385,"museum":20,"description":386,"tags":387,"thumbUrl":392,"material":218,"size":393,"collection":394,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":53},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","石涛","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[229,24,25,388,389,28,29,30,32,33,31,64,44,364,390,391,41,34,39,7],"册页","清代","平原","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米","花鸟画精选",[394,69,100],87,{"id":398,"slug":399,"title":400,"dynasty":18,"author":401,"museum":402,"description":403,"tags":404,"thumbUrl":409,"material":410,"size":411,"collection":49,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":73},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧","王翚","辽宁省博物馆","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,405,29,31,30,144,406,407,408,173,39,40,36,7],"仿古","平林","牧人","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg","纸本 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皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,229,24,25,63,28,31,216,30,81,35,39,161,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[69],81,{"id":448,"slug":449,"title":450,"dynasty":105,"author":451,"museum":107,"description":452,"tags":453,"thumbUrl":458,"material":67,"size":459,"collection":69,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":73},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","李唐","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[23,24,25,28,31,29,30,144,454,44,173,7,455,456,34,457],"积雪","寒林","冬景","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[69],79,{"id":463,"slug":464,"title":465,"dynasty":18,"author":466,"museum":467,"description":468,"tags":469,"thumbUrl":470,"material":97,"size":471,"collection":49,"collections":472,"showCount":473,"zanCount":72,"manualWeight":11,"mainColor":53},216247,"jing-fu-si-qi-dong-jing-tu-10-qian-wei-cheng-216247","景敷四气冬景图-10","钱维城","美国大都会艺术博物馆","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n赭英粉萼共争新，不独迎春且探春。大矣乾元善资始，物犹如此况乎人。钤印：妙意写清快",[24,25,29,30,94,64,34,161,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a0ecdde6718846ff99634ffe2046cb.jpg","21.9 × 30.2cm",[],78,{"id":475,"slug":476,"title":477,"dynasty":478,"author":479,"museum":480,"description":481,"tags":482,"thumbUrl":492,"material":493,"size":494,"collection":495,"collections":496,"showCount":497,"zanCount":133,"manualWeight":11,"mainColor":498},225713,"avenue-of-poplars-in-autumn-october-fan-gao-225713","Avenue of poplars in autumn (October - )","不详","梵高","藏地不详","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。",[483,484,485,486,487,7,39,41,35,488,489,490,491],"油画","后印象派","秋天","白杨树","林荫道","光影","栅栏","色彩浓郁","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2365dd392564d9ae5188c6ce8b116d5.jpg","未知","Xcm*Xcm","油画精选",[495],74,"37474F",{"id":500,"slug":501,"title":502,"dynasty":58,"author":59,"museum":20,"description":503,"tags":504,"thumbUrl":508,"material":49,"size":49,"collection":49,"collections":509,"showCount":510,"zanCount":72,"manualWeight":11,"mainColor":53},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[24,230,29,216,31,63,30,127,505,506,41,36,507,317,40,7],"桂花","书屋","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],73,{"id":512,"slug":513,"title":514,"dynasty":18,"author":78,"museum":515,"description":516,"tags":517,"thumbUrl":519,"material":67,"size":49,"collection":69,"collections":520,"showCount":521,"zanCount":72,"manualWeight":11,"mainColor":53},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","上海博物馆","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。",[24,25,63,29,31,32,142,30,81,82,35,111,42,7,518,161],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[69],72,{"id":523,"slug":524,"title":525,"dynasty":18,"author":526,"museum":20,"description":527,"tags":528,"thumbUrl":538,"material":269,"size":539,"collection":49,"collections":540,"showCount":541,"zanCount":11,"manualWeight":11,"mainColor":53},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","郎世宁","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,25,229,63,389,529,29,530,531,41,202,532,533,35,534,7,535,536,537],"工笔","中西合璧技法","写实风格","弓箭","射猎场景","草地","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],71,{"id":543,"slug":544,"title":545,"dynasty":18,"author":546,"museum":480,"description":547,"tags":548,"thumbUrl":549,"material":49,"size":49,"collection":49,"collections":550,"showCount":551,"zanCount":72,"manualWeight":11,"mainColor":53},229006,"si-jing-shan-shui-ce-ye-gong-xian-229006","四景山水册页","龚贤","此作用笔清润简淡，近处坡岸错落，双木挺秀疏朗，苔点晕染出苍润生机。山岩以积墨慢皴，留白衬出山光空濛，半崖茅庐隐于林木间，飞瀑垂落，似可听闻水石相击之音。\n墨色枯润相济铺陈层次，留白烘托山野空濛之致，将林泉高致的隐逸静雅缓缓铺展。笔意简净却藏醇厚诗意，尽显萧散淡远的林下之风，将幽居山野的清寂雅趣揉进每一处笔墨里，尽显幽寂淡远的林泉之美。",[24,28,31,352,30,34,35,44,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb657688f425d059954c787646ca1cb62.jpg",[],67,{"id":553,"slug":554,"title":555,"dynasty":58,"author":556,"museum":107,"description":557,"tags":558,"thumbUrl":559,"material":294,"size":560,"collection":69,"collections":561,"showCount":551,"zanCount":72,"manualWeight":11,"mainColor":53},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,25,63,29,31,30,64,39,83,34,7,41,36,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[69,151],{"id":563,"slug":564,"title":565,"dynasty":18,"author":566,"museum":107,"description":567,"tags":568,"thumbUrl":573,"material":574,"size":575,"collection":69,"collections":576,"showCount":577,"zanCount":133,"manualWeight":11,"mainColor":73},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。",[23,24,26,569,29,30,81,570,127,263,203,7,83,34,571,39,113,572,42],"青绿","云","石阶","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","白纸本","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[69],66,{"id":579,"slug":580,"title":581,"dynasty":18,"author":582,"museum":20,"description":583,"tags":584,"thumbUrl":585,"material":586,"size":587,"collection":69,"collections":588,"showCount":589,"zanCount":72,"manualWeight":11,"mainColor":53},222666,"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","髡残","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。",[23,24,25,63,28,31,30,35,39,173,36,34,7,95,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纸本，墨笔","纵103厘米，横59.9厘米",[69,151],65,{"id":591,"slug":592,"title":593,"dynasty":58,"author":594,"museum":185,"description":595,"tags":596,"thumbUrl":599,"material":422,"size":600,"collection":69,"collections":601,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":73},222593,"song-luo-wan-cui-tu-lan-ying-222593","松萝晚翠图","蓝瑛","此图是蓝瑛38岁的国画作品。画面峰峦层叠，中部有庙宇坐落于茂密的松林中，半隐半露相映成趣。泉水沿着蜿蜒的山涧，飞流直泻，与山脚的河流相连，近处河边杂树成林，林中一老人前行，琴童后随。\n画面布局采用“高远”法，气势雄峻。山石的纹理采用“荷叶皴”兼取“斧劈皴”，墨色润泽，浓淡相间，充分表现出苍山的层次感和体积感，石绿作苔点，疏落有致，色彩明洁，增添了画面的装饰趣味。",[23,24,25,63,29,30,597,127,94,36,83,34,7,38,598],"松","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b4e2036bc72593e80638f98b23c217.jpg","160x55cm",[69,151],63,{"id":604,"slug":605,"title":606,"dynasty":58,"author":277,"museum":107,"description":607,"tags":608,"thumbUrl":610,"material":176,"size":49,"collection":69,"collections":611,"showCount":612,"zanCount":72,"manualWeight":11,"mainColor":53},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。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董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,25,352,28,31,32,30,609,35,39,111,7,364,113],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[69],62,{"id":614,"slug":615,"title":616,"dynasty":138,"author":313,"museum":107,"description":617,"tags":618,"thumbUrl":623,"material":574,"size":624,"collection":69,"collections":625,"showCount":626,"zanCount":72,"manualWeight":11,"mainColor":53},221752,"hua-xue-jing-zhou-sheng-mao-221752","画雪景轴","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,229,24,25,63,28,29,31,30,280,455,35,39,619,620,7,34,621,622],"茅舍","河流","雪地","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[69,151],59,{"id":628,"slug":629,"title":630,"dynasty":58,"author":631,"museum":480,"description":632,"tags":633,"thumbUrl":635,"material":49,"size":49,"collection":69,"collections":636,"showCount":637,"zanCount":11,"manualWeight":11,"mainColor":73},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。",[24,29,30,31,352,81,82,127,7,41,42,634],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518b2ae9119abeee9db28c3ed23d5e41.jpg",[69,100],58,{"id":639,"slug":640,"title":641,"dynasty":18,"author":385,"museum":480,"description":642,"tags":643,"thumbUrl":649,"material":49,"size":49,"collection":49,"collections":650,"showCount":651,"zanCount":72,"manualWeight":11,"mainColor":53},228983,"tao-yuan-tu-shi-tao-228983","桃源图","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。",[24,25,26,29,30,28,31,364,161,644,39,35,263,36,7,645,646,647,42,40,648,41],"村落","人家","桃花","渔父","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],57,{"id":653,"slug":654,"title":655,"dynasty":58,"author":656,"museum":107,"description":657,"tags":658,"thumbUrl":664,"material":176,"size":665,"collection":69,"collections":666,"showCount":667,"zanCount":11,"manualWeight":11,"mainColor":53},214729,"shan-shui-tu-qian-gu-214729","山水图","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,63,28,31,659,142,30,34,35,38,64,609,7,161,660,661,43,662,663,110],"题字","山路","林间","层岩","古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[69],55,{"id":669,"slug":670,"title":671,"dynasty":58,"author":672,"museum":402,"description":673,"tags":674,"thumbUrl":676,"material":148,"size":677,"collection":69,"collections":678,"showCount":679,"zanCount":72,"manualWeight":11,"mainColor":53},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,24,25,63,29,31,529,30,675,127,39,36,41,111,619,7,128],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横3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，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,25,63,569,29,529,687,30,41,94,64,34,36,7,646],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],53,{"id":692,"slug":693,"title":91,"dynasty":58,"author":694,"museum":695,"description":696,"tags":697,"thumbUrl":699,"material":97,"size":700,"collection":69,"collections":701,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":53},219929,"fang-wang-meng-shan-shui-tu-lu-zhi-219929","陆治","香港艺术馆","陆治，生于明弘治九年（1496）。先世河南开封人。高祖父陆定，遁眷来吴门，宅于包山。父陆铭，字汝新，号有竹。受《易》于文洪，学养冠于郡诸生。纯孝笃义，综博工文，弟子黄省等多为名士。陆治居家为长子，家学渊源，又为祝允明、文徵明弟子，以诸生为名士。倜傥嗜义，以孝友著称。少喜游历，晚年隐居，种菊于文硎山。万历四年（1576年）卒。",[24,25,63,29,31,30,81,82,83,35,34,38,41,698,203,7],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc4a5d49c35fa8d620e4d5c40c0a0ba0.jpg","122.5x35.5",[69],52,{"id":704,"slug":705,"title":706,"dynasty":18,"author":78,"museum":107,"description":707,"tags":708,"thumbUrl":716,"material":236,"size":717,"collection":151,"collections":718,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":73},219383,"qiu-shan-tu-wang-jian-219383","秋山图","层岩叠嶂如涛涌，披麻皴笔细腻摹写山骨纹理，墨色晕染间丘壑纵深自现。林木葱茏却带秋意，松针攒簇似含霜，杂树疏枝显萧疏，溪畔谷侧隐见茅舍几间，小径蜿蜒穿林渡涧，流水潺潺石上轻响。笔墨皴擦点染兼备，古雅清润，气韵浑成，将秋日山林的静谧深远与文人栖居的悠然意趣融于尺幅之间，尽显传统山水的笔墨神韵与诗意栖居之境。",[229,24,25,63,231,28,709,31,710,711,619,7,36,712,713,714,715],"披麻皴","层岩叠嶂","山林","秋意","静谧","悠然","文人栖居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4187b4bef912c8599d2b17b363609c.jpg","111.1x48.3",[151],{"id":720,"slug":721,"title":722,"dynasty":105,"author":723,"museum":107,"description":724,"tags":725,"thumbUrl":735,"material":67,"size":736,"collection":116,"collections":737,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":73},219014,"mu-niu-tu-yi-ming-219014","牧牛图","佚名","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。",[23,24,25,28,29,529,26,408,726,727,35,534,34,37,42,30,728,31,729,730,731,128,622,7,732,733,713,734],"兽","牧童","淡墨","田园","野趣","平远构图","幼兽","动态","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[116],{"id":739,"slug":740,"title":741,"dynasty":58,"author":59,"museum":742,"description":743,"tags":744,"thumbUrl":748,"material":97,"size":749,"collection":49,"collections":750,"showCount":751,"zanCount":11,"manualWeight":11,"mainColor":53},220018,"dong-zhuang-tu-ce-zhi-zhu-tian-shen-zhou-220018","东庄图册之竹田","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,28,30,675,352,31,745,39,7,40,746,747],"田地","近水","农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e87a0381a50c5450296ebf70e92533.jpg","纵28.6厘米，横33厘米",[],51,{"id":753,"slug":754,"title":755,"dynasty":58,"author":756,"museum":289,"description":757,"tags":758,"thumbUrl":759,"material":97,"size":760,"collection":69,"collections":761,"showCount":762,"zanCount":11,"manualWeight":11,"mainColor":53},219977,"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","文伯仁","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[23,24,25,30,29,31,36,34,95,7,364,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[69],50,{"id":764,"slug":765,"title":766,"dynasty":105,"author":767,"museum":515,"description":768,"tags":769,"thumbUrl":771,"material":67,"size":772,"collection":69,"collections":773,"showCount":762,"zanCount":133,"manualWeight":11,"mainColor":73},218553,"jiao-yuan-ye-zhang-tu-ma-lin-218553","郊原曳杖图","马麟","亭子和阳台的一角被画上了。柳树高大而美丽，月亮在天空中，岩石微微露出，从上面可以看到长廊，亭子完全可以看到。