[{"data":1,"prerenderedAt":19308},["ShallowReactive",2],{"subject-xiao-qiao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},32,"xiao-qiao","小桥","小桥画高清赏析","精选中国历代小桥题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",0,2206,[14,55,85,109,128,143,169,183,198,213,227,242,261,273,286,299,312,323,344,355,372,382,393,406,419,433,445,463,475,484,499,509,521,537,548,558,570,584,598,609,623,635,650,660,670,682,692,702,714,724,736,749,761,771,781,794,809,824,833,844,860,871,881,893,903,915,927,935,945,956,968,976,987,997,1008,1018,1028,1038,1049,1058,1069,1080,1090,1101,1111,1122,1133,1140,1150,1160,1170,1183,1196,1206,1215,1225,1242,1252,1263,1273,1284,1295,1305,1316,1326,1336,1345,1356,1366,1377,1388,1398,1406,1415,1426,1437,1450,1464,1474,1484,1494,1505,1513,1521,1530,1541,1549,1562,1572,1581,1592,1600,1610,1622,1630,1639,1648,1657,1671,1682,1694,1702,1715,1726,1736,1745,1755,1764,1772,1782,1793,1803,1813,1823,1833,1845,1855,1869,1878,1888,1897,1908,1919,1929,1940,1950,1960,1973,1987,1998,2008,2021,2033,2045,2056,2068,2077,2096,2107,2118,2129,2139,2146,2155,2165,2176,2186,2196,2205,2214,2224,2234,2245,2255,2263,2273,2280,2290,2301,2309,2318,2327,2336,2348,2358,2368,2380,2391,2400,2410,2429,2443,2453,2461,2473,2481,2492,2501,2512,2521,2531,2544,2553,2564,2574,2584,2593,2602,2613,2623,2638,2650,2659,2669,2678,2687,2697,2706,2716,2727,2740,2751,2760,2769,2778,2788,2799,2807,2816,2825,2836,2846,2856,2863,2872,2880,2892,2903,2914,2923,2934,2943,2951,2964,2972,2982,2992,3001,3012,3023,3033,3042,3052,3065,3076,3085,3096,3106,3115,3124,3132,3143,3153,3162,3172,3182,3193,3201,3211,3220,3229,3239,3247,3256,3266,3275,3286,3296,3306,3318,3329,3338,3349,3360,3370,3381,3388,3396,3406,3419,3426,3441,3452,3460,3469,3490,3499,3510,3519,3528,3537,3547,3556,3567,3576,3583,3592,3601,3612,3622,3630,3640,3649,3660,3670,3679,3688,3694,3703,3712,3722,3731,3742,3753,3760,3770,3780,3790,3799,3806,3818,3829,3835,3843,3852,3862,3872,3881,3892,3901,3910,3920,3930,3940,3948,3961,3970,3979,3987,3995,4004,4013,4022,4034,4043,4051,4060,4070,4079,4089,4096,4106,4115,4126,4135,4145,4154,4163,4172,4182,4190,4199,4206,4215,4224,4233,4243,4253,4261,4272,4279,4288,4297,4305,4314,4324,4333,4343,4353,4363,4371,4380,4389,4398,4410,4419,4428,4438,4447,4457,4467,4476,4485,4495,4504,4513,4528,4543,4552,4562,4571,4577,4587,4595,4605,4613,4622,4631,4641,4653,4662,4672,4682,4691,4701,4711,4720,4728,4736,4743,4753,4762,4771,4781,4788,4796,4806,4815,4825,4836,4846,4855,4863,4871,4881,4891,4900,4910,4918,4927,4935,4944,4954,4962,4971,4980,4990,4999,5008,5021,5031,5038,5046,5054,5062,5069,5076,5087,5097,5105,5112,5121,5130,5139,5148,5155,5166,5175,5184,5194,5204,5212,5220,5229,5238,5248,5257,5266,5274,5285,5294,5302,5313,5326,5335,5342,5353,5361,5369,5377,5386,5394,5403,5409,5417,5427,5435,5444,5452,5461,5472,5481,5489,5498,5506,5513,5522,5531,5539,5549,5558,5567,5573,5582,5591,5600,5611,5619,5626,5637,5647,5657,5666,5675,5683,5691,5698,5706,5715,5724,5733,5742,5749,5758,5766,5774,5782,5790,5797,5808,5815,5824,5833,5842,5851,5859,5866,5875,5883,5895,5903,5911,5920,5929,5938,5947,5955,5964,5975,5984,5990,5999,6007,6016,6028,6037,6046,6056,6065,6076,6086,6096,6103,6113,6122,6131,6139,6154,6161,6170,6179,6188,6199,6208,6220,6229,6237,6246,6256,6265,6273,6282,6291,6301,6308,6317,6326,6336,6345,6354,6362,6370,6376,6386,6393,6402,6408,6414,6421,6428,6437,6446,6455,6463,6474,6483,6492,6500,6510,6519,6528,6536,6545,6552,6560,6568,6578,6584,6592,6600,6611,6621,6630,6639,6648,6658,6668,6678,6687,6696,6706,6716,6724,6734,6740,6746,6752,6760,6768,6777,6786,6797,6806,6815,6824,6833,6842,6852,6861,6871,6878,6887,6897,6906,6914,6922,6933,6942,6952,6961,6973,6981,6989,6996,7004,7011,7018,7027,7037,7046,7055,7065,7073,7080,7087,7096,7104,7111,7121,7131,7139,7145,7153,7161,7169,7177,7186,7194,7203,7211,7218,7227,7236,7244,7251,7259,7280,7289,7300,7310,7319,7330,7339,7349,7360,7368,7375,7384,7392,7400,7407,7414,7421,7429,7437,7445,7453,7460,7470,7480,7489,7497,7503,7513,7521,7528,7536,7544,7552,7562,7570,7578,7585,7592,7602,7614,7622,7629,7637,7647,7658,7666,7674,7680,7688,7698,7708,7726,7735,7745,7754,7761,7768,7778,7784,7794,7804,7812,7822,7831,7838,7845,7853,7861,7869,7879,7886,7894,7907,7915,7922,7930,7939,7947,7956,7970,7978,7986,7994,8002,8012,8023,8030,8037,8050,8058,8066,8075,8084,8093,8101,8111,8118,8127,8135,8142,8151,8163,8171,8181,8190,8198,8207,8217,8224,8232,8240,8248,8257,8266,8275,8283,8292,8300,8308,8314,8322,8330,8338,8345,8353,8360,8368,8374,8381,8389,8398,8406,8414,8421,8428,8437,8445,8454,8462,8470,8479,8487,8497,8506,8513,8520,8529,8538,8549,8558,8567,8574,8584,8593,8604,8613,8621,8630,8639,8647,8654,8661,8669,8679,8688,8696,8705,8714,8723,8730,8738,8748,8755,8762,8770,8778,8785,8792,8801,8809,8817,8826,8834,8843,8851,8860,8867,8873,8880,8893,8901,8909,8918,8926,8937,8946,8956,8964,8972,8980,8991,8999,9006,9013,9020,9029,9036,9042,9052,9060,9069,9077,9084,9092,9101,9111,9121,9129,9136,9145,9151,9159,9168,9175,9187,9193,9201,9209,9215,9224,9233,9242,9250,9259,9268,9275,9285,9294,9301,9309,9320,9329,9339,9347,9357,9365,9372,9381,9390,9399,9406,9414,9424,9431,9439,9446,9452,9462,9471,9479,9488,9497,9506,9514,9522,9541,9549,9560,9569,9576,9585,9596,9604,9613,9623,9630,9638,9649,9657,9666,9676,9684,9690,9697,9703,9712,9720,9729,9737,9743,9750,9756,9765,9774,9783,9791,9800,9808,9815,9822,9831,9839,9846,9854,9864,9871,9879,9887,9894,9901,9912,9920,9930,9937,9945,9954,9963,9973,9982,9991,9999,10007,10018,10028,10038,10046,10053,10059,10068,10077,10083,10089,10096,10105,10113,10122,10131,10139,10147,10156,10164,10172,10180,10189,10198,10206,10215,10222,10230,10237,10246,10255,10268,10276,10283,10295,10302,10309,10318,10328,10337,10345,10352,10359,10368,10377,10386,10393,10401,10408,10417,10424,10432,10440,10448,10455,10462,10473,10481,10491,10499,10508,10514,10527,10536,10546,10554,10562,10570,10580,10588,10601,10609,10620,10628,10639,10647,10654,10662,10672,10682,10689,10697,10703,10710,10717,10725,10732,10741,10748,10755,10763,10771,10779,10787,10797,10805,10813,10823,10832,10840,10848,10858,10867,10877,10886,10892,10902,10912,10920,10928,10935,10948,10956,10964,10974,10982,10989,10996,11003,11011,11021,11029,11036,11044,11053,11060,11069,11077,11087,11096,11105,11115,11125,11133,11141,11148,11157,11165,11173,11179,11188,11197,11205,11213,11221,11229,11235,11242,11250,11259,11267,11273,11281,11289,11295,11303,11312,11320,11328,11336,11343,11351,11361,11369,11377,11385,11394,11403,11409,11416,11426,11434,11442,11451,11459,11468,11478,11487,11494,11501,11511,11520,11529,11536,11544,11552,11560,11570,11578,11588,11599,11609,11618,11627,11635,11643,11649,11658,11666,11675,11684,11691,11697,11704,11715,11725,11732,11740,11748,11756,11765,11779,11790,11798,11805,11813,11823,11834,11848,11857,11864,11873,11882,11891,11900,11910,11919,11928,11935,11946,11954,11961,11968,11975,11981,11987,11993,12001,12009,12018,12026,12035,12044,12053,12063,12069,12075,12084,12092,12100,12107,12115,12124,12132,12141,12148,12156,12166,12177,12186,12195,12204,12214,12221,12233,12243,12251,12258,12267,12276,12283,12291,12299,12308,12316,12324,12331,12337,12345,12353,12360,12369,12376,12384,12390,12399,12408,12415,12421,12429,12438,12445,12453,12460,12469,12480,12490,12498,12509,12517,12525,12535,12545,12554,12563,12570,12577,12586,12594,12601,12610,12619,12628,12641,12647,12653,12660,12667,12677,12686,12693,12699,12705,12711,12719,12728,12737,12743,12751,12758,12765,12771,12778,12784,12790,12796,12802,12810,12817,12826,12833,12839,12846,12854,12863,12871,12879,12887,12895,12905,12913,12920,12927,12935,12944,12954,12962,12969,12976,12983,12991,13000,13009,13018,13027,13035,13045,13055,13064,13074,13081,13087,13093,13100,13109,13117,13129,13136,13144,13150,13157,13164,13171,13179,13186,13192,13201,13210,13216,13223,13230,13237,13245,13251,13260,13269,13277,13286,13295,13304,13310,13320,13329,13338,13345,13354,13366,13374,13381,13388,13395,13404,13411,13417,13426,13433,13440,13450,13459,13468,13478,13487,13495,13503,13512,13520,13526,13533,13541,13548,13556,13563,13570,13577,13584,13590,13597,13606,13613,13619,13627,13635,13643,13650,13656,13662,13669,13678,13686,13694,13700,13707,13716,13725,13733,13741,13749,13758,13767,13775,13783,13791,13799,13809,13816,13825,13832,13842,13851,13860,13869,13877,13884,13894,13903,13911,13919,13928,13937,13944,13951,13959,13969,13977,13983,13991,13998,14006,14015,14025,14033,14042,14049,14058,14066,14074,14083,14090,14098,14105,14112,14119,14127,14135,14141,14148,14155,14163,14171,14177,14185,14191,14200,14206,14215,14222,14232,14241,14248,14257,14267,14276,14284,14292,14301,14311,14319,14327,14335,14342,14350,14356,14365,14372,14379,14388,14397,14404,14413,14422,14432,14440,14450,14459,14468,14478,14487,14496,14505,14512,14522,14531,14539,14549,14559,14569,14578,14587,14597,14604,14611,14618,14624,14631,14639,14645,14652,14658,14666,14674,14682,14688,14696,14704,14711,14717,14725,14731,14741,14749,14756,14763,14770,14778,14785,14793,14800,14807,14815,14821,14830,14836,14842,14851,14860,14872,14881,14889,14897,14905,14912,14920,14929,14936,14946,14954,14965,14974,14981,14990,15000,15010,15017,15026,15036,15044,15053,15062,15072,15082,15092,15101,15109,15118,15127,15137,15146,15155,15162,15169,15178,15186,15193,15203,15213,15221,15231,15238,15245,15251,15257,15263,15270,15276,15282,15289,15296,15303,15310,15318,15325,15334,15340,15347,15354,15361,15368,15376,15385,15391,15399,15405,15411,15420,15428,15434,15440,15448,15456,15464,15472,15478,15484,15494,15502,15509,15517,15524,15531,15540,15550,15556,15562,15568,15581,15589,15597,15605,15613,15622,15631,15640,15649,15659,15670,15682,15690,15698,15708,15716,15724,15734,15742,15751,15758,15766,15775,15784,15794,15803,15813,15822,15832,15840,15850,15859,15867,15874,15881,15889,15897,15907,15914,15922,15932,15941,15950,15959,15968,15976,15985,15995,16009,16019,16027,16034,16043,16050,16059,16065,16072,16079,16086,16093,16100,16107,16114,16121,16128,16135,16142,16149,16157,16164,16172,16178,16184,16190,16196,16202,16208,16214,16221,16227,16233,16239,16245,16251,16257,16265,16272,16279,16285,16294,16302,16309,16315,16322,16328,16334,16343,16351,16358,16367,16375,16383,16394,16403,16410,16420,16427,16435,16443,16452,16460,16468,16475,16484,16494,16504,16513,16523,16533,16542,16552,16560,16569,16578,16587,16595,16604,16614,16621,16630,16638,16647,16654,16663,16672,16681,16688,16694,16701,16708,16723,16730,16736,16742,16750,16757,16763,16770,16777,16783,16791,16797,16803,16809,16816,16824,16830,16836,16844,16850,16857,16863,16869,16876,16885,16893,16901,16909,16916,16923,16930,16937,16946,16954,16961,16968,16977,16983,16991,16997,17003,17010,17019,17028,17039,17049,17057,17066,17075,17083,17090,17098,17107,17116,17125,17132,17140,17147,17154,17163,17172,17181,17192,17200,17210,17218,17226,17235,17246,17255,17264,17273,17282,17292,17300,17308,17317,17324,17332,17340,17349,17358,17367,17376,17385,17394,17403,17412,17421,17431,17440,17449,17459,17472,17484,17492,17501,17509,17516,17526,17535,17544,17551,17559,17566,17574,17583,17590,17597,17605,17612,17620,17627,17635,17644,17651,17658,17666,17673,17681,17689,17696,17702,17709,17715,17721,17727,17741,17748,17755,17762,17768,17777,17783,17789,17797,17804,17810,17819,17826,17833,17840,17848,17855,17862,17868,17874,17880,17890,17896,17902,17908,17914,17920,17926,17932,17938,17946,17953,17959,17967,17974,17991,17998,18006,18013,18020,18026,18032,18039,18045,18051,18058,18067,18075,18083,18091,18102,18116,18125,18133,18141,18152,18162,18170,18180,18190,18199,18209,18218,18229,18238,18247,18257,18268,18277,18286,18295,18305,18314,18323,18332,18339,18348,18358,18366,18373,18380,18386,18394,18402,18411,18420,18427,18434,18441,18449,18456,18464,18471,18478,18485,18494,18502,18509,18516,18523,18531,18539,18548,18555,18563,18573,18580,18588,18595,18602,18613,18621,18629,18638,18646,18653,18664,18671,18677,18685,18693,18700,18706,18713,18720,18727,18734,18742,18751,18762,18769,18775,18781,18787,18793,18799,18806,18813,18823,18829,18835,18844,18850,18856,18862,18868,18874,18881,18889,18896,18903,18911,18918,18925,18932,18939,18946,18954,18962,18970,18978,18986,18994,19002,19010,19018,19026,19034,19043,19051,19059,19067,19076,19087,19095,19104,19114,19123,19132,19142,19152,19161,19170,19179,19188,19196,19205,19214,19223,19232,19240,19249,19258,19267,19274,19282,19291,19300],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":46,"material":47,"size":48,"collection":49,"collections":50,"showCount":52,"zanCount":53,"manualWeight":11,"mainColor":54},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38,39,40,41,42,43,44,45],"高清","国画","长卷","工笔","设色","界画","临摹","人物","楼阁","流水","树木","商铺","船只","街市","车马","建筑","庭院","行人","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm","人物画精选",[49,51],"设色画精选",11185,132,"795548",{"id":56,"slug":57,"title":17,"dynasty":58,"author":59,"museum":60,"description":61,"tags":62,"thumbUrl":77,"material":78,"size":79,"collection":80,"collections":81,"showCount":83,"zanCount":84,"manualWeight":11,"mainColor":54},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","宋","张择端","北京故宫博物院","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,63,25,28,26,27,30,31,7,32,64,65,66,33,36,67,68,69,70,71,72,73,40,74,75,43,76],"书画","船","马","牛","店铺","桥梁","城墙","车","河流","码头","货船","商贩","房屋","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[80,82],"水墨画精选",8462,106,{"id":86,"slug":87,"title":88,"dynasty":18,"author":89,"museum":90,"description":91,"tags":92,"thumbUrl":101,"material":102,"size":103,"collection":104,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":108},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","沈周","上海博物馆","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,63,25,93,27,94,7,32,95,96,33,97,75,98,99,100],"水墨","山水","孤舟","亭","山石","皴法","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","纸本,设色","31.6x348","山水画精选",[104],7463,45,"BDBDBD",{"id":110,"slug":111,"title":112,"dynasty":18,"author":19,"museum":113,"description":114,"tags":115,"thumbUrl":122,"material":123,"size":124,"collection":104,"collections":125,"showCount":126,"zanCount":127,"manualWeight":11,"mainColor":54},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,116,24,63,25,117,27,26,98,118,94,119,30,31,7,32,95,96,33,120,121],"名画","青绿","印章","桃花","田园","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 472cm",[104,51],5479,37,{"id":129,"slug":130,"title":131,"dynasty":18,"author":89,"museum":132,"description":133,"tags":134,"thumbUrl":138,"material":102,"size":139,"collection":104,"collections":140,"showCount":141,"zanCount":142,"manualWeight":11,"mainColor":108},214743,"ye-zuo-tu-shen-zhou-214743","夜坐图","台北故宫博物院","这幅夜行女子的画是沈周的生活自画像。在画的上部有一段文字，记录了他的生活，讲述了他如何在半夜突然醒来，当时雨后初晴，月亮倒映在他的窗口。风声、狗声、鼓声渐渐传来，钟声也从黎明传来。沈周经常在晚上看书，但他总是要到第二晚才休息，思绪都在文字里，所以听不到也看不到什么，但这次他感到了冥想的力量。图意即绘夜坐之事，时年六十六岁。",[24,63,135,93,94,100,99,118,98,136,97,137,7],"立轴","老树","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff82bcb280b365901496be3ff0f122b.jpg","84.8x21.8",[104],3007,20,{"id":144,"slug":145,"title":146,"dynasty":58,"author":147,"museum":132,"description":148,"tags":149,"thumbUrl":163,"material":164,"size":165,"collection":80,"collections":166,"showCount":167,"zanCount":168,"manualWeight":11,"mainColor":54},221389,"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","范宽","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[23,24,150,135,98,151,94,97,152,33,153,154,7,155,156,157,158,159,160,161,162],"水墨画","雨点皴","瀑布","行旅","溪流","云雾","山路","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","绢本","纵206.3厘米，横103.3厘米",[80,104,82],2630,15,{"id":170,"slug":171,"title":172,"dynasty":58,"author":173,"museum":132,"description":174,"tags":175,"thumbUrl":177,"material":178,"size":179,"collection":80,"collections":180,"showCount":181,"zanCount":182,"manualWeight":11,"mainColor":108},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,116,24,63,25,93,98,94,97,33,7,32,95,121,96,155,154,176],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[80,104,82],1772,19,{"id":184,"slug":185,"title":186,"dynasty":18,"author":19,"museum":187,"description":188,"tags":189,"thumbUrl":193,"material":194,"size":195,"collection":104,"collections":196,"showCount":197,"zanCount":168,"manualWeight":11,"mainColor":54},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,63,135,117,27,26,94,30,31,7,33,97,155,38,190,191,154,192],"植被","山峦","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 设色","纵175厘米，横66.7厘米",[104,51],1533,{"id":199,"slug":200,"title":201,"dynasty":18,"author":202,"museum":203,"description":204,"tags":205,"thumbUrl":207,"material":208,"size":209,"collection":104,"collections":210,"showCount":211,"zanCount":212,"manualWeight":11,"mainColor":108},214259,"song-yan-xiao-si-tu-dai-jin-214259","松岩萧寺图","戴进","日本大阪市立美术馆","松岩萧寺图是明代画家戴进的一幅代表作。这幅画作描绘了萧寺的生活场景。\n\n在这幅画作中，戴进巧妙地捕捉了萧寺的生活状态。他用浓墨重彩的画法，勾勒出了萧寺的宏伟建筑。他还用细腻的线条勾勒出了萧寺内僧人修行的场景，让人感受到了萧寺内的宁静和谐。\n\n此外，戴进在这幅画作中还描绘了萧寺周围的景色。他用色彩丰富的画法，描绘了萧寺周围的山川和河流。这些景色与萧寺的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n松岩萧寺图是一幅能够唤起人们对萧寺的崇敬之情的画作。它展示了戴进的艺术才华，也是一幅能够让人们感受到明朝文化魅力的画作。",[23,24,93,94,98,206,97,31,7,32,121],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dadaa3dad497961e69e4dc516458e91.jpg","纸本,水墨","227x51.5",[104],1383,10,{"id":214,"slug":215,"title":216,"dynasty":18,"author":89,"museum":217,"description":218,"tags":219,"thumbUrl":222,"material":47,"size":223,"collection":104,"collections":224,"showCount":225,"zanCount":226,"manualWeight":11,"mainColor":54},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","大英博物馆","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,24,93,27,98,135,94,7,32,96,206,97,31,220,221],"幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg","",[104],1176,12,{"id":228,"slug":229,"title":230,"dynasty":18,"author":89,"museum":231,"description":232,"tags":233,"thumbUrl":236,"material":237,"size":238,"collection":104,"collections":239,"showCount":240,"zanCount":241,"manualWeight":11,"mainColor":108},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,93,27,28,234,94,31,235,7,32,95,30,33,96],"册","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","纸本","31.1×40.2cmx12",[104],1160,9,{"id":243,"slug":244,"title":245,"dynasty":246,"author":247,"museum":60,"description":248,"tags":249,"thumbUrl":256,"material":257,"size":223,"collection":223,"collections":258,"showCount":259,"zanCount":260,"manualWeight":11,"mainColor":108},234149,"lin-shen-zhou-shan-shui-juan-cheng-zheng-kui-234149","临沈周山水卷","清","程正揆","此幅画秋景山水，是程正揆的精谨之作，图中层峦叠谳，怪石嶙岣，山路崎岖，烟水微茫，层舍俨然，再缀以溪水树木，其境地则很深邃幽奥。此图笔墨枯劲，画风静秀。",[23,24,63,25,29,93,27,94,98,99,100,97,33,32,7,96,75,250,30,154,251,252,253,254,255],"远山","峭壁","茅屋","小径","秋树","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fb462b100c634b5e8b6cacc9798383.jpg","纸本，水墨",[],1141,6,{"id":262,"slug":263,"title":264,"dynasty":246,"author":265,"museum":266,"description":267,"tags":268,"thumbUrl":269,"material":47,"size":270,"collection":104,"collections":271,"showCount":272,"zanCount":260,"manualWeight":11,"mainColor":54},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,63,25,27,26,28,94,30,31,7,33,97,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[104],1111,{"id":274,"slug":275,"title":276,"dynasty":277,"author":278,"museum":132,"description":279,"tags":280,"thumbUrl":282,"material":102,"size":283,"collection":104,"collections":284,"showCount":285,"zanCount":260,"manualWeight":11,"mainColor":108},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","元","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,24,27,94,98,135,281,7,32,252,97,33,118],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[104,51],1069,{"id":287,"slug":288,"title":289,"dynasty":18,"author":290,"museum":132,"description":291,"tags":292,"thumbUrl":294,"material":102,"size":295,"collection":104,"collections":296,"showCount":297,"zanCount":298,"manualWeight":11,"mainColor":108},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,63,135,27,26,100,94,30,293,7,32,118,97,33],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[104],1044,13,{"id":300,"slug":301,"title":302,"dynasty":58,"author":303,"museum":304,"description":305,"tags":306,"thumbUrl":307,"material":308,"size":309,"collection":49,"collections":310,"showCount":311,"zanCount":241,"manualWeight":11,"mainColor":54},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,116,24,63,25,93,27,98,94,30,31,7,32,33,96,120,75,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[49],1013,{"id":313,"slug":314,"title":315,"dynasty":18,"author":290,"museum":132,"description":316,"tags":317,"thumbUrl":319,"material":102,"size":320,"collection":49,"collections":321,"showCount":322,"zanCount":260,"manualWeight":11,"mainColor":108},214250,"shan-shui-tu-wen-zheng-ming-214250","山水图","画面上有一对夫妇坐在一个开放的亭子里，一个男孩拿着围巾站着，另一个男孩拿着门槛上的花瓶。在小屋的前后，竹子、松树和柳树被浓密的树荫包围。根据题词，这幅画似乎是对夏日家居生活的描写，而且画得非常好。",[23,24,63,234,93,27,26,98,33,136,318,97,30,96,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e62ddd3da73b17a21cd499e257c992.jpg","66.7x34.8",[49],964,{"id":324,"slug":325,"title":326,"dynasty":277,"author":327,"museum":328,"description":329,"tags":330,"thumbUrl":340,"material":102,"size":223,"collection":104,"collections":341,"showCount":342,"zanCount":343,"manualWeight":11,"mainColor":108},216999,"cao-tang-yi-shi-tu-huang-gong-wang-216999","草堂遗世图","黄公望","私人收藏","《草堂遗世图》是一幅著名的山水画。这幅画以浓烈的写意气息和精细的画工著称。黄公望在这幅画中描绘了一座废弃的草堂，静静地躺在草地上，被一片茂密的松林环绕。山川景色非常优美，清新宁静。画中还有一些杂草和枯萎的花朵，表现出草堂的荒凉和凋零。这幅画被认为是黄公望的代表作之一，因其精美的画工和深刻的哲理而广受赞誉。",[116,24,93,331,332,333,334,335,7,336,337,338,339],"山水画","写意","草堂","松林","山川","孤石","杂草","荒凉","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42536421d16089efc731a376cc411ad2.jpg",[104],944,4,{"id":345,"slug":346,"title":347,"dynasty":18,"author":89,"museum":60,"description":348,"tags":349,"thumbUrl":350,"material":47,"size":351,"collection":49,"collections":352,"showCount":353,"zanCount":354,"manualWeight":11,"mainColor":108},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,63,25,93,98,94,336,7,32,95,136,96,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米",[49,104,51],877,7,{"id":356,"slug":357,"title":358,"dynasty":58,"author":359,"museum":360,"description":361,"tags":362,"thumbUrl":367,"material":93,"size":368,"collection":104,"collections":369,"showCount":370,"zanCount":371,"manualWeight":11,"mainColor":54},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","藏地不详","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[24,25,93,98,94,250,363,155,71,364,365,366,191,33,7,99,118],"近树","小舟","亭台","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[104,80],865,8,{"id":373,"slug":374,"title":17,"dynasty":58,"author":59,"museum":60,"description":61,"tags":375,"thumbUrl":377,"material":378,"size":379,"collection":80,"collections":380,"showCount":381,"zanCount":260,"manualWeight":11,"mainColor":54},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,25,28,27,376,26,30,31,7,32,35,36,34,33,37,66,65,38,44,43,39,74,40],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米",[80,49,51],858,{"id":383,"slug":384,"title":385,"dynasty":58,"author":386,"museum":60,"description":387,"tags":388,"thumbUrl":389,"material":378,"size":390,"collection":80,"collections":391,"showCount":392,"zanCount":226,"manualWeight":11,"mainColor":54},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,25,117,27,26,98,94,7,32,96,33,191,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[80,104,51],840,{"id":394,"slug":395,"title":396,"dynasty":58,"author":397,"museum":60,"description":398,"tags":399,"thumbUrl":401,"material":402,"size":403,"collection":80,"collections":404,"showCount":405,"zanCount":212,"manualWeight":11,"mainColor":54},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图","王希孟","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,116,63,25,117,27,26,98,94,191,71,7,33,365,400,155,190],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米",[80,49,51],809,{"id":407,"slug":408,"title":409,"dynasty":58,"author":410,"museum":411,"description":412,"tags":413,"thumbUrl":415,"material":164,"size":416,"collection":80,"collections":417,"showCount":418,"zanCount":241,"manualWeight":11,"mainColor":54},221412,"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[23,24,116,94,93,98,135,31,7,32,152,414,97],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[80,104,82],792,{"id":420,"slug":421,"title":422,"dynasty":18,"author":423,"museum":360,"description":424,"tags":425,"thumbUrl":429,"material":47,"size":430,"collection":49,"collections":431,"showCount":432,"zanCount":298,"manualWeight":11,"mainColor":54},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,63,25,27,26,28,30,31,94,33,7,32,400,365,97,426,39,427,206,428,71,191,38],"宫殿","人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[49,51],775,{"id":434,"slug":435,"title":436,"dynasty":18,"author":202,"museum":132,"description":437,"tags":438,"thumbUrl":441,"material":164,"size":442,"collection":104,"collections":443,"showCount":444,"zanCount":260,"manualWeight":11,"mainColor":54},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,63,135,27,94,30,31,7,32,206,97,439,440,96],"树","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[104,82],752,{"id":446,"slug":447,"title":448,"dynasty":246,"author":449,"museum":450,"description":451,"tags":452,"thumbUrl":458,"material":459,"size":460,"collection":49,"collections":461,"showCount":462,"zanCount":212,"manualWeight":11,"mainColor":54},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","徐扬","辽宁省博物馆","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,116,24,63,25,27,26,28,30,31,7,32,35,36,34,453,33,44,38,72,40,73,454,455,456,457],"河道","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[49,51],696,{"id":464,"slug":465,"title":466,"dynasty":58,"author":467,"museum":360,"description":468,"tags":469,"thumbUrl":470,"material":164,"size":471,"collection":80,"collections":472,"showCount":473,"zanCount":474,"manualWeight":11,"mainColor":54},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,116,24,63,234,117,27,98,94,7,33,97,32,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[80,104,51],664,3,{"id":476,"slug":477,"title":315,"dynasty":18,"author":89,"museum":132,"description":478,"tags":479,"thumbUrl":480,"material":102,"size":481,"collection":104,"collections":482,"showCount":483,"zanCount":474,"manualWeight":11,"mainColor":108},214745,"shan-shui-tu-shen-zhou-214745","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[24,63,135,93,98,118,99,100,94,136,7,32,137,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[104],653,{"id":485,"slug":486,"title":487,"dynasty":488,"author":489,"museum":360,"description":490,"tags":491,"thumbUrl":493,"material":494,"size":495,"collection":223,"collections":496,"showCount":497,"zanCount":260,"manualWeight":11,"mainColor":498},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","五代十国","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[116,24,63,135,93,98,94,97,7,32,31,414,492,366],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","未知","Xcm*Xcm",[],641,"37474F",{"id":500,"slug":501,"title":502,"dynasty":18,"author":89,"museum":328,"description":503,"tags":504,"thumbUrl":505,"material":47,"size":506,"collection":104,"collections":507,"showCount":508,"zanCount":343,"manualWeight":11,"mainColor":54},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[116,24,63,135,93,98,29,94,97,33,75,7,32,152,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[104],606,{"id":510,"slug":511,"title":512,"dynasty":58,"author":513,"museum":132,"description":514,"tags":515,"thumbUrl":517,"material":208,"size":518,"collection":49,"collections":519,"showCount":520,"zanCount":474,"manualWeight":11,"mainColor":108},214644,"long-mian-shan-zhuang-tu-li-gong-lin-214644","龙眠山庄图","李公麟","这幅画作于1077年，描绘了作者和他的朋友在他的家乡舒州龙眠山庄欣赏风景和喝茶的情景。风景迷人，画中的方形茶壶、篮子、茶烛和茶盘都是宋代的，可以作为宋代茶器的参考。",[23,24,63,25,516,94,31,7,32,96,33,30,97],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc405cec5883bd1b1559990728979.jpg","28.9x364.6",[49],600,{"id":522,"slug":523,"title":524,"dynasty":18,"author":525,"museum":60,"description":526,"tags":527,"thumbUrl":531,"material":532,"size":533,"collection":104,"collections":534,"showCount":535,"zanCount":536,"manualWeight":11,"mainColor":108},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,63,116,135,27,94,98,528,529,530,293,7,154,176,33,250,155],"仿古","山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纸本，墨笔","纵101.7厘米，横46.7厘米。",[104,51],549,1,{"id":538,"slug":539,"title":540,"dynasty":488,"author":541,"museum":360,"description":542,"tags":543,"thumbUrl":545,"material":494,"size":495,"collection":223,"collections":546,"showCount":547,"zanCount":260,"manualWeight":11,"mainColor":54},289890,"wan-he-song-feng-tu-ju-ran-289890","万壑松风图","巨然","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,116,24,93,94,135,98,293,152,32,7,31,191,544],"溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":549,"slug":550,"title":551,"dynasty":18,"author":290,"museum":132,"description":552,"tags":553,"thumbUrl":554,"material":102,"size":555,"collection":104,"collections":556,"showCount":557,"zanCount":260,"manualWeight":11,"mainColor":108},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,63,135,27,94,30,100,118,26,98,529,293,96,32,7,439,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[104,82],498,{"id":559,"slug":560,"title":561,"dynasty":18,"author":19,"museum":304,"description":562,"tags":563,"thumbUrl":566,"material":47,"size":567,"collection":49,"collections":568,"showCount":569,"zanCount":536,"manualWeight":11,"mainColor":108},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,25,63,26,27,28,94,30,31,96,7,32,564,33,97,39,565],"竹","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[49],497,{"id":571,"slug":572,"title":573,"dynasty":574,"author":575,"museum":132,"description":576,"tags":577,"thumbUrl":580,"material":47,"size":581,"collection":49,"collections":582,"showCount":583,"zanCount":260,"manualWeight":11,"mainColor":54},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[24,63,135,27,94,578,579,7,65,30,97,33],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[49,51],493,{"id":585,"slug":586,"title":587,"dynasty":58,"author":588,"museum":132,"description":589,"tags":590,"thumbUrl":593,"material":594,"size":595,"collection":80,"collections":596,"showCount":597,"zanCount":474,"manualWeight":11,"mainColor":54},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","郭熙","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,116,24,63,135,93,94,31,7,591,153,592,118,29,98],"村居","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","绢","纵141.6厘米，横97厘米",[80,104,82],472,{"id":599,"slug":600,"title":601,"dynasty":18,"author":602,"museum":132,"description":603,"tags":604,"thumbUrl":605,"material":208,"size":606,"collection":104,"collections":607,"showCount":608,"zanCount":343,"manualWeight":11,"mainColor":108},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[23,24,135,94,93,98,529,530,439,176,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[104],468,{"id":610,"slug":611,"title":612,"dynasty":246,"author":613,"museum":90,"description":614,"tags":615,"thumbUrl":618,"material":102,"size":619,"collection":49,"collections":620,"showCount":621,"zanCount":622,"manualWeight":11,"mainColor":108},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","石涛","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,116,24,63,25,27,98,30,94,7,32,439,616,617],"石","桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[49,51],443,5,{"id":624,"slug":625,"title":626,"dynasty":277,"author":627,"museum":328,"description":628,"tags":629,"thumbUrl":631,"material":208,"size":632,"collection":104,"collections":633,"showCount":634,"zanCount":343,"manualWeight":11,"mainColor":108},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","王蒙","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,116,63,331,93,98,94,33,630,96,7,32,97,155,440,190],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[104],438,{"id":636,"slug":637,"title":638,"dynasty":246,"author":639,"museum":132,"description":640,"tags":641,"thumbUrl":646,"material":102,"size":647,"collection":49,"collections":648,"showCount":649,"zanCount":226,"manualWeight":11,"mainColor":108},214713,"sui-chao-tu-jin-ting-biao-214713","岁朝图","金廷标","它描绘了孩子们在梅花盛开的院子里玩耍的情景。根据乾隆对这首诗的题词，这似乎是一个训诫。",[116,24,63,27,26,30,642,7,643,33,644,645,39,118],"孩童","栏杆","石头","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7359c4847fbcbefede1de57ca93a09.jpg","96x65.9",[49],437,{"id":651,"slug":652,"title":653,"dynasty":277,"author":627,"museum":132,"description":654,"tags":655,"thumbUrl":656,"material":237,"size":657,"collection":104,"collections":658,"showCount":659,"zanCount":536,"manualWeight":11,"mainColor":54},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,24,135,93,94,98,97,33,7,32,96,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 211.1x34.4公分、全幅 67.5公分",[104,82],431,{"id":661,"slug":662,"title":663,"dynasty":277,"author":627,"museum":132,"description":664,"tags":665,"thumbUrl":666,"material":178,"size":667,"collection":104,"collections":668,"showCount":669,"zanCount":343,"manualWeight":11,"mainColor":108},220816,"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙能诗文，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”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[23,24,93,27,98,135,94,439,333,32,95,7,414,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","123.3×54.8",[104,82],412,{"id":671,"slug":672,"title":673,"dynasty":18,"author":89,"museum":60,"description":674,"tags":675,"thumbUrl":677,"material":678,"size":679,"collection":104,"collections":680,"showCount":681,"zanCount":343,"manualWeight":11,"mainColor":108},222098,"jing-jiang-song-bie-tu-shen-zhou-222098","京江送别图","此图引首为王时敏题隶书“名迹貽徽”。本幅款署“沈周”。钤“启南”。后幅有沈周自题跋文，述作此图原由。另有明代文林书“送吳敘州之任序”、祝允明书“敘州府太守吳公詩序”及多家跋文。\n据《吴梅村先生集》考，此图成于明弘治四年(1491年)辛亥三月，沈周时年65岁。图中描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。吴愈是沈周的朋友，文徵明的岳丈，任所叙州，地处今四川宜宾。画面中主人乘舟远去，众人在岸边长揖作别。此时江南正是杨柳葱郁、山桃烂漫、风光无限之时。作者借描绘江南秀色流露出依依惜别之情，寄情于景，情景交融。远山以粗笔披麻皴法出之，墨色浓重滋润，线条苍秀，反映了沈周成熟的画风。",[23,24,150,98,25,94,95,30,33,7,32,676],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纸本，设色","纵28厘米，横159厘米",[104,51],411,{"id":683,"slug":684,"title":685,"dynasty":58,"author":386,"museum":60,"description":686,"tags":687,"thumbUrl":688,"material":402,"size":689,"collection":80,"collections":690,"showCount":691,"zanCount":371,"manualWeight":11,"mainColor":54},221541,"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[23,24,25,26,27,94,96,31,7,32,30,97,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[80,104,82],409,{"id":693,"slug":694,"title":695,"dynasty":18,"author":89,"museum":132,"description":696,"tags":697,"thumbUrl":698,"material":208,"size":699,"collection":104,"collections":700,"showCount":701,"zanCount":260,"manualWeight":11,"mainColor":108},219522,"ce-zhang-tu-shen-zhou-219522","策杖图","本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒之作。",[24,63,135,93,98,94,30,529,439,32,7,336,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa190a0de0a4b64ed7875a8e251871f.jpg","纵159.1公分、横72.2公分",[104],406,{"id":703,"slug":704,"title":705,"dynasty":58,"author":173,"museum":132,"description":706,"tags":707,"thumbUrl":709,"material":308,"size":710,"collection":104,"collections":711,"showCount":712,"zanCount":713,"manualWeight":11,"mainColor":54},214723,"shan-ju-liu-ke-tu-xia-gui-214723","山居留客图","该图像描绘了一块有云的岩石和一座延伸到水面的长桥。在一棵老松树下面，两个老人在森林里的房子里休息和喝酒，一个孩子和一个老妇人在治疗设备，一个仆人在担架上睡觉，一个人拿着一把古筝。这幅画的风格与明代画院的风格接近，怀疑这幅画不是真迹。山石都是用斧头凿出来的，笔法轻柔，通常用侧锋，以获得力道，但细腻和克制的程度有点欠缺，可能是出自明人模仿夏圭的风格。",[24,63,116,135,708,93,98,94,136,31,7,30,32],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687bcb8647a4f89cd2f269b229f4d848.jpg","164.7x102.8",[104,49],396,2,{"id":715,"slug":716,"title":717,"dynasty":277,"author":627,"museum":60,"description":718,"tags":719,"thumbUrl":720,"material":678,"size":721,"collection":104,"collections":722,"showCount":723,"zanCount":713,"manualWeight":11,"mainColor":108},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,116,24,63,135,27,98,94,30,65,66,7,32,293,176,156,75,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[104,51],385,{"id":725,"slug":726,"title":727,"dynasty":18,"author":19,"museum":360,"description":728,"tags":729,"thumbUrl":733,"material":494,"size":495,"collection":223,"collections":734,"showCount":735,"zanCount":536,"manualWeight":11,"mainColor":54},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,25,29,26,117,27,94,30,65,492,7,191,730,731,732],"历史画","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":737,"slug":738,"title":739,"dynasty":18,"author":19,"museum":328,"description":740,"tags":741,"thumbUrl":745,"material":47,"size":746,"collection":49,"collections":747,"showCount":748,"zanCount":260,"manualWeight":11,"mainColor":54},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,63,234,26,27,28,117,94,30,31,96,32,95,7,121,136,742,743,492,744,336],"夕阳","明月","美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[49],376,{"id":750,"slug":751,"title":752,"dynasty":18,"author":202,"museum":753,"description":754,"tags":755,"thumbUrl":757,"material":378,"size":758,"collection":104,"collections":759,"showCount":760,"zanCount":536,"manualWeight":11,"mainColor":54},222032,"chun-geng-tu-zhou-dai-jin-222032","春耕图轴","浙江省博物馆","这幅气度恢宏的作品取法两宋郭熙、李唐诸辈，笔法苍润，风格遒劲。形则春耕，实为寄寓淡淡哀愁与希望。其心志高远，胸怀宽壑，借春耕这一生活化的语言表达对社稷繁荣安定的渴望。画中一旁孤独思忖的老者，面对湍湍逝去的溪水，显出无奈寂寞的神情，俨然作者自身的写照。\n不知桥上玩耍的孩童，能否传承老者衣钵，以慰心志！ 此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,24,63,135,94,30,66,7,32,439,98,27,756],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[104,51],371,{"id":762,"slug":763,"title":764,"dynasty":58,"author":59,"museum":360,"description":765,"tags":766,"thumbUrl":768,"material":223,"size":223,"collection":223,"collections":769,"showCount":770,"zanCount":474,"manualWeight":11,"mainColor":54},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,63,25,28,26,516,30,31,7,32,64,65,66,33,36,34,70,767,71,75,72,40],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,{"id":772,"slug":773,"title":774,"dynasty":277,"author":775,"museum":60,"description":776,"tags":777,"thumbUrl":778,"material":678,"size":779,"collection":104,"collections":780,"showCount":770,"zanCount":371,"manualWeight":11,"mainColor":54},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,116,24,63,25,117,27,26,98,99,118,94,529,530,439,293,7,32,75,95,336,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[104,51],{"id":782,"slug":783,"title":784,"dynasty":785,"author":786,"museum":60,"description":787,"tags":788,"thumbUrl":789,"material":164,"size":790,"collection":791,"collections":792,"showCount":793,"zanCount":343,"manualWeight":11,"mainColor":108},221049,"you-chun-tu-zhan-zi-qian-221049","游春图","隋","展子虔","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,24,63,25,117,27,94,30,31,7,32,121,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。","书法精选",[791],350,{"id":795,"slug":796,"title":797,"dynasty":277,"author":327,"museum":132,"description":798,"tags":799,"thumbUrl":805,"material":164,"size":806,"collection":104,"collections":807,"showCount":808,"zanCount":713,"manualWeight":11,"mainColor":108},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767","富春山居图-无用师卷","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,63,25,93,98,94,95,32,33,800,191,7,801,802,336,252,155,803,804],"江","渔舟","沙洲","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg","横636.9公分，高33公分",[104,82],349,{"id":810,"slug":811,"title":812,"dynasty":488,"author":813,"museum":814,"description":815,"tags":816,"thumbUrl":820,"material":308,"size":821,"collection":82,"collections":822,"showCount":823,"zanCount":713,"manualWeight":11,"mainColor":498},219166,"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","董源","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[23,24,93,27,98,94,817,802,818,33,75,7,819],"寒林","水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[82],343,{"id":825,"slug":826,"title":827,"dynasty":18,"author":89,"museum":360,"description":828,"tags":829,"thumbUrl":830,"material":494,"size":495,"collection":223,"collections":831,"showCount":832,"zanCount":713,"manualWeight":11,"mainColor":54},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,116,24,135,117,27,94,7,32,136,97,30,492,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":834,"slug":835,"title":836,"dynasty":18,"author":202,"museum":132,"description":837,"tags":838,"thumbUrl":841,"material":164,"size":842,"collection":104,"collections":843,"showCount":832,"zanCount":11,"manualWeight":11,"mainColor":54},222033,"chun-han-tu-dai-jin-222033","春酣图","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,116,94,27,98,30,293,7,32,95,136,839,97,155,153,840],"春景","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[104,51],{"id":845,"slug":846,"title":17,"dynasty":246,"author":847,"museum":132,"description":848,"tags":849,"thumbUrl":856,"material":164,"size":857,"collection":49,"collections":858,"showCount":859,"zanCount":622,"manualWeight":11,"mainColor":54},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,26,27,28,25,850,30,31,7,32,35,33,75,41,37,851,852,34,40,71,68,39,38,853,854,855],"风俗","城郭","街道","自然景观","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[49,51],333,{"id":861,"slug":862,"title":863,"dynasty":18,"author":19,"museum":864,"description":865,"tags":866,"thumbUrl":867,"material":47,"size":868,"collection":223,"collections":869,"showCount":870,"zanCount":11,"manualWeight":11,"mainColor":54},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2","美国弗利尔美术馆","清人绘，款仇英",[24,63,234,26,27,30,65,7,32,94,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg","18.5*38",[],331,{"id":872,"slug":873,"title":874,"dynasty":246,"author":875,"museum":132,"description":876,"tags":877,"thumbUrl":878,"material":47,"size":223,"collection":51,"collections":879,"showCount":880,"zanCount":354,"manualWeight":11,"mainColor":108},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,116,24,63,25,26,27,29,30,31,7,32,33,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[51],329,{"id":882,"slug":883,"title":884,"dynasty":18,"author":885,"museum":132,"description":886,"tags":887,"thumbUrl":889,"material":237,"size":890,"collection":104,"collections":891,"showCount":892,"zanCount":11,"manualWeight":11,"mainColor":54},221921,"tai-ping-chun-se-zhou-qian-gong-221921","太平春色轴","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[23,135,26,27,30,31,7,136,39,97,642,888,33,75],"炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[104,51],328,{"id":894,"slug":895,"title":896,"dynasty":58,"author":513,"museum":132,"description":897,"tags":898,"thumbUrl":900,"material":208,"size":518,"collection":104,"collections":901,"showCount":902,"zanCount":536,"manualWeight":11,"mainColor":108},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,116,25,516,26,93,94,97,33,152,30,899,7,32,255,154,176],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg",[104],318,{"id":904,"slug":905,"title":906,"dynasty":277,"author":907,"museum":328,"description":908,"tags":909,"thumbUrl":911,"material":308,"size":912,"collection":104,"collections":913,"showCount":914,"zanCount":713,"manualWeight":11,"mainColor":54},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[23,24,63,93,910,94,564,252,7,98,97,440],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[104],315,{"id":916,"slug":917,"title":918,"dynasty":246,"author":919,"museum":60,"description":920,"tags":921,"thumbUrl":923,"material":402,"size":924,"collection":223,"collections":925,"showCount":926,"zanCount":474,"manualWeight":11,"mainColor":54},234922,"fu-chun-shan-tu-zhou-yun-shou-ping-234922","富春山图轴","恽寿平","图绘林木葱茂、山峦起伏的雄秀景色。此图是作者仿元黄公望《富春山图》画意之作，线条勾勒粗犷，笔势潇洒而秀润。淡墨皴染，墨色透明而不失凝重，显现出作者对黄氏笔墨技法的娴熟运用能力。",[24,63,135,93,98,94,33,97,71,75,7,922],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e6255603844435afcc8c4427ea5fcc.jpg","纵168cm，横69.2cm",[],312,{"id":928,"slug":929,"title":930,"dynasty":246,"author":613,"museum":60,"description":931,"tags":932,"thumbUrl":933,"material":257,"size":223,"collection":223,"collections":934,"showCount":926,"zanCount":343,"manualWeight":11,"mainColor":108},234231,"yuan-ji-shan-shui-tu-juan-shi-tao-234231","原济山水图卷","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,24,93,25,98,94,7,32,97,33,75,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98857fb9227e3d88875c038ee2e558af.jpg",[],{"id":936,"slug":937,"title":938,"dynasty":18,"author":89,"museum":864,"description":939,"tags":940,"thumbUrl":941,"material":102,"size":942,"collection":104,"collections":943,"showCount":944,"zanCount":536,"manualWeight":11,"mainColor":54},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[23,24,63,94,27,93,98,29,7,32,97,33,152,30,31,253,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[104,51],309,{"id":946,"slug":947,"title":948,"dynasty":18,"author":19,"museum":864,"description":865,"tags":949,"thumbUrl":953,"material":47,"size":868,"collection":223,"collections":954,"showCount":955,"zanCount":536,"manualWeight":11,"mainColor":54},216364,"xi-xiang-ji-tu-ye-4-chou-ying-216364","西厢记图页-4",[24,26,27,28,234,744,30,39,281,950,7,951,952,643,38],"假山","花","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9370c6adea01f708797c2450551be843.jpg",[],307,{"id":957,"slug":958,"title":959,"dynasty":18,"author":89,"museum":266,"description":960,"tags":961,"thumbUrl":963,"material":964,"size":965,"collection":104,"collections":966,"showCount":967,"zanCount":713,"manualWeight":11,"mainColor":108},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[23,24,63,25,93,98,99,118,94,75,962,33,7,32,336],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[104,51],293,{"id":969,"slug":970,"title":971,"dynasty":277,"author":627,"museum":328,"description":972,"tags":973,"thumbUrl":974,"material":208,"size":223,"collection":223,"collections":975,"showCount":967,"zanCount":11,"manualWeight":11,"mainColor":108},214568,"shan-shui-ce-9-wang-meng-214568","山水册-9","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,63,93,98,234,94,7,32,33,97,191,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577bb7f080f7a1cc56e6588d150fe042.jpg",[],{"id":977,"slug":978,"title":979,"dynasty":58,"author":980,"museum":132,"description":981,"tags":982,"thumbUrl":983,"material":102,"size":984,"collection":104,"collections":985,"showCount":986,"zanCount":474,"manualWeight":11,"mainColor":108},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,116,63,25,93,27,98,94,97,33,32,95,7,96,121,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[104,51],280,{"id":988,"slug":989,"title":990,"dynasty":18,"author":19,"museum":450,"description":991,"tags":992,"thumbUrl":993,"material":378,"size":994,"collection":104,"collections":995,"showCount":996,"zanCount":354,"manualWeight":11,"mainColor":54},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,63,116,25,117,27,26,94,7,32,31,96,564,33,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[104,51],279,{"id":998,"slug":999,"title":1000,"dynasty":246,"author":919,"museum":187,"description":1001,"tags":1002,"thumbUrl":1004,"material":164,"size":1005,"collection":1006,"collections":1007,"showCount":996,"zanCount":371,"manualWeight":11,"mainColor":108},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 恽寿平山水取自黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，运笔飘逸潇洒，明丽简洁，天趣盎然。以水墨着色渲染，用笔含蓄，画法工整，恽寿平的艺术创作，有自己独创的艺术见解，反映出他成熟后的风格的高超技艺，依此可见，这幅画属于他的后期作品。",[23,24,63,25,27,94,98,33,1003,32,95,7,97,96],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1451fe83f699e29b98945f19f67af72.jpg","618.2cm x 57.6cm","花鸟画精选",[1006,51],{"id":1009,"slug":1010,"title":1011,"dynasty":18,"author":19,"museum":132,"description":1012,"tags":1013,"thumbUrl":1014,"material":102,"size":1015,"collection":104,"collections":1016,"showCount":1017,"zanCount":536,"manualWeight":11,"mainColor":108},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[116,24,63,135,26,27,28,94,31,293,7,32,30,97,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[104],257,{"id":1019,"slug":1020,"title":1021,"dynasty":277,"author":627,"museum":360,"description":1022,"tags":1023,"thumbUrl":1025,"material":494,"size":495,"collection":223,"collections":1026,"showCount":1027,"zanCount":11,"manualWeight":11,"mainColor":54},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,116,24,93,94,135,98,97,33,31,7,32,96,118,99,1024],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":1029,"slug":1030,"title":1031,"dynasty":58,"author":980,"museum":132,"description":1032,"tags":1033,"thumbUrl":1034,"material":47,"size":1035,"collection":104,"collections":1036,"showCount":1037,"zanCount":622,"manualWeight":11,"mainColor":54},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","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。",[24,63,135,93,27,98,94,293,136,30,7,743,97,155,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[104],250,{"id":1039,"slug":1040,"title":1041,"dynasty":246,"author":1042,"museum":360,"description":1043,"tags":1044,"thumbUrl":1045,"material":223,"size":1046,"collection":104,"collections":1047,"showCount":1048,"zanCount":11,"manualWeight":11,"mainColor":108},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘仁","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,63,234,93,98,94,336,7,75,439,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[104,51],249,{"id":1050,"slug":1051,"title":1052,"dynasty":18,"author":89,"museum":60,"description":348,"tags":1053,"thumbUrl":350,"material":237,"size":1055,"collection":104,"collections":1056,"showCount":1057,"zanCount":536,"manualWeight":11,"mainColor":108},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[23,24,63,25,94,1054,93,27,98,100,99,97,33,32,7,95,96],"文人画","纸本设色",[104],248,{"id":1059,"slug":1060,"title":1061,"dynasty":246,"author":1062,"museum":60,"description":1063,"tags":1064,"thumbUrl":1065,"material":47,"size":1066,"collection":51,"collections":1067,"showCount":1068,"zanCount":713,"manualWeight":11,"mainColor":54},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","汉宫春晓图","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,116,28,27,26,94,31,7,32,96,33,97,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[51],247,{"id":1070,"slug":1071,"title":1072,"dynasty":18,"author":1073,"museum":132,"description":1074,"tags":1075,"thumbUrl":1076,"material":102,"size":1077,"collection":104,"collections":1078,"showCount":1079,"zanCount":536,"manualWeight":11,"mainColor":108},214588,"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[24,63,234,27,94,28,31,7,414,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[104],246,{"id":1081,"slug":1082,"title":1083,"dynasty":246,"author":613,"museum":864,"description":1084,"tags":1085,"thumbUrl":1086,"material":102,"size":1087,"collection":223,"collections":1088,"showCount":1089,"zanCount":536,"manualWeight":11,"mainColor":108},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《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。",[24,63,93,27,94,31,7,32,95,97,33,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],241,{"id":1091,"slug":1092,"title":1093,"dynasty":58,"author":303,"museum":132,"description":1094,"tags":1095,"thumbUrl":1097,"material":308,"size":1098,"collection":80,"collections":1099,"showCount":1100,"zanCount":343,"manualWeight":11,"mainColor":54},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[23,24,116,25,93,98,99,118,94,7,32,95,1096,136,840,252,97,154],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[80],237,{"id":1102,"slug":1103,"title":1104,"dynasty":246,"author":1105,"museum":90,"description":1106,"tags":1107,"thumbUrl":1108,"material":102,"size":1109,"collection":104,"collections":1110,"showCount":1100,"zanCount":536,"manualWeight":11,"mainColor":108},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,117,27,94,98,29,234,7,32,96,439,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[104],{"id":1112,"slug":1113,"title":1114,"dynasty":246,"author":1115,"museum":187,"description":1116,"tags":1117,"thumbUrl":1118,"material":102,"size":1119,"collection":104,"collections":1120,"showCount":1121,"zanCount":713,"manualWeight":11,"mainColor":108},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春","王时敏","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。",[24,63,93,94,98,529,530,439,7,644,38,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg","22.5x27.5",[104],235,{"id":1123,"slug":1124,"title":1125,"dynasty":18,"author":1126,"museum":360,"description":1127,"tags":1128,"thumbUrl":1130,"material":678,"size":223,"collection":223,"collections":1131,"showCount":1132,"zanCount":11,"manualWeight":11,"mainColor":54},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,63,25,29,27,93,98,94,33,97,7,32,95,96,30,252,250,1129,251,190,35],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],230,{"id":1134,"slug":1135,"title":1136,"dynasty":277,"author":627,"museum":328,"description":972,"tags":1137,"thumbUrl":1138,"material":102,"size":223,"collection":223,"collections":1139,"showCount":1132,"zanCount":11,"manualWeight":11,"mainColor":108},214573,"shan-shui-ce-5-wang-meng-214573","山水册-5",[24,63,234,93,98,94,136,97,155,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06954314220392a3ccc54c83599ff836.jpg",[],{"id":1141,"slug":1142,"title":1143,"dynasty":246,"author":1062,"museum":60,"description":1144,"tags":1145,"thumbUrl":1146,"material":47,"size":1147,"collection":104,"collections":1148,"showCount":1149,"zanCount":474,"manualWeight":11,"mainColor":54},220075,"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,26,27,28,94,31,97,155,33,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[104,51],226,{"id":1151,"slug":1152,"title":1153,"dynasty":488,"author":1154,"museum":360,"description":1155,"tags":1156,"thumbUrl":1157,"material":494,"size":495,"collection":223,"collections":1158,"showCount":1159,"zanCount":11,"manualWeight":11,"mainColor":54},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,63,94,117,27,31,7,32,97,33,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":1161,"slug":1162,"title":1163,"dynasty":488,"author":541,"museum":132,"description":1164,"tags":1165,"thumbUrl":1166,"material":47,"size":1167,"collection":104,"collections":1168,"showCount":1169,"zanCount":343,"manualWeight":11,"mainColor":54},218904,"xiao-yi-zhuan-lan-ting-tu-ju-ran-218904","萧翼赚兰亭图","这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真迹，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真迹",[23,24,135,93,98,94,33,7,32,176,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f67dfbeda3e115e84b0798018f410e.jpg","144.1x59.6",[104],219,{"id":1171,"slug":1172,"title":1173,"dynasty":1174,"author":1175,"museum":328,"description":1176,"tags":1177,"thumbUrl":1179,"material":164,"size":1180,"collection":223,"collections":1181,"showCount":1182,"zanCount":11,"manualWeight":11,"mainColor":54},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","唐","王维","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,63,25,27,117,28,26,94,31,7,30,97,33,38,1178],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","纵194.5cm，横60.5cm",[],214,{"id":1184,"slug":1185,"title":1186,"dynasty":246,"author":1187,"museum":132,"description":1188,"tags":1189,"thumbUrl":1192,"material":102,"size":1193,"collection":49,"collections":1194,"showCount":1195,"zanCount":474,"manualWeight":11,"mainColor":108},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,116,63,27,26,744,1190,1191,96,7,336,643,32],"芭蕉","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[49],212,{"id":1197,"slug":1198,"title":1199,"dynasty":488,"author":489,"museum":360,"description":1200,"tags":1201,"thumbUrl":1203,"material":494,"size":495,"collection":223,"collections":1204,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":498},288512,"shan-xi-dai-du-tu-guan-tong-288512","山溪待渡图","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 此画用墨饱满，笔法简炼雄劲。",[116,24,94,93,98,135,97,32,7,96,1202],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34439de5b826ade79e2d3efccdbc4630.jpg",[],211,{"id":1207,"slug":1208,"title":1209,"dynasty":18,"author":89,"museum":360,"description":828,"tags":1210,"thumbUrl":1213,"material":494,"size":495,"collection":223,"collections":1214,"showCount":1205,"zanCount":536,"manualWeight":11,"mainColor":54},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[23,116,24,25,63,331,93,27,98,191,1202,255,1211,7,32,1212,40,100,99,118],"山居","亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],{"id":1216,"slug":1217,"title":1218,"dynasty":18,"author":89,"museum":360,"description":828,"tags":1219,"thumbUrl":1221,"material":494,"size":495,"collection":223,"collections":1222,"showCount":1223,"zanCount":474,"manualWeight":11,"mainColor":1224},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,116,24,63,25,93,27,94,252,564,33,97,7,96,100,118,1220],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,"F48FB1",{"id":1226,"slug":1227,"title":1228,"dynasty":58,"author":1229,"museum":132,"description":1230,"tags":1231,"thumbUrl":1238,"material":164,"size":1239,"collection":80,"collections":1240,"showCount":1241,"zanCount":536,"manualWeight":11,"mainColor":54},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","千里江山图卷","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[23,116,24,25,93,94,1232,1233,1234,1235,1236,162,7,96,366,30,1237],"群峰","江水","溪壑","草木","农舍","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[80,104,51],204,{"id":1243,"slug":1244,"title":1245,"dynasty":18,"author":1246,"museum":328,"description":1247,"tags":1248,"thumbUrl":1249,"material":102,"size":1250,"collection":104,"collections":1251,"showCount":1241,"zanCount":343,"manualWeight":11,"mainColor":54},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,27,94,26,98,529,530,439,96,95,1096,7,32,97,155,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[104,51],{"id":1253,"slug":1254,"title":1255,"dynasty":18,"author":89,"museum":187,"description":1256,"tags":1257,"thumbUrl":1259,"material":164,"size":1260,"collection":104,"collections":1261,"showCount":1262,"zanCount":474,"manualWeight":11,"mainColor":54},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[23,24,63,135,27,98,94,30,439,1258,579,7,32,176],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","65x147.2cm",[104,51],200,{"id":1264,"slug":1265,"title":1266,"dynasty":18,"author":1267,"museum":864,"description":1268,"tags":1269,"thumbUrl":1270,"material":27,"size":223,"collection":51,"collections":1271,"showCount":1272,"zanCount":474,"manualWeight":11,"mainColor":54},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","唐寅","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,24,63,27,98,94,30,65,7,32,97,33,119,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[51],199,{"id":1274,"slug":1275,"title":1276,"dynasty":18,"author":525,"museum":1277,"description":1278,"tags":1279,"thumbUrl":1280,"material":234,"size":1281,"collection":104,"collections":1282,"showCount":1283,"zanCount":11,"manualWeight":11,"mainColor":223},220755,"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[23,24,63,234,93,98,29,94,136,7,32,97,75,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 × 23.8厘米",[104],198,{"id":1285,"slug":1286,"title":1287,"dynasty":58,"author":1288,"museum":132,"description":1289,"tags":1290,"thumbUrl":1291,"material":47,"size":1292,"collection":80,"collections":1293,"showCount":1294,"zanCount":713,"manualWeight":11,"mainColor":54},220440,"xian-chou-zeng-qing-tu-li-song-220440","仙筹增庆图","李嵩","这幅画描绘了神山海屋之中列仙相对而坐，童子搬筒筹开算，白鹤翔舞于祥云之上的情景。\n李嵩（1166-1243），宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190―1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。",[23,24,63,135,27,28,26,30,31,7,121,94,33,97,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe070c143a0f3072716b654c698e92135.jpg","175.9×102.7cm",[80,49,51],197,{"id":1296,"slug":1297,"title":1298,"dynasty":277,"author":1299,"museum":132,"description":1300,"tags":1301,"thumbUrl":1302,"material":47,"size":1303,"collection":49,"collections":1304,"showCount":1294,"zanCount":713,"manualWeight":11,"mainColor":54},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","胡廷晖","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[116,24,27,28,26,98,94,31,7,30,293,155,96,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[49,104],{"id":1306,"slug":1307,"title":1308,"dynasty":246,"author":1309,"museum":217,"description":1310,"tags":1311,"thumbUrl":1312,"material":102,"size":1313,"collection":104,"collections":1314,"showCount":1315,"zanCount":713,"manualWeight":11,"mainColor":108},217882,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[23,24,63,94,93,98,29,97,33,154,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[104],196,{"id":1317,"slug":1318,"title":1319,"dynasty":18,"author":19,"museum":411,"description":1320,"tags":1321,"thumbUrl":1322,"material":164,"size":1323,"collection":104,"collections":1324,"showCount":1325,"zanCount":713,"manualWeight":11,"mainColor":108},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,63,25,117,27,26,100,99,94,95,30,96,32,7,31,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[104,51],193,{"id":1327,"slug":1328,"title":1329,"dynasty":277,"author":1330,"museum":132,"description":1331,"tags":1332,"thumbUrl":1333,"material":178,"size":1334,"collection":104,"collections":1335,"showCount":1325,"zanCount":622,"manualWeight":11,"mainColor":54},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[23,24,63,25,93,98,94,96,7,32,33,30,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[104,82],{"id":1337,"slug":1338,"title":1339,"dynasty":18,"author":885,"museum":20,"description":1340,"tags":1341,"thumbUrl":1343,"material":47,"size":223,"collection":49,"collections":1344,"showCount":1325,"zanCount":536,"manualWeight":11,"mainColor":108},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,63,25,93,27,26,98,94,30,96,7,32,33,616,99,1342],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[49],{"id":1346,"slug":1347,"title":1348,"dynasty":246,"author":1349,"museum":90,"description":1350,"tags":1351,"thumbUrl":1352,"material":237,"size":1353,"collection":104,"collections":1354,"showCount":1355,"zanCount":536,"manualWeight":11,"mainColor":108},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","龚贤","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,116,63,93,98,94,7,32,96,293,252,176,152,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[104],191,{"id":1357,"slug":1358,"title":1359,"dynasty":277,"author":1360,"museum":20,"description":1361,"tags":1362,"thumbUrl":1363,"material":47,"size":223,"collection":80,"collections":1364,"showCount":1365,"zanCount":622,"manualWeight":11,"mainColor":108},216755,"jin-ming-chi-zheng-biao-tu-wang-zhen-peng-216755","金明池争标图","王振鹏","金明池是一个传说中的美景，被描绘成一个异常和平的美景。王振鹏的作品中的人物都非常生动，表情丰富，使得整幅画面显得格外生动。