\n悬崖用凿子画，亭子用稳健的笔触画，树叶也得到充分的装饰，远处的山峰被烤得绿油油的，并被渲染成彩色，天空中的月亮，以及柳树林中隐约可见的亭子和台阶。",[23,24,25,770,28,29,30,41,364,35,7,142,31],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef491921f92892f4f8b6bec2dc1e90cc.jpg","23.3x23.6",[69],{"id":775,"slug":776,"title":777,"dynasty":58,"author":59,"museum":20,"description":778,"tags":779,"thumbUrl":781,"material":586,"size":782,"collection":49,"collections":783,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":53},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。",[24,25,63,28,31,27,30,81,82,127,597,780,38,42,111,7,39],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],49,{"id":786,"slug":787,"title":788,"dynasty":58,"author":277,"museum":467,"description":789,"tags":790,"thumbUrl":792,"material":793,"size":794,"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，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,25,63,28,29,529,31,30,41,95,144,39,620,898,7,142],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[69,151],{"id":903,"slug":904,"title":905,"dynasty":58,"author":123,"museum":20,"description":906,"tags":907,"thumbUrl":908,"material":909,"size":910,"collection":69,"collections":911,"showCount":889,"zanCount":72,"manualWeight":11,"mainColor":53},222339,"you-ren-yan-zuo-tu-zhou-tang-yin-222339","幽人燕坐图轴","图中云峰缥缈，涧壑丛竹，水阁中一人静坐，旁设书籍、茶具，似有所待。溪流边一人拄杖独立，远眺山色。画法上多用干笔细皴描绘树石人物，笔致坚劲，刻画精微，风格缜密秀润，反映出唐寅善于以早年师从周臣学习宋“院体”山水技法，来表现和传达文人画清雅幽澹的功力。\n本幅右上有清代书法家王澍于雍正丁未年（雍正五年，1727年）十二月的题识，叙述了自己收藏此图并馈赠给惠山听松庵僧的经过。裱边及包首外签有当代书画家和鉴定家吴湖帆在庚寅年（1950年）为仲麟题签并记，文中除了记载王澍所云之事外，对惠山听松庵收藏的其他古代名画如王绂《竹炉图》的流传作了介绍，并对时事离乱之际文物的劫难发出了感喟。",[23,24,25,63,28,31,30,38,35,34,36,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d12d445bfae2e8d760c703ae5c64b78.jpg","纸本墨笔","纵120.3厘米，横25.8厘米",[69,151],{"id":913,"slug":914,"title":915,"dynasty":58,"author":59,"museum":480,"description":916,"tags":917,"thumbUrl":918,"material":49,"size":49,"collection":49,"collections":919,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":73},235999,"chun-yun-die-zhang-tu-zhou-shen-zhou-235999","春云叠嶂图轴","此作以淡墨晕染远山，春云裹挟峰峦，虚实相融间晕开空濛的春日山色。山巅以浓墨点苔植林，清浅墨色衬出苍润的生机。中景林麓烟霭轻笼，村舍隐于幽林之中，漫着山居的静寂安闲。近岸水滨杂树错落，枝桠舒展间漾着春的暖意，临水策驴徐行的旅人，为山野添了鲜活意趣。\n\n整作笔墨苍秀兼具，以留白衬出云气流动，简淡的水墨里藏着古雅浑厚，将江南春山温润清远的意境铺展尽致，尽显文人山水独有的林下天真。",[24,25,63,28,31,30,570,609,35,36,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ff3ecd13cea2367a22a0689c7f958e.jpg",[],41,{"id":922,"slug":923,"title":924,"dynasty":18,"author":925,"museum":480,"description":926,"tags":927,"thumbUrl":929,"material":49,"size":49,"collection":49,"collections":930,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":53},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","邹一桂","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,24,25,63,29,529,31,30,34,35,698,40,928,7,142,32],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":932,"slug":933,"title":934,"dynasty":58,"author":594,"museum":185,"description":935,"tags":936,"thumbUrl":942,"material":48,"size":943,"collection":69,"collections":944,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":73},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。",[23,24,29,31,30,35,34,38,39,36,203,42,597,634,937,376,110,7,938,939,940,941],"丘壑","苔点","淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[69,151],{"id":946,"slug":947,"title":948,"dynasty":18,"author":949,"museum":950,"description":951,"tags":952,"thumbUrl":958,"material":28,"size":49,"collection":69,"collections":959,"showCount":960,"zanCount":11,"manualWeight":11,"mainColor":73},215647,"yu-zhi-geng-zhi-tu-kang-xi-215647","御制耕织图","康熙","哈佛艺术博物馆","画面分帧铺展耕织图景，左帧河畔竹架悬桶，农人躬身引泉入田，溪流潺潺绕岸，树影婆娑覆径，尽显水乡农作的静谧韵致；右帧阡陌间耕者俯身劳作，小径上二人低语，远处田埂延绵，草木葱茏。以细腻白描勾勒人物情态与田园景致，写实中藏温婉意趣。笔墨凝注农桑日常的质朴细节，既显农人之勤苦，亦含对稼穑民生的深切关切。每一道线条都似在诉说土地与民生相依的厚重，让观者触摸到农耕生活里土地的温度、劳作的质感，以及那份对民生根本的珍视与叩问。",[229,24,352,953,32,41,36,35,729,954,7,955,956,957],"白描","田埂","农耕","农作","民生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ce01c004b9fb45e00d5c4f46f7b72.jpg",[69],40,{"id":962,"slug":963,"title":964,"dynasty":18,"author":582,"museum":480,"description":965,"tags":966,"thumbUrl":967,"material":49,"size":49,"collection":69,"collections":968,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":53},236915,"shan-shui-zhou-kun-can-236915","山水轴","髡 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。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[24,28,31,63,32,142,30,94,34,35,7,44,40,161,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[69,151,795],39,{"id":971,"slug":972,"title":973,"dynasty":58,"author":974,"museum":107,"description":975,"tags":976,"thumbUrl":977,"material":49,"size":978,"collection":69,"collections":979,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":53},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,25,352,29,28,30,31,37,36,144,64,46,34,203,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[69,100],{"id":981,"slug":982,"title":983,"dynasty":18,"author":984,"museum":985,"description":986,"tags":987,"thumbUrl":991,"material":176,"size":992,"collection":207,"collections":993,"showCount":969,"zanCount":11,"manualWeight":11,"mainColor":53},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","罗聘","大英博物馆","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。",[23,28,953,529,31,988,64,41,34,42,598,663,7,30,989,990,35,433],"书画结合","题跋","文人形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[207],{"id":995,"slug":996,"title":997,"dynasty":18,"author":998,"museum":289,"description":999,"tags":1000,"thumbUrl":1003,"material":410,"size":1004,"collection":69,"collections":1005,"showCount":1006,"zanCount":11,"manualWeight":11,"mainColor":53},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[23,24,26,28,31,231,1001,35,34,620,39,7,41,161,40,1002,622],"秋雾","近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[69,151],38,{"id":1008,"slug":1009,"title":1010,"dynasty":18,"author":78,"museum":20,"description":1011,"tags":1012,"thumbUrl":1013,"material":586,"size":1014,"collection":69,"collections":1015,"showCount":1016,"zanCount":11,"manualWeight":11,"mainColor":53},237611,"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[24,28,63,31,27,142,30,83,35,39,34,42,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg","纵141.7厘米，横51厘米",[69,151],37,{"id":1018,"slug":1019,"title":1020,"dynasty":58,"author":1021,"museum":480,"description":1022,"tags":1023,"thumbUrl":1025,"material":49,"size":49,"collection":49,"collections":1026,"showCount":1016,"zanCount":11,"manualWeight":11,"mainColor":73},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","谢时臣","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,25,63,28,31,30,280,64,39,41,144,34,7,1024,454],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":1028,"slug":1029,"title":1030,"dynasty":18,"author":1031,"museum":20,"description":1032,"tags":1033,"thumbUrl":1034,"material":67,"size":1035,"collection":69,"collections":1036,"showCount":1016,"zanCount":11,"manualWeight":11,"mainColor":53},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","王原祁","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,24,63,28,31,30,609,34,35,64,36,173,791,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[69],{"id":1038,"slug":1039,"title":1040,"dynasty":478,"author":479,"museum":480,"description":481,"tags":1041,"thumbUrl":1053,"material":493,"size":494,"collection":495,"collections":1054,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":73},225819,"small-pear-tree-in-blossom-april-fan-gao-225819","Small pear tree in blossom (April - )",[483,484,1042,1043,1044,29,1045,1046,1047,7,1048,1049,203,1050,1051,1052],"厚涂技法","色彩明快","笔触奔放","开花的梨树","枝干","白色花朵","围栏","背景树木","土地","木桩","春季景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25f0c7734775190e16aca4cfd79954c.jpg",[495],36,{"id":1057,"slug":1058,"title":964,"dynasty":18,"author":1059,"museum":480,"description":1060,"tags":1061,"thumbUrl":1062,"material":49,"size":49,"collection":69,"collections":1063,"showCount":1064,"zanCount":72,"manualWeight":11,"mainColor":53},239027,"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[24,25,63,29,31,30,39,35,34,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[69,100],35,{"id":1066,"slug":1067,"title":1068,"dynasty":18,"author":1069,"museum":20,"description":1070,"tags":1071,"thumbUrl":1073,"material":48,"size":1074,"collection":69,"collections":1075,"showCount":1064,"zanCount":11,"manualWeight":11,"mainColor":53},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","董邦达","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[24,28,29,31,30,597,81,188,38,35,41,203,7,111,1072],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[69,100],{"id":1077,"slug":1078,"title":1079,"dynasty":18,"author":385,"museum":20,"description":1080,"tags":1081,"thumbUrl":1082,"material":1083,"size":1084,"collection":49,"collections":1085,"showCount":1064,"zanCount":11,"manualWeight":11,"mainColor":53},233426,"yuan-ji-shan-shui-ce-shi-tao-233426","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,28,31,352,30,34,7,35,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8b294c65ccb30f4efcb803f6d027904.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":1087,"slug":1088,"title":1089,"dynasty":18,"author":1090,"museum":515,"description":1091,"tags":1092,"thumbUrl":1093,"material":49,"size":49,"collection":69,"collections":1094,"showCount":1064,"zanCount":11,"manualWeight":11,"mainColor":1095},201833,"shan-shui-tu-zhou-zhang-zhu-201833","山水图轴","张翥","层岩错落间，飞瀑悬垂，小径蜿蜒入林。山间楼阁隐于苍松枯木之后，清寂中藏雅致。笔墨苍劲，皴法细腻勾勒山石纹理，枯树虬枝与葱郁松竹相映，尽显秋冬山林之趣。近景林木扶疏，溪畔人家隐约，动静相宜，传递出文人寄情山水的淡泊心境。",[30,28,31,94,83,144,597,7,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d96e2ff8894c997d7bd76a9b378257.jpg",[69],"ada091",{"id":1097,"slug":1098,"title":1099,"dynasty":18,"author":1100,"museum":1101,"description":1102,"tags":1103,"thumbUrl":1105,"material":67,"size":49,"collection":69,"collections":1106,"showCount":1107,"zanCount":11,"manualWeight":11,"mainColor":73},219485,"tian-bao-jiu-ru-tu-gao-qi-pei-219485","天保九如图","高其佩","日本大阪市立美术馆","画峰耸立，山谷深邃，云雾缭绕。 画面左上方巨岩的主峰直冲云霄，有立壁之势。",[24,25,63,1104,29,30,41,34,35,7],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10c5c3af2a80ea2558949079d71c527.jpg",[69],34,{"id":1109,"slug":1110,"title":1111,"dynasty":58,"author":277,"museum":515,"description":1112,"tags":1113,"thumbUrl":1114,"material":176,"size":49,"collection":49,"collections":1115,"showCount":1107,"zanCount":11,"manualWeight":11,"mainColor":73},214657,"qiu-xing-ba-jing-tu-ce-2-dong-qi-chang-214657","秋兴八景图册-2","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[229,24,25,352,28,29,31,953,41,127,507,7,518,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883a53c2374ee28565293f083f1f9beb.jpg",[],{"id":1117,"slug":1118,"title":1119,"dynasty":105,"author":723,"museum":107,"description":1120,"tags":1121,"thumbUrl":1122,"material":67,"size":1123,"collection":69,"collections":1124,"showCount":1125,"zanCount":11,"manualWeight":11,"mainColor":73},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,25,30,29,687,31,38,35,94,34,457,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[69],33,{"id":1127,"slug":1128,"title":1129,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1132,"thumbUrl":1138,"material":493,"size":494,"collection":495,"collections":1139,"showCount":1140,"zanCount":72,"manualWeight":11,"mainColor":73},225959,"irises-in-monets-garden-1899-1900-mo-nai-225959","Irises in Monets garden, 1899-1900","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。",[229,483,1133,1134,1135,7,598,203,1136,1137],"印象派","鸢尾花","花园","花卉","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad68cdfaca5d06bfe7baa750a293d8c0.jpg",[495],32,{"id":1142,"slug":1143,"title":1144,"dynasty":58,"author":723,"museum":480,"description":1145,"tags":1146,"thumbUrl":1148,"material":236,"size":1149,"collection":207,"collections":1150,"showCount":1140,"zanCount":11,"manualWeight":11,"mainColor":73},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,229,24,25,63,953,28,29,31,41,885,95,30,7,36,1147],"薪柴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[207],{"id":1152,"slug":1153,"title":1154,"dynasty":18,"author":401,"museum":480,"description":1155,"tags":1156,"thumbUrl":1157,"material":49,"size":49,"collection":49,"collections":1158,"showCount":1159,"zanCount":11,"manualWeight":11,"mainColor":53},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585","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》。",[25,24,28,31,388,405,30,81,82,127,144,37,39,507,161,7,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],31,{"id":1161,"slug":1162,"title":1163,"dynasty":18,"author":401,"museum":107,"description":1164,"tags":1165,"thumbUrl":1166,"material":148,"size":49,"collection":69,"collections":1167,"showCount":1159,"zanCount":11,"manualWeight":11,"mainColor":53},237384,"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","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。",[24,25,229,388,28,31,30,41,233,34,791,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[69],{"id":1169,"slug":1170,"title":1171,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1172,"thumbUrl":1182,"material":493,"size":494,"collection":495,"collections":1183,"showCount":1159,"zanCount":133,"manualWeight":11,"mainColor":498},225902,"au-parc-monceau-1878-mo-nai-225902","Au Parc Monceau, 