金明池争标图是一幅非常珍贵的元朝时期的绘画作品，在当时非常受欢迎，被广泛流传。",[23,24,63,116,25,28,516,31,7,30,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F596dd6f3fd7a15f379a6919bf3078fae.jpg",[80],190,{"id":1367,"slug":1368,"title":1369,"dynasty":277,"author":1370,"museum":60,"description":1371,"tags":1372,"thumbUrl":1373,"material":208,"size":1374,"collection":104,"collections":1375,"showCount":1376,"zanCount":713,"manualWeight":11,"mainColor":54},214659,"shui-cun-tu-zhao-meng-fu-214659","水村图","赵孟頫","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[23,24,25,93,94,98,99,7,32,95,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[104],188,{"id":1378,"slug":1379,"title":1380,"dynasty":58,"author":588,"museum":132,"description":1381,"tags":1382,"thumbUrl":1384,"material":47,"size":1385,"collection":80,"collections":1386,"showCount":1387,"zanCount":713,"manualWeight":11,"mainColor":54},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[24,116,135,94,93,98,97,414,31,7,32,95,152,1383,235],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[80],187,{"id":1389,"slug":1390,"title":1391,"dynasty":18,"author":1392,"museum":360,"description":1393,"tags":1394,"thumbUrl":1395,"material":223,"size":223,"collection":223,"collections":1396,"showCount":1397,"zanCount":260,"manualWeight":11,"mainColor":54},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","文徴明","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,63,25,27,94,100,98,26,96,7,32,33,30,118,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],184,{"id":1399,"slug":1400,"title":1401,"dynasty":58,"author":59,"museum":60,"description":61,"tags":1402,"thumbUrl":1403,"material":78,"size":79,"collection":223,"collections":1404,"showCount":1405,"zanCount":11,"manualWeight":11,"mainColor":54},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,116,24,63,25,26,28,27,30,31,7,32,64,65,66,439,36,34,75,71,68,42,40,37,38,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],181,{"id":1407,"slug":1408,"title":1409,"dynasty":18,"author":89,"museum":360,"description":1410,"tags":1411,"thumbUrl":1412,"material":223,"size":223,"collection":223,"collections":1413,"showCount":1414,"zanCount":536,"manualWeight":11,"mainColor":108},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,18,24,63,25,27,93,98,94,564,75,33,97,7,32,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":1416,"slug":1417,"title":1418,"dynasty":58,"author":1419,"museum":132,"description":1420,"tags":1421,"thumbUrl":1422,"material":178,"size":1423,"collection":80,"collections":1424,"showCount":1425,"zanCount":11,"manualWeight":11,"mainColor":54},221295,"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,116,24,63,25,29,28,26,27,94,31,7,32,95,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[80,104,82],179,{"id":1427,"slug":1428,"title":1429,"dynasty":58,"author":1430,"museum":864,"description":1431,"tags":1432,"thumbUrl":1433,"material":47,"size":1434,"collection":104,"collections":1435,"showCount":1436,"zanCount":536,"manualWeight":11,"mainColor":54},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,116,135,93,98,94,7,65,30,414,293,97,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[104],176,{"id":1438,"slug":1439,"title":1440,"dynasty":246,"author":1441,"museum":20,"description":1442,"tags":1443,"thumbUrl":1446,"material":47,"size":1447,"collection":49,"collections":1448,"showCount":1449,"zanCount":343,"manualWeight":11,"mainColor":54},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,25,26,27,98,94,30,31,7,32,96,33,1444,1445,43,65,71,191,155],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[49,104],175,{"id":1451,"slug":1452,"title":1453,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":1456,"thumbUrl":1460,"material":164,"size":1461,"collection":223,"collections":1462,"showCount":1463,"zanCount":11,"manualWeight":11,"mainColor":108},230111,"hong-lou-meng-1-20-sun-wen-230111","红楼梦（1-20）","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[24,63,26,27,28,30,31,7,564,33,39,643,1457,1458,1459],"门窗","古装","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a76bf1b00182a9d964a3d3a1dfb55de.jpg","纵43.3厘米、横76.5厘米",[],172,{"id":1465,"slug":1466,"title":1467,"dynasty":1174,"author":1175,"museum":132,"description":1468,"tags":1469,"thumbUrl":1471,"material":164,"size":1472,"collection":104,"collections":1473,"showCount":1463,"zanCount":713,"manualWeight":11,"mainColor":54},219042,"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[23,24,63,25,93,98,99,100,1470,94,414,7,32,95,1096,96,121],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[104],{"id":1475,"slug":1476,"title":1477,"dynasty":18,"author":89,"museum":60,"description":1478,"tags":1479,"thumbUrl":1480,"material":678,"size":1481,"collection":223,"collections":1482,"showCount":1483,"zanCount":713,"manualWeight":11,"mainColor":108},233840,"wo-you-tu-ce-qiu-jing-shan-shui-shen-zhou-233840","卧游图册－秋景山水","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[116,24,63,234,93,98,94,439,97,7,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904338a5938de41cde644a080fbf2525.jpg","纵27.8厘米，横37.3厘米",[],165,{"id":1485,"slug":1486,"title":1487,"dynasty":277,"author":627,"museum":132,"description":1488,"tags":1489,"thumbUrl":1490,"material":208,"size":1491,"collection":82,"collections":1492,"showCount":1493,"zanCount":11,"manualWeight":11,"mainColor":108},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,63,93,27,98,94,191,33,97,75,154,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[82],164,{"id":1495,"slug":1496,"title":1497,"dynasty":1174,"author":1498,"museum":1499,"description":1500,"tags":1501,"thumbUrl":1502,"material":47,"size":1503,"collection":104,"collections":1504,"showCount":1493,"zanCount":536,"manualWeight":11,"mainColor":54},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","耶鲁大学艺术博物馆","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,24,27,94,1470,97,33,7,30,65,96,75,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[104,1006],{"id":1506,"slug":1507,"title":1508,"dynasty":246,"author":613,"museum":360,"description":931,"tags":1509,"thumbUrl":1510,"material":223,"size":223,"collection":104,"collections":1511,"showCount":1512,"zanCount":343,"manualWeight":11,"mainColor":108},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[24,93,98,135,63,99,100,118,94,7,32,33,75,30,97,152,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[104,82],162,{"id":1514,"slug":1515,"title":1516,"dynasty":277,"author":1299,"museum":328,"description":1517,"tags":1518,"thumbUrl":1519,"material":47,"size":223,"collection":104,"collections":1520,"showCount":1512,"zanCount":713,"manualWeight":11,"mainColor":54},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,24,117,27,29,94,97,33,71,7,95,252,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[104],{"id":1522,"slug":1523,"title":1524,"dynasty":18,"author":19,"museum":360,"description":1525,"tags":1526,"thumbUrl":1527,"material":494,"size":495,"collection":223,"collections":1528,"showCount":1529,"zanCount":536,"manualWeight":11,"mainColor":54},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[116,24,25,27,26,30,31,7,32,400,65,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],159,{"id":1531,"slug":1532,"title":1533,"dynasty":18,"author":1534,"museum":132,"description":1535,"tags":1536,"thumbUrl":1538,"material":164,"size":1539,"collection":104,"collections":1540,"showCount":1529,"zanCount":343,"manualWeight":11,"mainColor":54},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","蓝瑛","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,24,135,117,27,98,94,1537,579,97,32,7,30,293,155],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[104,51],{"id":1542,"slug":1543,"title":1544,"dynasty":18,"author":89,"museum":231,"description":232,"tags":1545,"thumbUrl":1546,"material":237,"size":238,"collection":223,"collections":1547,"showCount":1548,"zanCount":11,"manualWeight":11,"mainColor":1224},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[23,24,63,234,93,98,94,30,96,136,176,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],157,{"id":1550,"slug":1551,"title":1552,"dynasty":246,"author":1553,"museum":60,"description":1554,"tags":1555,"thumbUrl":1558,"material":402,"size":1559,"collection":223,"collections":1560,"showCount":1561,"zanCount":11,"manualWeight":11,"mainColor":108},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图","佚名","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,63,117,27,26,94,31,7,32,96,30,33,1191,97,281,1556,643,1557,39],"池塘","回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg","纵188.2厘米，横102.2厘米",[],156,{"id":1563,"slug":1564,"title":1565,"dynasty":18,"author":89,"museum":132,"description":1566,"tags":1567,"thumbUrl":1568,"material":102,"size":1569,"collection":223,"collections":1570,"showCount":1571,"zanCount":536,"manualWeight":11,"mainColor":54},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,63,135,93,27,94,98,30,65,7,32,96,33,97,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":1573,"slug":1574,"title":1575,"dynasty":18,"author":1267,"museum":20,"description":1576,"tags":1577,"thumbUrl":1578,"material":47,"size":1579,"collection":104,"collections":1580,"showCount":1571,"zanCount":713,"manualWeight":11,"mainColor":54},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,63,25,93,27,94,26,98,100,118,7,32,96,31,95,121,30,136,840,492,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[104,51],{"id":1582,"slug":1583,"title":1584,"dynasty":246,"author":1115,"museum":217,"description":1585,"tags":1586,"thumbUrl":1588,"material":208,"size":1589,"collection":104,"collections":1590,"showCount":1591,"zanCount":536,"manualWeight":11,"mainColor":108},220080,"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[23,24,93,135,29,98,94,7,32,33,97,152,75,1587],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[104],152,{"id":1593,"slug":1594,"title":1595,"dynasty":246,"author":1115,"museum":187,"description":1116,"tags":1596,"thumbUrl":1597,"material":102,"size":1119,"collection":104,"collections":1598,"showCount":1599,"zanCount":536,"manualWeight":11,"mainColor":54},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[23,24,27,117,94,29,98,7,32,33,191,75,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[104],151,{"id":1601,"slug":1602,"title":1603,"dynasty":246,"author":919,"museum":360,"description":1604,"tags":1605,"thumbUrl":1607,"material":494,"size":495,"collection":223,"collections":1608,"showCount":1609,"zanCount":536,"manualWeight":11,"mainColor":108},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,135,116,94,1606,31,7,32,95,136,99,118,27,98],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":1611,"slug":1612,"title":1613,"dynasty":58,"author":980,"museum":360,"description":1614,"tags":1615,"thumbUrl":1620,"material":494,"size":495,"collection":223,"collections":1621,"showCount":1609,"zanCount":536,"manualWeight":11,"mainColor":54},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,116,24,25,93,30,94,293,414,152,97,31,7,32,1616,400,1617,1618,1619],"竹丛","马匹","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],{"id":1623,"slug":1624,"title":1625,"dynasty":246,"author":1115,"museum":187,"description":1116,"tags":1626,"thumbUrl":1627,"material":102,"size":1119,"collection":51,"collections":1628,"showCount":1629,"zanCount":343,"manualWeight":11,"mainColor":108},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然",[24,63,135,93,98,29,94,136,96,7,336,318,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg",[51],149,{"id":1631,"slug":1632,"title":1633,"dynasty":18,"author":602,"museum":132,"description":1634,"tags":1635,"thumbUrl":1636,"material":102,"size":1637,"collection":104,"collections":1638,"showCount":1629,"zanCount":11,"manualWeight":11,"mainColor":54},214825,"song-ting-gao-shi-tu-wang-fu-214825","松亭高士图","这幅画展示了一群矗立在云端的山峰，山坡上的建筑结构，飞翔的喷泉和下面的小溪。附近岸边的松树林，水面上的小桥，以及两位高士摊开画卷的小亭子，都是面对面的。岩石是用湿的笔触和剥离相结合的方式绘制的。笔墨似乎与我们收藏的王绂的其他作品不同。",[24,63,135,93,98,94,206,96,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e34794de7373f042b12a8297a0a70b.jpg","254.2x53.6",[104],{"id":1640,"slug":1641,"title":1642,"dynasty":18,"author":89,"museum":132,"description":1566,"tags":1643,"thumbUrl":1644,"material":102,"size":1645,"collection":104,"collections":1646,"showCount":1647,"zanCount":536,"manualWeight":11,"mainColor":54},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴",[23,24,135,93,98,94,30,65,96,7,32,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[104,82],148,{"id":1649,"slug":1650,"title":1651,"dynasty":18,"author":1553,"museum":132,"description":1652,"tags":1653,"thumbUrl":1654,"material":594,"size":223,"collection":223,"collections":1655,"showCount":1656,"zanCount":536,"manualWeight":11,"mainColor":108},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","富春山居图子明卷","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[23,24,63,25,93,94,98,99,118,29,529,530,33,95,7,32,96,121,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":1658,"slug":1659,"title":1660,"dynasty":18,"author":1553,"museum":1661,"description":1662,"tags":1663,"thumbUrl":1668,"material":1664,"size":223,"collection":49,"collections":1669,"showCount":1670,"zanCount":536,"manualWeight":11,"mainColor":54},222152,"fu-hui-xi-yi-ming-222152","赴会西","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,1664,1665,27,26,30,1666,33,7,1667,97,25],"壁画","宗教","祥云","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[49],146,{"id":1672,"slug":1673,"title":1674,"dynasty":246,"author":1675,"museum":60,"description":1676,"tags":1677,"thumbUrl":1678,"material":47,"size":1679,"collection":104,"collections":1680,"showCount":1681,"zanCount":713,"manualWeight":11,"mainColor":498},219222,"qing-lv-shan-shui-tu-xie-sun-219222","青绿山水图","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,63,117,27,94,33,97,32,31,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[104],144,{"id":1683,"slug":1684,"title":1685,"dynasty":246,"author":1686,"museum":60,"description":1687,"tags":1688,"thumbUrl":1689,"material":1690,"size":1691,"collection":104,"collections":1692,"showCount":1693,"zanCount":11,"manualWeight":11,"mainColor":1224},236271,"chui-gan-tu-zhou-kun-can-236271","垂竿图轴","髡残","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[24,63,135,93,98,94,95,32,33,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8841336c541c74149b055689d57ca9.jpg","纸本 ，淡设色","纵290cm，横131.5cm",[104],141,{"id":1695,"slug":1696,"title":1697,"dynasty":18,"author":89,"museum":231,"description":232,"tags":1698,"thumbUrl":1699,"material":237,"size":238,"collection":223,"collections":1700,"showCount":1701,"zanCount":536,"manualWeight":11,"mainColor":108},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[23,116,24,63,234,93,98,94,31,564,293,7,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],138,{"id":1703,"slug":1704,"title":1705,"dynasty":1174,"author":1706,"museum":60,"description":1707,"tags":1708,"thumbUrl":1711,"material":164,"size":1712,"collection":49,"collections":1713,"showCount":1714,"zanCount":713,"manualWeight":11,"mainColor":54},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","李思训","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,117,27,26,28,94,31,30,7,32,1191,33,97,426,1709,1710],"莲","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","23.90x77.20cm",[49,51],136,{"id":1716,"slug":1717,"title":1718,"dynasty":246,"author":1441,"museum":360,"description":1719,"tags":1720,"thumbUrl":1722,"material":1723,"size":1724,"collection":104,"collections":1725,"showCount":1714,"zanCount":11,"manualWeight":11,"mainColor":108},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","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。",[23,24,63,234,93,27,94,414,95,7,32,1721,97,252,118,29],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[104],{"id":1727,"slug":1728,"title":1729,"dynasty":246,"author":1686,"museum":360,"description":1730,"tags":1731,"thumbUrl":1732,"material":1055,"size":1733,"collection":104,"collections":1734,"showCount":1735,"zanCount":11,"manualWeight":11,"mainColor":108},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,93,27,98,135,94,97,33,75,7,32,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 横50CM",[104,82],135,{"id":1737,"slug":1738,"title":1739,"dynasty":18,"author":89,"museum":132,"description":1740,"tags":1741,"thumbUrl":1742,"material":178,"size":1743,"collection":223,"collections":1744,"showCount":1735,"zanCount":713,"manualWeight":11,"mainColor":108},222108,"ming-xian-ya-ji-tu-zhou-shen-zhou-222108","名贤雅集图轴","此画设色雅淡，人物衣描粗细合度，用笔写意中带精谨。幅面狭长，山势呈“之”字形走向，益增高远平阔之感。",[23,24,63,135,27,30,94,7,32,136,98,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180750897d2f844fa69ecd89a1960845.jpg","252.9x44.5公分",[],{"id":1746,"slug":1747,"title":1748,"dynasty":18,"author":1749,"museum":187,"description":1750,"tags":1751,"thumbUrl":1752,"material":1055,"size":1753,"collection":104,"collections":1754,"showCount":1735,"zanCount":474,"manualWeight":11,"mainColor":54},222073,"ming-huang-xing-shu-tu-wu-bin-222073","明皇幸蜀图","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,24,63,94,27,26,98,30,65,31,7,32,97,152,33,492,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","65x112 厘米",[104,51],{"id":1756,"slug":1757,"title":1758,"dynasty":58,"author":588,"museum":132,"description":1759,"tags":1760,"thumbUrl":1761,"material":594,"size":1762,"collection":80,"collections":1763,"showCount":1735,"zanCount":11,"manualWeight":11,"mainColor":54},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,331,135,98,93,94,1470,95,7,414,75,97,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[80,104,82],{"id":1765,"slug":1766,"title":1767,"dynasty":246,"author":613,"museum":360,"description":931,"tags":1768,"thumbUrl":1769,"material":494,"size":495,"collection":104,"collections":1770,"showCount":1771,"zanCount":536,"manualWeight":11,"mainColor":54},235515,"yuan-ji-shan-shui-tu-ce-shi-tao-235515","原济山水图册",[24,93,98,234,94,7,33,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff14a3da145e6ba299fd3a7795c0f342c.jpg",[104,82],134,{"id":1773,"slug":1774,"title":1775,"dynasty":18,"author":1267,"museum":90,"description":1776,"tags":1777,"thumbUrl":1779,"material":194,"size":1780,"collection":104,"collections":1781,"showCount":1771,"zanCount":474,"manualWeight":11,"mainColor":54},222367,"qi-lv-gui-si-tu-zhou-tang-yin-222367","骑驴归思图轴","此图以高远取势，主峰矫然而起，左侧栈道隐现，泉流悠远；右侧则曲径盘旋，一人笠帽策蹇前行，山坳丛树掩映之处，村舍俨然。前景山石崚嶒，树木蔚然，溪流潺潺，一樵夫正负薪踏桥而过。构图有北宋全景式山水的影子，而皴笔则长披短拂、水墨酣畅，出自南宋家法。笔墨劲爽、风格雄健。\n画幅自题：“乞求无得束书归，依旧骑驴向翠微。满面风霜尘土气，山妻相对有牛衣。吴郡唐寅诗意图。”钤：“唐伯虎”朱文印。另有朱曜和韵题诗一首，诗堂有王同愈、裱边有吴湖帆题跋。\n鉴藏印：“吴氏梅景书屋图书印”朱文印、“梅景书屋秘笈”朱文印等。",[23,24,135,27,98,94,97,32,7,33,1778,492,96],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e39436a4fe36429f039e86045ee10c7.jpg","纵77.7厘米 横37.5厘米",[104,82],{"id":1783,"slug":1784,"title":1785,"dynasty":246,"author":1786,"museum":20,"description":1787,"tags":1788,"thumbUrl":1790,"material":208,"size":1791,"collection":104,"collections":1792,"showCount":1771,"zanCount":11,"manualWeight":11,"mainColor":108},218297,"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","吴历","这幅画是对王蒙溪山行旅的临摹。",[24,93,94,135,29,98,7,32,1789,33,97,95],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[104],{"id":1794,"slug":1795,"title":1796,"dynasty":18,"author":525,"museum":20,"description":1797,"tags":1798,"thumbUrl":1800,"material":237,"size":1801,"collection":104,"collections":1802,"showCount":53,"zanCount":536,"manualWeight":11,"mainColor":108},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,63,25,93,98,29,94,7,32,96,33,250,1799,155],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[104],{"id":1804,"slug":1805,"title":1806,"dynasty":246,"author":1807,"museum":90,"description":1808,"tags":1809,"thumbUrl":1811,"material":47,"size":223,"collection":49,"collections":1812,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":54},218250,"ying-xi-tu-luo-pin-218250","婴戏图","罗聘","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[24,63,27,26,30,642,439,962,7,643,1810,644],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[49],{"id":1814,"slug":1815,"title":1816,"dynasty":246,"author":1686,"museum":132,"description":1817,"tags":1818,"thumbUrl":1819,"material":678,"size":1820,"collection":104,"collections":1821,"showCount":1822,"zanCount":536,"manualWeight":11,"mainColor":108},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,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□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。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,25,93,27,98,94,152,206,96,7,32,250,155,33,97,99,118,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[104,51],131,{"id":1824,"slug":1825,"title":1826,"dynasty":58,"author":173,"museum":90,"description":1827,"tags":1828,"thumbUrl":1830,"material":308,"size":1831,"collection":49,"collections":1832,"showCount":1822,"zanCount":536,"manualWeight":11,"mainColor":54},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,116,63,1829,93,98,94,840,7,32,95,1096,30,136],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[49],{"id":1834,"slug":1835,"title":1836,"dynasty":58,"author":1837,"museum":450,"description":1838,"tags":1839,"thumbUrl":1841,"material":378,"size":1842,"collection":80,"collections":1843,"showCount":1844,"zanCount":474,"manualWeight":11,"mainColor":54},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","马麟","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,116,24,63,25,27,26,98,94,281,7,35,30,71,1840,42,40,33],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[80,104,51],130,{"id":1846,"slug":1847,"title":1848,"dynasty":277,"author":1370,"museum":132,"description":1849,"tags":1850,"thumbUrl":1851,"material":237,"size":1852,"collection":104,"collections":1853,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":54},220861,"weng-you-tu-juan-zhao-meng-fu-220861","瓮牖图卷","本幅山石无皴，仅钩勒轮廓，后填以青绿，人物衣纹行笔柔畅有力，有唐人古风。画幅右下有千字文「索」字编号，卷后则有项元汴题识「明嘉靖卅年（1558）秋八月重装于天籁阁」，并有「原价五十两」之记述。",[23,116,24,25,117,27,94,97,33,7,38,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c265c6055d0d6827a4346a3f36f861.jpg","27.1×100.5cm",[104,51],128,{"id":1856,"slug":1857,"title":1858,"dynasty":18,"author":1267,"museum":217,"description":1859,"tags":1860,"thumbUrl":1866,"material":47,"size":1867,"collection":104,"collections":1868,"showCount":1854,"zanCount":536,"manualWeight":11,"mainColor":54},219753,"he-shu-fu-long-tu-tang-yin-219753","鹤书赴陇图","画作以苍虬古松开篇，虬枝斜曳如龙，山间飞瀑直落深谷，涤荡山野清寂。板桥跨于寒溪之上，两位文士驻足松下，似正眺望远山，暂歇行旅劳顿。右侧山道车马随行，将赴陇的行旅意涵隐于画中。\n\n笔墨兼具吴门雅致与浙派刚劲，山石以斧劈皴利落勾勒，设色沉郁古雅，把山野的辽远壮阔与文人驻留的悠然意趣相融，将行旅途中的片刻闲静，晕染进苍莽山水间，尽显此作山水人物交融的隽永意境。",[23,24,94,30,1861,1862,7,32,97,1863,37,27,1864,153,1865],"古松","飞瀑","山道","斧劈皴","悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d65752ecf21627fe7c9bec5d68f3a0.jpg","纵132.3cm横80.2cm",[104],{"id":1870,"slug":1871,"title":1872,"dynasty":18,"author":19,"museum":132,"description":1873,"tags":1874,"thumbUrl":1875,"material":47,"size":1876,"collection":49,"collections":1877,"showCount":1854,"zanCount":474,"manualWeight":11,"mainColor":54},218532,"guan-bang-tu-chou-ying-218532","观榜图","明清时代之考试主要分三级，初级为院试，及格者通称生员，亦称秀才。二级为乡试，中者为举人，榜首称解元。最高一级为会试，举人均可参加，中者称贡士，榜首称会元。贡士得入殿廷由皇帝面试，殿试成绩最高者为状元，次名称榜眼，三名称探花。画中观榜人潮汹涌，高中者兴奋地登马而去，落榜首，则满脸沮丧，由人搀扶，颓然而返。",[23,24,63,25,26,27,28,30,31,7,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee18be5368280214a5e995327e5a302.jpg","34.4x638",[49],{"id":1879,"slug":1880,"title":1881,"dynasty":58,"author":1553,"museum":90,"description":1882,"tags":1883,"thumbUrl":1884,"material":47,"size":1885,"collection":80,"collections":1886,"showCount":1887,"zanCount":713,"manualWeight":11,"mainColor":54},218600,"jiang-fei-wan-yue-tu-yi-ming-218600","江妃玩月图","月色如练，泼洒在虬枝瘦干间。墨笔勾勒的树影横斜，嶙峋枝干似在夜风中轻语。凭栏处，佳人衣袂翩然，或执扇凝睇，或侧首听月，身影与疏枝、栏杆相映成趣。夜的清寂被月色化开，淡墨晕染出朦胧意蕴，每一处线条都简劲有致，藏着宋人笔墨的雅致风骨。无需浓妆艳抹，仅以素淡之笔，便将玩月的悠然、月夜的幽远揉成一幅清绝画境，让人在静默中触碰到那份穿越时光的古雅与深情。",[23,24,63,93,516,30,744,743,136,7,318,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[80],127,{"id":1889,"slug":1890,"title":1891,"dynasty":246,"author":613,"museum":217,"description":1892,"tags":1893,"thumbUrl":1894,"material":102,"size":1895,"collection":223,"collections":1896,"showCount":1887,"zanCount":11,"manualWeight":11,"mainColor":108},214883,"shan-shui-tu-ce-8-shi-tao-214883","山水图册-8","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,93,98,234,118,99,94,7,30,336,136,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7ef45c74e90c04ee9fc52e892419d2.jpg","20.3x27.5cm",[],{"id":1898,"slug":1899,"title":1900,"dynasty":246,"author":613,"museum":360,"description":1901,"tags":1902,"thumbUrl":1904,"material":237,"size":1905,"collection":104,"collections":1906,"showCount":1907,"zanCount":11,"manualWeight":11,"mainColor":108},233378,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233378","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。",[24,93,98,234,118,94,7,32,33,75,97,1903],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af052cf182809b3d590f54883cbc337.jpg","纵24.6cm横17.6cm",[104,1006],126,{"id":1909,"slug":1910,"title":1911,"dynasty":246,"author":1441,"museum":450,"description":1912,"tags":1913,"thumbUrl":1916,"material":378,"size":1917,"collection":223,"collections":1918,"showCount":1907,"zanCount":11,"manualWeight":11,"mainColor":54},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","王翬 （1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,63,528,27,98,94,7,32,95,136,318,75,191,1914,1915,440,66],"杏花","春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":1920,"slug":1921,"title":1922,"dynasty":58,"author":1923,"museum":1499,"description":1924,"tags":1925,"thumbUrl":1926,"material":47,"size":1927,"collection":80,"collections":1928,"showCount":1907,"zanCount":536,"manualWeight":11,"mainColor":108},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[24,27,94,98,414,121,7,32,743,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[80],{"id":1930,"slug":1931,"title":1932,"dynasty":1933,"author":1553,"museum":20,"description":1934,"tags":1935,"thumbUrl":1937,"material":47,"size":1938,"collection":49,"collections":1939,"showCount":1907,"zanCount":536,"manualWeight":11,"mainColor":54},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","不详","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[116,24,63,135,27,26,30,7,32,97,33,743,1606,1936],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[49],{"id":1941,"slug":1942,"title":1943,"dynasty":58,"author":1553,"museum":132,"description":1944,"tags":1945,"thumbUrl":1946,"material":47,"size":1947,"collection":80,"collections":1948,"showCount":1949,"zanCount":536,"manualWeight":11,"mainColor":54},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,63,94,27,93,98,676,1556,7,32,95,1096,840,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[80,104],125,{"id":1951,"slug":1952,"title":1953,"dynasty":18,"author":89,"museum":360,"description":1954,"tags":1955,"thumbUrl":1957,"material":494,"size":495,"collection":223,"collections":1958,"showCount":1959,"zanCount":713,"manualWeight":11,"mainColor":108},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[23,116,24,150,25,94,1054,98,99,100,118,97,33,75,32,95,96,250,1799,1956,121,7,318,136],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":1961,"slug":1962,"title":1963,"dynasty":58,"author":1964,"museum":60,"description":1965,"tags":1966,"thumbUrl":1970,"material":402,"size":1971,"collection":223,"collections":1972,"showCount":1959,"zanCount":536,"manualWeight":11,"mainColor":108},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","王诜","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,63,25,93,27,98,26,94,1967,1968,97,33,32,95,1096,1969,7,121,155,99,100,118],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":1974,"slug":1975,"title":1976,"dynasty":58,"author":173,"museum":132,"description":1977,"tags":1978,"thumbUrl":1983,"material":594,"size":1984,"collection":80,"collections":1985,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":54},221572,"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,116,24,93,135,94,281,1979,1980,1981,1982,30,7,32,95,26],"长堤","水榭","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[80,104,82],123,{"id":1988,"slug":1989,"title":1990,"dynasty":58,"author":410,"museum":132,"description":1991,"tags":1992,"thumbUrl":1995,"material":164,"size":1996,"collection":80,"collections":1997,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":54},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,63,135,93,98,94,293,1993,1994,7,32,97,33],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[80,104,82],{"id":1999,"slug":2000,"title":2001,"dynasty":18,"author":202,"museum":1277,"description":2002,"tags":2003,"thumbUrl":2004,"material":2005,"size":2006,"collection":223,"collections":2007,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":223},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,63,116,94,98,27,97,33,155,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","设色,绢本","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":2009,"slug":2010,"title":2011,"dynasty":2012,"author":2013,"museum":328,"description":2014,"tags":2015,"thumbUrl":2018,"material":102,"size":2019,"collection":104,"collections":2020,"showCount":1986,"zanCount":11,"manualWeight":11,"mainColor":108},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","民国","张大千","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,116,24,63,93,27,332,98,94,32,95,7,152,33,97,155,75,492,2016,2017],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[104,51],{"id":2022,"slug":2023,"title":2024,"dynasty":277,"author":627,"museum":132,"description":2025,"tags":2026,"thumbUrl":2029,"material":102,"size":2030,"collection":104,"collections":2031,"showCount":2032,"zanCount":536,"manualWeight":11,"mainColor":54},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,24,63,135,93,94,98,2027,2028,7,32,33,97,30,75],"深林","叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[104,82],122,{"id":2034,"slug":2035,"title":2036,"dynasty":246,"author":2037,"museum":2038,"description":2039,"tags":2040,"thumbUrl":2041,"material":27,"size":2042,"collection":104,"collections":2043,"showCount":2032,"zanCount":536,"manualWeight":11,"mainColor":2044},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","安徽省博物馆","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,27,98,25,94,96,7,32,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[104],"aaa79f",{"id":2046,"slug":2047,"title":2048,"dynasty":18,"author":2049,"museum":132,"description":2050,"tags":2051,"thumbUrl":2052,"material":47,"size":2053,"collection":104,"collections":2054,"showCount":2055,"zanCount":536,"manualWeight":11,"mainColor":54},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","赵左","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,63,135,93,98,94,96,33,7,32,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[104],121,{"id":2057,"slug":2058,"title":2059,"dynasty":18,"author":202,"museum":132,"description":2060,"tags":2061,"thumbUrl":2065,"material":308,"size":2066,"collection":104,"collections":2067,"showCount":2055,"zanCount":622,"manualWeight":11,"mainColor":54},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,63,135,116,93,98,2062,2063,95,1096,7,32,33,191,155,42,2064,97],"风雨","归舟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[104],{"id":2069,"slug":2070,"title":2071,"dynasty":18,"author":89,"museum":360,"description":2072,"tags":2073,"thumbUrl":2074,"material":223,"size":223,"collection":223,"collections":2075,"showCount":2076,"zanCount":474,"manualWeight":11,"mainColor":108},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,116,24,25,93,27,94,840,7,32,95,1096,1445,33,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],120,{"id":2078,"slug":2079,"title":2080,"dynasty":246,"author":2081,"museum":60,"description":2082,"tags":2083,"thumbUrl":2093,"material":678,"size":2094,"collection":49,"collections":2095,"showCount":2076,"zanCount":474,"manualWeight":11,"mainColor":108},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","郎世宁","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,27,26,2084,2085,2086,2087,2088,293,962,7,32,97,2089,731,2090,2091,2092],"人物画","画中画","佛教","普贤菩萨","文殊菩萨","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[49,51],{"id":2097,"slug":2098,"title":2099,"dynasty":18,"author":89,"museum":90,"description":2100,"tags":2101,"thumbUrl":2104,"material":208,"size":2105,"collection":104,"collections":2106,"showCount":2076,"zanCount":536,"manualWeight":11,"mainColor":108},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[23,24,63,25,93,98,94,2102,2103,97,33,96,32,95,75,414,7],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[104],{"id":2108,"slug":2109,"title":2110,"dynasty":58,"author":1229,"museum":2111,"description":2112,"tags":2113,"thumbUrl":2115,"material":47,"size":2116,"collection":104,"collections":2117,"showCount":2076,"zanCount":713,"manualWeight":11,"mainColor":54},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","圣路易斯艺术博物馆","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,2114,116,24,63,25,94,93,98,27,31,7,32,97,33,30,99,100],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[104],{"id":2119,"slug":2120,"title":2121,"dynasty":18,"author":2122,"museum":2123,"description":2124,"tags":2125,"thumbUrl":2126,"material":102,"size":2127,"collection":104,"collections":2128,"showCount":2076,"zanCount":11,"manualWeight":11,"mainColor":108},218090,"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","文嘉","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[23,24,63,135,93,98,29,94,7,32,97,33,152,1789,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[104],{"id":2130,"slug":2131,"title":2132,"dynasty":246,"author":1042,"museum":60,"description":2133,"tags":2134,"thumbUrl":2135,"material":678,"size":2136,"collection":223,"collections":2137,"showCount":2138,"zanCount":11,"manualWeight":11,"mainColor":108},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,93,135,332,98,63,94,1587,33,7,32,152,96,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],119,{"id":2140,"slug":2141,"title":2142,"dynasty":18,"author":89,"museum":231,"description":232,"tags":2143,"thumbUrl":2144,"material":237,"size":238,"collection":223,"collections":2145,"showCount":2138,"zanCount":11,"manualWeight":11,"mainColor":54},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[23,116,24,63,234,93,98,30,136,97,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":2147,"slug":2148,"title":2149,"dynasty":277,"author":627,"museum":90,"description":2150,"tags":2151,"thumbUrl":2152,"material":102,"size":2153,"collection":104,"collections":2154,"showCount":2138,"zanCount":11,"manualWeight":11,"mainColor":108},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,63,25,93,98,94,1587,33,7,95,155,118,97,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[104],{"id":2156,"slug":2157,"title":2158,"dynasty":246,"author":2159,"museum":60,"description":2160,"tags":2161,"thumbUrl":2162,"material":678,"size":223,"collection":104,"collections":2163,"showCount":2164,"zanCount":11,"manualWeight":11,"mainColor":108},237184,"shan-shui-ce-sun-yi-237184","山水册","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,27,117,98,234,94,7,32,97,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d67da6623fc74c8d4a14b73f0be1b.jpg",[104,51],118,{"id":2166,"slug":2167,"title":2168,"dynasty":246,"author":1349,"museum":187,"description":2169,"tags":2170,"thumbUrl":2172,"material":237,"size":2173,"collection":104,"collections":2174,"showCount":2175,"zanCount":713,"manualWeight":11,"mainColor":54},222626,"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[23,24,93,98,135,94,97,33,152,2171,96,32,7],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[104,82],117,{"id":2177,"slug":2178,"title":2179,"dynasty":58,"author":1553,"museum":132,"description":2180,"tags":2181,"thumbUrl":2182,"material":47,"size":2183,"collection":80,"collections":2184,"showCount":2185,"zanCount":11,"manualWeight":11,"mainColor":108},218811,"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[24,63,28,234,27,31,94,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[80],116,{"id":2187,"slug":2188,"title":315,"dynasty":246,"author":2189,"museum":2190,"description":2191,"tags":2192,"thumbUrl":2193,"material":93,"size":223,"collection":82,"collections":2194,"showCount":2195,"zanCount":11,"manualWeight":11,"mainColor":108},219104,"shan-shui-tu-wu-chang-shuo-219104","吴昌硕","昆仑堂美术馆","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”",[23,24,93,98,94,97,33,564,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0488d490bb0bcbb1636d1d5c2802d4f.jpg",[82],113,{"id":2197,"slug":2198,"title":315,"dynasty":18,"author":2199,"museum":60,"description":2200,"tags":2201,"thumbUrl":2202,"material":47,"size":2203,"collection":104,"collections":2204,"showCount":2195,"zanCount":536,"manualWeight":11,"mainColor":108},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,116,24,63,135,93,27,98,94,7,32,33,97,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[104],{"id":2206,"slug":2207,"title":2208,"dynasty":277,"author":327,"museum":360,"description":2209,"tags":2210,"thumbUrl":2211,"material":494,"size":495,"collection":223,"collections":2212,"showCount":2213,"zanCount":536,"manualWeight":11,"mainColor":108},290082,"fu-chun-da-ling-tu-huang-gong-wang-290082","富春大岭图","图中画富春山重峦叠嶂，山巅晓雾迷遮，若隐若现。《富春大岭图》笔墨简括，布势雄奇，具有明显的荆浩、关仝的笔墨遗意，显然参入了荆浩、关仝的笔法，并有意识与董、巨的笔墨意境加以融合，用笔方圆兼备，山石稍作皴擦。",[116,24,63,93,94,135,7,191,33,176,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c89c80e112fc4a8caf0c405bdcd7387.jpg",[],110,{"id":2215,"slug":2216,"title":2217,"dynasty":246,"author":1553,"museum":2218,"description":2219,"tags":2220,"thumbUrl":2221,"material":47,"size":2222,"collection":104,"collections":2223,"showCount":2213,"zanCount":11,"manualWeight":11,"mainColor":54},219918,"fang-jing-hao-kuang-lu-tu-yi-ming-219918","仿荆浩匡庐图","费城艺术博物馆","此作以全景铺陈层峦雄峰，取法北派山水沉郁雄浑的体格，硬朗苍劲的皴笔勾勒出山岩嶙峋质感，峰崖崔嵬直入云间，尽显巍峨磅礴之气。\n\n幽谷间虬木古拙苍劲，山居隐于林麓，飞瀑流泉循着山涧蜿蜒而下，为沉凝的山石注入灵动生机，高远与深远兼具，铺展出辽邈静谧的山林天地。古雅褐调晕染出幽寂的山野氛围，将大山大水的厚重气象，与林下幽居的隐逸意趣相融，摹古之间自有意趣生发，尽显传统山水的庙堂气度与林下风神。",[24,94,93,98,29,97,33,152,7,32,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb56e540505fbe81a87741e447dcf3e.jpg","180.3x67厘米",[104],{"id":2225,"slug":2226,"title":2227,"dynasty":58,"author":588,"museum":132,"description":2228,"tags":2229,"thumbUrl":2230,"material":308,"size":2231,"collection":80,"collections":2232,"showCount":2233,"zanCount":11,"manualWeight":11,"mainColor":54},288542,"xue-jing-shan-shui-tu-guo-xi-288542","雪景山水图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,116,24,94,93,1721,7,32,95,31,414,97,1211,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[80],108,{"id":2235,"slug":2236,"title":2237,"dynasty":246,"author":2238,"museum":2239,"description":2240,"tags":2241,"thumbUrl":2242,"material":102,"size":2243,"collection":104,"collections":2244,"showCount":2233,"zanCount":11,"manualWeight":11,"mainColor":108},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","辛辛那提艺术博物馆","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,63,116,135,27,117,98,94,293,7,30,75,97,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[104],{"id":2246,"slug":2247,"title":2248,"dynasty":246,"author":2249,"museum":132,"description":2250,"tags":2251,"thumbUrl":2252,"material":102,"size":2253,"collection":104,"collections":2254,"showCount":2233,"zanCount":11,"manualWeight":11,"mainColor":108},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[24,27,26,98,94,31,96,7,32,30,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[104],{"id":2256,"slug":2257,"title":315,"dynasty":58,"author":410,"museum":360,"description":2258,"tags":2259,"thumbUrl":2260,"material":27,"size":223,"collection":80,"collections":2261,"showCount":2262,"zanCount":11,"manualWeight":11,"mainColor":54},221441,"shan-shui-tu-li-cheng-221441","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[23,24,63,116,93,98,27,94,1587,7,32,95,33,176,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[80,104,82],107,{"id":2264,"slug":2265,"title":2266,"dynasty":58,"author":588,"museum":132,"description":2267,"tags":2268,"thumbUrl":2270,"material":164,"size":2271,"collection":80,"collections":2272,"showCount":2262,"zanCount":536,"manualWeight":11,"mainColor":54},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,63,25,94,98,93,191,33,414,7,32,95,153,43,250,2269,75],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[80,104,82],{"id":2274,"slug":2275,"title":2276,"dynasty":18,"author":89,"museum":231,"description":232,"tags":2277,"thumbUrl":2278,"material":237,"size":238,"collection":223,"collections":2279,"showCount":2262,"zanCount":536,"manualWeight":11,"mainColor":1224},220056,"hu-qiu-shi-er-jing-tu-ce-11-shen-zhou-220056","虎丘十二景图册-11",[23,24,93,28,234,98,94,31,7,30,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6682f58f7558d280563737b5c65e9a.jpg",[],{"id":2281,"slug":2282,"title":2283,"dynasty":58,"author":386,"museum":2284,"description":2285,"tags":2286,"thumbUrl":2287,"material":378,"size":2288,"collection":80,"collections":2289,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":54},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","雪山行旅图","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,116,63,135,93,27,94,578,97,414,7,32,492,98,26,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[80,104],{"id":2291,"slug":2292,"title":2293,"dynasty":58,"author":1553,"museum":20,"description":2294,"tags":2295,"thumbUrl":2297,"material":2298,"size":2299,"collection":80,"collections":2300,"showCount":84,"zanCount":536,"manualWeight":11,"mainColor":54},223647,"guan-pu-tu-yi-ming-223647","观瀑图","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,63,331,27,98,97,152,96,293,32,2296,136,7],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[80,104],{"id":2302,"slug":2303,"title":1758,"dynasty":58,"author":980,"museum":132,"description":2304,"tags":2305,"thumbUrl":2306,"material":27,"size":2307,"collection":80,"collections":2308,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":54},221533,"hua-xue-jing-zhou-ma-yuan-221533","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,63,135,26,98,27,94,1721,96,206,65,30,7,152,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[80,104,51],{"id":2310,"slug":2311,"title":2312,"dynasty":58,"author":1553,"museum":328,"description":2313,"tags":2314,"thumbUrl":2315,"material":47,"size":2316,"collection":104,"collections":2317,"showCount":84,"zanCount":474,"manualWeight":11,"mainColor":54},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,63,331,98,27,529,33,7,31,97,30,32,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[104],{"id":2319,"slug":2320,"title":2321,"dynasty":277,"author":327,"museum":360,"description":2322,"tags":2323,"thumbUrl":2324,"material":494,"size":495,"collection":223,"collections":2325,"showCount":2326,"zanCount":11,"manualWeight":11,"mainColor":108},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[116,24,63,135,93,98,94,96,7,32,136,97,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],104,{"id":2328,"slug":2329,"title":2330,"dynasty":18,"author":525,"museum":60,"description":2331,"tags":2332,"thumbUrl":2333,"material":164,"size":2334,"collection":104,"collections":2335,"showCount":2326,"zanCount":713,"manualWeight":11,"mainColor":108},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[23,24,63,93,98,100,118,135,94,33,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[104,82],{"id":2337,"slug":2338,"title":2339,"dynasty":58,"author":2340,"museum":132,"description":2341,"tags":2342,"thumbUrl":2344,"material":47,"size":2345,"collection":80,"collections":2346,"showCount":2347,"zanCount":11,"manualWeight":11,"mainColor":54},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,116,24,63,25,27,26,94,7,32,66,33,1236,2343,121,96],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[80,104],103,{"id":2349,"slug":2350,"title":2351,"dynasty":246,"author":2352,"museum":360,"description":2353,"tags":2354,"thumbUrl":2355,"material":223,"size":223,"collection":223,"collections":2356,"showCount":2357,"zanCount":536,"manualWeight":11,"mainColor":108},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","禹之鼎","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,116,24,63,25,27,26,94,30,7,32,96,119,100,118,33,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],102,{"id":2359,"slug":2360,"title":2361,"dynasty":277,"author":2362,"museum":132,"description":2363,"tags":2364,"thumbUrl":2365,"material":308,"size":2366,"collection":104,"collections":2367,"showCount":2357,"zanCount":11,"manualWeight":11,"mainColor":108},218763,"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","吴镇","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[23,24,63,93,98,94,32,95,7,97,33,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[104],{"id":2369,"slug":2370,"title":2371,"dynasty":277,"author":2372,"museum":132,"description":2373,"tags":2374,"thumbUrl":2376,"material":208,"size":2377,"collection":104,"collections":2378,"showCount":2379,"zanCount":536,"manualWeight":11,"mainColor":108},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[116,24,63,135,93,94,136,96,7,32,118,99,2375],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[104],101,{"id":2381,"slug":2382,"title":1613,"dynasty":58,"author":386,"museum":132,"description":2383,"tags":2384,"thumbUrl":2388,"material":237,"size":2389,"collection":223,"collections":2390,"showCount":2379,"zanCount":536,"manualWeight":11,"mainColor":54},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,24,63,25,26,27,98,30,94,7,32,439,962,293,644,96,2385,2386,2387,951],"乐器","饮酒","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg","34×191cm",[],{"id":2392,"slug":2393,"title":2394,"dynasty":246,"author":1105,"museum":132,"description":2395,"tags":2396,"thumbUrl":2397,"material":47,"size":2398,"collection":104,"collections":2399,"showCount":2379,"zanCount":713,"manualWeight":11,"mainColor":108},224486,"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[23,24,116,63,135,27,117,94,31,7,32,152,191,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[104],{"id":2401,"slug":2402,"title":2403,"dynasty":246,"author":2081,"museum":132,"description":2404,"tags":2405,"thumbUrl":2407,"material":378,"size":2408,"collection":104,"collections":2409,"showCount":2379,"zanCount":536,"manualWeight":11,"mainColor":1224},222764,"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,63,135,26,27,28,30,31,94,64,33,32,7,365,97,1667,2406],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg","188.2*102.2cm",[104,51],{"id":2411,"slug":2412,"title":2413,"dynasty":277,"author":2372,"museum":60,"description":2414,"tags":2415,"thumbUrl":2426,"material":257,"size":2427,"collection":104,"collections":2428,"showCount":2379,"zanCount":11,"manualWeight":11,"mainColor":108},220795,"you-jian-han-song-tu-zhou-ni-zan-220795","幽涧寒松图轴","《倪瓒幽涧寒松图轴》是元代画家倪瓒创作的一幅纸本水墨画。\n此幅是为友人周逊学所作，并题五言诗：“秋暑多病暍，征夫怨行路。瑟瑟幽涧松，清荫满庭户。寒泉溜崖石，白云集朝暮。怀哉如金玉，周子美无度。息景以桥对，笑言思与晤。”\n倪瓒清高持节，一生不仕，他“白眼视俗物，清言屈时英。富贵乌足道，所思垂今名。不仅自己抱守出世的生活态度，而且对朋友们的入世为官也坚决反对。此幅一为友人赠别，更是劝友人“罢”征路，“息”仕思，含有强烈的“招隐之意”。平远画溪涧幽谷，山石依次渐远，二株松树挺立于杳无人迹的涧底寒泉，意境荒寒，超然出尘，似乎暗寓着仕途的险恶和归隐的自得。构图不用常见的“一河两岸”两段式章法，但画幅上方和其大多数作品一样，留出大片空白，让观者分不清哪里是水，哪里是天。山石墨色清淡，笔法秀峭，渴笔侧锋作折带皴，干净利落而富于变化。松树取萧疏之态，笔力劲拔。倪瓒此幅，笔墨无多但意境深幽，“疏而不简”，“简而不少”。他的这种笔简形具，注重抒写性灵的画格被后人称之为“逸品”。到了明代，更是“江南人家以有无为清浊”，其清标高格，在历代文人士大夫心目中始终被尊为“高士中的高士”。\n此幅作品简淡超逸，虽未署年款，但从书法由竖长变为扁方以及名款和画风来看，当是晚年之作。",[23,24,93,94,293,2416,2417,2418,7,97,98,2419,2420,2421,2375,2422,2423,2424,2425,99],"溪涧","幽谷","寒泉","折带皴","渴笔","逸品","超然出尘","简淡超逸","意境深幽","招隐之意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c44e7f6172187fb1022fb560336ac0.jpg","纵59.7cm，横50.4cm",[104,82],{"id":2430,"slug":2431,"title":2432,"dynasty":58,"author":1553,"museum":2433,"description":2434,"tags":2435,"thumbUrl":2440,"material":47,"size":2441,"collection":80,"collections":2442,"showCount":2379,"zanCount":713,"manualWeight":11,"mainColor":54},218506,"gui-qu-lai-ci-shu-hua-tu-yi-ming-218506","归去来辞书画图","波士顿美术馆","在画卷中，最后两部分的文字和图画已经消失了，每幅画的顶部和底部都被切掉了几厘米。在1920年从日本收购之前，这幅画一直被认为是后来的复制品，启功、傅斯年等专家也证实，这幅画的书法是南宋孝宗所写，画风也与孝宗的风格一致。这两个缺失的部分可以从弗里尔收藏的陶渊明的早期画作中重现，归功于李公麟，但两者在手法上有很大不同，前者更古朴，没有作者气质，而后者则更精致，更漂亮。",[23,24,63,25,27,26,99,30,94,96,7,32,95,33,31,2436,2437,2438,2439],"笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04eb7a69d7e3b717e4e2e268521f93a7.jpg","30x438.6",[80],{"id":2444,"slug":2445,"title":2446,"dynasty":277,"author":1553,"museum":187,"description":2447,"tags":2448,"thumbUrl":2449,"material":208,"size":2450,"collection":104,"collections":2451,"showCount":2452,"zanCount":713,"manualWeight":11,"mainColor":54},218185,"qian-yan-wan-he-tu-yi-ming-218185","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,331,93,98,135,97,191,155,152,33,31,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[104],100,{"id":2454,"slug":2455,"title":587,"dynasty":58,"author":588,"museum":360,"description":2456,"tags":2457,"thumbUrl":2458,"material":494,"size":495,"collection":223,"collections":2459,"showCount":2460,"zanCount":11,"manualWeight":11,"mainColor":54},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,116,24,135,331,93,98,94,31,7,32,95,121,318,136,97,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg",[],99,{"id":2462,"slug":2463,"title":2464,"dynasty":18,"author":19,"museum":60,"description":2465,"tags":2466,"thumbUrl":2469,"material":402,"size":2470,"collection":223,"collections":2471,"showCount":2472,"zanCount":474,"manualWeight":11,"mainColor":54},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[24,63,135,27,26,117,94,30,31,7,32,293,2467,155,97,96,38,2468,33,616,439],"山洞","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],98,{"id":2474,"slug":2475,"title":2476,"dynasty":58,"author":588,"museum":360,"description":2477,"tags":2478,"thumbUrl":2479,"material":223,"size":223,"collection":223,"collections":2480,"showCount":2472,"zanCount":536,"manualWeight":11,"mainColor":54},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[23,24,116,63,25,27,98,94,30,7,32,97,33,95,96,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],{"id":2482,"slug":2483,"title":2484,"dynasty":58,"author":980,"museum":132,"description":2485,"tags":2486,"thumbUrl":2489,"material":47,"size":2490,"collection":104,"collections":2491,"showCount":2472,"zanCount":11,"manualWeight":11,"mainColor":54},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,116,24,63,94,30,293,97,7,93,27,98,2487,2488],"南宋风格","边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[104],{"id":2493,"slug":2494,"title":2495,"dynasty":488,"author":813,"museum":360,"description":2496,"tags":2497,"thumbUrl":2498,"material":223,"size":223,"collection":223,"collections":2499,"showCount":2500,"zanCount":11,"manualWeight":11,"mainColor":54},227263,"dong-bei-yuan-xi-shan-xing-lv-tu-li-zhou-dong-yuan-227263","董北苑溪山行旅图立轴","董源（生卒年不详），字叔达，洪州钟陵（今江西省进贤县钟陵乡）人。五代绘画大师，南派山水画开山鼻祖，与李成、范宽，并称“北宋三大家”。\n南唐时期，曾任北苑副使，人称“董北苑”。南唐灭亡后，进入北宋。擅于山水画，兼工人物、禽兽。其山水初师荆浩，笔力沉雄，后以江南真山实景入画，不为奇峭之笔。疏林远树，平远幽深，皴法状如麻皮，后人称为“披麻皴”。山头苔点细密，水色江天，云雾显晦，峰峦出没，汀渚溪桥，率多真意。“平淡天真，唐无此品”（米芾）。\n存世作品有《夏景山口待渡图》《潇湘图》《夏山图》《溪岸图》《寒林重汀图》《龙宿郊民图》《平林霁色图卷》等。",[23,24,63,116,135,93,98,94,33,7,32,75,30,97,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ce14da05caf0e1610bf356168685eed.jpg",[],96,{"id":2502,"slug":2503,"title":2504,"dynasty":18,"author":2505,"museum":132,"description":2506,"tags":2507,"thumbUrl":2508,"material":47,"size":2509,"collection":104,"collections":2510,"showCount":2511,"zanCount":474,"manualWeight":11,"mainColor":54},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,63,94,135,98,93,27,30,7,32,336,121,206,1606,96,529,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[104],95,{"id":2513,"slug":2514,"title":2515,"dynasty":58,"author":513,"museum":360,"description":2516,"tags":2517,"thumbUrl":2518,"material":208,"size":2519,"collection":49,"collections":2520,"showCount":2511,"zanCount":713,"manualWeight":11,"mainColor":108},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,116,24,63,25,516,93,30,31,7,32,118,65,96,97,33,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[49],{"id":2522,"slug":2523,"title":2524,"dynasty":246,"author":1441,"museum":450,"description":2525,"tags":2526,"thumbUrl":2527,"material":2528,"size":1917,"collection":223,"collections":2529,"showCount":2530,"zanCount":536,"manualWeight":11,"mainColor":54},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法","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。",[23,24,63,94,528,98,27,135,191,33,7,32,155,365,440,30,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","纸本 设色",[],94,{"id":2532,"slug":2533,"title":2534,"dynasty":246,"author":2535,"museum":60,"description":2536,"tags":2537,"thumbUrl":2540,"material":402,"size":2541,"collection":49,"collections":2542,"showCount":2543,"zanCount":536,"manualWeight":11,"mainColor":54},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,63,25,27,26,28,94,30,31,32,35,33,96,7,2538,2539],"田野","城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm",[49,51],93,{"id":2545,"slug":2546,"title":874,"dynasty":246,"author":2547,"museum":132,"description":2548,"tags":2549,"thumbUrl":2550,"material":47,"size":2551,"collection":49,"collections":2552,"showCount":2543,"zanCount":536,"manualWeight":11,"mainColor":498},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,63,25,27,26,29,28,30,31,7,32,33,65,66,75,852,41,35,365,69,40,67,71,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[49,51],{"id":2554,"slug":2555,"title":2556,"dynasty":18,"author":2557,"museum":450,"description":2558,"tags":2559,"thumbUrl":2560,"material":1055,"size":2561,"collection":104,"collections":2562,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":54},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","祝允明","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,116,24,63,25,100,93,27,118,99,94,33,96,7,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[104,51],92,{"id":2565,"slug":2566,"title":2567,"dynasty":58,"author":2568,"museum":90,"description":2569,"tags":2570,"thumbUrl":2571,"material":308,"size":2572,"collection":104,"collections":2573,"showCount":2563,"zanCount":343,"manualWeight":11,"mainColor":54},218400,"du-fu-shi-yi-tu-zhao-kui-218400","杜甫诗意图","赵葵","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,24,25,93,98,564,7,32,96,97,33,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵74.7厘米，横 212.2厘米",[104],{"id":2575,"slug":2576,"title":2577,"dynasty":246,"author":2578,"museum":864,"description":2579,"tags":2580,"thumbUrl":2581,"material":237,"size":2582,"collection":223,"collections":2583,"showCount":2563,"zanCount":11,"manualWeight":11,"mainColor":54},214349,"san-jue-shan-shui-ce-8-hua-yan-214349","三绝山水册-8","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。",[23,24,93,27,98,234,94,96,7,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ff06b8f3beab62344a0d21f610c76c.jpg","23.4x15.8",[],{"id":2585,"slug":2586,"title":2587,"dynasty":246,"author":613,"museum":360,"description":2588,"tags":2589,"thumbUrl":2590,"material":223,"size":223,"collection":223,"collections":2591,"showCount":2592,"zanCount":536,"manualWeight":11,"mainColor":108},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,63,25,27,94,98,100,118,99,119,95,121,31,7,32,96,33,97,155,1789,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],91,{"id":2594,"slug":2595,"title":2596,"dynasty":1174,"author":1498,"museum":60,"description":2597,"tags":2598,"thumbUrl":2599,"material":164,"size":2600,"collection":104,"collections":2601,"showCount":2592,"zanCount":11,"manualWeight":11,"mainColor":54},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,63,234,27,26,94,31,7,439,1470,30,530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[104,51],{"id":2603,"slug":2604,"title":2605,"dynasty":18,"author":2606,"museum":304,"description":2607,"tags":2608,"thumbUrl":2610,"material":47,"size":2611,"collection":49,"collections":2612,"showCount":2592,"zanCount":343,"manualWeight":11,"mainColor":54},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,63,25,94,27,98,30,7,32,95,1096,31,33,97,2609,252,155,2062,366],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[49,51],{"id":2614,"slug":2615,"title":2616,"dynasty":18,"author":2617,"museum":60,"description":2618,"tags":2619,"thumbUrl":2620,"material":208,"size":2621,"collection":104,"collections":2622,"showCount":2592,"zanCount":713,"manualWeight":11,"mainColor":108},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈淳","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[23,24,63,135,93,98,94,439,293,7,32,30,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[104,82],{"id":2624,"slug":2625,"title":2626,"dynasty":18,"author":2627,"museum":132,"description":2628,"tags":2629,"thumbUrl":2635,"material":47,"size":2636,"collection":104,"collections":2637,"showCount":2592,"zanCount":11,"manualWeight":11,"mainColor":54},214735,"ren-wu-zhou-guo-chun-214735","人物轴","郭纯","在水边的柳树下摆上一张桌子，客人和主人坐在一起交谈，手持羽毛扇，身穿纱笼。三个孩子，一个炖着茶和水，另一个拿着苍蝇刷，站在客人身后，与拿着饭盒的人交谈。山石皴法是元代盛懋风格，其工艺也不弱。建筑物的笔触偶尔会有失误",[24,63,135,93,27,94,30,26,2630,281,7,39,191,33,2631,2632,2633,2634],"屋宇","人物活动","水墨设色","传统技法","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e11bebc6abc80b06f3d874186097f6b.jpg","110.8x62.1",[104],{"id":2639,"slug":2640,"title":2641,"dynasty":246,"author":449,"museum":450,"description":451,"tags":2642,"thumbUrl":2647,"material":459,"size":460,"collection":223,"collections":2648,"showCount":2649,"zanCount":536,"manualWeight":11,"mainColor":54},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,116,24,25,27,26,94,120,2643,2644,2645,31,7,32,2646,34,30,44,33,97,41],"村镇","城池","古建","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],90,{"id":2651,"slug":2652,"title":2653,"dynasty":246,"author":919,"museum":60,"description":2654,"tags":2655,"thumbUrl":2656,"material":678,"size":2657,"collection":104,"collections":2658,"showCount":2649,"zanCount":11,"manualWeight":11,"mainColor":108},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,63,234,93,27,94,31,7,95,121,33,97,155,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[104,82],{"id":2660,"slug":2661,"title":2662,"dynasty":58,"author":1419,"museum":132,"description":2663,"tags":2664,"thumbUrl":2665,"material":47,"size":2666,"collection":49,"collections":2667,"showCount":2668,"zanCount":474,"manualWeight":11,"mainColor":108},218795,"lan-ting-xi-yin-tu-guo-zhong-shu-218795","兰亭禊饮图","这幅画描绘的是永和九年的兰亭大典，小板上有三十多个学者在场，山峦起伏，茂林修竹，画工精细，原题为郭忠恕，但实际上更接近元代胡廷辉的风格。",[23,24,116,27,28,26,30,96,7,94,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767a47a8ddc517fcfb474984ffbf175b.jpg","22.1x23.2",[49],89,{"id":2670,"slug":2671,"title":2672,"dynasty":246,"author":449,"museum":450,"description":451,"tags":2673,"thumbUrl":2675,"material":459,"size":460,"collection":223,"collections":2676,"showCount":2677,"zanCount":713,"manualWeight":11,"mainColor":54},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,116,24,25,26,27,30,31,7,32,35,34,2644,120,94,44,454,2674,72,41],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],88,{"id":2679,"slug":2680,"title":2681,"dynasty":18,"author":1267,"museum":132,"description":2682,"tags":2683,"thumbUrl":2684,"material":178,"size":2685,"collection":223,"collections":2686,"showCount":2677,"zanCount":713,"manualWeight":11,"mainColor":54},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,331,27,98,529,530,293,152,32,7,176,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],{"id":2688,"slug":2689,"title":2690,"dynasty":1174,"author":2691,"museum":132,"description":2692,"tags":2693,"thumbUrl":2694,"material":164,"size":2695,"collection":104,"collections":2696,"showCount":2677,"zanCount":11,"manualWeight":11,"mainColor":54},221095,"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","李昭道","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[23,24,63,1829,117,27,28,94,31,7,95,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[104,51],{"id":2698,"slug":2699,"title":2700,"dynasty":18,"author":290,"museum":60,"description":2701,"tags":2702,"thumbUrl":2703,"material":47,"size":2704,"collection":104,"collections":2705,"showCount":2677,"zanCount":536,"manualWeight":11,"mainColor":108},219201,"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[23,24,63,25,27,26,94,100,30,96,32,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[104],{"id":2707,"slug":2708,"title":2709,"dynasty":1174,"author":2710,"museum":132,"description":2711,"tags":2712,"thumbUrl":2713,"material":208,"size":2714,"collection":82,"collections":2715,"showCount":2677,"zanCount":11,"manualWeight":11,"mainColor":108},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[23,24,63,25,93,98,99,100,118,94,333,33,97,32,96,336,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[82],{"id":2717,"slug":2718,"title":2719,"dynasty":785,"author":786,"museum":60,"description":2720,"tags":2721,"thumbUrl":2722,"material":2723,"size":2724,"collection":223,"collections":2725,"showCount":2726,"zanCount":11,"manualWeight":11,"mainColor":108},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[116,24,63,25,117,27,94,30,31,7,32,119,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],87,{"id":2728,"slug":2729,"title":2730,"dynasty":277,"author":2731,"museum":132,"description":2732,"tags":2733,"thumbUrl":2737,"material":47,"size":2738,"collection":104,"collections":2739,"showCount":2726,"zanCount":474,"manualWeight":11,"mainColor":108},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","盛懋","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,24,93,94,98,32,95,1096,96,136,7,1956,2734,250,2735,2736],"岸树","溪面","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[104],{"id":2741,"slug":2742,"title":2743,"dynasty":246,"author":613,"museum":60,"description":2744,"tags":2745,"thumbUrl":2747,"material":237,"size":2748,"collection":223,"collections":2749,"showCount":2750,"zanCount":713,"manualWeight":11,"mainColor":108},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,93,135,98,94,7,32,33,75,97,121,336,2746,206,250,366,440,155],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],86,{"id":2752,"slug":2753,"title":487,"dynasty":18,"author":202,"museum":60,"description":2754,"tags":2755,"thumbUrl":2756,"material":678,"size":2757,"collection":104,"collections":2758,"showCount":2750,"zanCount":713,"manualWeight":11,"mainColor":2759},222028,"guan-shan-xing-lv-tu-dai-jin-222028","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,93,98,94,7,32,439,97,75,66,65,96,153,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[104,82],"FFFFFF",{"id":2761,"slug":2762,"title":2763,"dynasty":58,"author":980,"museum":132,"description":2764,"tags":2765,"thumbUrl":2766,"material":402,"size":2767,"collection":80,"collections":2768,"showCount":2750,"zanCount":11,"manualWeight":11,"mainColor":54},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,24,63,331,135,93,98,27,529,616,439,7,30,65,492,1470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[80,104,82],{"id":2770,"slug":2771,"title":2772,"dynasty":246,"author":1786,"museum":60,"description":2773,"tags":2774,"thumbUrl":2775,"material":47,"size":2776,"collection":104,"collections":2777,"showCount":2750,"zanCount":11,"manualWeight":11,"mainColor":54},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,24,135,93,98,94,529,530,33,75,7,176,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[104],{"id":2779,"slug":2780,"title":1266,"dynasty":277,"author":2731,"museum":328,"description":2781,"tags":2782,"thumbUrl":2785,"material":47,"size":2786,"collection":104,"collections":2787,"showCount":2750,"zanCount":11,"manualWeight":11,"mainColor":54},217866,"chun-shan-you-qi-tu-sheng-mao-217866","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,94,27,98,30,65,7,31,96,33,97,440,250,363,38,2783,2784,154],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[104],{"id":2789,"slug":2790,"title":2791,"dynasty":58,"author":173,"museum":360,"description":2792,"tags":2793,"thumbUrl":2796,"material":494,"size":495,"collection":223,"collections":2797,"showCount":2798,"zanCount":713,"manualWeight":11,"mainColor":54},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[1829,24,116,94,93,98,7,32,96,33,255,250,2794,220,30,2795,339],"湖畔","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":2800,"slug":2801,"title":2802,"dynasty":58,"author":359,"museum":360,"description":2803,"tags":2804,"thumbUrl":2805,"material":223,"size":223,"collection":223,"collections":2806,"showCount":2798,"zanCount":713,"manualWeight":11,"mainColor":54},227515,"xi-qiao-xian-shui-tu-zhou-mi-fei-227515","溪桥闲睡图轴","米芾平生书法用功最深，成就以行书为最大。南宋以来的著名汇帖中，多数刻其法书，流播之广泛，影响之深远，在北宋四大书家中，实可首屈一指。康有为曾说:唐言结构，宋尚意趣。意为宋代书法家讲求意趣和个性，而米芾在这方面尤其突出。\n米芾习书，自称集古字，虽有人以为笑柄，也有赞美说天姿辕轹未须夸，集古终能自立家(王文治)。这从一定程度上说明了米氏书法成功的来由。根据米芾自述，在听从苏东坡学习晋书以前，大致可以看出他受五位唐人的影响最深:颜真卿、欧阳询、褚遂良、沈传师、段季展。\n米芾作为北宋著名的画家，处在一个文人画的成熟时代，其绘画题材十分广泛，人物、山水、松石、梅、兰、竹、菊无所不画;米芾在山水画上成就最大，但他不喜欢危峰高耸、层峦叠嶂的北方山水，更欣赏的是江南水乡瞬息万变的烟云雾景，天真平淡，不装巧趣的风貌;所以米芾在艺术风格里追求的是自然。他所创造的米氏云山都是信笔作来，烟云掩映。",[23,24,116,135,93,94,98,7,32,30,33,152,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fc0c226ae1c64375a959be6d59f6a7.jpg",[],{"id":2808,"slug":2809,"title":938,"dynasty":18,"author":2606,"museum":2810,"description":2811,"tags":2812,"thumbUrl":2813,"material":1055,"size":2814,"collection":104,"collections":2815,"showCount":2798,"zanCount":11,"manualWeight":11,"mainColor":108},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","南京博物院","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[23,24,331,29,98,93,97,33,31,7,32,162,96,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[104,82],{"id":2817,"slug":2818,"title":2819,"dynasty":18,"author":1073,"museum":132,"description":2820,"tags":2821,"thumbUrl":2822,"material":208,"size":2823,"collection":104,"collections":2824,"showCount":2798,"zanCount":11,"manualWeight":11,"mainColor":108},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[116,24,63,234,93,29,98,94,7,32,33,97,75,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[104],{"id":2826,"slug":2827,"title":315,"dynasty":58,"author":2828,"museum":2829,"description":2830,"tags":2831,"thumbUrl":2832,"material":93,"size":2833,"collection":80,"collections":2834,"showCount":2835,"zanCount":11,"manualWeight":11,"mainColor":54},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","美国弗瑞尔美术馆","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,116,63,27,98,94,97,33,155,176,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[80,104,82],84,{"id":2837,"slug":2838,"title":2839,"dynasty":277,"author":627,"museum":864,"description":2840,"tags":2841,"thumbUrl":2843,"material":237,"size":2844,"collection":104,"collections":2845,"showCount":2835,"zanCount":11,"manualWeight":11,"mainColor":108},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,63,25,93,27,94,96,31,7,32,33,136,98,100,2842,118],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[104],{"id":2847,"slug":2848,"title":2849,"dynasty":488,"author":467,"museum":360,"description":2850,"tags":2851,"thumbUrl":2853,"material":494,"size":495,"collection":223,"collections":2854,"showCount":2855,"zanCount":11,"manualWeight":11,"mainColor":54},288460,"yu-le-tu-jing-hao-288460","渔乐图","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[116,24,63,25,93,331,7,32,2852,97,31,30,840,2736],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],83,{"id":2857,"slug":2858,"title":2859,"dynasty":246,"author":1062,"museum":60,"description":1144,"tags":2860,"thumbUrl":2861,"material":402,"size":1147,"collection":223,"collections":2862,"showCount":2855,"zanCount":11,"manualWeight":11,"mainColor":54},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,63,135,28,27,26,94,31,365,155,33,97,7,440,2296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],{"id":2864,"slug":2865,"title":2866,"dynasty":18,"author":2867,"museum":360,"description":2868,"tags":2869,"thumbUrl":2870,"material":223,"size":223,"collection":82,"collections":2871,"showCount":2855,"zanCount":536,"manualWeight":11,"mainColor":108},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[23,116,24,63,25,93,98,29,94,414,7,32,95,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[82],{"id":2873,"slug":2874,"title":587,"dynasty":246,"author":1441,"museum":1499,"description":2875,"tags":2876,"thumbUrl":2877,"material":47,"size":2878,"collection":104,"collections":2879,"showCount":2855,"zanCount":536,"manualWeight":11,"mainColor":54},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","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。”",[24,63,135,117,27,94,30,65,31,439,97,98,492,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[104],{"id":2881,"slug":2882,"title":2883,"dynasty":18,"author":423,"museum":360,"description":424,"tags":2884,"thumbUrl":2889,"material":47,"size":2890,"collection":49,"collections":2891,"showCount":2855,"zanCount":474,"manualWeight":11,"mainColor":54},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[23,24,25,27,26,28,30,31,7,32,94,33,426,97,645,35,2885,39,643,2886,2887,2888,96],"火焰","台阶","旗帜","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[49],{"id":2893,"slug":2894,"title":2895,"dynasty":18,"author":525,"museum":132,"description":2896,"tags":2897,"thumbUrl":2898,"material":2899,"size":2900,"collection":104,"collections":2901,"showCount":2902,"zanCount":536,"manualWeight":11,"mainColor":108},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[23,24,63,135,93,94,98,7,32,33,97,38,118,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纸本水墨","纵80厘米,横29.8厘米",[104,82],82,{"id":2904,"slug":2905,"title":2906,"dynasty":277,"author":2362,"museum":328,"description":2907,"tags":2908,"thumbUrl":2911,"material":208,"size":2912,"collection":104,"collections":2913,"showCount":2902,"zanCount":713,"manualWeight":11,"mainColor":108},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,24,63,25,93,94,98,99,100,118,529,530,439,7,95,564,2909,250,155,2910],"芦苇","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[104],{"id":2915,"slug":2916,"title":2917,"dynasty":277,"author":1370,"museum":132,"description":2918,"tags":2919,"thumbUrl":2920,"material":47,"size":2921,"collection":80,"collections":2922,"showCount":2902,"zanCount":536,"manualWeight":11,"mainColor":108},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[23,24,63,1829,27,94,98,96,206,97,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[80],{"id":2924,"slug":2925,"title":2926,"dynasty":18,"author":19,"museum":132,"description":2927,"tags":2928,"thumbUrl":2931,"material":47,"size":2932,"collection":49,"collections":2933,"showCount":2902,"zanCount":536,"manualWeight":11,"mainColor":54},218227,"geng-zhi-tu-ce-cha-yang-chou-ying-218227","耕织图册-插秧","明朝纺织业空前发展，政府特设织造局管理丝织品生产、销售等事宜。这个时期的耕织图也尤其重视“养蚕缫丝”的主题，其中最有代表性的就是仇英的《宫蚕图卷》。",[116,24,234,27,26,30,2343,2929,33,7,2930],"插秧","耕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0148083e2c4e0f19cb9c03018b50477.jpg","35.4x35.9",[49],{"id":2935,"slug":2936,"title":409,"dynasty":58,"author":410,"museum":360,"description":2937,"tags":2938,"thumbUrl":2940,"material":494,"size":495,"collection":223,"collections":2941,"showCount":2942,"zanCount":11,"manualWeight":11,"mainColor":54},288508,"qing-luan-xiao-si-tu-li-cheng-288508","此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。",[23,116,24,63,94,135,93,98,191,31,2939,7,32,152,414],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a09d1fd685c91acbb434f10c0b0b2b.jpg",[],81,{"id":2944,"slug":2945,"title":2946,"dynasty":18,"author":19,"museum":360,"description":2947,"tags":2948,"thumbUrl":2949,"material":494,"size":495,"collection":223,"collections":2950,"showCount":2942,"zanCount":536,"manualWeight":11,"mainColor":54},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,116,24,63,25,94,27,98,29,191,33,75,400,7,32,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":2952,"slug":2953,"title":2954,"dynasty":18,"author":2955,"museum":60,"description":2956,"tags":2957,"thumbUrl":2960,"material":2961,"size":2962,"collection":223,"collections":2963,"showCount":2942,"zanCount":536,"manualWeight":11,"mainColor":54},233461,"ba-qiao-feng-xue-tu-zhou-wu-wei-233461","灞桥风雪图轴","吴伟","“灞桥”位于西安市东的灞河之上，是东去洛阳的必经之路，古人常于此送别，唐诗中“灞桥折柳”的典故即由此而出。\n吴伟此图并非写实之景，而是取其送别的含意。图绘严冬景象，山岩积雪，树木萧瑟，行旅之人正在通过一座狭小的木桥。作者用侧锋卧笔勾勒山石，线条粗率，行笔劲疾，锋芒外露。",[24,331,135,93,98,1721,2958,7,414,97,153,2959],"严冬","送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c5cc504cdaa6433fc325448a895f7b1.jpg","绢本，水墨","纵138.1厘米，横106厘米",[],{"id":2965,"slug":2966,"title":2967,"dynasty":246,"author":613,"museum":360,"description":2968,"tags":2969,"thumbUrl":2970,"material":223,"size":223,"collection":223,"collections":2971,"showCount":2942,"zanCount":536,"manualWeight":11,"mainColor":54},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,63,25,27,94,98,99,100,118,529,530,7,31,33,176,440,899,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":2973,"slug":2974,"title":2975,"dynasty":246,"author":1553,"museum":360,"description":2976,"tags":2977,"thumbUrl":2980,"material":223,"size":223,"collection":223,"collections":2981,"showCount":2942,"zanCount":713,"manualWeight":11,"mainColor":54},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,116,24,63,135,26,27,28,30,31,7,32,94,33,645,96,2978,643,839,38,39,2979],"石阶","活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":2983,"slug":2984,"title":2985,"dynasty":246,"author":2986,"museum":217,"description":2987,"tags":2988,"thumbUrl":2989,"material":47,"size":2990,"collection":104,"collections":2991,"showCount":2942,"zanCount":11,"manualWeight":11,"mainColor":54},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","袁江","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,63,116,28,27,26,31,94,7,33,97,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[104],{"id":2993,"slug":2994,"title":2995,"dynasty":246,"author":1115,"museum":2810,"description":2996,"tags":2997,"thumbUrl":2998,"material":208,"size":2999,"collection":104,"collections":3000,"showCount":2942,"zanCount":11,"manualWeight":11,"mainColor":108},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[24,63,135,93,98,94,529,152,154,33,137,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[104],{"id":3002,"slug":3003,"title":2158,"dynasty":18,"author":3004,"museum":60,"description":3005,"tags":3006,"thumbUrl":3007,"material":3008,"size":3009,"collection":104,"collections":3010,"showCount":3011,"zanCount":11,"manualWeight":11,"mainColor":54},234318,"shan-shui-ce-song-xu-234318","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,93,98,234,94,32,7,414,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f139067519e7c0c0636a193cc49cf5.jpg","纸本 ，设色","纵31cm，横42cm",[104,51],80,{"id":3013,"slug":3014,"title":3015,"dynasty":18,"author":3016,"museum":132,"description":3017,"tags":3018,"thumbUrl":3020,"material":102,"size":3021,"collection":104,"collections":3022,"showCount":3011,"zanCount":11,"manualWeight":11,"mainColor":108},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,63,234,93,94,98,3019,1721,96,7,33,97,440],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[104],{"id":3024,"slug":3025,"title":3026,"dynasty":18,"author":3027,"museum":360,"description":3028,"tags":3029,"thumbUrl":3030,"material":223,"size":223,"collection":223,"collections":3031,"showCount":3032,"zanCount":713,"manualWeight":11,"mainColor":108},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,63,135,93,98,94,7,32,31,65,30,206,97,439,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],79,{"id":3034,"slug":3035,"title":3036,"dynasty":277,"author":627,"museum":304,"description":3037,"tags":3038,"thumbUrl":3039,"material":102,"size":3040,"collection":49,"collections":3041,"showCount":3032,"zanCount":713,"manualWeight":11,"mainColor":54},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,24,63,93,98,94,529,293,136,75,7,32,336,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[49,51],{"id":3043,"slug":3044,"title":3045,"dynasty":58,"author":1553,"museum":203,"description":3046,"tags":3047,"thumbUrl":3049,"material":47,"size":3050,"collection":104,"collections":3051,"showCount":3032,"zanCount":536,"manualWeight":11,"mainColor":498},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","秋江渔艇图","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,24,331,135,93,98,94,95,7,32,840,33,97,71,3048],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[104],{"id":3053,"slug":3054,"title":1308,"dynasty":246,"author":1309,"museum":3055,"description":3056,"tags":3057,"thumbUrl":3062,"material":102,"size":3063,"collection":104,"collections":3064,"showCount":3032,"zanCount":11,"manualWeight":11,"mainColor":54},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","香港艺术馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,63,135,93,98,94,529,439,206,7,32,75,155,97,2852,366,154,3058,3059,3060,3061],"层岩","苔点","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[104],{"id":3066,"slug":3067,"title":3068,"dynasty":58,"author":3069,"museum":360,"description":3070,"tags":3071,"thumbUrl":3074,"material":47,"size":223,"collection":104,"collections":3075,"showCount":3032,"zanCount":536,"manualWeight":11,"mainColor":108},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,3072,63,25,1665,28,27,30,94,31,7,32,65,3073,121,33,155,39],"古画","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[104],{"id":3077,"slug":3078,"title":3079,"dynasty":246,"author":919,"museum":360,"description":3080,"tags":3081,"thumbUrl":3082,"material":223,"size":223,"collection":223,"collections":3083,"showCount":3084,"zanCount":11,"manualWeight":11,"mainColor":108},233912,"hua-hui-shan-shui-ce-yun-shou-ping-233912","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,63,116,234,93,94,98,7,414,97,75,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408186742edebb584c8928001e6a308d.jpg",[],78,{"id":3086,"slug":3087,"title":3088,"dynasty":246,"author":3089,"museum":60,"description":3090,"tags":3091,"thumbUrl":3093,"material":102,"size":3094,"collection":49,"collections":3095,"showCount":3084,"zanCount":11,"manualWeight":11,"mainColor":108},219631,"feng-yu-du-qiao-tu-ren-yi-219631","风雨渡桥图","任颐","狂风卷着冷雨席卷而来，柳丝如乱发狂舞，将滂沱之势尽显。渡桥二人缩肩弓背，撑伞者竭力护着身旁同伴，浓淡墨色晕染出湿衣的沉坠褶皱，仓促步履间却带着相携的温情，将风雨里的窘迫暖意定格。\n\n石桥以枯笔泼墨绘就，苍劲厚重，和柔媚翻飞的柳丝形成刚柔反差。水面以淡墨晕开朦胧水雾，暗藏雨打涟漪的空濛，左下角水草斜偃，呼应着肆虐风势。画作以大写意笔墨铺陈天候之烈，又于人物眉眼间刻画入微，将外在风雨与内在人情相融，落笔酣畅洒脱，意韵悠长动人。",[23,24,135,93,27,332,30,7,439,2062,3092],"渡桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7f921eff5817be7c13f4bae6cb7363.jpg","155.5x43.5厘米",[49,51],{"id":3097,"slug":3098,"title":3099,"dynasty":18,"author":3100,"museum":132,"description":3101,"tags":3102,"thumbUrl":3103,"material":102,"size":3104,"collection":51,"collections":3105,"showCount":3084,"zanCount":713,"manualWeight":11,"mainColor":108},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[23,24,63,25,27,26,98,118,100,94,30,31,7,32,336,33,96,39,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[51],{"id":3107,"slug":3108,"title":3109,"dynasty":18,"author":602,"museum":132,"description":3110,"tags":3111,"thumbUrl":3112,"material":208,"size":3113,"collection":104,"collections":3114,"showCount":3084,"zanCount":11,"manualWeight":11,"mainColor":108},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,24,93,94,98,564,96,97,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[104],{"id":3116,"slug":3117,"title":653,"dynasty":246,"author":1686,"museum":360,"description":3118,"tags":3119,"thumbUrl":3121,"material":223,"size":223,"collection":104,"collections":3122,"showCount":3123,"zanCount":11,"manualWeight":11,"mainColor":108},239477,"shan-shui-zhou-kun-can-239477","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,93,98,135,94,7,32,33,97,155,30,137,3120,440,332],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[104,82],77,{"id":3125,"slug":3126,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":3129,"thumbUrl":3130,"material":223,"size":223,"collection":223,"collections":3131,"showCount":3123,"zanCount":11,"manualWeight":11,"mainColor":108},237591,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237591","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》。",[116,24,63,234,93,98,94,31,7,32,95,96,33,152,97,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724471d5eaa3cabd10d34c299b6fd545.jpg",[],{"id":3133,"slug":3134,"title":3135,"dynasty":58,"author":3136,"museum":450,"description":3137,"tags":3138,"thumbUrl":3139,"material":3140,"size":3141,"collection":80,"collections":3142,"showCount":3123,"zanCount":536,"manualWeight":11,"mainColor":108},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","马和之","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[23,24,63,25,516,93,27,30,94,33,96,7,32,121,336,492,118,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[80,49,51],{"id":3144,"slug":3145,"title":3146,"dynasty":18,"author":89,"museum":60,"description":3147,"tags":3148,"thumbUrl":3149,"material":237,"size":3150,"collection":223,"collections":3151,"showCount":3152,"zanCount":11,"manualWeight":11,"mainColor":108},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[24,63,234,93,98,100,118,94,31,7,32,95,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg","28.5*25.5cm",[],76,{"id":3154,"slug":3155,"title":3156,"dynasty":246,"author":1105,"museum":132,"description":3157,"tags":3158,"thumbUrl":3159,"material":164,"size":3160,"collection":223,"collections":3161,"showCount":3152,"zanCount":11,"manualWeight":11,"mainColor":108},224479,"fang-zhao-meng-fu-shan-shui-zhou-wang-jian-224479","仿赵孟頫山水轴","王鉴最早从董源入手，1636年，39岁的王鉴结识了董其昌，由此开始深受董其昌影响，后承绪南宗正脉，并涉足擅长青绿山水的三赵 ( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,24,63,135,528,117,27,98,94,97,33,7,32,365,30,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":3163,"slug":3164,"title":3165,"dynasty":277,"author":1553,"museum":3166,"description":3167,"tags":3168,"thumbUrl":3169,"material":47,"size":3170,"collection":104,"collections":3171,"showCount":3152,"zanCount":343,"manualWeight":11,"mainColor":54},218225,"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[24,63,331,27,117,98,1258,31,7,32,33,97,922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[104],{"id":3173,"slug":3174,"title":3175,"dynasty":18,"author":1553,"museum":2218,"description":3176,"tags":3177,"thumbUrl":3179,"material":47,"size":3180,"collection":104,"collections":3181,"showCount":3152,"zanCount":11,"manualWeight":11,"mainColor":54},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[24,135,27,94,98,30,96,7,32,31,33,97,3178],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[104],{"id":3183,"slug":3184,"title":3185,"dynasty":58,"author":3186,"museum":360,"description":3187,"tags":3188,"thumbUrl":3190,"material":223,"size":223,"collection":223,"collections":3191,"showCount":3192,"zanCount":536,"manualWeight":11,"mainColor":54},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,116,24,63,25,117,27,26,94,529,530,33,31,96,7,95,3189,35],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],75,{"id":3194,"slug":3195,"title":3196,"dynasty":246,"author":1553,"museum":360,"description":3197,"tags":3198,"thumbUrl":3199,"material":494,"size":495,"collection":223,"collections":3200,"showCount":3192,"zanCount":11,"manualWeight":11,"mainColor":108},230348,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-230348","雍正十二月行乐图轴","水岸楼台层叠错落，奇石流泉蜿蜒在庭院间。近舍里宾朋凭栏谈笑，空场间人群簇立，围观高架旁的杂艺演出。远景烟波轻笼水乡，屋舍连片沿水岸铺展，拱桥上行人摩肩接踵，新梅缀枝，漫染融融春意。\n\n整作工笔细腻温婉，以淡彩晕染出雅致底色，将苑囿闲情与江南市井的喧闹烟火相融，疏密有致的构图里，铺陈出春日佳节松弛鲜活的盛景，尽揽雅致祥和的岁时意趣。",[24,27,26,28,30,31,96,7,32,33,1606,39,427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2627069d8464d638cd4130d2f3b07cf.jpg",[],{"id":3202,"slug":3203,"title":3204,"dynasty":18,"author":3205,"museum":360,"description":3206,"tags":3207,"thumbUrl":3209,"material":223,"size":223,"collection":223,"collections":3210,"showCount":3192,"zanCount":474,"manualWeight":11,"mainColor":108},228912,"tao-hua-yuan-tu-qian-gu-228912","桃花源图","钱毂","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,63,25,93,27,98,26,94,30,119,32,95,840,121,7,96,3208],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":3212,"slug":3213,"title":2227,"dynasty":1933,"author":3214,"museum":304,"description":3215,"tags":3216,"thumbUrl":3217,"material":47,"size":3218,"collection":104,"collections":3219,"showCount":3192,"zanCount":11,"manualWeight":11,"mainColor":54},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,135,93,98,94,1470,529,530,33,75,95,644,154,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[104],{"id":3221,"slug":3222,"title":3223,"dynasty":246,"author":2081,"museum":132,"description":3224,"tags":3225,"thumbUrl":3226,"material":47,"size":3227,"collection":49,"collections":3228,"showCount":3192,"zanCount":536,"manualWeight":11,"mainColor":108},216939,"yuan-ben-qin-can-tu-yuan-juan-yi-tan-lang-shi-ning-216939","院本亲蚕图（元卷 诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,63,25,26,27,28,30,31,33,7,39,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[49],{"id":3230,"slug":3231,"title":3232,"dynasty":246,"author":3233,"museum":360,"description":3234,"tags":3235,"thumbUrl":3236,"material":223,"size":223,"collection":104,"collections":3237,"showCount":3238,"zanCount":11,"manualWeight":11,"mainColor":108},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,63,234,27,94,98,29,7,32,136,529,121,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[104,51],74,{"id":3240,"slug":3241,"title":3242,"dynasty":58,"author":3186,"museum":360,"description":3243,"tags":3244,"thumbUrl":3245,"material":223,"size":223,"collection":223,"collections":3246,"showCount":3238,"zanCount":536,"manualWeight":11,"mainColor":54},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,116,24,25,117,27,26,98,94,31,7,32,95,33,30,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":3248,"slug":3249,"title":3250,"dynasty":18,"author":19,"museum":60,"description":3251,"tags":3252,"thumbUrl":3253,"material":402,"size":3254,"collection":223,"collections":3255,"showCount":3238,"zanCount":11,"manualWeight":11,"mainColor":108},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,63,234,26,27,94,30,32,7,33,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":3257,"slug":3258,"title":3259,"dynasty":58,"author":3260,"museum":2829,"description":3261,"tags":3262,"thumbUrl":3263,"material":402,"size":3264,"collection":80,"collections":3265,"showCount":3238,"zanCount":536,"manualWeight":11,"mainColor":54},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,116,24,63,135,93,98,94,206,616,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[80,104,82],{"id":3267,"slug":3268,"title":3269,"dynasty":246,"author":2037,"museum":60,"description":3270,"tags":3271,"thumbUrl":3272,"material":102,"size":3273,"collection":104,"collections":3274,"showCount":3238,"zanCount":11,"manualWeight":11,"mainColor":108},218467,"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[23,24,93,98,94,96,7,32,33,492,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[104],{"id":3276,"slug":3277,"title":3278,"dynasty":58,"author":1553,"museum":60,"description":3279,"tags":3280,"thumbUrl":3281,"material":3282,"size":3283,"collection":80,"collections":3284,"showCount":3285,"zanCount":11,"manualWeight":11,"mainColor":54},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,116,24,63,25,27,94,33,7,32,95,75,98,26,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","絹本設色","纵24.5厘米，横185.5厘米",[80,104,82],73,{"id":3287,"slug":3288,"title":3289,"dynasty":18,"author":2867,"museum":60,"description":3290,"tags":3291,"thumbUrl":3293,"material":678,"size":3294,"collection":104,"collections":3295,"showCount":3285,"zanCount":11,"manualWeight":11,"mainColor":108},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,25,27,98,94,7,32,96,33,252,95,30,3292,97,440],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[104,51],{"id":3297,"slug":3298,"title":3299,"dynasty":277,"author":1360,"museum":132,"description":3300,"tags":3301,"thumbUrl":3303,"material":27,"size":3304,"collection":49,"collections":3305,"showCount":3285,"zanCount":11,"manualWeight":11,"mainColor":54},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,116,24,25,27,26,30,94,7,32,33,645,97,3302],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[49,51],{"id":3307,"slug":3308,"title":3309,"dynasty":18,"author":3310,"museum":132,"description":3311,"tags":3312,"thumbUrl":3315,"material":27,"size":3316,"collection":104,"collections":3317,"showCount":3285,"zanCount":713,"manualWeight":11,"mainColor":54},219458,"chun-shan-xi-ge-tu-lu-zhi-219458","春山溪阁图","陆治","弘治九年（1496年）生。世代耕读，其父与文徵明有交谊，遂从学于文徵明门下。早年为诸生，屡试不中，转为书画，善画山水、花鸟。隐居支硎山。",[24,27,94,98,3313,3314,7,32,33,97,31],"春山","溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd616fa2129ced1c381c18d595332f452.jpg","118.5x66.1",[104],{"id":3319,"slug":3320,"title":3321,"dynasty":246,"author":3322,"museum":60,"description":3323,"tags":3324,"thumbUrl":3326,"material":102,"size":3327,"collection":104,"collections":3328,"showCount":3285,"zanCount":536,"manualWeight":11,"mainColor":108},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,63,25,27,26,98,99,100,118,94,119,191,71,1445,33,7,32,1789,155,252,3325,154],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[104],{"id":3330,"slug":3331,"title":3332,"dynasty":58,"author":173,"museum":360,"description":3333,"tags":3334,"thumbUrl":3335,"material":494,"size":495,"collection":223,"collections":3336,"showCount":3337,"zanCount":536,"manualWeight":11,"mainColor":54},288245,"yan-xiu-lin-ju-tu-xia-gui-288245","烟岫林居图","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。",[23,24,1829,93,94,191,293,155,7,1211,339,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],72,{"id":3339,"slug":3340,"title":3341,"dynasty":18,"author":3342,"museum":60,"description":3343,"tags":3344,"thumbUrl":3346,"material":1690,"size":3347,"collection":104,"collections":3348,"showCount":3337,"zanCount":536,"manualWeight":11,"mainColor":108},236306,"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[24,93,98,135,94,7,32,30,96,33,97,152,121,3345],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纵121.3cm，横31.5cm",[104,82],{"id":3350,"slug":3351,"title":3352,"dynasty":246,"author":3353,"museum":3354,"description":3355,"tags":3356,"thumbUrl":3357,"material":678,"size":3358,"collection":104,"collections":3359,"showCount":3337,"zanCount":536,"manualWeight":11,"mainColor":54},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","钱维城","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,63,25,27,94,98,26,99,100,118,97,31,7,32,96,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[104,51],{"id":3361,"slug":3362,"title":3363,"dynasty":18,"author":1267,"museum":450,"description":3364,"tags":3365,"thumbUrl":3367,"material":1055,"size":3368,"collection":104,"collections":3369,"showCount":3337,"zanCount":713,"manualWeight":11,"mainColor":108},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,116,24,63,135,93,27,98,94,30,3366,962,97,33,155,7],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[104,82],{"id":3371,"slug":3372,"title":3373,"dynasty":246,"author":3374,"museum":60,"description":3375,"tags":3376,"thumbUrl":3378,"material":102,"size":3379,"collection":49,"collections":3380,"showCount":3337,"zanCount":713,"manualWeight":11,"mainColor":108},216933,"bing-xi-tu-zhang-wei-bang-216933","冰嬉图","张为邦","这幅图像描绘了 龙射天球。在画的右侧，在人群的包围下，是皇帝的华丽冰床。在冰面上，旗手和弓箭手间隔排列，在冰面上绕圈滑行，游行队伍蜿蜒成龙的形状。冰面上有一道门，上面挂着一个球，叫做天球。当队伍走到这一步时，他们转过身来，向球射箭，射中者会得到奖励。游行过程中还包括杂技表演，如倒立、舞剑、腾空、中国旗帜和鹰心。",[23,26,27,25,30,3377,31,33,2887,38,69,7],"冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b093624e4bb931e68fd779aaf95d99.jpg","36.5x563",[49],{"id":3382,"slug":3383,"title":3079,"dynasty":246,"author":919,"museum":360,"description":3080,"tags":3384,"thumbUrl":3385,"material":223,"size":223,"collection":223,"collections":3386,"showCount":3387,"zanCount":11,"manualWeight":11,"mainColor":108},233908,"hua-hui-shan-shui-ce-yun-shou-ping-233908",[24,234,63,93,94,281,454,7,1202,95,118,99,98,2795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdc695aa86b4de6eec57f11a4c771330.jpg",[],71,{"id":3389,"slug":3390,"title":3391,"dynasty":246,"author":1115,"museum":360,"description":3392,"tags":3393,"thumbUrl":3394,"material":223,"size":223,"collection":223,"collections":3395,"showCount":3387,"zanCount":713,"manualWeight":11,"mainColor":54},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,24,331,27,98,293,1587,32,33,97,252,7,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],{"id":3397,"slug":3398,"title":3399,"dynasty":58,"author":3400,"museum":2829,"description":3401,"tags":3402,"thumbUrl":3403,"material":164,"size":3404,"collection":80,"collections":3405,"showCount":3387,"zanCount":536,"manualWeight":11,"mainColor":54},221302,"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,24,63,116,27,98,94,7,32,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[80,104,51],{"id":3407,"slug":3408,"title":3409,"dynasty":58,"author":3410,"museum":132,"description":3411,"tags":3412,"thumbUrl":3416,"material":594,"size":3417,"collection":791,"collections":3418,"showCount":3387,"zanCount":536,"manualWeight":11,"mainColor":54},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","吴琚","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[23,99,100,2437,2438,118,7,3413,3414,951,3415,121],"溪","垂杨","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","98.6x55.3cm",[791],{"id":3420,"slug":3421,"title":653,"dynasty":18,"author":1553,"museum":132,"description":3422,"tags":3423,"thumbUrl":3424,"material":93,"size":223,"collection":82,"collections":3425,"showCount":3387,"zanCount":11,"manualWeight":11,"mainColor":54},219345,"shan-shui-zhou-yi-ming-219345","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[24,63,135,93,98,94,529,293,75,7,33,155,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[82],{"id":3427,"slug":3428,"title":3429,"dynasty":277,"author":3430,"museum":3431,"description":3432,"tags":3433,"thumbUrl":3438,"material":47,"size":3439,"collection":104,"collections":3440,"showCount":3387,"zanCount":713,"manualWeight":11,"mainColor":54},218249,"xi-ge-liu-quan-tu-yao-ting-mei-218249","溪阁流泉图","姚廷美","湖北省博物馆","画面氤氲着清寂悠远的气息。远山如黛，云雾若带，将层峦叠嶂晕染得朦胧辽远。飞泉如练自崖壁倾泻，溅起细碎水花，似有泠泠声入耳。溪畔楼阁隐于苍松翠柏间，窗棂半启，仿佛正待幽人凭栏，静听泉石之语。笔墨苍劲中见秀润，干笔皴擦勾勒山石肌理，树木萧疏却含生机，枝桠交错间透出空灵感。水面波光粼粼，几只水鸟悠然游弋，更添野趣。整幅画以山水为载体，寄寓文人淡泊尘俗、寄情林泉的心境，素净色调里藏着深远意境，干笔皴擦与秀润笔墨交织，引人步入那片远离喧嚣的桃源之境，于无声处感受自然与心灵的共鸣。",[116,24,331,93,98,31,7,32,97,155,3434,3435,3436,3437],"水鸟","松柏","野趣","林泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b966a8551327c4586de5c5c557bf3d2.jpg","26.7x25.2cm",[104],{"id":3442,"slug":3443,"title":3444,"dynasty":18,"author":1553,"museum":3445,"description":3446,"tags":3447,"thumbUrl":3449,"material":223,"size":223,"collection":49,"collections":3450,"showCount":3451,"zanCount":536,"manualWeight":11,"mainColor":108},238562,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238562","明人升平翊赞图并书赞册","德国国立柏林民俗博物馆","此作工笔重彩，设色妍丽沉稳。朱漆楼宇界画工致，飞檐翼然，堂内宾主雅集宴乐，丝竹相和、把盏酬唱，一派闲雅升平。另一侧甲胄武士整队而来，鞍饰鲜亮、仪仗严整，赳赳威仪和宴饮雅趣相映成趣。\n山石松瀑勾勒细致，草木布景层次分明，人物衣纹走线考究，武士的英挺、宴客的雍容皆被细致摹写。以工致笔触铺陈出承平之世的礼乐典仪，将朝堂酬酢的盛大描摹尽致，处处流露着对盛世安稳的由衷赞颂。",[24,27,26,28,234,30,31,7,65,136,96,32,3448,2385],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6599ab556ad7494df2f3406cc7785279.jpg",[49,51],70,{"id":3453,"slug":3454,"title":1153,"dynasty":58,"author":386,"museum":360,"description":3455,"tags":3456,"thumbUrl":3458,"material":223,"size":223,"collection":223,"collections":3459,"showCount":3451,"zanCount":11,"manualWeight":11,"mainColor":54},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,116,24,63,3457,117,27,94,30,7,32,65,33,191],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":3461,"slug":3462,"title":3463,"dynasty":58,"author":1553,"museum":90,"description":3464,"tags":3465,"thumbUrl":3466,"material":47,"size":3467,"collection":104,"collections":3468,"showCount":3451,"zanCount":11,"manualWeight":11,"mainColor":54},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[116,24,63,1829,27,98,94,96,7,33,97,1233,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[104],{"id":3470,"slug":3471,"title":3472,"dynasty":18,"author":3473,"museum":2218,"description":3474,"tags":3475,"thumbUrl":3487,"material":47,"size":3488,"collection":104,"collections":3489,"showCount":3451,"zanCount":713,"manualWeight":11,"mainColor":108},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,63,25,27,94,98,99,100,95,32,96,121,742,743,840,7,3476,3477,3478,3479,3480,3481,3482,3483,3484,3485,1967,3486],"远浦","归帆","山市","晴岚","江天","暮雪","洞庭","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[104],{"id":3491,"slug":3492,"title":3493,"dynasty":58,"author":3494,"museum":360,"description":3495,"tags":3496,"thumbUrl":3497,"material":47,"size":223,"collection":51,"collections":3498,"showCount":3451,"zanCount":713,"manualWeight":11,"mainColor":54},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,116,24,63,1829,27,94,30,96,7,32,1606,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[51],{"id":3500,"slug":3501,"title":3502,"dynasty":18,"author":3027,"museum":132,"description":3503,"tags":3504,"thumbUrl":3507,"material":47,"size":3508,"collection":49,"collections":3509,"showCount":3451,"zanCount":536,"manualWeight":11,"mainColor":54},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,24,63,135,27,26,30,96,97,1190,7,643,3505,38,3506],"植物","纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[49],{"id":3511,"slug":3512,"title":3513,"dynasty":18,"author":2617,"museum":360,"description":3514,"tags":3515,"thumbUrl":3516,"material":223,"size":223,"collection":223,"collections":3517,"showCount":3518,"zanCount":713,"manualWeight":11,"mainColor":108},228498,"yan-shu-ban-qiao-tu-chen-chun-228498","烟树板桥图","此作用水墨写就山林野趣，取高远、平远错落构图，峰崖高耸以阔笔皴擦，墨色层叠间衬出云气空濛，飞瀑隐于峭岩之间，幽庐藏于繁林深处，将山野幽寂之态铺陈开来。\n\n近景烟树错落，信笔点染出枝叶婆娑之姿，板桥横溪，策杖行人缓步其上，茅舍错落林间，尽现村居恬然意趣。水墨干湿浓淡相生，逸笔草草间尽显文人写意随性，将江南山乡的湿润清旷，与林下幽居的闲散自在融为一体，淡远空灵中尽显林下风流。",[24,93,94,439,7,30,152,98,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68d5200227df0e2d65abef6d9fb122f.jpg",[],69,{"id":3520,"slug":3521,"title":3522,"dynasty":18,"author":89,"museum":2810,"description":3523,"tags":3524,"thumbUrl":3525,"material":102,"size":3526,"collection":223,"collections":3527,"showCount":3518,"zanCount":536,"manualWeight":11,"mainColor":108},220019,"dong-zhuang-tu-ce-zhi-zhe-gui-qiao-shen-zhou-220019","东庄图册之折桂桥","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。",[23,24,93,27,234,94,7,32,564,136,38,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6c408cd67552c039d8fa8da7af631.jpg","纵28.6厘米，横33厘米",[],{"id":3529,"slug":3530,"title":3531,"dynasty":277,"author":627,"museum":450,"description":3532,"tags":3533,"thumbUrl":3534,"material":102,"size":3535,"collection":104,"collections":3536,"showCount":3518,"zanCount":11,"manualWeight":11,"mainColor":108},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,116,24,63,25,94,27,98,31,33,97,155,99,118,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[104,51],{"id":3538,"slug":3539,"title":3540,"dynasty":277,"author":3541,"museum":328,"description":3542,"tags":3543,"thumbUrl":3544,"material":208,"size":3545,"collection":104,"collections":3546,"showCount":3518,"zanCount":536,"manualWeight":11,"mainColor":108},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[24,63,135,93,98,94,97,33,7,32,38,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[104],{"id":3548,"slug":3549,"title":3550,"dynasty":246,"author":613,"museum":360,"description":3551,"tags":3552,"thumbUrl":3553,"material":223,"size":223,"collection":223,"collections":3554,"showCount":3555,"zanCount":11,"manualWeight":11,"mainColor":108},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[116,24,63,93,27,94,98,100,118,136,318,96,7,32,95,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],68,{"id":3557,"slug":3558,"title":3559,"dynasty":58,"author":3560,"museum":60,"description":3561,"tags":3562,"thumbUrl":3564,"material":164,"size":3565,"collection":80,"collections":3566,"showCount":3555,"zanCount":11,"manualWeight":11,"mainColor":54},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,63,94,98,27,3563,529,439,7,32,96,118],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[80,104,82],{"id":3568,"slug":3569,"title":3570,"dynasty":18,"author":1267,"museum":360,"description":3571,"tags":3572,"thumbUrl":3573,"material":208,"size":3574,"collection":104,"collections":3575,"showCount":3555,"zanCount":11,"manualWeight":11,"mainColor":54},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[24,93,98,135,94,1606,96,7,32,97,33,152,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 x 34.3 厘米",[104],{"id":3577,"slug":3578,"title":3579,"dynasty":246,"author":2037,"museum":2038,"description":2039,"tags":3580,"thumbUrl":3581,"material":27,"size":2042,"collection":104,"collections":3582,"showCount":3555,"zanCount":11,"manualWeight":11,"mainColor":2044},214194,"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图",[24,63,25,93,27,94,98,7,32,96,97,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg",[104],{"id":3584,"slug":3585,"title":315,"dynasty":18,"author":202,"museum":132,"description":3586,"tags":3587,"thumbUrl":3588,"material":308,"size":3589,"collection":104,"collections":3590,"showCount":3591,"zanCount":11,"manualWeight":11,"mainColor":54},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,63,116,98,93,27,94,7,32,95,96,33,152,30,97,135,154,191,251,42,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[104],67,{"id":3593,"slug":3594,"title":315,"dynasty":277,"author":3595,"museum":132,"description":3596,"tags":3597,"thumbUrl":3598,"material":208,"size":3599,"collection":104,"collections":3600,"showCount":3591,"zanCount":713,"manualWeight":11,"mainColor":54},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[23,24,63,135,93,98,94,97,33,32,7,75,152,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[104],{"id":3602,"slug":3603,"title":3604,"dynasty":246,"author":3605,"museum":360,"description":3606,"tags":3607,"thumbUrl":3609,"material":223,"size":223,"collection":104,"collections":3610,"showCount":3611,"zanCount":11,"manualWeight":11,"mainColor":54},238196,"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,27,94,98,121,7,32,95,96,97,152,33,3178,3608,38],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[104,51],66,{"id":3613,"slug":3614,"title":3615,"dynasty":246,"author":1686,"museum":60,"description":3616,"tags":3617,"thumbUrl":3619,"material":678,"size":3620,"collection":223,"collections":3621,"showCount":3611,"zanCount":11,"manualWeight":11,"mainColor":108},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,63,135,94,93,98,27,3058,3618,152,7,32,250,400,33,97,31,440,96],"叠壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],{"id":3623,"slug":3624,"title":3625,"dynasty":18,"author":19,"museum":360,"description":3626,"tags":3627,"thumbUrl":3628,"material":223,"size":223,"collection":223,"collections":3629,"showCount":3611,"zanCount":536,"manualWeight":11,"mainColor":54},228430,"jiang-shan-zao-chun-tu-juan-chou-ying-228430","江山早春图卷","此卷以青绿敷色晕染山峦，石青浅绛晕出早春烟岚空濛之态，平远构图铺展百里江南。层峦如螺黛迤逦，汀渚蜿蜒如带，茂林村居散缀江畔，渔舟横波独行，将早春清灵秀雅尽数铺陈。\n\n笔墨工致细腻，青绿设色古雅妍丽却无俗艳之感，远山轻描淡写含黛色，近树苍劲已带新翠，茅庐隐于林泉，尽显逸世幽居之趣。画作融院体精工与文人山水淡远意境于一体，暗藏清寂悠然，将山水静穆与早春生机相融，引人身临其境，静赏江南早春的温柔诗意。",[23,24,63,25,26,117,27,98,94,1587,33,31,7,32,1445,1789],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08aa96f29fa17783d88d6937cda876e.jpg",[],{"id":3631,"slug":3632,"title":3633,"dynasty":277,"author":2731,"museum":20,"description":3634,"tags":3635,"thumbUrl":3636,"material":3637,"size":3638,"collection":104,"collections":3639,"showCount":3611,"zanCount":11,"manualWeight":11,"mainColor":54},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,116,25,93,98,94,7,32,95,33,38,840,121,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","绢本水墨","30.8x475.3cm",[104,82],{"id":3641,"slug":3642,"title":3643,"dynasty":277,"author":2362,"museum":132,"description":3644,"tags":3645,"thumbUrl":3646,"material":178,"size":3647,"collection":104,"collections":3648,"showCount":3611,"zanCount":11,"manualWeight":11,"mainColor":108},220772,"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[23,24,63,25,93,94,98,100,2842,118,31,7,32,96,235,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[104,82],{"id":3650,"slug":3651,"title":3652,"dynasty":18,"author":525,"museum":328,"description":3653,"tags":3654,"thumbUrl":3657,"material":102,"size":3658,"collection":104,"collections":3659,"showCount":3611,"zanCount":11,"manualWeight":11,"mainColor":54},220069,"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","此图写茂林烟树，平坡浅屿之间，有村舍水榭隐现于崖边江尾。村后危峰矗起，高耸入云。山谷中飞泉奔突，大江远处，烟云弥漫，青山如黛，若在有无之间。画用巨然长披麻湿笔晕染。林际崖上，一片郁葱，仿佛被宿雨洗净，朝霞染过。崇祯元年戊辰，董其昌闲居江南，悠游湖山，耽于书画，正是艺术大成之时。此图画得轻松恬静，浑沦一体，右上所题自作诗，亦写出他功成名就乐于安闲自适的心态。读之令人入静。",[23,24,93,98,135,1054,94,206,3655,7,32,176,33,3656,137],"杉","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[104],{"id":3661,"slug":3662,"title":3663,"dynasty":246,"author":3664,"museum":217,"description":3665,"tags":3666,"thumbUrl":3667,"material":208,"size":3668,"collection":104,"collections":3669,"showCount":3611,"zanCount":536,"manualWeight":11,"mainColor":54},219762,"jiu-long-tan-jia-chao-tu-huang-shen-219762","九龙滩驾潮图","黄慎","一位纤夫露出正脸，虽然他的眉眼五官刻画十分简单，却依然可以感受到他使出浑身力气，坚定不移的神情和姿态，似乎在这险滩之上，能清楚听到他一边喊着船工号子，一边吆喝着同行的伙计，凭借多年经验征服这险境，自信满满。\n都说眼睛是心灵的窗口，古人写意传神，正是这眼眸眉目最为关键画龙点睛的道理妇孺皆知，古画中每个人物的一个眼神，一颦一笑，都饱含着他们最为真实的情愫",[23,24,93,98,94,95,32,33,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad659f0445c5015ff40352ba6ebce03a.jpg","纵90横119.8",[104],{"id":3671,"slug":3672,"title":3673,"dynasty":58,"author":1553,"museum":90,"description":3674,"tags":3675,"thumbUrl":3676,"material":47,"size":3677,"collection":104,"collections":3678,"showCount":3611,"zanCount":536,"manualWeight":11,"mainColor":54},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[23,24,63,1829,27,94,30,7,65,97,439,951,118,121,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[104],{"id":3680,"slug":3681,"title":3682,"dynasty":58,"author":173,"museum":360,"description":3683,"tags":3684,"thumbUrl":3685,"material":494,"size":495,"collection":223,"collections":3686,"showCount":3687,"zanCount":11,"manualWeight":11,"mainColor":108},288428,"xi-shan-qing-yuan-quan-juan-xia-gui-288428","溪山清远全卷","描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地。",[23,24,25,93,331,98,94,97,33,365,32,7,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2e7ac0afedc23fcf6291490a68ee6a.jpg",[],65,{"id":3689,"slug":3690,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":3691,"thumbUrl":3692,"material":223,"size":223,"collection":104,"collections":3693,"showCount":3687,"zanCount":11,"manualWeight":11,"mainColor":108},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581",[24,63,116,93,528,98,94,191,154,95,33,7,1969,176,155,1235,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[104,82],{"id":3695,"slug":3696,"title":3697,"dynasty":18,"author":2606,"museum":60,"description":3698,"tags":3699,"thumbUrl":3700,"material":208,"size":3701,"collection":82,"collections":3702,"showCount":3687,"zanCount":536,"manualWeight":11,"mainColor":108},219209,"ce-zhang-xun-you-tu-xie-shi-chen-219209","策杖寻幽图","图中山峰巍峨耸立，中间一条溪流将画面大体分为左右两段。山谷溪流上的桥面暗示两山间公路畅通，画左林木掩映下一文士拄杖沿山路走来，点明“寻幽”主题。谢时臣的部分作品皆自题是仿元王蒙笔法而作，如南京博物院藏正德十二年（1517年）《仿王蒙山水图》、故宫藏嘉靖二十九年（1550年）《溪亭逸思图》和上海博物馆藏《江山胜览图》等。表明王蒙在谢时臣画风的产生过程中有着重要的含义。该图是谢时臣60岁时所作（嘉靖二十五年，1546年），在山石结构、笔墨皴法上还可以看见王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则显著是得到了沈周的影响导致。该画整体感强，皴法晕染能较好地渗入到山石整体的构架之中，构图细腻，笔墨苍润，体现出画家融合前人笔墨创造自己风格的尽力。",[23,24,93,135,94,98,7,32,136,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e92a7653f3aa0d79eeb78387794f54.jpg","纵84.9厘米，横31.3厘米",[82],{"id":3704,"slug":3705,"title":3706,"dynasty":58,"author":980,"museum":1499,"description":3707,"tags":3708,"thumbUrl":3709,"material":47,"size":3710,"collection":104,"collections":3711,"showCount":3687,"zanCount":11,"manualWeight":11,"mainColor":108},219016,"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[23,24,63,116,1829,93,27,98,94,7,30,136,97,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[104],{"id":3713,"slug":3714,"title":3715,"dynasty":277,"author":3716,"museum":60,"description":3717,"tags":3718,"thumbUrl":3719,"material":208,"size":3720,"collection":104,"collections":3721,"showCount":3687,"zanCount":11,"manualWeight":11,"mainColor":108},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","沈铉","此图为《张观等五家集绘卷》之一。画丛林远岫，平溪小桥。远山平缓，意境幽静冷寂。无款识，",[24,93,94,98,136,318,250,7,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305432fdd2052683afa0a54e0506946.jpg","30x40.9cm",[104],{"id":3723,"slug":3724,"title":3725,"dynasty":1174,"author":2691,"museum":360,"description":3726,"tags":3727,"thumbUrl":3728,"material":223,"size":223,"collection":223,"collections":3729,"showCount":3730,"zanCount":536,"manualWeight":11,"mainColor":54},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[24,27,94,98,529,530,439,65,66,30,7,32,97,96,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":3732,"slug":3733,"title":3734,"dynasty":18,"author":3735,"museum":132,"description":3736,"tags":3737,"thumbUrl":3739,"material":27,"size":3740,"collection":104,"collections":3741,"showCount":3730,"zanCount":11,"manualWeight":11,"mainColor":108},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,63,25,27,98,94,7,31,33,97,250,3738,38,190,191,154],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[104,82],{"id":3743,"slug":3744,"title":3745,"dynasty":18,"author":2867,"museum":450,"description":3746,"tags":3747,"thumbUrl":3749,"material":3750,"size":3751,"collection":82,"collections":3752,"showCount":3730,"zanCount":11,"manualWeight":11,"mainColor":1224},222229,"song-feng-gao-shi-tu-wen-bo-ren-222229","松风高士图","该作品是明代画家文伯仁晚年的力作。该作品画中山峦高峻，危崖峭壁之间，山径曲折，飞瀑直下，注入山前的清溪中。苍松翠柏隔岸呼应，遮掩草堂。高士曳杖而立，神态安闲。作品用笔清秀爽利，墨色淡雅苍润。文伯仁在画中的题跋小楷十分工整，自谓仿赵孟頫，实则仅师其大意。其画更多取法元代王蒙及文徵明风格。\n该画作把近处的坡石先以淡墨勾勒，再以干墨或浓墨点苔，分出坡石的脉络。画家在水口处横抹几笔，既显画面空灵，又让人感觉水波轻漾。夹岸的松、柏先双勾树干，再以劲利的短线写松针，以密圈作柏叶，枝柯交错，如虬龙劲舞。茅屋被丛树掩映，有“结庐在人境，而无车马喧”之感。远处群山取自文氏画法。画家先以细密皴法定基调，再以淡墨勾勒山骨，然后用干笔作解索皴、牛毛皴，看似随意点染，却让山体层次分明、凹凸有致。千岩万壑、崇山峻岭、山径盘旋、涧水曲折，苍莽之气毕现于纸上。由于画家用笔多变，又着意经营，所以画面既浑厚华滋，又开阔旷达，毫无促迫感。画家在松树下的桥头处设主、仆两人，有画龙点睛之功，正如文徵明诗中所云：“万叠高山供道眼，千寻飞瀑净尘心。”寄情山林、不求闻达的高士，让这幅山水画有了更深远的韵味。",[23,24,93,98,135,94,206,3748,7,32,97,33,252],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9139afd4faa992b004cff6b1ffd56da6.jpg","设色纸本","98.7cm×27.6cm",[82,51],{"id":3754,"slug":3755,"title":3756,"dynasty":18,"author":89,"museum":2810,"description":3523,"tags":3757,"thumbUrl":3758,"material":102,"size":3526,"collection":223,"collections":3759,"showCount":3730,"zanCount":11,"manualWeight":11,"mainColor":108},220015,"dong-zhuang-tu-ce-zhi-quan-zhen-guan-shen-zhou-220015","东庄图册之全真馆",[24,116,63,234,93,98,94,7,32,95,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa56a8e013ec5b636a42d259b11e4c21.jpg",[],{"id":3761,"slug":3762,"title":3763,"dynasty":246,"author":3764,"museum":60,"description":3765,"tags":3766,"thumbUrl":3767,"material":223,"size":223,"collection":104,"collections":3768,"showCount":3769,"zanCount":11,"manualWeight":11,"mainColor":108},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,25,27,98,94,97,33,71,152,365,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[104,51],63,{"id":3771,"slug":3772,"title":3773,"dynasty":58,"author":3774,"museum":203,"description":3775,"tags":3776,"thumbUrl":3777,"material":164,"size":3778,"collection":80,"collections":3779,"showCount":3769,"zanCount":11,"manualWeight":11,"mainColor":54},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,116,63,25,93,98,94,191,33,293,155,7,32,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[80],{"id":3781,"slug":3782,"title":3783,"dynasty":18,"author":3784,"museum":132,"description":3785,"tags":3786,"thumbUrl":3787,"material":47,"size":3788,"collection":49,"collections":3789,"showCount":3769,"zanCount":11,"manualWeight":11,"mainColor":108},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[23,24,63,25,27,26,30,33,7,32,97,206,564,645,96,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[49,51],{"id":3791,"slug":3792,"title":3793,"dynasty":246,"author":1062,"museum":60,"description":3794,"tags":3795,"thumbUrl":3796,"material":47,"size":3797,"collection":104,"collections":3798,"showCount":3769,"zanCount":536,"manualWeight":11,"mainColor":54},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,27,28,26,98,94,31,97,33,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[104],{"id":3800,"slug":3801,"title":1308,"dynasty":246,"author":1309,"museum":3802,"description":3056,"tags":3803,"thumbUrl":3804,"material":102,"size":223,"collection":104,"collections":3805,"showCount":3769,"zanCount":11,"manualWeight":11,"mainColor":108},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆",[24,63,135,94,98,27,29,97,33,32,7,155,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[104],{"id":3807,"slug":3808,"title":653,"dynasty":246,"author":1115,"museum":60,"description":3809,"tags":3810,"thumbUrl":3814,"material":532,"size":3815,"collection":104,"collections":3816,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":108},237575,"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[116,24,63,135,93,94,3811,1202,154,7,137,3812,3813],"峰峦","披麻皴","点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[104,82],62,{"id":3819,"slug":3820,"title":3821,"dynasty":246,"author":1686,"museum":60,"description":1687,"tags":3822,"thumbUrl":3827,"material":2528,"size":223,"collection":104,"collections":3828,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":108},236272,"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴",[24,331,135,93,3823,32,95,7,31,3824,152,3825,3826],"秋山","古树","幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg",[104,82],{"id":3830,"slug":3831,"title":3146,"dynasty":18,"author":89,"museum":60,"description":3147,"tags":3832,"thumbUrl":3833,"material":237,"size":3150,"collection":223,"collections":3834,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":108},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[24,63,234,93,100,98,94,7,32,95,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":3836,"slug":3837,"title":3838,"dynasty":277,"author":627,"museum":132,"description":3839,"tags":3840,"thumbUrl":3841,"material":223,"size":223,"collection":223,"collections":3842,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":54},232799,"shan-shui-tu-xi-shan-fang-you-wang-meng-232799","山水图(溪山访友)","此画写深秋山水。凌云而出的高山，清冽的溪水，巨石突兀，长松乔木，点缀着寻幽访友的高士，表现了寄情林泉的雅兴。",[24,63,135,93,98,94,7,32,96,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a3f4507d7ed0adacc32cb42699c50a5.jpg",[],{"id":3844,"slug":3845,"title":3846,"dynasty":246,"author":613,"museum":360,"description":3847,"tags":3848,"thumbUrl":3850,"material":223,"size":223,"collection":223,"collections":3851,"showCount":3817,"zanCount":536,"manualWeight":11,"mainColor":54},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,24,93,98,135,63,100,94,676,922,7,32,206,616,3849,30],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],{"id":3853,"slug":3854,"title":3855,"dynasty":277,"author":3856,"museum":360,"description":3857,"tags":3858,"thumbUrl":3860,"material":223,"size":223,"collection":223,"collections":3861,"showCount":3817,"zanCount":536,"manualWeight":11,"mainColor":54},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","仙山楼阁图","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,116,24,63,910,117,27,331,26,98,135,3859,31,293,7,32,30,97,33,155],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":3863,"slug":3864,"title":3865,"dynasty":3866,"author":1553,"museum":360,"description":3867,"tags":3868,"thumbUrl":3870,"material":494,"size":495,"collection":223,"collections":3871,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":54},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,63,27,26,94,31,7,32,33,97,38,3869],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":3873,"slug":3874,"title":3875,"dynasty":277,"author":1360,"museum":20,"description":3876,"tags":3877,"thumbUrl":3878,"material":47,"size":3879,"collection":49,"collections":3880,"showCount":3817,"zanCount":536,"manualWeight":11,"mainColor":54},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,63,25,28,26,27,30,31,33,97,32,96,7,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[49,51],{"id":3882,"slug":3883,"title":3884,"dynasty":18,"author":3885,"museum":132,"description":3886,"tags":3887,"thumbUrl":3889,"material":47,"size":3890,"collection":51,"collections":3891,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":54},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[116,24,63,135,27,26,98,94,31,96,7,32,97,33,3888,39,154,251],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[51],{"id":3893,"slug":3894,"title":3895,"dynasty":246,"author":1786,"museum":60,"description":3896,"tags":3897,"thumbUrl":3898,"material":208,"size":3899,"collection":104,"collections":3900,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":108},218497,"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[23,24,63,135,93,98,29,94,7,32,33,191,252,154,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[104],{"id":3902,"slug":3903,"title":3904,"dynasty":58,"author":980,"museum":328,"description":3905,"tags":3906,"thumbUrl":3907,"material":47,"size":3908,"collection":223,"collections":3909,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":108},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,24,63,234,27,94,414,7,30,99,118,100,32,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg","纵28厘米、横27厘米",[],{"id":3911,"slug":3912,"title":2227,"dynasty":246,"author":3913,"museum":328,"description":3914,"tags":3915,"thumbUrl":3917,"material":47,"size":3918,"collection":104,"collections":3919,"showCount":3817,"zanCount":11,"manualWeight":11,"mainColor":54},217880,"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,63,94,27,98,1721,529,1470,7,414,3916],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[104],{"id":3921,"slug":3922,"title":2626,"dynasty":18,"author":3923,"museum":360,"description":3924,"tags":3925,"thumbUrl":3926,"material":164,"size":3927,"collection":49,"collections":3928,"showCount":3929,"zanCount":11,"manualWeight":11,"mainColor":108},238106,"ren-wu-zhou-chen-hong-shou-238106","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,63,135,27,26,30,439,644,7,32,1096,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bd803c589c692c9898d167fa5858a9.jpg","118x55",[49],61,{"id":3931,"slug":3932,"title":3933,"dynasty":246,"author":3934,"museum":60,"description":3935,"tags":3936,"thumbUrl":3937,"material":678,"size":3938,"collection":49,"collections":3939,"showCount":3929,"zanCount":11,"manualWeight":11,"mainColor":108},233152,"huang-shan-tu-ce-mei-qing-233152","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。",[24,93,98,234,94,439,96,7,30,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239d3facce2a658eb2b134f4725799.jpg","纵26厘米，横33厘米",[49,104],{"id":3941,"slug":3942,"title":3943,"dynasty":277,"author":1553,"museum":360,"description":3944,"tags":3945,"thumbUrl":3946,"material":223,"size":223,"collection":223,"collections":3947,"showCount":3929,"zanCount":536,"manualWeight":11,"mainColor":54},228206,"gong-nv-you-yuan-tu-li-zhou-yi-ming-228206","宫女游园图立轴","以青绿晕染出苍润苑囿，层叠亭台随山势铺展，界画工致严整，朱红飞檐掩映在古松奇石间。\n高台上仕女凭栏远眺，廊庑间宫人行止悠然，或低语相伴，或缓步行游，素衣翩跹打破殿宇的厚重沉静。\n设色古雅柔和，山石松枝的沉郁底色，衬得仕女身姿愈发轻盈灵秀，将深宫之中片刻偷闲的游园意趣晕染在绢素之上，藏着深闺里难得的松弛意态，古韵内敛悠长。",[23,24,135,27,26,28,30,744,31,94,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2765d101e95a8b69919d662341f6dace.jpg",[],{"id":3949,"slug":3950,"title":3951,"dynasty":18,"author":3952,"museum":132,"description":3953,"tags":3954,"thumbUrl":3958,"material":3637,"size":3959,"collection":104,"collections":3960,"showCount":3929,"zanCount":536,"manualWeight":11,"mainColor":54},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,116,331,93,3955,3956,191,152,7,95,3957,591,153,31,33,3059],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[104,82],{"id":3962,"slug":3963,"title":3964,"dynasty":277,"author":627,"museum":132,"description":3965,"tags":3966,"thumbUrl":3967,"material":164,"size":3968,"collection":104,"collections":3969,"showCount":3929,"zanCount":11,"manualWeight":11,"mainColor":54},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,116,24,63,135,93,27,98,94,33,32,7,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[104,51],{"id":3971,"slug":3972,"title":3973,"dynasty":18,"author":290,"museum":60,"description":3974,"tags":3975,"thumbUrl":3976,"material":102,"size":3977,"collection":791,"collections":3978,"showCount":3929,"zanCount":11,"manualWeight":11,"mainColor":108},218499,"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[23,24,63,25,1054,93,27,26,94,31,7,32,96,33,97,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[791,104],{"id":3980,"slug":3981,"title":979,"dynasty":58,"author":1553,"museum":360,"description":3982,"tags":3983,"thumbUrl":3984,"material":494,"size":495,"collection":223,"collections":3985,"showCount":3986,"zanCount":474,"manualWeight":11,"mainColor":54},288461,"xi-shan-wu-jin-tu-yi-ming-288461","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[23,24,25,93,331,97,33,32,95,7,365,155,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],60,{"id":3988,"slug":3989,"title":3990,"dynasty":246,"author":1042,"museum":360,"description":3991,"tags":3992,"thumbUrl":3993,"material":223,"size":223,"collection":223,"collections":3994,"showCount":3986,"zanCount":11,"manualWeight":11,"mainColor":108},230133,"yu-yu-liu-se-tu-hong-ren-230133","雨余柳色图","《雨余柳色图》是 僧侣画家 的国画作品。\n该画为立轴，纸本墨笔，纵84.4厘米，横45.厘米，现藏于 。\n《雨余柳色图》奥境奇辟，缅邈幽深，峰峦俊逸，水渚错落，林木萧疏，江水辽阔，远山浮动。\n全幅以山、坡为主，图右缀有几株垂柳，一座小小木桥；图左设有几栋屋宇，远处画一道流水。\n此画笔墨苍劲整洁，以细笔为主，兼用侧锋，并用乾笔皴擦，有秀逸清幽之气。\n弘仁（161--1664）[清]僧。\n明诸生，甲申后为僧，号渐江，一号无智，人称梅花古衲，俗姓江，名韬，字六奇，后改名舫，字鸥盟， 人。\n少孤贫，性癖，以铅椠养母。\n一日负米行三十里，不逮期，欲赴练江死。\n母殡后不婚不宦。\n明亡后清兵进逼 时，曾参加反清复明斗争，后于 落发为僧，法名弘仁，字无智，号 ，又号梅花古衲，数年后重返故里，一心研习画学。\n游 之幔亭，皈依报亲寺古航师为圆顶焉。",[24,116,63,135,93,98,94,281,7,31,336,3120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8413b0a13127d754377e4b83368527.jpg",[],{"id":3996,"slug":3997,"title":3998,"dynasty":18,"author":1392,"museum":187,"description":3999,"tags":4000,"thumbUrl":4001,"material":378,"size":4002,"collection":104,"collections":4003,"showCount":3986,"zanCount":713,"manualWeight":11,"mainColor":54},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,63,25,27,94,100,99,98,26,191,71,31,7,32,95,96,121,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[104,51],{"id":4005,"slug":4006,"title":4007,"dynasty":18,"author":525,"museum":132,"description":4008,"tags":4009,"thumbUrl":4010,"material":178,"size":4011,"collection":104,"collections":4012,"showCount":3986,"zanCount":11,"manualWeight":11,"mainColor":108},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[23,24,63,93,94,98,29,99,100,118,7,32,33,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[104,82],{"id":4014,"slug":4015,"title":146,"dynasty":246,"author":4016,"museum":20,"description":4017,"tags":4018,"thumbUrl":4019,"material":208,"size":4020,"collection":104,"collections":4021,"showCount":3986,"zanCount":11,"manualWeight":11,"mainColor":108},220009,"xi-shan-xing-lv-tu-liu-yu-220009","柳堉","柳堉（1620—1689年以后），字公韩、公含，号愚谷，江宁（南京）诸生。工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。柳堉身在清代经济和文化发达的南京，受到广泛的艺术影响，众家风格的融合都体现在了这幅画上。作品中体积庞大的群山体反映受到了董其昌的影响。由黑色小叶子点缀的苍松、干燥的笔触表明了对安徽画派的熟悉，而奇妙的景观形态和深邃的远距离景观与惊人的特写镜头的大胆并置，显示了他对早期南京画家如吴彬的崇尚。",[23,24,63,25,93,98,94,7,32,95,96,121,136,31,152,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f721d9feb3a8cf66ea0346ad6bd077.jpg","26.4x508.6厘米",[104],{"id":4023,"slug":4024,"title":4025,"dynasty":488,"author":1553,"museum":132,"description":4026,"tags":4027,"thumbUrl":4031,"material":47,"size":4032,"collection":49,"collections":4033,"showCount":3986,"zanCount":536,"manualWeight":11,"mainColor":54},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[4028,27,1665,30,293,7,3608,4029,1666,3073,4030,38],"线绣","鸟","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[49],{"id":4035,"slug":4036,"title":1613,"dynasty":58,"author":386,"museum":360,"description":4037,"tags":4038,"thumbUrl":4040,"material":494,"size":495,"collection":223,"collections":4041,"showCount":4042,"zanCount":713,"manualWeight":11,"mainColor":54},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,116,24,25,63,27,26,30,94,7,32,97,2852,206,1190,645,1618,1619,4039,118],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],59,{"id":4044,"slug":4045,"title":4046,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":4047,"thumbUrl":4049,"material":164,"size":1461,"collection":223,"collections":4050,"showCount":4042,"zanCount":11,"manualWeight":11,"mainColor":108},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[24,63,27,26,28,30,31,7,32,96,119,97,643,39,33,1557,950,4048,154],"圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":4052,"slug":4053,"title":4054,"dynasty":246,"author":1115,"museum":132,"description":4055,"tags":4056,"thumbUrl":4057,"material":178,"size":4058,"collection":104,"collections":4059,"showCount":4042,"zanCount":713,"manualWeight":11,"mainColor":108},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[24,27,94,29,98,135,118,529,1470,439,7,32,75,176,155,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[104],{"id":4061,"slug":4062,"title":4063,"dynasty":246,"author":4064,"museum":132,"description":4065,"tags":4066,"thumbUrl":4067,"material":178,"size":4068,"collection":104,"collections":4069,"showCount":4042,"zanCount":11,"manualWeight":11,"mainColor":108},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","董邦达","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,63,25,27,94,98,28,118,31,7,32,33,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[104],{"id":4071,"slug":4072,"title":4073,"dynasty":58,"author":1553,"museum":360,"description":4074,"tags":4075,"thumbUrl":4076,"material":47,"size":4077,"collection":49,"collections":4078,"showCount":4042,"zanCount":713,"manualWeight":11,"mainColor":54},218449,"rui-ying-tu-yi-ming-218449","瑞应图","服饰、服装、建筑和家具都是典型的宋代制度。画风古朴，以绿色为背景，以树木和流云为组合，大量镀金和重彩绘制，都是五代初期和北宋时期的风格。",[24,116,27,28,26,30,31,7,33,97,38,1666,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cd80077892a3a20c59217572e0e60d9.jpg","35x56.5",[49],{"id":4080,"slug":4081,"title":4082,"dynasty":246,"author":4083,"museum":360,"description":4084,"tags":4085,"thumbUrl":4086,"material":223,"size":223,"collection":104,"collections":4087,"showCount":4088,"zanCount":11,"manualWeight":11,"mainColor":108},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,63,25,93,29,98,94,7,32,95,96,136,97,30,293,281,75,3048,250,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[104],58,{"id":4090,"slug":4091,"title":2158,"dynasty":246,"author":2578,"museum":2829,"description":4092,"tags":4093,"thumbUrl":4094,"material":223,"size":223,"collection":104,"collections":4095,"showCount":4088,"zanCount":11,"manualWeight":11,"mainColor":108},236728,"shan-shui-ce-hua-yan-236728","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,27,234,93,98,529,530,96,564,7,121,336,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[104,51],{"id":4097,"slug":4098,"title":4099,"dynasty":246,"author":613,"museum":60,"description":4100,"tags":4101,"thumbUrl":4103,"material":678,"size":4104,"collection":223,"collections":4105,"showCount":4088,"zanCount":474,"manualWeight":11,"mainColor":108},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[24,63,93,98,135,118,94,206,4102,454,97,33,7,32],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":4107,"slug":4108,"title":4109,"dynasty":18,"author":202,"museum":450,"description":4110,"tags":4111,"thumbUrl":4112,"material":402,"size":4113,"collection":104,"collections":4114,"showCount":4088,"zanCount":11,"manualWeight":11,"mainColor":54},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,116,24,63,135,93,27,98,94,96,7,32,33,152,30,97,155,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[104,82],{"id":4116,"slug":4117,"title":4118,"dynasty":18,"author":4119,"museum":20,"description":4120,"tags":4121,"thumbUrl":4123,"material":678,"size":4124,"collection":104,"collections":4125,"showCount":4088,"zanCount":11,"manualWeight":11,"mainColor":108},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,63,25,27,94,26,98,93,4122,31,7,32,96,121,97,33,155,30,400,492],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[104,51],{"id":4127,"slug":4128,"title":4129,"dynasty":246,"author":3353,"museum":132,"description":4130,"tags":4131,"thumbUrl":4132,"material":2005,"size":4133,"collection":51,"collections":4134,"showCount":4088,"zanCount":11,"manualWeight":11,"mainColor":108},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[116,24,63,135,331,27,94,31,7,32,96,33,75,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a42bd26d4ba10e012b0184f707a951b.jpg","63.7x31.8",[51],{"id":4136,"slug":4137,"title":4138,"dynasty":58,"author":1553,"museum":4139,"description":4140,"tags":4141,"thumbUrl":4142,"material":47,"size":4143,"collection":104,"collections":4144,"showCount":4088,"zanCount":536,"manualWeight":11,"mainColor":54},218460,"gao-shi-lin-tiao-tu-yi-ming-218460","高士临眺图","松美术馆","虬松盘枝如铁，松针密织似筛，泼墨染出苍劲骨相。树下亭榭檐角轻挑，隐见幽人凭栏，目光随流水漫向天际。波光敛于绢素，小桥横卧如带，行人二三，步痕轻浅入烟霭。远山淡赭晕染，与空濛天色相融，留白处尽是宋人山水的清寂况味。笔墨简而意远，构图疏朗却藏深致——苍松古拙、亭榭雅致、流水悠缓、远山虚渺，交织成文人临眺的诗意图景，将天地旷远与内心悠然凝作绢上无声诗行，尽显宋画山水的韵致与哲思。",[24,116,1829,27,94,30,136,7,32,336,31,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff551be231d4f0968312bf052ea0c1438.jpg","26x26cm",[104],{"id":4146,"slug":4147,"title":4148,"dynasty":277,"author":327,"museum":360,"description":4149,"tags":4150,"thumbUrl":4151,"material":494,"size":495,"collection":223,"collections":4152,"showCount":4153,"zanCount":11,"manualWeight":11,"mainColor":108},290433,"ceng-yan-qu-jian-tu-huang-gong-wang-290433","层岩曲涧图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[116,24,63,135,93,94,176,32,7,2852,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":4155,"slug":4156,"title":4157,"dynasty":246,"author":4158,"museum":360,"description":4159,"tags":4160,"thumbUrl":4161,"material":223,"size":223,"collection":223,"collections":4162,"showCount":4153,"zanCount":536,"manualWeight":11,"mainColor":108},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","陈枚","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[24,28,27,26,234,118,94,31,7,33,97,38,39,155,250,414,2978,643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":4164,"slug":4165,"title":4166,"dynasty":18,"author":1267,"museum":60,"description":4167,"tags":4168,"thumbUrl":4169,"material":208,"size":4170,"collection":82,"collections":4171,"showCount":4153,"zanCount":474,"manualWeight":11,"mainColor":108},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[23,24,63,25,93,27,98,100,99,94,31,136,336,7,32,96,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 横102.2厘米",[82],{"id":4173,"slug":4174,"title":4175,"dynasty":277,"author":4176,"museum":2123,"description":4177,"tags":4178,"thumbUrl":4179,"material":208,"size":4180,"collection":104,"collections":4181,"showCount":4153,"zanCount":536,"manualWeight":11,"mainColor":108},219934,"tan-you-gui-lai-tu-zhu-de-run-219934","探友归来图","朱德润","朱德润字泽民，号睢阳山人，又号旹杰，其擅山水，初学许道宁，后法郭熙，所画多作溪山清远、峰岳耸秀、林木挺健，山石用卷云皴，树作蟹爪枝，颇具真实感。",[23,24,63,25,93,98,94,7,32,95,439,97,155,30,252,118,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72957dd60af3e3d5c952f9e954c2d1e.jpg","28.2x119.3",[104],{"id":4183,"slug":4184,"title":2312,"dynasty":58,"author":1553,"museum":360,"description":4185,"tags":4186,"thumbUrl":4187,"material":47,"size":4188,"collection":104,"collections":4189,"showCount":4153,"zanCount":713,"manualWeight":11,"mainColor":54},218653,"chun-shan-xing-lv-tu-yi-ming-218653","春山如黛，溪水流淙。石桥横卧波上，行旅往来其间，驮队缓行溪边，似闻蹄声轻响。山舍临流而筑，柳丝轻拂檐角，远山层叠含烟，近石嶙峋映水。笔墨细腻处，见树影婆娑、屋宇错落；意境淡远间，融自然生机与人文意趣。宋代山水之韵在此尽显——不刻意雕琢，却于寻常景致中藏着春日的温婉与行旅的从容，仿佛能让人随画中人行过溪桥，步入那烟霞缭绕的春山深处，感受时光慢淌的诗意。",[24,63,94,27,26,98,7,32,96,136,31,97,33,30,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600d5fe1024075bc6fd2e533eb62609.jpg","191x111",[104],{"id":4191,"slug":4192,"title":4193,"dynasty":58,"author":1553,"museum":360,"description":4194,"tags":4195,"thumbUrl":4196,"material":494,"size":495,"collection":223,"collections":4197,"showCount":4198,"zanCount":11,"manualWeight":11,"mainColor":54},289612,"xi-shan-feng-yu-tu-yi-ming-289612","溪山风雨图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[1829,24,93,98,94,7,33,75,97,2062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffdfa2a6cedea91853cef1edc824ba57.jpg",[],56,{"id":4200,"slug":4201,"title":561,"dynasty":18,"author":19,"museum":360,"description":4202,"tags":4203,"thumbUrl":4204,"material":494,"size":495,"collection":223,"collections":4205,"showCount":4198,"zanCount":536,"manualWeight":11,"mainColor":108},228455,"du-le-yuan-tu-chou-ying-228455","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[23,24,63,25,27,26,28,30,31,7,32,96,33,962,97,39,643,1235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],{"id":4207,"slug":4208,"title":4209,"dynasty":18,"author":2867,"museum":132,"description":4210,"tags":4211,"thumbUrl":4212,"material":102,"size":4213,"collection":82,"collections":4214,"showCount":4198,"zanCount":536,"manualWeight":11,"mainColor":108},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,63,135,93,27,98,118,94,206,564,96,7,32,97,33,121,136,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[82,51],{"id":4216,"slug":4217,"title":4218,"dynasty":58,"author":3136,"museum":113,"description":4219,"tags":4220,"thumbUrl":4221,"material":164,"size":4222,"collection":80,"collections":4223,"showCount":4198,"zanCount":713,"manualWeight":11,"mainColor":54},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,116,24,63,25,516,27,100,118,99,30,31,32,7,96,136,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[80,104,51],{"id":4225,"slug":4226,"title":4227,"dynasty":58,"author":1553,"museum":360,"description":4228,"tags":4229,"thumbUrl":4230,"material":164,"size":4231,"collection":80,"collections":4232,"showCount":4198,"zanCount":536,"manualWeight":11,"mainColor":54},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,116,24,63,27,98,94,136,96,32,30,65,118,97,7,1606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[80],{"id":4234,"slug":4235,"title":4236,"dynasty":58,"author":1553,"museum":60,"description":4237,"tags":4238,"thumbUrl":4239,"material":164,"size":4240,"collection":80,"collections":4241,"showCount":4242,"zanCount":11,"manualWeight":11,"mainColor":498},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,24,116,63,135,27,94,579,3823,152,7,32,3738,176,33,1587,158,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[80,104,82],55,{"id":4244,"slug":4245,"title":4246,"dynasty":58,"author":4247,"museum":132,"description":4248,"tags":4249,"thumbUrl":4251,"material":223,"size":223,"collection":80,"collections":4252,"showCount":4242,"zanCount":536,"manualWeight":11,"mainColor":54},221421,"da-jiang-tu-yan-wen-gui-221421","大江图","燕文贵","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,24,63,25,93,98,94,4250,35,31,7,33,97,96],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c21e1641668e9acb1a358f7b09ffe9f.jpg",[80,104,82],{"id":4254,"slug":4255,"title":4256,"dynasty":246,"author":613,"museum":203,"description":4257,"tags":4258,"thumbUrl":4259,"material":102,"size":223,"collection":104,"collections":4260,"showCount":4242,"zanCount":11,"manualWeight":11,"mainColor":108},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,234,27,93,94,99,100,98,332,529,530,439,75,96,7,32,30,336,136,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[104],{"id":4262,"slug":4263,"title":4264,"dynasty":58,"author":4265,"museum":60,"description":4266,"tags":4267,"thumbUrl":4268,"material":402,"size":4269,"collection":223,"collections":4270,"showCount":4271,"zanCount":11,"manualWeight":11,"mainColor":54},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","赵伯驹","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[116,24,63,25,117,27,26,98,94,1587,71,33,365,31,7,32,97,190,366,2631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg","纵55.6厘米，横323.2厘米",[],54,{"id":4273,"slug":4274,"title":653,"dynasty":277,"author":627,"museum":132,"description":4275,"tags":4276,"thumbUrl":4277,"material":237,"size":657,"collection":104,"collections":4278,"showCount":4271,"zanCount":536,"manualWeight":11,"mainColor":108},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[23,24,63,135,93,98,94,97,33,32,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg",[104,82],{"id":4280,"slug":4281,"title":4282,"dynasty":58,"author":3136,"museum":217,"description":4283,"tags":4284,"thumbUrl":4285,"material":47,"size":4286,"collection":80,"collections":4287,"showCount":4271,"zanCount":713,"manualWeight":11,"mainColor":54},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,63,25,516,27,94,30,31,96,33,7,32,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[80],{"id":4289,"slug":4290,"title":4291,"dynasty":58,"author":3560,"museum":132,"description":4292,"tags":4293,"thumbUrl":4294,"material":208,"size":4295,"collection":104,"collections":4296,"showCount":4271,"zanCount":11,"manualWeight":11,"mainColor":54},219183,"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝笈三编”、“宣统鉴赏”、“宣统御览之宝”、“无逸斋精鉴玺”。收传印记有：“天籁阁”、“退密”、“项墨林鉴赏章”、“项墨林父秘笈之印”、“项子京家收藏”、“六艺之圃”、“净因庵主”、“太符真赏”、“李继泉真赏章”、“长水李氏珍藏”。",[23,116,24,63,94,93,98,529,3563,7,32,96,414,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[104],{"id":4298,"slug":4299,"title":315,"dynasty":18,"author":3952,"museum":328,"description":4300,"tags":4301,"thumbUrl":4302,"material":47,"size":4303,"collection":104,"collections":4304,"showCount":4271,"zanCount":11,"manualWeight":11,"mainColor":498},218098,"shan-shui-tu-li-zai-218098","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,63,116,135,93,27,98,94,1587,33,7,32,155,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[104],{"id":4306,"slug":4307,"title":4308,"dynasty":246,"author":4064,"museum":132,"description":4309,"tags":4310,"thumbUrl":4311,"material":208,"size":4312,"collection":104,"collections":4313,"showCount":4271,"zanCount":11,"manualWeight":11,"mainColor":108},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[24,63,116,135,93,98,94,7,32,96,30,66,439,564,75,250,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[104],{"id":4315,"slug":4316,"title":4317,"dynasty":246,"author":4318,"museum":360,"description":4319,"tags":4320,"thumbUrl":4321,"material":223,"size":223,"collection":104,"collections":4322,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":108},238212,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[116,24,63,234,93,98,94,31,7,32,33,97,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[104,51],53,{"id":4325,"slug":4326,"title":4327,"dynasty":18,"author":1392,"museum":132,"description":4328,"tags":4329,"thumbUrl":4330,"material":237,"size":4331,"collection":223,"collections":4332,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":108},234187,"wen-zheng-ming-jiang-nan-chun-tu-bing-shu-ci-juan-wen-zheng-ming-234187","文徵明江南春图并书辞卷","本图纸本轴装，纵106厘米，横30厘米。文徵明（1470-1559）自题：“江南春”（八分书）；并书追和云林先生词二首（行草书）。此图成于嘉靖二十六年丁未春二月（1547），作者时年78岁，画中的图像，平远湖山，绿树高耸，高士乘舟横过，远处临水人家，这是江南太湖景色。",[23,24,25,63,100,93,94,33,97,75,7,32,121,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b1c1a838314382435f0ddc9dcfafa8.jpg","106.00×30.00cm",[],{"id":4334,"slug":4335,"title":4336,"dynasty":18,"author":1392,"museum":60,"description":4337,"tags":4338,"thumbUrl":4339,"material":4340,"size":4341,"collection":223,"collections":4342,"showCount":4323,"zanCount":536,"manualWeight":11,"mainColor":108},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[24,135,93,98,94,136,7,32,30,97,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 ，水墨","纵131.1cm，横32cm",[],{"id":4344,"slug":4345,"title":4346,"dynasty":246,"author":1105,"museum":60,"description":4347,"tags":4348,"thumbUrl":4349,"material":4350,"size":4351,"collection":223,"collections":4352,"showCount":4323,"zanCount":536,"manualWeight":11,"mainColor":108},233403,"meng-jing-tu-zhou-wang-jian-233403","梦境图轴","本幅墨笔，局部设色，上自识一段，款：“丙申夏六月，哉生明王鉴识”。又“静岩老亲翁索画，即以此帧清政弟鉴”。钤“玄照”。\n王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,63,135,94,93,98,97,33,96,7,32,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26480f906c21c22bebed88bc4047ff5e.jpg","纸本 ，墨笔","纵91.8cm，横49.5cm",[],{"id":4354,"slug":4355,"title":4356,"dynasty":488,"author":813,"museum":132,"description":4357,"tags":4358,"thumbUrl":4360,"material":308,"size":4361,"collection":104,"collections":4362,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":54},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,63,94,135,93,27,98,529,2468,4359,206,33,96,616,7,32],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[104],{"id":4364,"slug":4365,"title":4366,"dynasty":246,"author":1441,"museum":360,"description":4367,"tags":4368,"thumbUrl":4369,"material":223,"size":223,"collection":223,"collections":4370,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":108},224445,"fang-wang-meng-shan-shui-wang-hui-224445","仿王蒙山水","此作用笔繁密苍厚，以解索皴堆叠山峦，积墨反复晕染，层岩叠嶂尽显郁茂深秀，得古贤山水苍茫沉雄之韵。