1878",[1133,483,1173,1174,35,534,7,41,488,1175,1176,1177,1178,1179,1180,1181],"外光写生","公园","阳光","绿植","长椅","散步者","坐着的人群","阴影","远处建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262a86f081aaf393df59e832219348f2.jpg",[495],{"id":1185,"slug":1186,"title":1187,"dynasty":58,"author":59,"museum":124,"description":1188,"tags":1189,"thumbUrl":1190,"material":176,"size":1191,"collection":69,"collections":1192,"showCount":1159,"zanCount":11,"manualWeight":11,"mainColor":53},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[23,24,28,30,31,33,32,142,41,35,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[69],{"id":1194,"slug":1195,"title":1196,"dynasty":18,"author":998,"museum":20,"description":1197,"tags":1198,"thumbUrl":1199,"material":49,"size":49,"collection":69,"collections":1200,"showCount":1201,"zanCount":11,"manualWeight":11,"mainColor":53},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,25,352,28,31,30,64,34,161,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[69,151],30,{"id":1203,"slug":1204,"title":1205,"dynasty":18,"author":1206,"museum":1207,"description":1208,"tags":1209,"thumbUrl":1210,"material":1211,"size":1212,"collection":49,"collections":1213,"showCount":1201,"zanCount":11,"manualWeight":11,"mainColor":73},222923,"hong-lou-meng-48-sun-wen-222923","红楼梦48","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",[23,24,529,29,687,94,30,35,38,317,203,1176,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg","绢本","纵43.3厘米、横76.5厘米",[],{"id":1215,"slug":1216,"title":1217,"dynasty":18,"author":401,"museum":20,"description":1218,"tags":1219,"thumbUrl":1220,"material":148,"size":49,"collection":69,"collections":1221,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":73},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴","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。",[24,25,63,28,31,30,44,144,263,34,621,40,1002,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[69,151],29,{"id":1224,"slug":1225,"title":1226,"dynasty":18,"author":1031,"museum":480,"description":1227,"tags":1228,"thumbUrl":1229,"material":49,"size":49,"collection":69,"collections":1230,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":53},236044,"shan-shui-ce-wang-yuan-qi-236044","山水册","笔底云峰浮于烟岚，以干笔积墨皴擦山峦，苍浑厚重间带着元人披麻皴的秀润遗意。近景溪湾宛转，村居隐于茂林错落间，屋舍疏朗恬淡，林木俯仰有姿。留白晕染出云气流荡，将远峰、中林、近岸自然衔连，疏密松紧相映。层层积墨却清雅松秀，不露堆砌之态，既得山川浑厚之致，又藏静穆萧散的文心。丘壑间浸着江南山水温润的灵韵，把幽居林下的闲澹意趣融于笔墨法度，尽显沉静悠然的文人山水意境。",[24,28,30,31,81,82,35,39,7,161,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[69],{"id":1232,"slug":1233,"title":1079,"dynasty":18,"author":385,"museum":20,"description":1080,"tags":1234,"thumbUrl":1235,"material":1083,"size":1084,"collection":49,"collections":1236,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":53},233423,"yuan-ji-shan-shui-ce-shi-tao-233423",[24,25,352,28,31,30,248,95,64,39,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg",[],{"id":1238,"slug":1239,"title":1240,"dynasty":58,"author":1241,"museum":107,"description":1242,"tags":1243,"thumbUrl":1245,"material":1246,"size":1247,"collection":69,"collections":1248,"showCount":1222,"zanCount":72,"manualWeight":11,"mainColor":73},222502,"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","山雨欲来图轴","张路","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[23,24,28,63,31,30,34,35,161,7,41,36,248,1244],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","绢","纵147厘米，横105厘米",[69,151],{"id":1250,"slug":1251,"title":1252,"dynasty":58,"author":1253,"museum":60,"description":1254,"tags":1255,"thumbUrl":1257,"material":97,"size":1258,"collection":69,"collections":1259,"showCount":1222,"zanCount":72,"manualWeight":11,"mainColor":53},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","秋景山水图","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,26,28,29,30,144,263,44,40,7,248,529,31,35,1256],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[69],{"id":1261,"slug":1262,"title":1263,"dynasty":18,"author":401,"museum":480,"description":1264,"tags":1265,"thumbUrl":1267,"material":97,"size":1268,"collection":49,"collections":1269,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":53},220133,"mo-gu-shan-shui-hua-3-wang-hui-220133","摹古山水画3","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,1266,29,31,30,64,34,161,39,41,42,35,40,7],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95d2ba722189a59771f6f1eb36950e.jpg","30.5×21.5",[],{"id":1271,"slug":1272,"title":1273,"dynasty":18,"author":1274,"museum":107,"description":1275,"tags":1276,"thumbUrl":1278,"material":176,"size":1279,"collection":69,"collections":1280,"showCount":1222,"zanCount":72,"manualWeight":11,"mainColor":53},219448,"kan-yun-dui-pu-tu-chen-shu-219448","看云对瀑图","陈书","瀑流自崖巅飞泻而下，如素练垂空，溅起的水雾与卷舒的云气交融漫过山腰，晕染出朦胧虚灵之境。近岸松枝苍劲，竹影婆娑，几竿修竹亭亭玉立，与古松相映成趣。林间隐见小亭一角，有人凭栏静坐，似在聆听瀑声、静观云态，物我两忘。笔墨以水墨为主，线条清劲中含柔婉，山石皴擦见质感，云雾用淡墨晕染，层次分明。整幅画将山水之幽、林泉之趣凝于尺幅，尽显文人雅士寄情自然的悠然心境，静穆中藏生机，恬淡里透禅意。",[24,231,28,31,63,1277,570,83,597,675,38,30,111,42,7,535],"传统书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99274f7e4932bc229e46873d4ab1708e.jpg","79.7x51.8",[69],{"id":1282,"slug":1283,"title":1284,"dynasty":58,"author":723,"museum":480,"description":1285,"tags":1286,"thumbUrl":1287,"material":49,"size":49,"collection":49,"collections":1288,"showCount":1289,"zanCount":72,"manualWeight":11,"mainColor":53},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,25,63,229,29,31,30,609,36,35,64,34,94,7,698,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],27,{"id":1291,"slug":1292,"title":1293,"dynasty":18,"author":1294,"museum":107,"description":1295,"tags":1296,"thumbUrl":1297,"material":97,"size":1298,"collection":207,"collections":1299,"showCount":1289,"zanCount":11,"manualWeight":11,"mainColor":53},216976,"hao-liang-tu-jin-ting-biao-216976","濠梁图","金廷标","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[24,29,529,31,41,30,36,127,34,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[207],{"id":1301,"slug":1302,"title":1303,"dynasty":18,"author":1304,"museum":480,"description":1305,"tags":1306,"thumbUrl":1307,"material":493,"size":494,"collection":49,"collections":1308,"showCount":1309,"zanCount":11,"manualWeight":11,"mainColor":53},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","焦秉贞","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[770,24,25,29,529,30,41,35,39,248,7,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],26,{"id":1311,"slug":1312,"title":1313,"dynasty":138,"author":170,"museum":480,"description":1314,"tags":1315,"thumbUrl":1316,"material":49,"size":49,"collection":49,"collections":1317,"showCount":1309,"zanCount":11,"manualWeight":11,"mainColor":53},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,25,63,28,31,30,34,35,36,111,113,112,144,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],{"id":1319,"slug":1320,"title":1321,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1322,"thumbUrl":1330,"material":493,"size":494,"collection":495,"collections":1331,"showCount":1309,"zanCount":11,"manualWeight":11,"mainColor":498},226129,"the-walkers-1865-mo-nai-226129","The Walkers, 1865",[483,1133,1173,41,1323,1324,7,35,534,1325,1326,1327,1328,488,1329],"男女","户外","长裙","帽子","手杖","自然光","自然场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd069aa2c1877d5b4c0c049e835ddd4ce.jpg",[495],{"id":1333,"slug":1334,"title":1335,"dynasty":18,"author":1069,"museum":107,"description":1336,"tags":1337,"thumbUrl":1343,"material":574,"size":1344,"collection":69,"collections":1345,"showCount":1309,"zanCount":11,"manualWeight":11,"mainColor":53},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴","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。",[23,24,30,28,29,31,63,364,35,83,38,42,161,39,111,1338,1339,7,938,40,648,1340,1341,1342],"丛林","谷地","留白","写意","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[69,151],{"id":1347,"slug":1348,"title":1349,"dynasty":105,"author":1350,"museum":467,"description":1351,"tags":1352,"thumbUrl":1355,"material":1211,"size":1356,"collection":116,"collections":1357,"showCount":1309,"zanCount":72,"manualWeight":11,"mainColor":53},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","秋山萧寺图","燕文贵","作品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。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,229,24,25,26,28,29,31,30,1353,1354,35,34,161,364,885,95,7,36,38],"秋山","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[116,69,151],{"id":1359,"slug":1360,"title":1079,"dynasty":18,"author":385,"museum":20,"description":1080,"tags":1361,"thumbUrl":1362,"material":1083,"size":1084,"collection":49,"collections":1363,"showCount":1364,"zanCount":72,"manualWeight":11,"mainColor":53},233422,"yuan-ji-shan-shui-ce-shi-tao-233422",[24,25,352,28,30,31,81,127,7,142,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e990046d184cb379e8605e984086c1.jpg",[],25,{"id":1366,"slug":1367,"title":1079,"dynasty":18,"author":385,"museum":20,"description":1368,"tags":1369,"thumbUrl":1370,"material":148,"size":1371,"collection":49,"collections":1372,"showCount":1364,"zanCount":11,"manualWeight":11,"mainColor":53},233130,"yuan-ji-shan-shui-ce-shi-tao-233130","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,352,28,29,31,30,34,35,39,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c90f5b10c8750c2a37695ac1a3187d5.jpg","纵33.2cm，横22.8cm",[],{"id":1374,"slug":1375,"title":1376,"dynasty":478,"author":479,"museum":480,"description":481,"tags":1377,"thumbUrl":1383,"material":493,"size":494,"collection":495,"collections":1384,"showCount":1364,"zanCount":72,"manualWeight":11,"mainColor":73},225866,"verliefde-paartjes-in-het-park-voyer-argenson-te-asnie-res-fan-gao-225866","Verliefde paartjes in het park Voyer Argenson te Asnières",[229,483,484,1378,1174,1379,35,7,534,1136,1380,41,1381,1382],"点彩技法","情侣","雨伞","花簇","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ded1246c4dd49a367c9b025b00469a.jpg",[495],{"id":1386,"slug":1387,"title":1388,"dynasty":58,"author":1389,"museum":107,"description":1390,"tags":1391,"thumbUrl":1394,"material":28,"size":49,"collection":69,"collections":1395,"showCount":1364,"zanCount":11,"manualWeight":11,"mainColor":53},219252,"zhi-zi-hou-men-tu-wang-shi-chang-219252","稚子候门图","王世昌","山峦层叠间云雾轻飏，似给远峰披上薄纱，愈显深幽。近景古木虬枝盘曲，墨色浓淡交错，勾勒出苍劲风骨；岩石以简括皴法写就，纹理毕现。蜿蜒小径上，稚子数人或立或趋，眉眼间满是天真，翘首之态似在盼归人，那份纯粹的期盼，在清寂山水中晕开暖意。画作以水墨衬淡彩，山水的空灵与人间温情相映，既承继明代山水的雅致气韵，又以人物点染出生活鲜活，于无声处传递亲情的柔软，观之如临其境，心生动容。",[23,24,28,29,30,41,663,111,7,364,161,1392,1393,31],"盼归","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92016fc192d1615fd58bffc960f15b69.jpg",[69],{"id":1397,"slug":1398,"title":1399,"dynasty":18,"author":1400,"museum":480,"description":1401,"tags":1402,"thumbUrl":1403,"material":49,"size":49,"collection":394,"collections":1404,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":53},237960,"mo-song-si-ye-hu-yu-kun-237960","墨松寺页","胡玉昆","山水有家法，用笔虚无缥缈，咫尺千里。兼长花卉、兰竹。为胡氏一门之杰，称逸品。康熙八年（一六六九）与会周亮工宴于南京，九年（一六七o）作碧梧依山图，十二年（一六七三）作金陵古迹册。有栗园集。《明画录、读画录、桐阴论画、墨香居画识、香祖笔记、赖古堂集、青溪遗稿、赖古堂书画跋、画传编韵、清画家诗史》",[24,28,29,30,64,34,40,7,142,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a7c2f35cdcb613b2a1c9bba86f824d.jpg",[394,100],24,{"id":1407,"slug":1408,"title":1409,"dynasty":58,"author":723,"museum":1410,"description":1411,"tags":1412,"thumbUrl":1413,"material":49,"size":49,"collection":49,"collections":1414,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":73},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","美国弗瑞尔美术馆","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,28,29,30,31,160,64,34,41,202,44,36,161,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":1416,"slug":1417,"title":1418,"dynasty":478,"author":479,"museum":480,"description":481,"tags":1419,"thumbUrl":1426,"material":493,"size":494,"collection":495,"collections":1427,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":73},225785,"olive-orchard-1889-fan-gao-225785","Olive Orchard 1889",[483,484,1420,1044,1421,1422,1423,1050,7,1136,1424,1425],"厚涂","色彩浓烈","橄榄树","果园","天空","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90fbb17caaa5ae7a91157a042e5e96c1.jpg",[495],{"id":1429,"slug":1430,"title":1431,"dynasty":478,"author":479,"museum":480,"description":481,"tags":1432,"thumbUrl":1434,"material":493,"size":494,"collection":495,"collections":1435,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":73},225749,"garden-at-arles-july-1888-fan-gao-225749","Garden at Arles July 1888",[229,483,484,1135,1433,7,35,729],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cfbc2066607b2c81248b02dbb113f0.jpg",[495],{"id":1437,"slug":1438,"title":1439,"dynasty":478,"author":1440,"museum":480,"description":1441,"tags":1442,"thumbUrl":1443,"material":49,"size":49,"collection":49,"collections":1444,"showCount":1445,"zanCount":11,"manualWeight":11,"mainColor":73},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","雪舟","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,229,24,230,63,30,280,94,144,34,7,40,31,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],23,{"id":1447,"slug":1448,"title":1449,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1450,"thumbUrl":1451,"material":493,"size":494,"collection":495,"collections":1452,"showCount":1445,"zanCount":11,"manualWeight":11,"mainColor":498},226078,"the-iris-garden-at-giverny-1899-1900-v2-mo-nai-226078","The Iris Garden at Giverny, 