下方山居临溪而筑，堂内文士围坐清谈，溪桥畔仆役缓步而行，林泉间动静相映，晕染出萧散野逸的幽居意趣。题诗佐于左上，笔墨文心相融，既循古意，又自含灵秀笔致，将林泉高致的雅逸山居图景铺陈开来，尽释传统山水里的文人幽怀。",[23,24,63,135,93,98,94,97,33,75,7,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7404689f6258b3af226d1aefaddbcb2.jpg",[],{"id":4372,"slug":4373,"title":4374,"dynasty":18,"author":1534,"museum":2038,"description":4375,"tags":4376,"thumbUrl":4377,"material":378,"size":4378,"collection":104,"collections":4379,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":54},222582,"yun-he-gao-yi-tu-lan-ying-222582","云壑高逸图","图绘高山大岭，如坠欲倾。山间飞云腾雾，峡谷流泉落瀑，绿松、红枫相映。\n林下一隅一高士结庐独坐，屋外板桥横担，有朋自远方来。\n全图构象饱满，层次分明，笔力苍劲雄厚。既有山林泉壑的自然景观，又有人事活动的细节描绘，加之浓郁的诗意气氛，视野开阔，古韵动人，把读者带到这一“风景这边独好”的境地，尽情地享受着眼观耳听的乐趣。图左上自题“云壑高逸画于西溪梅花香雪阁，甲午春三月七十山公蓝瑛”。钤“蓝瑛之印”、“田叔父”印。",[23,24,116,135,94,27,98,96,7,32,293,97,152,30,414,2468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44481e7379a6f6ddec878c0676e82e74.jpg","172.7x67厘米",[104,82],{"id":4381,"slug":4382,"title":1816,"dynasty":18,"author":4383,"museum":266,"description":4384,"tags":4385,"thumbUrl":4386,"material":164,"size":4387,"collection":104,"collections":4388,"showCount":4323,"zanCount":536,"manualWeight":11,"mainColor":54},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,25,27,98,26,94,96,7,32,31,33,97,75,42,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[104,82],{"id":4390,"slug":4391,"title":4392,"dynasty":18,"author":525,"museum":132,"description":4393,"tags":4394,"thumbUrl":4395,"material":4396,"size":223,"collection":104,"collections":4397,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":108},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,63,94,93,98,29,27,97,33,31,7,32,492,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg","绢本与纸本",[104,82],{"id":4399,"slug":4400,"title":4401,"dynasty":277,"author":4402,"museum":90,"description":4403,"tags":4404,"thumbUrl":4407,"material":208,"size":4408,"collection":82,"collections":4409,"showCount":4323,"zanCount":536,"manualWeight":11,"mainColor":54},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","方从义","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,93,98,94,1537,1587,33,7,71,155,3656,4405,154,191,4406],"树木丛","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[82],{"id":4411,"slug":4412,"title":653,"dynasty":246,"author":4413,"museum":132,"description":4414,"tags":4415,"thumbUrl":4416,"material":208,"size":4417,"collection":104,"collections":4418,"showCount":4323,"zanCount":536,"manualWeight":11,"mainColor":108},219481,"shan-shui-zhou-huang-ding-219481","黄鼎","这幅画中，江亭空旷，江山深邃，秀美。",[24,93,135,98,118,94,439,97,7,252,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[104],{"id":4420,"slug":4421,"title":315,"dynasty":58,"author":980,"museum":4422,"description":4423,"tags":4424,"thumbUrl":4425,"material":47,"size":4426,"collection":104,"collections":4427,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":54},218665,"shan-shui-tu-ma-yuan-218665","日本东京国立博物馆","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,24,63,135,27,98,94,31,7,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[104],{"id":4429,"slug":4430,"title":4431,"dynasty":18,"author":4432,"museum":60,"description":4433,"tags":4434,"thumbUrl":4435,"material":47,"size":4436,"collection":104,"collections":4437,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":54},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","项圣谟","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,24,94,27,93,98,33,121,95,7,32,96,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[104],{"id":4439,"slug":4440,"title":4441,"dynasty":277,"author":627,"museum":328,"description":4442,"tags":4443,"thumbUrl":4444,"material":47,"size":4445,"collection":104,"collections":4446,"showCount":4323,"zanCount":11,"manualWeight":11,"mainColor":54},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,63,25,93,27,98,100,118,99,94,31,7,32,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[104],{"id":4448,"slug":4449,"title":4450,"dynasty":18,"author":4451,"museum":864,"description":4452,"tags":4453,"thumbUrl":4454,"material":102,"size":4455,"collection":104,"collections":4456,"showCount":4323,"zanCount":536,"manualWeight":11,"mainColor":108},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,63,135,93,98,94,136,318,7,32,65,30,97,33,118,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[104],{"id":4458,"slug":4459,"title":4460,"dynasty":246,"author":1115,"museum":60,"description":4461,"tags":4462,"thumbUrl":4463,"material":532,"size":4464,"collection":104,"collections":4465,"showCount":4466,"zanCount":11,"manualWeight":11,"mainColor":108},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,93,135,94,98,293,1587,152,32,137,33,7,97,155,3748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[104,82],52,{"id":4468,"slug":4469,"title":4470,"dynasty":246,"author":2037,"museum":60,"description":4471,"tags":4472,"thumbUrl":4473,"material":237,"size":4474,"collection":104,"collections":4475,"showCount":4466,"zanCount":11,"manualWeight":11,"mainColor":108},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,63,135,93,98,94,7,32,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[104,82],{"id":4477,"slug":4478,"title":4479,"dynasty":18,"author":19,"museum":60,"description":4480,"tags":4481,"thumbUrl":4482,"material":402,"size":4483,"collection":223,"collections":4484,"showCount":4466,"zanCount":713,"manualWeight":11,"mainColor":54},233416,"tao-cun-cao-tang-tu-zhou-chou-ying-233416","桃村草堂图轴","自题：“仇实父为少岳先生制”，钤“十洲”朱文葫芦形印。此图是仇英师承南宋“二赵”风格的作品，描绘的是幽深静逸的隐居环境。草堂位于山坳，其后桃林一片，溪流出其下，一童子踞溪侧洗砚。更上则高岭白云，丛树列布，意境幽深。画作富有诗意，画法精细工谨，细致入微。通幅大青绿着色，色彩艳丽深重。方薰在《山静居论画》中说：“设色不以深浅为难，难于色彩相合，合则神气生动。”此图将滴翠的石绿、秀雅的淡赭、温润的墨色自然和谐地统一在一起，具有一种雅俗共赏的艺术效果。此图为仇英青绿山水画的代表作之一。\n据徐石雪题跋考证，画中主人公为项元淇。仇英此图是应项元淇之约而作。项元淇，字子瞻，号少岳。工诗文，善草书，著名收藏家项元汴之兄。图中项氏襟带飘然，风度高雅，四周环境清幽，景色宜人，宛如人间仙境。裱边有董其昌、昆虔、徐宗浩题跋。经清内府收藏，后为徐石雪所得。",[24,135,26,27,117,94,33,96,32,7,30,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b542990eb17d240c9f1d39023cb377.jpg","纵150厘米，横53厘米",[],{"id":4486,"slug":4487,"title":4488,"dynasty":58,"author":303,"museum":4489,"description":4490,"tags":4491,"thumbUrl":4492,"material":237,"size":4493,"collection":223,"collections":4494,"showCount":4466,"zanCount":536,"manualWeight":11,"mainColor":54},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,116,24,63,25,27,94,98,26,529,530,95,439,96,121,7,32,840,30,336,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":4496,"slug":4497,"title":4498,"dynasty":18,"author":4499,"museum":360,"description":4500,"tags":4501,"thumbUrl":4502,"material":223,"size":223,"collection":104,"collections":4503,"showCount":4466,"zanCount":536,"manualWeight":11,"mainColor":108},224548,"shu-hua-ce-ye-xiao-yun-cong-wang-shi-zhen-224548","书画册页","萧云从 王士祯","此作用笔秀逸清疏，以高远、深远之法铺展丘壑。崖壁层叠开合，飞瀑隐于岩岫之间，暗合空山有声之趣。古木虬曲苍劲，红叶点染出浅淡秋光，枝叶攒簇间尽显老辣笔力。\n\n山坳间亭台错落，有人凭栏闲眺，溪谷板桥通幽，衬出林泉雅寂。淡赭浅青敷色明润柔和，既有宋人丘壑之厚重，又具元人笔墨之灵秀。右上角题字朱印相映成趣，将山居清寂苍润之境晕染开来，尽展寄情林泉的澹泊幽怀，观之如身临秋山静居，尘嚣尽褪。",[24,63,234,27,94,98,7,32,31,136,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f989d94c9f8c5dbeac298d441a5964a.jpg",[104,51,791],{"id":4505,"slug":4506,"title":4507,"dynasty":18,"author":1267,"museum":60,"description":4508,"tags":4509,"thumbUrl":4510,"material":2961,"size":4511,"collection":223,"collections":4512,"showCount":4466,"zanCount":11,"manualWeight":11,"mainColor":54},222347,"pei-tai-shi-jing-tu-tang-yin-222347","沛台实景图","本幅作者自题并书七言律诗一首：“正德丙寅，奉陪大塚宰太原老先生登歌風台，謹和感古佳韻並圖其實景，呈茂化學士請教。唐寅。‘此地曾經王輦巡，比鄰爭睹帝王身。世隨邑改井猶存，碑勒風歌字失真。仗劍當時冀亡命，入關不意竟降秦。千年泗上荒台在，落日牛羊感路人。’”钤“唐居士”。另有安岐、吴璵等人收藏印记。\n唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。\n《墨缘汇观》著录。",[23,24,93,98,94,135,31,33,32,7,121,336,118,99,100,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F126f3719a8c77d49f2a16c74b15ed02a.jpg","纵26.2厘米，横23.9厘米",[],{"id":4514,"slug":4515,"title":4516,"dynasty":18,"author":4517,"museum":60,"description":4518,"tags":4519,"thumbUrl":4525,"material":308,"size":4526,"collection":104,"collections":4527,"showCount":4466,"zanCount":536,"manualWeight":11,"mainColor":54},220396,"xia-yun-yu-yu-tu-liu-jue-220396","夏云欲雨图","刘珏","本幅布局饱满，山峦填满大半画面，气势逼人，山体几乎全用长披麻皴，增加了画面的动感。右侧的浓云以细笔勾轮廓，淡墨渲染，生动地刻画出云朵急速翻滚变化之态。蜿蜒的山体，盘旋的山径，翻转的云朵，流动的瀑布，溅起的浪花，共同营造出深山中风云激荡、大雨欲来之势。画面最具静感的是右下角的木桥，并行平直的线条，两侧的过廊，皆增加了桥体的稳定感，而这些则更加衬托出整幅画面的撼人之气。该图画风沉郁清壮，用墨朴茂湿润，主要仿自元代吴镇，而清丽秀润之笔法则与吴镇的厚重粗犷有别。",[23,116,24,331,93,98,191,4520,152,7,32,4521,366,33,4522,4523,4524],"云朵","山径","风云激荡","大雨欲来","沉郁清壮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba447da9f4712e289e7effc13da529d0.jpg","纵165.7厘米，横95厘米",[104,82],{"id":4529,"slug":4530,"title":4531,"dynasty":58,"author":1553,"museum":132,"description":4532,"tags":4533,"thumbUrl":4540,"material":47,"size":4541,"collection":80,"collections":4542,"showCount":4466,"zanCount":11,"manualWeight":11,"mainColor":54},219014,"mu-niu-tu-yi-ming-219014","牧牛图","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,63,93,27,26,25,66,3073,4534,33,1810,97,7,154,94,3061,98,120,3436,1237,1235,4535,253,4536,4537,4538,4539],"牧童","坡岸","幼兽","动态","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[80],{"id":4544,"slug":4545,"title":4546,"dynasty":58,"author":1553,"museum":132,"description":4547,"tags":4548,"thumbUrl":4549,"material":208,"size":4550,"collection":82,"collections":4551,"showCount":4466,"zanCount":11,"manualWeight":11,"mainColor":108},218986,"yun-shan-tu-yi-ming-218986","云山图","这幅画描绘了一位科学家在山区雨后拜访一位朋友的情景，当时烟云尚未散去，清澈的溪水升起。这幅画采用了米氏的云山法，使云烟变幻莫测，消失不见。",[23,24,93,331,98,529,2468,530,439,96,644,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cc7d830dfbd686250666d42029b9ac.jpg","24.3x53.1",[82],{"id":4553,"slug":4554,"title":4555,"dynasty":246,"author":4556,"museum":90,"description":4557,"tags":4558,"thumbUrl":4559,"material":223,"size":223,"collection":104,"collections":4560,"showCount":4466,"zanCount":11,"manualWeight":11,"mainColor":4561},202124,"fang-da-chi-shan-shui-tu-zhou-yuan-pei-202124","仿大痴山水图轴","袁沛","水墨晕染间，山峦以皴法勾勒出苍劲肌理，云雾似轻纱漫过峰谷，将远近景致晕成淡远之调。近岸枯树疏枝交错，几间屋舍倚岩而筑，小桥横卧溪上，流水绕石潺潺。中远景峰峦叠嶂，林木错落，留白处云雾氤氲，虚实相生间尽显山水悠远之趣。笔墨追摹古法，却藏着对自然的细腻体悟，清寂雅致的意境在尺幅间缓缓铺展。",[93,98,29,94,7,32,136,336,137,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06764f51623175d13cae3e16bffd6a7b.jpg",[104],"b3a088",{"id":4563,"slug":4564,"title":4565,"dynasty":1174,"author":2691,"museum":360,"description":4566,"tags":4567,"thumbUrl":4568,"material":494,"size":495,"collection":223,"collections":4569,"showCount":4570,"zanCount":11,"manualWeight":11,"mainColor":54},288262,"hu-ting-you-qi-tu-li-zhao-dao-288262","湖亭游骑图","李家画山水，构图复杂而巧妙。常以均匀的细笔画出山石树木轮廓，再填染赭石、石青、石绿等浓重的颜色。还常再加上泥金的线条，衬在山石轮廓线的内侧，特别显出金碧辉煌的感觉。后人称为“青绿”山水，为“北宗”所主。这一幅是属于李家山水法，画幅右下角有“李昭道画”的落款。",[23,24,117,27,94,28,31,7,96,30,65,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa461a3188e9dc97ebe9f0559f0d8fe9c.jpg",[],51,{"id":4572,"slug":4573,"title":3146,"dynasty":18,"author":89,"museum":60,"description":3147,"tags":4574,"thumbUrl":4575,"material":237,"size":3150,"collection":223,"collections":4576,"showCount":4570,"zanCount":11,"manualWeight":11,"mainColor":108},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[24,63,234,93,94,100,118,98,99,7,32,33,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":4578,"slug":4579,"title":4580,"dynasty":246,"author":4581,"museum":266,"description":4582,"tags":4583,"thumbUrl":4584,"material":308,"size":4585,"collection":104,"collections":4586,"showCount":4570,"zanCount":11,"manualWeight":11,"mainColor":54},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,24,63,331,135,27,98,31,7,32,95,33,97,75,35,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[104],{"id":4588,"slug":4589,"title":4590,"dynasty":1933,"author":3214,"museum":304,"description":4591,"tags":4592,"thumbUrl":4593,"material":164,"size":223,"collection":104,"collections":4594,"showCount":4570,"zanCount":11,"manualWeight":11,"mainColor":54},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,24,331,98,27,94,31,7,32,95,97,33,96,250,155,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[104],{"id":4596,"slug":4597,"title":4598,"dynasty":18,"author":4599,"museum":328,"description":4600,"tags":4601,"thumbUrl":4602,"material":102,"size":4603,"collection":104,"collections":4604,"showCount":4570,"zanCount":11,"manualWeight":11,"mainColor":54},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,24,93,27,26,98,94,30,152,7,33,176,96,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[104],{"id":4606,"slug":4607,"title":4608,"dynasty":58,"author":410,"museum":360,"description":2937,"tags":4609,"thumbUrl":4610,"material":494,"size":495,"collection":223,"collections":4611,"showCount":4612,"zanCount":536,"manualWeight":11,"mainColor":54},287580,"qing-luan-xiao-si-tu-tiao-se-ban-li-cheng-287580","晴峦萧寺图（调色版）",[116,24,135,93,98,94,28,31,7,32,414,97,152,2939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe32453f235b0bbb4ac2f9aaa3730c96.jpg",[],50,{"id":4614,"slug":4615,"title":4616,"dynasty":1174,"author":1706,"museum":60,"description":4617,"tags":4618,"thumbUrl":4619,"material":402,"size":4620,"collection":223,"collections":4621,"showCount":4612,"zanCount":11,"manualWeight":11,"mainColor":54},233221,"gong-yuan-tu-juan-li-si-xun-233221","宫苑图卷","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,117,27,28,26,25,94,31,30,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27739550c87b246fdfc42c398a96ff.jpg","纵23.9厘米，横77.2厘米",[],{"id":4623,"slug":4624,"title":4625,"dynasty":277,"author":1360,"museum":360,"description":4626,"tags":4627,"thumbUrl":4628,"material":164,"size":4629,"collection":223,"collections":4630,"showCount":4612,"zanCount":11,"manualWeight":11,"mainColor":54},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,63,25,28,27,26,117,30,31,7,32,95,96,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":4632,"slug":4633,"title":4634,"dynasty":18,"author":1267,"museum":4635,"description":4636,"tags":4637,"thumbUrl":4638,"material":237,"size":4639,"collection":223,"collections":4640,"showCount":4612,"zanCount":536,"manualWeight":11,"mainColor":54},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","印第安纳波利斯艺术博物馆","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,63,135,27,98,94,1587,7,32,33,97,152,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":4642,"slug":4643,"title":4644,"dynasty":246,"author":4645,"museum":360,"description":4646,"tags":4647,"thumbUrl":4651,"material":223,"size":223,"collection":223,"collections":4652,"showCount":4612,"zanCount":536,"manualWeight":11,"mainColor":108},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,63,25,93,516,98,94,97,33,365,71,191,4648,4649,4650,293,251,366,155,7],"远岫","近景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":4654,"slug":4655,"title":4656,"dynasty":18,"author":4657,"museum":132,"description":4658,"tags":4659,"thumbUrl":4660,"material":93,"size":223,"collection":82,"collections":4661,"showCount":4612,"zanCount":11,"manualWeight":11,"mainColor":54},219372,"shan-shui-tu-yun-hu-yan-zuo-wang-wen-219372","山水图-云湖燕坐","王问","层岩叠嶂间，笔墨皴染交织出苍劲山体，草木葱茏处藏着几椽茅舍，溪水蜿蜒似带清音。溪边人物凭栏凝思，与幽居景致相映，尽得林泉之趣。干湿浓淡的墨色变化，既显山石肌理，又透文人逸气；题跋与山水相融，文心画意浑然一体。整幅画作于雄健中见清雅，将山水之秀与隐逸之情交织，尽显文人画的诗意与哲思，仿佛可闻松风溪语，可感隐者心境，是一幅兼具笔墨功力与精神内涵的佳作。",[24,63,135,93,98,94,7,32,30,136,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c40552f9ad1d350d633836f89864fdc.jpg",[82],{"id":4663,"slug":4664,"title":4665,"dynasty":18,"author":4666,"museum":132,"description":4667,"tags":4668,"thumbUrl":4669,"material":208,"size":4670,"collection":82,"collections":4671,"showCount":4612,"zanCount":11,"manualWeight":11,"mainColor":108},219322,"fang-yuan-ren-bi-yi-zhou-hou-mao-gong-219322","仿元人笔意轴","侯懋功","侯懋功（生卒年不详），号夷门，苏州人，活跃于明代万历(1573-1620）年间。画中冈峦秀伟，崖径、栈道蜿蜒其间，若可游赏，并通向山顶隐蔽村舍。构图与山石树木之造型、用笔可见明代文征明之影响。「Y」字分界的前景石块及山间平顶，追仿着元代黄公望（1269-1354）的母题；繁密又多细节的景致，颇具元代王蒙遗意。此画不落蹊径地展现元人意趣，实为侯氏佳作。",[24,63,135,93,98,29,94,97,33,32,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7ea70bfb859b086a831915d3eb4616.jpg","112.3x34.9",[82],{"id":4673,"slug":4674,"title":4675,"dynasty":18,"author":4676,"museum":187,"description":4677,"tags":4678,"thumbUrl":4679,"material":102,"size":4680,"collection":104,"collections":4681,"showCount":4612,"zanCount":11,"manualWeight":11,"mainColor":108},219072,"xiao-xiang-ba-jing-ce-zhang-fu-219072","潇湘八景册","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,63,234,93,27,98,94,7,32,136,2746,250,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5cb54be34956331e4afd296566fa1.jpg","30x33厘米",[104],{"id":4683,"slug":4684,"title":4685,"dynasty":488,"author":813,"museum":360,"description":4686,"tags":4687,"thumbUrl":4688,"material":494,"size":495,"collection":223,"collections":4689,"showCount":4690,"zanCount":11,"manualWeight":11,"mainColor":54},288840,"jiang-di-wan-jing-tu-dong-yuan-288840","江堤晚景图","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[116,24,63,135,117,27,94,30,7,32,136,492,31,742,118,99,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c45faab9facbb27c89e848862159.jpg",[],49,{"id":4692,"slug":4693,"title":4694,"dynasty":246,"author":4695,"museum":360,"description":4696,"tags":4697,"thumbUrl":4699,"material":494,"size":495,"collection":223,"collections":4700,"showCount":4690,"zanCount":536,"manualWeight":11,"mainColor":108},288450,"xi-shan-xian-guan-tu-zhu-da-288450","溪山仙馆图","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,116,24,93,331,98,191,33,31,7,4698,118,99],"仙馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b86f413a67c060306137c99a9667fb.jpg",[],{"id":4702,"slug":4703,"title":4704,"dynasty":246,"author":4705,"museum":360,"description":4706,"tags":4707,"thumbUrl":4708,"material":223,"size":4709,"collection":223,"collections":4710,"showCount":4690,"zanCount":11,"manualWeight":11,"mainColor":108},234137,"xi-hu-zai-he-tu-xiang-juan-xie-bin-234137","西湖载鹤图像卷","谢彬","谢彬，字文侯，上虞人，为曾鲸高足，善画人物，兼长山水，清朱彝尊云：“谢彬学曾鲸氏而有得者也。”所作《朱葵石像》录于《中国绘画史图录》，《颜修来题壁图像》册页录于《中国书画过目汇考附目》，《渔乐图》录于《赖古堂书画集》。张学曾，字尔唯，号学庵，会稽人，自幼好画，为“画中九友”之一，山水师董源，喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩，传世作《仿倪云林山水图》，藏故宫博物院，《秋兴诗意图》册录于《虚斋名画录》，《赠别图》录于《中国绘画史册》。金古良，字射堂，山阴人，善画人物，作《无双谱》，集书、画、诗为一体，甚杰出，称誉海内。李因，字今生，号是庵，会稽人，女画家，工花卉禽鸟，画多水墨，苍老无闺阁气，精于写生，点染生动，大幅更佳，亦善刻，曾刻其师陈白阳像奉之，传世作《墨花鸟》卷藏故宫博物院，《鸟竹图》扇面，录于《铁琴铜剑楼藏扇集锦》，《荷花鸳鸯图》藏南京博物院。李因之夫葛无征，亦善山水。",[23,24,116,63,25,27,117,26,94,31,7,32,95,121,96,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349f77f272eba5b173d116e21d035d63.jpg","横：419.3cm，纵：16.7cm",[],{"id":4712,"slug":4713,"title":4714,"dynasty":246,"author":4715,"museum":304,"description":4716,"tags":4717,"thumbUrl":4718,"material":223,"size":223,"collection":223,"collections":4719,"showCount":4690,"zanCount":536,"manualWeight":11,"mainColor":54},228921,"qiu-shan-hong-shu-tu-li-jian-228921","秋山红树图","黎简","这幅山水以没骨青绿晕染山峦，留白烘出流云如絮，将山谷裹在空濛仙气之中。丹红的枫林点染在青碧峰峦间，冷暖撞色鲜活明快，打破了青绿基调的沉静，映着澄澈秋水，板桥卧波引渡。隅侧茅舍隐在红树之后，野趣横生。\n\n山石勾勒圆浑，设色厚而不浊，在堂皇明艳的大青绿底色中，融入文人山水的清寂澹远，将秋山的绚烂丹枫与幽寂林泉相融，把秋日山林明丽又安宁的意韵尽数铺展，诗意悠然。",[116,24,63,135,27,26,98,94,579,7,75,155,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6ed7e98b0f5962716eadac4fb205f7.jpg",[],{"id":4721,"slug":4722,"title":4723,"dynasty":58,"author":303,"museum":360,"description":4724,"tags":4725,"thumbUrl":4726,"material":223,"size":223,"collection":223,"collections":4727,"showCount":4690,"zanCount":11,"manualWeight":11,"mainColor":54},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[116,24,63,25,93,27,94,30,31,7,32,96,439,97,922,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":4729,"slug":4730,"title":4731,"dynasty":58,"author":4265,"museum":360,"description":4732,"tags":4733,"thumbUrl":4734,"material":223,"size":223,"collection":223,"collections":4735,"showCount":4690,"zanCount":11,"manualWeight":11,"mainColor":54},227955,"gu-gong-tu-ce-zhao-bo-ju-227955","故宫图册","此作以青绿晕染层叠丘壑，色调古雅厚重，界画楼阁精工严整，飞檐斗拱分毫毕现，尽显宫苑富丽堂皇。云气缭绕于台榭林麓之间，虚实相生，让恢宏楼宇掩映得灵动缥缈，消解了建筑的刻板厚重。\n\n山道间行旅策蹇徐行，板桥卧于溪上，潺潺流水隐于其间，鲜活点缀为静谧宫晕开几分林泉雅趣。画作糅合院体山水的精工法度与青绿设色的古艳雅致，将皇家苑囿的恢宏气度，与林泉丘壑的清逸空濛相融，尽显工丽秀雅的宋画风韵。",[23,24,117,27,28,26,94,31,7,30,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd9ee1df76dc0919e8b19de41238e03.jpg",[],{"id":4737,"slug":4738,"title":4739,"dynasty":246,"author":449,"museum":450,"description":451,"tags":4740,"thumbUrl":4741,"material":459,"size":460,"collection":223,"collections":4742,"showCount":4690,"zanCount":11,"manualWeight":11,"mainColor":54},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,24,63,25,26,27,28,30,31,7,32,96,33,75,69,36,40,453,35,34,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],{"id":4744,"slug":4745,"title":4746,"dynasty":246,"author":2081,"museum":132,"description":2404,"tags":4747,"thumbUrl":4751,"material":378,"size":2408,"collection":104,"collections":4752,"showCount":4690,"zanCount":11,"manualWeight":11,"mainColor":108},222763,"shi-er-yue-ling-tu-4-yue-lang-shi-ning-222763","十二月令图（4月）",[23,24,27,26,30,31,7,32,96,97,645,4748,4749,4750],"细雨","赏花","消遣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd2462abe95344680ac6dca3956b1cd.jpg",[104,51],{"id":4754,"slug":4755,"title":4756,"dynasty":58,"author":513,"museum":864,"description":4757,"tags":4758,"thumbUrl":4759,"material":47,"size":4760,"collection":80,"collections":4761,"showCount":4690,"zanCount":536,"manualWeight":11,"mainColor":54},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[23,24,25,516,27,99,100,118,30,94,96,95,121,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[80],{"id":4763,"slug":4764,"title":4765,"dynasty":18,"author":2617,"museum":217,"description":4766,"tags":4767,"thumbUrl":4769,"material":308,"size":223,"collection":104,"collections":4770,"showCount":4690,"zanCount":11,"manualWeight":11,"mainColor":108},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,24,63,25,100,4768,2842,93,27,30,31,7,32,95,96,439,97,118],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[104,791],{"id":4772,"slug":4773,"title":4774,"dynasty":488,"author":541,"museum":360,"description":4775,"tags":4776,"thumbUrl":4778,"material":494,"size":495,"collection":223,"collections":4779,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":54},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","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。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[116,24,331,135,93,98,4777,7,32,96,152,33,97],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg",[],48,{"id":4782,"slug":4783,"title":315,"dynasty":58,"author":173,"museum":360,"description":2792,"tags":4784,"thumbUrl":4786,"material":494,"size":495,"collection":223,"collections":4787,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":54},289596,"shan-shui-tu-xia-gui-289596",[23,24,93,94,136,96,7,1211,98,4785],"幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f91faa56e9550e9e42f9fcf92e22a.jpg",[],{"id":4789,"slug":4790,"title":4791,"dynasty":18,"author":19,"museum":360,"description":4792,"tags":4793,"thumbUrl":4794,"material":494,"size":495,"collection":223,"collections":4795,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":54},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,116,24,63,135,26,117,27,94,31,7,32,30,293,155,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":4797,"slug":4798,"title":2690,"dynasty":277,"author":1360,"museum":360,"description":4799,"tags":4800,"thumbUrl":4804,"material":494,"size":495,"collection":223,"collections":4805,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":54},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,116,24,25,28,93,31,7,32,4801,30,118,99,4802,4803],"龙舟","竞渡","宫廷园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d18a1215d8f0edb9c0cf295fdfa17c.jpg",[],{"id":4807,"slug":4808,"title":4809,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":4812,"thumbUrl":4813,"material":223,"size":223,"collection":104,"collections":4814,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":108},238823,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,63,234,27,94,98,97,33,293,75,7,32,155,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[104,51],{"id":4816,"slug":4817,"title":4818,"dynasty":18,"author":4819,"museum":4820,"description":4821,"tags":4822,"thumbUrl":4823,"material":223,"size":223,"collection":104,"collections":4824,"showCount":4780,"zanCount":536,"manualWeight":11,"mainColor":108},222837,"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","日本京都国立博物馆","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[23,24,25,27,94,98,3823,153,191,33,7,32,95,31,96,1789,206,176,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[104,51],{"id":4826,"slug":4827,"title":4828,"dynasty":246,"author":4829,"museum":20,"description":4830,"tags":4831,"thumbUrl":4832,"material":4833,"size":4834,"collection":104,"collections":4835,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":54},222631,"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,24,63,234,93,98,94,7,32,206,75,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[104,82],{"id":4837,"slug":4838,"title":4839,"dynasty":18,"author":525,"museum":20,"description":4840,"tags":4841,"thumbUrl":4842,"material":4843,"size":4844,"collection":791,"collections":4845,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":108},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,63,25,93,94,98,1054,99,100,118,191,33,365,7,32,155,366,253,97,255,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[791],{"id":4847,"slug":4848,"title":4849,"dynasty":58,"author":1553,"museum":132,"description":4850,"tags":4851,"thumbUrl":4852,"material":93,"size":4853,"collection":82,"collections":4854,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":54},219335,"bu-hua-shan-shui-zhou-yi-ming-219335","布画山水轴","层峦叠嶂间烟岚轻笼，山川晕染出深浅有致的层次。屋宇错落隐于林泉，与苍松翠柏相映成趣，溪流蜿蜒穿石而过，似有潺潺水声入耳。笔墨皴擦点染，既勾勒出山石的嶙峋肌理，又晕染出草木的丰茂姿态，线条劲挺中藏柔婉，墨色浓淡间见章法。画面兼具深远与平远之妙，雄浑处显山川气象，清幽处露林泉雅致，尽现宋代山水对自然意趣的深刻捕捉。观者仿佛踏入画中，静谧间感受天地悠然，细节处品味笔墨匠心，沉醉于这融情于景的古典意境里。",[24,7,32,94,529,530,439,31,93,135,26,164,28,400],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9b0b1bac61df1c2e78bb1a666c33c.jpg","155x136.2",[82],{"id":4856,"slug":4857,"title":4858,"dynasty":58,"author":1553,"museum":360,"description":4859,"tags":4860,"thumbUrl":4861,"material":208,"size":223,"collection":104,"collections":4862,"showCount":4780,"zanCount":713,"manualWeight":11,"mainColor":54},218598,"guan-he-tu-yi-ming-218598","观河图","岸畔古木扶疏，浓荫覆石，二人伫立凝眸，似为河上烟光所引。左侧层岩叠翠间，楼阁隐现，塔影凌霄，与远岫的淡墨烟岚相映成趣。河面平波如镜，映带天光，留白处尽蓄悠远之思。笔墨简淡却意韵丰饶，山石用皴笔勾勒出肌理，树木以点染晕出葱茏，人物虽小却神形毕肖。咫尺画幅间含纳天地浩渺，观之如临烟水之湄，心随景远，恍若闻得松风与流水和鸣。宋人的山水意趣，尽在这淡墨轻岚里，于无声处诉说着自然与人文的交融，让观者沉湎于烟霞流转的静谧之境。",[23,24,63,116,94,93,27,98,33,30,31,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76711a84df84311c78bb431889086739.jpg",[104],{"id":4864,"slug":4865,"title":315,"dynasty":246,"author":1105,"museum":60,"description":4866,"tags":4867,"thumbUrl":4868,"material":208,"size":4869,"collection":104,"collections":4870,"showCount":4780,"zanCount":11,"manualWeight":11,"mainColor":108},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[23,24,63,94,93,98,135,293,97,71,7,75,33,250,1799],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[104],{"id":4872,"slug":4873,"title":4874,"dynasty":488,"author":1553,"museum":360,"description":4875,"tags":4876,"thumbUrl":4878,"material":494,"size":495,"collection":223,"collections":4879,"showCount":4880,"zanCount":536,"manualWeight":11,"mainColor":54},288513,"zha-kou-pan-che-tu-yi-ming-288513","闸口盘车图","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,116,24,63,28,27,30,31,7,32,922,70,4877],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],47,{"id":4882,"slug":4883,"title":4884,"dynasty":246,"author":4064,"museum":132,"description":4885,"tags":4886,"thumbUrl":4888,"material":237,"size":4889,"collection":104,"collections":4890,"showCount":4880,"zanCount":11,"manualWeight":11,"mainColor":108},223118,"qiu-shan-xiao-si-zhou-dong-bang-da-223118","秋山萧寺轴","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。",[23,24,94,93,135,98,97,33,32,4887,75,7],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffd24cfe5738efc1434df698a67139a.jpg","159.3x83.9",[104,82],{"id":4892,"slug":4893,"title":4894,"dynasty":18,"author":3952,"museum":60,"description":4895,"tags":4896,"thumbUrl":4897,"material":3637,"size":4898,"collection":104,"collections":4899,"showCount":4880,"zanCount":536,"manualWeight":11,"mainColor":108},222160,"kuo-zhu-yao-feng-tu-zhou-li-zai-222160","阔渚遥峰图轴","此作曾经被误定为北宋郭熙所绘，后在画面上发现李在的印记，于是正名。\n作品取全景式山水，气势宏阔，皴笔细密扎实，墨韵浑厚，画树木呈“蟹爪枝”状，从意境和笔法来看，确实与郭熙极为相似，是典型的北派山水面貌。",[23,24,116,135,94,98,31,7,32,95,136,97,33,75,801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb459656d4d1747466ba4346c2db73e.jpg","纵165.2厘米，横90.4厘米",[104,82],{"id":4901,"slug":4902,"title":4903,"dynasty":277,"author":4904,"museum":2239,"description":4905,"tags":4906,"thumbUrl":4907,"material":208,"size":4908,"collection":104,"collections":4909,"showCount":4880,"zanCount":11,"manualWeight":11,"mainColor":108},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[23,116,24,63,135,93,98,94,7,32,97,33,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[104],{"id":4911,"slug":4912,"title":4913,"dynasty":277,"author":2731,"museum":132,"description":4914,"tags":4915,"thumbUrl":4916,"material":47,"size":223,"collection":223,"collections":4917,"showCount":4880,"zanCount":713,"manualWeight":11,"mainColor":108},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,63,1829,27,94,33,7,32,155,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":4919,"slug":4920,"title":1308,"dynasty":18,"author":4921,"museum":328,"description":4922,"tags":4923,"thumbUrl":4924,"material":47,"size":4925,"collection":104,"collections":4926,"showCount":4880,"zanCount":536,"manualWeight":11,"mainColor":54},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[116,24,63,94,29,27,98,93,529,33,75,32,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[104],{"id":4928,"slug":4929,"title":4930,"dynasty":18,"author":89,"museum":360,"description":828,"tags":4931,"thumbUrl":4932,"material":494,"size":495,"collection":223,"collections":4933,"showCount":4934,"zanCount":536,"manualWeight":11,"mainColor":108},290882,"hua-bai-cai-shen-zhou-290882","画白菜",[24,93,234,94,1721,7,32,33,366,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd825cee9559ff66734a5ef59f26de2b.jpg",[],46,{"id":4936,"slug":4937,"title":4938,"dynasty":18,"author":4939,"museum":360,"description":4940,"tags":4941,"thumbUrl":4942,"material":494,"size":495,"collection":223,"collections":4943,"showCount":4934,"zanCount":536,"manualWeight":11,"mainColor":108},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[24,234,94,93,27,564,119,7,121,96,95,75,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],{"id":4945,"slug":4946,"title":4947,"dynasty":58,"author":1837,"museum":360,"description":4948,"tags":4949,"thumbUrl":4952,"material":494,"size":495,"collection":223,"collections":4953,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":108},289788,"shen-tang-qin-qu-tu-ma-lin-289788","深堂琴趣图","此图描写山斋数楹，葱树掩映，一人于堂中抚琴，二鹤在琴声中闲步。远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。",[23,1829,24,116,27,26,94,31,7,33,4950,3345,4951,118],"厅堂","雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f01482f6dbe10ed17a90037b2e3219.jpg",[],{"id":4955,"slug":4956,"title":4957,"dynasty":58,"author":588,"museum":360,"description":4958,"tags":4959,"thumbUrl":4960,"material":494,"size":495,"collection":223,"collections":4961,"showCount":4934,"zanCount":536,"manualWeight":11,"mainColor":54},288643,"shu-se-ping-yuan-tu-guo-xi-288643","树色平远图","描绘的是一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。",[116,24,63,25,93,94,136,96,7,95,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cf467d4d396a0fbafbe38d1de4739.jpg",[],{"id":4963,"slug":4964,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":4966,"tags":4967,"thumbUrl":4969,"material":223,"size":223,"collection":104,"collections":4970,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":108},238137,"shan-shui-ce-yun-xi-238137","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。",[24,27,94,98,234,414,75,7,32,97,4968,118],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d89a59d4ebcdbd28b9133d9dda8babf.jpg",[104,51],{"id":4972,"slug":4973,"title":4974,"dynasty":246,"author":2986,"museum":90,"description":4975,"tags":4976,"thumbUrl":4977,"material":164,"size":4978,"collection":223,"collections":4979,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":54},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,28,26,27,94,31,96,33,97,818,7,39,38,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":4981,"slug":4982,"title":4983,"dynasty":488,"author":4984,"museum":360,"description":4985,"tags":4986,"thumbUrl":4988,"material":223,"size":223,"collection":223,"collections":4989,"showCount":4934,"zanCount":536,"manualWeight":11,"mainColor":54},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","周文矩","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,116,24,63,26,27,30,4987,336,7,39,3505,645],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":4991,"slug":4992,"title":4993,"dynasty":246,"author":4994,"museum":360,"description":4995,"tags":4996,"thumbUrl":4997,"material":223,"size":223,"collection":223,"collections":4998,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":108},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","画山水轴","邹一桂","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,24,135,27,98,94,7,32,96,293,97,31,30,152,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":5000,"slug":5001,"title":5002,"dynasty":18,"author":4819,"museum":450,"description":5003,"tags":5004,"thumbUrl":5005,"material":1055,"size":5006,"collection":104,"collections":5007,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":108},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,63,25,27,94,98,93,191,176,33,154,155,7,366,336,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[104,51],{"id":5009,"slug":5010,"title":5011,"dynasty":18,"author":4819,"museum":187,"description":5012,"tags":5013,"thumbUrl":5018,"material":2528,"size":5019,"collection":104,"collections":5020,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":108},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,25,27,98,94,97,33,31,96,7,32,155,250,4649,1202,5014,440,137,154,3811,3059,5015,5016,5017],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[104,51],{"id":5022,"slug":5023,"title":5024,"dynasty":18,"author":5025,"museum":450,"description":5026,"tags":5027,"thumbUrl":5028,"material":164,"size":5029,"collection":104,"collections":5030,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":1224},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[23,24,63,27,28,118,31,33,155,7,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502d7f9fa2aca839f973ae5.jpg","28.3×56.84cm",[104,51],{"id":5032,"slug":5033,"title":5034,"dynasty":18,"author":89,"museum":2810,"description":3523,"tags":5035,"thumbUrl":5036,"material":102,"size":3526,"collection":223,"collections":5037,"showCount":4934,"zanCount":11,"manualWeight":11,"mainColor":54},220013,"dong-zhuang-tu-ce-zhi-ling-hao-shen-zhou-220013","东庄图册之菱豪",[23,24,63,234,93,98,94,7,32,95,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4a28346fc8e2c3bbd7ccab578d205d.jpg",[],{"id":5039,"slug":5040,"title":5041,"dynasty":18,"author":1553,"museum":217,"description":5042,"tags":5043,"thumbUrl":5044,"material":102,"size":223,"collection":223,"collections":5045,"showCount":4934,"zanCount":536,"manualWeight":11,"mainColor":108},217953,"ming-ren-shan-shui-hua-ce-er-yi-ming-217953","明人山水画册(二)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,93,234,29,94,136,414,96,32,7,97,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a3aa4634d316f237a6ce6618e6632b.jpg",[],{"id":5047,"slug":5048,"title":5049,"dynasty":18,"author":1267,"museum":360,"description":5050,"tags":5051,"thumbUrl":5052,"material":494,"size":495,"collection":223,"collections":5053,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴","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”。",[24,116,135,63,94,27,7,32,137,136,97,96,99,118,4538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],{"id":5055,"slug":5056,"title":5057,"dynasty":58,"author":980,"museum":360,"description":1614,"tags":5058,"thumbUrl":5060,"material":494,"size":495,"collection":223,"collections":5061,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":498},290154,"fang-you-tu-ma-yuan-290154","访友图",[116,24,63,135,93,28,94,30,31,7,32,293,97,65,5059],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f58872533feea15d4e46dc492f9ff5f.jpg",[],{"id":5063,"slug":5064,"title":1524,"dynasty":246,"author":1553,"museum":360,"description":5065,"tags":5066,"thumbUrl":5067,"material":494,"size":495,"collection":223,"collections":5068,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","这幅局部以虹桥为核心，铺陈出鲜活的旧时市井盛景。木质飞虹横跨汴河，桥上人流如织，挑担货郎、乘轿仕人、驻足闲人摩肩接踵，神态各异地沉浸在春日市集的喧嚷里。桥下漕船正穿桥而过，船夫们躬身撑篙、呼喊呼应，将漕运的繁忙具象尽显。\n\n画面线条细腻工整，设色古雅沉稳，复刻出宋本原作风韵的同时，带着清代绘事的规整质感，将汴梁城漕运商贸的繁盛、闾巷百姓的日常烟火凝于卷上，让千年前的春日繁喧仿佛跃然眼前，尽显旧时都会的鲜活生机。",[116,24,25,27,26,30,7,31,32,65,64,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f84910b66851ed29.jpg",[],{"id":5070,"slug":5071,"title":1369,"dynasty":58,"author":1923,"museum":360,"description":5072,"tags":5073,"thumbUrl":5074,"material":494,"size":495,"collection":223,"collections":5075,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},287639,"shui-cun-tu-zhao-ling-rang-287639","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[116,24,63,135,27,117,94,7,32,95,136,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":5077,"slug":5078,"title":5079,"dynasty":18,"author":525,"museum":60,"description":5080,"tags":5081,"thumbUrl":5083,"material":5084,"size":5085,"collection":223,"collections":5086,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,63,25,93,94,98,99,118,516,33,1445,7,32,250,5082,75,293],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":5088,"slug":5089,"title":5090,"dynasty":18,"author":59,"museum":132,"description":5091,"tags":5092,"thumbUrl":5093,"material":5094,"size":5095,"collection":223,"collections":5096,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,116,24,25,27,26,30,31,7,34,41,69,65,99,118,29,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":5098,"slug":5099,"title":5100,"dynasty":58,"author":588,"museum":360,"description":5101,"tags":5102,"thumbUrl":5103,"material":223,"size":223,"collection":223,"collections":5104,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},228914,"dai-du-tu-guo-xi-228914","待渡图","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,116,24,63,25,94,98,27,7,32,95,96,33,97,30,250,1129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":5106,"slug":5107,"title":5108,"dynasty":246,"author":2081,"museum":132,"description":2404,"tags":5109,"thumbUrl":5110,"material":378,"size":2408,"collection":104,"collections":5111,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},222762,"shi-er-yue-ling-tu-3-yue-lang-shi-ning-222762","十二月令图（3月）",[23,24,63,26,27,28,94,31,7,30,1606,119,136,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb50432efba99c7f32f6febcb77dac6.jpg",[104,51],{"id":5113,"slug":5114,"title":5115,"dynasty":18,"author":2606,"museum":113,"description":5116,"tags":5117,"thumbUrl":5118,"material":93,"size":5119,"collection":223,"collections":5120,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[23,24,63,25,93,27,94,98,100,118,99,31,7,32,95,96,33,97,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 x 210厘米",[],{"id":5122,"slug":5123,"title":5124,"dynasty":18,"author":1392,"museum":132,"description":3999,"tags":5125,"thumbUrl":5127,"material":1055,"size":5128,"collection":104,"collections":5129,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},221990,"xie-qin-fang-you-li-zhou-wen-zheng-ming-221990","携琴访友立轴",[23,24,63,135,93,94,7,32,97,33,252,30,154,5126,98],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F348dbe09730d98eb99fa54d20f74dedf.jpg","纵63.4厘米，横29.2厘米",[104,82],{"id":5131,"slug":5132,"title":5133,"dynasty":58,"author":1923,"museum":360,"description":5134,"tags":5135,"thumbUrl":5136,"material":164,"size":5137,"collection":80,"collections":5138,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,24,63,94,27,98,136,121,32,7,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[80],{"id":5140,"slug":5141,"title":5142,"dynasty":18,"author":2199,"museum":90,"description":5143,"tags":5144,"thumbUrl":5145,"material":208,"size":5146,"collection":104,"collections":5147,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},220351,"shan-shui-he-juan-du-qiong-220351","山水合卷","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[23,24,63,25,93,98,94,529,530,439,96,7,32,155,176,2978,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[104],{"id":5149,"slug":5150,"title":5151,"dynasty":18,"author":89,"museum":2810,"description":3523,"tags":5152,"thumbUrl":5153,"material":102,"size":3526,"collection":223,"collections":5154,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},220011,"dong-zhuang-tu-ce-zhi-dong-cheng-shen-zhou-220011","东庄图册之东城",[23,116,24,63,234,93,98,94,31,7,33,69,454,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e337d9ab671c3c1794f7a4f8e3e804.jpg",[],{"id":5156,"slug":5157,"title":5158,"dynasty":246,"author":5159,"museum":304,"description":5160,"tags":5161,"thumbUrl":5163,"material":208,"size":5164,"collection":104,"collections":5165,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","戴熙","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[23,24,63,25,93,98,5162,118,94,96,7,32,121,33,97,152],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[104],{"id":5167,"slug":5168,"title":5169,"dynasty":18,"author":2606,"museum":132,"description":5170,"tags":5171,"thumbUrl":5172,"material":47,"size":5173,"collection":51,"collections":5174,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},219408,"shan-shui-tu-xia-mu-chui-yin-xie-shi-chen-219408","山水图-夏木垂阴","层岩叠嶂间，飞瀑如练坠幽谷，云雾轻笼远岫，添几分空濛。近景浓荫匝地，夏木枝繁叶茂，墨色沉郁中见灵秀。茅舍隐于林麓，小桥横卧溪畔，行人缓步、屋中对坐，皆含闲适之趣。笔致兼具雄健与秀逸，山石皴擦刚劲，树木点染细密，云雾淡扫留白，层次分明。整幅画将夏日山居的清幽与生机融于一体，既见自然之壮美，亦含人文之雅韵，尽显融浙派骨力与吴门风神的独特笔墨。",[24,94,93,98,135,529,439,96,7,32,152,30,155,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80770ddfcfa65f88c30367964f7d5a6.jpg","140x62.9",[51],{"id":5176,"slug":5177,"title":5178,"dynasty":277,"author":627,"museum":132,"description":5179,"tags":5180,"thumbUrl":5181,"material":208,"size":5182,"collection":223,"collections":5183,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":54},218122,"hua-xi-yu-yin-tu-san-wang-meng-218122","花溪渔隐图(三)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,63,93,98,94,95,32,439,97,840,118,252,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f2f4aff7c235556ddedd556c4afb9c.jpg","129x58.3cm",[],{"id":5185,"slug":5186,"title":5187,"dynasty":246,"author":5188,"museum":132,"description":5189,"tags":5190,"thumbUrl":5191,"material":102,"size":5192,"collection":104,"collections":5193,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},214720,"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","永瑢","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[24,63,234,27,94,7,32,95,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[104],{"id":5195,"slug":5196,"title":5197,"dynasty":246,"author":5198,"museum":360,"description":5199,"tags":5200,"thumbUrl":5201,"material":223,"size":223,"collection":104,"collections":5202,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":54},237464,"xi-yuan-ya-ji-tu-zhou-zhang-ling-237464","西园雅集图轴","张翎","这幅全景式园林雅集图，以山石林木划分出数处雅聚小境。苍松虬劲、蕉竹扶苏，池苑溪桥蜿蜒其中。文人们三两成群，或围案观摩友人挥毫落墨，或凭栏远眺私语清谈，或坐卧林泉观鱼赏景，动静之间尽显林下风流。淡墨勾勒山石肌理，晕染出温润质感，枝叶点染细致秀逸，淡设色衬出雅致恬淡的氛围，将文人雅聚的闲散意趣与从容气度尽皆铺展于绢素之上，尽显古典文人群聚的清隽韵味。",[24,93,27,26,98,30,94,7,293,962,97,1618,33,176,39,952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[104,49],44,{"id":5205,"slug":5206,"title":5207,"dynasty":58,"author":980,"museum":360,"description":5208,"tags":5209,"thumbUrl":5210,"material":223,"size":223,"collection":223,"collections":5211,"showCount":5203,"zanCount":536,"manualWeight":11,"mainColor":54},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,63,25,26,98,30,33,7,32,97,38,65,95,2386,293,414,71,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":5213,"slug":5214,"title":5215,"dynasty":58,"author":4265,"museum":360,"description":5216,"tags":5217,"thumbUrl":5218,"material":223,"size":223,"collection":223,"collections":5219,"showCount":5203,"zanCount":536,"manualWeight":11,"mainColor":54},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,63,24,116,25,117,27,26,98,99,118,94,30,31,7,32,95,96,336,4877,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":5221,"slug":5222,"title":5223,"dynasty":246,"author":5224,"museum":360,"description":5225,"tags":5226,"thumbUrl":5227,"material":223,"size":223,"collection":223,"collections":5228,"showCount":5203,"zanCount":536,"manualWeight":11,"mainColor":108},223691,"xie-qin-fang-you-tu-shang-rui-223691","携琴访友图","上睿","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[23,24,63,25,27,26,94,30,7,32,33,252,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":5230,"slug":5231,"title":5232,"dynasty":246,"author":1062,"museum":60,"description":5233,"tags":5234,"thumbUrl":5235,"material":402,"size":5236,"collection":104,"collections":5237,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":54},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,63,135,28,27,26,98,94,31,7,97,33,155,30,440,38,190,191,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[104,51],{"id":5239,"slug":5240,"title":5241,"dynasty":246,"author":5242,"museum":328,"description":5243,"tags":5244,"thumbUrl":5245,"material":102,"size":5246,"collection":104,"collections":5247,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":108},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,63,135,93,98,94,529,96,7,32,95,33,75,155,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[104],{"id":5249,"slug":5250,"title":5251,"dynasty":246,"author":3885,"museum":2218,"description":5252,"tags":5253,"thumbUrl":5254,"material":47,"size":5255,"collection":104,"collections":5256,"showCount":5203,"zanCount":11,"manualWeight":11,"mainColor":108},217924,"shan-jing-tu-liu-du-217924","山景图","刘度的山景图画风细腻，笔墨流畅，富有张力，写意洒脱。他善于描绘山川的峰峦、水流的曲折、云雾的缭绕，营造出一种幽静的气氛。刘度的山水画作品常以山水中的人物为主，人物造型优美，神态自然，与山水相互映衬，互相辉映，给人以感性的享受。\n\n刘度的山景图在清朝时期颇受欢迎，被誉为“山水画圣”。他的著名作品有《山城图》、《江南图》、《渔隐图》等。这些作品不仅展现了刘度独特的艺术风格，而且也揭示了他对中国传统文化的热爱和对自然界的敬畏。\n\n在刘度的山景图中，我们不仅能感受到他对山水的热爱和描绘的精细，还能感受到他对自然的尊敬和对传统文化的执着。这些作品不仅是一种艺术的瑰宝",[24,93,98,94,7,31,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ca116a0bcaa406e268e8884a1a2c78.jpg","32.1x36.2cm",[104],{"id":5258,"slug":5259,"title":5260,"dynasty":58,"author":1288,"museum":360,"description":5261,"tags":5262,"thumbUrl":5263,"material":494,"size":495,"collection":223,"collections":5264,"showCount":5265,"zanCount":11,"manualWeight":11,"mainColor":54},289331,"xi-shan-shui-ge-tu-li-song-289331","溪山水阁图","此幅绘溪水寒林，峭壁危岩，远山空蒙，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,116,24,1829,93,94,31,7,414,250,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a877faf9267ef285cfa4fa0ac8188a.jpg",[],43,{"id":5267,"slug":5268,"title":5269,"dynasty":277,"author":627,"museum":132,"description":1022,"tags":5270,"thumbUrl":5271,"material":102,"size":5272,"collection":104,"collections":5273,"showCount":5265,"zanCount":11,"manualWeight":11,"mainColor":54},287545,"qiu-lin-wan-he-tu-wang-meng-287545","秋林万壑图",[24,93,94,98,7,32,137,97,33,630,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15ff69f252c13c648f2d4d7c70f811a.jpg","68.3x45.6",[104],{"id":5275,"slug":5276,"title":5277,"dynasty":246,"author":1553,"museum":360,"description":5278,"tags":5279,"thumbUrl":5283,"material":494,"size":495,"collection":223,"collections":5284,"showCount":5265,"zanCount":536,"manualWeight":11,"mainColor":108},267670,"gu-xiu-zhu-lin-qi-xian-tu-zhou-yi-ming-267670","顾绣竹林七贤图轴","此作以绣为笔，铺展林下雅集之景。挺秀修竹间朱栏环绕，二人对坐弈棋，落子沉吟间尽显专注；玲珑湖石之侧，两人展卷清谈，悠然自得。溪谷蜿蜒，板桥横波，岸侧三人徐行，小童捧物紧随，似赴雅会。\n配色明雅柔和，墨色皴染湖石尽显苍润，淡赭晕开溪岸，朱金饰衣纹栏杆。劈丝细匀平齐，针脚藏于晕色之间，将笔墨意趣融于丝缕，把魏晋名士萧散简远的林下风流静静晕开，尽显隐逸雅静的林下意韵。",[24,63,135,27,30,564,7,32,5280,33,99,118,5281,5282,1618],"湖石","顾绣","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e06312f5b0efe7b0fe23a475e31303.jpg",[],{"id":5286,"slug":5287,"title":5288,"dynasty":18,"author":5289,"museum":360,"description":5290,"tags":5291,"thumbUrl":5292,"material":494,"size":495,"collection":223,"collections":5293,"showCount":5265,"zanCount":11,"manualWeight":11,"mainColor":108},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,116,24,93,27,26,28,30,31,7,96,136,32,39,33,38,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":5295,"slug":5296,"title":5297,"dynasty":277,"author":1553,"museum":360,"description":5298,"tags":5299,"thumbUrl":5300,"material":223,"size":223,"collection":223,"collections":5301,"showCount":5265,"zanCount":536,"manualWeight":11,"mainColor":54},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[23,24,63,117,27,94,28,31,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":5303,"slug":5304,"title":5305,"dynasty":277,"author":5306,"museum":20,"description":5307,"tags":5308,"thumbUrl":5310,"material":208,"size":5311,"collection":82,"collections":5312,"showCount":5265,"zanCount":11,"manualWeight":11,"mainColor":54},220426,"song-xi-gui-yu-tu-tang-di-220426","松溪归渔图","唐棣","唐棣(1287–1355)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文。",[23,63,24,331,98,27,135,206,32,7,97,801,136,5309,840],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035ce24fe5889e9c85d096ccf8fbc2fd.jpg","134.3x86cm",[82],{"id":5314,"slug":5315,"title":5316,"dynasty":18,"author":5317,"museum":266,"description":5318,"tags":5319,"thumbUrl":5323,"material":47,"size":5324,"collection":104,"collections":5325,"showCount":5265,"zanCount":536,"manualWeight":11,"mainColor":54},220036,"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[23,24,116,93,94,135,7,32,2852,97,75,5320,99,5321,98,1665,5322],"深山","摹古","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[104],{"id":5327,"slug":5328,"title":5329,"dynasty":277,"author":3856,"museum":132,"description":5330,"tags":5331,"thumbUrl":5332,"material":47,"size":5333,"collection":104,"collections":5334,"showCount":5265,"zanCount":536,"manualWeight":11,"mainColor":54},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[23,24,63,94,93,98,27,529,530,439,293,7,32,96,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 横52.7厘米",[104],{"id":5336,"slug":5337,"title":5338,"dynasty":18,"author":1553,"museum":217,"description":5042,"tags":5339,"thumbUrl":5340,"material":102,"size":223,"collection":223,"collections":5341,"showCount":5265,"zanCount":11,"manualWeight":11,"mainColor":108},217952,"ming-ren-shan-shui-hua-ce-san-yi-ming-217952","明人山水画册(三)",[23,24,63,234,93,27,94,96,7,336,293,136,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239dd48d883d23420a8004f26072dd6a.jpg",[],{"id":5343,"slug":5344,"title":5345,"dynasty":246,"author":2037,"museum":60,"description":5346,"tags":5347,"thumbUrl":5349,"material":237,"size":5350,"collection":104,"collections":5351,"showCount":5352,"zanCount":11,"manualWeight":11,"mainColor":108},237139,"qiu-jing-shan-shui-zhou-cha-shi-biao-237139","秋景山水轴","此图描绘秋天江南秀丽的山乡一隅景色，江南的秀丽山景，在秋日晴空中愈显得明媚秀美。画幅远景，崇山叠嶂，峰顶峦石，山顶平台，山头光秃，在山坡或山坳处，仅有稀疏杂树。山脚下一片空蒙。最下端为山石和坡岸，树木稀疏，树叶有些枯黄，呈现出一派深秋景色。画幅右下角为一泓溪水，溪水平静如镜，无丝毫波纹，在溪水上架有一座板桥，将两岸连接。板桥上有位长者策杖远眺，在尽情地观赏这里的山山水水。图的左上方有行书四行，为作者自题五言诗一首，款署：“癸丑九秋画以一如道长兄。查士标。”\n此画是查士标59岁时为友人所作。\n此画作者采用平远构图法，构图高远、严谨，造型虚实相间，近处树木舒展自如，形态历历可见。远处山石叠嶂，刻画精腻；山从枯笔淡墨画出后，稍加皴擦，尤其是山头仅寥寥几笔皴染。杂树稀少，点出了已到深秋时节。树以较湿润的笔墨勾点，施以淡色，有的树木采用点叶、夹叶树法。从此画中可以看出他师法倪瓒的笔法较多，但又都变成自己的笔意，又较云林山水画更具“动”感。此画颇具新意。故他的画受到当时大鉴赏家宋荦的赞赏，称颂查氏是董其昌后一人而已，恽南田也把他与董其昌相提并论。",[24,93,27,98,135,94,97,33,414,5348,7,30,154],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ab3340f319cb8ed6f2dc547a11d1de3.jpg","纵179.8厘米，横73.8厘米",[104,82],42,{"id":5354,"slug":5355,"title":5356,"dynasty":18,"author":1553,"museum":360,"description":5357,"tags":5358,"thumbUrl":5359,"material":494,"size":495,"collection":223,"collections":5360,"showCount":5352,"zanCount":11,"manualWeight":11,"mainColor":54},235656,"tang-yin-qian-tang-jing-wu-tu-zhou-yi-ming-235656","唐寅钱塘景物图轴","此作用斧劈皴写山石嶙峋风骨，层崖迭起取高远之境，硬朗苍劲尽显北派山水雄健气势。山坳林麓间村居错落隐现，青树蓊郁晕染江南温润意趣，刚柔相济，将浙派纵肆与吴门隽秀相融。\n左侧题诗与画景相映，把秋郊钱塘的清寂萧疏铺陈开来，山野幽居的闲逸之态藏于奇峰之间，笔意追摹前人，绘就秋日江乡澹远沉静的逸致，尽显明人山水抒情写意的雅致格调。",[24,63,135,93,98,94,31,7,32,336,96,121,136,97,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11a22516543afdb44def938b072f17f.jpg",[],{"id":5362,"slug":5363,"title":5364,"dynasty":246,"author":1105,"museum":360,"description":5365,"tags":5366,"thumbUrl":5367,"material":223,"size":223,"collection":223,"collections":5368,"showCount":5352,"zanCount":536,"manualWeight":11,"mainColor":108},234822,"li-cheng-shan-shui-ye-wang-jian-234822","李成山水页","王鉴(1598年-1677年)，明末清初画家，”四王”之一。\n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”。",[24,93,27,234,98,94,414,3563,97,7,32,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3dbf852e2a5465f18929e02cd4cae21.jpg",[],{"id":5370,"slug":5371,"title":5372,"dynasty":18,"author":2199,"museum":360,"description":5373,"tags":5374,"thumbUrl":5375,"material":223,"size":223,"collection":223,"collections":5376,"showCount":5352,"zanCount":11,"manualWeight":11,"mainColor":54},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,63,25,93,27,98,29,94,1587,33,75,71,95,121,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":5378,"slug":5379,"title":5380,"dynasty":58,"author":1553,"museum":132,"description":5381,"tags":5382,"thumbUrl":5383,"material":47,"size":5384,"collection":104,"collections":5385,"showCount":5352,"zanCount":11,"manualWeight":11,"mainColor":54},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,63,116,135,93,98,94,1470,293,7,3073,97,33,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[104],{"id":5387,"slug":5388,"title":2772,"dynasty":246,"author":1115,"museum":90,"description":5389,"tags":5390,"thumbUrl":5391,"material":223,"size":223,"collection":104,"collections":5392,"showCount":5352,"zanCount":11,"manualWeight":11,"mainColor":5393},202026,"shan-shui-tu-zhou-wang-shi-min-202026","此作笔墨苍润古雅，山石以细密皴法勾勒肌理，尽显苍劲质感。云雾轻笼山谷，虚实相生间拓展空间纵深，将远近峰峦自然衔接。山间林木葱茏，松枝虬劲，杂树错落，屋舍隐于林麓，小桥跨溪，流水潺潺，一派静谧悠远的山居气象。笔墨追摹元人遗韵，线条沉稳，墨色层次丰富，设色淡雅，尽显文人画清逸格调，传递出超然尘俗的林下之趣。",[94,98,93,27,7,32,137,33,191,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bec74577ee026a9bdc4fd614df8982.jpg",[104],"a69c8b",{"id":5395,"slug":5396,"title":5397,"dynasty":246,"author":1105,"museum":360,"description":5398,"tags":5399,"thumbUrl":5400,"material":223,"size":223,"collection":104,"collections":5401,"showCount":5402,"zanCount":11,"manualWeight":11,"mainColor":108},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,63,234,93,27,94,29,100,118,529,439,7,32,75,293,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[104,51],41,{"id":5404,"slug":5405,"title":3146,"dynasty":18,"author":89,"museum":60,"description":3147,"tags":5406,"thumbUrl":5407,"material":237,"size":3150,"collection":223,"collections":5408,"showCount":5402,"zanCount":11,"manualWeight":11,"mainColor":108},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087",[24,63,234,93,98,100,118,94,7,32,33,75,95,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg",[],{"id":5410,"slug":5411,"title":5412,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":5414,"thumbUrl":5415,"material":494,"size":495,"collection":223,"collections":5416,"showCount":5402,"zanCount":11,"manualWeight":11,"mainColor":108},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[116,24,63,94,93,27,98,336,7,32,96,121,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":5418,"slug":5419,"title":5420,"dynasty":246,"author":1105,"museum":5421,"description":5422,"tags":5423,"thumbUrl":5424,"material":164,"size":5425,"collection":104,"collections":5426,"showCount":5402,"zanCount":11,"manualWeight":11,"mainColor":54},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","广州艺术博物院","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,63,135,27,98,94,1444,33,31,7,32,96,97,1956,154,137,1202,3811,162,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[104,82],{"id":5428,"slug":5429,"title":5430,"dynasty":246,"author":1441,"museum":360,"description":5431,"tags":5432,"thumbUrl":5433,"material":223,"size":223,"collection":223,"collections":5434,"showCount":5402,"zanCount":11,"manualWeight":11,"mainColor":54},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","仿巨然山水图","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,63,135,29,98,94,97,33,31,7,32,155,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":5436,"slug":5437,"title":5438,"dynasty":18,"author":3004,"museum":1499,"description":5439,"tags":5440,"thumbUrl":5441,"material":208,"size":5442,"collection":104,"collections":5443,"showCount":5402,"zanCount":536,"manualWeight":11,"mainColor":498},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","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“苏松画派”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。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[24,93,98,135,94,1470,529,439,414,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[104],{"id":5445,"slug":5446,"title":5447,"dynasty":18,"author":89,"museum":360,"description":828,"tags":5448,"thumbUrl":5449,"material":494,"size":495,"collection":223,"collections":5450,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":108},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水",[24,63,234,94,93,98,29,97,152,31,7,32,492,96,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],40,{"id":5453,"slug":5454,"title":5455,"dynasty":488,"author":467,"museum":360,"description":2850,"tags":5456,"thumbUrl":5459,"material":494,"size":495,"collection":223,"collections":5460,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":108},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷",[23,116,24,25,93,94,840,7,32,97,33,5457,5458],"远峰","渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],{"id":5462,"slug":5463,"title":5464,"dynasty":18,"author":5465,"museum":60,"description":5466,"tags":5467,"thumbUrl":5468,"material":5469,"size":5470,"collection":104,"collections":5471,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":1224},239516,"shan-shui-ren-wu-juan-ye-cheng-239516","山水人物卷","叶澄","图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[116,24,63,25,27,98,94,30,7,96,33,176,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7881e7ced23cbff7521abe14b902b9f.jpg","绫本，设色","纵35cm，横290.3cm",[104],{"id":5473,"slug":5474,"title":5475,"dynasty":246,"author":5476,"museum":360,"description":5477,"tags":5478,"thumbUrl":5479,"material":223,"size":223,"collection":104,"collections":5480,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":54},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》",[24,63,135,93,98,94,529,530,96,95,7,136,644,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[104,51],{"id":5482,"slug":5483,"title":5484,"dynasty":246,"author":1553,"museum":60,"description":5485,"tags":5486,"thumbUrl":5487,"material":223,"size":223,"collection":104,"collections":5488,"showCount":5451,"zanCount":536,"manualWeight":11,"mainColor":108},236182,"hong-wu-shan-shui-shan-mian-yi-ming-236182","弘旿山水扇面","此作用笔松秀温润，以淡墨皴擦写尽山林意趣。取景幽寂，草堂临水依林而建，柴扉半虚掩，暗合幽居避俗之思。坡岸错杂，古木虬曲苍劲，细笔点染枝叶，疏密间尽显山野萧森之态。曲水蜿蜒绕于石滩，右侧崖壁悬泉轻落，为静谧山居添了几分灵动生机。\n\n整幅浅施淡彩，干笔勾勒山石肌理，湿墨晕染林木华滋，将文人林泉高致凝于尺幅。无市井喧嚣，只余丘壑闲澹之美，淡远清和，引人沉湎于这份江南山居的悠然雅意之中。",[24,63,1829,94,98,93,7,32,33,97,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b8e5ed61aa16afbae7a5f0315de3a66.jpg",[104],{"id":5490,"slug":5491,"title":2158,"dynasty":277,"author":5492,"museum":60,"description":5493,"tags":5494,"thumbUrl":5495,"material":678,"size":5496,"collection":104,"collections":5497,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":54},233170,"shan-shui-ce-cao-zhi-bai-233170","曹知白","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,63,234,93,98,94,529,530,439,96,7,293,97,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[104,791],{"id":5499,"slug":5500,"title":5501,"dynasty":58,"author":3186,"museum":360,"description":5502,"tags":5503,"thumbUrl":5504,"material":223,"size":223,"collection":223,"collections":5505,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":54},228422,"zao-chun-tu-zhao-bo-su-228422","早春图","此作为典型南宋青绿山水，以石青石绿晕染山峦，敷色浓丽雅致，尽显华贵宋韵。长卷铺展平远山水，烟波横江裹挟春润雾气，层叠峰岫间茂林修竹错落，汀洲村舍、临江楼阁疏密排布，舟楫泛于碧水，仿佛能窥见江风拂过早春的清寂暖意。画面将山水与苑居景致相融，兼具自然灵秀与人工精巧，晕开江南早春独有的温润朦胧。卷后题跋与鉴藏朱印次第排列，墨痕与印色相映，让画作在清雅之外，更添流传千载的厚重书卷意蕴，尽显宋人的山水审美与文人雅趣。",[23,116,24,63,25,117,27,94,31,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641d8a14375683a70a41699d825928db.jpg",[],{"id":5507,"slug":5508,"title":653,"dynasty":246,"author":2189,"museum":360,"description":5509,"tags":5510,"thumbUrl":5511,"material":223,"size":223,"collection":223,"collections":5512,"showCount":5451,"zanCount":536,"manualWeight":11,"mainColor":108},224218,"shan-shui-zhou-wu-chang-shuo-224218","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,24,135,93,27,98,63,94,7,32,75,414,293,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":5514,"slug":5515,"title":5516,"dynasty":246,"author":5517,"museum":132,"description":5518,"tags":5519,"thumbUrl":5520,"material":223,"size":223,"collection":104,"collections":5521,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":108},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,63,135,27,98,94,2939,1993,7,32,33,97,75,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[104,51],{"id":5523,"slug":5524,"title":5525,"dynasty":18,"author":1392,"museum":60,"description":5526,"tags":5527,"thumbUrl":5528,"material":532,"size":5529,"collection":104,"collections":5530,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":108},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,24,7,32,94,529,530,439,68,93,332,135,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[104,82],{"id":5532,"slug":5533,"title":2283,"dynasty":277,"author":3430,"museum":20,"description":5534,"tags":5535,"thumbUrl":5536,"material":257,"size":5537,"collection":104,"collections":5538,"showCount":5451,"zanCount":536,"manualWeight":11,"mainColor":54},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,331,98,27,578,97,414,38,7,153,33,43,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[104,51],{"id":5540,"slug":5541,"title":5542,"dynasty":58,"author":3560,"museum":60,"description":5543,"tags":5544,"thumbUrl":5545,"material":5546,"size":5547,"collection":80,"collections":5548,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":108},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,24,63,25,93,27,94,7,32,336,136,96,121,98,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纸本墨笔","纵47.3厘米，横115.6厘米",[80,104,82],{"id":5550,"slug":5551,"title":5552,"dynasty":18,"author":3027,"museum":60,"description":5553,"tags":5554,"thumbUrl":5555,"material":47,"size":5556,"collection":104,"collections":5557,"showCount":5451,"zanCount":536,"manualWeight":11,"mainColor":108},220104,"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,63,116,26,27,98,94,7,32,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[104],{"id":5559,"slug":5560,"title":5561,"dynasty":277,"author":1553,"museum":132,"description":5562,"tags":5563,"thumbUrl":5564,"material":93,"size":5565,"collection":82,"collections":5566,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":54},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[23,24,93,98,99,118,94,136,7,32,336,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[82],{"id":5568,"slug":5569,"title":2567,"dynasty":246,"author":1115,"museum":60,"description":2569,"tags":5570,"thumbUrl":2571,"material":47,"size":5571,"collection":104,"collections":5572,"showCount":5451,"zanCount":536,"manualWeight":11,"mainColor":54},219747,"du-fu-shi-yi-tu-wang-shi-min-219747",[23,24,63,25,331,93,27,564,33,97,154,7,96,32,336],"纵39厘米，横25.5厘米",[104],{"id":5574,"slug":5575,"title":5576,"dynasty":18,"author":2199,"museum":60,"description":5577,"tags":5578,"thumbUrl":5579,"material":93,"size":5580,"collection":104,"collections":5581,"showCount":5451,"zanCount":11,"manualWeight":11,"mainColor":108},219206,"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[23,24,93,98,135,94,33,97,32,95,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[104],{"id":5583,"slug":5584,"title":315,"dynasty":18,"author":5585,"museum":328,"description":5586,"tags":5587,"thumbUrl":5588,"material":102,"size":5589,"collection":104,"collections":5590,"showCount":5451,"zanCount":536,"manualWeight":11,"mainColor":54},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[23,24,93,94,116,135,7,32,1587,33,1212,454,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[104],{"id":5592,"slug":5593,"title":5594,"dynasty":58,"author":1553,"museum":90,"description":5595,"tags":5596,"thumbUrl":5597,"material":47,"size":5598,"collection":104,"collections":5599,"showCount":5451,"zanCount":536,"manualWeight":11,"mainColor":498},217068,"xi-qiao-gui-qi-tu-yi-ming-217068","溪桥归骑图","《溪桥归骑图》是一幅综合了山水、人物和动物的图画。画中，山水景色非常美丽，清澈的小溪流过葱郁的山谷，山峰高耸入云，森林茂密，景色宜人。在溪边，一名骑马而归的男子和他的马从远处走来，似乎是从旅行中归来。画中还有许多生动的动物，如嬉戏的鹿、石鸡等。",[24,1829,94,65,30,7,98,27,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc46ceb389667c533df831b73b9a5047.jpg","18.3x29cm",[104],{"id":5601,"slug":5602,"title":5603,"dynasty":58,"author":5604,"museum":360,"description":5605,"tags":5606,"thumbUrl":5608,"material":494,"size":495,"collection":223,"collections":5609,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":108},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[116,24,135,5607,117,27,94,96,7,32,95,136,97,118],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":5612,"slug":5613,"title":5614,"dynasty":277,"author":2362,"museum":360,"description":5615,"tags":5616,"thumbUrl":5617,"material":494,"size":495,"collection":223,"collections":5618,"showCount":5610,"zanCount":713,"manualWeight":11,"mainColor":54},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,63,135,93,98,94,7,32,95,31,33,97,99,100,118,840,839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],{"id":5620,"slug":5621,"title":1429,"dynasty":58,"author":173,"museum":360,"description":2792,"tags":5622,"thumbUrl":5624,"material":494,"size":495,"collection":223,"collections":5625,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":108},290058,"ba-qiao-feng-xue-tu-xia-gui-290058",[116,24,63,135,93,94,98,7,492,414,31,1617,30,5623,100,99],"风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg",[],{"id":5627,"slug":5628,"title":5629,"dynasty":58,"author":303,"museum":132,"description":5630,"tags":5631,"thumbUrl":5634,"material":47,"size":5635,"collection":223,"collections":5636,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":54},288475,"yan-lan-xiao-si-tu-li-tang-288475","烟岚萧寺图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,24,331,93,98,191,5632,7,31,5633,33,99,118],"萧寺","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ab447323c9edca7a862052bde53b86.jpg","51x49.5",[],{"id":5638,"slug":5639,"title":5640,"dynasty":58,"author":4265,"museum":360,"description":5641,"tags":5642,"thumbUrl":5645,"material":494,"size":495,"collection":223,"collections":5646,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":54},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,116,24,25,28,117,27,94,31,7,3824,250,365,5643,5644],"佛塔","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],{"id":5648,"slug":5649,"title":5650,"dynasty":246,"author":5651,"museum":60,"description":5652,"tags":5653,"thumbUrl":5654,"material":164,"size":5655,"collection":104,"collections":5656,"showCount":5610,"zanCount":536,"manualWeight":11,"mainColor":54},236112,"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","张雨森","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[24,116,135,94,27,98,7,32,97,630,2784,96,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[104,51],{"id":5658,"slug":5659,"title":5660,"dynasty":246,"author":613,"museum":360,"description":5661,"tags":5662,"thumbUrl":5664,"material":223,"size":223,"collection":223,"collections":5665,"showCount":5610,"zanCount":536,"manualWeight":11,"mainColor":108},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[116,24,63,234,93,98,99,118,94,7,32,95,176,33,5663],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":5667,"slug":5668,"title":5669,"dynasty":18,"author":5670,"museum":360,"description":5671,"tags":5672,"thumbUrl":5673,"material":223,"size":223,"collection":223,"collections":5674,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":108},228747,"xi-shan-wu-jin-tu-quan-juan-xu-ben-228747","溪山无尽图全卷","徐贲","此卷以水墨晕染秋山胜境，峰峦逶迤层叠，林木疏密错落，江湾汀渚间渔舍错落、野航泛波，平远、深远之境交织铺展，晕出烟岚氤氲的空濛秋意。笔墨承袭元人雅致，披麻皴写就山石肌理，淡墨轻扫便生林泉幽寂之态，清疏秀润间尽显林下高致。\n\n卷后题跋错落排布，墨色浓淡相映，书画合璧，将山水丘壑与文人幽怀相融。展卷慢观，如卧游烟江叠嶂，静览林泉秋韵，尘俗之思尽散于淡墨青山之间。",[23,24,63,25,93,94,98,99,100,529,530,33,7,32,96,121,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31a107a08059861aa4a70155a08584.jpg",[],{"id":5676,"slug":5677,"title":5678,"dynasty":277,"author":2731,"museum":360,"description":5679,"tags":5680,"thumbUrl":5681,"material":223,"size":223,"collection":223,"collections":5682,"showCount":5610,"zanCount":536,"manualWeight":11,"mainColor":54},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,93,27,94,98,95,30,191,33,96,31,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":5684,"slug":5685,"title":5686,"dynasty":58,"author":3186,"museum":360,"description":5687,"tags":5688,"thumbUrl":5689,"material":223,"size":223,"collection":223,"collections":5690,"showCount":5610,"zanCount":536,"manualWeight":11,"mainColor":54},227695,"chun-shan-tu-juan-zhao-bo-su-227695","春山图卷","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,116,24,63,25,117,27,94,26,98,191,33,365,7,32,42,75,155,3189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":5692,"slug":5693,"title":3185,"dynasty":246,"author":1553,"museum":360,"description":5694,"tags":5695,"thumbUrl":5696,"material":223,"size":223,"collection":223,"collections":5697,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":54},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,63,25,117,27,26,94,191,33,75,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":5699,"slug":5700,"title":5701,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":5702,"thumbUrl":5704,"material":164,"size":1461,"collection":223,"collections":5705,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":54},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160",[23,24,26,27,96,31,32,30,7,33,5703,97],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg",[],{"id":5707,"slug":5708,"title":5709,"dynasty":18,"author":3016,"museum":132,"description":5710,"tags":5711,"thumbUrl":5712,"material":223,"size":5713,"collection":104,"collections":5714,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":108},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，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。",[23,24,63,234,27,93,94,98,7,32,414,293,255,97,38,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[104,51],{"id":5716,"slug":5717,"title":5718,"dynasty":58,"author":588,"museum":20,"description":5719,"tags":5720,"thumbUrl":5721,"material":3637,"size":5722,"collection":80,"collections":5723,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":108},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,63,25,331,93,27,98,26,99,100,118,94,439,95,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg","纵32.4厘米，横104.8厘米",[80,104,82],{"id":5725,"slug":5726,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":5729,"tags":5730,"thumbUrl":10,"material":223,"size":223,"collection":104,"collections":5731,"showCount":5610,"zanCount":11,"manualWeight":11,"mainColor":5732},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","近代","黄宾虹","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[24,63,135,93,98,94,293,7,97,155,137,23],[104],"e1d9cb",{"id":5734,"slug":5735,"title":5736,"dynasty":58,"author":588,"museum":132,"description":2228,"tags":5737,"thumbUrl":5739,"material":494,"size":2231,"collection":223,"collections":5740,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":54},290305,"xue-jing-shan-shui-zhou-guo-xi-290305","雪景山水轴",[24,116,331,93,98,1721,578,5738,7,137,95,32],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6724961771742b335499a8184771c46.jpg",[],38,{"id":5743,"slug":5744,"title":5745,"dynasty":488,"author":541,"museum":360,"description":4775,"tags":5746,"thumbUrl":5747,"material":494,"size":495,"collection":223,"collections":5748,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":54},290234,"qing-feng-tu-ju-ran-290234","晴峰图",[23,116,24,63,135,93,94,98,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f767646b504d76c3e289173b139511.jpg",[],{"id":5750,"slug":5751,"title":5752,"dynasty":18,"author":5289,"museum":360,"description":5753,"tags":5754,"thumbUrl":5755,"material":223,"size":5756,"collection":104,"collections":5757,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":54},237638,"shan-shui-juan-li-shi-da-237638","山水卷","李士达（1550-1620），字通甫，号仰槐，江苏苏州人。万历二年（1574）进士，工画人物、山水。曾经论述画有五美：“苍、逸、奇、远、韵。”又有五恶：“嫩、板、刻、生、痴。”传世作品有《浔阳琵琶图》、《三驼图》、《西园雅集图》等。",[24,93,25,94,98,7,32,95,96,33,176,250,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[104,82],{"id":5759,"slug":5760,"title":5761,"dynasty":246,"author":1042,"museum":360,"description":5762,"tags":5763,"thumbUrl":5764,"material":494,"size":495,"collection":223,"collections":5765,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":108},237366,"hong-ren-shan-shui-tu-zhou-hong-ren-237366","弘仁山水图轴","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”。",[24,63,135,93,98,94,564,96,336,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2198db8b7023d2d9d377941e9c3aa1.jpg",[],{"id":5767,"slug":5768,"title":5769,"dynasty":246,"author":1441,"museum":60,"description":5770,"tags":5771,"thumbUrl":5772,"material":223,"size":223,"collection":104,"collections":5773,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":108},236459,"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴","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。",[24,135,93,98,29,94,293,962,97,32,121,7,336,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[104,82,791],{"id":5775,"slug":5776,"title":5777,"dynasty":246,"author":613,"museum":360,"description":5778,"tags":5779,"thumbUrl":5780,"material":223,"size":223,"collection":223,"collections":5781,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":108},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[23,116,24,63,234,93,98,94,7,252,293,1096],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":5783,"slug":5784,"title":5785,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":5786,"thumbUrl":5788,"material":164,"size":1461,"collection":223,"collections":5789,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":54},223074,"hong-lou-meng-60-sun-wen-223074","红楼梦60",[23,24,116,26,27,30,5787,31,7,94,962,336,38],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc778f30d6320cf2226001639f7dbc7e6.jpg",[],{"id":5791,"slug":5792,"title":5793,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":5794,"thumbUrl":5795,"material":164,"size":1461,"collection":223,"collections":5796,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":108},223061,"hong-lou-meng-47-sun-wen-223061","红楼梦47",[23,24,26,27,25,30,744,7,32,33,75,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610bde4c2f78ed4a71fd87145a23f3d6.jpg",[],{"id":5798,"slug":5799,"title":5800,"dynasty":18,"author":5801,"museum":4820,"description":5802,"tags":5803,"thumbUrl":5804,"material":5805,"size":5806,"collection":104,"collections":5807,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":54},221876,"shan-shui-tu-bi-geng-yuan-gao-ran-hui-221876","山水图(笔耕园）","高然晖","《笔耕园》是将室町时代（1336年－1573年，当时倭寇开始在我国为祸，大量文物自此流失）及以后舶来的中国画汇集而成的手鉴。\n《笔耕园》收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有一些其他朝代品质极高的作品。",[23,24,63,93,98,94,7,32,95,97,155,33,154,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b47ef1948cd9cb76d6fe494279e3f24.jpg","纸本墨画","24.3×33.2",[104,82],{"id":5809,"slug":5810,"title":774,"dynasty":246,"author":1553,"museum":2218,"description":5811,"tags":5812,"thumbUrl":5813,"material":47,"size":223,"collection":104,"collections":5814,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":54},219905,"shan-ju-tu-yi-ming-219905","淡墨晕开空濛烟岚，奇崛峰石隐现于流云薄雾，恍如世外仙乡。山麓楼阁层叠，飞檐翘角掩映苍林，板桥通幽，行人徐行，漫溢出山居的悠然意趣。近岸垂柳依依，渔舟泛于微波之上，渔翁垂纶闲坐，汀渚浅滩缀着顽石，野趣横生。\n\n此作用水墨淡设色晕染，烘托出氤氲空寂氛围，将高远、平远之境相融，铺陈开山野幽居的静谧雅致，似能触到山涧湿润清风，窥见古人幽栖林泉的隐逸清梦，尽显传统山水含蓄悠然的意境之美。",[24,27,94,98,31,7,32,95,33,191,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd3090754485169aca224d8eaa9304c.jpg",[104],{"id":5816,"slug":5817,"title":5818,"dynasty":246,"author":3353,"museum":132,"description":5819,"tags":5820,"thumbUrl":5821,"material":237,"size":5822,"collection":104,"collections":5823,"showCount":5741,"zanCount":536,"manualWeight":11,"mainColor":108},219441,"xue-pu-gui-fan-tu-zhou-qian-wei-cheng-219441","雪浦归帆图轴","积雪覆岩如素缣裹玉，远峰巍峨耸峙，寒气沁入笔墨肌理。中浦波静似镜，一叶轻舟破寒烟而来，帆影斜掠水面，漾开细碎的清寂。近岸石皴木瘦，寒林疏枝以焦墨勾勒，松针如簇仍带苍劲，间杂几间茅舍隐于崖侧，柴门半掩似待归人。山石用干笔皴擦显其骨，积雪以留白衬其洁，墨色层次淡远如雾笼寒川。天地间尽是清旷气，归帆的暖意却悄悄融于冷寂——笔墨间藏着冬日山水的幽寂与生机，将文人对自然的体察、对烟火的温柔打量，都凝在这素净疏旷的帧幅里。",[24,63,116,135,93,26,98,94,1470,95,33,7,32,97,96,414,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf3f03012d111bbabd7ea73ecb7622c.jpg","114.9x64.4",[104],{"id":5825,"slug":5826,"title":5827,"dynasty":246,"author":4994,"museum":132,"description":5828,"tags":5829,"thumbUrl":5830,"material":102,"size":5831,"collection":51,"collections":5832,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":108},219432,"shi-yi-gao-zong-yu-bi-ni-gu-shi-zhou-zou-yi-gui-219432","诗意高宗御笔拟古诗轴","峰峦层叠，飞瀑如练倾泻空谷，溅起雾霭氤氲。山腰林麓间，几椽村舍隐现，溪畔小舟轻泊，似待归人。近处松石挺秀，竹影婆娑，笔墨清润雅致，皴染相济——山石以干笔皴出嶙峋肌理，草木以细墨勾描葱茏生机。诗与画浑然交融，将御笔诗意中的幽寂旷达凝注尺幅：烟霞绕舍，幽花弄晴，村居闲适与山水灵秀相映成趣，尽显文人笔墨的韵致与超然尘外的情怀。",[24,63,135,93,98,100,118,94,33,152,32,1587,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3428ddd92601e9917eff9c609bc5362e.jpg","188.7x55.8",[51],{"id":5834,"slug":5835,"title":5836,"dynasty":18,"author":1534,"museum":60,"description":5837,"tags":5838,"thumbUrl":5839,"material":47,"size":5840,"collection":104,"collections":5841,"showCount":5741,"zanCount":11,"manualWeight":11,"mainColor":54},219304,"xue-jing-zhou-lan-ying-219304","雪景轴","蓝瑛（西元一五八五－一六六四年以后）字田叔，号蝶叟，杭州钱塘人。善山水，初学元黄公望，并遍临唐宋元各家，构图精整，傅色明艳，晚年作品笔墨苍劲老辣，傅色趋于雅淡。他也擅长花竹、人物画，是浙派后期的重要画家。此幅画溪山积雪，其间点缀楼宇、蓬舟、危桥、栈道和行人。山石纯用短斫，兼以烘染。用笔率直老健，作于一六五九年，是七十五岁的力作。",[24,63,135,27,94,7,32,95,30,206,97,98,136,96,3563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9284fc8674ac05bd3e157f3659003486.jpg","268x68.8",[104],{"id":5843,"slug":5844,"title":5845,"dynasty":58,"author":4265,"museum":132,"description":5846,"tags":5847,"thumbUrl":5848,"material":47,"size":5849,"collection":104,"collections":5850,"showCount":5741,"zanCount":536,"manualWeight":11,"mainColor":108},218679,"qiong-lou-xuan-pu-tu-zhao-bo-ju-218679","琼楼悬瀑图","画面上，玉宇琼楼，青山绿水，高松翠柏，飞瀑虹桥，春风化雨，游人如织，千里之外。这幅画的风格是原名为赵伯驹的大青衣小将，没有证据支持。",[23,2114,24,63,116,117,27,28,94,31,152,7,32,30,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddc740c243ac58e3d28be080e2fc61e.jpg","27.9x29.9",[104],{"id":5852,"slug":5853,"title":1401,"dynasty":246,"author":1553,"museum":360,"description":5854,"tags":5855,"thumbUrl":5857,"material":494,"size":495,"collection":223,"collections":5858,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":54},288090,"qing-ming-shang-he-tu-juan-yi-ming-288090","长卷铺展旧京烟火，屋舍连楹错落，行人摩肩接踵，漕船泊于汴河，酒旗随风招展。青绿晕染瓦舍林木，古旧绢色晕开千年余温，挑担货郎、赶脚行人、雅集文士各安其态，将汴梁的升平世象尽数铺陈。\n复刻宋韵盛景的笔触里藏着鲜活日常：虹桥下舟楫穿梭避让，茶肆中宾主对坐言欢，巷陌间孩童嬉闹追逐。以细腻工笔留住旧朝市井的鲜活肌理，将汴河沿岸的晨昏烟火凝于绢素，让观者坠入千年前的街巷，触摸藏在笔墨褶皱里的人间暖意，静赏定格的岁时繁华。",[23,116,24,25,27,26,28,30,31,7,32,400,37,44,34,851,5856,99],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0fcd5ccc35c36ffe3f68d92523b06b.jpg",[],{"id":5860,"slug":5861,"title":5862,"dynasty":1174,"author":2691,"museum":360,"description":4566,"tags":5863,"thumbUrl":5864,"material":494,"size":495,"collection":223,"collections":5865,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":54},287653,"hu-ting-you-qi-li-zhao-dao-287653","湖亭遊骑",[23,24,117,27,94,28,135,31,96,7,30,65,118,119,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc60d8644d255d0a078d03ec9b8a425f.jpg",[],{"id":5867,"slug":5868,"title":5869,"dynasty":246,"author":5870,"museum":360,"description":5871,"tags":5872,"thumbUrl":5873,"material":223,"size":223,"collection":104,"collections":5874,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":108},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,63,135,93,98,29,94,7,32,95,96,414,75,97,33,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[104],{"id":5876,"slug":5877,"title":3026,"dynasty":18,"author":3027,"museum":60,"description":5878,"tags":5879,"thumbUrl":5880,"material":402,"size":5881,"collection":223,"collections":5882,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":108},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,63,135,93,98,94,7,32,65,30,33,97,75,293,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":5884,"slug":5885,"title":5886,"dynasty":246,"author":1553,"museum":60,"description":5887,"tags":5888,"thumbUrl":5892,"material":237,"size":5893,"collection":104,"collections":5894,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":108},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,63,234,27,26,28,30,94,65,7,31,97,33,2887,5889,5890,5891],"军队","战阵","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[104,49,51],{"id":5896,"slug":5897,"title":5898,"dynasty":18,"author":1126,"museum":360,"description":5899,"tags":5900,"thumbUrl":5901,"material":223,"size":223,"collection":223,"collections":5902,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":108},228916,"mo-xi-shan-xing-lv-tu-zhang-hong-228916","摹溪山行旅图","此作为雪景山水，以淡墨晕染山石，留白铺就厚雪，尽显冬日山峦清寂素净。层叠岩崖间枯木萧疏，偶有青松点翠，破开雪色单调。山涧水色灰蒙，栈道、板桥连贯幽谷，旅人驱驴缓行，山居茅舍错落山坳，细节生动，将羁旅行路意趣，糅进空阔冷逸冬山之中。\n\n用笔精细秀雅，勾勒皴擦兼具宋画雄浑骨架，又带明人笔墨温润雅致，将冬日深山的荒寒宁静与人间烟火暖意相融，复刻古意又自出机杼，尽显溪山行旅的幽远况味。",[23,24,25,93,98,29,94,578,7,32,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83c124ad11c5e878f782bec67b93f0a.jpg",[],{"id":5904,"slug":5905,"title":1308,"dynasty":246,"author":1309,"museum":60,"description":5906,"tags":5907,"thumbUrl":5908,"material":532,"size":5909,"collection":104,"collections":5910,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":54},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,116,24,331,29,98,93,27,135,529,530,33,7,75,154,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[104],{"id":5912,"slug":5913,"title":5914,"dynasty":18,"author":2199,"museum":60,"description":5915,"tags":5916,"thumbUrl":5917,"material":678,"size":5918,"collection":223,"collections":5919,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":54},220390,"you-song-tu-du-qiong-220390","友松图","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,63,25,94,27,26,98,7,32,97,33,293,75,643,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":5921,"slug":5922,"title":5923,"dynasty":246,"author":1786,"museum":60,"description":5924,"tags":5925,"thumbUrl":5926,"material":208,"size":5927,"collection":104,"collections":5928,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":108},220138,"quan-sheng-song-se-tu-wu-li-220138","泉声松色图","整幅构图分远、中、近铺设，层次分明。山峦层层叠嶂;溪水，曲行贯穿;树木，更加苍劲。整个画面，以凝练的笔法，展现出山水间、自然界的浑重拙朴、深醇沉郁的气韵。皴法繁密，明暗分明。较之前面两幅，笔力显得更加雄浑，墨色更加酣畅，色彩对比更加强烈。整个画面，上上下下，有众多房屋，而不见人影;有桥梁，却无人来渡;除水声外，不见人声，不闻鸟鸣，一切处在自然界的凝静之中;远山近壑之上，铺设着一层雪的白色，虽有苍劲的“松色”似有增色，但同时告知我们，此时节尚处在寒冷之中。",[23,24,93,98,94,32,293,529,7,176,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 横38厘米",[104],{"id":5930,"slug":5931,"title":5932,"dynasty":58,"author":3136,"museum":3055,"description":5933,"tags":5934,"thumbUrl":5935,"material":47,"size":5936,"collection":49,"collections":5937,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":54},219707,"qi-feng-tu-ma-he-zhi-219707","齐风图","齐襄公是齐僖公长子，他同父异母的妹妹姜文，素有“春秋时期四大美女”之称。见色起意的齐襄公不顾纲常伦理，与妹妹私通。《汉书·地理志》中记载了这段不堪的往事：“始桓公兄襄公淫乱，姑姊妹不嫁。",[23,24,25,63,516,27,26,100,30,31,7,32,37,33,94,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d34fa858564b0e0ce285f95eabcfed.jpg","26.2x65cm",[49],{"id":5939,"slug":5940,"title":5941,"dynasty":246,"author":1309,"museum":60,"description":5942,"tags":5943,"thumbUrl":5944,"material":47,"size":5945,"collection":104,"collections":5946,"showCount":127,"zanCount":536,"manualWeight":11,"mainColor":54},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,63,135,94,98,27,529,439,32,7,75,97,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[104],{"id":5948,"slug":5949,"title":5950,"dynasty":18,"author":525,"museum":328,"description":5951,"tags":5952,"thumbUrl":5953,"material":102,"size":223,"collection":223,"collections":5954,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":108},217015,"fang-gu-shan-shui-ce-liu-kai-6-dong-qi-chang-217015","仿古山水册六开-6","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,63,234,93,98,94,97,293,7,3738],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6211ae8ca6eddfebd49ee0a2f4aec4.jpg",[],{"id":5956,"slug":5957,"title":5958,"dynasty":277,"author":327,"museum":360,"description":4149,"tags":5959,"thumbUrl":5961,"material":494,"size":495,"collection":223,"collections":5962,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":54},290148,"zhi-lan-shi-tu-ke-luo-ban-huang-gong-wang-290148","芝兰室图 （珂罗版）",[23,24,93,94,98,97,33,1211,96,7,32,99,118,5960],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cc32f6b467d1055b76d9b1b43ef70e.jpg",[],36,{"id":5965,"slug":5966,"title":5967,"dynasty":246,"author":1454,"museum":360,"description":5968,"tags":5969,"thumbUrl":5973,"material":494,"size":495,"collection":223,"collections":5974,"showCount":5963,"zanCount":536,"manualWeight":11,"mainColor":54},288399,"lin-dai-yu-chong-jian-tao-hua-she-sun-wen-288399","林黛玉重建桃花社","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。",[23,24,63,26,27,30,744,31,7,32,121,564,5970,5971,5972],"风筝","桃花社","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg",[],{"id":5976,"slug":5977,"title":5978,"dynasty":246,"author":5979,"museum":360,"description":5980,"tags":5981,"thumbUrl":5982,"material":223,"size":223,"collection":104,"collections":5983,"showCount":5963,"zanCount":536,"manualWeight":11,"mainColor":54},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","张宗苍","公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,25,331,93,98,3060,94,31,7,96,97,1202,32,75,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[104,51],{"id":5985,"slug":5986,"title":3146,"dynasty":18,"author":89,"museum":60,"description":3147,"tags":5987,"thumbUrl":5988,"material":237,"size":3150,"collection":223,"collections":5989,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":108},234085,"wu-zhong-shan-shui-ce-shen-zhou-234085",[24,63,234,93,100,98,94,31,33,7,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff490de890778b4cc3370fad14bbd48de.jpg",[],{"id":5991,"slug":5992,"title":5993,"dynasty":246,"author":5994,"museum":360,"description":5995,"tags":5996,"thumbUrl":5997,"material":223,"size":223,"collection":223,"collections":5998,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":108},230148,"shi-er-jin-chai-tu-fei-dan-xu-230148","十二金钗图","费丹旭","《十二金钗图》是清代画家费丹旭创作的一幅绘画作品，现藏于 。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[24,63,26,27,744,1606,1470,7,336,136,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":6000,"slug":6001,"title":6002,"dynasty":18,"author":19,"museum":360,"description":6003,"tags":6004,"thumbUrl":6005,"material":223,"size":223,"collection":223,"collections":6006,"showCount":5963,"zanCount":713,"manualWeight":11,"mainColor":54},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,25,26,27,117,94,30,65,7,32,33,97,155,98,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":6008,"slug":6009,"title":6010,"dynasty":58,"author":6011,"museum":132,"description":6012,"tags":6013,"thumbUrl":6014,"material":164,"size":223,"collection":223,"collections":6015,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":54},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","萧照","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,24,116,27,98,94,30,66,32,439,97,492,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":6017,"slug":6018,"title":6019,"dynasty":18,"author":1267,"museum":6020,"description":6021,"tags":6022,"thumbUrl":6025,"material":678,"size":6026,"collection":49,"collections":6027,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":108},222361,"jin-chang-song-bie-tu-tang-yin-222361","金昌送别图","吴氏梅景书屋","图绘柳溪水岸边四人拱手作别，即将远去的朋友回头顾盼他的三个朋友，深含依依不舍之情，旁边一樵夫等待离别的人上船，即将扬帆起航。远处群山连绵，云雾霭霭，空旷高远。整幅图以水墨与淡设色相融合，使画面呈现出清雅的格调。",[23,24,25,93,27,94,30,7,32,95,31,6023,281,155,96,2959,6024],"群山","依依不舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd1421c45dfa306f19591e4f68b6877.jpg","21×132cm",[49,82],{"id":6029,"slug":6030,"title":6031,"dynasty":18,"author":3952,"museum":1277,"description":6032,"tags":6033,"thumbUrl":6034,"material":47,"size":6035,"collection":104,"collections":6036,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":54},220146,"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[23,24,63,94,135,93,98,96,7,97,75,136,440,33,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[104],{"id":6038,"slug":6039,"title":6040,"dynasty":18,"author":1553,"museum":2218,"description":6041,"tags":6042,"thumbUrl":6044,"material":47,"size":223,"collection":49,"collections":6045,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":108},219593,"luo-han-guan-yin-tu-yi-ming-219593","罗汉观音图","此作以石窟观音为视觉中心，十六罗汉错落排布于林泉幽境之间。洞窟、危桥、苍松穿插其间，将佛国胜景融于山水丘壑。设色古雅沉润，线条凝练劲挺，衣褶流转自然。\n\n各罗汉神态迥异，或趺坐静思、或临渊观流、或降龙伏怪，形神兼备；观音端踞窟内，仪容肃穆安和。画面将礼佛的庄严禅意，与文人山水的清寂雅致相融，既彰显佛造像的静穆神圣，又暗合山林隐逸的审美意趣，尽显佛画与山水画结合的精妙，把出世禅心揉入林泉幽致之中，尽显明代宗教绘画兼具工致与意韵的独特韵味。",[24,63,27,26,1665,30,94,7,32,6043,28,136,31,336],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69873b96fabaed87f5b148d0a16d77ba.jpg",[49],{"id":6047,"slug":6048,"title":6049,"dynasty":18,"author":6050,"museum":132,"description":6051,"tags":6052,"thumbUrl":6053,"material":47,"size":6054,"collection":104,"collections":6055,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":54},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[24,63,135,27,94,98,7,32,33,75,97,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[104],{"id":6057,"slug":6058,"title":6059,"dynasty":18,"author":2606,"museum":132,"description":6060,"tags":6061,"thumbUrl":6062,"material":47,"size":6063,"collection":104,"collections":6064,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":54},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[24,63,135,93,98,118,94,30,31,7,33,32,96,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[104],{"id":6066,"slug":6067,"title":6059,"dynasty":277,"author":6068,"museum":6069,"description":6070,"tags":6071,"thumbUrl":6073,"material":208,"size":6074,"collection":49,"collections":6075,"showCount":5963,"zanCount":11,"manualWeight":11,"mainColor":108},218245,"bin-feng-tu-lin-zi-huan-218245","林子奂","上海龙美术馆","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[23,24,63,25,516,93,99,100,118,30,94,33,121,32,7,922,2343,252,6072],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[49],{"id":6077,"slug":6078,"title":6079,"dynasty":277,"author":2362,"museum":360,"description":6080,"tags":6081,"thumbUrl":6083,"material":494,"size":495,"collection":223,"collections":6084,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":54},290820,"xi-shan-yu-yi-tu-zhou-wu-zhen-290820","溪山雨意图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[116,24,63,135,93,94,98,7,1211,136,6082,99,118],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d46bbb9394f7778397efac4b923ef92.jpg",[],35,{"id":6087,"slug":6088,"title":6089,"dynasty":18,"author":5670,"museum":132,"description":6090,"tags":6091,"thumbUrl":6093,"material":494,"size":6094,"collection":104,"collections":6095,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":108},290552,"lu-shan-du-shu-tu-zhou-xu-ben-290552","庐山读书图轴","篆书自题‘‘庐山读书”，署款“洪武丁丑春日徐贲写：”钤印二“徐贲之印”、“幼文”。另有乾隆御题五绝诗：此图画庐山一带景色，这里山青水秀，风景幽美。画面上重峦叠嶂，幽亭秀木，溪流茅屋，岚色郁苍，树木丛生，枝干劲挺，远山深秀，树木葱茏。草舍隐于溪边树丛巾，在舍外有两位高士，相面席地而坐，似正在边渎边交流：左侧有一板桥窄架溪岸，一位僮子携琴走来。通过画家徐贲的笔下，描绘出观画读书的情景，颇能领略远离闹市的山居之乐，道出了画家深埋心中的孤寂之感、尽管庐山未必真有此景，但画家毕竟是基于写生，平所熟悉的环境加以提炼概括，在此图中倾注了画家真挚感情。",[24,63,135,93,94,98,31,7,33,97,118,6092],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89929cd534577a024cd492255244a800.jpg","63.1x26.3",[104],{"id":6097,"slug":6098,"title":6099,"dynasty":58,"author":173,"museum":360,"description":2792,"tags":6100,"thumbUrl":6101,"material":494,"size":495,"collection":223,"collections":6102,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":54},290272,"hu-shan-fang-you-tu-xia-gui-290272","湖山访友图",[116,24,93,94,135,98,31,7,32,96,30,33,5059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1ba42d2395c98b7ef4f0b2a513a2e3.jpg",[],{"id":6104,"slug":6105,"title":6106,"dynasty":18,"author":6107,"museum":360,"description":6108,"tags":6109,"thumbUrl":6111,"material":494,"size":495,"collection":223,"collections":6112,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":108},288021,"tao-hua-yuan-yang-tu-shan-mian-zhou-zhi-mian-288021","桃花鸳鸯图扇面","周之冕","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,1829,24,116,63,27,565,119,6110,7,318,136,118],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77bf6fdf6141f8c8ffcd4f1175cbe18f.jpg",[],{"id":6114,"slug":6115,"title":6116,"dynasty":488,"author":813,"museum":132,"description":6117,"tags":6118,"thumbUrl":6120,"material":494,"size":495,"collection":223,"collections":6121,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":54},287719,"hua-zhang-lin-xiao-yi-dong-yuan-287719","画长林萧逸","水墨画山峦层叠，林木丛聚。画中山石土坡，均用披麻皴法，只是笔法造型稍嫌刻板，乏于变化；树木平整罗列，少于掩映参差的深趣，当是出于后期画家仿作。",[23,116,24,63,135,93,98,27,94,136,31,7,32,6119],"萧逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc088b2a7379e1f7d028fe386eee872fb.jpg",[],{"id":6123,"slug":6124,"title":6125,"dynasty":18,"author":3027,"museum":60,"description":6126,"tags":6127,"thumbUrl":6128,"material":678,"size":6129,"collection":223,"collections":6130,"showCount":6085,"zanCount":536,"manualWeight":11,"mainColor":54},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,25,93,26,98,94,7,32,30,96,293,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":6132,"slug":6133,"title":6134,"dynasty":58,"author":3186,"museum":360,"description":5687,"tags":6135,"thumbUrl":6136,"material":164,"size":6137,"collection":223,"collections":6138,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":54},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","关山行旅图卷",[23,2114,24,63,25,117,27,26,98,94,191,33,414,293,31,96,7,32,30,65,75,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":6140,"slug":6141,"title":6142,"dynasty":18,"author":5289,"museum":360,"description":6143,"tags":6144,"thumbUrl":6152,"material":223,"size":223,"collection":223,"collections":6153,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":108},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[23,24,93,27,30,642,7,1383,1980,6145,32,6146,6147,6148,6149,5856,6150,6151],"枯柳","水乡","新年","贺岁","温情","写实","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],{"id":6155,"slug":6156,"title":6157,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":6158,"thumbUrl":6159,"material":164,"size":1461,"collection":223,"collections":6160,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":108},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,63,26,27,30,96,7,32,31,119,281,97,643,38,39,33,440,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":6162,"slug":6163,"title":6164,"dynasty":246,"author":3605,"museum":132,"description":6165,"tags":6166,"thumbUrl":6167,"material":378,"size":6168,"collection":104,"collections":6169,"showCount":6085,"zanCount":713,"manualWeight":11,"mainColor":54},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,63,135,27,94,191,155,33,176,71,95,31,7,32,1445,98,492,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[104,51],{"id":6171,"slug":6172,"title":6173,"dynasty":246,"author":1349,"museum":360,"description":6174,"tags":6175,"thumbUrl":6176,"material":532,"size":6177,"collection":223,"collections":6178,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":108},222625,"shan-shui-shan-mian-4-gong-xian-222625","山水扇面-4","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,1829,24,63,93,98,94,136,7,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030eef42f9fe02485556236ab0f68ff9.jpg","纵22.7厘米，横63.1厘米",[],{"id":6180,"slug":6181,"title":6182,"dynasty":246,"author":6183,"museum":360,"description":6184,"tags":6185,"thumbUrl":6186,"material":47,"size":223,"collection":104,"collections":6187,"showCount":6085,"zanCount":536,"manualWeight":11,"mainColor":108},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,27,26,98,94,33,97,7,32,96,121,30,65,252,440,414,293,42,4648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[104],{"id":6189,"slug":6190,"title":6191,"dynasty":246,"author":6192,"museum":132,"description":6193,"tags":6194,"thumbUrl":6196,"material":47,"size":6197,"collection":104,"collections":6198,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":108},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[24,63,135,27,94,98,1211,33,97,155,31,7,32,96,6195],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[104],{"id":6200,"slug":6201,"title":315,"dynasty":18,"author":6202,"museum":4422,"description":6203,"tags":6204,"thumbUrl":6205,"material":308,"size":6206,"collection":104,"collections":6207,"showCount":6085,"zanCount":11,"manualWeight":11,"mainColor":54},218419,"shan-shui-tu-wang-e-218419","王谔","画面中山峦巍峨，云雾似轻纱缭绕峰谷，虚实相生间显深远之致。近景几株树木枝干虬劲，枝叶婆娑灵动；树下小径上，行旅者或策骑缓行、或负物徐步，身形小巧却动态毕现，为静谧山水添生活意趣。笔墨工细中见洒脱，山石勾勒劲挺皴擦有度，树木点染鲜活，人物刻画传神。构图层次分明，远近错落营造开阔幽深的空间感，既得山川雄浑，又含林泉雅致，尽显明代院体山水的精妙韵致。",[24,94,27,98,135,33,97,30,65,492,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd462fa3e723446f765cd83d78591601.jpg","146x80cm",[104],{"id":6209,"slug":6210,"title":6211,"dynasty":277,"author":4402,"museum":2218,"description":6212,"tags":6213,"thumbUrl":6217,"material":208,"size":6218,"collection":104,"collections":6219,"showCount":6085,"zanCount":536,"manualWeight":11,"mainColor":108},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,63,25,93,98,99,100,94,191,155,33,71,7,365,176,190,154,250,4649,6214,332,6215,6216,118],"留白","笔墨","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[104],{"id":6221,"slug":6222,"title":1308,"dynasty":246,"author":1105,"museum":132,"description":6223,"tags":6224,"thumbUrl":6225,"material":102,"size":6226,"collection":223,"collections":6227,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},287767,"fang-huang-gong-wang-shan-shui-tu-wang-jian-287767","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。",[24,116,63,135,93,27,29,98,94,7,32,97,33,99,118,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c65d60415a5a08a23fe71311ba2551.jpg","78.8x38.8",[],34,{"id":6230,"slug":6231,"title":2158,"dynasty":246,"author":1786,"museum":60,"description":6232,"tags":6233,"thumbUrl":6234,"material":532,"size":6235,"collection":104,"collections":6236,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},235015,"shan-shui-ce-wu-li-235015","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,63,234,93,27,94,7,96,414,97,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[104,82],{"id":6238,"slug":6239,"title":6240,"dynasty":277,"author":4402,"museum":132,"description":6241,"tags":6242,"thumbUrl":6243,"material":102,"size":6244,"collection":223,"collections":6245,"showCount":6228,"zanCount":536,"manualWeight":11,"mainColor":108},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,63,135,93,94,1587,33,7,32,176,154,156,98,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":6247,"slug":6248,"title":6249,"dynasty":277,"author":6250,"museum":132,"description":6251,"tags":6252,"thumbUrl":6253,"material":2528,"size":6254,"collection":223,"collections":6255,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[24,63,93,94,98,25,7,32,252,136,30,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":6257,"slug":6258,"title":6259,"dynasty":18,"author":6260,"museum":360,"description":6261,"tags":6262,"thumbUrl":6263,"material":223,"size":223,"collection":223,"collections":6264,"showCount":6228,"zanCount":536,"manualWeight":11,"mainColor":108},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","兰亭修禊图","丁云鹏","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,63,25,26,27,516,98,94,30,96,32,206,564,7,2386],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":6266,"slug":6267,"title":6268,"dynasty":18,"author":19,"museum":360,"description":6269,"tags":6270,"thumbUrl":6271,"material":223,"size":223,"collection":223,"collections":6272,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,63,25,117,27,26,99,100,94,31,7,32,121,96,616,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":6274,"slug":6275,"title":6276,"dynasty":277,"author":6277,"museum":360,"description":6278,"tags":6279,"thumbUrl":6280,"material":223,"size":223,"collection":223,"collections":6281,"showCount":6228,"zanCount":536,"manualWeight":11,"mainColor":108},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","李升","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,63,25,93,94,98,99,118,191,33,7,32,365,155,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":6283,"slug":6284,"title":6285,"dynasty":246,"author":6286,"museum":360,"description":6287,"tags":6288,"thumbUrl":6289,"material":223,"size":223,"collection":223,"collections":6290,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":54},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,63,25,27,26,28,30,31,7,33,121,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":6292,"slug":6293,"title":6294,"dynasty":246,"author":6295,"museum":132,"description":6296,"tags":6297,"thumbUrl":6298,"material":27,"size":6299,"collection":223,"collections":6300,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","仿王蒙山水轴","唐岱","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,94,135,29,98,27,529,530,293,38,7,176,33,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":6302,"slug":6303,"title":6304,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":6305,"thumbUrl":6306,"material":164,"size":1461,"collection":223,"collections":6307,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,63,234,26,27,28,30,65,31,94,33,7,75,281,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":6309,"slug":6310,"title":6311,"dynasty":18,"author":2617,"museum":20,"description":6312,"tags":6313,"thumbUrl":6314,"material":102,"size":6315,"collection":104,"collections":6316,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},220051,"luo-bi-yan-yun-tu-chen-chun-220051","落笔烟云图","绘山水相连，几叶扁舟顺风而下，房子、小亭依山而建，好一派清静优雅的景像！此卷用笔略显轻浮，题款亦不真，或是托名之作。",[23,24,25,93,332,94,95,7,32,33,97,75,121,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74da3cb2410a235ae2231e497fab346d.jpg","32.7cm×750.6cm",[104],{"id":6318,"slug":6319,"title":6320,"dynasty":58,"author":513,"museum":132,"description":6321,"tags":6322,"thumbUrl":6323,"material":93,"size":6324,"collection":104,"collections":6325,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":54},219357,"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[24,116,63,135,93,98,94,7,32,33,97,75,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[104],{"id":6327,"slug":6328,"title":6329,"dynasty":18,"author":6330,"museum":132,"description":6331,"tags":6332,"thumbUrl":6333,"material":47,"size":6334,"collection":51,"collections":6335,"showCount":6228,"zanCount":536,"manualWeight":11,"mainColor":108},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,63,94,26,27,98,118,529,1470,293,414,75,71,7,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[51],{"id":6337,"slug":6338,"title":6339,"dynasty":277,"author":1360,"museum":132,"description":6340,"tags":6341,"thumbUrl":6342,"material":308,"size":6343,"collection":104,"collections":6344,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":54},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,63,25,28,516,30,31,7,32,4801,33,38,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[104],{"id":6346,"slug":6347,"title":6348,"dynasty":18,"author":4939,"museum":90,"description":6349,"tags":6350,"thumbUrl":6351,"material":102,"size":6352,"collection":223,"collections":6353,"showCount":6228,"zanCount":11,"manualWeight":11,"mainColor":108},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,63,234,93,27,94,98,7,32,95,33,191,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":6355,"slug":6356,"title":5197,"dynasty":18,"author":19,"museum":360,"description":728,"tags":6357,"thumbUrl":6359,"material":494,"size":495,"collection":223,"collections":6360,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},290875,"xi-yuan-ya-ji-tu-zhou-chou-ying-290875",[24,135,516,93,30,96,293,7,643,1936,2385,118,1618,6358],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca9a6719c6a923f6b44368996834625.jpg",[],33,{"id":6363,"slug":6364,"title":6365,"dynasty":58,"author":410,"museum":360,"description":6366,"tags":6367,"thumbUrl":6368,"material":494,"size":495,"collection":223,"collections":6369,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":498},290861,"qiu-shan-yu-ting-zhou-li-cheng-290861","秋山渔艇轴","李成（919～967）五代及北宋画家。字咸熙，唐宗室后裔。原籍长安（今陕西西安），先世系唐宗室，祖父李鼎曾任苏州刺史，于五代时避乱迁家营丘（今山东昌乐），故又称李成为李营丘。他博学多才，胸有大志，但不得施展，遂放意诗酒书画，后醉死陈州（今河南淮阳）客舍。擅山水，师承荆浩、关仝，并加以发展，多画郊野平远旷阔之景。多作平远寒林，画法简练，笔势锋利，好用淡墨，有“惜墨如金”之称；画山石好像卷动的云，后人称这种表现技法为“卷云皴”。",[24,135,94,7,32,95,840,96,31,98,1956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95e63285ff12ebf6a02129e321d325.jpg",[],{"id":6371,"slug":6372,"title":653,"dynasty":277,"author":2362,"museum":360,"description":6080,"tags":6373,"thumbUrl":6374,"material":494,"size":495,"collection":223,"collections":6375,"showCount":6361,"zanCount":536,"manualWeight":11,"mainColor":54},290830,"shan-shui-zhou-wu-zhen-290830",[24,116,63,135,93,98,94,33,31,7,32,97,1211,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],{"id":6377,"slug":6378,"title":6379,"dynasty":246,"author":6380,"museum":360,"description":6381,"tags":6382,"thumbUrl":6384,"material":494,"size":495,"collection":223,"collections":6385,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,63,331,27,98,94,75,293,281,7,97,119,100,118,6383],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":6387,"slug":6388,"title":3821,"dynasty":246,"author":1686,"museum":360,"description":3118,"tags":6389,"thumbUrl":6391,"material":494,"size":495,"collection":223,"collections":6392,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978",[116,24,135,93,94,7,32,95,31,96,318,136,6390,98,118,99,1956,1211],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":6394,"slug":6395,"title":6396,"dynasty":246,"author":6397,"museum":360,"description":6398,"tags":6399,"thumbUrl":6400,"material":223,"size":223,"collection":104,"collections":6401,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":54},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[24,63,135,27,98,26,1721,94,30,33,75,7,32,97,1617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[104,51],{"id":6403,"slug":6404,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":6405,"thumbUrl":6406,"material":223,"size":223,"collection":223,"collections":6407,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589",[24,63,116,93,98,528,94,33,75,7,32,336,962,293,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":6409,"slug":6410,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":4471,"tags":6411,"thumbUrl":6412,"material":223,"size":223,"collection":104,"collections":6413,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},236588,"shan-shui-ce-cha-shi-biao-236588",[24,93,98,234,94,7,32,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491df3cb3d8b92bf94c07c82473a2d9.jpg",[104,82],{"id":6415,"slug":6416,"title":653,"dynasty":246,"author":5870,"museum":360,"description":6417,"tags":6418,"thumbUrl":6419,"material":223,"size":223,"collection":104,"collections":6420,"showCount":6361,"zanCount":536,"manualWeight":11,"mainColor":108},236444,"shan-shui-zhou-xu-fang-236444","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[24,93,135,98,94,7,32,136,336,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[104,51],{"id":6422,"slug":6423,"title":5752,"dynasty":18,"author":2867,"museum":360,"description":6424,"tags":6425,"thumbUrl":6426,"material":223,"size":223,"collection":223,"collections":6427,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},234151,"shan-shui-juan-wen-bo-ren-234151","文伯仁，明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。性暴躁，好使气骂座，少年时曾与叔徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。\n嘉靖三十年（1551）作《万山飞雪图》轴，现藏日本东京国立博物馆；四十一年（1562）作《都门柳色图》轴、四十五年（1566）作《秋山游览图》卷藏上海博物馆；嘉靖四十三年（1564）作《溪山仙馆图》轴藏广州美术馆；《天目山图》轴、隆庆四年（1570）作《松风高士图》轴藏辽宁省博物馆；《石湖草堂图》卷藏苏州市博物馆；《春山白云图》轴、嘉靖三十九年（1560）作《樵谷图》轴、《雪景山水图》轴藏故宫博物院；《松径石矶图》轴藏南京博物院；《园林十五景图》卷藏得港虚白斋。",[23,24,25,93,98,63,94,529,530,136,7,32,95,96,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f2feb48eac6eaeea13659aa3c8e7b7.jpg",[],{"id":6429,"slug":6430,"title":6431,"dynasty":246,"author":6432,"museum":60,"description":6433,"tags":6434,"thumbUrl":6435,"material":223,"size":223,"collection":104,"collections":6436,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},233222,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","王概","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。",[24,63,234,93,98,94,318,136,7,32,30,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[104],{"id":6438,"slug":6439,"title":6440,"dynasty":277,"author":775,"museum":60,"description":6441,"tags":6442,"thumbUrl":6443,"material":678,"size":6444,"collection":223,"collections":6445,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":54},233219,"you-ju-tu-juan-qian-xuan-233219","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[24,63,25,117,27,26,98,94,529,530,439,96,7,32,95,30,75,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg","纵27厘米, 横115.9厘米",[],{"id":6447,"slug":6448,"title":6449,"dynasty":246,"author":247,"museum":60,"description":6450,"tags":6451,"thumbUrl":6452,"material":532,"size":6453,"collection":82,"collections":6454,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":54},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,63,25,93,94,98,97,33,71,7,75,250,1799,152,42,191,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[82],{"id":6456,"slug":6457,"title":6458,"dynasty":246,"author":2159,"museum":360,"description":6459,"tags":6460,"thumbUrl":6461,"material":223,"size":223,"collection":223,"collections":6462,"showCount":6361,"zanCount":536,"manualWeight":11,"mainColor":108},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,63,135,27,98,94,96,7,32,336,439,75,152,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":6464,"slug":6465,"title":6466,"dynasty":246,"author":6467,"museum":132,"description":6468,"tags":6469,"thumbUrl":6470,"material":6471,"size":6472,"collection":104,"collections":6473,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,24,135,94,93,27,98,529,2468,293,7,32,75,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[104,51],{"id":6475,"slug":6476,"title":6477,"dynasty":18,"author":1267,"museum":4635,"description":6478,"tags":6479,"thumbUrl":6481,"material":237,"size":4639,"collection":223,"collections":6482,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":54},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,63,135,27,98,94,6480,152,7,32,33,97,31,155],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":6484,"slug":6485,"title":6486,"dynasty":246,"author":4413,"museum":132,"description":6487,"tags":6488,"thumbUrl":6489,"material":208,"size":6490,"collection":104,"collections":6491,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":108},219482,"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[24,135,93,94,7,97,154,33,414,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[104],{"id":6493,"slug":6494,"title":487,"dynasty":58,"author":1553,"museum":132,"description":6495,"tags":6496,"thumbUrl":6497,"material":47,"size":6498,"collection":104,"collections":6499,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":54},218813,"guan-shan-xing-lv-tu-yi-ming-218813","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[23,24,63,93,27,94,98,492,30,33,97,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[104],{"id":6501,"slug":6502,"title":6503,"dynasty":18,"author":290,"museum":132,"description":6504,"tags":6505,"thumbUrl":6507,"material":308,"size":6508,"collection":104,"collections":6509,"showCount":6361,"zanCount":11,"manualWeight":11,"mainColor":54},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[24,63,234,93,27,94,98,95,32,121,96,6506,7,136],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[104],{"id":6511,"slug":6512,"title":6513,"dynasty":277,"author":627,"museum":360,"description":1022,"tags":6514,"thumbUrl":6517,"material":494,"size":495,"collection":223,"collections":6518,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},290443,"qiu-shan-xiao-si-tu-ke-luo-ban-wang-meng-290443","秋山萧寺图（珂罗版）",[23,24,116,135,93,94,98,6515,33,97,6516,30,7,32],"古寺","亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6306fac2462b33c54d40c1d51cfe94.jpg",[],{"id":6520,"slug":6521,"title":6522,"dynasty":246,"author":2189,"museum":360,"description":6523,"tags":6524,"thumbUrl":6526,"material":494,"size":495,"collection":223,"collections":6527,"showCount":5,"zanCount":536,"manualWeight":11,"mainColor":108},289902,"xu-ri-dong-sheng-tu-zhou-wu-chang-shuo-289902","旭日东升图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,116,24,135,93,27,94,6525,97,33,32,7,99,118],"旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65e6d2f8218f3eddaa72aa0e1894bdb.jpg",[],{"id":6529,"slug":6530,"title":6531,"dynasty":246,"author":1454,"museum":360,"description":5968,"tags":6532,"thumbUrl":6534,"material":494,"size":495,"collection":223,"collections":6535,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},288410,"jia-zheng-you-da-guan-yuan-tu-jing-shi-sun-wen-288410","贾政游大观园图景十",[24,26,27,30,7,32,31,281,293,1936,6533],"红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F253141a09ec95bc00071139df195e1f0.jpg",[],{"id":6537,"slug":6538,"title":6539,"dynasty":277,"author":6540,"museum":360,"description":6541,"tags":6542,"thumbUrl":6543,"material":494,"size":495,"collection":223,"collections":6544,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},287577,"shan-shui-ren-wu-sun-jun-ze-287577","山水人物","孙君泽","工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。",[24,94,30,293,336,742,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7e6badd43c05bf2f375442199b1e38f.jpg",[],{"id":6546,"slug":6547,"title":6548,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":6549,"thumbUrl":6550,"material":223,"size":223,"collection":104,"collections":6551,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},237885,"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[24,93,98,135,94,97,33,32,7,75,152,63,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[104],{"id":6553,"slug":6554,"title":6555,"dynasty":246,"author":1309,"museum":360,"description":6556,"tags":6557,"thumbUrl":6558,"material":223,"size":223,"collection":104,"collections":6559,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","仿董其昌山水轴","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」\n见《清史稿》、秦祖永《桐荫论画》。",[24,63,135,93,98,29,118,94,97,33,75,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[104,82],{"id":6561,"slug":6562,"title":6563,"dynasty":246,"author":1309,"museum":60,"description":6564,"tags":6565,"thumbUrl":6566,"material":257,"size":223,"collection":223,"collections":6567,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","西湖图卷","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,25,93,98,94,191,4968,71,33,35,365,31,7,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg",[],{"id":6569,"slug":6570,"title":6571,"dynasty":246,"author":6572,"museum":60,"description":6573,"tags":6574,"thumbUrl":6575,"material":378,"size":6576,"collection":223,"collections":6577,"showCount":5,"zanCount":536,"manualWeight":11,"mainColor":54},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,63,25,27,117,26,98,94,119,32,7,95,30,33,155,252,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":6579,"slug":6580,"title":3146,"dynasty":18,"author":89,"museum":60,"description":3147,"tags":6581,"thumbUrl":6582,"material":237,"size":3150,"collection":223,"collections":6583,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},234088,"wu-zhong-shan-shui-ce-shen-zhou-234088",[24,93,234,100,94,136,7,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcfb606921be0b9986e3b5388576f24.jpg",[],{"id":6585,"slug":6586,"title":6587,"dynasty":18,"author":89,"museum":360,"description":6588,"tags":6589,"thumbUrl":6590,"material":223,"size":223,"collection":223,"collections":6591,"showCount":5,"zanCount":713,"manualWeight":11,"mainColor":54},228829,"han-que-wu-sheng-tu-shen-zhou-228829","寒雀无声图","画面取全景雪景山水，主峰巍峨覆雪，山石以短笔皴擦，苍浑厚重。近岸枯木萧疏，枝桠挺劲，汀渚间茅舍错落，平湖空蒙澄澈，以留白晕染出雪意，遍体清寒。\n\n整幅画以淡墨铺陈寒意，笔意松秀苍润，将冬日山野的阒寂空阔铺展开来。题画诗与雪景浑然相融，把山居冬日的幽谧淡然藏进尺幅之间，尽显文人幽居寄兴的雅逸意趣，萧寒之中自有沉静安然的意境。",[23,24,63,135,93,94,414,7,75,97,98,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56085afc730ef0c13e69977803e43ffc.jpg",[],{"id":6593,"slug":6594,"title":6595,"dynasty":277,"author":3856,"museum":360,"description":6596,"tags":6597,"thumbUrl":6598,"material":223,"size":223,"collection":223,"collections":6599,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,63,25,117,27,94,31,7,32,293,97,155,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":6601,"slug":6602,"title":6603,"dynasty":277,"author":6604,"museum":360,"description":6605,"tags":6606,"thumbUrl":6609,"material":223,"size":223,"collection":223,"collections":6610,"showCount":5,"zanCount":536,"manualWeight":11,"mainColor":108},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","程棨","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,63,25,29,27,26,99,118,30,66,6072,1236,6607,33,32,6608,7],"田地","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":6612,"slug":6613,"title":6614,"dynasty":246,"author":6615,"museum":360,"description":6616,"tags":6617,"thumbUrl":6618,"material":402,"size":6619,"collection":51,"collections":6620,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,63,116,135,94,98,93,97,293,152,75,96,33,7,30,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 横90CM",[51],{"id":6622,"slug":6623,"title":6624,"dynasty":246,"author":3233,"museum":450,"description":6625,"tags":6626,"thumbUrl":6627,"material":164,"size":6628,"collection":104,"collections":6629,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},224334,"tang-jie-yuan-shi-yi-tu-yang-jin-224334","唐解元诗意图","本幅平远构图，描绘了一幅江南山水的诗意画。画中农村景物写意，人物写真，花鸟草虫，夕阳芳草意境深远，远山起伏，湖光粼粼；山坡下竹篱茅舍；柳岸边微风摇曳，小舟上渔民捕鱼，乐而忘返；用笔以淡笔渴墨勾轮廓，稍作皴染；树叶以夹叶法绘制，虚实相间，自然天成。\n纵观全画是一幅恬静雅致、祥和安乐的江南水乡生活的再现，此为其难得佳作。",[23,24,25,27,26,98,94,71,3048,33,75,7,250,155,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","35X195厘米",[104,51],{"id":6631,"slug":6632,"title":6633,"dynasty":246,"author":6295,"museum":132,"description":6634,"tags":6635,"thumbUrl":6636,"material":2528,"size":6637,"collection":223,"collections":6638,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},223101,"fang-fan-kuan-qiu-shan-pu-bu-zhou-tang-dai-223101","仿范宽秋山瀑布轴","图绘峰峦高耸，幽谷溪流，缥缈的岚气中，有瀑布奔泻而下。\n是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处。",[23,116,24,63,135,27,98,29,94,3823,152,293,97,154,7,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5329ade25972de17d15cf4d5af47324.jpg","325.8x89.5",[],{"id":6640,"slug":6641,"title":6642,"dynasty":246,"author":3353,"museum":132,"description":6643,"tags":6644,"thumbUrl":6645,"material":237,"size":6646,"collection":104,"collections":6647,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},222692,"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,63,135,93,94,98,529,1470,414,7,32,121,75,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[104,82],{"id":6649,"slug":6650,"title":6651,"dynasty":246,"author":1686,"museum":187,"description":6652,"tags":6653,"thumbUrl":6654,"material":6655,"size":6656,"collection":223,"collections":6657,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},222664,"po-mo-xi-shan-tu-zhou-kun-can-222664","泼墨溪山图轴","《髡残泼墨溪山图》作者一反秃笔渴墨之常法，而以湿笔淡墨勾山画树，与大面积浑点泼墨融合生发，再以重墨刻画桥、屋、人物。用笔松动，施墨淋漓，画面酣畅而又蓊郁朴厚，洋溢着蓬勃生机。配以行草题跋，随意挥洒，粗服乱头，体现其独具的审美意趣。",[23,24,63,116,135,93,98,94,96,7,32,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053c5bca500d486edd2cf07e7d775590.jpg","纸本 水墨","77.2cmx27cm",[],{"id":6659,"slug":6660,"title":6661,"dynasty":277,"author":6662,"museum":60,"description":6663,"tags":6664,"thumbUrl":6665,"material":1055,"size":6666,"collection":80,"collections":6667,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","高克恭","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[23,24,331,135,98,27,529,2468,439,137,7,32,121,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[80,104,51],{"id":6669,"slug":6670,"title":6671,"dynasty":18,"author":202,"museum":132,"description":6672,"tags":6673,"thumbUrl":6675,"material":164,"size":6676,"collection":104,"collections":6677,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,24,27,94,26,281,7,32,31,96,30,250,155,6674],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[104],{"id":6679,"slug":6680,"title":6681,"dynasty":18,"author":6202,"museum":132,"description":6682,"tags":6683,"thumbUrl":6684,"material":47,"size":6685,"collection":51,"collections":6686,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,24,94,27,98,135,7,32,96,439,97,65,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[51],{"id":6688,"slug":6689,"title":6690,"dynasty":246,"author":6572,"museum":132,"description":6691,"tags":6692,"thumbUrl":6693,"material":47,"size":6694,"collection":104,"collections":6695,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":54},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,63,135,27,26,94,1721,31,7,32,30,2746,293,97,75,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[104],{"id":6697,"slug":6698,"title":315,"dynasty":246,"author":6699,"museum":6700,"description":6701,"tags":6702,"thumbUrl":6703,"material":208,"size":6704,"collection":104,"collections":6705,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":108},217992,"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[24,63,135,93,94,7,32,136,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[104],{"id":6707,"slug":6708,"title":6709,"dynasty":277,"author":775,"museum":360,"description":6710,"tags":6711,"thumbUrl":6713,"material":494,"size":495,"collection":223,"collections":6714,"showCount":6715,"zanCount":536,"manualWeight":11,"mainColor":54},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,116,24,63,25,93,30,94,255,7,96,6712,1618,2386,4768,99],"兰亭雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],31,{"id":6717,"slug":6718,"title":6719,"dynasty":277,"author":2362,"museum":360,"description":6720,"tags":6721,"thumbUrl":6722,"material":494,"size":495,"collection":223,"collections":6723,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":54},287596,"xi-shan-yu-yi-tu-wu-zhen-287596","溪山雨意图","该画卷描绘的是黄公望笔下常见的江南景象，图中景象烟雨空濛，笔法多样，代表了文人画高度成熟时期的审美需要，是宋元之后文人绘画的主流风格。 整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[116,24,63,135,93,94,98,7,32,96,31,33,97,6082,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],{"id":6725,"slug":6726,"title":6727,"dynasty":246,"author":6728,"museum":360,"description":6729,"tags":6730,"thumbUrl":6732,"material":223,"size":223,"collection":104,"collections":6733,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[24,27,94,98,528,529,439,96,30,440,97,293,6731,118,7,492,75,40,1956,6215,117,93,135],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[104,51],{"id":6735,"slug":6736,"title":653,"dynasty":246,"author":1105,"museum":60,"description":4866,"tags":6737,"thumbUrl":6738,"material":532,"size":4869,"collection":104,"collections":6739,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},237610,"shan-shui-zhou-wang-jian-237610",[24,93,98,135,94,97,33,7,32,75,1587],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[104,82],{"id":6741,"slug":6742,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":6743,"thumbUrl":6744,"material":223,"size":223,"collection":223,"collections":6745,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[63,24,93,98,3457,528,94,529,530,439,414,7,75,644,155,253,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":6747,"slug":6748,"title":2158,"dynasty":18,"author":3004,"museum":60,"description":3005,"tags":6749,"thumbUrl":6750,"material":3008,"size":3009,"collection":104,"collections":6751,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},236904,"shan-shui-ce-song-xu-236904",[24,63,234,27,94,97,33,7,32,152,162,98,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65f83e09dd31bd45db9e0f19e3d8ad6.jpg",[104],{"id":6753,"slug":6754,"title":6755,"dynasty":58,"author":147,"museum":360,"description":6756,"tags":6757,"thumbUrl":6758,"material":223,"size":223,"collection":223,"collections":6759,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":54},230971,"chong-shan-fu-ling-tu-li-zhou-fan-kuan-230971","重山复岭图立轴","此作以雄浑苍劲的笔力绘就北国山川，主峰巍峨沉厚，以雨点皴反复皴擦山石肌理，将岩质的粗糙坚硬尽数铺展，裹挟着磅礴厚重的山岳气势扑面而来。山间古木虬曲交错，丹黄枝叶点染出深秋萧疏意趣。山坳板桥村舍隐于林木烟岚间，细笔轻勾出乡野烟火，于雄奇之中晕开温润生机，刚柔相济消解了山岳的冷峻。\n\n构图层峦叠嶂，虚实相生，高远深远兼具，将山川的浑莽大气与林下幽居的悠然相融，尽显山水风骨与内敛的人文意趣。",[23,24,116,63,135,93,27,94,98,191,97,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ccf22bfab8ac355246314d05dace25.jpg",[],{"id":6761,"slug":6762,"title":6763,"dynasty":246,"author":1115,"museum":60,"description":6764,"tags":6765,"thumbUrl":6766,"material":532,"size":3815,"collection":104,"collections":6767,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[23,24,63,135,93,98,94,529,530,33,176,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg",[104],{"id":6769,"slug":6770,"title":6771,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":6772,"thumbUrl":6775,"material":164,"size":1461,"collection":223,"collections":6776,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":54},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54",[23,26,27,28,30,31,7,564,1606,96,1470,643,6773,6774],"伞","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg",[],{"id":6778,"slug":6779,"title":6780,"dynasty":18,"author":202,"museum":132,"description":6781,"tags":6782,"thumbUrl":6783,"material":308,"size":6784,"collection":104,"collections":6785,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":54},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[23,24,135,94,98,27,7,32,95,97,33,30,65,136,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[104,82],{"id":6787,"slug":6788,"title":6789,"dynasty":277,"author":6662,"museum":132,"description":6790,"tags":6791,"thumbUrl":6793,"material":6794,"size":6795,"collection":104,"collections":6796,"showCount":6715,"zanCount":536,"manualWeight":11,"mainColor":54},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,116,24,63,135,93,98,94,1258,1537,33,7,32,250,363,155,97,6792,154,1235,5014,1178],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[104,82],{"id":6798,"slug":6799,"title":6800,"dynasty":246,"author":6295,"museum":132,"description":6801,"tags":6802,"thumbUrl":6803,"material":208,"size":6804,"collection":104,"collections":6805,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[116,24,63,135,93,98,94,529,616,33,7,154,75,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[104],{"id":6807,"slug":6808,"title":6809,"dynasty":246,"author":4819,"museum":217,"description":6810,"tags":6811,"thumbUrl":6812,"material":102,"size":6813,"collection":104,"collections":6814,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},219855,"qiu-shan-tu-xiao-yun-cong-219855","秋山图","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,63,25,27,94,98,99,100,118,30,31,33,97,32,96,293,414,5348,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[104],{"id":6816,"slug":6817,"title":6818,"dynasty":18,"author":2505,"museum":132,"description":6819,"tags":6820,"thumbUrl":6821,"material":47,"size":6822,"collection":51,"collections":6823,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":54},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,63,135,331,27,98,94,1606,30,136,97,33,7,3120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[51],{"id":6825,"slug":6826,"title":6827,"dynasty":58,"author":1964,"museum":132,"description":6828,"tags":6829,"thumbUrl":6830,"material":47,"size":6831,"collection":104,"collections":6832,"showCount":6715,"zanCount":536,"manualWeight":11,"mainColor":108},218688,"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[23,24,63,25,117,27,94,31,7,32,96,121,33,98,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[104],{"id":6834,"slug":6835,"title":6836,"dynasty":246,"author":4064,"museum":132,"description":6837,"tags":6838,"thumbUrl":6839,"material":102,"size":6840,"collection":104,"collections":6841,"showCount":6715,"zanCount":11,"manualWeight":11,"mainColor":108},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[24,135,93,27,94,96,7,33,38,98,118,99,100,2842],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[104],{"id":6843,"slug":6844,"title":6845,"dynasty":246,"author":4064,"museum":360,"description":6846,"tags":6847,"thumbUrl":6849,"material":494,"size":495,"collection":223,"collections":6850,"showCount":6851,"zanCount":536,"manualWeight":11,"mainColor":108},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,116,24,63,25,331,27,94,4968,191,155,33,7,365,31,6848,366,121,95,99,118],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],30,{"id":6853,"slug":6854,"title":6855,"dynasty":18,"author":4432,"museum":60,"description":6856,"tags":6857,"thumbUrl":6858,"material":532,"size":6859,"collection":104,"collections":6860,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":108},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[24,63,135,93,98,94,529,439,136,152,32,7,97,96,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[104],{"id":6862,"slug":6863,"title":6864,"dynasty":246,"author":1441,"museum":90,"description":6865,"tags":6866,"thumbUrl":6867,"material":6868,"size":6869,"collection":104,"collections":6870,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":54},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,135,93,98,94,7,32,96,152,33,1587,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[104,82],{"id":6872,"slug":6873,"title":4828,"dynasty":18,"author":2606,"museum":360,"description":6874,"tags":6875,"thumbUrl":6876,"material":223,"size":223,"collection":223,"collections":6877,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":54},234679,"shan-shui-ce-ye-xie-shi-chen-234679","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[116,24,63,234,93,98,94,96,7,32,136,97,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04fd809b857e78cc59b98c607574cb4.jpg",[],{"id":6879,"slug":6880,"title":6881,"dynasty":18,"author":6882,"museum":60,"description":6883,"tags":6884,"thumbUrl":6885,"material":678,"size":223,"collection":223,"collections":6886,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":108},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,63,25,93,27,94,98,100,99,630,97,33,32,7,96,121,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":6888,"slug":6889,"title":6890,"dynasty":1933,"author":6891,"museum":360,"description":6892,"tags":6893,"thumbUrl":6895,"material":494,"size":495,"collection":223,"collections":6896,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":54},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,63,6894,27,28,94,31,30,7,33,97,96],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":6898,"slug":6899,"title":6900,"dynasty":246,"author":6901,"museum":360,"description":6902,"tags":6903,"thumbUrl":6904,"material":223,"size":223,"collection":223,"collections":6905,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":54},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","樊圻","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,63,116,135,27,94,152,7,32,414,3738,97,440,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":6907,"slug":6908,"title":6909,"dynasty":18,"author":1392,"museum":360,"description":6910,"tags":6911,"thumbUrl":6912,"material":223,"size":223,"collection":223,"collections":6913,"showCount":6851,"zanCount":536,"manualWeight":11,"mainColor":108},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,116,24,63,25,26,27,30,31,96,7,32,336,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":6915,"slug":6916,"title":6917,"dynasty":246,"author":1115,"museum":360,"description":6918,"tags":6919,"thumbUrl":6920,"material":223,"size":223,"collection":223,"collections":6921,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":54},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[23,24,63,135,93,98,94,7,32,136,97,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":6923,"slug":6924,"title":6925,"dynasty":2012,"author":6926,"museum":6927,"description":6928,"tags":6929,"thumbUrl":6931,"material":223,"size":223,"collection":223,"collections":6932,"showCount":6851,"zanCount":536,"manualWeight":11,"mainColor":108},220483,"hua-yuan-li-de-nv-shi-men-lin-feng-mian-220483","花园里的女士们","林风眠","Hong Kong Museum of Art","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[24,27,744,96,439,7,6930],"花园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234c27c6f796494ae7f1dd0aa3d3eaa3.jpg",[],{"id":6934,"slug":6935,"title":6936,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":6938,"thumbUrl":6939,"material":237,"size":6940,"collection":223,"collections":6941,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":108},220327,"huang-shan-tu-ce-4-hong-ren-220327","黄山图册-4","《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。",[23,24,150,234,98,94,97,7,32,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ceb6ea4ddc9fb9c6fcb7d328c018253.jpg","21.5x18.3厘米",[],{"id":6943,"slug":6944,"title":6945,"dynasty":18,"author":6946,"museum":217,"description":6947,"tags":6948,"thumbUrl":6949,"material":47,"size":6950,"collection":104,"collections":6951,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":54},218505,"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[23,24,63,135,93,98,94,162,153,97,33,414,152,7,32,365,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[104],{"id":6953,"slug":6954,"title":315,"dynasty":246,"author":6955,"museum":217,"description":6956,"tags":6957,"thumbUrl":6958,"material":47,"size":6959,"collection":104,"collections":6960,"showCount":6851,"zanCount":11,"manualWeight":11,"mainColor":54},217263,"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[23,24,27,98,135,94,31,7,33,97,152,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[104],{"id":6962,"slug":6963,"title":6964,"dynasty":18,"author":525,"museum":132,"description":6965,"tags":6966,"thumbUrl":6969,"material":208,"size":6970,"collection":223,"collections":6971,"showCount":6972,"zanCount":536,"manualWeight":11,"mainColor":108},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,93,331,1956,6967,414,293,97,7,32,191,99,118,98,6968],"书屋","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],29,{"id":6974,"slug":6975,"title":6976,"dynasty":246,"author":613,"museum":360,"description":931,"tags":6977,"thumbUrl":6979,"material":494,"size":495,"collection":223,"collections":6980,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},289909,"ye-se-ce-ye-shi-tao-289909","野色册页",[24,93,3457,118,99,94,121,414,7,30,336,6978],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406cac18541976b3f7edf604d75728e4.jpg",[],{"id":6982,"slug":6983,"title":6984,"dynasty":58,"author":173,"museum":360,"description":2792,"tags":6985,"thumbUrl":6987,"material":494,"size":495,"collection":223,"collections":6988,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":54},289874,"liu-xi-fang-you-tu-xia-gui-289874","柳溪访友图",[23,24,331,135,93,98,564,676,7,32,250,30,5059,6986],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777befa1eac54675a38881e0f1287846.jpg",[],{"id":6990,"slug":6991,"title":3259,"dynasty":58,"author":3260,"museum":360,"description":6992,"tags":6993,"thumbUrl":6994,"material":494,"size":495,"collection":223,"collections":6995,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":54},288837,"song-shan-xing-lv-tu-li-shan-288837","李山(约1121一约1202),金代画家,平阳(今山西临汾)人,擅山水,史载,他每于屋壁喜作大树、奇石,且用笔精良,用墨淡雅。