1899-1900 v2",[229,483,1133,1134,1135,35,7,1136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f28a7a695ede07ea5e502d7e171a373.jpg",[495],{"id":1454,"slug":1455,"title":1456,"dynasty":18,"author":401,"museum":480,"description":1457,"tags":1458,"thumbUrl":1461,"material":49,"size":49,"collection":49,"collections":1462,"showCount":1445,"zanCount":72,"manualWeight":11,"mainColor":73},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,25,231,63,31,28,29,30,64,34,83,39,7,35,1459,42,1460],"亭子","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":1464,"slug":1465,"title":1466,"dynasty":18,"author":723,"museum":107,"description":1467,"tags":1468,"thumbUrl":1469,"material":148,"size":49,"collection":69,"collections":1470,"showCount":1445,"zanCount":11,"manualWeight":11,"mainColor":53},219366,"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[24,25,63,30,31,28,29,34,35,161,94,7,41,1354,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[69],{"id":1472,"slug":1473,"title":1474,"dynasty":18,"author":1475,"museum":20,"description":1476,"tags":1477,"thumbUrl":1480,"material":218,"size":49,"collection":69,"collections":1481,"showCount":1482,"zanCount":11,"manualWeight":11,"mainColor":53},236819,"fang-gu-shan-shui-ce-zhao-cheng-236819","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,25,352,29,30,405,35,39,40,41,7,1478,1479,34],"红树","绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ebc5ce7d4cd925819659780280bf13.jpg",[69,100],22,{"id":1484,"slug":1485,"title":1486,"dynasty":18,"author":1487,"museum":480,"description":1488,"tags":1489,"thumbUrl":1490,"material":493,"size":494,"collection":69,"collections":1491,"showCount":1482,"zanCount":11,"manualWeight":11,"mainColor":53},235092,"zheng-min-shan-shui-ce-zheng-min-235092","郑旼山水册","郑旼","郑旼 1632-1683年 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。",[24,25,352,28,31,33,30,81,127,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[69,151],{"id":1493,"slug":1494,"title":1495,"dynasty":18,"author":1496,"museum":20,"description":1497,"tags":1498,"thumbUrl":1499,"material":1500,"size":1501,"collection":49,"collections":1502,"showCount":1482,"zanCount":11,"manualWeight":11,"mainColor":53},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","戴熙","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,26,28,30,31,32,33,142,81,82,597,127,188,83,7,39,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":1504,"slug":1505,"title":1506,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1507,"thumbUrl":1515,"material":493,"size":494,"collection":495,"collections":1516,"showCount":1482,"zanCount":11,"manualWeight":11,"mainColor":73},226060,"the-cliff-at-dieppe-1882-mo-nai-226060","The Cliff at Dieppe, 1882",[1133,483,29,1460,1508,1509,41,1510,39,534,1424,1511,1512,1513,7,1514,648],"大海","沙滩","帆船","海岸线","海浪","远帆","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154be1a926a1c99feae1f17fe44cf22.jpg",[495],{"id":1518,"slug":1519,"title":1520,"dynasty":58,"author":723,"museum":467,"description":1521,"tags":1522,"thumbUrl":1523,"material":1211,"size":1524,"collection":69,"collections":1525,"showCount":1482,"zanCount":11,"manualWeight":11,"mainColor":73},223457,"shan-shui-ce-ye-yi-ming-223457","山水册页","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[23,24,25,352,28,29,31,30,609,161,34,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[69,151],{"id":1527,"slug":1528,"title":1529,"dynasty":105,"author":723,"museum":107,"description":1530,"tags":1531,"thumbUrl":1532,"material":1533,"size":1534,"collection":49,"collections":1535,"showCount":1482,"zanCount":11,"manualWeight":11,"mainColor":53},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。",[23,24,63,28,31,30,364,111,35,161,42,7,791,1244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","纸本 水墨","126.3x49.7厘米",[],{"id":1537,"slug":1538,"title":1539,"dynasty":58,"author":1540,"museum":107,"description":1541,"tags":1542,"thumbUrl":1543,"material":574,"size":1544,"collection":49,"collections":1545,"showCount":1482,"zanCount":72,"manualWeight":11,"mainColor":53},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。",[23,24,25,63,28,31,27,30,64,34,83,42,145,35,364,1460,7,113,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":1547,"slug":1548,"title":1549,"dynasty":18,"author":1550,"museum":985,"description":1551,"tags":1552,"thumbUrl":1553,"material":67,"size":1554,"collection":49,"collections":1555,"showCount":1556,"zanCount":11,"manualWeight":11,"mainColor":53},218330,"shen-xian-gu-shi-tu-ce-7-leng-mei-218330","神仙故事图册-7","冷枚","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,29,529,41,30,94,127,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90a6d18f63cd7053041df309952abe6d.jpg","38x42",[],21,{"id":1558,"slug":1559,"title":1560,"dynasty":58,"author":1561,"museum":480,"description":1562,"tags":1563,"thumbUrl":1565,"material":493,"size":494,"collection":49,"collections":1566,"showCount":1567,"zanCount":11,"manualWeight":11,"mainColor":53},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。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。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,770,29,28,30,64,39,41,1564,35,34,7,36,142],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],20,{"id":1569,"slug":1570,"title":1571,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1572,"thumbUrl":1574,"material":493,"size":494,"collection":495,"collections":1575,"showCount":1567,"zanCount":11,"manualWeight":11,"mainColor":73},226077,"the-iris-garden-at-giverny-1899-1900-mo-nai-226077","The Iris Garden at Giverny, 1899-1900",[1133,483,1134,1135,35,7,1433,1573,1137],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e8a5d135301cb3766f578cad93232a.jpg",[495],{"id":1577,"slug":1578,"title":1579,"dynasty":18,"author":78,"museum":515,"description":1580,"tags":1581,"thumbUrl":1582,"material":176,"size":1583,"collection":49,"collections":1584,"showCount":1567,"zanCount":11,"manualWeight":11,"mainColor":53},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4","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。",[229,24,25,30,27,31,28,280,81,127,64,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg","纵55.4厘米，横36.0厘米",[],{"id":1586,"slug":1587,"title":1226,"dynasty":58,"author":277,"museum":20,"description":1588,"tags":1589,"thumbUrl":1590,"material":1591,"size":1592,"collection":49,"collections":1593,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":53},234055,"shan-shui-ce-dong-qi-chang-234055","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n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。",[229,24,25,352,28,31,30,35,34,39,40,161,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c284092d9c32f1c2b5519282e29198.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],19,{"id":1596,"slug":1597,"title":1598,"dynasty":18,"author":1599,"museum":1600,"description":1601,"tags":1602,"thumbUrl":1603,"material":1604,"size":1605,"collection":69,"collections":1606,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":49},220746,"shan-shui-ji-wang-shi-min-weng-ling-wu-hong-deng-220746","山水集","王時敏,翁陵,吳宏等","香港中文大学文物馆","此作以淡墨写秋山幽居，高远山势裹挟平远溪村，虚实相生间铺展萧疏秋意。干笔皴擦勾勒崖石肌理，墨色枯润相间，山石苍朴古拙，间植的虬松杂木以浓墨点染，于淡逸底色中醒出清刚生气。山脚茅舍隐于坡麓林樾，似有幽人栖居，愈显空山岑寂。\n左侧题识朱印与画面相映成趣，文气融于山水间，将笔墨意趣与林下襟怀相融，尽显简淡天真的文人逸韵，引人神游林泉，坐忘尘嚣。",[24,28,31,63,30,34,35,41,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69bcfdca7a043dfd340cb6eb43397849.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[69],{"id":1608,"slug":1609,"title":1610,"dynasty":18,"author":1611,"museum":1600,"description":1612,"tags":1613,"thumbUrl":1615,"material":1616,"size":1617,"collection":49,"collections":1618,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":49},220730,"xun-qin-tu-5-huang-xiang-jian-220730","寻亲图5","黄向坚","画面以虚实二分排布，左为题识，右绘山水。淡墨晕开烟岚，青绿晕染峰峦，温润雅致。层叠山峦间云气萦回，山寺卓立翠岭之巅，江渚隐现烟波里，孤舟悬于空濛水面，暗衬长路寻亲的孤寂。\n\n苍劲题笔与秀雅山水相映，文情画境交融，将羁旅寻亲的悠长愁思，寄于阔远烟霞。青绿设色承袭古意，留白铺陈烘托出漫漫寻途的沉郁心绪，笔墨工秀兼具，把天涯寻亲的幽微情愫藏在云山烟水之间，意韵绵长。",[24,26,29,28,30,31,364,161,113,40,1614,35,111,7],"近峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ed87cab5ac6282467def950a93b23e.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[],{"id":1620,"slug":1621,"title":964,"dynasty":18,"author":401,"museum":480,"description":1218,"tags":1622,"thumbUrl":1623,"material":49,"size":49,"collection":151,"collections":1624,"showCount":1625,"zanCount":11,"manualWeight":11,"mainColor":53},236421,"shan-shui-zhou-wang-hui-236421",[24,25,63,28,31,32,30,35,34,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bf315cbaa420c5f5e1b33c83013106.jpg",[151,795],18,{"id":1627,"slug":1628,"title":1629,"dynasty":18,"author":566,"museum":480,"description":1630,"tags":1631,"thumbUrl":1632,"material":493,"size":494,"collection":49,"collections":1633,"showCount":1625,"zanCount":11,"manualWeight":11,"mainColor":53},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 。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》。",[24,63,29,31,405,30,40,35,95,34,203,39,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81881262d4f524260026edc90e0d8ec5.jpg",[],{"id":1635,"slug":1636,"title":1226,"dynasty":18,"author":1637,"museum":480,"description":1638,"tags":1639,"thumbUrl":1640,"material":49,"size":49,"collection":49,"collections":1641,"showCount":1625,"zanCount":11,"manualWeight":11,"mainColor":53},235171,"shan-shui-ce-zhu-da-235171","朱耷","此作用笔简逸疏淡，以淡墨晕染山川林舍。枯笔轻擦山峦，略去繁复勾勒，留白处如清岚漫卷，虚实相生间晕开幽寂萧疏之致。近林木枝错落，寥寥数笔便写尽枯荣之态，溪桥茅舍隐于林麓，暗合隐逸幽思。\n\n画面删繁就简，以少胜多，淡墨氤氲间流淌着清冷荒疏的意趣，极简构图藏尽天地简寂之美。笔墨省净却意蕴悠长，将孤高淡远的文人襟怀融于尺幅之中，观之如临空山幽境，漫溢着清寂澹泊的悠悠诗意。",[24,28,31,352,30,144,39,40,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb2b0a291c767c8af5f2b34d2e4db7b.jpg",[],{"id":1643,"slug":1644,"title":1645,"dynasty":478,"author":479,"museum":480,"description":481,"tags":1646,"thumbUrl":1651,"material":493,"size":494,"collection":495,"collections":1652,"showCount":1625,"zanCount":11,"manualWeight":11,"mainColor":498},225842,"the-garden-at-the-asylum-at-saint-remy-fan-gao-225842","The garden at the asylum at Saint Remy",[483,484,29,1647,1421,1135,7,35,1433,203,534,1424,1177,1176,1648,1649,1650,317],"厚重笔触","开花树木","土路","灌木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cf7757baff05fbba965fb0a000e802.jpg",[495],{"id":1654,"slug":1655,"title":1656,"dynasty":18,"author":401,"museum":985,"description":1657,"tags":1658,"thumbUrl":1662,"material":97,"size":1663,"collection":49,"collections":1664,"showCount":1625,"zanCount":11,"manualWeight":11,"mainColor":53},217206,"fang-gu-shan-shui-shi-er-kai-shi-er-wang-hui-217206","仿古山水十二开(十二)","此册王翚仿古十二开",[24,28,31,352,30,39,35,660,202,41,144,38,7,364,1659,233,40,1660,1661],"民居","路径","骑乘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a21745ec4cca633de1562020ea6baee.jpg","25x35.4cm",[],{"id":1666,"slug":1667,"title":1668,"dynasty":18,"author":78,"museum":515,"description":1580,"tags":1669,"thumbUrl":1670,"material":97,"size":1583,"collection":49,"collections":1671,"showCount":1625,"zanCount":11,"manualWeight":11,"mainColor":53},216970,"fang-song-yuan-shan-shui-ce-10-wang-jian-216970","仿宋元山水册-10",[23,229,24,25,352,27,31,28,29,30,35,34,83,41,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138231a7ee6fa33fd5483a4fe320cb8e.jpg",[],{"id":1673,"slug":1674,"title":1675,"dynasty":1676,"author":1677,"museum":515,"description":1678,"tags":1679,"thumbUrl":1681,"material":49,"size":49,"collection":69,"collections":1682,"showCount":1625,"zanCount":11,"manualWeight":11,"mainColor":1683},202802,"ceng-luan-fei-pu-tu-zhou-huang-bin-hong-202802","层峦飞瀑图轴","近代","黄宾虹","层峦叠嶂间，飞瀑漱石溅玉，沿崖壁奔流而下，滋养谷底草木。山间屋舍错落隐于浓荫，小径蜿蜒向上，似引观者入幽境。笔墨苍劲老辣，皴擦点染结合，积墨与留白相映，山峦肌理浑厚，云雾缭绕处虚实相生。草木葱茏、山石嶙峋，既含自然野趣，又藏文人雅致，尽显山川灵秀与静谧生机，仿佛可闻泉声鸟语，可感林泉之乐。",[24,25,63,28,31,30,1680,112,7,41,23],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3977ed45304cb2a20713c0d1536a341.jpg",[69],"969487",{"id":1685,"slug":1686,"title":1687,"dynasty":18,"author":401,"museum":107,"description":1688,"tags":1689,"thumbUrl":1690,"material":148,"size":49,"collection":69,"collections":1691,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":53},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","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王翚 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。”