章宗泰和(1201--1208)间入直秘书监,年近八秩而精力不衰。",[23,24,116,93,331,98,206,3655,7,32,95,97,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfd14a467465a32a96ff4d32c96eb96.jpg",[],{"id":6997,"slug":6998,"title":5223,"dynasty":277,"author":6999,"museum":360,"description":7000,"tags":7001,"thumbUrl":7002,"material":494,"size":495,"collection":223,"collections":7003,"showCount":6972,"zanCount":536,"manualWeight":11,"mainColor":54},288337,"xie-qin-fang-you-tu-luo-zhi-chuan-288337","罗稚川","此幅无印款，专家学者考定为元代画家罗稚川所作，全幅用郭河阳画法，写寒林清泉，溪山迷远，得宋人平远寒林之趣，而用笔更趋书写性，已是元人风貌。",[23,24,116,135,93,94,136,318,7,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0e4db9c999297de31c0b81240f2c96.jpg",[],{"id":7005,"slug":7006,"title":7007,"dynasty":246,"author":613,"museum":360,"description":931,"tags":7008,"thumbUrl":7009,"material":494,"size":495,"collection":223,"collections":7010,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":54},288212,"gu-mu-chui-yin-shen-se-shi-tao-288212","古木垂荫（深色）",[23,116,24,63,135,93,27,94,2852,97,32,96,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8a7850faaf974bb88b01aee62393cc.jpg",[],{"id":7012,"slug":7013,"title":2772,"dynasty":18,"author":2606,"museum":360,"description":7014,"tags":7015,"thumbUrl":7016,"material":494,"size":495,"collection":223,"collections":7017,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},287609,"shan-shui-tu-zhou-xie-shi-chen-287609","谢时臣，明代画家，字思忠，号樗仙，吴（今江苏省苏州市）人。谢时臣工山水，师法吴镇， 得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[23,116,24,63,135,93,98,94,31,7,32,96,97,33,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":7019,"slug":7020,"title":7021,"dynasty":246,"author":7022,"museum":60,"description":7023,"tags":7024,"thumbUrl":7025,"material":223,"size":223,"collection":104,"collections":7026,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},239054,"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[24,93,135,94,7,32,96,121,33,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[104],{"id":7028,"slug":7029,"title":7030,"dynasty":246,"author":7031,"museum":60,"description":7032,"tags":7033,"thumbUrl":7034,"material":678,"size":7035,"collection":104,"collections":7036,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","秋山行旅图轴","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,63,116,135,27,98,94,3823,97,33,32,152,75,7,5348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[104,51],{"id":7038,"slug":7039,"title":7040,"dynasty":246,"author":6295,"museum":60,"description":7041,"tags":7042,"thumbUrl":7043,"material":678,"size":7044,"collection":104,"collections":7045,"showCount":6972,"zanCount":536,"manualWeight":11,"mainColor":54},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,63,135,27,98,94,191,33,32,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 x 62 cm",[104,51],{"id":7047,"slug":7048,"title":7049,"dynasty":246,"author":1441,"museum":360,"description":7050,"tags":7051,"thumbUrl":7052,"material":257,"size":7053,"collection":104,"collections":7054,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},234713,"fang-gu-shan-shui-ce-wang-hui-234713","仿古山水册","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,63,116,234,93,98,94,206,7,32,137,30,97,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[104],{"id":7056,"slug":7057,"title":1816,"dynasty":18,"author":7058,"museum":7059,"description":7060,"tags":7061,"thumbUrl":7062,"material":678,"size":7063,"collection":223,"collections":7064,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},234181,"shan-shui-tu-juan-zhang-fu-234181","张復","烟台市博物馆","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。\n图绘群山之间，有楼阁高架于溪流之上，几参天古松临溪而立，松下一老者笼袖信步，二童子其后跟随。布景繁密，笔墨秀润，设色清丽。画幅中题：“洞有仙人箓，山藏太史书。”与画面内容相呼应，作于作者八十四岁时。",[23,24,63,25,93,98,94,1587,71,32,33,75,7,121,336,492,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e9c0cc103d6a4c046cf2fb9d13af6e.jpg","161．50x89．50cm",[],{"id":7066,"slug":7067,"title":7068,"dynasty":277,"author":1553,"museum":360,"description":7069,"tags":7070,"thumbUrl":7071,"material":223,"size":223,"collection":223,"collections":7072,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":54},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[23,24,63,1829,27,98,93,94,7,32,96,30,136,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":7074,"slug":7075,"title":7076,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":7077,"thumbUrl":7078,"material":164,"size":1461,"collection":223,"collections":7079,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,63,26,27,117,30,3916,65,7,32,94,33,31,43,190,38,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":7081,"slug":7082,"title":7083,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":7084,"thumbUrl":7085,"material":164,"size":1461,"collection":223,"collections":7086,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},223059,"hong-lou-meng-45-sun-wen-223059","红楼梦45",[23,24,63,26,27,30,31,7,97,119,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4c87d242030d66b31807cf55c9643.jpg",[],{"id":7088,"slug":7089,"title":7090,"dynasty":18,"author":3310,"museum":132,"description":7091,"tags":7092,"thumbUrl":7093,"material":257,"size":7094,"collection":1006,"collections":7095,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,63,135,27,94,7,32,95,414,97,152,121,96,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[1006,51],{"id":7097,"slug":7098,"title":7099,"dynasty":18,"author":525,"museum":1277,"description":7100,"tags":7101,"thumbUrl":7102,"material":234,"size":1281,"collection":223,"collections":7103,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":223},220753,"fang-ge-jia-shan-shui-3-dong-qi-chang-220753","仿各家山水-3","此作用淡墨干笔写就远近山水，远景山峦皴擦松灵，坡岸随水势蜿蜒铺展，留白作水，晕染出空蒙悠远的湖山烟意，林石隐现其间，简淡空灵。近景古木虬曲苍劲，以浓淡墨色区分枝桠枯荣，层叠错落间掩映着临水村居，板桥卧波连起汀岸，野趣盎然。\n全画笔墨秀润松脱，以留白营造出幽寂空茫的意境，将山水淡远之致与林下幽居的雅静相融，尽显平淡天真的文人意趣，于简率笔墨中蕴含静穆悠长的诗意，淡而不薄，简而不空，尽显山水悠远淡寂的林下雅境。",[23,24,63,93,98,29,94,97,33,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d3f7e74473aa4b84bb40d391a020b7.jpg",[],{"id":7105,"slug":7106,"title":7107,"dynasty":246,"author":1441,"museum":360,"description":1719,"tags":7108,"thumbUrl":7109,"material":1723,"size":1724,"collection":223,"collections":7110,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},220129,"mo-gu-shan-shui-hua-6-wang-hui-220129","摹古山水画6",[23,24,63,93,27,98,94,7,32,293,30,152,97,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808d878e086f7d7fabf09d7e670b506.jpg",[],{"id":7112,"slug":7113,"title":7114,"dynasty":18,"author":7115,"museum":132,"description":7116,"tags":7117,"thumbUrl":7119,"material":47,"size":223,"collection":104,"collections":7120,"showCount":6972,"zanCount":11,"manualWeight":11,"mainColor":108},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱谷","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,63,234,93,27,7,32,95,75,33,94,118,366,38,7118,3048,250,69],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[104],{"id":7122,"slug":7123,"title":7124,"dynasty":277,"author":327,"museum":360,"description":7125,"tags":7126,"thumbUrl":7128,"material":494,"size":495,"collection":223,"collections":7129,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},290825,"ceng-yan-qu-jian-zhou-huang-gong-wang-290825","层岩曲涧轴","元黄公望画层岩曲涧轴描述了似隔溪远眺山景；前景杂木林立，对岸平台立石柱一座，其后矾头巖块环绕；中景山势渐高，溪谷两岸悬崖壁立，其上林木欣荣，数间屋舍散布，左方溪谷尽头竹林处，架有水榭数座；上方远山雄峙，若有擎天之势。 清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[24,135,94,93,98,3058,7127,7,32,31,118,99],"曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],28,{"id":7132,"slug":7133,"title":7134,"dynasty":246,"author":1042,"museum":360,"description":7135,"tags":7136,"thumbUrl":7137,"material":494,"size":495,"collection":223,"collections":7138,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},290180,"tao-an-tu-zhou-hong-ren-290180","陶庵图轴","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[23,24,135,93,94,414,191,75,7,118,98,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":7140,"slug":7141,"title":2763,"dynasty":58,"author":980,"museum":132,"description":2764,"tags":7142,"thumbUrl":7143,"material":402,"size":2767,"collection":223,"collections":7144,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":54},289839,"ban-qiao-ta-xue-tu-ma-yuan-289839",[24,116,135,93,94,30,7,293,97,121,1721,98,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636557144d63e628304ba78221c9a8b3.jpg",[],{"id":7146,"slug":7147,"title":3278,"dynasty":58,"author":1553,"museum":360,"description":7148,"tags":7149,"thumbUrl":7151,"material":494,"size":495,"collection":223,"collections":7152,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":54},289782,"xi-shan-chun-xiao-tu-yi-ming-289782","平远视角铺展出江南早春的缱绻景致，淡墨晕染山峦，烟岚轻笼起伏丘壑，晕开朦胧温润的春日底色。坡岸桃枝缀着浅绯新花，杂木抽芽，深浅绿意与粉红花色交织，漫开融融春意。\n\n溪湾回环，水面空明如镜，三两渔舟泛波，艄公悠然摇橹，野舍错落藏于林麓间，溪桥横陈连通幽境。笔墨秀雅清润，水墨间施淡彩，轻重相宜地勾勒出春日山水的柔婉生机，将江南乡野的静谧恬美尽数铺陈，把春风拂过溪山的温柔瞬间定格绢素，尽显平和悠远的山水雅意。",[23,116,24,25,27,94,98,191,33,119,32,95,7,1236,839,7150],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc064e439aeef992d464680650ec944d9.jpg",[],{"id":7154,"slug":7155,"title":7156,"dynasty":18,"author":2122,"museum":360,"description":7157,"tags":7158,"thumbUrl":7159,"material":223,"size":223,"collection":104,"collections":7160,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":54},238041,"wen-jia-shan-shui-zhou-wen-jia-238041","文嘉山水轴","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,63,135,93,27,94,7,32,136,336,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9352b912d9a69a183afa1a3aac3d94ba.jpg",[104],{"id":7162,"slug":7163,"title":7156,"dynasty":18,"author":2122,"museum":360,"description":7164,"tags":7165,"thumbUrl":7166,"material":7167,"size":223,"collection":104,"collections":7168,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},237893,"wen-jia-shan-shui-zhou-wen-jia-237893","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。渴来玉砚池中饮，饱向花笺纸上行。”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（1523年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显",[24,63,135,93,98,94,7,32,96,414,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4d146aaec02114ccb269501a7bed23.jpg","轴设色纸本",[104,791],{"id":7170,"slug":7171,"title":7172,"dynasty":18,"author":5289,"museum":360,"description":7173,"tags":7174,"thumbUrl":7175,"material":223,"size":223,"collection":223,"collections":7176,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,63,135,27,26,98,30,1383,7,32,414,75,39,40,642,97,33,71,38,5856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":7178,"slug":7179,"title":7180,"dynasty":18,"author":2122,"museum":60,"description":7181,"tags":7182,"thumbUrl":7183,"material":4350,"size":7184,"collection":223,"collections":7185,"showCount":7130,"zanCount":536,"manualWeight":11,"mainColor":108},234973,"fang-dong-yuan-shan-shui-zhou-wen-jia-234973","仿董源山水轴","文嘉（1501—1583年），字休承，号文水，长洲（今江苏苏州）人，文徵明次子。官和州学政。工诗文书画，继承家学，又以多见古人名迹，故其画作能脱去习俗。著《和州诗》。",[24,63,116,135,93,98,29,94,7,32,136,30,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592b8b1885883d2c6208989fa18e10f2.jpg","纵155cm，横71.3cm",[],{"id":7187,"slug":7188,"title":331,"dynasty":246,"author":7189,"museum":60,"description":7190,"tags":7191,"thumbUrl":7192,"material":237,"size":223,"collection":223,"collections":7193,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[24,63,25,27,98,93,94,155,97,33,4250,95,31,250,1799,366,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":7195,"slug":7196,"title":7197,"dynasty":246,"author":1686,"museum":60,"description":7198,"tags":7199,"thumbUrl":7200,"material":237,"size":7201,"collection":223,"collections":7202,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[24,63,135,93,98,118,100,94,7,32,95,96,121,136,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":7204,"slug":7205,"title":7206,"dynasty":18,"author":1267,"museum":360,"description":7207,"tags":7208,"thumbUrl":7209,"material":223,"size":223,"collection":223,"collections":7210,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,63,25,27,26,98,100,99,118,94,33,30,7,32,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":7212,"slug":7213,"title":7214,"dynasty":58,"author":1923,"museum":360,"description":5072,"tags":7215,"thumbUrl":7216,"material":223,"size":223,"collection":223,"collections":7217,"showCount":7130,"zanCount":536,"manualWeight":11,"mainColor":54},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页",[23,116,24,63,234,27,98,676,7,336,121,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":7219,"slug":7220,"title":7221,"dynasty":246,"author":1115,"museum":360,"description":7222,"tags":7223,"thumbUrl":7225,"material":223,"size":223,"collection":223,"collections":7226,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":54},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,63,25,7224,27,98,100,118,94,7,32,96,136,97,33,154,191,255,252],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":7228,"slug":7229,"title":7230,"dynasty":246,"author":7231,"museum":360,"description":7232,"tags":7233,"thumbUrl":7234,"material":223,"size":223,"collection":223,"collections":7235,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,63,25,93,27,98,29,118,99,94,31,33,293,414,32,95,96,366,235,250,1799,38,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":7237,"slug":7238,"title":4616,"dynasty":1174,"author":1553,"museum":60,"description":7239,"tags":7240,"thumbUrl":7241,"material":378,"size":7242,"collection":223,"collections":7243,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":54},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,63,25,28,27,26,31,94,30,96,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":7245,"slug":7246,"title":7247,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":7248,"thumbUrl":7249,"material":164,"size":1461,"collection":223,"collections":7250,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":54},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,24,26,27,30,94,96,7,32,31,33,97,119,643,2978,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97a37c528b5f370.jpg",[],{"id":7252,"slug":7253,"title":7254,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":7255,"thumbUrl":7257,"material":164,"size":1461,"collection":223,"collections":7258,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},223039,"hong-lou-meng-164-sun-wen-223039","红楼梦164",[23,24,26,27,25,30,744,5787,31,7,121,5970,1936,94,365,7256],"红楼故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723c41928dddb37a89147153dd533a62.jpg",[],{"id":7260,"slug":7261,"title":7262,"dynasty":18,"author":1267,"museum":60,"description":7263,"tags":7264,"thumbUrl":7276,"material":7277,"size":7278,"collection":791,"collections":7279,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,7265,99,100,25,93,118,743,742,94,95,7,32,96,121,318,136,1606,5960,564,4102,7266,7267,119,7268,3208,7269,7270,1470,2468,3415,7271,7272,7273,7274,7275],"明代","荷","牡丹","水仙","风","雨","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[791],{"id":7281,"slug":7282,"title":7283,"dynasty":18,"author":4517,"museum":132,"description":7284,"tags":7285,"thumbUrl":7286,"material":208,"size":7287,"collection":104,"collections":7288,"showCount":7130,"zanCount":536,"manualWeight":11,"mainColor":108},222182,"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[23,24,135,93,98,94,96,7,32,33,97,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[104],{"id":7290,"slug":7291,"title":7292,"dynasty":18,"author":89,"museum":132,"description":7293,"tags":7294,"thumbUrl":7297,"material":1055,"size":7298,"collection":223,"collections":7299,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,63,93,27,100,1054,94,281,7,96,1556,7295,30,7296],"浮萍","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ebf57ec710cf7b3feb2eb738b90919.jpg","28x43.5厘米",[],{"id":7301,"slug":7302,"title":7303,"dynasty":18,"author":525,"museum":60,"description":7304,"tags":7305,"thumbUrl":7306,"material":7307,"size":7308,"collection":223,"collections":7309,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},220911,"shan-shui-ce-5-dong-qi-chang-220911","山水册5","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,116,24,93,98,234,94,7,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a4d51b4537b87d26db812e65f4def5.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],{"id":7311,"slug":7312,"title":7313,"dynasty":18,"author":1267,"museum":20,"description":7314,"tags":7315,"thumbUrl":7316,"material":208,"size":7317,"collection":104,"collections":7318,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":108},220055,"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[23,24,63,25,93,100,99,118,98,94,33,32,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[104],{"id":7320,"slug":7321,"title":7322,"dynasty":18,"author":7323,"museum":266,"description":7324,"tags":7325,"thumbUrl":7327,"material":208,"size":7328,"collection":104,"collections":7329,"showCount":7130,"zanCount":536,"manualWeight":11,"mainColor":54},220026,"ce-zhang-kan-shan-tu-wei-zhi-ke-220026","策杖看山图","魏之克","此作用淡墨晕染山峦，以虚实相生之法铺展烟岚幽谷，栈道隐没在空濛雾气间，恍若通连世外秘境。近景枯木虬曲苍劲，皴笔勾勒出嶙峋老干，尽显岁月沉凝。幽篁小径蜿蜒，策杖老者缓步山隅，简淡衣纹间漾出林下悠然。\n画作以清瘦秀逸的线条、浅淡设色营造萧散简远的意境，将文人寄情林泉的隐逸襟怀融在山野景致中，观之如随画中人静听松风山岚，暂忘尘嚣，尽显文人画尚意抒情的特质。",[23,24,93,135,94,98,136,7,97,962,7326],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08037b225d61dec338ea640adbb3e0.jpg","132x32厘米",[104],{"id":7331,"slug":7332,"title":7333,"dynasty":277,"author":1553,"museum":7334,"description":7335,"tags":7336,"thumbUrl":7337,"material":47,"size":223,"collection":104,"collections":7338,"showCount":7130,"zanCount":11,"manualWeight":11,"mainColor":498},218194,"shan-shui-tu-dui-zhou-yi-ming-218194","山水图对轴","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[24,150,98,135,94,414,7,32,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bce89525f0d80cab8c2a4f7f1de6153.jpg",[104],{"id":7340,"slug":7341,"title":7342,"dynasty":18,"author":1267,"museum":132,"description":7343,"tags":7344,"thumbUrl":7346,"material":494,"size":495,"collection":223,"collections":7347,"showCount":7348,"zanCount":536,"manualWeight":11,"mainColor":54},290844,"ceng-yan-ce-zhang-tu-zhou-tang-yin-290844","层岩策杖图轴","此幅画烟霄拔嶂，悬泉直泻而下，层台水榭，一高士策杖山径闲步，远山山脚云气迷漫，山石以斧劈斫趯，劲利潇洒。",[24,116,135,331,27,98,30,31,7,32,97,3824,96,118,99,7345],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa273597b9f2b63139eac163b3030ad48.jpg",[],27,{"id":7350,"slug":7351,"title":7352,"dynasty":246,"author":1349,"museum":360,"description":7353,"tags":7354,"thumbUrl":7358,"material":494,"size":495,"collection":223,"collections":7359,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":108},290393,"xia-jing-shan-shui-tu-gong-xian-290393","夏景山水图","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[23,24,93,94,7,32,95,7355,33,7356,118,7357,98],"茅舍","苇草","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a821ec2e8c22386cf40018ec9410fcb.jpg",[],{"id":7361,"slug":7362,"title":7363,"dynasty":277,"author":2731,"museum":360,"description":7364,"tags":7365,"thumbUrl":7366,"material":494,"size":495,"collection":223,"collections":7367,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":54},289776,"ying-xue-du-shu-tu-sheng-mao-289776","映雪读书图","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,116,24,135,93,98,94,30,7,96,414,97,1721,6092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a45a1b0d9b15b1568e84d320c9c1ac9.jpg",[],{"id":7369,"slug":7370,"title":7371,"dynasty":246,"author":1454,"museum":360,"description":5968,"tags":7372,"thumbUrl":7373,"material":494,"size":495,"collection":223,"collections":7374,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":108},288411,"jia-zheng-you-da-guan-yuan-tu-jing-san-sun-wen-288411","贾政游大观园图景三",[24,27,26,30,96,31,7,32,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b3bd0e30aed56805e0db0a439919e5.jpg",[],{"id":7376,"slug":7377,"title":7378,"dynasty":277,"author":4176,"museum":132,"description":7379,"tags":7380,"thumbUrl":7381,"material":47,"size":7382,"collection":223,"collections":7383,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":54},287597,"xue-xi-gui-zhao-zhou-zhu-de-run-287597","雪溪归棹轴","朱德润（公元1294年～公元1365年），元代著名画家、诗人。字泽民，号睢阳山人，又号旹杰。归德府（今河南商丘睢阳区）人。曾任国史院编修、镇东行中书省儒学提举等职。他得到了当时的刑部尚书、画坛巨匠高克恭和艺术大师赵孟頫的推崇，可见其艺术成就甚高。\n他善诗文，工书法，格调遒丽。擅山水，初学许道宁，后法郭熙，多作溪山平远、林木清森之景，重视观察自然，当北游居庸关时，尝作“画笔记行稿”。",[24,94,135,1721,95,7,32,414,97,137,98,4538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90726182919826caa58237122e329861.jpg","144.9x85.2",[],{"id":7385,"slug":7386,"title":7387,"dynasty":246,"author":6432,"museum":360,"description":7388,"tags":7389,"thumbUrl":7390,"material":402,"size":223,"collection":49,"collections":7391,"showCount":7348,"zanCount":536,"manualWeight":11,"mainColor":54},234319,"jiu-ru-zhi-ji-ce-wang-gai-234319","九如治迹册","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。\n王概（生卒年未详），最初名“匄”（发音：gai），可以写为“改”，也可以写为“丐”，字东郭，又字安节，浙江秀水（今嘉兴）人。一直以来居住于江宁（今江苏南京）。王概从龚贤(1618—1689)学山水画，用墨浓重，善作大幅及松石等。\n王概曾应李渔之婿沈因伯之请，与其兄王耆，其弟王臬在沈因伯保存的明末画家李流芳原有四十三幅画稿的基础上，补绘完成《芥子园画传》，后经李渔的帮助，刻印出版。\n王概兄弟皆笃行嗜古，旁及诗、画，擅名于时。一生专心艺事，不入仕途，以卖画为生。山水学龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”与当时名流汤燕生、李渔、程邃、孔尚任、周亮工等交往。",[24,234,27,26,28,94,30,31,7,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06918a767082105822cbcaec82eed402.jpg",[49],{"id":7393,"slug":7394,"title":7395,"dynasty":246,"author":1309,"museum":360,"description":7396,"tags":7397,"thumbUrl":7398,"material":223,"size":223,"collection":223,"collections":7399,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":108},224402,"wang-chuan-tu-juan-wang-yuan-qi-224402","辋川图卷","此作用全景式铺展林壑烟波，干笔焦墨反复皴擦，层层晕染出苍润浑厚的山峦丘石。水泽横陈，将错落山居、葱郁林木串联，渔舟泛于空蒙水面，村落藏于深林岩岫之间，尽显幽寂萧散的山居雅意。\n\n画作恪守元人山水的淡远意趣，又以娄东画派绵密繁复的笔法铺陈，虚实相生间复刻出辋川栖居的林泉之胜，把文人理想中的幽隐之境凝于尺幅，笔墨苍秀兼具，静穆雅致中尽显传统山水的隽永意趣。",[23,24,25,27,93,94,98,7,32,95,96,31,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a55542ac04f40c6195375482a7fc7f2.jpg",[],{"id":7401,"slug":7402,"title":1758,"dynasty":18,"author":1534,"museum":132,"description":7403,"tags":7404,"thumbUrl":7405,"material":164,"size":223,"collection":104,"collections":7406,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":54},222592,"hua-xue-jing-zhou-lan-ying-222592","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。",[23,24,135,27,94,98,1721,7,32,95,96,414,97,75,30,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[104,82],{"id":7408,"slug":7409,"title":7410,"dynasty":246,"author":1441,"museum":360,"description":1719,"tags":7411,"thumbUrl":7412,"material":102,"size":1724,"collection":223,"collections":7413,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":108},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,63,5321,27,93,98,94,7,32,95,33,97,137,71,1444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":7415,"slug":7416,"title":7417,"dynasty":246,"author":1441,"museum":360,"description":1719,"tags":7418,"thumbUrl":7419,"material":102,"size":1724,"collection":223,"collections":7420,"showCount":7348,"zanCount":11,"manualWeight":11,"mainColor":108},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5",[23,24,5321,27,94,98,7,32,65,414,136,97,30,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg",[],{"id":7422,"slug":7423,"title":7424,"dynasty":277,"author":627,"museum":132,"description":1022,"tags":7425,"thumbUrl":7426,"material":494,"size":495,"collection":223,"collections":7427,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},290838,"xiu-zhu-yuan-shan-zhou-wang-meng-290838","修竹远山轴",[24,116,135,93,94,564,96,32,7,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba21185b71455e692695f9c1528909e.jpg",[],26,{"id":7430,"slug":7431,"title":7432,"dynasty":277,"author":627,"museum":360,"description":1022,"tags":7433,"thumbUrl":7435,"material":494,"size":495,"collection":223,"collections":7436,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":54},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）",[23,24,116,93,135,94,152,33,1211,7,32,7434,6092,98],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],{"id":7438,"slug":7439,"title":7440,"dynasty":58,"author":980,"museum":360,"description":7441,"tags":7442,"thumbUrl":7443,"material":494,"size":495,"collection":223,"collections":7444,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":54},290325,"song-jian-yin-yue-zhou-ma-yuan-290325","松间吟月轴","该幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢於画表。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。",[116,24,135,93,27,94,293,136,30,7,32,743,7150,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5499ddfdf61e30afc97a7fce10525.jpg",[],{"id":7446,"slug":7447,"title":7448,"dynasty":246,"author":1686,"museum":360,"description":3118,"tags":7449,"thumbUrl":7451,"material":494,"size":495,"collection":223,"collections":7452,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},289932,"chan-ji-hua-qu-tu-zhou-kun-can-289932","禅机画趣图轴",[24,63,135,93,98,94,7,32,95,75,33,1665,7450,118,99],"禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a847df0604c75424825b87a32147592.jpg",[],{"id":7454,"slug":7455,"title":4356,"dynasty":488,"author":813,"museum":132,"description":7456,"tags":7457,"thumbUrl":7458,"material":308,"size":4361,"collection":223,"collections":7459,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":54},289924,"dong-tian-shan-tang-tu-dong-yuan-289924","厚厚的白云拥抱着巍峨的群峰，深沟巨壑中，山道弯弯，涧流清澈。山林白云深处，阁楼显露峥嵘，如此美景可谓别有“洞天”。此图用笔坚实，用墨浓重，山石以长皴短点相间，再复加染以浓重墨色，显出一种浑雄苍郁的气派。\n此画无款，图绘白云吞吐飘浮于山间， 山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[116,24,63,135,93,98,94,31,7,293,155,97,96,32,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg",[],{"id":7461,"slug":7462,"title":7463,"dynasty":58,"author":4265,"museum":132,"description":7464,"tags":7465,"thumbUrl":7467,"material":47,"size":7468,"collection":223,"collections":7469,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},288507,"ting-qin-zhai-ruan-tu-zhao-bo-ju-288507","停琴摘阮图","此幅写松石间瓜果堆盤，一人袒衣席地拨阮咸，一人背坐握羽扇倾听，横琴于膝，二童子捧壶执卷。人物、配景俱用钩勒填彩法敬谨写就，间或辅以胡粉重提、晕染，黑白相映，分外照人眼明。",[23,24,116,135,117,27,30,94,2385,121,293,7,32,1342,7434,7466],"抚琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5417e9836f0d1106f15840755d8c5aae.jpg","125.7x51.2",[],{"id":7471,"slug":7472,"title":7473,"dynasty":277,"author":6662,"museum":132,"description":7474,"tags":7475,"thumbUrl":7477,"material":102,"size":7478,"collection":104,"collections":7479,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},287533,"lin-luan-yan-yu-tu-gao-ke-gong-287533","林峦烟雨图","此幅画溪边小景，云气濛濛，舟子身著蓑衣正欲撑舟泊岸，溯溪而上，有茅屋三椽，远山罩于雨雾中。整幅用笔布墨甚为含蓄蕴藉，画风近于明。",[24,116,63,135,94,93,98,7476,191,33,75,32,7,95,118],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8049e60ff73a9aa2f45d978e424016.jpg","123.5x61.2",[104],{"id":7481,"slug":7482,"title":7483,"dynasty":246,"author":7484,"museum":360,"description":7485,"tags":7486,"thumbUrl":7487,"material":223,"size":223,"collection":104,"collections":7488,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},238188,"wan-nian-zeng-mao-tu-zhou-wang-cheng-pei-238188","万年增茂图轴","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[24,63,135,27,26,94,30,293,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625bf23b098742f89243db0ca847449.jpg",[104,51],{"id":7490,"slug":7491,"title":5525,"dynasty":246,"author":7492,"museum":60,"description":7493,"tags":7494,"thumbUrl":7495,"material":223,"size":223,"collection":104,"collections":7496,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":1224},238132,"xi-qiao-ce-zhang-tu-zhou-wang-bing-238132","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[24,63,135,27,94,98,7,32,33,97,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[104,51],{"id":7498,"slug":7499,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":7500,"thumbUrl":7501,"material":223,"size":223,"collection":223,"collections":7502,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,63,116,93,528,94,98,234,191,33,32,7,75,155,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":7504,"slug":7505,"title":7506,"dynasty":246,"author":1441,"museum":450,"description":7507,"tags":7508,"thumbUrl":7510,"material":2899,"size":7511,"collection":104,"collections":7512,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,93,98,29,135,118,94,7509,97,33,7,32,95,96,155,152],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[104],{"id":7514,"slug":7515,"title":7516,"dynasty":246,"author":1441,"museum":360,"description":7517,"tags":7518,"thumbUrl":7519,"material":223,"size":223,"collection":223,"collections":7520,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,63,135,93,94,98,96,564,439,7,118,440,97,154,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":7522,"slug":7523,"title":264,"dynasty":246,"author":265,"museum":360,"description":7524,"tags":7525,"thumbUrl":7526,"material":223,"size":223,"collection":223,"collections":7527,"showCount":7428,"zanCount":536,"manualWeight":11,"mainColor":54},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,63,27,26,28,30,31,950,33,1191,7,1556,1557,39,97,38,1936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":7529,"slug":7530,"title":7531,"dynasty":18,"author":4819,"museum":360,"description":7532,"tags":7533,"thumbUrl":7534,"material":223,"size":223,"collection":223,"collections":7535,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},228966,"si-ji-feng-jing-ce-ye-xiao-yun-cong-228966","四季风景册页","此作用浅绛青绿晕染山峦，层叠崖岫以苔点晕出苍润生机，山坳隐见红墙古寺，飞瀑穿林汇作浅溪，板桥引渡，丹鹤独立溪畔，晕开清寂仙气。\n\n右侧老梅虬枝缀花，树下三文士凭坐观览，或低语或凝思，将雅集幽闲融于林泉丘壑。右上角题诗与画境呼应，以书法点出寻梅高士的林下襟怀。\n\n笔墨简淡秀雅，设色明润柔和，整体意境清旷出尘，将山水灵秀与文人雅趣相融，尽显淡远闲逸之美，把春日寻幽的雅兴定格在尺幅之间，淡而弥远，韵致悠长。",[24,27,98,234,94,30,7,32,1606,3178,31,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6394ee68fb4f16fd1443886e59691153.jpg",[],{"id":7537,"slug":7538,"title":7539,"dynasty":18,"author":5289,"museum":360,"description":7540,"tags":7541,"thumbUrl":7542,"material":223,"size":223,"collection":223,"collections":7543,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":54},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,27,28,7265,94,31,7,32,95,96,33,30,75,35,7118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca98128af99bcd4311e6d5f04b4bce8.jpg",[],{"id":7545,"slug":7546,"title":7547,"dynasty":246,"author":613,"museum":360,"description":7548,"tags":7549,"thumbUrl":7550,"material":223,"size":223,"collection":223,"collections":7551,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,24,93,27,98,234,94,7,32,95,136,97,75,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":7553,"slug":7554,"title":7555,"dynasty":246,"author":1105,"museum":132,"description":7556,"tags":7557,"thumbUrl":7559,"material":178,"size":7560,"collection":223,"collections":7561,"showCount":7428,"zanCount":536,"manualWeight":11,"mainColor":108},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[23,116,24,331,27,98,7558,29,630,2939,7,32,97,33,31,96,154,250],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 52.5x27.4公分、全幅 59.2x82公分",[],{"id":7563,"slug":7564,"title":7565,"dynasty":246,"author":1105,"museum":360,"description":7566,"tags":7567,"thumbUrl":7568,"material":223,"size":223,"collection":223,"collections":7569,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[23,24,93,98,29,135,94,97,75,33,32,7,118,136,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":7571,"slug":7572,"title":7573,"dynasty":246,"author":4064,"museum":132,"description":4885,"tags":7574,"thumbUrl":7575,"material":2528,"size":7576,"collection":104,"collections":7577,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},223122,"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[23,24,135,27,98,94,97,33,2939,7,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[104,82],{"id":7579,"slug":7580,"title":7581,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":7582,"thumbUrl":7583,"material":164,"size":1461,"collection":223,"collections":7584,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":54},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,24,26,27,94,30,31,7,96,32,616,1470,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":7586,"slug":7587,"title":7588,"dynasty":246,"author":1349,"museum":90,"description":1350,"tags":7589,"thumbUrl":7590,"material":237,"size":1353,"collection":223,"collections":7591,"showCount":7428,"zanCount":536,"manualWeight":11,"mainColor":108},219856,"ba-jing-shan-shui-tu-2-gong-xian-219856","八景山水图-2",[24,93,98,94,95,7,32,1096],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc456411e76e601da956e5ada940eb00f.jpg",[],{"id":7593,"slug":7594,"title":7595,"dynasty":58,"author":1553,"museum":90,"description":7596,"tags":7597,"thumbUrl":7599,"material":208,"size":7600,"collection":49,"collections":7601,"showCount":7428,"zanCount":536,"manualWeight":11,"mainColor":54},218597,"lian-she-tu-yi-ming-218597","莲社图","图绘东晋高僧慧远（334-416）于庐山结社故事，无作者款印，为南宋人据李公麟《莲社图》所作的摹本。画分九段，次序井然：一、乘舆者陶渊明，肩舆者其子、门生，童子一人；二、骑马者谢灵运，随侍两人；三、虎溪三笑，捉手相对者慧远、陆修静，旁立辟蛇行者，童子一人；四、设文殊金像赞颂佛事者三人，昙常、道昺、周续之；五、梵僧两人，旁立一耶舍；六、校经五人，刘程之、张诠、惠叡、惠持、惠永，手捧经笈者一人，童子一人，烹茶三人，汲水一人；七、游山两人，宗炳、昙顺。八、经筵会讲，讲说者道生，听讲者雷次宗、道敬、昙诜等；九、濯足者张野，童子一人。",[23,24,63,25,516,1665,30,94,7,32,33,176,7598],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F227278cacb67723b82fe796fc37d2573.jpg","纵28.1厘米，横459.8厘米",[49],{"id":7603,"slug":7604,"title":7605,"dynasty":246,"author":7606,"museum":1499,"description":7607,"tags":7608,"thumbUrl":7611,"material":308,"size":7612,"collection":104,"collections":7613,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":54},218268,"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[23,24,331,93,98,529,96,7,32,33,75,30,97,7609,7610,135],"清代","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[104],{"id":7615,"slug":7616,"title":315,"dynasty":246,"author":4064,"museum":217,"description":7617,"tags":7618,"thumbUrl":7619,"material":208,"size":7620,"collection":104,"collections":7621,"showCount":7428,"zanCount":536,"manualWeight":11,"mainColor":108},217886,"shan-shui-tu-dong-bang-da-217886","董邦达是中国清朝时期著名的画家，他以其精湛的山水画而闻名。他的山水画通常被认为是清朝山水画史上的里程碑式的作品。\n\n董邦达的山水画风格独特，他追求自然的写实，同时又注重画面的艺术性。他的山水画中通常会出现大量的细节，比如山的形态、树的形态、云的形态等。他善于运用技法，比如水墨描边、油墨浓淡等，使得他的山水画看起来栩栩如生。\n\n董邦达的山水画中通常会出现许多动物和人物，他善于捕捉动物和人物的形态和神态。他的山水画中常常会出现小溪流动、水鸟飞翔、山鹿奔跑等场景。\n\n董邦达的山水画对后来的中国山水画产生了很大的影响，他的作品被认为是中国山水画史上的经典之作。",[23,24,93,98,135,94,7,32,96,121,336,33,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d68ad231b9d749214643923db64fec.jpg","70.8x36cm",[104],{"id":7623,"slug":7624,"title":7625,"dynasty":18,"author":4939,"museum":90,"description":6349,"tags":7626,"thumbUrl":7627,"material":102,"size":6352,"collection":223,"collections":7628,"showCount":7428,"zanCount":536,"manualWeight":11,"mainColor":108},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6",[24,63,94,27,234,7,32,33,75,250,95,962,119,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg",[],{"id":7630,"slug":7631,"title":7632,"dynasty":246,"author":1441,"museum":328,"description":7633,"tags":7634,"thumbUrl":7635,"material":102,"size":223,"collection":223,"collections":7636,"showCount":7428,"zanCount":11,"manualWeight":11,"mainColor":108},214597,"fang-gu-shan-shui-ce-7-wang-hui-214597","仿古山水册-7","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[116,24,63,234,93,94,414,75,7,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67024a0a82abbb02f727849af7897c51.jpg",[],{"id":7638,"slug":7639,"title":7640,"dynasty":277,"author":5492,"museum":132,"description":7641,"tags":7642,"thumbUrl":7643,"material":208,"size":7644,"collection":223,"collections":7645,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[116,24,63,135,93,94,293,414,137,7,32,97,121,99,118,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],25,{"id":7648,"slug":7649,"title":6125,"dynasty":18,"author":3027,"museum":360,"description":7650,"tags":7651,"thumbUrl":7656,"material":494,"size":495,"collection":223,"collections":7657,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":54},290783,"chun-quan-xiao-yin-tu-juan-zhou-chen-290783","画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。 画中环境清静美，确为理想的隐居之处。该图布局疏密有序，人物景致描写严谨准确，色调富于变化",[23,24,25,27,93,94,30,7,32,252,293,97,250,7652,7653,118,7654,7655],"湖水","隐居","伏案","洒扫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e5dc319d728780ab969bd3b16b9003.jpg",[],{"id":7659,"slug":7660,"title":7661,"dynasty":58,"author":980,"museum":360,"description":7662,"tags":7663,"thumbUrl":7664,"material":494,"size":495,"collection":223,"collections":7665,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":54},289126,"shan-lou-lai-feng-tu-ma-yuan-289126","山楼来凤图","是融山水与人物画于一体的佳作。画面上崖壁虬松，溪桥殿宇，文人相偕而行，一旁稚童抱琴侍立。在笔墨运用上，山石多用长斧劈皴，画松瘦硬屈曲、用墨凝重、用笔刚健、笔锋显露，为典型的马远一派画风。",[24,116,135,93,94,28,30,31,7,121,136,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55bee4cd37aee0d3324f6d1431a67af2.jpg",[],{"id":7667,"slug":7668,"title":7669,"dynasty":246,"author":1062,"museum":360,"description":7670,"tags":7671,"thumbUrl":7672,"material":494,"size":495,"collection":223,"collections":7673,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},287689,"han-gong-chun-xiao-tu-zhou-yuan-yao-287689","汉宫春晓图轴","此图名为汉代宫殿之景，实际上表现的是作者想像中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其灵动的点染不仅显现出石质的坚硬，同时增强了画面的动势，与工整精巧的宫阙楼阁形成粗放与华美、活泼与整齐的鲜明对比。",[24,63,116,135,28,26,27,94,31,7,32,96,155,33,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71777f03d1a1f477faee4e4e8089f117.jpg",[],{"id":7675,"slug":7676,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":7677,"thumbUrl":7678,"material":223,"size":223,"collection":223,"collections":7679,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},237584,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237584",[24,63,234,93,27,98,528,94,414,95,32,97,96,7,336,318,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde38f8e39039eeb81895aa4915e1f49.jpg",[],{"id":7681,"slug":7682,"title":7683,"dynasty":18,"author":6050,"museum":360,"description":7684,"tags":7685,"thumbUrl":7686,"material":223,"size":223,"collection":104,"collections":7687,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},236629,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236629","宋懋晋江南名胜图册","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[24,27,94,98,234,31,7,32,95,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1133beead4f63e32f0f91d3e2528fba0.jpg",[104,51],{"id":7689,"slug":7690,"title":7691,"dynasty":246,"author":7692,"museum":60,"description":7693,"tags":7694,"thumbUrl":7696,"material":223,"size":223,"collection":1006,"collections":7697,"showCount":7646,"zanCount":536,"manualWeight":11,"mainColor":108},236189,"hua-mei-xi-fan-ting-liang-shi-zheng-shu-feng-guan-long-jing-ti-ming-cheng-shan-sun-you-236189","画梅溪泛艇梁诗正书奉观龙井题名成扇","孙祐","孙佑[清]佑一作祜。江苏人。\n山水宗娄东（王原祁）乾隆（一七三六至至一七九五）时供奉内廷，曾同陈枚，金昆、戴洪、程志道绘清明上河图，乾隆六年（一七四一）与周昆、丁观鹏合作汉宫春晓图卷。《熙朝名画录、国（清）朝画徵录》",[1829,24,63,27,26,94,1606,3413,7695,7,293,97,30,99,100],"艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b354b57fa498851ae8a5f5ae8d64860.jpg",[1006,51],{"id":7699,"slug":7700,"title":7701,"dynasty":246,"author":2037,"museum":60,"description":7702,"tags":7703,"thumbUrl":7704,"material":7705,"size":7706,"collection":223,"collections":7707,"showCount":7646,"zanCount":536,"manualWeight":11,"mainColor":108},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[24,116,135,93,27,94,98,529,75,33,644,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纸本，淡设色","纵98.7厘米，横53.3厘米",[],{"id":7709,"slug":7710,"title":7711,"dynasty":277,"author":2372,"museum":7712,"description":7713,"tags":7714,"thumbUrl":7723,"material":237,"size":7724,"collection":223,"collections":7725,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},232639,"shui-zhu-ju-tu-ni-zan-232639","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n按图上作者题款：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。因想像图此……” 知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[23,24,331,1054,7715,252,7716,7717,7718,7,1202,191,7719,7720,4538,2375,7721,7722,99,118,98],"青绿设色","修竹","坡石","溪水","水渚","仙居","幽冷","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":7727,"slug":7728,"title":7729,"dynasty":246,"author":7730,"museum":360,"description":7731,"tags":7732,"thumbUrl":7733,"material":223,"size":223,"collection":223,"collections":7734,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},229003,"ni-gu-shan-shui-ce-huang-shan-shou-229003","拟古山水册","黄山寿","此作以留白晕染冬雪覆山，浅绛设色清润柔和，笔墨简淡秀逸。近处崖畔文士凭窗观览，沙岸渔舟静泊，梢公待客将发；中景木桥跨溪，连接两岸林峦，枯木疏枝衬出萧寒之气。远山素净空蒙，整体意境清寂淡远，将文人幽居林泉、寄情山水的闲雅意趣融于雪景之中，萧疏恬静的冬日山居图景跃然纸上，尽显温婉雅致的仿古意韵，澹泊出尘。",[24,27,94,7,32,95,97,33,29,98,30,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fb4f6b62265c8b3a4b2dff321a9b14.jpg",[],{"id":7736,"slug":7737,"title":7738,"dynasty":246,"author":1553,"museum":60,"description":7739,"tags":7740,"thumbUrl":7741,"material":7742,"size":7743,"collection":223,"collections":7744,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,27,25,98,94,1587,33,38,35,71,155,235,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","彩绘","纵32厘米，横210厘米",[],{"id":7746,"slug":7747,"title":7748,"dynasty":18,"author":1553,"museum":2829,"description":7749,"tags":7750,"thumbUrl":7751,"material":402,"size":7752,"collection":223,"collections":7753,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":54},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,24,25,27,98,29,94,33,97,7,32,96,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":7755,"slug":7756,"title":7757,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":7758,"thumbUrl":7759,"material":164,"size":1461,"collection":223,"collections":7760,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},223051,"hong-lou-meng-176-sun-wen-223051","红楼梦176",[23,24,26,27,30,7,32,96,33,97,643,25,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d705c643b27e6b9a0f65b0153c33b05.jpg",[],{"id":7762,"slug":7763,"title":7764,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":7765,"thumbUrl":7766,"material":164,"size":1461,"collection":223,"collections":7767,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":54},222944,"hong-lou-meng-69-sun-wen-222944","红楼梦69",[23,24,63,26,27,30,96,7,32,281,97,31,744,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7e8b93ac1840b7ff844acf13c31046.jpg",[],{"id":7769,"slug":7770,"title":7771,"dynasty":18,"author":7772,"museum":132,"description":7773,"tags":7774,"thumbUrl":7775,"material":1055,"size":7776,"collection":104,"collections":7777,"showCount":7646,"zanCount":536,"manualWeight":11,"mainColor":108},222153,"chun-qi-tu-zhou-gu-yi-de-222153","春绮图轴","顾懿德","顾懿德（?～1633后） 明末松江派画家。字原之。华亭（今上海松江）人。明万历时中书舍人顾正谊之子（或说为侄）。家资丰厚，以父遗产银三万两，在青浦营造役田万亩，以成父志，被任为光禄寺署正。\n善画山水，画承顾正谊家传而受董其昌影响，仿王蒙，行笔秀洁，也画大士像。董及陈继儒颇赏之。",[23,116,24,63,135,117,27,94,97,33,7,32,31,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdbc69544851c619a4c424a6721ef6b.jpg","51.7x32.4厘米",[104,51],{"id":7779,"slug":7780,"title":1660,"dynasty":18,"author":1553,"museum":1661,"description":1662,"tags":7781,"thumbUrl":7782,"material":1664,"size":223,"collection":223,"collections":7783,"showCount":7646,"zanCount":536,"manualWeight":11,"mainColor":54},222151,"fu-hui-xi-yi-ming-222151",[23,24,116,1664,1665,27,26,30,2468,529,33,7,645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20a2dd14f9b984c9282b1e6b580095f.jpg",[],{"id":7785,"slug":7786,"title":7787,"dynasty":277,"author":4176,"museum":60,"description":7788,"tags":7789,"thumbUrl":7790,"material":7791,"size":7792,"collection":223,"collections":7793,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},221824,"xiu-ye-xuan-tu-juan-zhu-de-run-221824","秀野轩图卷","该图末有朱德润自识：“至正二十四年歲甲辰(1364年)四月十日，睢陽山人時年七十一歲。朱德潤並肩。”后钤私印两方。系朱氏临终前的极晚之作。是图画江南山川的平远之景，山林间有文人对坐于书斋中，笔法粗放纵逸，墨色简洁，有苍茫之意。画家大胆地将北宋李成、郭熙描绘北方山水的笔墨转化为表现江南风物的造型语言，并揉进了文人儒雅清澹的审美意趣。画中的书斋为“秀野轩”，将文人的书斋和活动绘于佳山秀水中，是这个时期新出现的山水画题材，直接影响了元末明初早期吴派山水画的审美取向。\n清《佩文斋画谱》、《江村画目》著录。",[23,24,63,25,93,98,100,99,118,94,96,33,7,32,336,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02fb9773db03d4b1979437c1858da6bd.jpg","纸本，水墨淡设色","纵28.3厘米，横210厘米",[],{"id":7795,"slug":7796,"title":7797,"dynasty":18,"author":3952,"museum":1277,"description":7798,"tags":7799,"thumbUrl":7800,"material":7801,"size":7802,"collection":223,"collections":7803,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":223},220726,"chong-shan-shui-xie-tu-li-zai-220726","崇山水榭图","李在，字以政，福建莆田人。明宣德时被征召入宫，与谢环、倪端、石锐、戴进等绘画名手同为仁智殿待诏。东京国立博物馆现藏《破墨山水图》上有日本室町时代画圣画僧雪舟的自赞，谓曾入明朝向当时极具声望的李在学习设色与破墨之法，可见李在画名曾远播东洋。\n\n此幅山水为李在将南、北宋绘画传统融会于一体的成果。近景右侧的蟹爪树向左方斜出，下有一策杖行人与童子步上木桥，似引导观者进入画中的理想世界。后方主山向上蜿蜒攀升，深具北宋巨障山水的体量感，但位置稍偏于画面右侧，将画幅左侧让给河流、远山，层层后退，表现山水的深远感。画中各种人物活动，清晰可见，中心山腰处有两名行人头戴斗笠，手持拐杖，由山后转出，随山径而下；中景处有两名文士造访山间凉亭，亭前则有童子洒扫；山脚处则有一人于水榭中读书。人物比例显得略大，但更拉近了观者与画面的距离，为画作带来亲密感与活泼生机。此外，此画的建构模式，例如充满动势的主山、中景处雾气蒸腾的松林、前景的蟹爪树、各式点景人物等，亦见于李在的其他作品，例如《山庄高逸图》与《山村图》。惟此《崇山水榭图》的皴染更为湿润，山石上骚动的卷云皴近乎隐没于墨染之中，并不明显，而中景右侧的两棵劲挺松树，则接近南宋的松树样式，于李在的传世立轴中较为少见。",[23,24,93,98,135,94,38,7,33,30,32,97,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3089547ba99e8fe6ce6a1d45917564c.jpg","水墨,设色,绢本,立轴","画心：124.3×59.4厘米 装裱：239.2×77.5厘米",[],{"id":7805,"slug":7806,"title":7807,"dynasty":246,"author":3089,"museum":20,"description":7808,"tags":7809,"thumbUrl":7810,"material":237,"size":223,"collection":223,"collections":7811,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},220469,"qiao-shang-de-ren-ren-yi-220469","桥上的人","以淡墨铺就萧寒冬意，岸边枯木虬枝错落纵横，笔致纵逸老辣，枯枝苍劲中带着疏朗之态，留白衬出郊野荒寒空寂的氛围。板桥横跨寒溪，溪石以泼墨晕染，朴拙浑厚，尽显水墨写意的随性雅致。\n\n桥上素衣女子身形简括，却楚楚含情，凭栏远眺的身影将萧瑟景致晕开缱绻愁思，把冬日郊野的清寂与人物的幽微心境相融。整体笔墨兼工带写，简淡松灵，以极简形象烘托出悠远绵长的诗意，淡远空濛间余韵悠悠。",[24,63,135,93,27,332,30,7,414,94,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8129d60087836ca2bf50ac6b929699b2.jpg",[],{"id":7813,"slug":7814,"title":7815,"dynasty":18,"author":7816,"museum":60,"description":7817,"tags":7818,"thumbUrl":7819,"material":208,"size":7820,"collection":104,"collections":7821,"showCount":7646,"zanCount":713,"manualWeight":11,"mainColor":108},220397,"chen-zong-yuan-hong-ya-shan-fang-tu-juan-chen-zong-yuan-220397","陈宗渊洪崖山房图卷","陈宗渊","《洪崖山房图》是陈宗渊唯一的传世作品，为其受友人胡俨之请按实景创作的。胡俨怀着还乡归隐之情，在家乡筑室名“洪崖山房”，以慰归思。他曾请王绂为其作图，但王绂当时因病重便作诗推辞，胡俨遂转请其弟子陈宗渊创作了此图。胡俨十分珍爱此作，多次在图后题识。图中抒写了胡俨身居庙堂、心怀归思的志向和情怀，同时也反映了在明初严酷的政治环境中，文人士大夫思隐的心态。\u2028　　画面上山峦起伏，江面开阔，景色壮观，反映出江西一带的风貌特征。所画人物占画幅比例很小，虽只寥寥数笔，须眉皆无，但姿态休闲生动，或展卷堂上，或携琴访友，巧妙地突出了人物在画中的地位，增添了恬静安逸的情致，表现出文人优雅的生活环境和超凡出尘的意趣。画中的山石用荷叶皴与披麻皴表现，线条多用中锋，自上而下拖长，错落纷披，转折灵动。陈宗渊的画法继承元代绘画风格，近似王绂，意境清远，笔墨苍秀，其作品对了解吴门前期绘画的传承关系具有重要的作用。",[23,24,63,25,93,27,94,26,98,100,99,118,191,71,75,33,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[104,82],{"id":7823,"slug":7824,"title":7825,"dynasty":18,"author":6260,"museum":132,"description":7826,"tags":7827,"thumbUrl":7828,"material":27,"size":7829,"collection":49,"collections":7830,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},219313,"ge-hong-yi-ju-tu-ding-yun-peng-219313","葛洪移居图","层岩叠嶂间，飞瀑如练倾泻而下，裹挟着山林的清润之气。近景溪畔，板桥横卧，衣袂飘飘的人物或行或驻，似在细说移居的缘由。林间隐现的屋宇，与苍松翠柏相映，暗合葛洪求道隐逸的仙踪。山石勾勒兼施皴染，线条细劲如丝却力道暗藏，树木葱茏有致，每一片叶、每一根枝都透着工致的匠心。人物神情宛然，动态传神，虽寥寥数笔却尽显仙风道骨。整幅画将山水的幽远与人物的清雅融于一体，笔墨间流淌着文人画的雅致韵致，仿佛能让人嗅到山间的草木香，触到溪涧的清凉，窥见那份超脱尘俗的悠然心境。",[24,116,63,26,27,98,94,30,7,32,31,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c8046eefcf6f8665afa8c48234b3b0.jpg","49x29.9",[49],{"id":7832,"slug":7833,"title":7834,"dynasty":18,"author":1553,"museum":217,"description":5042,"tags":7835,"thumbUrl":7836,"material":102,"size":223,"collection":223,"collections":7837,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},217947,"ming-ren-shan-shui-hua-ce-ba-yi-ming-217947","明人山水画册(八)",[23,24,93,94,98,234,529,1470,439,176,7,32,96,414,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2356510e2a70855153eec32a2869937b.jpg",[],{"id":7839,"slug":7840,"title":7841,"dynasty":246,"author":1105,"museum":90,"description":1106,"tags":7842,"thumbUrl":7843,"material":102,"size":1109,"collection":223,"collections":7844,"showCount":7646,"zanCount":536,"manualWeight":11,"mainColor":108},216977,"fang-song-yuan-shan-shui-ce-8-wang-jian-216977","仿宋元山水册-8",[23,24,63,94,29,27,98,234,97,32,33,155,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31137973a74e5dcf920e4c89fd5788c.jpg",[],{"id":7846,"slug":7847,"title":7848,"dynasty":246,"author":1553,"museum":360,"description":7849,"tags":7850,"thumbUrl":7851,"material":47,"size":223,"collection":223,"collections":7852,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":54},216708,"hong-lou-meng-fu-tu-ce-15-yi-ming-216708","红楼梦赋图册-15","木桥横卧溪上，涟漪轻漾着细碎的光。两位女子立于桥间，红衣者凭栏远眺，眉目间似凝着云边的愁绪；白衣者执扇低眉，身姿柔婉如风中垂柳。岸边树影婆娑，枝叶错落间漏下天光，远处屋宇隐在绿意里，飞鸟掠过天际，带起的风拂动了树的影、水的纹。整幅画晕染着江南园林的雅致，将红楼闺阁的闲静时光，凝成一抹诗意的温柔。每处细节都藏着细腻情思：树的繁荫、屋的隐现、鸟的翩跹，仿佛能让人嗅到那时的草木香，听见风穿过叶隙的轻响，触到闺中女儿未说出口的幽思。这抹水墨里的静，恰是红楼故事里最动人的闲愁与清欢。",[23,24,234,27,26,30,744,7,32,33,121,31,743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd36dfa8e558b65b38a8956433ff60ad.jpg",[],{"id":7854,"slug":7855,"title":7856,"dynasty":246,"author":1553,"museum":360,"description":7857,"tags":7858,"thumbUrl":7859,"material":208,"size":223,"collection":104,"collections":7860,"showCount":7646,"zanCount":11,"manualWeight":11,"mainColor":108},215618,"tian-xia-ming-shan-tu-ce-yi-ming-215618","天下名山图册","层峦叠嶂间，墨线勾勒出山脊嶙峋之势，皴擦点染晕开草木苍劲生机。几株古松挺立于峰巅，枝干虬曲如铁，似与流云低语。山间小径蜿蜒，行人三两成簇，或行或驻，为静谧山林添几分烟火气。右侧山谷隐现亭台楼阁，飞檐翘角藏于茂林修竹间，与山石流水相映成趣。画面布局疏密有致，留白处似有云雾流转，虚实相生尽显山川悠远意境。笔墨虽简，却将自然雄浑与人文雅致融于一纸，仿佛能闻松涛阵阵、涧水潺潺，叫人沉醉于这方清幽天地。",[24,63,234,516,93,98,94,529,33,96,31,7,32,64,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd70bb88931916c051d525147647bc23.jpg",[104],{"id":7862,"slug":7863,"title":7864,"dynasty":58,"author":173,"museum":360,"description":2792,"tags":7865,"thumbUrl":7866,"material":494,"size":495,"collection":223,"collections":7867,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},290859,"xue-ji-tan-mei-tu-zhou-xia-gui-290859","雪屐探梅图轴",[24,135,93,98,94,1721,1606,414,97,96,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127085a96abf0e00473103e5b0e94b99.jpg",[],24,{"id":7870,"slug":7871,"title":7872,"dynasty":277,"author":1553,"museum":132,"description":7873,"tags":7874,"thumbUrl":7876,"material":308,"size":7877,"collection":104,"collections":7878,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},290793,"mai-yu-gu-jiu-tu-zhou-yi-ming-290793","买鱼沽酒图轴","此图描绘了群山为白雪覆盖，老松古杉点缀一些青翠之意。水榭中，主人等待著小童买鱼沽酒归来。溪涧木桥上，行旅冒雪赶路前来聚会，为寂静之山林增添了生意。依画法作者名款，旧传为元人之作。",[24,116,135,94,98,93,31,7,32,95,414,75,97,7875],"沽酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e785ff33fa89f38077ee412c9e6c097.jpg","57x36.7",[104],{"id":7880,"slug":7881,"title":7882,"dynasty":246,"author":6380,"museum":360,"description":6381,"tags":7883,"thumbUrl":7884,"material":494,"size":495,"collection":223,"collections":7885,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},290591,"zhen-hai-si-xue-jing-zhou-zhang-ruo-ai-290591","镇海寺雪景轴",[24,63,135,94,1721,31,7,32,293,2939,27,98,118,1665,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaaf25a4a84a0d50516cc3589bc39e7.jpg",[],{"id":7887,"slug":7888,"title":7889,"dynasty":277,"author":327,"museum":360,"description":7890,"tags":7891,"thumbUrl":7892,"material":494,"size":495,"collection":223,"collections":7893,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},290434,"yan-he-you-ju-tu-huang-gong-wang-290434","岩壑幽居图","此作构图与《层岩曲涧》雷同，然更显狭长，并简省许多细节。其画风受正统派影响似不强烈，反有以类沈周风格重组原作之感，推测亦为明末清初时的临仿之作。",[116,24,63,135,94,93,98,97,1202,220,7,32,2795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ab7be7ec04e051dc29fbf91e546aa7.jpg",[],{"id":7895,"slug":7896,"title":7897,"dynasty":58,"author":7898,"museum":360,"description":7899,"tags":7900,"thumbUrl":7905,"material":494,"size":495,"collection":223,"collections":7906,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},290151,"lv-xian-jiang-yao-tu-li-di-290151","吕仙降妖图","李迪","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,25,2084,7901,7902,7903,7904,7,32,94,4768,99,27],"道教","神话","吕洞宾","降妖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7158e591b466071a3fb90a547a25ef8.jpg",[],{"id":7908,"slug":7909,"title":7910,"dynasty":58,"author":173,"museum":360,"description":7911,"tags":7912,"thumbUrl":7913,"material":494,"size":495,"collection":223,"collections":7914,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},288322,"xi-hu-liu-ting-tu-xia-gui-288322","西湖柳艇图","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[23,24,331,93,27,98,281,7,32,95,454,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b30dee232d89172c19ffdd806aaa95.jpg",[],{"id":7916,"slug":7917,"title":7918,"dynasty":18,"author":525,"museum":360,"description":6965,"tags":7919,"thumbUrl":7920,"material":494,"size":495,"collection":223,"collections":7921,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},283760,"fang-gu-shan-shui-tu-ce-ba-kai-dong-qi-chang-283760","仿古山水图册（八开）",[116,24,234,93,94,99,100,118,564,33,7,96,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71681cfc3387857306541d8538446578.jpg",[],{"id":7923,"slug":7924,"title":7925,"dynasty":18,"author":1553,"museum":360,"description":7926,"tags":7927,"thumbUrl":7928,"material":223,"size":223,"collection":223,"collections":7929,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},238998,"wen-jia-xia-shan-gao-yin-tu-zhou-yi-ming-238998","文嘉夏山高隐图轴","此作以层叠山峦铺展高远之境，崖间飞瀑悬垂而下，撞破岩壑沉静，为幽寂山林添就灵动生机。水畔草堂临流而建，屋中主人偃卧观山，阶下童子侍立，尽显山居高隐的闲雅意趣。\n\n画作笔墨温婉秀润，山石以披麻皴写就，淡墨晕染出清润质感，林木点染疏密得宜，浅淡设色衬出古雅格调，将寄情林泉、慕求幽居闲适的心境，融在烟林清旷的山水小景之中，意境萧散淡远，尽显文人山水画的雅逸之致。",[24,135,27,98,94,191,152,154,33,2630,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a9341797746526cddd68189ee910.jpg",[],{"id":7931,"slug":7932,"title":7933,"dynasty":246,"author":6183,"museum":60,"description":7934,"tags":7935,"thumbUrl":7936,"material":678,"size":7937,"collection":223,"collections":7938,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,135,27,94,31,7,30,33,98,26,118,99,97,38,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":7940,"slug":7941,"title":7942,"dynasty":277,"author":775,"museum":60,"description":7943,"tags":7944,"thumbUrl":7945,"material":678,"size":779,"collection":223,"collections":7946,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[116,24,63,25,27,94,93,98,99,100,2842,118,7,32,95,96,33,840,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg",[],{"id":7948,"slug":7949,"title":7950,"dynasty":246,"author":2037,"museum":450,"description":7951,"tags":7952,"thumbUrl":7953,"material":237,"size":7954,"collection":223,"collections":7955,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},232607,"shan-shui-ren-wu-ce-cha-shi-biao-232607","山水人物册","《仿各家山水册》，纸本，共十开，仿十大家画法，每幅纵22厘米，横]7厘米。笔法纯熟，墨法精妙，其画风、画法的渊源，都是从宋元明人家的山水画汲取养料，追求他们的韵味和笔墨情趣，为自己所创造的艺术境界服务。\n第一开，仿王蒙，设色，图作群山、松林寺塔，云雾缭绕，老者曳杖，童子随后，书“黄鹤山樵”四字。王蒙，元代画家，字叔明，号黄鹤山樵等，浙江吴兴(今浙江湖州市)人。善诗文、书法，工人物，尤精山水。写景多稠密，径路迂回，烟霭微茫，曲尽山林幽致，用解索皴和渴墨点苔，表现林峦郁茂苍茫的气氛，尤为独到。\n第二开，仿倪瓒，以水墨写平远山水景色，笔墨精妙，韵味隽秀，书“倪离士笔意”。倪瓒，元代书画家、诗人，字元镇，号云林，人称“倪高士”，江苏无锡人。擅画水墨山水、竹石，用笔方折遒劲，刨“折带皴”写山石法。疏林坡岸，浅水远山，墨色简淡，意境清远萧疏。\n第三开，仿张僧繇，以没色没骨法作山树人物，色彩绚丽，书“张僧繇没骨法”。张僧繇，南朝梁画家，江苏苏州人。工写真、释道人物，尤精画龙。用红绿重色画山水，先图峰峦泉石，后染匠壑暖岩。不用墨线勾勒，直接用墨色或彩色描绘物象，开创了“没骨法”山水的画法。\n第四开，仿黄公望，以水墨作高山、林木、村舍、流泉，意境深远，书“一峰道人”四字。黄公望，元代画家，字子久，号一峰道人、大痴道人等，江苏常熟人。构图繁复丰满，皴笔不多，格调温润柔和，气势雄健，有“峰峦浑厚，草木华滋”之评。\n第五开，仿王绂，浅设色，绘群山连绵，溪水平静，林木亭屋，富于节奏韵律，书“九龙山入画意”。王绂，明代画家，字孟端，自号九龙山人，江苏无锡人。擅画巨幅山水，也作平远小景，风格苍郁清润，尤精墨竹，有“出姿媚于遒劲之中，见洒落于纵横之外”之评。其墨竹，在明代很有影响。\n第六开，仿米芾，以水墨作云山，云雾迷蒙，书“拟米襄阳”叫字。米芾，北宋书画家、鉴定家，字元章，号襄阳漫士，祖籍山西太原，迁居湖北襄阳，世称“米襄阳”。画山水天真发露，不求工细，多用水墨点染，即横点积叠画法，突破勾廓添皴之传统，开创了“米家云山”新风貌。自谓“信笔作之，多以烟云掩映树石，意似便巳”。\n第七开，仿方从义，近坡显寺，远山云塔，流泉如带，淡设色，书“方上清意”四字。方从义。，元代画家，字无隅，号方壶，江西贵溪人，擅画山水，“写得湖山事事嘉”。高山从林，笔致跌宕，意境幽藏。能诗文，并工古篆、隶书、章草。\n第八开。仿徐幼文，以水墨作幽舍桥亭，平湖远山，书“元人徐幼文法”。徐幼文，名徐贲，宁幼文，号北郭生，江苏苏州人。擅画山水，嘉树野泉，笔墨清润。层次井然，工诗文，也擅长墨竹，浓淡配合，尤为和谐优美。\n第九开，仿赵盂頫，平坡绿树，湖画广阔，建立小桥，彼岸流泉，浅设色，书“赵承旨” 三字。赵盂頫，，元代书画家、文学家，字子昂，号松雪道人，浙江吴兴(今浙江湖州)人。擅画山水、人物，工墨竹、花鸟，以飞白法画石，以书法用笔写竹，皆以笔墨圆润苍秀见长。\n第十开，仿郭熙，以水墨作雪景，曲堤长桥，枯草秃树，全景堆银砌玉，清静致远，题：“郭河阳法，拟古十册奉正于升先生，时丙午长至又二日，士标呵冻纪事”。郭熙，北宋画家，字淳夫，河南温县人。工画山水，画山石多“卷云”或“鬼脸”皴法；画树枝如蟹爪下垂，笔力劲健，水墨爽洁。对四季山水有“春山如笑，夏山如滴，秋山如妆，冬山如睡”之况。",[24,93,98,234,94,30,7,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d81252af5e22b8cb3c78773254a0281.jpg","纵22厘米，横]7厘米",[],{"id":7957,"slug":7958,"title":7959,"dynasty":58,"author":1553,"museum":132,"description":7960,"tags":7961,"thumbUrl":7967,"material":237,"size":7968,"collection":223,"collections":7969,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[116,24,63,94,135,93,98,7962,366,7963,7964,7965,7966,3178,97,136,7,32,96],"山岭","茅亭","荷塘","泛舟","竹院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg","172.7x81.4",[],{"id":7971,"slug":7972,"title":7973,"dynasty":246,"author":2037,"museum":360,"description":7974,"tags":7975,"thumbUrl":7976,"material":223,"size":223,"collection":223,"collections":7977,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},230299,"shan-shui-shi-kai-cha-shi-biao-230299","山水十开","此作用笔松秀空灵，以极简构景铺就幽寂冬境。几株寒木瘦劲出枝，淡笔勾勒嶙峋躯干，细笔写残叶萧疏，尽显清癯孤傲之态。留白为寒水浅滩，隐见板桥卧波，远山以枯淡泼墨轻扫，虚实间晕染出淡远空濛。\n\n整幅以少胜多，脱尽尘俗烟火气，将江南冬日清旷荒寒之景诉诸笔端，淡墨轻岚里晕开空寂诗意。观之如临荒寒水畔，浸得一身清宁，尽显静穆淡远的文人雅韵。",[24,63,93,94,136,7,97,98,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfc33c830462f885ce8379dce9b76aa.jpg",[],{"id":7979,"slug":7980,"title":7981,"dynasty":277,"author":6999,"museum":360,"description":7982,"tags":7983,"thumbUrl":7984,"material":223,"size":223,"collection":223,"collections":7985,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},228034,"xi-qiao-ce-zhang-tu-luo-zhi-chuan-228034","溪桥策杖图","画作以枯木为视觉重心，双木虬曲苍劲，枝条如倒挂蟹爪，皴笔老辣简练，尽显岁寒枯槁之态。近岸山石以淡墨晕染，勾勒寥寥便见嶙峋质感，远景山峦以淡墨轻扫，晕染出空濛悠远的秋山暮色。\n\n溪桥横卧寒波，策杖行人缓步桥上，三两相伴，为冷寂天地添上些许烟火暖意，动静之间，将荒寒萧索与悠然意趣相融。全作用笔简淡空灵，以水墨写尽隐逸幽怀，枯淡之中暗藏生机，尽显文人超脱尘俗的林下襟怀，是元人尚意山水的逸格之作。",[23,24,63,1829,93,94,98,136,7,32,30,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8663ca638f193764ba17f57c5396ca4c.jpg",[],{"id":7987,"slug":7988,"title":7989,"dynasty":277,"author":775,"museum":360,"description":7990,"tags":7991,"thumbUrl":7992,"material":223,"size":223,"collection":223,"collections":7993,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":1224},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,63,25,27,94,98,100,33,75,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":7995,"slug":7996,"title":7997,"dynasty":58,"author":1229,"museum":360,"description":7998,"tags":7999,"thumbUrl":8000,"material":223,"size":223,"collection":223,"collections":8001,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[23,24,116,63,25,93,98,94,33,7,32,95,97,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":8003,"slug":8004,"title":8005,"dynasty":58,"author":1553,"museum":60,"description":8006,"tags":8007,"thumbUrl":8009,"material":402,"size":8010,"collection":791,"collections":8011,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},223361,"hui-chang-jiu-lao-tu-juan-yi-ming-223361","会昌九老图卷","此卷描绘的是唐会昌五年（845年）白居易居洛阳香山时与友人的“尚齿”之会。虽以人物为题材，但建筑部分不论整体还是细部都描绘得准确精微，水榭、房舍、板桥、河堤、护栏、石凳乃至屋内的陈设交代得一清二楚，可谓“咸取砖木诸匠本法，略不相背”，几乎可以按图构建。画家不仅对建筑的构造和做法至详至悉，而且已经开始注意通过高超的写实技巧和一定程度的透视画法在二维平面上更为真实地表现建筑物三维空间的立体感和通透感，达到使观者“望之中虚，若可蹑足”的艺术效果。尤为重要的是，图中的建筑采用北宋的界画手法，匀细的线条有利于刻画建筑物复杂的结构和构件的细部，这种水墨白描的建筑画法延续至元代并发展到了极致。",[23,116,24,25,28,516,93,30,31,7,8008,1618,6150],"房舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ade434f61458b68f926c3828411c458.jpg","纵40cm，横69cm",[791],{"id":8013,"slug":8014,"title":8015,"dynasty":246,"author":8016,"museum":2038,"description":8017,"tags":8018,"thumbUrl":8020,"material":237,"size":8021,"collection":223,"collections":8022,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","程邃","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[23,116,24,63,93,98,94,7,32,95,336,136,75,97,33,8019],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","43.6x66.",[],{"id":8024,"slug":8025,"title":8026,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":8027,"thumbUrl":8028,"material":164,"size":1461,"collection":223,"collections":8029,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":54},222986,"hong-lou-meng-111-sun-wen-222986","红楼梦111",[23,24,26,27,2084,28,7256,31,7,744,1190,97,39,33,5787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b16a61e20f790f38221720ef828fd4c.jpg",[],{"id":8031,"slug":8032,"title":8033,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":8034,"thumbUrl":8035,"material":164,"size":1461,"collection":223,"collections":8036,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},222962,"hong-lou-meng-87-sun-wen-222962","红楼梦87",[23,26,27,117,28,96,7,31,30,94,7267,33,97,1557,39,645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc11a0901c1842776189869693f3bf0.jpg",[],{"id":8038,"slug":8039,"title":8040,"dynasty":277,"author":8041,"museum":132,"description":8042,"tags":8043,"thumbUrl":8047,"material":234,"size":8048,"collection":223,"collections":8049,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","李士行","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,24,116,25,331,93,94,8044,8045,7,40,65,801,8046,32,98,99,118,1956],"树石","矮屋","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":8051,"slug":8052,"title":8053,"dynasty":277,"author":2731,"museum":132,"description":8054,"tags":8055,"thumbUrl":8056,"material":93,"size":223,"collection":104,"collections":8057,"showCount":7868,"zanCount":536,"manualWeight":11,"mainColor":108},219958,"ye-qiao-ce-jian-tu-sheng-mao-219958","野桥策蹇图","此作以水墨晕染出山林幽寂之境，圆形取景似截取一段秋日山隅暮色。远山以淡墨轻勾浅染，峰峦在烟霭中隐现，漾着空濛悠远的氛围感。近岸林木攒簇，细劲笔意勾勒枝干，介字、个字点叶错杂层叠，尽显苍茂生机，坡岸以干笔短皴写出，朴拙苍厚间带着山野的荒疏意趣。\n\n野桥匿于林麓，策蹇之人悄然隐于林下，身形虽简却暗合幽行雅吟之题。全作用墨浓淡铺陈远近层次，简淡中见苍茫萧散，将寄情林泉的野逸之思，融于尺幅小景之中，清寂雅致，尽显文人山水的闲淡意趣。",[23,24,93,27,98,234,94,30,7,33,97,1778],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed64b4c78e7fd07febf0ed221608f.jpg",[104],{"id":8059,"slug":8060,"title":8061,"dynasty":246,"author":1553,"museum":132,"description":8062,"tags":8063,"thumbUrl":8064,"material":47,"size":223,"collection":223,"collections":8065,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":108},215196,"sheng-ping-le-shi-tu-ce-9-yi-ming-215196","升平乐事图册-9","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,27,26,234,30,744,642,293,7,951,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a2cc9698a5344d8809d368f396c948.jpg",[],{"id":8067,"slug":8068,"title":8069,"dynasty":246,"author":1115,"museum":90,"description":8070,"tags":8071,"thumbUrl":8072,"material":223,"size":223,"collection":104,"collections":8073,"showCount":7868,"zanCount":11,"manualWeight":11,"mainColor":8074},202156,"fang-bei-yuan-shan-shui-zhou-wang-shi-min-202156","仿北苑山水轴","这幅画笔墨苍润醇厚，意境清幽淡远。层峦叠嶂间林木蓊郁葱茏，披麻皴细腻勾勒山石肌理，墨色浓淡交错，显山川沉郁厚重之态。溪流蜿蜒穿谷而过，小桥卧波连岸，屋舍隐于林麓深处，似藏隐士栖居之趣。构图疏密有致，笔意浑朴，承北苑山水平淡天真之韵，兼具文人画雅致情致，于静谧间尽显自然野趣与悠远禅意。",[24,94,93,98,7,32,135,29,97,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054851f5ae4bf0540991a722140e28a7.jpg",[104],"bbb6a1",{"id":8076,"slug":8077,"title":8078,"dynasty":246,"author":4083,"museum":90,"description":8079,"tags":8080,"thumbUrl":8081,"material":223,"size":223,"collection":104,"collections":8082,"showCount":7868,"zanCount":536,"manualWeight":11,"mainColor":8083},201842,"zheng-yin-tu-zhou-qin-bing-wen-201842","证因图轴","此画以淡墨皴染山峦，层次分明；松枝苍劲，杂树枯荣相间，意韵天成。溪涧穿石，小桥卧波，茅舍隐于林麓间，尽显清幽之致。笔墨灵动，设色淡雅，构图疏密得宜，远近呼应，传递出文人寄情丘壑的闲适心境，是传统山水画中兼具笔墨意趣与自然情怀的佳作。",[24,63,135,94,27,93,98,7,32,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6baa07a8c3e0715ee59fc62b2914c7c5.jpg",[104],"c2ac96",{"id":8085,"slug":8086,"title":5561,"dynasty":277,"author":8087,"museum":360,"description":8088,"tags":8089,"thumbUrl":8090,"material":494,"size":495,"collection":223,"collections":8091,"showCount":8092,"zanCount":536,"manualWeight":11,"mainColor":54},290952,"chun-shan-tu-yang-wei-zhen-290952","杨维桢","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[116,24,63,94,93,98,99,100,118,136,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf89c0a69b3ee926f600580cf3131eb.jpg",[],23,{"id":8094,"slug":8095,"title":8096,"dynasty":58,"author":4265,"museum":132,"description":5641,"tags":8097,"thumbUrl":8098,"material":208,"size":8099,"collection":223,"collections":8100,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},290503,"chun-shan-tu-zhou-zhao-bo-ju-290503","春山图轴",[116,24,63,135,117,27,94,7,32,95,31,96,33,454,118,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60cd9de5152330c716e91a6b2be9c36.jpg","89.5x32.3",[],{"id":8102,"slug":8103,"title":8104,"dynasty":58,"author":8105,"museum":360,"description":8106,"tags":8107,"thumbUrl":8109,"material":494,"size":495,"collection":223,"collections":8110,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},288734,"xiao-xiang-ba-jing-tu-juan-liu-wang-hong-288734","潇湘八景图卷六","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[116,24,25,93,331,94,95,136,8108,32,7,30,2609,97],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd2db077996acb7d84eeb715093b04f.jpg",[],{"id":8112,"slug":8113,"title":8114,"dynasty":246,"author":1105,"museum":360,"description":6223,"tags":8115,"thumbUrl":8116,"material":223,"size":223,"collection":104,"collections":8117,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},238120,"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴",[24,135,93,94,98,191,33,75,7,32,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[104,82],{"id":8119,"slug":8120,"title":8121,"dynasty":246,"author":8122,"museum":360,"description":8123,"tags":8124,"thumbUrl":8125,"material":223,"size":223,"collection":104,"collections":8126,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},237564,"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[24,63,234,27,28,26,94,96,31,7,32,30,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[104,51,791],{"id":8128,"slug":8129,"title":8130,"dynasty":18,"author":8131,"museum":360,"description":6874,"tags":8132,"thumbUrl":8133,"material":223,"size":223,"collection":223,"collections":8134,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},234670,"cong-shan-shui-shan-mian-gong-yun-234670","从山水扇面","龚云",[1829,24,63,93,27,94,7,32,95,121,96,191,31,30,118,98,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0deb888dcc6e61f9401f6daf73a09633.jpg",[],{"id":8136,"slug":8137,"title":5752,"dynasty":18,"author":7058,"museum":60,"description":8138,"tags":8139,"thumbUrl":8140,"material":678,"size":223,"collection":223,"collections":8141,"showCount":8092,"zanCount":536,"manualWeight":11,"mainColor":108},234244,"shan-shui-juan-zhang-fu-234244","张复（1403-1490）：道士。字复阳，以字行，号南山，浙江平湖人。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真。草树人物，各臻其妙。",[23,24,25,63,93,27,98,94,95,7,32,31,33,97,454,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d3a363c537e6fd65da59b61258ccaf.jpg",[],{"id":8143,"slug":8144,"title":8145,"dynasty":18,"author":8146,"museum":360,"description":8147,"tags":8148,"thumbUrl":8149,"material":594,"size":223,"collection":223,"collections":8150,"showCount":8092,"zanCount":536,"manualWeight":11,"mainColor":54},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,116,24,63,25,27,98,94,31,7,32,95,96,121,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":8152,"slug":8153,"title":8154,"dynasty":246,"author":8155,"museum":60,"description":8156,"tags":8157,"thumbUrl":8159,"material":8160,"size":8161,"collection":223,"collections":8162,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},233955,"jiang-shen-cao-ge-tu-zhou-fu-shan-233955","江深草阁图轴","傅山","此幅写杜甫《严公仲夏枉驾草堂，兼携酒馔，得寒字》“百年地辟柴门迥，五月江深草阁寒”诗意，绘隐于山坳茂树之间的临江草阁，幽深旷远，空无一人。江水深澈，危崖峭立，板桥蜿蜒，构图疏中有密，平中寓奇，深得阴寒之意。\n傅山以书法闻名，绘画作品不多，此幅笔墨纵而能敛，率意而不失厚重，疏散中独蕴朴拙，正是其“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁真率毋安排”艺术主张的代表作品。",[24,135,93,94,98,31,7,32,33,97,8158,2296],"草阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a54259cde5bc9861d2994f888586a6.jpg","绫本墨笔","纵176.7厘米，横49.5厘米",[],{"id":8164,"slug":8165,"title":8166,"dynasty":18,"author":2606,"museum":360,"description":8167,"tags":8168,"thumbUrl":8169,"material":223,"size":223,"collection":223,"collections":8170,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,63,135,94,27,98,578,293,31,7,32,492,30,65,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":8172,"slug":8173,"title":8174,"dynasty":277,"author":8175,"museum":132,"description":8176,"tags":8177,"thumbUrl":8178,"material":308,"size":8179,"collection":223,"collections":8180,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},228160,"song-ting-hui-you-tu-zhou-wang-yuan-228160","松亭会友图轴","王渊","图绘松峙岸边，亭安水上，其中一主一客，另五舟泛于江面。用笔老辣而含蓄，笔笔札实，无一犹豫之处，似可直接宋人。在画面主要位置上画有两棵松树，作者表现了它们间紧密相倚之形姿，并拉长了它们的比例，显得挺拔高巍，苍劲古雅，可看出这是作者借松而喻画中双友之意图。背景以江水相衬，近处轻舟荡桨，远方风帆数起，江水不尽，空旷无边。既成功地衬托了双松，亦为画面上文人之心境作了渲染。画面不直接表现文友交杯等场面，而是刻画了宴请文友前的忙碌情景，这是作者取意之高妙处。",[23,116,24,63,135,93,98,206,96,30,7,32,95,94,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1fc5cbb064b917c31407c47375fc3a.jpg","纵86.9厘米，横49.3厘米",[],{"id":8182,"slug":8183,"title":8184,"dynasty":246,"author":1786,"museum":132,"description":8185,"tags":8186,"thumbUrl":8187,"material":47,"size":8188,"collection":223,"collections":8189,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},224494,"mei-hua-shan-guan-zhou-wu-li-224494","梅花山馆轴","青绿山峦雄踞左幅，古松虬曲苍劲，枝桠舒展撑出一片清寂天地。山涧春水初涨，暖雾轻笼远峰，将黛色晕作朦胧烟影，柔化了山棱的冷硬。\n右侧水榭山馆凌波而起，几株梅树临水横斜，素花缀枝，暗香仿佛随春水悠悠漫开。白衣策杖的隐者驻足松下，凝睇烟景，将尘俗心绪尽皆抛却。\n整作设色古雅沉静，构图疏密相济，把早春山乡的清润生机，和幽居雅逸的林下襟怀相融，笔底漫溢着悠然淡远的隐逸诗意，藏着文人寄情林泉的悠悠雅兴。",[24,63,135,27,98,94,1606,31,7,136,97,96,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b205a90514253e5b2536e69943f40e.jpg","104.3x52.1",[],{"id":8191,"slug":8192,"title":8193,"dynasty":246,"author":1309,"museum":360,"description":8194,"tags":8195,"thumbUrl":8196,"material":223,"size":223,"collection":223,"collections":8197,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,63,135,27,94,191,33,75,7,32,155,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":8199,"slug":8200,"title":8201,"dynasty":58,"author":1553,"museum":60,"description":8202,"tags":8203,"thumbUrl":8204,"material":237,"size":8205,"collection":104,"collections":8206,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,63,25,29,93,98,94,439,152,176,96,32,30,336,7,414,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[104,82],{"id":8208,"slug":8209,"title":8210,"dynasty":18,"author":89,"museum":450,"description":8211,"tags":8212,"thumbUrl":8214,"material":678,"size":8215,"collection":223,"collections":8216,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,116,24,63,25,93,27,100,99,118,98,1054,96,439,7,32,30,8213,97,121],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":8218,"slug":8219,"title":8220,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":8221,"thumbUrl":8222,"material":237,"size":6940,"collection":223,"collections":8223,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},220318,"huang-shan-tu-ce-11-hong-ren-220318","黄山图册-11",[23,24,63,234,93,98,94,529,7,32,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8da9dac501fd5659eee07e6c4e5d31.jpg",[],{"id":8225,"slug":8226,"title":8227,"dynasty":18,"author":1246,"museum":2810,"description":8228,"tags":8229,"thumbUrl":8230,"material":237,"size":223,"collection":104,"collections":8231,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,24,93,135,94,97,33,293,7,96,98,1956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[104],{"id":8233,"slug":8234,"title":8235,"dynasty":277,"author":1360,"museum":328,"description":8236,"tags":8237,"thumbUrl":8238,"material":308,"size":223,"collection":104,"collections":8239,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,116,24,63,25,28,27,30,31,7,32,922,6043,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[104],{"id":8241,"slug":8242,"title":8243,"dynasty":58,"author":1553,"museum":1277,"description":8244,"tags":8245,"thumbUrl":8246,"material":47,"size":223,"collection":104,"collections":8247,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":54},219919,"xue-yuan-tu-yi-ming-219919","雪园图","以俯瞰视角铺展冬园景致，枯木寒竹环伺素瓦厅堂，朱红廊桥蜿蜒于池畔，暖艳色调破开绢底沉郁的萧寒。远山以淡墨晕染，空濛悠远，不着一笔画雪，却借萧索枝桠、冷寂苔阶衬出隆冬清寒。\n\n屋宇勾勒工整流丽，与山水的写意晕染相融，将园林的规整雅致与冬景的荒淡清寂揉合一处，藏着宋人冬日静居园中的闲淡心境，把隆冬里的幽居意趣晕染在方寸纨扇之上。",[23,24,63,1829,28,27,31,7,414,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa442b5ebc3c18eafd18163b69ed18bd3.jpg",[104],{"id":8249,"slug":8250,"title":8251,"dynasty":246,"author":1441,"museum":217,"description":8252,"tags":8253,"thumbUrl":8254,"material":102,"size":8255,"collection":223,"collections":8256,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":108},217210,"fang-gu-shan-shui-shi-er-kai-ba-wang-hui-217210","仿古山水十二开(八)","此册王翚仿古十二开",[24,27,234,98,94,7,32,75,33,97,250,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399ceb4a1b0e5b5fd39e5b685e40b3e9.jpg","25x35.4cm",[],{"id":8258,"slug":8259,"title":2772,"dynasty":246,"author":8260,"museum":90,"description":8261,"tags":8262,"thumbUrl":8263,"material":223,"size":223,"collection":104,"collections":8264,"showCount":8092,"zanCount":11,"manualWeight":11,"mainColor":8265},201863,"shan-shui-tu-zhou-qian-shu-201863","钱恕","画面层峦叠嶂，山石皴染结合，纹理细腻尽显雄浑质感；枯树虬枝苍劲，与葱郁林木相映，生机与古意交织。山间村落隐于云雾间，若隐若现，静谧中含烟火气。云雾缭绕峰谷，虚实相生，拓展深远意境。笔墨雅致，意境清幽，融自然之美与文人淡泊襟怀于尺幅，尽显山水之韵。",[24,135,94,98,93,33,366,155,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F257d2cf2d9c40dd7451a3851643ec048.jpg",[104],"a38f76",{"id":8267,"slug":8268,"title":3341,"dynasty":246,"author":8269,"museum":90,"description":8270,"tags":8271,"thumbUrl":8272,"material":223,"size":223,"collection":104,"collections":8273,"showCount":8092,"zanCount":536,"manualWeight":11,"mainColor":8274},201789,"xie-qin-fang-you-tu-zhou-zhou-hao-201789","周颢","这幅画作以细腻皴笔勾勒山峦肌理，石纹苍劲分明，云雾轻笼间瀑布飞泻，添得几分空濛灵动。山麓处林木葱郁，小径蜿蜒过石桥，几处屋舍隐于绿荫，似有雅士携琴来访，清幽氛围中蕴藉文人雅兴。笔墨苍润，构图疏密有致，山水之秀与人文之趣相映，尽显传统山水画的意境悠远。",[94,98,7,32,31,1202,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799b088374a09b1f5621d68a71992870.jpg",[104],"ae9d88",{"id":8276,"slug":8277,"title":653,"dynasty":18,"author":5670,"museum":360,"description":8278,"tags":8279,"thumbUrl":8280,"material":494,"size":495,"collection":223,"collections":8281,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},290551,"shan-shui-zhou-xu-ben-290551","徐贲（1335-1380年），字幼文，南直隶毗陵（今江苏常州市）人。后迁平江（今江苏苏州）城北，自号北郭生，元末明初画家、诗人。吴中四杰之一，明初十才子之一。\n张士诚抗元，招为僚属。张士诚死后，俆贲与张羽避居吴兴（今浙江省湖州市）。洪武七年（1374），被荐入朝，洪武九年（1376）春，奉使晋、冀，授给事中。历任御史、刑部主事、广西参议，官至河南左布政使。洪武十一年（1378），大军征讨洮岷，以军队过境，犒劳失时，下狱。洪武十三年（1380），以“犒师不周”处死。",[24,93,94,135,118,98,31,7,32,95,33,97,96,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc1786958bb41a964d7d69070c1211b.jpg",[],22,{"id":8284,"slug":8285,"title":8286,"dynasty":58,"author":8287,"museum":360,"description":8288,"tags":8289,"thumbUrl":8290,"material":494,"size":495,"collection":223,"collections":8291,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":54},290089,"yan-lan-shan-shui-tu-yu-jian-290089","烟岚山水图","玉涧","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[116,24,94,93,135,98,31,7,32,30,1861,5633],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf0cb6b2383adbc9e1c230ee15078a6.jpg",[],{"id":8293,"slug":8294,"title":8295,"dynasty":246,"author":1115,"museum":360,"description":8296,"tags":8297,"thumbUrl":8298,"material":494,"size":495,"collection":223,"collections":8299,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},289968,"fang-ni-shan-shui-wang-shi-min-289968","仿倪山水","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[116,24,63,135,93,94,29,136,121,7,32,336,118,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf804a5c772a5924000eff3f02dc044c.jpg",[],{"id":8301,"slug":8302,"title":3951,"dynasty":18,"author":3952,"museum":360,"description":8303,"tags":8304,"thumbUrl":8306,"material":494,"size":495,"collection":223,"collections":8307,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":54},288827,"shan-zhuang-gao-yi-tu-li-zai-288827","此画曾传为郭熙作，实为李在手笔。这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。",[23,24,135,93,98,94,31,7,32,95,318,136,152,235,1211,30,8305],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7de78491754e0443afe228850bafd56.jpg",[],{"id":8309,"slug":8310,"title":6690,"dynasty":58,"author":588,"museum":132,"description":2228,"tags":8311,"thumbUrl":8312,"material":494,"size":495,"collection":223,"collections":8313,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":498},288271,"feng-nian-rui-xue-tu-guo-xi-288271",[24,135,94,93,98,1721,97,33,96,7,95,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed85e399afa0ec95a0db923ec9ae547.jpg",[],{"id":8315,"slug":8316,"title":8317,"dynasty":18,"author":4432,"museum":360,"description":8318,"tags":8319,"thumbUrl":8320,"material":494,"size":495,"collection":82,"collections":8321,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","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。",[23,24,25,331,27,98,97,71,95,137,31,7,1202,2609,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[82],{"id":8323,"slug":8324,"title":8325,"dynasty":58,"author":6011,"museum":360,"description":8326,"tags":8327,"thumbUrl":8328,"material":494,"size":495,"collection":223,"collections":8329,"showCount":8282,"zanCount":536,"manualWeight":11,"mainColor":498},287738,"hong-shu-qiu-shan-tu-xiao-zhao-287738","红树秋山图","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,116,24,94,135,27,98,7,32,31,97,33,152,579,1956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],{"id":8331,"slug":8332,"title":8333,"dynasty":18,"author":525,"museum":360,"description":8334,"tags":8335,"thumbUrl":8336,"material":494,"size":495,"collection":223,"collections":8337,"showCount":8282,"zanCount":536,"manualWeight":11,"mainColor":108},283774,"lin-he-jing-shi-yi-tu-zhou-dong-qi-chang-283774","林和靖诗意图轴","此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。",[24,116,135,93,94,7,32,136,97,96,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde5cabc181c1cbd8bf88ecac7a2e3fe.jpg",[],{"id":8339,"slug":8340,"title":8341,"dynasty":18,"author":525,"museum":360,"description":6965,"tags":8342,"thumbUrl":8343,"material":494,"size":495,"collection":223,"collections":8344,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},283739,"bao-hua-shan-zhuang-tu-ce-ba-kai-dong-qi-chang-283739","宝华山庄图册（八开）",[24,234,93,98,94,1956,96,7,32,33,31,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751091c3049470a475a93a684e5e6fa8.jpg",[],{"id":8346,"slug":8347,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":8349,"tags":8350,"thumbUrl":8351,"material":223,"size":223,"collection":49,"collections":8352,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},238736,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238736","画弘历拟古诗意图册","此作用淡墨绘就平远行旅之景，构图舒展清和。近岸浅渚错落，林木萧疏有致，行旅车马徐行于道，人物、车驾细节写实生动，带着悠然松弛的赶路意态。远景林峦澹澹，以简淡笔墨晕染出清寂开阔的郊野氛围。右侧题诗与画面呼应，将羁旅闲思融于山水间。\n\n全作笔墨秀润温婉，以极简皴染勾勒山水意态，无浓墨重彩，却将郊野清旷的氛围感烘托尽致，将日常行旅的寻常景致，化为充满文人雅韵的诗意图景，尽显平和萧散的文人意趣。",[24,63,234,93,27,98,94,30,65,33,7,71,3916,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9d62aa6c6de0d85df8a51bd8f7313e.jpg",[49,82],{"id":8354,"slug":8355,"title":2158,"dynasty":246,"author":2159,"museum":60,"description":2160,"tags":8356,"thumbUrl":8358,"material":678,"size":223,"collection":223,"collections":8359,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},237196,"shan-shui-ce-sun-yi-237196",[24,27,117,94,234,98,7,32,33,97,75,191,7355,8357,1202],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c563356a453abf55ae34af8444b9d61.jpg",[],{"id":8361,"slug":8362,"title":8363,"dynasty":18,"author":6330,"museum":360,"description":8364,"tags":8365,"thumbUrl":8366,"material":494,"size":495,"collection":223,"collections":8367,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},236802,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-236802","雪景山水扇面","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,63,1829,93,1721,94,414,65,66,7,30,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f75ef4b3c71050ae92fa9a1cfdaad8.jpg",[],{"id":8369,"slug":8370,"title":2158,"dynasty":18,"author":3004,"museum":60,"description":3005,"tags":8371,"thumbUrl":8372,"material":3008,"size":3009,"collection":223,"collections":8373,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":54},236326,"shan-shui-ce-song-xu-236326",[24,116,93,98,234,94,97,32,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5568e8162b6b1452a973fb60a41c812.jpg",[],{"id":8375,"slug":8376,"title":663,"dynasty":246,"author":4581,"museum":360,"description":8377,"tags":8378,"thumbUrl":8379,"material":223,"size":223,"collection":223,"collections":8380,"showCount":8282,"zanCount":536,"manualWeight":11,"mainColor":54},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,63,135,93,27,98,94,33,414,293,7,32,97,38,333,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],{"id":8382,"slug":8383,"title":2158,"dynasty":246,"author":8384,"museum":360,"description":8385,"tags":8386,"thumbUrl":8387,"material":494,"size":495,"collection":104,"collections":8388,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},235546,"shan-shui-ce-zhu-chang-235546","祝昌","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,63,234,93,98,94,7,32,95,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ad5b2fa16ff516a5cdea7f7f52a564.jpg",[104],{"id":8390,"slug":8391,"title":8392,"dynasty":246,"author":8393,"museum":360,"description":8394,"tags":8395,"thumbUrl":8396,"material":494,"size":495,"collection":223,"collections":8397,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},235281,"ren-wu-gu-shi-ce-fan-xue-yi-235281","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,27,26,234,30,7,32,65,439,75,97,3366,643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f7d600f871e885662e72ac3a248c81.jpg",[],{"id":8399,"slug":8400,"title":8401,"dynasty":246,"author":2037,"museum":360,"description":8402,"tags":8403,"thumbUrl":8404,"material":223,"size":223,"collection":223,"collections":8405,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[24,63,135,93,94,98,97,33,293,30,7,32,251,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],{"id":8407,"slug":8408,"title":8409,"dynasty":246,"author":1441,"museum":20,"description":5770,"tags":8410,"thumbUrl":8411,"material":378,"size":8412,"collection":223,"collections":8413,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","溪山雪意图卷",[23,24,25,94,93,98,27,1721,191,71,33,414,293,75,7,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":8415,"slug":8416,"title":8417,"dynasty":18,"author":2122,"museum":60,"description":7157,"tags":8418,"thumbUrl":8419,"material":257,"size":223,"collection":223,"collections":8420,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷",[23,24,63,25,93,100,118,99,564,94,336,33,30,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":8422,"slug":8423,"title":2158,"dynasty":18,"author":525,"museum":60,"description":8424,"tags":8425,"thumbUrl":8426,"material":7307,"size":7308,"collection":223,"collections":8427,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},234059,"shan-shui-ce-dong-qi-chang-234059","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。",[116,24,63,234,27,93,98,94,7,32,96,136,318,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":8429,"slug":8430,"title":8431,"dynasty":246,"author":1309,"museum":360,"description":6556,"tags":8432,"thumbUrl":8434,"material":223,"size":8435,"collection":223,"collections":8436,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图",[23,24,27,94,29,98,118,3823,33,97,7,38,8433,5348,336],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg","95.9×50.6 厘米",[],{"id":8438,"slug":8439,"title":8440,"dynasty":246,"author":1115,"museum":360,"description":8441,"tags":8442,"thumbUrl":8443,"material":223,"size":223,"collection":223,"collections":8444,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,63,116,135,93,98,94,529,530,439,31,7,252,97,155,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":8446,"slug":8447,"title":8448,"dynasty":18,"author":202,"museum":360,"description":8449,"tags":8450,"thumbUrl":8452,"material":223,"size":223,"collection":223,"collections":8453,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":54},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,63,116,93,94,98,529,293,31,7,65,75,1721,32,8451,156,1862],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":8455,"slug":8456,"title":2158,"dynasty":18,"author":8457,"museum":360,"description":8458,"tags":8459,"thumbUrl":8460,"material":223,"size":223,"collection":223,"collections":8461,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},228490,"shan-shui-ce-yun-xiang-228490","恽向","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[116,24,63,234,93,94,96,7,32,100,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":8463,"slug":8464,"title":8465,"dynasty":277,"author":2731,"museum":360,"description":8466,"tags":8467,"thumbUrl":8468,"material":223,"size":223,"collection":223,"collections":8469,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},228039,"shan-shui-tu-ye-sheng-mao-228039","山水图页","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,63,234,93,98,27,94,33,95,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":8471,"slug":8472,"title":8473,"dynasty":277,"author":8474,"museum":360,"description":8475,"tags":8476,"thumbUrl":8477,"material":223,"size":223,"collection":223,"collections":8478,"showCount":8282,"zanCount":536,"manualWeight":11,"mainColor":54},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,63,116,25,93,98,94,293,97,32,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":8480,"slug":8481,"title":8482,"dynasty":58,"author":513,"museum":360,"description":8483,"tags":8484,"thumbUrl":8485,"material":223,"size":223,"collection":223,"collections":8486,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":54},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明隐归图全卷","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,63,25,516,27,30,94,96,7,32,95,33,31,99,118,39,42,1235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":8488,"slug":8489,"title":8490,"dynasty":18,"author":1553,"museum":4489,"description":8491,"tags":8492,"thumbUrl":8493,"material":8494,"size":8495,"collection":104,"collections":8496,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":54},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,25,24,116,63,94,4122,98,27,31,7,32,96,137,400,191,33,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","绢本墨笔","35.1X661.9",[104,82],{"id":8498,"slug":8499,"title":8500,"dynasty":246,"author":4064,"museum":132,"description":4885,"tags":8501,"thumbUrl":8503,"material":237,"size":8504,"collection":104,"collections":8505,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[23,24,63,135,93,98,118,94,254,8502,7,32,95,96,30,97,33],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[104,82],{"id":8507,"slug":8508,"title":8509,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":8510,"thumbUrl":8511,"material":164,"size":1461,"collection":223,"collections":8512,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},222996,"hong-lou-meng-121-sun-wen-222996","红楼梦121",[23,24,63,25,26,27,117,30,94,33,97,7,32,962,1190,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97caa72c6480983bdaf4d7d5fa77643a.jpg",[],{"id":8514,"slug":8515,"title":8516,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":8517,"thumbUrl":8518,"material":164,"size":1461,"collection":223,"collections":8519,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[23,24,26,27,117,94,31,7,32,30,96,33,97,39,440,643,2888,250,1799,190,1936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg",[],{"id":8521,"slug":8522,"title":8523,"dynasty":18,"author":1534,"museum":8524,"description":7403,"tags":8525,"thumbUrl":8526,"material":1055,"size":8527,"collection":104,"collections":8528,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":1224},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院",[23,24,63,25,29,98,27,99,100,118,94,33,97,7,32,96,121,318,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[104,51],{"id":8530,"slug":8531,"title":8532,"dynasty":277,"author":1553,"museum":90,"description":8533,"tags":8534,"thumbUrl":8535,"material":47,"size":8536,"collection":104,"collections":8537,"showCount":8282,"zanCount":536,"manualWeight":11,"mainColor":54},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[24,1829,27,28,94,31,7,30,33,39,440,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[104],{"id":8539,"slug":8540,"title":8541,"dynasty":58,"author":8542,"museum":864,"description":8543,"tags":8544,"thumbUrl":8546,"material":47,"size":8547,"collection":223,"collections":8548,"showCount":8282,"zanCount":536,"manualWeight":11,"mainColor":108},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,116,25,27,30,7,97,33,564,8545,29,63],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg","27.1x217.2",[],{"id":8550,"slug":8551,"title":8552,"dynasty":246,"author":613,"museum":328,"description":8553,"tags":8554,"thumbUrl":8555,"material":102,"size":8556,"collection":1006,"collections":8557,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},214562,"mo-zui-za-hua-tu-ce-5-shi-tao-214562","墨醉杂画图册-5","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,93,234,94,7,32,96,439,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03764d89703a85a5c1c4ed5cbf14bef2.jpg","纵51.4厘米，横35.4厘米",[1006],{"id":8559,"slug":8560,"title":8561,"dynasty":246,"author":8562,"museum":266,"description":8563,"tags":8564,"thumbUrl":8565,"material":102,"size":223,"collection":223,"collections":8566,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":108},214483,"he-yi-shan-shui-tu-ce-4-he-yi-214483","赫奕山水图册-4","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[23,24,63,234,27,93,98,94,7,32,95,33,97,75,5348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0ed1d6ade19cb4365110ecfc3dc38c.jpg",[],{"id":8568,"slug":8569,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":8570,"tags":8571,"thumbUrl":8572,"material":223,"size":223,"collection":104,"collections":8573,"showCount":8282,"zanCount":11,"manualWeight":11,"mainColor":5732},202798,"shan-shui-tu-zhou-huang-bin-hong-202798","画面层峦叠嶂，云雾氤氲其间，山石以苍劲皴法勾勒，墨色浓淡交错，尽显嶙峋肌理。崖畔青松虬劲，枯木疏朗，旁侧小屋隐于林麓，小桥横跨溪涧，流水潺潺似可闻。笔墨老辣浑厚，积墨破墨互用，于虚实间营造深远意境，尽显自然野逸之趣，藏着传统山水的深邃韵味与生机。",[24,94,93,98,206,97,7,155,135,6215,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70857e471c25b4c3def0032a35a4cfb.jpg",[104],{"id":8575,"slug":8576,"title":8577,"dynasty":58,"author":8578,"museum":360,"description":8579,"tags":8580,"thumbUrl":8581,"material":494,"size":495,"collection":223,"collections":8582,"showCount":8583,"zanCount":536,"manualWeight":11,"mainColor":108},291003,"tang-song-yuan-hua-ji-jin-ce-mai-chun-mei-yuan-lu-zong-gui-291003","唐宋元画集锦册 买春梅苑","鲁宗贵","鲁宗贵，钱塘（今浙江省杭州）人，南宋画家。工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙，尤长于写生，鸡雏乳鸭，颇有生意。传世作品有《春韵鸣喜图》。",[24,63,234,27,100,118,94,30,1606,96,7,32,7150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad15f308e18ebb9211341caaa5a1ba7.jpg",[],21,{"id":8585,"slug":8586,"title":8587,"dynasty":277,"author":4904,"museum":132,"description":8588,"tags":8589,"thumbUrl":8590,"material":208,"size":8591,"collection":104,"collections":8592,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},290342,"qiu-shan-xing-lv-zhou-ma-wan-290342","秋山行旅轴","崇山叠峦，行旅骑驴荷物而行。全图构景系密，用笔多属中锋，用墨简澹，设色淡雅。压顶一峰皴笔疏简，以平点层层作小树，特觉清逸秀出。该幅无作者款印，幅上有董其昌题，云：“马文璧秋山行旅图”。",[24,116,135,331,93,27,3823,153,7,32,97,33,31,492,1211,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9701795d9df53db4d67bf8d7090ab986.jpg","124.5x33.3",[104],{"id":8594,"slug":8595,"title":8596,"dynasty":18,"author":8597,"museum":132,"description":8598,"tags":8599,"thumbUrl":8601,"material":102,"size":8602,"collection":223,"collections":8603,"showCount":8583,"zanCount":536,"manualWeight":11,"mainColor":108},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","岁朝图轴","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[24,135,116,93,98,94,31,7,32,97,136,293,39,30,96,118,99,100,8600],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":8605,"slug":8606,"title":8607,"dynasty":277,"author":4904,"museum":360,"description":8608,"tags":8609,"thumbUrl":8611,"material":494,"size":495,"collection":223,"collections":8612,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":54},290084,"mu-yun-shi-yi-tu-ma-wan-290084","暮云诗意图","此图描写山岭深处日暮雨后之景。层峦逶迤，或隐或现，平岗陂陀上林木深秀，临水有亭，隔溪板桥相接。山嶂烟岚轻动，茅屋村舍掩映。巨岗坡石用凝重柔和的披麻皴层层勾皴，表现出浑厚伟峻的形势。全图的布局以高峻的峰岫和巨大的岗石作为主体，具有雄伟壮阔的气势。同时布置潺泼和跳跃的溪泉、茂盛的草木和板桥茅舍，并在群峰间烘染缭绕氤氲的云霭，使境界显得既苍莽又空灵。",[24,94,27,98,191,33,7,32,8610,118],"暮云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dc7479135a800eb91d0cb545ec8ca5.jpg",[],{"id":8614,"slug":8615,"title":8616,"dynasty":18,"author":5289,"museum":360,"description":5290,"tags":8617,"thumbUrl":8619,"material":494,"size":495,"collection":223,"collections":8620,"showCount":8583,"zanCount":536,"manualWeight":11,"mainColor":108},289920,"sui-chao-cun-qing-tu-li-shi-da-289920","岁朝村庆图",[23,24,135,27,30,31,7,32,136,366,8618,5856,118],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56d27c8d01085a12f2d89f30e70b61a8.jpg",[],{"id":8622,"slug":8623,"title":8624,"dynasty":58,"author":1553,"museum":360,"description":8625,"tags":8626,"thumbUrl":8628,"material":494,"size":495,"collection":223,"collections":8629,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":54},289123,"qiu-xi-dai-du-tu-yi-ming-289123","秋溪待渡图","此作用淡墨晕染出溪山空濛之境，秋意萧索尽显。坡岸怪石错落，寒林枯木笔法劲挺，苍松皴擦老辣，枝桠虬劲苍古。板桥之上行旅缓步，溪面孤舟横斜，渔人收缆待渡，山居隐于山坳雾色之间，寥寥数笔便将幽寂秋山的动静意趣铺陈开来。\n\n整幅画作以简驭繁，笔意清润秀雅，把秋日水滨的淡寂清远尽数勾勒，暗含寄情林泉的隐逸意趣，尽显山水小品的雅致格调。",[23,24,116,331,93,98,7,32,95,1096,136,97,8627,30,31],"秋溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b4f46cd6f4dab3412b29b0d5d7b246a.jpg",[],{"id":8631,"slug":8632,"title":315,"dynasty":58,"author":8633,"museum":132,"description":8634,"tags":8635,"thumbUrl":8636,"material":308,"size":8637,"collection":223,"collections":8638,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":54},289107,"shan-shui-tu-gou-long-shuang-289107","勾龙爽","勾龙爽，又名句龙爽，四川人，生卒年月不详。\n宋代宫廷画家，擅长人物画。神宗时官翰林待诏。时称他画的人物“其状质野，有返朴之意。” 作品有《西成民乐图卷》《岁丰图卷》等。",[24,116,331,93,98,95,96,7,191,8433,33,99,118,7150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":8640,"slug":8641,"title":8642,"dynasty":246,"author":1309,"museum":360,"description":8643,"tags":8644,"thumbUrl":8645,"material":494,"size":495,"collection":223,"collections":8646,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图","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」",[24,116,63,135,94,93,98,29,191,33,31,32,7,1211,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":8648,"slug":8649,"title":7910,"dynasty":58,"author":173,"museum":360,"description":8650,"tags":8651,"thumbUrl":8652,"material":494,"size":495,"collection":223,"collections":8653,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":54},287718,"xi-hu-liu-ting-tu-xia-gui-287718","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[116,24,331,93,27,98,281,7,32,95,96,31,454,840,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":8655,"slug":8656,"title":8657,"dynasty":246,"author":1686,"museum":360,"description":3118,"tags":8658,"thumbUrl":8659,"material":494,"size":495,"collection":223,"collections":8660,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},287690,"you-ju-tu-kun-can-287690","幽居图",[24,93,94,116,7,32,95,220,191,33,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75a6e8ddc61f4f930a7c121024ce85b.jpg",[],{"id":8662,"slug":8663,"title":8664,"dynasty":18,"author":1534,"museum":360,"description":8665,"tags":8666,"thumbUrl":8667,"material":494,"size":495,"collection":223,"collections":8668,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":498},287606,"yun-he-gao-yi-tu-li-zhou-yuan-tu-lan-ying-287606","云壑高逸图立轴(原图)","高山之麓，丘岗片片，山泉淙淙；溪流清鸣，绕贯其中；丛花簇草，竞相吐艳；桃李明艳，繁枝雍雍，像是在奏响的晚春妙曲。林深之处，溪水岸旁，一白衫红裤的老者，在茅亭内候客。亭外木桥上，有一红衣老者，向茅亭走来。",[23,116,24,135,93,331,96,7,32,3824,97,30,155,98,8305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cd84ca765b062920e0b7469166d281.jpg",[],{"id":8670,"slug":8671,"title":8672,"dynasty":246,"author":1553,"museum":360,"description":8673,"tags":8674,"thumbUrl":8677,"material":494,"size":495,"collection":223,"collections":8678,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},272895,"zi-tan-mu-bian-hua-bo-li-sui-chao-tu-gua-ping-yi-ming-272895","紫檀木边画玻璃岁朝图挂屏","这幅玻璃画以庭院岁朝为景，松奇石秀、亭台临池，花木缀点雅致清趣。数十孩童穿梭其间，或燃爆竹贺岁，或擎吉庆仪仗，或结伴嬉游，朱衣鲜亮憨态可掬，将新春的喧闹喜乐铺陈开来。\n\n它以玻璃为底施彩，笔触细腻柔润，设色明丽雅致，把传统岁朝图祈福纳祥的意涵融于童趣盎然的场景中，将清代年节阖家欢庆的融融暖意定格，尽显民俗意趣与工艺匠心，是极具生活温度的民俗画佳作。",[24,26,27,8675,30,642,31,7,32,293,97,645,39,8676,8600],"挂屏","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb445ec805358d1411b7730a9844048d0.jpg",[],{"id":8680,"slug":8681,"title":8682,"dynasty":246,"author":8683,"museum":360,"description":8684,"tags":8685,"thumbUrl":8686,"material":223,"size":223,"collection":104,"collections":8687,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},238980,"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[24,63,234,93,27,94,98,7,32,439,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[104,49,51],{"id":8689,"slug":8690,"title":2158,"dynasty":246,"author":8691,"museum":60,"description":8692,"tags":8693,"thumbUrl":8694,"material":223,"size":223,"collection":104,"collections":8695,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},237551,"shan-shui-ce-wen-dian-237551","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,63,234,93,98,94,293,97,7,30,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[104,82],{"id":8697,"slug":8698,"title":8699,"dynasty":246,"author":8700,"museum":360,"description":8701,"tags":8702,"thumbUrl":8703,"material":494,"size":495,"collection":104,"collections":8704,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},237479,"shan-shui-tu-ce-yao-song-237479","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,63,234,93,94,98,100,118,529,530,439,7,75,96,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[104],{"id":8706,"slug":8707,"title":8708,"dynasty":18,"author":8709,"museum":360,"description":8710,"tags":8711,"thumbUrl":8712,"material":494,"size":495,"collection":223,"collections":8713,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},237404,"shan-shui-shan-mian-xie-dao-ling-237404","山水扇面","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[1829,24,94,93,98,31,7,32,95,33,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b71c94b91201216e2e0f580b8bddcc.jpg",[],{"id":8715,"slug":8716,"title":8717,"dynasty":246,"author":1553,"museum":60,"description":8718,"tags":8719,"thumbUrl":8720,"material":402,"size":8721,"collection":223,"collections":8722,"showCount":8583,"zanCount":536,"manualWeight":11,"mainColor":108},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,63,25,27,26,28,30,31,7,32,96,65,33,426,427,852,35,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":8724,"slug":8725,"title":8726,"dynasty":18,"author":1392,"museum":60,"description":5526,"tags":8727,"thumbUrl":8728,"material":532,"size":5529,"collection":223,"collections":8729,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},233820,"wen-zheng-ming-xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-233820","文徵明溪桥策杖图轴",[24,63,135,93,94,98,30,7,32,136,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552fc7d9d84394f4ffb4d99f2e9e7dd7.jpg",[],{"id":8731,"slug":8732,"title":4694,"dynasty":246,"author":1105,"museum":328,"description":8733,"tags":8734,"thumbUrl":8735,"material":237,"size":8736,"collection":223,"collections":8737,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,24,63,135,27,98,94,7,32,136,31,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg","78×39cm",[],{"id":8739,"slug":8740,"title":8741,"dynasty":18,"author":8742,"museum":132,"description":8743,"tags":8744,"thumbUrl":8745,"material":237,"size":8746,"collection":223,"collections":8747,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,63,135,27,98,29,118,94,30,31,7,32,65,293,152,156,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":8749,"slug":8750,"title":5501,"dynasty":18,"author":1553,"museum":360,"description":8751,"tags":8752,"thumbUrl":8753,"material":223,"size":223,"collection":223,"collections":8754,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":54},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,116,24,63,25,27,117,26,98,118,99,94,31,7,32,96,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":8756,"slug":8757,"title":4947,"dynasty":58,"author":1553,"museum":360,"description":8758,"tags":8759,"thumbUrl":8760,"material":223,"size":223,"collection":223,"collections":8761,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,63,116,1829,27,94,31,33,97,7,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":8763,"slug":8764,"title":8765,"dynasty":246,"author":613,"museum":360,"description":8766,"tags":8767,"thumbUrl":8768,"material":223,"size":223,"collection":223,"collections":8769,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},224500,"shan-shui-ce-kai-jiu-shi-tao-224500","山水冊开(九)","近景虬松斜出，板桥横卧浅溪，野意悠然。中景崖边村居错落，山径蜿蜒隐入青山，远江烟棹朦胧，翠微含黛，浅绛设色晕染出温润清和的春日山乡。\n\n枯笔皴擦勾勒山石，朴拙苍劲间带着灵动生气，林木简笔点染，形神兼备。题画诗与山水相融，将伤春怀远的幽寂心绪藏在清寂丘壑里，以山川写尽文人缱绻情思，简淡天真中见纵逸灵秀，笔底既有林泉野趣，又含寄情山水的文人心魂，尽显平淡悠远的画中真意。",[23,116,24,93,27,98,234,94,7,32,75,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112ef3c7e0ff3fa7d53483405b5d3c67.jpg",[],{"id":8771,"slug":8772,"title":8773,"dynasty":246,"author":1441,"museum":360,"description":8774,"tags":8775,"thumbUrl":8776,"material":223,"size":223,"collection":223,"collections":8777,"showCount":8583,"zanCount":713,"manualWeight":11,"mainColor":108},224457,"shan-chuang-du-shu-tu-zhou-wang-hui-224457","山窗读书图轴","《山窗读书图》是清代画家 创作的一幅纸本淡设色画。\n全图以高远法构图，白云、瀑布、楼阁穿插于重峦叠嶂的林木间，一派气象万千的苍郁景致。\n画幅的右下方绘有一人于山坞草堂内临窗读书，此景虽然在画幅中所占比例极小，却点明了“山窗读书”的主题，为山林景色增添了书卷气息。\n从落款可知此图系为恭祝友人王掞（字藻儒）寒窗苦读、秋试中举而作，带有浓郁的情感色彩。\n款署：“山窗读书图。\n奉贺藻儒先生秋荐之喜，时丙午九月九日，虞山王翚。\n”钤“王翚之印”朱白文印。\n“丙午”为康熙五年（1666年），王翚时年5岁。\n全图以元人王蒙细密繁复的笔法刻画，线条活而不乱，理在其中，浓、淡墨色于交叠皴擦中层次井然。\n此幅不失为王翚早年学仿王蒙画风的精心之作。",[23,24,63,135,93,98,94,529,152,32,7,136,96,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1307676e05c8337ec6ba011a5e291deb.jpg",[],{"id":8779,"slug":8780,"title":8781,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":8782,"thumbUrl":8783,"material":164,"size":1461,"collection":223,"collections":8784,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},223018,"hong-lou-meng-143-sun-wen-223018","红楼梦143",[23,24,26,27,30,96,7,32,33,31,94,643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a19995a4847d6851179196e17d3fca.jpg",[],{"id":8786,"slug":8787,"title":8788,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":8789,"thumbUrl":8790,"material":164,"size":1461,"collection":223,"collections":8791,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},222974,"hong-lou-meng-99-sun-wen-222974","红楼梦99",[23,24,26,27,30,31,7,32,33,97,39,952,6894,643,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf526e511493738b4498b9b120f78b04.jpg",[],{"id":8793,"slug":8794,"title":8795,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":8796,"thumbUrl":8799,"material":164,"size":1461,"collection":223,"collections":8800,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":54},222882,"hong-lou-meng-7-sun-wen-222882","红楼梦7",[23,24,116,26,27,30,31,7,32,96,8797,33,643,94,8798],"对联","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c7e9c57c5191efaad6178b445f8396.jpg",[],{"id":8802,"slug":8803,"title":8804,"dynasty":277,"author":1553,"museum":304,"description":8805,"tags":8806,"thumbUrl":8807,"material":308,"size":223,"collection":223,"collections":8808,"showCount":8583,"zanCount":11,"manualWeight":11,"mainColor":108},214606,"shan-ge-liang-ting-tu-yi-ming-214606","山阁凉亭图","元代是中国历史上的一个时期，时间大约在公元1271年至公元1368年。\n\n佚名是一个术语，用于描述一些文献或艺术品的作者未知或不详的情况。因此，如果一幅画的作者是佚名，则我们并不知道创作这幅画的人是谁。\n\n山阁凉亭图是一幅中国画，其中展现了一个山阁凉亭的景色。凉亭是一种设计精美的户外建筑，通常设在花园、公园或池塘边，供人休息或观赏风景。山阁凉亭图可能描绘了一个美丽的山阁凉亭，周围环绕着美丽的山景。",[23,24,63,28,93,94,96,31,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe27321a916c6a22e06cd6aa95e65ac.jpg",[],{"id":8810,"slug":8811,"title":8812,"dynasty":18,"author":2122,"museum":360,"description":8813,"tags":8814,"thumbUrl":8815,"material":494,"size":495,"collection":223,"collections":8816,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},290890,"fang-lu-shan-shi-hua-zhou-wen-jia-290890","仿庐山诗画轴","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[116,24,135,93,27,94,30,7,32,96,97,152,293,162,99,118,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899bf88344a7d97e4c15d38f0af5a263.jpg",[],{"id":8818,"slug":8819,"title":8820,"dynasty":246,"author":8821,"museum":360,"description":8822,"tags":8823,"thumbUrl":8824,"material":494,"size":495,"collection":223,"collections":8825,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},290516,"zhou-dun-yi-ai-lian-tu-tuan-shan-shu-hao-290516","周敦颐爱莲图团扇","舒浩","舒浩［清］字萍桥，号平桥，又号则水道人。与沙馥、钱慧安等先后同时，名誉亦杨伯仲。工人物、山水、花鸟，工细缜密，雅秀天然。按近代六十名画家传载有舒豪字萍桥，",[23,24,1829,27,26,30,1191,7,118,99,7150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e06f70481735d4cbb314db4b28a48af.jpg",[],{"id":8827,"slug":8828,"title":8829,"dynasty":277,"author":4904,"museum":360,"description":8830,"tags":8831,"thumbUrl":8832,"material":494,"size":495,"collection":223,"collections":8833,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},290346,"hua-qiu-jiang-diao-ting-zhou-ma-wan-290346","画秋江钓艇轴","远山近树，溪流房舍，是典型文人画的构图与笔墨。山石皴法师承董源，笔墨灵动，韵味颇佳。左上方题款特以章草书体写之，乃当时之风气使然耳。",[116,24,135,93,94,95,32,7,137,1202,97,1956,840,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa007f3a85201b20695f499dd7330ac06.jpg",[],{"id":8835,"slug":8836,"title":8837,"dynasty":58,"author":8838,"museum":360,"description":8839,"tags":8840,"thumbUrl":8841,"material":494,"size":495,"collection":223,"collections":8842,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},289656,"jiang-ting-wan-tiao-tu-zhu-guang-pu-289656","江亭晚眺图","朱光普","[宋]字东美，汴（今河南开封）人。南渡（一一二七）补入画院。",[1829,24,331,96,95,33,255,1233,7,93,27,4538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bc08ea9cd11e3633b5ffd65194ddc0.jpg",[],{"id":8844,"slug":8845,"title":8846,"dynasty":246,"author":1553,"museum":360,"description":8847,"tags":8848,"thumbUrl":8849,"material":494,"size":495,"collection":223,"collections":8850,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},288296,"fang-xia-gui-jiang-shan-qing-yuan-tu-juan-yi-ming-288296","仿夏圭江山清远图卷","此作用夏圭一角半边取景意趣，长卷铺展江天胜景。崖岸之上虬松古拙苍劲，盘根错节间尽显老辣笔力，斧劈皴利落勾出山岩棱线，墨色干湿层叠，晕染出山石的厚重质感。江上古桥连亭，汀洲幽寂，远山澹濛隐现，天际江帆点点，将江南水岸的寥廓清寂徐徐铺陈。\n\n全画简淡空灵，复刻出南宋院体山水的清远意韵。卷后题跋笔墨苍秀，字画合璧，摹古之中自有沉静雅致，把江天浩渺、林泉幽寂的诗意缓缓晕开，尽显水墨山水的简远之美。",[23,24,25,93,331,98,293,97,7,96,95,250,32,99,100,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e74ac76f0fa05870332bd8feadb13.jpg",[],{"id":8852,"slug":8853,"title":8854,"dynasty":246,"author":8855,"museum":360,"description":8856,"tags":8857,"thumbUrl":8858,"material":223,"size":223,"collection":1006,"collections":8859,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},239076,"jie-bao-tu-zhou-yin-shi-239076","捷报图轴","殷湜","此作以工笔绘就春日山居佳音之景。青绿晕染山石，皴擦间见苍润厚重，古木虬枝缀满白花，融融春意浸透林泉。宅邸回廊婉转延伸，窗内雅士围坐展卷，似正传阅捷报，庭中仆役步履轻捷，将得喜的雀跃藏于悠然日常。左下角策蹇缓行的旅人，让幽邃园林添了几分灵动生趣。全景构图将世俗喜事融入文人山居的清雅意趣，无张扬喜色，只在松弛闲雅的氛围里暗传佳音带来的慰藉与欣喜，细腻写实中尽显古典楼阁山水的清远意境，把日常雅事与俗世快意相融，晕染出平和又暗含暖意的春日图景。",[24,63,135,27,26,98,28,94,31,7,32,33,30,97,38,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ce2d50abd7cdef7a350dd0aac9c8e0.jpg",[1006,51],{"id":8861,"slug":8862,"title":8863,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":8864,"thumbUrl":8865,"material":223,"size":223,"collection":104,"collections":8866,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},238783,"hua-shan-shui-bing-shu-shi-xiao-ce-dong-gao-238783","画山水并书诗小册",[24,63,234,27,28,94,31,7,32,922,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd94eaa83bc9e80ed77f6908fc42b916.jpg",[104,51],{"id":8868,"slug":8869,"title":8708,"dynasty":18,"author":1749,"museum":360,"description":1750,"tags":8870,"thumbUrl":8871,"material":494,"size":495,"collection":223,"collections":8872,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},237869,"shan-shui-shan-mian-wu-bin-237869",[24,1829,93,98,94,33,97,95,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c22e0115a9fdf45ed559e83e83397d8.jpg",[],{"id":8874,"slug":8875,"title":653,"dynasty":18,"author":4657,"museum":360,"description":8876,"tags":8877,"thumbUrl":8878,"material":237,"size":223,"collection":104,"collections":8879,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},237576,"shan-shui-zhou-wang-wen-237576","王问（1497～1576）明代官员。字子裕，号仲山，江苏无锡人。嘉靖十一年进士，历官车驾郎中，擢广东按察佥事，因思念老父，未赴任，即弃官归家。书法类米芾，又似黄庭坚，点染山水、花鸟皆精。诗作萧闲疏放，冲然自得，有《仲山诗选》、《崇文馆稿》等。",[24,63,135,93,98,94,7,32,33,97,152,2910,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[104,82],{"id":8881,"slug":8882,"title":8883,"dynasty":246,"author":8884,"museum":753,"description":8885,"tags":8886,"thumbUrl":8890,"material":257,"size":8891,"collection":104,"collections":8892,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,94,93,98,135,7,97,136,33,8887,155,154,3059,8888,118,8889,332],"山崖","书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[104,82],{"id":8894,"slug":8895,"title":8896,"dynasty":246,"author":2037,"museum":360,"description":8897,"tags":8898,"thumbUrl":8899,"material":223,"size":223,"collection":223,"collections":8900,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},235136,"shuang-feng-lan-re-tu-zhou-cha-shi-biao-235136","双峰兰若图轴","此作用笔简率松秀，以干笔淡墨绘就林泉丘壑。构图兼具高远、深远之致，上部平湖远山，轻舟泛波，空寂悠然；中部危崖矗立，山居隐于幽谷林麓；下部溪桥蜿蜒，长松杂木苍润清隽。\n画风承袭倪瓒遗意，意境荒寒清旷，题诗与山水交融，将暮色归舟、倦鸟投林的幽寂禅意晕开，尽显江南山水的雅逸空灵，把遗民文人孤寂淡远的心境，寄寓于萧散淡远的林泉之间，是逸笔山水的上乘之作。",[24,63,135,93,98,94,2296,336,7,136,32,95,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9077b316f660c1c5318a901885a06687.jpg",[],{"id":8902,"slug":8903,"title":8904,"dynasty":18,"author":525,"museum":360,"description":8905,"tags":8906,"thumbUrl":8907,"material":223,"size":223,"collection":223,"collections":8908,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},234977,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234977","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[24,93,98,234,94,439,7,32,97,250,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eaf428da4b947634930dd08ae3803a.jpg",[],{"id":8910,"slug":8911,"title":8912,"dynasty":18,"author":4666,"museum":60,"description":8913,"tags":8914,"thumbUrl":8915,"material":678,"size":8916,"collection":223,"collections":8917,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":1224},234228,"xi-shan-shen-xiu-juan-hou-mao-gong-234228","溪山深秀卷","北京故宫博物院藏晚明侯懋功名下的两件山水长卷内容与设色方式近乎一致，基本可判定二者出于同一稿本，属于书画鉴定中俗称的“双胞胎”，这两件作品分别现名为《邛崃图》和《溪山深秀图》。通过对两件作品现状及笔墨细节比较，笔者认为前者为真，且所绘与“邛崃”无关，应以《溪山深秀图》为是。从更广泛的艺术史角度看，侯氏《溪山深秀图》属于宋代以来流行的长卷“溪山图”画意范畴，并体现了明中后期吴门画派隐(避)居山水所发生的新变化。",[23,24,25,93,94,33,97,71,75,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5d1e0ed58bff06f6bd49f006660055.jpg","34 * 258cm",[],{"id":8919,"slug":8920,"title":8921,"dynasty":246,"author":2037,"museum":360,"description":8922,"tags":8923,"thumbUrl":8924,"material":223,"size":223,"collection":223,"collections":8925,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","仿米友仁云山图卷","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[23,24,93,25,29,94,529,2468,439,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":8927,"slug":8928,"title":8929,"dynasty":58,"author":173,"museum":60,"description":8930,"tags":8931,"thumbUrl":8934,"material":164,"size":8935,"collection":223,"collections":8936,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","梧竹溪堂图页","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[24,116,234,100,93,27,98,94,564,8932,8933,7,32,439,616,643,38,99],"梧","堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg","纵23厘米，横26厘米",[],{"id":8938,"slug":8939,"title":8940,"dynasty":246,"author":613,"museum":60,"description":8941,"tags":8942,"thumbUrl":8943,"material":237,"size":8944,"collection":223,"collections":8945,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},233124,"yuan-ji-shan-shui-ce-shi-tao-233124","原济山水册","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。",[24,93,27,98,234,94,31,7,32,95,96,33,75,250,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg","纵33.2cm，横22.8cm",[],{"id":8947,"slug":8948,"title":8949,"dynasty":18,"author":8950,"museum":60,"description":8951,"tags":8952,"thumbUrl":8953,"material":532,"size":8954,"collection":223,"collections":8955,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},233121,"zhao-xian-juan-zhang-ling-233121","招仙卷","张灵","此图又名《朝仙图》，是幅以景寓情的杰作。皓月当空的桥头处，一清丽女子低眉笼袖悄然伫立。作者通过绘女子的饰带微微上扬，岸边的芦荻摇摆不定，巧妙地暗示出晚风席地而起的寒意。通过构图上大面积留白的处理烘托出画面寂寞凄凉的氛围。女子在此萧索的情景中不禁惆怅慨叹之情陡起，而这种凄婉的心境亦是作者自身不得志的写照。 图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 明代张丑《清河书画舫》在著录此图时言：“张梦晋《朝仙图》卷后有唐子畏题咏。”但目前此图并无唐寅的咏题，显然后世好事者在张丑目睹之后将唐寅的题咏割去而移作它用了，从而令原是书画合璧之作减色，使张灵与唐寅间的笔墨交往失去了重要的佐证。在唐寅的《六如居士补遗》中查到他为此图所作的题咏，名为《招仙曲》：“郁金步摇银约指，明月垂珰交龙绮。秋河拂树蒹葭霜，哪能夜夜掩空床。烟中滉滉暮江摇，月底纤纤露水飘。今夕何夕良宴会，此地何地承芳佩。”显然，唐寅的诗情与张灵的画意是完全吻合的。",[24,63,25,93,516,744,743,3849,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed1d30780fb498a81dae48abdae7351.jpg","纵29.8厘米，横111.5厘米",[],{"id":8957,"slug":8958,"title":8959,"dynasty":1933,"author":423,"museum":360,"description":8960,"tags":8961,"thumbUrl":8962,"material":223,"size":223,"collection":223,"collections":8963,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,25,27,26,28,30,31,94,33,2885,7,365,426,2887,400,1667,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":8965,"slug":8966,"title":8967,"dynasty":246,"author":1553,"museum":360,"description":8968,"tags":8969,"thumbUrl":8970,"material":494,"size":495,"collection":223,"collections":8971,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,27,26,98,25,94,31,7,32,492,96,33,75,43,4968,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":8973,"slug":8974,"title":8975,"dynasty":246,"author":2578,"museum":360,"description":8976,"tags":8977,"thumbUrl":8978,"material":223,"size":223,"collection":223,"collections":8979,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[116,24,63,234,93,117,27,94,293,97,33,32,7,95,1667,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":8981,"slug":8982,"title":7973,"dynasty":18,"author":1534,"museum":360,"description":8983,"tags":8984,"thumbUrl":8989,"material":223,"size":223,"collection":223,"collections":8990,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},228425,"shan-shui-shi-kai-lan-ying-228425","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[24,116,63,94,93,98,234,8985,235,8986,7,32,293,8987,7450,6968,8988],"山寺","茅庐","洲渚","小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":8992,"slug":8993,"title":8994,"dynasty":58,"author":1553,"museum":360,"description":8995,"tags":8996,"thumbUrl":8997,"material":223,"size":223,"collection":223,"collections":8998,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[23,24,63,25,93,98,94,30,31,7,32,95,96,121,318,136,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":9000,"slug":9001,"title":9002,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9003,"thumbUrl":9004,"material":164,"size":1461,"collection":223,"collections":9005,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},223042,"hong-lou-meng-167-sun-wen-223042","红楼梦167",[23,24,26,27,30,31,7,96,94,33,39,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3aabc155038cf6916dca7447d819276.jpg",[],{"id":9007,"slug":9008,"title":9009,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9010,"thumbUrl":9011,"material":164,"size":1461,"collection":223,"collections":9012,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},223000,"hong-lou-meng-125-sun-wen-223000","红楼梦125",[23,24,26,27,25,30,5787,31,7,32,96,119,1936,94,645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac58242e2054c8fba0b1a1f2c176f5e.jpg",[],{"id":9014,"slug":9015,"title":9016,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9017,"thumbUrl":9018,"material":164,"size":1461,"collection":223,"collections":9019,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},222975,"hong-lou-meng-100-sun-wen-222975","红楼梦100",[23,24,26,27,30,7,32,31,33,97,744,94,643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc02cea595cc9e460aa38cbb1a814dd9e.jpg",[],{"id":9021,"slug":9022,"title":9023,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9024,"thumbUrl":9027,"material":164,"size":1461,"collection":223,"collections":9028,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},222961,"hong-lou-meng-86-sun-wen-222961","红楼梦86",[23,26,27,28,94,31,7,30,744,1721,643,3738,6773,33,119,38,414,1458,97,39,9025,9026],"雪地","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face67c130a7ac403f4b975c7af2da2cf.jpg",[],{"id":9030,"slug":9031,"title":9032,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9033,"thumbUrl":9034,"material":164,"size":1461,"collection":223,"collections":9035,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},222958,"hong-lou-meng-83-sun-wen-222958","红楼梦83",[23,24,63,26,27,30,31,7,32,96,94,281,643,39,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7403ace2ce41dd5ba217ead338cf78bf.jpg",[],{"id":9037,"slug":9038,"title":6173,"dynasty":246,"author":1349,"museum":360,"description":6174,"tags":9039,"thumbUrl":9040,"material":532,"size":6177,"collection":223,"collections":9041,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},222624,"shan-shui-shan-mian-4-gong-xian-222624",[23,24,93,94,1829,98,33,97,7,1903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a851eec450e8b11c5a0839e9edbcd70.jpg",[],{"id":9043,"slug":9044,"title":9045,"dynasty":277,"author":9046,"museum":450,"description":9047,"tags":9048,"thumbUrl":9049,"material":5546,"size":9050,"collection":223,"collections":9051,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","张渥","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,116,24,63,25,93,516,98,99,100,118,94,564,33,333,7,32,30,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":9053,"slug":9054,"title":9055,"dynasty":277,"author":1553,"museum":2239,"description":9056,"tags":9057,"thumbUrl":9058,"material":47,"size":223,"collection":104,"collections":9059,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":54},219938,"sheng-you-tu-yi-ming-219938","胜游图","此作用高远构景，层叠主峰如蟠踞巨兽，以利落斧劈皴勾勒山石肌理，浓墨晕染出苍莽厚重的质感。飞瀑自崖间垂落，破开山的沉郁静默。虬曲林木错落山间，苍松劲挺，点染出萧疏古雅的秋意。崖畔水滨各筑幽居，隐于林泉烟霭之间，暗合林泉高致的隐逸雅趣。通篇水墨简淡，空濛悠远的意境里，揉合了山川雄奇与林下闲逸，尽显文人避世寄情山水的幽怀。",[23,24,63,135,94,93,98,27,97,33,152,96,31,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a97e286122166a0963868c260fb265.jpg",[104],{"id":9061,"slug":9062,"title":9063,"dynasty":246,"author":1553,"museum":9064,"description":9065,"tags":9066,"thumbUrl":9067,"material":237,"size":223,"collection":223,"collections":9068,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":498},216872,"xi-xiang-ji-tu-ce-10-yi-ming-216872","西厢记图册-10","法国国家图书馆","轩窗半启的亭中，男子凭几凝坐，目光似落向阶下小径；二女并肩徐行，衣袂随步轻扬，鬓边簪花隐现于花木间。山石皴染温润，芭蕉叶阔如盖，梅枝缀满细蕊，红栏与青瓦相映成趣，色调雅静宜人。人物神态含蓄，男子的沉思与女子的缓步，似有脉脉情思流转于枝叶扶疏间。笔墨细腻却不繁冗，亭台线条规整见致，草木晕染柔婉生姿，将古典故事里的幽微心绪，融于这一方雅致园林景致中，尽显传统工笔的温婉韵致与含蓄情味。",[24,27,26,28,234,30,31,7,32,33,744,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8762b7c8f967237421c131dd9641402d.jpg",[],{"id":9070,"slug":9071,"title":9072,"dynasty":246,"author":1553,"museum":132,"description":8062,"tags":9073,"thumbUrl":9075,"material":47,"size":223,"collection":223,"collections":9076,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},215193,"sheng-ping-le-shi-tu-ce-11-yi-ming-215193","升平乐事图册-11",[24,63,234,26,27,30,564,94,7,121,9074],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9185545ed6de6741f178d4aa2444ec.jpg",[],{"id":9078,"slug":9079,"title":9080,"dynasty":246,"author":1441,"museum":328,"description":7633,"tags":9081,"thumbUrl":9082,"material":102,"size":223,"collection":223,"collections":9083,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},214593,"fang-gu-shan-shui-ce-11-wang-hui-214593","仿古山水册-11",[116,24,63,234,27,93,94,98,528,96,7,32,30,439,5126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c1d131f029dfc768e60ded3c71e002.jpg",[],{"id":9085,"slug":9086,"title":9087,"dynasty":246,"author":8562,"museum":266,"description":8563,"tags":9088,"thumbUrl":9089,"material":102,"size":9090,"collection":223,"collections":9091,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},214485,"he-yi-shan-shui-tu-ce-2-he-yi-214485","赫奕山水图册-2",[23,24,234,93,27,98,94,33,75,32,95,97,250,7,363,5644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4892d0aedc2558783662d11734848d.jpg","34x25cm",[],{"id":9093,"slug":9094,"title":9095,"dynasty":246,"author":1441,"museum":90,"description":9096,"tags":9097,"thumbUrl":9098,"material":223,"size":223,"collection":104,"collections":9099,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":9100},203384,"xiao-zhong-jian-da-ce-wang-hui-203384","小中见大册","画面层峦叠嶂，峰岭连绵间云雾轻笼，似将远山半遮半掩，添得朦胧之趣。近景林木葱郁，枝干虬劲，叶色深浅交错；溪涧潺潺绕石，小桥横卧其上，偶见村舍隐于林间，一派清幽静谧的山居景象。笔墨运用细腻灵动，山石以皴法勾勒肌理，皴染结合尽显苍润质感；设色淡雅温润，层次丰富却不艳俗。咫尺册页间，山水空间层层递进，小中见大，于方寸之内展万千气象，尽显山水之悠远意韵。",[94,98,27,7,32,234,24,33,155,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824f8e21cce380e2b2b8f76361952d0f.jpg",[104],"ab8e5f",{"id":9102,"slug":9103,"title":2158,"dynasty":18,"author":9104,"museum":90,"description":9105,"tags":9106,"thumbUrl":9108,"material":223,"size":223,"collection":104,"collections":9109,"showCount":142,"zanCount":536,"manualWeight":11,"mainColor":9110},203096,"shan-shui-ce-cheng-jia-sui-203096","程嘉燧","画面右帧绘孤峰挺拔，皴法简淡勾勒山石肌理，山麓林木疏朗，溪上小桥横卧，二三行人缓步其间，意境清旷悠远；左帧行书题跋笔墨流转，朱印点缀，与画作相映成趣。整体以水墨为基调，构图疏宕，景致简远，尽显文人山水的淡泊闲雅，诗书画印融于一体，传递出悠然自适的林下之风。",[24,94,93,100,118,9107,7,33,98,234,23],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19a178343070109968f5fcff27b4624e.jpg",[104],"bfb5a0",{"id":9112,"slug":9113,"title":9114,"dynasty":5727,"author":9115,"museum":90,"description":9116,"tags":9117,"thumbUrl":9118,"material":223,"size":223,"collection":104,"collections":9119,"showCount":142,"zanCount":536,"manualWeight":11,"mainColor":9120},202890,"qiu-shan-lou-ge-tu-zhou-pu-ru-202890","秋山楼阁图轴","溥儒","层岩叠翠间，苍松盘曲虬劲，红叶灼灼点染秋光。楼阁隐于深林古木之下，檐角微露，添得几分幽秘。小桥横架溪上，二人凭栏缓步，似在共赏秋山胜景。山石以皴法写就，笔墨细腻中见苍劲；树木姿态万千，设色淡雅却饶有韵致。整幅画意境清寂悠远，尽显文人画的闲适意趣，仿佛能嗅到山林间的清润气息，心境也随之沉静。",[24,63,135,27,94,31,7,30,98,136,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f81693268efd3179dbbf4230aa22a98.jpg",[104],"b8aea1",{"id":9122,"slug":9123,"title":9124,"dynasty":277,"author":1330,"museum":360,"description":9125,"tags":9126,"thumbUrl":9127,"material":494,"size":495,"collection":223,"collections":9128,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},290432,"ting-song-tu-zhao-yuan-290432","听松图","赵原，中国元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。",[24,116,93,94,135,293,7,32,96,30,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00db89c58ef9a5b2f15c3378bc30e1c.jpg",[],{"id":9130,"slug":9131,"title":9132,"dynasty":277,"author":627,"museum":360,"description":1022,"tags":9133,"thumbUrl":9134,"material":494,"size":495,"collection":223,"collections":9135,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},290260,"quan-sheng-song-yun-tu-ke-luo-ban-wang-meng-290260","泉声松韵图（珂罗版）",[23,24,93,331,98,191,293,1993,7,32,95,31,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca815d4b818f75839f95fe04da5d062.jpg",[],{"id":9137,"slug":9138,"title":9139,"dynasty":58,"author":1553,"museum":360,"description":9140,"tags":9141,"thumbUrl":9143,"material":494,"size":495,"collection":223,"collections":9144,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},290102,"zhu-lin-gao-shi-tu-yi-ming-290102","竹林高士图","该作品画面以竹石为主，还缀有点景人物。数竿修竹枝叶交错，折旋向背，姿态各异。近处危石嶙峋，突兀而起。依石傍竹，几丛野花绽放其间，一溪涧水蜿蜒而下。左下空旷之处，老翁坐对幽篁，似在吟咏，旁有童仆持杖而立。",[1829,24,116,93,30,94,255,7,97,3748,9142,7150],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffccafbdc43f6b75f39c364486365e0d2.jpg",[],{"id":9146,"slug":9147,"title":2772,"dynasty":246,"author":1115,"museum":360,"description":8296,"tags":9148,"thumbUrl":9149,"material":494,"size":495,"collection":223,"collections":9150,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},289952,"shan-shui-tu-zhou-wang-shi-min-289952",[23,116,24,63,135,93,94,98,191,33,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb2b1a39c23b566193185dba66f4bab.jpg",[],{"id":9152,"slug":9153,"title":9154,"dynasty":246,"author":2037,"museum":360,"description":9155,"tags":9156,"thumbUrl":9157,"material":494,"size":495,"collection":223,"collections":9158,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},289934,"shan-shui-fang-gu-ce-cha-shi-biao-289934","山水仿古册","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,234,93,94,7,32,33,31,191,1721,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2c0f7225f99710e188a3268bdc2775.jpg",[],{"id":9160,"slug":9161,"title":9162,"dynasty":58,"author":173,"museum":360,"description":9163,"tags":9164,"thumbUrl":9166,"material":494,"size":495,"collection":223,"collections":9167,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,116,63,1829,93,94,564,9165,96,7,32,99,100],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":9169,"slug":9170,"title":9171,"dynasty":58,"author":4265,"museum":360,"description":5641,"tags":9172,"thumbUrl":9173,"material":494,"size":495,"collection":223,"collections":9174,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},287318,"xian-shan-tai-xie-tu-juan-zhao-bo-ju-287318","仙山台榭图卷",[23,24,63,25,28,117,27,26,94,31,7,32,3859,3888,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01f4b5acfb3873ec5468ae4addbdf22c.jpg",[],{"id":9176,"slug":9177,"title":9178,"dynasty":246,"author":1553,"museum":360,"description":9179,"tags":9180,"thumbUrl":9184,"material":494,"size":495,"collection":223,"collections":9185,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":9186},273003,"zi-tan-bian-fa-lang-gua-ping-yi-ming-273003","紫檀边珐琅挂屏","金地为底，珐琅釉色晕染出青绿山峦，层叠起伏间皴笔有致，翠色鲜亮柔和。水网田垄错落交织，茅舍隐于林樾，耕牛静卧田埂，乡农驻足叙话，将春日郊野的恬然烟火铺陈眼前。\n\n边角题诗点出田家闲趣，铜饰挂钮精巧雅致，紫檀边框衬得画面愈发明丽华贵。整幅将文人诗意融于珐琅工艺，把乡野春耕的悠然意趣刻画入微，尽显雅致清和的审美意韵，方寸间凝住田园生机，是工艺与画意兼备的上乘之作。",[9181,3869,8675,117,27,94,120,9182,7,1236,30,33,99,9183],"琺瑯器","耕牛","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a29cfe1ff77dd9aabf7e530a98d631a.jpg",[],"0D904F",{"id":9188,"slug":9189,"title":2158,"dynasty":246,"author":2159,"museum":60,"description":2160,"tags":9190,"thumbUrl":9191,"material":678,"size":223,"collection":223,"collections":9192,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},237198,"shan-shui-ce-sun-yi-237198",[24,63,234,27,94,7,32,97,33,31,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954605f0ec578727ceb27cb1524adb3d.jpg",[],{"id":9194,"slug":9195,"title":9196,"dynasty":246,"author":2986,"museum":360,"description":9197,"tags":9198,"thumbUrl":9199,"material":494,"size":495,"collection":223,"collections":9200,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},235666,"shan-shui-ping-yuan-jiang-235666","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,63,116,135,28,27,94,31,7,32,33,97,155,38,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":9202,"slug":9203,"title":2158,"dynasty":246,"author":9204,"museum":360,"description":9205,"tags":9206,"thumbUrl":9207,"material":223,"size":223,"collection":104,"collections":9208,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":1224},235174,"shan-shui-ce-ye-xin-235174","叶欣","此作用笔秀雅淡逸，以平远之法铺展景致。近岸老梅虬曲苍劲，枝桠缀着新芽，三两行人策蹇徐行，野意悠然自生。中洲淡渚萦回错落，林木参差间，茅舍隐于浅滩，尽显江乡闲寂之态。远景主山以干笔皴擦，墨色清润苍厚，云气吞吐于崖岫，虚灵空濛。\n全幅简淡萧疏，以水墨晕染出江南春日清和之态，未作繁复刻画，却将平林远岫的空阔淡荡铺陈尽致，将文人寄情丘壑的幽怀融于尺幅，淡而弥远，清而有味，尽显静穆淡远的山水逸趣。",[24,93,98,234,94,97,33,7,32,30,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c5744de3032ee5211824bd4b4ccd05.jpg",[104],{"id":9210,"slug":9211,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":9212,"thumbUrl":9213,"material":494,"size":495,"collection":223,"collections":9214,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},234958,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234958",[24,63,234,27,98,94,7,32,33,97,250,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351d3095c2e469174b51b3d50246961.jpg",[],{"id":9216,"slug":9217,"title":9218,"dynasty":246,"author":9219,"museum":360,"description":9220,"tags":9221,"thumbUrl":9222,"material":223,"size":223,"collection":104,"collections":9223,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},234684,"ba-jia-shan-shui-ce-duan-qiao-wo-liu-tu-ce-ye-jin-shu-ming-234684","八家山水册-断桥卧柳图册页","金庶明","图绘远山,小舟,一游人在江上垂钓",[24,63,234,27,117,98,94,7,32,95,281,97,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e7d8e39abe98d0e19856b22fc56f18.jpg",[104,51],{"id":9225,"slug":9226,"title":9227,"dynasty":18,"author":9228,"museum":360,"description":9229,"tags":9230,"thumbUrl":9231,"material":223,"size":223,"collection":223,"collections":9232,"showCount":182,"zanCount":536,"manualWeight":11,"mainColor":108},234221,"an-mo-bi-lan-ting-tu-juan-wang-yun-234221","安墨笔兰亭图卷","王允","《王允安墨笔兰亭图卷》是明代画家王允安创作的一幅画。\n《墨笔兰亭图》卷，明，王允安绘，纵21.7cm，横44cm。",[23,24,25,93,516,94,30,33,97,7,32,96,1618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85b51d88b8f0e32cb20a94bceb55ed39.jpg",[],{"id":9234,"slug":9235,"title":9236,"dynasty":246,"author":1686,"museum":60,"description":9237,"tags":9238,"thumbUrl":9239,"material":678,"size":9240,"collection":223,"collections":9241,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},234178,"wo-you-tu-juan-kun-can-234178","卧游图卷","髡残字介邱，号石溪，又号白秃、电住道人、壤残道者，武陵人。工人物、花卉，尤精山水。此图笔墨苍润，结构繁简得宜，虚实相生，气脉连贯，粗放中苍润沉郁而物象毕现。",[23,116,24,63,25,93,98,100,4768,99,118,94,529,530,439,96,75,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae89608ed6536f95368216b186364913.jpg","28.1×375厘米",[],{"id":9243,"slug":9244,"title":2772,"dynasty":58,"author":4265,"museum":132,"description":9245,"tags":9246,"thumbUrl":9247,"material":1055,"size":9248,"collection":223,"collections":9249,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":498},232600,"shan-shui-tu-zhou-zhao-bo-ju-232600","此作无名款，以细笔描绘沿溪风光，空间绵延，物象丰富，甚得乾隆皇帝喜爱。根据乾隆二十二年的题跋，乾隆皇帝 “观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,116,24,63,135,27,94,31,7,32,95,26,98,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":9251,"slug":9252,"title":9253,"dynasty":1933,"author":1553,"museum":360,"description":9254,"tags":9255,"thumbUrl":9257,"material":494,"size":495,"collection":223,"collections":9258,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,63,25,27,28,26,1665,31,7,32,96,94,33,97,9256,38],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":9260,"slug":9261,"title":9262,"dynasty":246,"author":2352,"museum":360,"description":9263,"tags":9264,"thumbUrl":9266,"material":223,"size":223,"collection":223,"collections":9267,"showCount":182,"zanCount":536,"manualWeight":11,"mainColor":54},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,63,27,26,98,94,30,7,32,281,119,252,2736,642,9265,6674],"妇人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":9269,"slug":9270,"title":2700,"dynasty":246,"author":6901,"museum":360,"description":9271,"tags":9272,"thumbUrl":9273,"material":494,"size":495,"collection":223,"collections":9274,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[23,24,63,25,27,26,94,96,30,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":9276,"slug":9277,"title":9278,"dynasty":18,"author":9279,"museum":360,"description":9280,"tags":9281,"thumbUrl":9283,"material":223,"size":223,"collection":223,"collections":9284,"showCount":182,"zanCount":536,"manualWeight":11,"mainColor":108},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,63,25,27,26,30,94,7,32,96,293,962,119,2386,9282,5972,100],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":9286,"slug":9287,"title":9288,"dynasty":246,"author":1062,"museum":60,"description":9289,"tags":9290,"thumbUrl":9291,"material":402,"size":9292,"collection":223,"collections":9293,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},223286,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-gang-yan-xue-yuan-yao-223286","山水四条屏-扬州四景-平岗艳雪","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,63,27,26,28,94,96,7,1606,1470,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909e836a0258d68f302808fe9b398499.jpg","纵57cm，横66.1cm",[],{"id":9295,"slug":9296,"title":9297,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9298,"thumbUrl":9299,"material":164,"size":1461,"collection":223,"collections":9300,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},223043,"hong-lou-meng-168-sun-wen-223043","红楼梦168",[23,26,27,28,30,31,32,33,97,7,744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41abc7f44aa86979aad1c46d2d31962f.jpg",[],{"id":9302,"slug":9303,"title":9304,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9305,"thumbUrl":9307,"material":164,"size":1461,"collection":223,"collections":9308,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},222953,"hong-lou-meng-78-sun-wen-222953","红楼梦78",[23,26,27,28,30,31,7,33,39,744,96,75,643,2978,9306,5891,1936],"绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13e859bbe3be51184fcf4d9dec58bd.jpg",[],{"id":9310,"slug":9311,"title":9312,"dynasty":18,"author":3004,"museum":9313,"description":9314,"tags":9315,"thumbUrl":9317,"material":402,"size":9318,"collection":223,"collections":9319,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},222860,"song-he-you-wu-song-xu-222860","松壑幽屋","山东省博物馆","彩绘山峰、流水、小桥、绿树、桃花，一派春意盎然",[23,24,63,135,93,98,26,94,206,9316,7,32,97,33,96],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a048a58ed78444f5f47630c6a4faa40.jpg","141×63cm",[],{"id":9321,"slug":9322,"title":9323,"dynasty":18,"author":1534,"museum":60,"description":9324,"tags":9325,"thumbUrl":9326,"material":1055,"size":9327,"collection":223,"collections":9328,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,63,234,27,93,98,99,94,97,33,121,32,95,96,155,7,137,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":9330,"slug":9331,"title":9332,"dynasty":18,"author":2606,"museum":450,"description":9333,"tags":9334,"thumbUrl":9335,"material":9336,"size":9337,"collection":223,"collections":9338,"showCount":182,"zanCount":536,"manualWeight":11,"mainColor":54},222078,"hu-fu-chun-qing-tu-xie-shi-chen-222078","虎阜春晴图","《明谢时臣虎阜春晴图》是明代画家谢时臣的作品，此画虚实结合，层次分明，笔墨稳健，湿墨渲染，衬托出江南春日胜迹的润郁宜人之色。此图为作者晚年对虎丘写生之作。\n谢时臣的作品笔法酣畅，墨色稳健，气势恢弘，与他同时期的吴门画派诸家的画则气格相对狭小，这更显出谢时臣绘画的魄力之大。但是，如果把他的作品和沈周、文徵明的作品做一比较，就会发现他的作品略显匠气。正如清代姜绍书在《无声诗史》中对谢时臣画的评价：“长卷巨幛，纵横自如，气势有余，韵秀不足。”\n《虎阜春晴》的布局来看，此图既有王蒙层峦叠嶂、构图紧密的绘画特点，又有谢时臣自己的绘画特征。曲折的山间小路和弯曲的流水给画面平添了无限的意趣。这样，欣赏者的目光就可以随之缓缓上移。远处江面开阔，云气缭绕。画面轻灵生动，意境开阔，于大幅之中透露出精致、典雅的格调。\n《图绘宝鉴续纂》称谢时臣的山水画“人物点缀，极其潇洒”。点景人物虽然只是山水画的点缀，不是独立的一种艺术表现形式，但它作为一种特殊的情感表现载体，赋予了山水画更多的思想色彩。它是山水画中必不可少的组成部分，常常具有“点睛”的作用。能否表现好点景人物，是衡量画家艺术水平高低的一个重要因素。由《虎阜春晴》来看，谢时臣不愧为绘制点景人物的能手。全图有近三十个点景人物，虽寥寥数笔，但都神态毕现、栩栩如生。譬如，近景船头有一人，手捧杂物，双腿微曲，正等船靠岸。画家把他等船的专注神情很好地刻画出来。更让人叫绝的是，画家仅用两笔就把远景舟船中的艄公和船客生动地表现出来。",[23,24,93,98,28,135,94,31,7,32,95,96,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5a2216ff13e70d6b7a9c5d0713dc22.jpg","纸本、设色","纵162.4厘米，横39.2厘米",[],{"id":9340,"slug":9341,"title":9342,"dynasty":18,"author":525,"museum":1277,"description":9343,"tags":9344,"thumbUrl":9345,"material":234,"size":1281,"collection":223,"collections":9346,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":223},220751,"fang-ge-jia-shan-shui-5-dong-qi-chang-220751","仿各家山水-5","此作用笔松秀虚灵，以干笔淡墨勾勒皴擦，写尽山峦苍润肌理，简淡皴法藏尽丘壑深致。溪岸佳木繁荫，苍松挺劲蓊郁，与层叠远山相映成趣。画面留白清寂，水色空明，野桥横卧浅溪，弥散出萧散淡远的静穆雅韵。\n以书法意趣入画，笔墨简练脱略，不重实景描摹，尽显文人画超然出尘的林下之风。于简淡中藏雄浑，浅墨间见苍润，将山川静穆生机与文人幽怀相融，观之如坐林泉，悄然揽得山水清旷之趣。",[23,24,63,93,98,94,7,32,439,336,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8bcdaa85562a81f6a4956e87ec107b.jpg",[],{"id":9348,"slug":9349,"title":9350,"dynasty":246,"author":9351,"museum":864,"description":9352,"tags":9353,"thumbUrl":9354,"material":208,"size":9355,"collection":104,"collections":9356,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":54},220079,"yao-feng-sheng-jing-tu-jiang-shi-jie-220079","尧峰胜景图","姜实节","姜实节（1647～1709）字学在，号鹤涧，山东莱阳人，居吴中（今江苏苏州），姜埰子。有孝行，笃友谊。明礼科给事中，入清隐遁，不入城市，布衣终老。晚岁于虎邱筑谏草楼，吴人谥之曰孝正。\n善书，笔势如篆籀。画山水法云林（倪瓒），峯峦简淡，林木萧竦，备清旷之致。落笔不甚谨严，处处有荒率态，盖荒率本是其所长，亦是其所短也。工诗，有焚余草，卒年六十三。