\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。",[24,25,352,28,27,31,142,30,38,127,144,40,746,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[69],17,{"id":1694,"slug":1695,"title":1226,"dynasty":58,"author":277,"museum":20,"description":1588,"tags":1696,"thumbUrl":1697,"material":1591,"size":1592,"collection":49,"collections":1698,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":53},234057,"shan-shui-ce-dong-qi-chang-234057",[24,28,31,352,1341,30,40,95,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318bf462de0567dc82594086471e48bb.jpg",[],{"id":1700,"slug":1701,"title":1702,"dynasty":18,"author":385,"museum":480,"description":1703,"tags":1704,"thumbUrl":1705,"material":148,"size":1706,"collection":49,"collections":1707,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":53},233380,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233380","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,28,31,352,142,30,64,34,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bbd7d92c80a69a6c6a4f2a0813882f.jpg","纵24.6cm横17.6cm",[],{"id":1709,"slug":1710,"title":1711,"dynasty":58,"author":1561,"museum":480,"description":1712,"tags":1713,"thumbUrl":1715,"material":909,"size":1716,"collection":49,"collections":1717,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":53},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,24,28,31,63,30,1714,144,64,42,34,38,7],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":1719,"slug":1720,"title":1721,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1722,"thumbUrl":1724,"material":493,"size":494,"collection":495,"collections":1725,"showCount":1692,"zanCount":72,"manualWeight":11,"mainColor":498},225931,"flowers-in-the-garden-1930-mo-nai-225931","Flowers in the Garden, 1930",[1133,483,1135,7,35,1136,1723,734,488,491],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ff26f9307a3528861098900f6cb6f8.jpg",[495],{"id":1727,"slug":1728,"title":1226,"dynasty":18,"author":1729,"museum":480,"description":1730,"tags":1731,"thumbUrl":1733,"material":493,"size":494,"collection":69,"collections":1734,"showCount":1735,"zanCount":11,"manualWeight":11,"mainColor":53},237997,"shan-shui-ce-qin-zu-yong-237997","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[24,25,352,28,33,142,31,30,37,36,38,35,34,83,39,7,1680,364,113,1732,1341],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[69,100],16,{"id":1737,"slug":1738,"title":1226,"dynasty":18,"author":1739,"museum":20,"description":1740,"tags":1741,"thumbUrl":1742,"material":48,"size":49,"collection":69,"collections":1743,"showCount":1735,"zanCount":11,"manualWeight":11,"mainColor":53},234320,"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,352,28,31,33,142,30,34,35,7,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[69,100,795],{"id":1745,"slug":1746,"title":1747,"dynasty":58,"author":694,"museum":289,"description":1748,"tags":1749,"thumbUrl":1750,"material":148,"size":1751,"collection":49,"collections":1752,"showCount":1735,"zanCount":11,"manualWeight":11,"mainColor":53},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。 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南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,352,28,31,30,35,39,7,34,32,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d0768fdd95790b013468eae8620264.jpg","纵23.8厘米，横19.2厘米",[],{"id":1888,"slug":1889,"title":1890,"dynasty":58,"author":1253,"museum":480,"description":1254,"tags":1891,"thumbUrl":1894,"material":493,"size":494,"collection":49,"collections":1895,"showCount":1896,"zanCount":72,"manualWeight":11,"mainColor":53},239412,"qiu-lin-li-zhang-tu-zhou-sun-zhi-239412","秋林藜杖图轴",[24,25,63,28,30,31,1892,34,41,37,40,35,1893,7,161],"秋林","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f73c7d36a9cd4d75b5cc1f1c0fb19b9.jpg",[],13,{"id":1898,"slug":1899,"title":1226,"dynasty":18,"author":1900,"museum":20,"description":1901,"tags":1902,"thumbUrl":1903,"material":218,"size":49,"collection":49,"collections":1904,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":53},237187,"shan-shui-ce-sun-yi-237187","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。",[24,29,30,31,352,81,127,64,111,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fbab533a40aec5a30eb23e8fb78a.jpg",[],{"id":1906,"slug":1907,"title":1908,"dynasty":58,"author":1909,"museum":480,"description":1910,"tags":1911,"thumbUrl":1912,"material":49,"size":49,"collection":49,"collections":1913,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":53},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。",[24,25,28,31,352,30,38,35,34,39,42,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8fd14004e15d9a8836dc084f6eacaa.jpg",[],{"id":1915,"slug":1916,"title":1917,"dynasty":58,"author":1918,"museum":480,"description":1919,"tags":1920,"thumbUrl":1921,"material":49,"size":49,"collection":49,"collections":1922,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":53},234486,"shan-shui-shan-wei-zhi-huang-234486","山水扇","魏之璜","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）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，别具风格。亦擅花卉及佛像。",[770,24,25,28,29,31,30,35,34,94,39,7,433,111,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f153ceabb94254d50706.jpg",[],{"id":1924,"slug":1925,"title":1926,"dynasty":58,"author":1927,"museum":480,"description":1928,"tags":1929,"thumbUrl":1932,"material":218,"size":49,"collection":49,"collections":1933,"showCount":1896,"zanCount":72,"manualWeight":11,"mainColor":53},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",[23,24,25,26,28,30,31,81,82,35,161,609,111,1564,1338,42,937,7,433,113,1930,1828,144,1931,644,791],"层峦叠嶂","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":1935,"slug":1936,"title":1937,"dynasty":18,"author":1938,"museum":480,"description":1939,"tags":1940,"thumbUrl":1941,"material":49,"size":49,"collection":49,"collections":1942,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":53},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","高简","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[23,24,25,63,28,31,30,34,144,36,39,40,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":1944,"slug":1945,"title":1946,"dynasty":58,"author":1909,"museum":480,"description":1947,"tags":1948,"thumbUrl":1949,"material":49,"size":49,"collection":49,"collections":1950,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":53},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,352,29,28,30,31,364,161,36,37,94,35,263,38,34,7,41,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":1952,"slug":1953,"title":1954,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":1955,"thumbUrl":1965,"material":493,"size":494,"collection":495,"collections":1966,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":53},226101,"the-promenade-near-argenteuil-1873-mo-nai-226101","The Promenade near Argenteuil, 1873",[229,1133,483,1956,1957,1958,1959,1382,534,1960,35,41,1961,1380,1962,1424,1963,7,1043,1964],"光影捕捉","色彩晕染","笔触松散","自然光线","野花","孩童","田野","云朵","户外写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf67664132c0d436c714a15e4b669099.jpg",[495],{"id":1968,"slug":1969,"title":1970,"dynasty":18,"author":184,"museum":480,"description":1971,"tags":1972,"thumbUrl":1973,"material":1974,"size":1975,"collection":49,"collections":1976,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":73},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8","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。",[23,24,28,29,31,352,30,34,36,38,39,35,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg","墨色绢本","48x32",[],{"id":1978,"slug":1979,"title":1226,"dynasty":58,"author":1980,"museum":480,"description":1981,"tags":1982,"thumbUrl":1983,"material":49,"size":49,"collection":49,"collections":1984,"showCount":1985,"zanCount":72,"manualWeight":11,"mainColor":53},239546,"shan-shui-ce-shen-hao-239546","沈颢","此作以淡墨轻皴绘就雪后清晓之景，浅赭晕染远山，留白处隐见残雪覆于峦岫，起伏连绵间尽显空蒙萧寒。枯林错落萧疏，淡写枝干无叶之态，暗合冬日荒寂。山径间旅人策蹇缓行，为冷寂山水晕开一缕烟火暖意。\n\n画面与题诗清雅相融，以极简笔墨铺陈悠远画境，将冬日郊野的静谧诗意缓缓晕开，尽显文人画空灵淡远之致，于简淡疏朗间藏着清旷余韵，淡而不薄，枯而不涩，尽显幽远的林下诗意。",[24,25,352,28,31,30,81,127,7,41,248,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],12,{"id":1987,"slug":1988,"title":1989,"dynasty":18,"author":1990,"museum":480,"description":1991,"tags":1992,"thumbUrl":1993,"material":49,"size":49,"collection":49,"collections":1994,"showCount":1985,"zanCount":11,"manualWeight":11,"mainColor":53},238415,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238415","董诰蓬壶荟胜图册","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”。",[24,25,352,29,31,30,35,36,83,41,111,598,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58ceac15855ab05632228fe81ee6374.jpg",[],{"id":1996,"slug":1997,"title":1226,"dynasty":18,"author":1998,"museum":480,"description":1999,"tags":2000,"thumbUrl":2001,"material":493,"size":494,"collection":69,"collections":2002,"showCount":1985,"zanCount":11,"manualWeight":11,"mainColor":53},238084,"shan-shui-ce-lu-yao-238084","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,28,31,352,30,35,39,34,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2985e28acb1580fa39b13e42e6be69.jpg",[69],{"id":2004,"slug":2005,"title":964,"dynasty":18,"author":2006,"museum":480,"description":2007,"tags":2008,"thumbUrl":2009,"material":874,"size":49,"collection":69,"collections":2010,"showCount":1985,"zanCount":11,"manualWeight":11,"mainColor":53},237970,"shan-shui-zhou-li-jian-237970","黎简","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,63,28,29,31,30,35,64,34,161,44,41,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[69,100],{"id":2012,"slug":2013,"title":2014,"dynasty":58,"author":2015,"museum":480,"description":2016,"tags":2017,"thumbUrl":2018,"material":49,"size":49,"collection":49,"collections":2019,"showCount":1985,"zanCount":11,"manualWeight":11,"mainColor":53},235839,"yu-nv-tan-tu-ye-zhu-lang-235839","玉女潭图页","朱朗","此作用笔温润雅致，右侧幽谷深潭静卧山坳，苍岩皴笔朴拙苍劲，潭水以淡墨晕染出澄澈空濛之态。临潭水榭半隐于松荫翠色中，隐约有人凭栏观览，将林泉雅意收于咫尺画幅。\n\n左侧题咏行书笔致清逸舒展，诗画相映，衬出潭水的仙灵意境。整幅工写兼施，将江南山水的温婉秀润与文人幽居雅兴相融，以细腻笔墨勾勒出涤净尘俗的林泉胜境，尽显寄情山水的抒情意趣。",[24,25,29,30,33,31,142,38,35,36,34,203,161,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa612ad865fbda0ae6c6443e63e8c7ad5.jpg",[],{"id":2021,"slug":2022,"title":2023,"dynasty":18,"author":2024,"museum":480,"description":2025,"tags":2026,"thumbUrl":2027,"material":493,"size":494,"collection":49,"collections":2028,"showCount":1985,"zanCount":11,"manualWeight":11,"mainColor":53},235617,"hong-ren-shan-shui-ce-hong-ren-235617","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”。",[229,24,25,352,28,31,30,35,94,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1b5516758b3d884ab3b86e03394ea7.jpg",[],{"id":2030,"slug":2031,"title":2023,"dynasty":18,"author":2024,"museum":480,"description":2025,"tags":2032,"thumbUrl":2036,"material":493,"size":494,"collection":49,"collections":2037,"showCount":1985,"zanCount":11,"manualWeight":11,"mainColor":53},235614,"hong-ren-shan-shui-ce-hong-ren-235614",[229,24,25,388,28,2033,728,31,2034,2035,30,81,188,127,39,7,622,644],"枯笔","简约","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786ec573adabfb43ca01bf811898821a.jpg",[],{"id":2039,"slug":2040,"title":2041,"dynasty":18,"author":401,"museum":742,"description":1218,"tags":2042,"thumbUrl":2044,"material":148,"size":2045,"collection":49,"collections":2046,"showCount":1985,"zanCount":11,"manualWeight":11,"mainColor":53},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图",[23,24,229,231,28,29,31,364,376,7,644,39,173,791,620,2043],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":2048,"slug":2049,"title":1226,"dynasty":18,"author":2050,"museum":480,"description":2051,"tags":2052,"thumbUrl":2054,"material":49,"size":49,"collection":49,"collections":2055,"showCount":2056,"zanCount":11,"manualWeight":11,"mainColor":53},238147,"shan-shui-ce-yun-xi-238147","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。",[24,29,31,352,30,81,82,38,144,7,40,2053,34,113],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4810f4349a79e4a82ac72927ab0bc5bb.jpg",[],11,{"id":2058,"slug":2059,"title":2060,"dynasty":105,"author":2061,"museum":480,"description":2062,"tags":2063,"thumbUrl":2064,"material":49,"size":49,"collection":49,"collections":2065,"showCount":2056,"zanCount":11,"manualWeight":11,"mainColor":73},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三","李公麟","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。",[23,229,24,25,953,29,31,30,83,41,111,35,42,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":2067,"slug":2068,"title":2069,"dynasty":18,"author":1990,"museum":107,"description":2070,"tags":2071,"thumbUrl":2074,"material":410,"size":2075,"collection":49,"collections":2076,"showCount":2056,"zanCount":11,"manualWeight":11,"mainColor":53},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”。",[23,24,29,529,31,30,352,364,35,42,726,202,534,144,248,36,7,264,2072,622,938,2073],"牧畜","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","22.9x26厘米",[],{"id":2078,"slug":2079,"title":2080,"dynasty":58,"author":2081,"museum":107,"description":2082,"tags":2083,"thumbUrl":2085,"material":269,"size":2086,"collection":49,"collections":2087,"showCount":2056,"zanCount":11,"manualWeight":11,"mainColor":73},222443,"chun-shan-tu-zhou-lin-guang-222443","春山图轴","林广","溪山深邃处。临水筑榭。青松卓然高立。山坳处。春花怒放。士人于此静坐。享受着无限的春光。此图用笔方劲。以刚硬之气。画妩媚春景。亦别具一格。\n林广（明末清初），广陵人，是久居金陵的职业画家。山水、人物初学宫廷画家李在（？-1431）与蓝瑛，居金陵后，融入了金陵画派地域画风的时潮，发展出典型的金陵面目。作为职业画家，林广的绘画能力很强，金陵各种风格都有涉猎，既有类似吴宏、高岑一路的山水风格，亦有接近武丹的面目（《上元县志》版“金陵八家”即有武丹）。",[229,24,25,63,28,31,30,264,34,35,83,39,7,41,2084],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117261838ffba9ce00a6cadb6ef82d48.jpg","182.8x103.8厘米",[],{"id":2089,"slug":2090,"title":2091,"dynasty":18,"author":811,"museum":515,"description":2092,"tags":2093,"thumbUrl":2094,"material":49,"size":49,"collection":69,"collections":2095,"showCount":2056,"zanCount":11,"manualWeight":11,"mainColor":2096},202024,"shuang-feng-tu-zhou-cha-shi-biao-202024","双峰图轴","笔墨疏淡间，双峰隐现于云气，枯木虬枝旁逸斜出，山间小径蜿蜒而上，引观者目光深入林泉之境。干笔皴擦的山石肌理分明，尽显清刚之气；留白处意蕴悠远，藏住新安画派特有的空灵。画面无繁复设色，仅以水墨晕染，却于简约中见深致，传递出文人画的萧散淡泊，仿佛能闻山间松风，得一份尘外之趣。",[30,28,31,95,34,7,63,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54911094391e39f0658e9c57f6821edb.jpg",[69],"bfa88d",{"id":2098,"slug":2099,"title":1226,"dynasty":18,"author":2050,"museum":480,"description":2051,"tags":2100,"thumbUrl":2101,"material":49,"size":49,"collection":49,"collections":2102,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":53},238144,"shan-shui-ce-yun-xi-238144",[24,29,28,31,352,81,82,161,39,35,7,42,507,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f3ef880ac7f04f143208f381793708.jpg",[],10,{"id":2105,"slug":2106,"title":1226,"dynasty":58,"author":277,"museum":20,"description":2107,"tags":2108,"thumbUrl":2110,"material":218,"size":1592,"collection":49,"collections":2111,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":53},233803,"shan-shui-ce-dong-qi-chang-233803","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。",[24,28,31,352,142,30,35,34,620,7,111,42,376,40,1002,622,2109],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75710c5e147415e81d5f1e9b06ef7dca.jpg",[],{"id":2113,"slug":2114,"title":2115,"dynasty":18,"author":2116,"museum":1207,"description":2117,"tags":2118,"thumbUrl":2119,"material":422,"size":2120,"collection":49,"collections":2121,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":53},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 金礼嬴-寒山招隐图现藏于旅顺博物馆。",[23,24,29,31,30,38,34,144,41,94,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":2123,"slug":2124,"title":2125,"dynasty":58,"author":2126,"museum":480,"description":2127,"tags":2128,"thumbUrl":2131,"material":493,"size":494,"collection":49,"collections":2132,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":73},228348,"you-xian-tu-shen-xi-yuan-228348","游仙图","沈希远","山水宗马远，亦善传神。洪武（一三六八-二二九八）中写御容称旨，授中书舍人。",[23,24,25,26,29,529,31,30,41,35,34,37,36,38,7,2129,2130],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":2134,"slug":2135,"title":2136,"dynasty":18,"author":1990,"museum":107,"description":2070,"tags":2137,"thumbUrl":2139,"material":49,"size":49,"collection":49,"collections":2140,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":53},222857,"song-shou-yan-chun-dong-gao-222857","松寿延春",[23,24,25,352,29,31,30,64,34,36,35,2138,7],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd3de4aee7878f6101fefa3c4df787.jpg",[],{"id":2142,"slug":2143,"title":2144,"dynasty":18,"author":78,"museum":515,"description":1580,"tags":2145,"thumbUrl":2146,"material":97,"size":1583,"collection":49,"collections":2147,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":53},216975,"fang-song-yuan-shan-shui-ce-9-wang-jian-216975","仿宋元山水册-9",[23,229,24,25,28,31,27,352,30,34,42,35,40,648,144,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd859c8b90e8e3f47472da8cbc74.jpg",[],{"id":2149,"slug":2150,"title":2151,"dynasty":18,"author":78,"museum":124,"description":2152,"tags":2153,"thumbUrl":2154,"material":97,"size":49,"collection":49,"collections":2155,"showCount":2103,"zanCount":11,"manualWeight":11,"mainColor":53},215020,"fang-gu-shan-shui-ce-10-wang-jian-215020","仿古山水册-10","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。",[229,24,25,28,405,31,352,30,34,35,144,42,39,40,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11919f562afd6a3c89ea0895593cfc50.jpg",[],{"id":2157,"slug":2158,"title":2159,"dynasty":58,"author":123,"museum":480,"description":2160,"tags":2161,"thumbUrl":2163,"material":493,"size":494,"collection":49,"collections":2164,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},290855,"mei-jing-xie-juan-tang-yin-290855","梅径携卷","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,28,388,30,2162,41,7,280,142,32,31],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43c8d9b4924edeba2e2c0e38e0cdc66.jpg",[],9,{"id":2167,"slug":2168,"title":2169,"dynasty":18,"author":1990,"museum":480,"description":1991,"tags":2170,"thumbUrl":2171,"material":49,"size":49,"collection":49,"collections":2172,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},238832,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238832","董诰墨庄览胜图册",[24,29,30,31,352,34,35,39,40,746,161,317,7,113,791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],{"id":2174,"slug":2175,"title":1226,"dynasty":18,"author":2050,"museum":480,"description":2051,"tags":2176,"thumbUrl":2177,"material":49,"size":49,"collection":49,"collections":2178,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},238141,"shan-shui-ce-yun-xi-238141",[229,24,25,352,29,31,30,34,35,83,161,7,698],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d6c892ae66900383ba78fcac103714.jpg",[],{"id":2180,"slug":2181,"title":2182,"dynasty":58,"author":2183,"museum":480,"description":2184,"tags":2185,"thumbUrl":2186,"material":49,"size":49,"collection":49,"collections":2187,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},236024,"ren-wu-tu-ce-mo-shi-he-zhou-fa-wen-nan-shou-mao-weng-236024","人物图册－摹失和州法","文柟寿茂翁","此作以淡墨轻色铺陈园林幽境，陂岸蜿蜒，修竹掩映水榭，塘间清寂空阔。持杖老者缓行于岸侧，衣袂飘然，似乘闲寻幽，将林泉漫步的安闲意趣晕染开来。\n\n画面留白疏朗，笔致松秀简淡，以极简笔墨勾勒出清旷雅致的隐逸氛围。搭配左侧行书题诗，诗书合璧，尽显文雅。整体淡远冲和，将文人寄情山水、耽于丘园的雅怀融于尺幅间，意韵悠长，尽显文人画抒情寄兴的悠然风貌。",[24,25,352,29,28,27,33,41,675,203,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74c819dd7ff3bc5f315bc7c0fcf5cac.jpg",[],{"id":2189,"slug":2190,"title":2191,"dynasty":18,"author":566,"museum":480,"description":2192,"tags":2193,"thumbUrl":2195,"material":49,"size":49,"collection":49,"collections":2196,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},235640,"shan-shui-tu-ce-wu-li-235640","山水图册","此作以淡墨铺陈萧寂冬景，近间篱舍环围，寒木枯槎掩映山居，小径蜿蜒通幽，自有阒寂安闲之趣。平湖如镜横亘画幅，对岸危崖壁立，飞瀑垂落，以干笔皴擦写出山石苍劲肌理，淡墨晕染出秋水空蒙。\n\n左上角题诗与印信呼应画面意境，构图疏密得当，笔意朴厚温雅，不着艳色，以水墨尽绘林泉幽致，将文人寄情山水、静享林下的意趣融于尺幅之间，意境淡宕悠远。",[229,24,25,352,28,31,142,30,144,7,2194,34,39],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5600b17ebd9e80b097225499fdc4e8c4.jpg",[],{"id":2198,"slug":2199,"title":2200,"dynasty":18,"author":78,"museum":480,"description":2201,"tags":2202,"thumbUrl":2204,"material":493,"size":494,"collection":49,"collections":2205,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},235343,"fang-gu-shu-hua-ce-wang-jian-235343","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。",[24,25,352,28,29,30,35,34,39,31,32,2203,7,144],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f6dadcd38fa9e4180ffab56f73e84d.jpg",[],{"id":2207,"slug":2208,"title":2200,"dynasty":18,"author":78,"museum":480,"description":2201,"tags":2209,"thumbUrl":2210,"material":493,"size":494,"collection":49,"collections":2211,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},235341,"fang-gu-shu-hua-ce-wang-jian-235341",[229,24,25,352,28,30,35,34,31,142,32,7,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6a5ad5c33b451d9f6cc18c8e380981.jpg",[],{"id":2213,"slug":2214,"title":2215,"dynasty":58,"author":594,"museum":480,"description":2216,"tags":2217,"thumbUrl":2218,"material":493,"size":494,"collection":49,"collections":2219,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},234840,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234840","仿北苑山水扇页","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。",[770,24,231,31,29,81,127,34,36,40,648,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f39de867eab103772580eacab4813bc.jpg",[],{"id":2221,"slug":2222,"title":2223,"dynasty":58,"author":2224,"museum":20,"description":2225,"tags":2226,"thumbUrl":2227,"material":148,"size":49,"collection":49,"collections":2228,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":53},233854,"shi-hua-he-bi-ce-zhou-yong-233854","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,25,352,28,31,953,29,30,41,248,95,43,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b239f8f751456574441785c55cb076.jpg",[],{"id":2230,"slug":2231,"title":2232,"dynasty":18,"author":2233,"museum":480,"description":2234,"tags":2235,"thumbUrl":2237,"material":49,"size":49,"collection":49,"collections":2238,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":73},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","深竹幽居图","程邃","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[23,24,28,31,63,30,65,39,37,36,173,34,35,7,2236],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":2240,"slug":2241,"title":2242,"dynasty":478,"author":1440,"museum":480,"description":2243,"tags":2244,"thumbUrl":2246,"material":493,"size":494,"collection":49,"collections":2247,"showCount":2165,"zanCount":11,"manualWeight":11,"mainColor":73},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,25,229,63,31,28,29,30,81,127,111,203,40,2245,7,35],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":2249,"slug":2250,"title":2251,"dynasty":18,"author":401,"museum":107,"description":1164,"tags":2252,"thumbUrl":2253,"material":148,"size":49,"collection":49,"collections":2254,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":2256},237385,"jiu-jia-shan-shui-ce-shen-cang-ping-lin-tu-ye-wang-hui-237385","九家山水册-沈苍平林图页",[24,25,352,29,28,31,30,35,1459,34,620,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0f98556e4a5d46c511b0791eec412b2.jpg",[],8,"F48FB1",{"id":2258,"slug":2259,"title":2260,"dynasty":18,"author":2261,"museum":480,"description":2262,"tags":2263,"thumbUrl":2264,"material":148,"size":49,"collection":49,"collections":2265,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","补景古臣松梅观鹤图像并附山水册","徐佐","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[24,25,352,28,29,33,31,30,597,34,35,40,570,7,32,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":2267,"slug":2268,"title":1226,"dynasty":58,"author":2269,"museum":480,"description":2270,"tags":2271,"thumbUrl":2272,"material":49,"size":49,"collection":49,"collections":2273,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},235829,"shan-shui-ce-li-liu-fang-235829","李流芳","此帧以淡墨写幽居秋山，古松拔地而起，枝桠舒展如盖，笔致苍劲老辣，自带虬劲古拙之态。山峦以干笔皴擦，墨色清润且层次分明，留白处漾出空寂萧散之意。林麓间村居隐现，暗合山居幽寂之趣。\n\n题语评其近董巨遗风，墨淡而神完气厚，不假浓艳而丘壑自存，将江南秋山的清寂淡远尽藏毫端，笔底见出文人画的简雅风神，于水墨疏淡中见出沉厚的笔墨功底，尽显静穆淡远的山水逸韵。",[229,24,25,352,28,31,30,64,34,39,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50162dc314f052934b135c96165978d2.jpg",[],{"id":2275,"slug":2276,"title":2277,"dynasty":58,"author":2278,"museum":480,"description":2279,"tags":2280,"thumbUrl":2281,"material":493,"size":494,"collection":49,"collections":2282,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},235691,"shan-shui-hua-hui-ce-xiang-sheng-mo-235691","山水花卉册","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,28,352,31,30,41,95,38,34,36,40,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d1280937be3d9c6e933102baa569e8.jpg",[],{"id":2284,"slug":2285,"title":2286,"dynasty":58,"author":1561,"museum":480,"description":1562,"tags":2287,"thumbUrl":2288,"material":493,"size":494,"collection":49,"collections":2289,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},235270,"wen-zheng-ming-shan-shui-shan-ye-wen-zheng-ming-235270","文徵明山水扇页",[24,25,770,31,30,34,64,35,44,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4462c3924a5c32075348b714c80d1a.jpg",[],{"id":2291,"slug":2292,"title":2293,"dynasty":18,"author":2294,"museum":20,"description":2295,"tags":2296,"thumbUrl":2297,"material":218,"size":2298,"collection":49,"collections":2299,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},233435,"huang-shan-tu-ce-mei-qing-233435","黄山图册","梅清","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,28,30,31,34,35,161,609,352,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b212879f959dce763fc65f14db00d25.jpg","纵26厘米，横33厘米",[],{"id":2301,"slug":2302,"title":2303,"dynasty":18,"author":1031,"museum":20,"description":2304,"tags":2305,"thumbUrl":2306,"material":2307,"size":2308,"collection":49,"collections":2309,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},233162,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233162","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,30,29,31,352,142,81,188,127,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16fc8d6f6d21d7a77d781c5c0e6642.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[],{"id":2311,"slug":2312,"title":2313,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":2314,"thumbUrl":2316,"material":493,"size":494,"collection":495,"collections":2317,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":73},226126,"the-tuileries-study-1876-mo-nai-226126","The Tuileries. Study, 1876",[1133,483,1804,1957,2315,35,534,203,1424,572,41,7,1573],"朦胧质感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0b93ae7d80f2f293399ebebc0b45d.jpg",[495],{"id":2319,"slug":2320,"title":2321,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":2322,"thumbUrl":2329,"material":493,"size":494,"collection":495,"collections":2330,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":73},226084,"the-moreno-garden-at-bordighera-1884-mo-nai-226084","The Moreno Garden at Bordighera, 1884",[1133,483,1804,2323,1135,203,2324,7,35,2325,1573,2326,2327,1173,2328],"色彩丰富","棕榈树","蓝天","塔楼","热带植物","笔触灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731e5057ee7651a0d5fe115cbd3200c9.jpg",[495],{"id":2332,"slug":2333,"title":2334,"dynasty":478,"author":1130,"museum":480,"description":1131,"tags":2335,"thumbUrl":2339,"material":493,"size":494,"collection":495,"collections":2340,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":73},226075,"the-house-among-the-roses-1925-1926-mo-nai-226075","The House among the Roses, 1925-1926",[1133,483,2336,1136,7,1424,488,2337,491,2338,113],"风景","色彩融合","玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777dd79ccce3ba9f9910c5a8bcc1eef5.jpg",[495],{"id":2342,"slug":2343,"title":2344,"dynasty":478,"author":479,"museum":480,"description":481,"tags":2345,"thumbUrl":2349,"material":493,"size":494,"collection":495,"collections":2350,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":73},225741,"entrance-to-the-public-gardens-in-arle-1888-fan-gao-225741","Entrance to the Public Gardens in Arle 1888",[483,484,1044,35,7,41,489,2346,1424,1382,1043,2347,1649,1425,2348],"门","行人","入口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa9b183d2c550d89d3b4901e4295d14.jpg",[495],{"id":2352,"slug":2353,"title":2354,"dynasty":58,"author":1400,"museum":985,"description":2355,"tags":2356,"thumbUrl":2357,"material":97,"size":2358,"collection":49,"collections":2359,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},217870,"zhou-li-yuan-shang-kuan-shen-ce-ba-hu-yu-kun-217870","周栎园上款什册(八)","水墨晕染间，层崖峻壑如劈，皴笔勾勒出山石嶙峋肌理。虬松盘结岩隙，枝干苍劲似与山风低语。山间小径蜿蜒隐现，偶见屋舍点缀，添几分幽居之趣。左侧题跋笔墨流畅，诗韵与画境交融，字里行间流露对山水清净的向往。诗画相契，尽显文人雅士寄情林泉、心向归隐的淡泊襟怀。笔墨雅致与意境悠远交织，似能窥见雅士们于林泉间品茗赏景、诗画唱和的闲逸时光，令人沉醉于这份自然与心灵的双重归栖。",[24,25,352,28,31,32,30,34,35,64,1460,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d3834a21679e7817ec440f3937cf26.jpg","24.7x32.3cm",[],{"id":2361,"slug":2362,"title":2363,"dynasty":58,"author":2364,"museum":20,"description":2365,"tags":2366,"thumbUrl":2367,"material":176,"size":2368,"collection":49,"collections":2369,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},214867,"shan-shui-ce-12-wen-zheng-ming-214867","山水册-12","文徵明","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,24,25,352,953,28,30,35,38,7,33,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cde7cb74967e06438fb090c75fc3a03.jpg","28.5x15.7cm",[],{"id":2371,"slug":2372,"title":2373,"dynasty":18,"author":1637,"museum":124,"description":2374,"tags":2375,"thumbUrl":2376,"material":97,"size":49,"collection":49,"collections":2377,"showCount":2255,"zanCount":11,"manualWeight":11,"mainColor":53},214373,"tian-guang-yun-jing-tu-ce-5-zhu-da-214373","天光云景图册-5","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,25,352,28,31,30,144,570,39,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe39f03268dcbb68500b2cd4b21803b.jpg",[],{"id":2379,"slug":2380,"title":1629,"dynasty":18,"author":1729,"museum":480,"description":2381,"tags":2382,"thumbUrl":2383,"material":49,"size":49,"collection":49,"collections":2384,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":53},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[24,29,31,405,63,30,81,82,38,127,39,7,202,41,144,507,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],7,{"id":2387,"slug":2388,"title":2389,"dynasty":58,"author":723,"museum":480,"description":2390,"tags":2391,"thumbUrl":2399,"material":493,"size":494,"collection":49,"collections":2400,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":73},238560,"si-chao-xuan-zao-zhen-ce-ming-ren-han-shan-xiao-si-tu-ye-yi-ming-238560","四朝选藻贞册-明人寒山萧寺图页","此作用淡墨晕染山峦，以留白晕出山间空濛寒雾。枯木虬枝错落交织，不见半分新绿，将深冬寒山的荒疏冷寂铺陈眼前。山涧细流蜿蜒回环，愈发衬得林麓阒寂无声。层崖之上，梵寺隐于雾霭林峦间，遗世独立，禅意自生。\n\n搭配行书题诗，笔意清逸萧散，诗画相映，把踏雪寻寺、谈禅说笑的清逸图景藏于尺幅之间，将冬日山景的萧寒荒疏与古寺的空灵禅韵相融，勾勒出静穆淡远的幽寂意境，尽显冬日山林的空寂禅意。",[24,30,29,31,33,352,2392,2393,144,34,94,7,35,2394,2395,2396,2397,2398,142],"寒山","萧寺","寺庙建筑","秋冬意境","水墨设色","传统山水技法","书法题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49577eb9436eaf67366ca39bd7ad4596.jpg",[],{"id":2402,"slug":2403,"title":1226,"dynasty":18,"author":2404,"museum":480,"description":2405,"tags":2406,"thumbUrl":2407,"material":148,"size":49,"collection":69,"collections":2408,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":53},237425,"shan-shui-ce-chen-jia-le-237425","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,352,29,30,31,127,39,263,38,34,7,1962,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703deb6406f183f4861a74f12275e6.jpg",[69],{"id":2410,"slug":2411,"title":1226,"dynasty":58,"author":2412,"museum":480,"description":2413,"tags":2414,"thumbUrl":2415,"material":49,"size":49,"collection":49,"collections":2416,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":53},236926,"shan-shui-ce-qin-mao-de-236926","秦懋德","此作以浅绛绘就林泉幽居，山峦以淡墨晕染出层叠清姿，屋舍隐于林木间，枯木与茂树错落生姿，溪岸苔石隐现，淡冶烟岚弥散，意境清寂超逸。\n\n左侧题诗笔致疏放，与画境相映成趣，诗中古亭烟冷、竹畔琴鸣之境，恰合画面幽居遁世之致。书画相融，以简淡笔墨写尽林丘雅意，暗含隐逸襟怀，淡而有神，简中见深，尽显文人山水以意驭形的隽雅之美。",[24,25,352,29,28,31,30,34,35,39,7,40,1002,142,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b547f9f1efcce269ec8f5494f6a61fe.jpg",[],{"id":2418,"slug":2419,"title":1226,"dynasty":18,"author":1031,"museum":48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。钱塘（今浙江杭州）人。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 ，与文征明、沈周并重。",[24,25,770,30,31,94,35,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f11f71b29815e7de3ff6bce6add4fa.jpg",[],{"id":2440,"slug":2441,"title":1926,"dynasty":18,"author":2442,"museum":480,"description":2443,"tags":2444,"thumbUrl":2447,"material":49,"size":49,"collection":49,"collections":2448,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":53},234217,"shan-shui-juan-weng-song-nian-234217","翁嵩年","翁嵩年（1647至1728），字康饴，号萝轩，钱塘（今杭州）人。康熙二十七年（一六八八）进士，仕为广东提学。以枯笔作林峦峯岫，气质古雅疏拙，画家习气，毫发不能犯其笔端。曾得青玉版十三行，旋进之内府。",[23,24,25,26,28,31,30,35,34,39,620,40,7,433,2445,2446],"丛树","岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e42ea5c559a1dba39efffa7bc3a5d.jpg",[],{"id":2450,"slug":2451,"title":2452,"dynasty":18,"author":723,"museum":20,"description":2453,"tags":2454,"thumbUrl":2455,"material":49,"size":49,"collection":49,"collections":2456,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":53},233227,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-gao-yu-shan-shui-ye-yi-ming-233227","金陵诸家山水花卉册-高遇山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,25,352,28,31,30,34,35,83,36,39,7,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18007eb39db55e0516ed75e2fdad6c5.jpg",[],{"id":2458,"slug":2459,"title":2460,"dynasty":18,"author":998,"museum":20,"description":2453,"tags":2461,"thumbUrl":2463,"material":49,"size":49,"collection":49,"collections":2464,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":53},233223,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-zou-zhe-233223","金陵诸家山水花卉册-山水页",[24,28,29,30,352,31,64,34,2462,41,161,7],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dddddd0f618db689ce529ff86c246d4.jpg",[],{"id":2466,"slug":2467,"title":2468,"dynasty":105,"author":723,"museum":20,"description":2469,"tags":2470,"thumbUrl":2471,"material":269,"size":2472,"collection":49,"collections":2473,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":73},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[23,24,25,63,28,29,31,30,95,145,41,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b414ad5d3ac5d537b5cf0676affa9d4.jpg","纵83.2厘米横37.5厘米",[],{"id":2475,"slug":2476,"title":2477,"dynasty":18,"author":2478,"museum":1600,"description":2479,"tags":2480,"thumbUrl":2481,"material":2482,"size":2483,"collection":49,"collections":2484,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":49},220756,"shan-xia-chu-quan-tu-su-ren-shan-220756","山下出泉图","苏仁山","此作用笔清劲洗练，纯以白描淡墨写尽丘壑林泉。奇峭山石层叠错落，以勾勒皴擦带出嶙峋肌理，不着艳色却尽显山石清刚之态。山间古松斜逸虬曲，错落排布，为冷寂山景添几分清拔气韵。\n\n画面疏密相衬，高远山势间藏出深远意境，流泉隐于谷中，汀洲人家三两点缀，衬出林泉幽寂之致。整体萧散淡远，将文人隐逸的清冷意趣融于笔墨间，极简笔触晕染出超脱世俗的静穆氛围，尽显水墨留白的悠远意韵。",[23,24,28,231,31,81,36,35,248,1256,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178e99fe3c7ea1e6c456cc9ec449bd94.jpg","水墨纸本","349 × 137.5 厘米",[],{"id":2486,"slug":2487,"title":2488,"dynasty":1676,"author":2489,"museum":515,"description":2490,"tags":2491,"thumbUrl":10,"material":49,"size":49,"collection":69,"collections":2493,"showCount":2385,"zanCount":11,"manualWeight":11,"mainColor":2494},203116,"dong-shan-qi-gui-tu-zhou-lu-xiao-man-203116","东山骑归图轴","陆小曼","笔墨清雅的山水景致中，坡岸逶迤延伸，枯木疏枝点缀其间，几株苍松姿态古拙，扎根于山石之上。山间小径隐约可见人影，似是骑归的行客，传递出悠然闲适的意趣。远山层叠，以淡墨晕染出朦胧质感，留白处尽显空灵；近景山石用简练皴法勾勒，线条温润，与疏朗的树木相映成趣。整体气息恬淡雅致，将自然之静谧与人文之闲情融于一纸，尽显文人画的韵致。",[24,30,29,31,597,40,7,728,2492,23],"雅致",[69],"d7cdbb",{"id":2496,"slug":2497,"title":1474,"dynasty":18,"author":1475,"museum":20,"description":1476,"tags":2498,"thumbUrl":2502,"material":218,"size":49,"collection":49,"collections":2503,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":73},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828",[24,405,30,29,31,81,188,35,161,94,203,113,364,43,7,2499,1425,2500,2501],"平台","云气","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":2505,"slug":2506,"title":1154,"dynasty":18,"author":723,"museum":480,"description":2507,"tags":2508,"thumbUrl":2509,"material":49,"size":49,"collection":49,"collections":2510,"showCount":52,"zanCount":72,"manualWeight":11,"mainColor":53},236058,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236058","此作以青绿设色晕染山峦，石青石绿交相映衬，妍丽却不甜俗。主峰峭拔奇崛，兼具雄浑之态，辅以留白晕染的流云，虚虚实实让层叠峰林愈发悠远深邃。近景虬松扎根崖壁，枝干盘旋苍劲，松叶攒簇苍郁，带着山野古拙之趣。山脚汀洲横陈，水波澹澹，沙岸隐见行人身影，为冷寂山水添上几分烟火意绪。\n\n笔墨兼工带写，勾勒皴擦间糅合了雄奇与秀润，既得山林苍莽之态，又藏文人雅逸之思，整体清旷空灵，仿若将观者带入幽谧林泉，静赏松风与流波，沉浸在古雅悠然的山水意境中。",[24,25,352,405,29,569,31,30,34,35,64,161,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce3e4b9cf9a5530008cd27cfb6b484ce.jpg",[],{"id":2512,"slug":2513,"title":1226,"dynasty":18,"author":1031,"museum":480,"description":2514,"tags":2515,"thumbUrl":2516,"material":493,"size":494,"collection":49,"collections":2517,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},236046,"shan-shui-ce-wang-yuan-qi-236046","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,352,28,29,30,34,35,65,39,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e0082a6a6d52c9ed83adac98bc3098.jpg",[],{"id":2519,"slug":2520,"title":1226,"dynasty":18,"author":2521,"museum":480,"description":2522,"tags":2523,"thumbUrl":2524,"material":49,"size":49,"collection":49,"collections":2525,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},235329,"shan-shui-ce-wen-dian-235329","文点","此作半边取景，水岸坡陀蜿蜒铺展，留白漾成浅溪。近岸苔点苍润朴厚，枯荣林木错落而立，茂叶与秃枝相映成趣，远林劲拔列于坡上，淡墨晕染出松软的土岸。\n\n笔墨干湿互济，以松秀简淡的笔致勾勒萧疏林景，墨色层次柔和平静，舍去繁复皴擦，以留白烘托出清寂淡远的意境，将江南水畔幽僻静谧的林下闲趣晕染开来，淡而有味，静中生韵，尽显文人画的雅逸疏朗。",[24,28,31,352,30,35,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3e736b685bbfd7622a7a546e13b0c2.jpg",[],{"id":2527,"slug":2528,"title":1226,"dynasty":58,"author":2269,"museum":480,"description":2529,"tags":2530,"thumbUrl":2531,"material":49,"size":49,"collection":49,"collections":2532,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":73},235152,"shan-shui-ce-li-liu-fang-235152","此作用笔苍润秀雅，以水墨晕染仿拟前贤笔意。山峦以披麻皴淡写，墨色虚实相生，似笼着轻烟薄雾，将丘壑的苍浑藏在柔婉层次中。清劲的棕榈成林，衬出茅舍的幽寂，溪岸缓坡以淡墨扫就，不着一笔多余刻画，尽显萧散疏朗。整幅以简驭繁，无刻意修饰，复刻元人闲淡野逸的林下意趣，又融入自身疏朗笔致，将江南山居的清寂安谧藏在笔墨间，观之恍若身临幽林，暂忘尘嚣，尽显寄情林泉的文人风雅。",[28,31,352,1341,30,65,44,34,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f35c1896ed7d0cb7e275c6c8dc3dc9.jpg",[],{"id":2534,"slug":2535,"title":2536,"dynasty":18,"author":723,"museum":20,"description":2537,"tags":2538,"thumbUrl":2539,"material":269,"size":539,"collection":49,"collections":2540,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":73},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905","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。",[24,25,352,29,30,32,33,142,31,34,35,791,36,161,646,7,41,39,111,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":2542,"slug":2543,"title":2544,"dynasty":18,"author":401,"museum":20,"description":2545,"tags":2546,"thumbUrl":2547,"material":49,"size":49,"collection":49,"collections":2548,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},234513,"qiu-lin-ye-zhang-tu-wang-hui-234513","秋林曳杖图","魏晋以来，杖的含义开始拓宽；以物喻人，杖也喻为品德高洁的符号。\n到唐宋，杖不再专属是老人之物，而是年轻化、文学化。杖开始与文人、与文学跬步不离。\n甚至说，几乎所有文人、诗人的作品里，都曾出现过杖的踪影。尤其是宋人，对杖的描述，就有九节杖、桄榔杖、藤杖、铁杖、鸠杖、寿杖、锡杖、玉杖、棁杖等等。\n最寻常的杖材，当是竹、藤、木。\n如竹杖，文人喜好用斑竹；斑竹有雅意，也叫湘妃竹，名字还有个美丽的故事。晋代张华《博物志》载：尧之二女，舜之二妃，曰湘夫人，帝崩，二妃啼，以涕挥竹，竹尽斑。\n斑竹为杖，自有渊源。白居易说：闲携斑竹杖，徐曳黄麻屦。元明时代的戏曲《荆钗记·启媒》里亦有：软红泥踏青时候，试蹑青鞋，慢拖斑竹，去寻良友。\n斑竹上的星星点点如星河，且每根竹材的星点大有不同，这些恐怕都是文人喜爱斑竹杖的原因。毕竟在传统的审美情趣里，常以新奇为美。\n以奇为美的追求，更能体现在藤杖的身上。\n关于藤杖的形容就有藤枝、老藤、枯藤、瘦藤、古藤、乌藤、青藤、红藤、朱藤、赤藤等，文人追求奇美，藤条的生长能更奇巧，因而极为适宜作为藤杖。\n譬如清初画圣王翚画像，即手持一枝奇怪的藤木杖，其杖头藤条宛延辗转，奇妙非常。古天一曾释出一件奇藤杖，与王翚的持杖对比，有异曲同工之妙。\n这些都是文人追求清奇的结果。\n他们热衷于奇辟之物。清新而奇妙的藤杖，在视觉上，从不同的角度观之，情趣迥异，可谓有“横看成岭侧成峰，远近高低各不同”的审美意味。\n换言之，古代文人寻求独特的杖，就像寻求一件文房、一件古董一样；他们不仅把杖当成工具，还把杖看作是文具。\n按理杖为老人所用，然而像苏轼、陆游、辛弃疾，在中青年时期即已杖在手中，可见杖与年龄并非天然相关。策杖，主要还是显示闲畅心境和作为一种生活习惯。",[24,28,31,30,41,35,36,34,7,95,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35474947d506ba3f20faf7c4c1b8f5a.jpg",[],{"id":2550,"slug":2551,"title":2552,"dynasty":18,"author":2024,"museum":20,"description":2553,"tags":2554,"thumbUrl":2555,"material":148,"size":2556,"collection":49,"collections":2557,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},220264,"huang-shan-tu-ce-58-hong-ren-220264","黄山图册-58","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,229,352,28,31,30,248,64,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a6870efbb6b4180b333ef2eaa322c4.jpg","21.5x18.3厘米",[],{"id":2559,"slug":2560,"title":1226,"dynasty":58,"author":2561,"museum":480,"description":2562,"tags":2563,"thumbUrl":2564,"material":49,"size":49,"collection":49,"collections":2565,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":53},239545,"shan-shui-ce-ye-xiang-rong-239545","叶向荣","此作淡墨轻施，浅绛设色，尽显清润简雅。近岸茅舍依坡而建，疏木枝干虬曲褪去繁叶，愈显苍劲古拙，衬出山居幽寂。中林错落，隐见山桥通幽，引目光渐入山林深处。远景松涛簇拥，半露楼阁，烟岚轻笼，将山境晕染得空濛悠远。画面虚实相生，留白映出山林静穆清旷，笔墨间浸透着文人画的闲淡意趣，把幽栖林泉的隐逸心境铺陈开来，观之恍若踏入这世外丘壑，静享山野间的恬然雅韵。",[24,352,28,29,30,64,39,34,35,40,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660baabc7465be653011c7eee6aa69bf.jpg",[],{"id":2567,"slug":2568,"title":1836,"dynasty":58,"author":1837,"museum":480,"description":1838,"tags":2569,"thumbUrl":2570,"material":49,"size":49,"collection":49,"collections":2571,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":53},236641,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236641",[25,24,28,29,31,352,30,35,41,112,34,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9614f9c09052d8f32a43efdf22d98083.jpg",[],{"id":2573,"slug":2574,"title":1474,"dynasty":58,"author":1980,"museum":480,"description":2575,"tags":2576,"thumbUrl":2577,"material":49,"size":49,"collection":49,"collections":2578,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":53},235627,"fang-gu-shan-shui-ce-shen-hao-235627","此作用笔苍劲老辣，左上主峰巍峨矗立，山石以干笔皴擦勾斫，尽显嶙峋厚重，带着古拙山野意趣。山间古松虬枝舒展，松下茅舍临溪而建，板桥横卧通幽，寥寥数笔便勾勒出世外幽居图景。远景山峦以淡墨晕染，虚实相映，铺陈出山林的悠远空寂。画面留白恰到好处，搭配右上角题诗，笔墨清逸雅致，将文人幽居林泉、寄情山水的雅趣尽藏其中，以简淡布景传递静谧禅意，尽显文人山水画抒情寄兴的悠然意韵。",[24,25,352,28,30,31,142,81,127,39,7,597,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814c6c822e532304dd3b9f3a1c18071e.jpg",[],{"id":2580,"slug":2581,"title":1774,"dynasty":58,"author":723,"museum":480,"description":2582,"tags":2583,"thumbUrl":2584,"material":49,"size":49,"collection":49,"collections":2585,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":73},235313,"ju-jie-shan-shui-zhou-yi-ming-235313","此作用狭长立轴铺展秋山幽居，层峦次第延展，林麓间错落山居茅舍，飞泉隐于岩岫，溪谷萦回。以干笔淡墨皴写山峦，披麻皴晕出山岩苍润肌理，林木虬劲舒展，点叶苍秀，遍染萧寂秋意。\n\n板桥之上二雅士凭栏低语，衬出林泉高致，笔墨间带着吴门画派的隐逸意趣，淡远冲和的气息漫溢全幅，将山居幽寂与文人情致相融，尽显林下风流。",[24,25,63,28,31,30,37,36,38,35,34,41,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2711e04f3e46342e03aa2539dd6fc223.jpg",[],{"id":2587,"slug":2588,"title":964,"dynasty":58,"author":2589,"museum":480,"description":2590,"tags":2591,"thumbUrl":2592,"material":493,"size":494,"collection":49,"collections":2593,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":73},235231,"shan-shui-zhou-wang-duo-235231","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[24,25,63,28,31,30,94,35,83,34,7,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0baf1c08c4f146eaa493945e657538.jpg",[],{"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“有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[24,25,352,28,29,30,37,41,35,34,7,263,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677d0ff05e5bfb1c095108ee6c723523.jpg",[],{"id":2622,"slug":2623,"title":2624,"dynasty":58,"author":2625,"museum":480,"description":2626,"tags":2627,"thumbUrl":2631,"material":493,"size":494,"collection":49,"collections":2632,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":73},236370,"shan-shui-ren-wu-shan-yuan-li-ming-236370","山水人物扇","袁丽明","此作为泥金扇面，构图兼取高远与平远之妙。左侧山峦以淡墨晕染，空濛淡逸，衬出幽寂山境；右侧松石苍劲清隽，古木虬曲盘绕，枝桠间叶簇蓊郁生机尽显。\n\n松下二人策杖徐行，衣袂轻扬，似正驻足观泉赏山，将林下雅集的闲趣藏于丘壑之间。设色浅淡清润，山石以淡赭晕染，石青点苔提色，草木敷色雅致，与泥金底色相映更显古雅沉静。\n\n笔墨兼具元人山水萧散意韵，又带明人小品精致格调，将山居雅趣融于尺幅之间，寥寥数笔便勾勒出林泉高致，尽显文人画的林下风流。",[2084,24,770,29,30,41,35,34,31,65,7,937,128,2628,2629,2630],"点染","勾勒","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88f4cf17957088cd4401e30e0be66eb.jpg",[],{"id":2634,"slug":2635,"title":1474,"dynasty":58,"author":1980,"museum":480,"description":2636,"tags":2637,"thumbUrl":2645,"material":49,"size":49,"collection":49,"collections":2646,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":53},235628,"fang-gu-shan-shui-ce-shen-hao-235628","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[24,25,352,28,31,27,142,30,34,35,263,38,248,405,2638,2639,2640,1341,2641,364,2642,2643,2644,7,203],"山水景物","传统技法","文人画风格","淡墨渲染","岩壁","荒草","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0a65ae56.jpg",[],{"id":2648,"slug":2649,"title":1226,"dynasty":18,"author":2650,"museum":480,"description":2651,"tags":2652,"thumbUrl":2655,"material":493,"size":494,"collection":49,"collections":2656,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":53},235305,"shan-shui-ce-zhang-feng-235305","张风","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[24,25,352,29,529,30,41,262,34,2653,7,2654],"树干","地面石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2062c8cd5a9dd37b7e3569a1937f3538.jpg",[],{"id":2658,"slug":2659,"title":2660,"dynasty":18,"author":2661,"museum":480,"description":2662,"tags":2663,"thumbUrl":2664,"material":49,"size":49,"collection":49,"collections":2665,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":53},234605,"qiu-shan-tu-wan-shan-hu-yi-zan-234605","秋山图纨扇","胡义赞","字叔襄，号石槎（一作石查），晚号烟视翁，光山（今河南光山）人，官海宁知州。长金石考证之学，所藏泉币皆希品，考证精确，与鲍臆园（康）抗衡。行楷、山水皆学董其昌，清润淹雅，不仅貌似，题识亦佳。刻印宗秦、汉，收藏书、画、金石甚富。光绪二十三年（1897）年六十七，尚作山水卷。",[24,770,28,29,30,31,1353,35,34,39,7,40,1002,1867],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48608369a82e616c313ba75102a0e69.jpg",[],{"id":2667,"slug":2668,"title":2669,"dynasty":18,"author":2606,"museum":20,"description":2670,"tags":2671,"thumbUrl":2672,"material":218,"size":2673,"collection":49,"collections":2674,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":53},233938,"dai-lu-fang-bei-tu-ce-huang-yi-233938","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,25,28,30,94,35,34,7,39,31,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fcd11940f5f434f63509626b6753f0.jpg","纵17.4厘米，横50.8厘米",[],{"id":2676,"slug":2677,"title":2303,"dynasty":18,"author":1031,"museum":20,"description":2304,"tags":2678,"thumbUrl":2679,"material":2307,"size":2308,"collection":49,"collections":2680,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":53},233168,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233168",[24,25,352,28,31,30,34,35,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7751d38718633220fd9e84c4359f64.jpg",[],{"id":2682,"slug":2683,"title":2684,"dynasty":478,"author":2685,"museum":480,"description":2686,"tags":2687,"thumbUrl":2697,"material":493,"size":494,"collection":49,"collections":2698,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":73},232585,"wei-lian-a-dao-fu-bu-ge-luo-199-wei-lian-a-dao-fu-bu-ge-luo-232585","威廉·阿道夫·布格罗199","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[483,2688,29,2689,41,2690,1961,2691,534,7,2692,1176,35,111,1382,2693,2694,2695,2696],"写实","细腻笔触","女性","裸童","黄花","赤脚","衣物褶皱","自然背景","人物刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd1eaa7206ac914ecc37acdc1f81d0e.jpg",[],{"id":2700,"slug":2701,"title":2702,"dynasty":58,"author":2703,"museum":480,"description":2704,"tags":2705,"thumbUrl":2706,"material":49,"size":49,"collection":49,"collections":2707,"showCount":2611,"zanCount":11,"manualWeight":11,"mainColor":53},224551,"shu-hua-ce-ye-15-xiao-yun-cong-wang-shi-zhen-224551","《书画册页》-15","萧云从 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352,29,30,35,34,36,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4deb5167aff7948698416ff62d920393.jpg",[],{"id":2906,"slug":2907,"title":1226,"dynasty":18,"author":1069,"museum":20,"description":2908,"tags":2909,"thumbUrl":2910,"material":49,"size":49,"collection":49,"collections":2911,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":53},234800,"shan-shui-ce-dong-bang-da-234800","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当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。",[24,25,28,31,352,30,35,34,364,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74e6a3a64b12c015bae5f53cd2979965.jpg",[],{"id":2913,"slug":2914,"title":1226,"dynasty":18,"author":1294,"museum":480,"description":2915,"tags":2916,"thumbUrl":2917,"material":49,"size":49,"collection":49,"collections":2918,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":53},234341,"shan-shui-ce-jin-ting-biao-234341","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -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。",[24,30,29,31,64,34,161,39,7,35,352,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c17e5a71b8e74ab72942a2fcef0a5.jpg",[],{"id":2920,"slug":2921,"title":2669,"dynasty":18,"author":2606,"museum":20,"description":2670,"tags":2922,"thumbUrl":2923,"material":218,"size":2673,"collection":49,"collections":2924,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":53},233931,"dai-lu-fang-bei-tu-ce-huang-yi-233931",[24,28,352,30,35,39,364,644,32,142,31,37,7,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5131bf38d823db72553583446cc506d0.jpg",[],{"id":2926,"slug":2927,"title":2928,"dynasty":18,"author":2929,"museum":124,"description":2930,"tags":2931,"thumbUrl":2932,"material":97,"size":2933,"collection":49,"collections":2934,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":53},217013,"ruan-yuan-yi-shi-shi-jing-tu-ce-2-wang-yun-217013","阮元遗事十景图册-2","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[24,25,352,29,28,529,675,127,203,248,142,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb94257423282e8468e199f742fb12f4.jpg","27.9x33cm",[],{"id":2936,"slug":2937,"title":2938,"dynasty":18,"author":723,"museum":480,"description":2939,"tags":2940,"thumbUrl":2942,"material":176,"size":49,"collection":49,"collections":2943,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":53},215617,"tian-xia-ming-shan-tu-5-yi-ming-215617","天下名山图-5","层峦叠嶂如浪涌，墨线勾勒出峰峦的筋骨，皴擦间显露出山石的肌理。蜿蜒小径穿梭于谷壑之间，似引观者步入深幽之境。隐于林麓的屋宇，檐角轻挑，藏着几分山居的闲逸。溪畔坡前，林木疏密有致，或挺拔或萧散，为山水添了清润生机。远山淡远朦胧，近峰苍劲有力，构图虚实相生，将自然的悠远与雅致凝于一纸，尽显传统山水的笔墨意趣与静谧之美。笔墨间藏着对山水的敬畏与热爱，每一处线条都似在诉说自然的灵韵，让人流连于这一方纸上天地。",[24,953,28,30,31,34,35,36,364,2941,7],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c5e6633c0e93b72456a855244a6009.jpg",[],{"id":2945,"slug":2946,"title":2947,"dynasty":58,"author":2948,"museum":515,"description":2949,"tags":2950,"thumbUrl":2952,"material":49,"size":49,"collection":69,"collections":2953,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":2954},203136,"er-dong-ji-you-tu-ce-wen-jia-203136","二洞纪游图册","文嘉","画面以水墨淡彩铺陈岩穴胜景，峭壁层叠嶙峋，洞窟隐于其间，蜿蜒小径穿石而过，旁有树木葱茏。笔墨清润雅致，线条勾勒简洁有力，皴擦点染间尽显山石纹理与植被意态，意境静谧悠远，似可闻涧水潺潺，传递出文人游赏山水的闲适心境与对自然的细腻感知。",[24,30,28,31,2951,35,7,352,23],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a75415389f9b4055241733bf82decfd.jpg",[69],"dbbfae",{"id":2956,"slug":2957,"title":2958,"dynasty":18,"author":2959,"museum":515,"description":2960,"tags":2961,"thumbUrl":2962,"material":49,"size":49,"collection":49,"collections":2963,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":2964},202583,"mo-shen-shi-shan-shui-tu-zhou-li-shi-zhuo-202583","摹沈仕山水图轴","李世倬","画面以水墨写意，枯树虬枝用劲挺线条勾勒，山石皴擦显苍浑质感。近景溪岸老树盘根，小径蜿蜒，行人悠然；中景茅舍隐于疏林，柴门半启，野趣盎然；远景峰峦淡墨晕染，云雾轻绕，意境空灵。摹沈仕山水却不失己意，笔致灵动，将古雅韵致与清逸气息相融，尽显文人山水的清幽之趣，观之如入林泉深处，尘心尽涤。",[24,30,28,31,144,619,7,27,63,41,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f961966f26bbce3bfcd988250157b0.jpg",[],"c5b4a3",{"id":2966,"slug":2967,"title":2968,"dynasty":18,"author":2521,"museum":515,"description":2969,"tags":2970,"thumbUrl":2972,"material":49,"size":49,"collection":49,"collections":2973,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":2974},201520,"bi-shan-gu-shu-tu-zhou-wen-dian-201520","碧山古树图轴","山间小径蜿蜒穿行，古木虬枝盘曲交错，苍劲枝干上枯藤垂挂，尽显岁月沧桑。山石以简括皴法勾勒，肌理浑厚，留白处似薄雾轻绕，衬出山林悠远之境。林下或有隐士凭石闲坐，静览山光，文人画的淡远意趣扑面而来。笔墨枯润相济，线条灵动有致，将山林的静谧与生机凝于尺幅，传递出超然尘外的雅致心境。",[24,25,63,28,31,30,885,95,34,7,2971],"人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f97a60f239cdfe37af82b0a41db18a.jpg",[],"9d7e56",{"id":2976,"slug":2977,"title":2978,"dynasty":478,"author":723,"museum":480,"description":2979,"tags":2980,"thumbUrl":2983,"material":493,"size":494,"collection":49,"collections":2984,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},289284,"perugino-landscape-recto-landscape-verso-yi-ming-289284","Perugino--Landscape (recto); Landscape (verso)","以灰调铺底，借白色提亮晕染出河谷晨景。前景水面凝敛，几处碎白点染粼粼波光，将郊野的湿润静谧晕开。坡地密林随山势铺展，白色扫过树冠，晕出枝叶蓬松柔润的质感，蜿蜒亮带如溪涧穿林而过，隐入深黛坡峦。\n整体笔触松弛朦胧，以极简明暗勾勒层次，将山野的幽寂闲和尽数藏进朦胧雾色中，仿佛能嗅见林间湿润的草木气息，静穆里带着自然鲜活的呼吸感，把郊野清晨的恬淡诗意揉进了温柔的灰调里。",[2336,711,35,2138,7,2981,2982],"淡彩","素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda9e54c1922edf852e0b4b2535ccea9.jpg",[],{"id":2986,"slug":2987,"title":2988,"dynasty":478,"author":723,"museum":480,"description":2989,"tags":2990,"thumbUrl":2995,"material":493,"size":494,"collection":49,"collections":2996,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":53},289273,"pierre-le-lu-the-church-of-sao-martinho-in-sintra-portugal-yi-ming-289273","Pierre Lélu--The Church of Sao Martinho in Sintra, Portugal","淡墨晕染出氤氲的乡野潮气，近景乡间小径上，农妇携幼缓步而行，将烟火气揉进山风里。中景植被错落交织，枝桠舒展的意趣被细腻线条一一铺陈，朦胧灰度晕开山野的鲜活生机。\n\n山坡高处的教堂静立林间，硬朗的建筑线条被柔化在繁茂绿意中，庄重古朴的形制与周遭的松弛生机相融。松弛的笔触定格下山城的悠然日常，将古寺肃穆与乡野温情温柔缝合，仿佛能听见山风掠过树梢的轻响，把这方天地的宁静恬淡封存在纸面之上。",[2982,2981,2336,2991,2992,35,41,7,2993,2994],"宗教建筑","教堂","郊外","犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782ec6ad079224300215ea2d66f2fe4e.jpg",[],{"id":2998,"slug":2999,"title":3000,"dynasty":478,"author":723,"museum":480,"description":3001,"tags":3002,"thumbUrl":3005,"material":493,"size":494,"collection":49,"collections":3006,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":73},288623,"jean-baptiste-oudry-view-in-the-gardens-of-arcueil-yi-ming-288623","Jean-Baptiste Oudry--View in the Gardens of 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