《苏州府志》、《国[清]朝画徵续录、桐阴论画》、《国[清]朝别裁诗传》、《朴庵文集》、《樊榭山房集》、《清朝书画家笔录》",[23,24,93,98,99,118,94,7,32,75,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab0b0cc5bcabba13a8d147817ed15e5.jpg","54.0X24.2",[104],{"id":9358,"slug":9359,"title":9360,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":9362,"thumbUrl":9363,"material":102,"size":223,"collection":223,"collections":9364,"showCount":182,"zanCount":536,"manualWeight":11,"mainColor":108},215029,"fang-gu-shan-shui-ce-2-wang-jian-215029","仿古山水册-2","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,63,93,234,98,94,7,32,33,97,75,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fe7bd5b581ad26988b86ab76e700f4.jpg",[],{"id":9366,"slug":9367,"title":9368,"dynasty":246,"author":8562,"museum":266,"description":8563,"tags":9369,"thumbUrl":9370,"material":102,"size":9090,"collection":223,"collections":9371,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":108},214484,"he-yi-shan-shui-tu-ce-3-he-yi-214484","赫奕山水图册-3",[23,24,63,234,93,27,94,7,32,33,75,97,155,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36421852b31841467b68e476b68398f2.jpg",[],{"id":9373,"slug":9374,"title":9375,"dynasty":5727,"author":9115,"museum":90,"description":9376,"tags":9377,"thumbUrl":9378,"material":223,"size":223,"collection":104,"collections":9379,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":9380},202941,"cao-tang-qiu-se-tu-zhou-pu-ru-202941","草堂秋色图轴","画面以淡逸设色晕染秋意，草堂藏于林木间，屋内人影闲坐，尽显隐居之闲适。溪流潺潺绕岸，小桥横卧其上，山石以细腻皴法勾勒肌理，松枝苍劲挺拔，枯藤缠绕老树，秋之清寂与生机交织。笔墨兼工带写，将山水之秀与文人之闲凝于尺幅，淡彩轻敷中透出悠远宁静的意境，尽显传统书画的雅致韵致。",[24,94,27,7,32,318,136,98,333,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d52f005e4953716a049c0b1b67aa09b.jpg",[104],"c1b8a4",{"id":9382,"slug":9383,"title":9384,"dynasty":246,"author":449,"museum":360,"description":9385,"tags":9386,"thumbUrl":9387,"material":494,"size":495,"collection":223,"collections":9388,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},290560,"zai-mei-tu-zhou-xu-yang-290560","载梅图轴","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[24,116,135,27,26,94,31,7,32,96,95,33,30,1606,118,7150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffc941dba86a2bf7a200c460c0b3b69c.jpg",[],18,{"id":9391,"slug":9392,"title":9393,"dynasty":58,"author":9394,"museum":360,"description":9395,"tags":9396,"thumbUrl":9397,"material":494,"size":495,"collection":223,"collections":9398,"showCount":9389,"zanCount":536,"manualWeight":11,"mainColor":108},289843,"cao-tang-ke-hua-tu-he-quan-289843","草堂客话图","何荃","此画用笔精细，画中景物从大到小一丝不乱，工整雅致，是典型的南宋绘画风格。",[23,24,116,63,1829,26,27,94,31,7,32,30,99,100,333,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febceed3a2a19798d09537bf2b6dc631a.jpg",[],{"id":9400,"slug":9401,"title":3559,"dynasty":58,"author":3560,"museum":360,"description":9402,"tags":9403,"thumbUrl":9404,"material":494,"size":495,"collection":223,"collections":9405,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},289333,"guan-shan-ji-xue-tu-yan-su-289333","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[23,116,24,94,98,578,5738,7,31,492,3563,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f888ec04b576c2129955fcf0e84f93.jpg",[],{"id":9407,"slug":9408,"title":2158,"dynasty":18,"author":9409,"museum":360,"description":9410,"tags":9411,"thumbUrl":9412,"material":223,"size":60,"collection":104,"collections":9413,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},236600,"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,63,234,93,98,94,293,97,7,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[104,82],{"id":9415,"slug":9416,"title":9417,"dynasty":246,"author":9418,"museum":360,"description":9419,"tags":9420,"thumbUrl":9421,"material":223,"size":9422,"collection":104,"collections":9423,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},236128,"qiu-yan-jin-zhang-tu-zhou-lu-zun-shu-236128","秋岩锦嶂图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[116,24,63,135,27,98,94,97,33,5348,32,7,75,95,2296,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg","纵84.6厘米，横26.5厘米",[104,82],{"id":9425,"slug":9426,"title":3127,"dynasty":246,"author":1553,"museum":360,"description":9427,"tags":9428,"thumbUrl":9429,"material":223,"size":223,"collection":104,"collections":9430,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},236056,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236056","此作以水墨晕染铺就冬日丘林雪色，山峦皆素雪覆身，轮廓圆柔温润，尽数褪去嶙峋锐气，好似天地初敛锋芒的清寂时刻。枯木错落挺劲，枝桠疏朗，屋舍山居藏于林麓溪谷间，板桥跨溪，山道盘桓，将幽居烟火融于清寂雪景。\n\n浅皴轻擦勾勒山石肌理，以留白尽显雪意空濛，无繁复设色，只以水墨层次烘托萧寒清旷。冷寂的山野间藏着隐世悠然的栖居意趣，简淡笔墨里晕开悠长的文人山水情致，将冬日山林的幽宁静穆娓娓铺陈。",[24,63,234,27,98,29,94,529,439,7,32,75,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0c42948774d9c91db514caf3db0343.jpg",[104],{"id":9432,"slug":9433,"title":5752,"dynasty":18,"author":9434,"museum":360,"description":9435,"tags":9436,"thumbUrl":9437,"material":223,"size":223,"collection":223,"collections":9438,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},235679,"shan-shui-juan-chen-xun-235679","陈询","淡墨晕开清寂底色，绘就郊野幽居之景。茅庐错落隐于林木间，屋中对坐似有清谈，篱扉板桥、寒林浅水环合铺展闲逸天地。用笔松秀简淡，枯笔勾勒林木枝桠，湿墨晕染坡岸水汽，淡赭轻敷晕出冬春之交的萧疏温软。取景平远，以留白衬出水意空濛，将林下幽居、诗友酬唱的雅寂日常融于山水，淡远清和，尽显文人画以景抒怀的意趣，晕开不沾尘俗的隐逸襟怀。",[23,116,24,63,25,93,98,94,96,7,32,33,252,30,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931146f0a33287e31b9de1c97b00a55.jpg",[],{"id":9440,"slug":9441,"title":2158,"dynasty":246,"author":4695,"museum":360,"description":9442,"tags":9443,"thumbUrl":9444,"material":223,"size":223,"collection":223,"collections":9445,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},235170,"shan-shui-ce-zhu-da-235170","此作以大片留白铺就虚灵空茫之境，寥寥笔墨勾勒丘林古松。古松虬曲苍劲，枝桠如铁，简淡的皴擦晕染出坡岸草木氤氲之态。左下角扁舟横卧水面，不见舟子，愈发衬出水天寥寂。\n\n笔墨洗尽铅华，以干湿浓淡生发层次，线条老辣凝练，删繁就简，将山川灵韵收束于极简意象之中，清冷孤高的意趣漫溢纸面，把澹泊疏旷的襟怀寄寓在萧疏山水间，尽显天地荒寒、物我两忘的禅寂之境。",[116,24,63,234,93,98,94,7,33,118,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ddba02f466fe2812a4547b37b28e53.jpg",[],{"id":9447,"slug":9448,"title":8904,"dynasty":18,"author":525,"museum":360,"description":8905,"tags":9449,"thumbUrl":9450,"material":223,"size":223,"collection":223,"collections":9451,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},234975,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234975",[24,63,234,93,94,98,97,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd628e7ea4f52b4b7d37a7caba0b03776.jpg",[],{"id":9453,"slug":9454,"title":9455,"dynasty":18,"author":1534,"museum":60,"description":9456,"tags":9457,"thumbUrl":9458,"material":9459,"size":9460,"collection":223,"collections":9461,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},234050,"qing-shan-hong-shu-tu-shan-ye-lan-ying-234050","青山红树图扇页","此图以“没骨重彩法”绘青山、红树、白云等景致。作者自言拟张僧繇（传为没骨山水画的肇始者）的弟子范长寿法，虽然属托古之词，但是，他在创作中还是显示出对色彩极强的掌控力。图中冷暖色调和谐，石青、石绿、朱砂等矿物质颜料的运用独具特色，于争妍斗丽中营造出明媚亮丽的秋景，富有强烈的视觉冲击力和感染力。 他是继董其昌之后较早创作“没骨山水”的画家并具有新意。",[1829,24,117,27,94,1258,579,7,32,97,33,31,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbfe4f7e30d09a06ff49125af3fe8c4.jpg","金笺，设色","纵17.3厘米，横49.5厘米",[],{"id":9463,"slug":9464,"title":9465,"dynasty":277,"author":4402,"museum":60,"description":9466,"tags":9467,"thumbUrl":9468,"material":257,"size":9469,"collection":223,"collections":9470,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[24,63,116,93,94,7,32,33,97,98,100,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":9472,"slug":9473,"title":9474,"dynasty":18,"author":89,"museum":360,"description":9475,"tags":9476,"thumbUrl":9477,"material":223,"size":223,"collection":223,"collections":9478,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[23,24,63,25,93,94,7,32,95,96,121,33,99,100,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":9480,"slug":9481,"title":9482,"dynasty":18,"author":19,"museum":360,"description":9483,"tags":9484,"thumbUrl":9486,"material":223,"size":223,"collection":223,"collections":9487,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},228456,"zhi-gong-tu-juan-chou-ying-228456","职贡图卷","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,25,26,27,63,99,100,94,30,65,33,2887,7,43,9485],"队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":9489,"slug":9490,"title":9491,"dynasty":58,"author":1553,"museum":360,"description":9492,"tags":9493,"thumbUrl":9495,"material":223,"size":223,"collection":223,"collections":9496,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[23,116,24,63,1829,27,26,30,1190,336,7,9494],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":9498,"slug":9499,"title":9500,"dynasty":1933,"author":1553,"museum":360,"description":9501,"tags":9502,"thumbUrl":9504,"material":223,"size":223,"collection":223,"collections":9505,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},225302,"fu-shi-hui-26-yi-ming-225302","浮世绘26","清月垂悬远山之巅，将夜色晕成柔润水色。暖黄沙洲缓缓铺展，与幽蓝河湾错落相拥。石拱桥静卧水面，行人缓行其上，把清寂夜色揉进浅淡烟火气。\n\n右侧山坞间的屋舍藏在深翠林木中，檐角轻挑月色，几艘渔船系在浅滩，随波轻晃。画面冷暖色调交织碰撞，晕开静谧诗意，将水乡月夜的闲趣铺陈开来，带着日式风物独有的侘寂清宁，把寻常烟火揉进朦胧月色里，绘就一方松弛悠然的夜泊小景。",[9503,27,94,7,32,743,31,33,35,30],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a1b573bd1eedc319d19e2075a3be6b.jpg",[],{"id":9507,"slug":9508,"title":9509,"dynasty":246,"author":613,"museum":360,"description":9510,"tags":9511,"thumbUrl":9512,"material":223,"size":223,"collection":223,"collections":9513,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,63,234,93,27,98,94,95,32,75,33,840,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":9515,"slug":9516,"title":9517,"dynasty":246,"author":1786,"museum":360,"description":9518,"tags":9519,"thumbUrl":9520,"material":223,"size":223,"collection":223,"collections":9521,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},224492,"ni-gu-tuo-gu-tu-zhou-wu-li-224492","拟古脱古图轴","《拟古脱古图》是清代吴历创作的纸本墨笔画。\n本幅右上吴历自题：“陶渊明‘采菊东篱下，悠然见南山’唐宋人和之者多，独韦应物‘采菊露未晞，举头见秋山’真为绝和。\n画之拟古亦如和陶，情景宛然更出新意，乃是脱胎能手。\n小重阳日墨井道人。\n”下钤“吴历之印”（白文）、“墨井”（朱文）。\n鉴藏印有“莱臣心赏”、“虚斋审定”2方。\n画家在自题中以唐宋人和（音hè）陶渊明“采菊东篱下”名句为例，说明了绘画创作中拟古与脱古即继承与发展关系，同时也为此幅画作的创作旨意作了诠释。\n此画仿元代王蒙山水，但在皴法上长条披麻皴的运用与王蒙的牛毛皴有所不同，构图也不似王蒙的绘画那么饱满，与王蒙的峰峦重叠相比，吴历的山水更接近真山实水，真实感较强。\n吴历将前人的绘画技法融会贯通，用笔严谨，厚朴沉着，笔意高淡，气韵深淳，体现出自己的风格特点，虽是仿古之作却有画家自己的面貌和新意。\n庞莱臣《虚斋名画录》著录。\n吴历（162—1718）清康熙间常熟人，字渔山，自号墨井道人，又号桃溪居士，学经于陈瑚，学诗于钱谦益，学画于王时敏、王鉴，学琴于陈岷，以山水画闻名于清初画坛。\n康熙十四年（1675）前后人天主教，教名西满沙勿略。\n二十一年（1682）在澳门入耶稣会，又取西姓雅古纳。\n二十七年（1688）任神父，其后在上海、嘉定等地传教。\n所撰《墨井诗抄》2卷《三巴集》1卷《画跋》1卷于卒后次年由弟子陆道淮刻印传世。",[23,24,63,135,93,98,94,7,32,33,75,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fe265c9fc33d18c0b8c97edc2c07bd.jpg",[],{"id":9523,"slug":9524,"title":9525,"dynasty":246,"author":1553,"museum":9526,"description":9527,"tags":9528,"thumbUrl":9538,"material":237,"size":9539,"collection":223,"collections":9540,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[23,24,116,63,27,94,9529,9530,9531,9532,9533,7962,2939,9534,9535,68,9536,9537,7,31],"城市图","古地图","杭州城","西湖","钱塘江","官署","坊巷","水道","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],{"id":9542,"slug":9543,"title":5430,"dynasty":277,"author":1553,"museum":360,"description":9544,"tags":9545,"thumbUrl":9546,"material":1055,"size":9547,"collection":223,"collections":9548,"showCount":9389,"zanCount":536,"manualWeight":11,"mainColor":54},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[23,24,331,27,98,97,33,7,32,96,440,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":9550,"slug":9551,"title":9552,"dynasty":246,"author":9553,"museum":360,"description":9554,"tags":9555,"thumbUrl":9557,"material":378,"size":9558,"collection":104,"collections":9559,"showCount":9389,"zanCount":536,"manualWeight":11,"mainColor":108},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","张若澄","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,116,24,63,27,28,118,94,31,235,7,32,33,97,3189,9556,43,643],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[104,51],{"id":9561,"slug":9562,"title":9563,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9564,"thumbUrl":9567,"material":164,"size":1461,"collection":223,"collections":9568,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,24,26,27,117,25,6533,30,744,31,7,9565,1190,1936,365,32,28,9566],"仙鹤","珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":9570,"slug":9571,"title":9572,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9573,"thumbUrl":9574,"material":164,"size":1461,"collection":223,"collections":9575,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},222891,"hong-lou-meng-16-sun-wen-222891","红楼梦16",[23,24,26,27,30,31,94,564,439,39,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e0bcdc03ad6933ac92ed47d7a71e18.jpg",[],{"id":9577,"slug":9578,"title":9579,"dynasty":18,"author":7115,"museum":60,"description":9580,"tags":9581,"thumbUrl":9582,"material":678,"size":9583,"collection":223,"collections":9584,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,25,27,26,63,100,7722,118,31,33,3738,7,32,75,39,962,206,676,1936,38,3505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":9586,"slug":9587,"title":9588,"dynasty":58,"author":9589,"museum":20,"description":9590,"tags":9591,"thumbUrl":9592,"material":402,"size":9593,"collection":223,"collections":9594,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":9595},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[23,24,63,25,94,840,95,1096,32,7,27,98,96,121,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],"FDD835",{"id":9597,"slug":9598,"title":315,"dynasty":246,"author":6699,"museum":328,"description":9599,"tags":9600,"thumbUrl":9601,"material":308,"size":9602,"collection":104,"collections":9603,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},220066,"shan-shui-tu-zha-shi-biao-220066","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[24,63,135,93,98,94,7,32,96,121,33,176,206,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[104],{"id":9605,"slug":9606,"title":9607,"dynasty":246,"author":4413,"museum":132,"description":9608,"tags":9609,"thumbUrl":9610,"material":102,"size":9611,"collection":223,"collections":9612,"showCount":9389,"zanCount":536,"manualWeight":11,"mainColor":108},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,63,116,135,94,27,98,97,33,206,5348,7,32,152,1211,75,154,6195,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":9614,"slug":9615,"title":9616,"dynasty":246,"author":9617,"museum":328,"description":9618,"tags":9619,"thumbUrl":9620,"material":102,"size":9621,"collection":104,"collections":9622,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":54},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[24,63,135,27,94,28,743,95,31,7,32,33,75,35,69,250,1799],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[104],{"id":9624,"slug":9625,"title":9626,"dynasty":246,"author":1105,"museum":90,"description":1106,"tags":9627,"thumbUrl":9628,"material":102,"size":1109,"collection":223,"collections":9629,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":108},216988,"fang-song-yuan-shan-shui-ce-3-wang-jian-216988","仿宋元山水册-3",[116,24,93,98,29,234,94,31,7,32,33,97,152,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23956ed8e550fcc498cd3b320bbfcfd.jpg",[],{"id":9631,"slug":9632,"title":2158,"dynasty":18,"author":1042,"museum":90,"description":9633,"tags":9634,"thumbUrl":9635,"material":223,"size":223,"collection":104,"collections":9636,"showCount":9389,"zanCount":11,"manualWeight":11,"mainColor":9637},203294,"shan-shui-ce-hong-ren-203294","画面以简淡笔墨绘山水之姿，山石轮廓用干笔勾勒，皴擦疏朗见骨，尽显峭拔之态；枯树枝桠如铁线般挺劲，与空濛远景相映，留白处漾出清冷空寂的韵致。桥上行人、山间亭榭点缀其间，虽小却添生趣，却未破整体孤峭氛围。笔墨间藏遗世独立之思，意境幽远，尽显新安画派简净冷逸的特质。",[94,234,93,98,414,336,96,7,3060,6214,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802c780960b3d87683bdffc7dbde11bd.jpg",[104],"d3cac0",{"id":9639,"slug":9640,"title":9641,"dynasty":277,"author":1553,"museum":9642,"description":9643,"tags":9644,"thumbUrl":9645,"material":308,"size":9646,"collection":223,"collections":9647,"showCount":9648,"zanCount":536,"manualWeight":11,"mainColor":54},290963,"tai-xing-xue-ji-tu-yi-ming-290963","太行雪霁图","台北故宫博物馆","一群行旅或骑驴或牵骡、骆驼，在险峻的太行山径赶路，饶有北国风情。路旁枯树，山石上的白雪都令人想起冬日的严寒。缩颈弯腰及以袖口掩鼻的人物，更以生动的表情形容出隆冬的凄苦。\n该幅的山石构景雄奇，用笔劲利。前者承继北宋范宽一派的遗绪；后者则有南宋马夏的影响。",[24,116,94,1721,414,97,152,7,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe442c7a2622bf594b90fb9b28854a51f.jpg","156x103",[],17,{"id":9650,"slug":9651,"title":9652,"dynasty":18,"author":19,"museum":360,"description":9653,"tags":9654,"thumbUrl":9655,"material":494,"size":495,"collection":223,"collections":9656,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},290871,"lin-ting-jia-qu-zhou-chou-ying-290871","林亭佳趣轴","此幅似文征明画风，用笔细谨，设色雅丽。画幅细长，前景柴门半掩，曲径通幽；中景高士倚榻闲憩；远景云山垂瀑，楼宇参差。逐步引人入胜，呈现文士徜徉于园林、陶然于山光水色之际。",[24,135,27,26,94,96,7,32,121,97,152,39,30,33,6848,118,7150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa492d3f099905bddb7c324dd3f269059.jpg",[],{"id":9658,"slug":9659,"title":9660,"dynasty":277,"author":1553,"museum":132,"description":9661,"tags":9662,"thumbUrl":9663,"material":208,"size":9664,"collection":104,"collections":9665,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},290737,"fang-mi-shi-yun-shan-zhou-yi-ming-290737","仿米氏云山轴","此幅画夏雨初过，山野溪畔水气弥漫，山脚林间云霭飘移，村屋、古寺掩映其间。山石以浓淡变化的“米点”层叠渲渍，再加色烘染，水份饱满。唯用笔构图板滞，应为明清之作。",[24,135,93,98,94,191,155,33,7,137,118,99,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd455344f176e2280f3d2ea4362701fd1.jpg","57x35.3",[104],{"id":9667,"slug":9668,"title":9669,"dynasty":18,"author":9670,"museum":132,"description":9671,"tags":9672,"thumbUrl":9673,"material":47,"size":9674,"collection":104,"collections":9675,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},290355,"chun-wu-cun-ju-tu-zhou-ma-shi-290355","春坞村居图轴","马轼","画幅上方的主峰，奇而不觉突兀，山石峭峰直上，远山笼罩在一片迷蒙的雾中，准确而又充分地表达了作者独特的感受，这正是师承郭熙的画山心法，不仅强调自然山水体貌结构的规律，而且还特别去发现和塑造山水优美的艺术形象。“山形面面看”，“山形步步移”，角度不同而呈现千姿百态，又有别于郭熙的画山之奇异画风。观马轼之山，笔力劲爽含蓄、灵活秀润，无雕琢刻画与粗莽恣肆之弊。从构图和立意上，画家着重墨色浓淡变化，笔锋细劲，设色淡雅。人物虽小，但真实具体，各尽其态。山水景物皆以尖劲利落的细笔勾出，山石用小斧劈皴法，坚凝沉着，棱角分明，以皴点加淡青绿色画出半明半暗的效果，很好的表现了峰峦的质感。树亦以小笔勾点而成，整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味，形成了秀逸而不媚弱，清劲而不霸悍的风格。\n马轼在艺术表现上沁入较多自由清新的气息，如这幅画的山石皴法，固然还可看出传统画法“斧劈皴”的痕迹，但他并不拘泥于前人，而是带有更多的写实意味，用笔细腻沉着，苍秀挺峭，表现了山川苍劲之势和沉着浑厚之气，赋予作品浓郁的生活气息。整个画面的布局上，运用虚实相生的手法，远景山树迷茫，峰峦朦胧，与烟雾相交融，含蓄而更富有真实感。近景大石居中，林树细笔攒簇，柔韧坚挺，更突出了近山的耸拔气象。而茅舍间点缀了正在悠然耕作的人，左峰角小石间似湍湍流动的溪水，使画面的气氛更生动，又营造了画面恬静适淡的意境。马轼是一位宫廷画家，此画在一定程度上也暗示了作者对那种终日应酬、荣辱萦怀的世俗生活的厌倦。从这一个意义上看，《春坞村居图》不但以优美抒情的笔墨描绘了一个自然朴实的春日村居，同时，电是抒发了作者歆羡村居无忧无虑又简单惬意的田园生活及远离世俗的思想情怀。",[24,331,135,93,98,191,33,591,155,97,7,32,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7824d0b618148eddd22cf4a3670ea444.jpg","178.6x112.1",[104],{"id":9677,"slug":9678,"title":8465,"dynasty":18,"author":9679,"museum":360,"description":9680,"tags":9681,"thumbUrl":9682,"material":494,"size":495,"collection":223,"collections":9683,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},288040,"shan-shui-tu-ye-tao-cheng-288040","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[23,24,94,93,27,98,31,7,30,33,191,8433,118,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f03ee7c4a454a27bbbe56bc7379317f.jpg",[],{"id":9685,"slug":9686,"title":3232,"dynasty":246,"author":3233,"museum":360,"description":3234,"tags":9687,"thumbUrl":9688,"material":223,"size":223,"collection":223,"collections":9689,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},237881,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237881",[24,63,234,29,27,94,96,414,7,30,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a42c893bae003e77b5a840a78e92b5c.jpg",[],{"id":9691,"slug":9692,"title":9693,"dynasty":246,"author":1105,"museum":360,"description":6223,"tags":9694,"thumbUrl":9695,"material":223,"size":223,"collection":104,"collections":9696,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},237872,"yun-shan-tu-zhou-wang-jian-237872","云山图轴",[24,63,135,93,98,94,2468,529,439,7,32,96,38,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4f86feecf65a9d018a086dddca5822.jpg",[104,82],{"id":9698,"slug":9699,"title":1767,"dynasty":246,"author":613,"museum":360,"description":931,"tags":9700,"thumbUrl":9701,"material":223,"size":223,"collection":223,"collections":9702,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},237764,"yuan-ji-shan-shui-tu-ce-shi-tao-237764",[24,63,234,93,98,94,7,32,75,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac1ee90f748a167e69acc2042541dba.jpg",[],{"id":9704,"slug":9705,"title":9706,"dynasty":18,"author":1553,"museum":360,"description":9707,"tags":9708,"thumbUrl":9710,"material":223,"size":223,"collection":223,"collections":9711,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},237636,"song-xu-xue-jiang-du-diao-tu-zhou-yi-ming-237636","宋旭雪江独钓图轴","此作用淡墨留白晕染出萧寒江雪，山峦素裹银装，留白衬出积雪的厚重莹润，远山淡渺隐于寒雾，虚实相生，铺就江天空阔辽远的冬日底色。近岸枯木凝雪，虬枝劲挺，虽带冬日萧索却不失清刚之态。滩头寒石隐现，细流凝冰，愈发衬出江风凛冽。扁舟泊于岸侧，渔翁瑟缩船头独钓，于天地冷寂间，晕开一缕孤高隐逸的意趣。全画笔法秀雅简淡，以极简笔墨勾勒出江雪寒林的荒寒之美，将幽人寄情山水、孤高自适的襟怀融于冷寂雪景之中。",[24,93,135,98,94,1721,95,1096,414,7,97,71,9709],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc940a1841726368ad68f75503a2d9d9f.jpg",[],{"id":9713,"slug":9714,"title":2158,"dynasty":18,"author":9715,"museum":360,"description":9716,"tags":9717,"thumbUrl":9718,"material":223,"size":223,"collection":104,"collections":9719,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[24,63,234,93,27,94,96,136,7,32,336,250,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[104],{"id":9721,"slug":9722,"title":9723,"dynasty":246,"author":2535,"museum":60,"description":9724,"tags":9725,"thumbUrl":9726,"material":402,"size":9727,"collection":223,"collections":9728,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},236133,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236133","历朝贤后故事图","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,116,234,26,27,30,5787,31,7,32,293,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25890be726ce156471d5de93f00b20dd.jpg","纵30.8厘米，横37.4厘米",[],{"id":9730,"slug":9731,"title":8699,"dynasty":246,"author":9732,"museum":360,"description":9733,"tags":9734,"thumbUrl":9735,"material":223,"size":223,"collection":104,"collections":9736,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},235895,"shan-shui-tu-ce-guan-quan-235895","官铨","此作以干笔积墨绘山居小景，近岸乱石错落，平田晕着淡墨天光，茂林掩映间茅舍隐现，林叶以点簇堆叠，苍苍莽莽，尽显深幽林下的清寂意趣。\n\n笔墨沉厚朴拙，以密皴铺陈山石林木，墨色干湿互济，淡晕田块与浓墨林梢相映，糅合出温润苍润的质感。左侧题书笔意纵逸，与山水静穆形成动静相生的妙趣，文画呼应，将丘壑藏于尺幅间，暗合幽居忘世的林下襟怀，尽显以笔写心的文人雅逸品格。",[24,63,234,93,98,100,94,439,97,32,7,2910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e9011e0c250b9fb2f2e0483defd6da.jpg",[104],{"id":9738,"slug":9739,"title":9196,"dynasty":246,"author":2986,"museum":360,"description":9197,"tags":9740,"thumbUrl":9741,"material":494,"size":495,"collection":223,"collections":9742,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},235659,"shan-shui-ping-yuan-jiang-235659",[24,28,27,26,94,31,96,7,33,97,30,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba0ef29879681b083ef4cf3223e4053.jpg",[],{"id":9744,"slug":9745,"title":9746,"dynasty":18,"author":3004,"museum":360,"description":3005,"tags":9747,"thumbUrl":9748,"material":678,"size":223,"collection":223,"collections":9749,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷",[23,24,25,93,98,29,118,94,33,75,95,7,121,250,155,206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":9751,"slug":9752,"title":8940,"dynasty":246,"author":613,"museum":60,"description":8941,"tags":9753,"thumbUrl":9754,"material":237,"size":8944,"collection":223,"collections":9755,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},233128,"yuan-ji-shan-shui-ce-shi-tao-233128",[24,63,234,93,27,98,94,7,32,75,414,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4ac134c0a0d2cc60b898eb588378dc.jpg",[],{"id":9757,"slug":9758,"title":9759,"dynasty":18,"author":1392,"museum":60,"description":9760,"tags":9761,"thumbUrl":9762,"material":237,"size":9763,"collection":223,"collections":9764,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},232958,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232958","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[24,63,234,93,100,99,118,94,7,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a14ee541d3763f5d0fed21da63f835.jpg","28.5×15.8厘米",[],{"id":9766,"slug":9767,"title":9768,"dynasty":1933,"author":1553,"museum":360,"description":9769,"tags":9770,"thumbUrl":9772,"material":494,"size":495,"collection":223,"collections":9773,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,27,26,6894,65,30,3178,1606,32,7,38,39,33,2468,4029,3073,9771,9256,1810],"小孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":9775,"slug":9776,"title":9777,"dynasty":246,"author":9778,"museum":360,"description":9779,"tags":9780,"thumbUrl":9781,"material":223,"size":223,"collection":223,"collections":9782,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},230186,"shan-shui-li-zhou-zhang-yin-230186","山水立轴","张崟","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,24,27,98,135,94,293,7,32,75,30,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":9784,"slug":9785,"title":9786,"dynasty":246,"author":1309,"museum":360,"description":9787,"tags":9788,"thumbUrl":9789,"material":223,"size":223,"collection":223,"collections":9790,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,63,25,27,94,98,29,118,100,99,529,530,33,75,31,7,96,154,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":9792,"slug":9793,"title":9794,"dynasty":246,"author":9795,"museum":360,"description":9796,"tags":9797,"thumbUrl":9798,"material":223,"size":223,"collection":223,"collections":9799,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[24,27,117,94,234,98,7,32,95,96,121,439,75,119,564,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":9801,"slug":9802,"title":9803,"dynasty":277,"author":6662,"museum":360,"description":9804,"tags":9805,"thumbUrl":9806,"material":223,"size":223,"collection":223,"collections":9807,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,63,234,93,27,94,7,32,95,33,75,155,250,99,100,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":9809,"slug":9810,"title":94,"dynasty":246,"author":9115,"museum":360,"description":9811,"tags":9812,"thumbUrl":9813,"material":223,"size":223,"collection":223,"collections":9814,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},226637,"shan-shui-pu-ru-226637","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,116,24,63,135,27,98,94,7,32,30,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":9816,"slug":9817,"title":6845,"dynasty":246,"author":1309,"museum":360,"description":9818,"tags":9819,"thumbUrl":9820,"material":223,"size":223,"collection":223,"collections":9821,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,24,25,27,94,98,96,31,7,32,121,33,35,3189,1003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":9823,"slug":9824,"title":9825,"dynasty":246,"author":2037,"museum":360,"description":9826,"tags":9827,"thumbUrl":9829,"material":237,"size":223,"collection":104,"collections":9830,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,63,27,94,98,529,439,96,7,32,440,97,154,365,33,9828],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[104],{"id":9832,"slug":9833,"title":9834,"dynasty":246,"author":2037,"museum":360,"description":9835,"tags":9836,"thumbUrl":9837,"material":223,"size":223,"collection":223,"collections":9838,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,24,93,135,94,96,439,7,32,336,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":9840,"slug":9841,"title":1359,"dynasty":58,"author":1553,"museum":360,"description":9842,"tags":9843,"thumbUrl":9844,"material":223,"size":223,"collection":223,"collections":9845,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[23,24,116,28,27,26,31,7,32,42,30,121,33,365,38,818,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],{"id":9847,"slug":9848,"title":146,"dynasty":58,"author":1553,"museum":132,"description":9849,"tags":9850,"thumbUrl":9851,"material":78,"size":9852,"collection":223,"collections":9853,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[23,24,63,1829,93,98,99,100,118,94,336,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 x 44.1 cm",[],{"id":9855,"slug":9856,"title":9857,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9858,"thumbUrl":9862,"material":164,"size":1461,"collection":223,"collections":9863,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},223037,"hong-lou-meng-162-sun-wen-223037","红楼梦162",[23,26,27,28,30,31,7,39,33,1190,643,8797,9859,5891,9860,9861,645],"盆栽","圆门","石砌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edd479f0a2701bf148e6d6eddbb9fe4.jpg",[],{"id":9865,"slug":9866,"title":9867,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9868,"thumbUrl":9869,"material":164,"size":1461,"collection":223,"collections":9870,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},223004,"hong-lou-meng-129-sun-wen-223004","红楼梦129",[23,24,26,27,25,30,31,39,33,97,7,32,1190,293,818,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e8af6fbf9804e896431718aac1927.jpg",[],{"id":9872,"slug":9873,"title":9874,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9875,"thumbUrl":9877,"material":164,"size":1461,"collection":223,"collections":9878,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},222997,"hong-lou-meng-122-sun-wen-222997","红楼梦122",[23,24,63,26,27,117,30,31,7,32,97,33,39,3178,643,9876,96,645],"门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa92f071f885b8f9db68fa56e69a963.jpg",[],{"id":9880,"slug":9881,"title":9882,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9883,"thumbUrl":9885,"material":164,"size":1461,"collection":223,"collections":9886,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},222981,"hong-lou-meng-106-sun-wen-222981","红楼梦106",[23,24,26,27,94,30,7,32,31,33,9884,3448,616,3849],"家禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023d8c11c694a1cead3245a34ef7bf56.jpg",[],{"id":9888,"slug":9889,"title":9890,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9891,"thumbUrl":9892,"material":164,"size":1461,"collection":223,"collections":9893,"showCount":9648,"zanCount":536,"manualWeight":11,"mainColor":108},222915,"hong-lou-meng-40-sun-wen-222915","红楼梦40",[23,116,24,63,26,27,28,30,31,7,32,33,1190,35,39,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f172211be0327e73b3aba472fcf1de.jpg",[],{"id":9895,"slug":9896,"title":9897,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":9898,"thumbUrl":9899,"material":164,"size":1461,"collection":223,"collections":9900,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},222890,"hong-lou-meng-15-sun-wen-222890","红楼梦15",[23,26,27,28,96,7,32,94,30,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b51568512f7d88d3f05bdc7a896282.jpg",[],{"id":9902,"slug":9903,"title":9904,"dynasty":246,"author":9905,"museum":1277,"description":9906,"tags":9907,"thumbUrl":9908,"material":9909,"size":9910,"collection":223,"collections":9911,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":223},220733,"xun-qin-tu-2-huang-xiang-jian-220733","寻亲图2","黄向坚","此作用笔秀润清和，以平远之法铺展湖山景致。澄澈水湾上架起带亭木桥，松风绕岸、浅渚汀洲晕染着江南烟岚的温润淡霭。简笔勾勒的旅人策蹇徐行，虽形色简淡却藏着行路的劳顿与前路的期许。\n\n画面以淡赭花青晕染，远山轻描淡扫，近岸苍苔缀石，将羁旅的幽微心绪，融在清寂柔婉的山水底色里。没有重彩的铺陈，只以清隽淡远的笔墨，把寻亲途中的缱绻愁思，藏进静穆的湖山叙事中，在山水淡意里晕开深沉的人情温度。",[24,63,94,27,98,7,32,96,30,33,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c3cb14dbdf9ffffa3193966a5956a4.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[],{"id":9913,"slug":9914,"title":9915,"dynasty":246,"author":9905,"museum":1277,"description":9916,"tags":9917,"thumbUrl":9918,"material":9909,"size":9910,"collection":223,"collections":9919,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":223},220731,"xun-qin-tu-4-huang-xiang-jian-220731","寻亲图4","此作用浅绛糅合青绿晕染山水，远景山峦以淡墨轻扫，烟岚浮动间尽显清旷辽远。中近景山石以披麻皴出质，敷色柔和雅致，苍松茂林重笔点染，郁郁苍苍。\n\n长卷铺陈开江南水乡泽国之景，汀洲错落，帆影浮沉于烟波间，板桥村居隐在林木深处，人物往来其间，将山川静穆与人间烟火相融。笔墨兼具元人山水的萧散意趣与吴门画派的雅致温润，未刻意渲染行旅艰涩，只把绵长意绪藏在山光水色里，整体清和淡远，缓缓铺展出江南温润诗意，在咫尺长卷晕染出悠远沉静的山水况味。",[24,63,25,27,94,33,71,3048,7,250,363,96,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ef4d8c19a7a9454ed2cb6e14ceafe4.jpg",[],{"id":9921,"slug":9922,"title":9923,"dynasty":246,"author":1553,"museum":60,"description":9924,"tags":9925,"thumbUrl":9928,"material":27,"size":223,"collection":223,"collections":9929,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":108},217314,"gu-xiu-wu-shi-san-can-tu-ce-2-yi-ming-217314","顾绣·五十三参图册-2","画面分两开，以细腻针法铺陈善财童子参访场景。左开中，童子随师行于云畔石径，师者持杖缓行，衣袂飘举如流云；童子红衣恭立，眉眼间满是专注。右开里，童子跪地拜谒，对面菩萨身披黄衣，顶现圆光，姿态端凝似山。背景山水以淡彩绣线晕染，云雾缭绕处，山石树木层次隐现。顾绣绣画结合的妙处在此尽显：人物衣纹用滚针勾勒，流畅如墨线；山水云雾以散套、接针过渡，虚实间藏空灵。整体风格清雅悠远，既有笔墨的诗意，又含绣线的肌理，生动传递出求法的虔诚与禅意的宁静，是绣艺与人文意涵交融的佳作。",[246,9926,27,26,234,1665,30,94,2468,529,3415,7,32,616,9927],"刺绣","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b3d063beda5526326428715d9f7cafd.jpg",[],{"id":9931,"slug":9932,"title":9933,"dynasty":58,"author":8542,"museum":864,"description":8543,"tags":9934,"thumbUrl":9935,"material":47,"size":8547,"collection":223,"collections":9936,"showCount":9648,"zanCount":536,"manualWeight":11,"mainColor":108},216917,"xiang-shan-jiu-lao-tu-4-ma-xing-zu-216917","香山九老图-4",[23,24,63,25,26,27,98,30,7,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e02bcbe47a33ba1d078cd2f5d2205.jpg",[],{"id":9938,"slug":9939,"title":9940,"dynasty":246,"author":1441,"museum":328,"description":7633,"tags":9941,"thumbUrl":9943,"material":102,"size":223,"collection":223,"collections":9944,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":54},214598,"fang-gu-shan-shui-ce-6-wang-hui-214598","仿古山水册-6",[24,63,234,93,27,94,1470,95,7,414,136,97,9942,98],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804475af6895468bf0eb564fb42b92ab.jpg",[],{"id":9946,"slug":9947,"title":2772,"dynasty":5727,"author":9948,"museum":90,"description":9949,"tags":9950,"thumbUrl":9951,"material":223,"size":223,"collection":104,"collections":9952,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":9953},203152,"shan-shui-tu-zhou-chen-shi-ceng-203152","陈师曾","这幅画以水墨晕染出悠远意境，皴法勾勒山石肌理，远近山峦层次分明，苍劲中透着朴拙。近景林木错落，枯荣交织，枝桠虬曲见风骨；几间茅舍隐于林麓，伴小桥跨溪、流水潺潺，流露隐逸之趣。构图疏密有致，笔墨简淡却意韵醇厚，于自然景致中传递出静谧闲适的文人情怀，尽显传统山水画的雅致与随性，简括中见生机，清幽里藏深味。",[24,93,94,98,7,32,33,7355,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f801eeb970ddee523b59e849841175d.jpg",[104],"c8c1b7",{"id":9955,"slug":9956,"title":9957,"dynasty":5727,"author":5728,"museum":90,"description":9958,"tags":9959,"thumbUrl":9960,"material":223,"size":223,"collection":104,"collections":9961,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":9962},202956,"feng-xi-ji-you-tu-zhou-huang-bin-hong-202956","丰溪纪游图轴","画面层峦叠嶂，林木葱郁，山间楼阁隐现，溪畔小桥卧波，尽显江南山水的灵秀幽深。笔墨以水墨为底，皴擦点染交错，线条苍劲老辣，墨色浓淡相宜，浑厚华滋中见清逸之气。树木虬曲挺拔，与山石相映成趣，营造出静谧悠远的纪游意境，仿佛可闻溪声，可观林泉，尽显传统山水画的笔墨神韵与文人情怀。",[24,94,93,98,31,7,136,97,6215,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4813947f247d5f31488ee74d969522f7.jpg",[104],"cfc5b3",{"id":9964,"slug":9965,"title":9966,"dynasty":246,"author":9967,"museum":90,"description":9968,"tags":9969,"thumbUrl":9970,"material":223,"size":223,"collection":104,"collections":9971,"showCount":9648,"zanCount":11,"manualWeight":11,"mainColor":9972},202106,"yun-yue-song-tu-zhou-li-shi-zhuo-202106","云岳松图轴","李世倬","山峦层叠间云雾轻绕，飞瀑自岩隙倾泻而下，溪流蜿蜒穿林而过。山间松杉错落，小径隐于草木，溪边茅屋数椽，偶见行人凭桥而立，尽显林泉幽致。笔墨清润，皴染相济，山石勾勒简劲见质感，树木点染疏密相宜，意境空灵悠远，既藏自然野趣，又含文人雅韵，仿佛泉声松涛隐隐可闻，引观者步入静谧山林之境。",[24,63,135,94,98,27,7,32,206,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a790e47b9da5174b054b56637edafb8.jpg",[104],"b7a590",{"id":9974,"slug":9975,"title":9976,"dynasty":277,"author":1553,"museum":360,"description":9977,"tags":9978,"thumbUrl":9979,"material":494,"size":495,"collection":223,"collections":9980,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},290799,"xi-qiao-feng-yu-zhou-yi-ming-290799","溪桥风雨轴","录入：石渠宝笈初编（养心殿），上册，668页；故宫书画录（卷八），第四册，71页；故宫书画图录，第五册，247-248页",[24,135,93,27,30,744,7,137,281,1190,2062,94,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa98b74ce73c39e18efdf62315e0ddca.jpg",[],16,{"id":9983,"slug":9984,"title":9985,"dynasty":58,"author":1553,"museum":132,"description":9986,"tags":9987,"thumbUrl":9988,"material":308,"size":9989,"collection":80,"collections":9990,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},290766,"xi-shan-chu-xue-zhou-yi-ming-290766","溪山初雪轴","写雪后山岭清冷寒寂之景。深谷大山，古木怪石，山路蜿蜒，溪流潺潺，屋宇坐落在山脚下，行人行进于小桥上。画面气韵殊胜，笔墨高古，山路盘旋，水泉插天，宫殿出没，林木萧瑟，构图严谨而多变，作者延续了北宋山水画可居可游的构图方式，把人与山川紧密地融合在一起，打破了冬日山川的荒凉之感。",[24,94,135,1721,98,97,414,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c32ff595d114902698a69c188d47bc.jpg","181.9x101.9",[80],{"id":9992,"slug":9993,"title":9994,"dynasty":18,"author":1126,"museum":360,"description":9995,"tags":9996,"thumbUrl":9997,"material":494,"size":495,"collection":223,"collections":9998,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},290619,"sui-shan-tao-shi-zhou-zhang-hong-290619","绥山桃实轴","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,63,116,135,117,27,94,31,293,119,7,152,30,365,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff69830017c4619fdc8ecbb0cf78341.jpg",[],{"id":10000,"slug":10001,"title":10002,"dynasty":277,"author":1330,"museum":360,"description":10003,"tags":10004,"thumbUrl":10005,"material":494,"size":495,"collection":223,"collections":10006,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},290253,"shan-xi-yun-shu-tu-zhao-yuan-290253","剡溪云树图","画江浙一带溪山平远之境，丘陵蜿蜒，草木丰茸，云蒸霞蔚，笔墨圆厚华滋，淳雅文秀有书卷气，画法与元人马文璧同调。本幅及卷后有陆友、奂祖明、陈方、仇远、张天英等多人题跋，本幅更有乾隆御书七古长诗，以为乃写会稽山水，故有“剡溪云树”之标识。诗中有句云：“传神犹在烟霞外，肯让董源第一流?”推崇可谓备之。故《石渠宝笈•初编》定为上等，可见钟爱之深也。卷后有近人萱晖堂主程伯奋多次考识，以元人张伯英诗题“画山水歌题赵宜之卷”而定为金代赵元字宜之者。因赵元后来几乎失明，宜之画世无第二本，此或许是孤本了。",[23,24,25,331,93,98,191,33,155,32,366,7,75,100,118,6968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0afad2ea03fa3328ac2e549f14dc8804.jpg",[],{"id":10008,"slug":10009,"title":10010,"dynasty":277,"author":10011,"museum":360,"description":10012,"tags":10013,"thumbUrl":10016,"material":494,"size":495,"collection":223,"collections":10017,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},289551,"lu-tai-guan-yue-tu-zhang-ke-guan-289551","露台观月图","张可观","张可观的作品流传下来的极少，此幅作品几乎是现在唯一能够找到的张可观的传世画作\n从这幅画里，可以很明显地感受到源自马远的边角风格，楼台的界画画法，奇崛的松树以及苍润的远山，都显示出宋代院体画的高古气韵。",[24,116,27,30,94,10014,293,7,31,743,7150,10015],"露台","观月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3efc946a9f551f581db180b0222eef.jpg",[],{"id":10019,"slug":10020,"title":10021,"dynasty":18,"author":1553,"museum":360,"description":10022,"tags":10023,"thumbUrl":10026,"material":494,"size":495,"collection":223,"collections":10027,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},287830,"zhao-jun-chu-sai-tu-yi-ming-287830","昭君出塞图","此作用淡晕山水铺陈出塞地辽寂荒寒，平沙远晕染出空阔萧索的塞北底色。近景渡口车马簇聚、行人揖别，细腻勾勒出饯行人群的依依愁绪，将离别的缱绻尽数藏在攒动身影与待发车马之间。\n\n工写相融的笔触，将千古典故里的沉郁叹惋具象化。搭配遒劲题字书画合璧，既以细腻叙事场景还原汉塞之别，又借悠远山水烘托出出塞征程的苍茫苍凉，将离愁与荒寒意境相融，尽显旧典的悠长余味，寄寓着对这段往事的深沉叹惜。",[23,24,63,2084,27,744,65,7,492,94,10024,10025,118,99,100],"历史事件","昭君出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154b051c5a32df91e9be9ff6b7fa7ebb.jpg",[],{"id":10029,"slug":10030,"title":10031,"dynasty":277,"author":2372,"museum":132,"description":10032,"tags":10033,"thumbUrl":10035,"material":208,"size":10036,"collection":104,"collections":10037,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},287761,"yu-hou-kong-lin-zhou-ni-zan-287761","雨后空林轴","画中山石多用披麻、折带皴，干笔淡墨，浓墨点苔，敷色清淡温和。整个画面布局充实饱满，平稳而有变，景象开阔，意境清淡萧疏，雨霁林空之景，宛然目前。而且，倪瓒的多数作品，写景极简，而这件作品则写高大山川，景物丰富。",[116,24,63,135,93,27,94,98,10034,7,32,136,96,99,100,118],"空林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29f3553e93f9b3a86dddb9e78143330.jpg","63.5x37.6",[104],{"id":10039,"slug":10040,"title":10041,"dynasty":246,"author":5651,"museum":360,"description":10042,"tags":10043,"thumbUrl":10044,"material":223,"size":223,"collection":223,"collections":10045,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},238241,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238241","山静日长图册","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[116,24,63,234,27,94,98,97,33,7,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4b01e9057d3e56b02266fca872cf57.jpg",[],{"id":10047,"slug":10048,"title":2158,"dynasty":246,"author":6728,"museum":360,"description":10049,"tags":10050,"thumbUrl":10051,"material":494,"size":495,"collection":104,"collections":10052,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},237997,"shan-shui-ce-qin-zu-yong-237997","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。",[24,63,234,93,100,118,98,94,7,32,96,33,97,152,75,253,1862,191,190,6215,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[104,51],{"id":10054,"slug":10055,"title":8363,"dynasty":18,"author":6330,"museum":360,"description":8364,"tags":10056,"thumbUrl":10057,"material":494,"size":495,"collection":223,"collections":10058,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":1224},237870,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-237870",[24,63,1829,93,98,94,1721,33,75,30,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c30cc20242b010b260c4ea9c2cc93e.jpg",[],{"id":10060,"slug":10061,"title":10062,"dynasty":18,"author":10063,"museum":360,"description":10064,"tags":10065,"thumbUrl":10066,"material":494,"size":495,"collection":223,"collections":10067,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},237405,"fang-gao-ke-gong-shan-shui-shan-chen-xuan-zao-237405","仿高克恭山水扇","陈玄藻","陈玄藻（16世纪－17世纪），字尔鉴，福建兴化府莆田县人，明朝、南明政治人物。",[24,1829,93,98,29,94,33,75,7,250,363,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1ddca81f206acc1b3ab61c8e4a5e6cf.jpg",[],{"id":10069,"slug":10070,"title":10071,"dynasty":18,"author":10072,"museum":360,"description":10073,"tags":10074,"thumbUrl":10075,"material":237,"size":223,"collection":104,"collections":10076,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},237049,"hua-hui-ren-wu-ce-mao-fu-guang-237049","花卉人物册","毛复光","此作用笔简淡枯疏，以披麻皴写远山，浓墨点染近树，层次分明。近岸老枝虬曲，浓荫裹着茅庐藏于幽隅，板桥之上，策杖缓行的幽人似在流连烟水。江波澹澹衔着远峰，留白处尽显空寂萧散。题跋小字清雅安闲，与画面浑融一体。整体以简淡笔墨勾勒出林下幽居、江湖独往的隐逸意趣，将文人寄情丘山、静享林泉的闲淡心绪藏于尺幅之间，素朴浅淡中见出清逸隽永的文人风骨。",[24,93,234,94,7,30,439,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa461e34847460aa5f0d31bc5c0284aa3.jpg",[104,51],{"id":10078,"slug":10079,"title":9196,"dynasty":246,"author":2986,"museum":360,"description":9197,"tags":10080,"thumbUrl":10081,"material":494,"size":495,"collection":223,"collections":10082,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},235665,"shan-shui-ping-yuan-jiang-235665",[24,135,27,28,26,98,94,578,33,7,75,440,32,155,97,817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],{"id":10084,"slug":10085,"title":9196,"dynasty":246,"author":2986,"museum":360,"description":9197,"tags":10086,"thumbUrl":10087,"material":494,"size":495,"collection":223,"collections":10088,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},235662,"shan-shui-ping-yuan-jiang-235662",[24,28,27,26,94,31,7,32,33,30,95,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238122f674eb97d8704f7c20926c2a83.jpg",[],{"id":10090,"slug":10091,"title":9196,"dynasty":246,"author":2986,"museum":360,"description":9197,"tags":10092,"thumbUrl":10094,"material":494,"size":495,"collection":223,"collections":10095,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},235660,"shan-shui-ping-yuan-jiang-235660",[24,116,63,28,26,27,98,94,31,7,121,136,336,10093],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905a085c5f592f1e8d1d52a233bbe9f6.jpg",[],{"id":10097,"slug":10098,"title":10099,"dynasty":246,"author":1686,"museum":60,"description":10100,"tags":10101,"thumbUrl":10102,"material":4350,"size":10103,"collection":223,"collections":10104,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","物外田园图册","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[24,93,98,234,99,100,94,97,33,7,96,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg","纵21.5cm，横16.9cm",[],{"id":10106,"slug":10107,"title":8708,"dynasty":18,"author":10108,"museum":360,"description":10109,"tags":10110,"thumbUrl":10111,"material":494,"size":495,"collection":223,"collections":10112,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},234839,"shan-shui-shan-mian-wei-zhi-huang-234839","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,63,1829,93,94,33,75,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff739d6ab5a66ed9fd5bc38b5f836358.jpg",[],{"id":10114,"slug":10115,"title":10116,"dynasty":246,"author":7031,"museum":60,"description":10117,"tags":10118,"thumbUrl":10119,"material":402,"size":10120,"collection":223,"collections":10121,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[24,135,27,94,98,529,530,152,7,96,439,75,644,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":10123,"slug":10124,"title":10125,"dynasty":18,"author":10126,"museum":60,"description":10127,"tags":10128,"thumbUrl":10129,"material":678,"size":223,"collection":223,"collections":10130,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,24,63,25,93,94,30,75,33,98,7,32,366,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg",[],{"id":10132,"slug":10133,"title":10134,"dynasty":18,"author":10135,"museum":60,"description":7684,"tags":10136,"thumbUrl":10137,"material":678,"size":223,"collection":223,"collections":10138,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋",[23,116,24,63,25,27,94,98,97,293,31,7,32,75,40,1617,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":10140,"slug":10141,"title":9236,"dynasty":246,"author":247,"museum":60,"description":10142,"tags":10143,"thumbUrl":10144,"material":678,"size":10145,"collection":223,"collections":10146,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,63,25,93,94,98,99,100,118,529,530,33,96,7,32,95,176,75,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":10148,"slug":10149,"title":10150,"dynasty":18,"author":10151,"museum":360,"description":10152,"tags":10153,"thumbUrl":10154,"material":223,"size":223,"collection":223,"collections":10155,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},234131,"xue-ye-mu-gui-juan-huang-chang-yan-234131","雪夜暮归卷","黄昌言","黄景明，字可文，福建晋江县人，明末清初政治人物。同进士出身。\n崇祯七年，登甲戌进士，选长乐县知县，擢礼部仪制司郎，督学粤西。迁浙江三衢副使",[23,24,63,25,93,26,94,7,32,31,96,136,492,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1eff41757c4a05ff903d7cf006d215.jpg",[],{"id":10157,"slug":10158,"title":10159,"dynasty":18,"author":2122,"museum":60,"description":10160,"tags":10161,"thumbUrl":10162,"material":237,"size":223,"collection":223,"collections":10163,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[24,63,25,93,94,98,99,118,100,33,7,32,96,121,252,250,1129,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":10165,"slug":10166,"title":10167,"dynasty":246,"author":5979,"museum":60,"description":10168,"tags":10169,"thumbUrl":10170,"material":164,"size":223,"collection":223,"collections":10171,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[116,24,63,25,93,27,94,293,31,7,32,95,96,118,33,75,35,250,1799,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":10173,"slug":10174,"title":10175,"dynasty":18,"author":1267,"museum":60,"description":10176,"tags":10177,"thumbUrl":10178,"material":2961,"size":4511,"collection":223,"collections":10179,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,63,234,93,27,94,33,31,176,39,7,99,100,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg",[],{"id":10181,"slug":10182,"title":10183,"dynasty":277,"author":2372,"museum":360,"description":10184,"tags":10185,"thumbUrl":10186,"material":237,"size":10187,"collection":223,"collections":10188,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},232777,"jiu-long-shan-ju-tu-ni-zan-232777","九龙山居图","图中高峰耸立，草木秀润，山下苍松挺立，远山连绵。\n水畔平坡，隐者正立于枯枝下，观赏山色。\n画法取于王蒙，并带有盛懋皴法的特点。\n线条多用中锋，并以水墨渲染，笔法转折灵活，墨色苍润，气韵浑厚。\n该图大体可分为远景、中景、近景三段式：远景为高山峻岭，悬崖峭壁，主峰巍峨，形势十分险峻；中景为山腰，和悬崖峭壁夹江对岸的平缓山坡，期间树木和杂草丛生；近景为山坡和平地，长有几棵树干粗大的苍松和杂树，有的盘根虬曲，枝叶茂密，树荫下的茅亭座落期间，弯树下有一位长者，站在水畔平坡上，作回首之状，观赏山色，后有一僮子携琴随后。\n画面的右侧为开阔湖面，湖水平如镜，平湖滩渚参差。",[23,24,63,25,93,98,100,99,116,94,336,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379cd8c73503fa9cc5d8274d05b2de7f.jpg","27.9×146.1cm",[],{"id":10190,"slug":10191,"title":10192,"dynasty":1933,"author":10193,"museum":360,"description":10194,"tags":10195,"thumbUrl":10196,"material":494,"size":495,"collection":223,"collections":10197,"showCount":9981,"zanCount":536,"manualWeight":11,"mainColor":54},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,63,93,27,94,31,95,32,97,33,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":10199,"slug":10200,"title":10201,"dynasty":58,"author":1553,"museum":360,"description":10202,"tags":10203,"thumbUrl":10204,"material":223,"size":223,"collection":223,"collections":10205,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},231055,"song-quan-pan-shi-tu-yi-ming-231055","松泉磐石图","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,63,116,135,93,27,98,293,32,152,1994,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":10207,"slug":10208,"title":10209,"dynasty":1933,"author":1553,"museum":360,"description":10210,"tags":10211,"thumbUrl":10213,"material":223,"size":223,"collection":223,"collections":10214,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,63,25,27,26,28,94,30,31,95,1096,65,439,2468,10212,32,840,7,96],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":10216,"slug":10217,"title":587,"dynasty":277,"author":1360,"museum":360,"description":10218,"tags":10219,"thumbUrl":10220,"material":223,"size":223,"collection":223,"collections":10221,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},228055,"qiu-shan-xing-lv-tu-wang-zhen-peng-228055","此作用色沉郁苍润，虽经年色泽淡褪，青绿晕染的层叠山峦依旧幽邃厚重，尽显秋山沉静萧疏之态。边角处板桥茅舍隐现，策杖旅人徐行于郊野，将行旅清寂融于林山空寂之间。咫尺扇面以山林为骨，把山居行旅的闲逸藏于一隅，以简淡笔墨铺展山野深幽，暗合文人林泉高致的寄怀，晕染出空灵淡远的山水意韵。",[23,24,63,1829,27,94,30,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa5a9693bc3afcdabe1cdbda25bf66e.jpg",[],{"id":10223,"slug":10224,"title":10225,"dynasty":58,"author":1553,"museum":360,"description":10226,"tags":10227,"thumbUrl":10228,"material":223,"size":223,"collection":223,"collections":10229,"showCount":9981,"zanCount":536,"manualWeight":11,"mainColor":54},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,63,1829,26,27,30,66,2343,7,32,33,94,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":10231,"slug":10232,"title":4616,"dynasty":1174,"author":1553,"museum":360,"description":10233,"tags":10234,"thumbUrl":10235,"material":223,"size":223,"collection":223,"collections":10236,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},227129,"gong-yuan-tu-juan-yi-ming-227129","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[23,24,63,25,27,28,26,94,31,7,32,30,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":10238,"slug":10239,"title":10240,"dynasty":246,"author":10241,"museum":360,"description":10242,"tags":10243,"thumbUrl":10244,"material":223,"size":223,"collection":223,"collections":10245,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},224240,"tan-xue-tu-juan-li-zong-wan-224240","探雪图卷","励宗万","此作用平远视角铺展林泉雅境，以披麻皴绘层峦，石骨温润，淡赭晕染出浅淡暖意，衬出山峦清和质感。长溪蜿蜒穿谷，汀渚错落板桥连缀村居，黛瓦茅庐或临水依崖，或藏于花林松荫。\n\n山径、板桥之上，雅士策杖寻幽、携琴晤谈，暗合林泉高致。桃林初绽、松枝苍劲，红白点缀浅绛山水之间，冷润雅致。全卷以精工细笔写尽山居闲旷，将文人心中的世外烟霞融于尺幅，尽显静谧悠然的林下意趣，淡远清和的气息漫卷整幅画卷。",[23,24,63,25,26,98,27,94,1721,7,32,30,31,33,97,252,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435c1018f07729175bd8cc1346e76e1.jpg",[],{"id":10247,"slug":10248,"title":10249,"dynasty":58,"author":1553,"museum":60,"description":10250,"tags":10251,"thumbUrl":10252,"material":164,"size":10253,"collection":223,"collections":10254,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},223567,"xi-shan-shui-ge-tu-ye-yi-ming-223567","溪山水阁图页","此幅绘溪水寒林，峭壁危岩，远山空濛，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[23,24,93,27,94,31,7,32,414,97,118,28,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d0e302f06c57c4580f073851fafef4.jpg","24.2x24.7厘米",[],{"id":10256,"slug":10257,"title":10258,"dynasty":246,"author":10259,"museum":60,"description":10260,"tags":10261,"thumbUrl":10263,"material":10264,"size":10265,"collection":223,"collections":10266,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":10267},223138,"shi-wan-tu-ce-2-ren-xiong-223138","十万图册2","任熊","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,27,117,234,94,7,32,97,33,10262,191],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa311e26ff691a0434dbe5bba9651f404.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":10269,"slug":10270,"title":10271,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10272,"thumbUrl":10274,"material":164,"size":1461,"collection":223,"collections":10275,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},222998,"hong-lou-meng-123-sun-wen-222998","红楼梦123",[23,24,26,27,28,10273,30,31,7,32,94,33,1190,97,39,643,25],"工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3d2b2bd82d67d2ccc6c16c249509af.jpg",[],{"id":10277,"slug":10278,"title":10279,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10280,"thumbUrl":10281,"material":164,"size":1461,"collection":223,"collections":10282,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},222976,"hong-lou-meng-101-sun-wen-222976","红楼梦101",[23,24,26,27,28,30,744,31,7,32,1190,33,97,39,643,2886,1936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e3520e31f52a016ab2b6241dc426b5.jpg",[],{"id":10284,"slug":10285,"title":10286,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10287,"thumbUrl":10293,"material":164,"size":1461,"collection":223,"collections":10294,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},222896,"hong-lou-meng-21-sun-wen-222896","红楼梦21",[23,116,24,63,25,26,27,164,10288,10289,10290,7,32,30,744,33,1190,281,97,643,39,10291,10292,38,3505],"工笔人物","设色山水","亭台楼阁","园林景观","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff0777d2de3e5717a1c6f1d360c602d.jpg",[],{"id":10296,"slug":10297,"title":10298,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10299,"thumbUrl":10300,"material":164,"size":1461,"collection":223,"collections":10301,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},222894,"hong-lou-meng-19-sun-wen-222894","红楼梦19",[23,24,26,27,28,30,744,97,281,643,7,32,31,39,119,33,1936,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2c4e660b88590e6eefe8db1f011b8b.jpg",[],{"id":10303,"slug":10304,"title":10305,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10306,"thumbUrl":10307,"material":164,"size":1461,"collection":223,"collections":10308,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},222881,"hong-lou-meng-6-sun-wen-222881","红楼梦6",[23,24,26,27,30,31,7,32,414,950,643,39,5787,5891,1936],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e547ee9dedaa18f191e910c7079bf9.jpg",[],{"id":10310,"slug":10311,"title":10312,"dynasty":18,"author":4599,"museum":20,"description":10313,"tags":10314,"thumbUrl":10315,"material":164,"size":10316,"collection":223,"collections":10317,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[23,24,93,27,234,25,98,94,7,32,95,136,137,31,30,118,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 x 30.5",[],{"id":10319,"slug":10320,"title":10321,"dynasty":277,"author":10322,"museum":60,"description":10323,"tags":10324,"thumbUrl":10325,"material":2899,"size":10326,"collection":223,"collections":10327,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},221806,"xian-zhi-zhai-tu-juan-wu-zhi-zhong-221806","闲止斋图卷","吴致中","此图是吴致中为他的族人吴彦能所绘山间别墅“闲止斋”的景致。\n画家自题：“野外罕人事，即事多所欣。坐止高荫下，遥遥望白云。东园吴致中为宗人彦能写闲止斋并集陶句。”下钤“延陵世家”、“吴致中”2印。\n吴彦能，字子乃，元末延陵（今江苏常州）人。出身于官宦世家，自幼受到良好的教育，曾拜在经学大师胡仲彝门下，在春秋学研究方面有很深的造诣，后隐居于至亲郑居贞的家乡歙南溪（今安徽东南部、新安江上游）。吴彦能最敬慕东晋名士陶渊明弃官归隐之高操，故将自己的隐居之所取名为“闲止斋”。\n此图在艺术手法上采用平远式构图，将近景、中景、远景有机地结合起来。画面近处高树耸立于湖畔，作为主体的“闲止斋”掩映于林木间。对江平沙曲岸，远岫遥岺，生动地点画出元代文人理想中的山林野趣。\n全画笔墨简练而不放纵，从勾皴点染之间营造出清幽雅静的氛围。山石的画法用卷云皴，可明显地看出北宋郭熙绘画技法的影响。吴致中存世作品极少，《闲止斋图》是了解其画风的重要实物资料。",[23,24,63,25,93,27,94,31,7,32,336,96,121,136,100,2842,118,98,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00874a1dadd20cefff589827a0c57942.jpg","21.8厘米，横1.9厘米。",[],{"id":10329,"slug":10330,"title":10331,"dynasty":18,"author":2867,"museum":60,"description":10332,"tags":10333,"thumbUrl":10334,"material":47,"size":10335,"collection":104,"collections":10336,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},219218,"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[23,24,63,25,94,27,93,98,100,99,118,31,97,33,96,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[104],{"id":10338,"slug":10339,"title":10340,"dynasty":2012,"author":2013,"museum":360,"description":10341,"tags":10342,"thumbUrl":10343,"material":208,"size":223,"collection":223,"collections":10344,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":108},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,63,93,98,94,31,95,7,33,97,155,99,3457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg",[],{"id":10346,"slug":10347,"title":10348,"dynasty":246,"author":1441,"museum":328,"description":7633,"tags":10349,"thumbUrl":10350,"material":102,"size":223,"collection":223,"collections":10351,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},214601,"fang-gu-shan-shui-ce-4-wang-hui-214601","仿古山水册-4",[24,234,94,93,27,29,98,7,32,97,152,33,75,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb92338e3965f50d1b87453e6a88b9d0.jpg",[],{"id":10353,"slug":10354,"title":10355,"dynasty":246,"author":1441,"museum":328,"description":7633,"tags":10356,"thumbUrl":10357,"material":102,"size":223,"collection":223,"collections":10358,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":54},214600,"fang-gu-shan-shui-ce-5-wang-hui-214600","仿古山水册-5",[24,63,234,93,528,98,94,31,7,32,136,97,30,440,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d0f71d53f38e75d651baa858c567130.jpg",[],{"id":10360,"slug":10361,"title":10362,"dynasty":5727,"author":5728,"museum":90,"description":10363,"tags":10364,"thumbUrl":10365,"material":223,"size":223,"collection":104,"collections":10366,"showCount":9981,"zanCount":11,"manualWeight":11,"mainColor":10367},202999,"jie-wu-qiu-yan-tu-zhou-huang-bin-hong-202999","结屋秋烟图轴","秋烟漫笼的层峦间，茅屋依岩而筑，溪涧绕石流淌。山石以苍劲皴笔勾勒，枯湿浓墨交织出浑厚质感；虬曲老树傍水而立，枝桠疏朗带秋意。小桥横跨溪上，孤舟静泊浅滩，处处透着幽居的清寂。笔墨兼用积墨、破墨之法，墨色晕染中见层次，丘壑间藏灵动，尽显山水的深邃与空濛之美。",[94,98,93,95,7,136,97,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a92107bcb6dac2dbecbe0d2ff0115.jpg",[104],"cbc4b7",{"id":10369,"slug":10370,"title":10371,"dynasty":277,"author":278,"museum":132,"description":10372,"tags":10373,"thumbUrl":10374,"material":208,"size":10375,"collection":223,"collections":10376,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},290734,"qiu-shan-die-cui-zhou-zhu-shu-zhong-290734","秋山叠翠轴","朱叔重[元]一作叔中，吴（今江苏苏州）人，一云娄东（今江苏太仓）人。工画，每赋一时，得摹写之妙，辄肆笔绘之。尝曰：“王维水田白鹭、夏木黄鹂之诗，即画也。",[24,116,93,94,135,3823,7,32,31,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb59a572bfd9b248af8e79cb002c6a03.jpg","69.5x26.4",[],{"id":10378,"slug":10379,"title":10380,"dynasty":246,"author":247,"museum":360,"description":10381,"tags":10382,"thumbUrl":10384,"material":494,"size":495,"collection":223,"collections":10385,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},290386,"jiang-shan-wo-you-tu-di-yi-bai-wu-shi-juan-cheng-zheng-kui-290386","江山卧游图(第一百五十卷)","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,24,25,93,94,97,1202,7,32,10383,98,99,118],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd991e50ebb9912ad98f0e5bd43f85a.jpg",[],{"id":10387,"slug":10388,"title":10389,"dynasty":277,"author":2362,"museum":360,"description":6080,"tags":10390,"thumbUrl":10391,"material":494,"size":495,"collection":223,"collections":10392,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},290264,"shan-shui-tu-ke-luo-ban-wu-zhen-290264","山水图（珂罗版）",[23,116,24,63,135,93,94,98,7,32,33,97,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567aa9a65c7f4ddf17f2f831344484e3.jpg",[],{"id":10394,"slug":10395,"title":4546,"dynasty":488,"author":10396,"museum":360,"description":10397,"tags":10398,"thumbUrl":10399,"material":494,"size":495,"collection":223,"collections":10400,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},289870,"yun-shan-tu-zhong-yin-289870","钟隐","钟隐，五代南唐人物，字晦叔，天台（今浙江天台）人，盖处士也。好画花竹禽鸟。",[24,116,63,135,93,98,94,7509,136,7,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c35661a4dcd7d3b6c2f8566ab7067fe.jpg",[],{"id":10402,"slug":10403,"title":3643,"dynasty":277,"author":2362,"museum":360,"description":10404,"tags":10405,"thumbUrl":10406,"material":494,"size":495,"collection":223,"collections":10407,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},289012,"jia-he-ba-jing-tu-wu-zhen-289012","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。",[23,116,24,25,63,93,94,250,31,7,32,96,121,75,33,99,118,100,4768,6146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fc8353ae0102fb4a9641a461d079bf.jpg",[],{"id":10409,"slug":10410,"title":1359,"dynasty":58,"author":1553,"museum":360,"description":10411,"tags":10412,"thumbUrl":10415,"material":494,"size":495,"collection":223,"collections":10416,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},288364,"jin-ming-chi-zheng-biao-tu-yi-ming-288364","《金明池争标图》绘金明池及岸边的景物和人物。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。\n《金明池争标图》上众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。\n《金明池争标图》中描绘的景物、活动与宋孟元老所撰《东京梦华录》等史料中相关的记载吻合，因此又具有较高的历史文献价值。",[116,24,28,26,27,31,7,32,400,10413,365,281,10414],"池苑","龙舟争标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599da7a1c7e07ac0c449915bde4d91c3.jpg",[],{"id":10418,"slug":10419,"title":10420,"dynasty":246,"author":7492,"museum":360,"description":7493,"tags":10421,"thumbUrl":10422,"material":494,"size":495,"collection":223,"collections":10423,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},288030,"tian-ping-shan-jing-tu-wang-bing-288030","天平山景图",[24,116,63,135,93,94,7,32,31,136,97,118,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab36ff244ad3ea89c6dfff1f443d59e.jpg",[],{"id":10425,"slug":10426,"title":2158,"dynasty":246,"author":10427,"museum":360,"description":10428,"tags":10429,"thumbUrl":10430,"material":223,"size":223,"collection":104,"collections":10431,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},239005,"shan-shui-ce-li-dong-239005","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,63,234,27,93,98,94,7,32,96,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[104,51],{"id":10433,"slug":10434,"title":10435,"dynasty":58,"author":3560,"museum":360,"description":10436,"tags":10437,"thumbUrl":10438,"material":223,"size":223,"collection":223,"collections":10439,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},238957,"guan-shan-ji-xue-tu-ye-yan-su-238957","关山积雪图页","层峦素雪覆裹，棱脉以淡墨皴擦晕染，将隆冬山巅的萧寒厚重尽显。枯木虬枝错落山间，褪去芳华尽显遒劲风骨，山坳茅舍隐现板桥通途，车马徐行于雪径，为冷寂天地晕开些许烟火暖意。\n\n右上林峦间佛塔藏幽，左上危崖栈道飞桥凌虚，为山水添出世清寂。整作设色古雅简澹，以赭石托出积雪留白，融全景山势的辽远与边角意趣于一体，在荒寒冬景里暗渡生息，尽显于萧寒中暗藏温柔生机的山水意韵。",[24,27,98,3457,94,529,3563,414,7,32,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f78e16e9053b9cf2cbd0db2de712553.jpg",[],{"id":10441,"slug":10442,"title":10443,"dynasty":246,"author":1441,"museum":360,"description":10444,"tags":10445,"thumbUrl":10446,"material":223,"size":223,"collection":104,"collections":10447,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},238947,"shan-shui-ye-wang-hui-238947","山水页","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[24,63,93,27,98,234,94,33,7,32,121,97,7355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[104,51],{"id":10449,"slug":10450,"title":10451,"dynasty":18,"author":1126,"museum":360,"description":9995,"tags":10452,"thumbUrl":10453,"material":494,"size":495,"collection":223,"collections":10454,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},237819,"hu-shan-wan-yue-shan-zhang-hong-237819","虎山玩月扇",[24,63,1829,93,94,7,31,439,743,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46bf4220d1645be60da2305a7e7aca.jpg",[],{"id":10456,"slug":10457,"title":653,"dynasty":246,"author":2159,"museum":360,"description":10458,"tags":10459,"thumbUrl":10460,"material":378,"size":223,"collection":104,"collections":10461,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},237688,"shan-shui-zhou-sun-yi-237688","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。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[24,63,135,93,98,94,439,564,206,75,97,7,32,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[104],{"id":10463,"slug":10464,"title":10465,"dynasty":246,"author":10466,"museum":360,"description":10467,"tags":10468,"thumbUrl":10471,"material":223,"size":223,"collection":104,"collections":10472,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[24,63,135,27,26,98,94,30,31,7,96,10469,10470,33,32],"桃","李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[104,791],{"id":10474,"slug":10475,"title":653,"dynasty":18,"author":10476,"museum":360,"description":10477,"tags":10478,"thumbUrl":10479,"material":494,"size":495,"collection":223,"collections":10480,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},236017,"shan-shui-zhou-fang-yi-zhi-236017","方以智","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[24,63,135,93,98,94,97,293,7,32,96,250,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef511a540cd7c362a9bfeac870dc8c0a.jpg",[],{"id":10482,"slug":10483,"title":10484,"dynasty":246,"author":1105,"museum":60,"description":10485,"tags":10486,"thumbUrl":10487,"material":10488,"size":10489,"collection":223,"collections":10490,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},234701,"fang-mei-dao-ren-shan-shui-zhou-wang-jian-234701","仿梅道人山水轴","王鉴（1598年—1677年），字玄照，后改字园照，元照，号湘碧，又号香庵主。明末清初著名画家。江苏太仓人，出生于以衣冠诗书著称的太仓王氏家族。崇祯六年（公元1633年）举人，后仕至廉州太守，故称“王廉州”。王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。",[24,135,93,98,29,94,529,530,7,33,75,97,71,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f0d9e69ecf5b32522f0cc3f34bc390.jpg","纸本 墨笔","78.1cmx42.6cm",[],{"id":10492,"slug":10493,"title":10494,"dynasty":18,"author":1392,"museum":360,"description":10495,"tags":10496,"thumbUrl":10497,"material":223,"size":223,"collection":223,"collections":10498,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","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。 [1]\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”。",[23,24,63,25,93,100,99,118,94,30,7,32,96,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":10500,"slug":10501,"title":10502,"dynasty":246,"author":613,"museum":60,"description":10503,"tags":10504,"thumbUrl":10505,"material":678,"size":10506,"collection":223,"collections":10507,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773","原济陶渊明诗意册","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。",[24,63,234,93,27,94,33,2910,32,97,30,100,118,98,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg","纵27厘米，横21.3厘米",[],{"id":10509,"slug":10510,"title":1900,"dynasty":246,"author":613,"museum":360,"description":1901,"tags":10511,"thumbUrl":10512,"material":237,"size":1905,"collection":223,"collections":10513,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},233383,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233383",[24,63,93,98,234,94,7,32,97,30,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a2cb0bf3c261545bb9cb2f6d60a55a.jpg",[],{"id":10515,"slug":10516,"title":10517,"dynasty":18,"author":10518,"museum":304,"description":10519,"tags":10520,"thumbUrl":10524,"material":237,"size":10525,"collection":223,"collections":10526,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},231936,"fang-gao-ke-gong-shan-shui-tu-tao-hong-231936","仿高克恭山水图","陶泓","图绘云山峻岭，大气磅礴，山林滃郁，流泉潺湲。一高士过桥而回首观水，喻”智者乐水“之意。全幅用高尚书笔意而润密过之。 陶泓，字士泉，号砚山，生平无考。",[23,24,63,116,135,93,94,7509,10521,10522,32,7,30,29,98,10523],"峻岭","山林","智者乐水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbbee98cf491d6f7fe862b5d64e4bf5.jpg","53x89cm",[],{"id":10528,"slug":10529,"title":10530,"dynasty":18,"author":4432,"museum":132,"description":10531,"tags":10532,"thumbUrl":10533,"material":237,"size":10534,"collection":223,"collections":10535,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,25,93,94,98,99,100,118,97,33,32,7,96,30,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":10537,"slug":10538,"title":10539,"dynasty":246,"author":10540,"museum":266,"description":10541,"tags":10542,"thumbUrl":10543,"material":3750,"size":10544,"collection":223,"collections":10545,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},231350,"fang-gao-fang-shan-shan-shui-tu-wang-fang-231350","仿高房山山水图","汪昉","清代绘画,在同时期的政治、经济、思想、文化诸因素的影响下,呈现出特定的时代风貌。它承接元、明以来的趋势发展,士大夫文人画日益占据画坛主流,在明代后期形成的诸画派,到此时更是分支繁衍。清代历朝皇帝,大多爱好绘画艺术,倡导社会风气,使更多的人热心投入画家的行列。全清有史可稽的画家,多至近六千人,可谓繁盛。总的看来,以山水画、花鸟画比较发达,成绩较好,人物画次之。其发展大致可分为前、中、后三个时期。\n前期(顺治至康熙中),受皇室扶植的 四王 画派,以王时敏、王鉴、王翚、王原祁为代表,成为画坛的正统派,他们以摹古为主旨,崇尚董其昌和元四家,讲究笔墨趣味,技巧功力超卓,但缺少鲜活的生趣。他们的山水画风影响到整个有清一代。同时的江南地区,却出现了一批反正统的画家,他们大多是明末遗民,政治上不与清统治者合作,艺术上反对陈陈相因,主张抒发个性,所以作品往往感情真挚强烈,风格独特新颖。代表画家有弘仁、髠残、朱耷、石涛合称的 四僧 ,以龚贤为首的 金陵八家 ,以弘仁、查士标、梅清为代表的 新安派 等。其中 四僧 的成就最为突出,给后世的有益影响也更大。中期(康熙晚年至乾隆、嘉庆年间),随着政权的巩固、疆域的统一、社会的安定,经济的繁荣,出现了 康、乾盛世.此时宫廷绘画在皇室扶植下活跃一时,内容和形式都比较多样,人物画的成就显著。而经济发达的扬州出现以 扬州八怪 为代表的 扬州画派 ,他们接过石涛、朱耷 反正统 的旗帜,以革新的面貌出现于画坛,用绘画抒发自己郁懑愤激的情怀,表达心灵高洁的向往,形式上意到笔随,狂放怪异,不拘一格,作品具有鲜明的个性,对近代和现代的花鸟画都产生深远的影响。\n后期(道光至宣统),中国逐渐沦为半封建半殖民地的社会,画坛也发生了急剧变化。怡情养性的士大夫文人画日见衰微,而在辟为通商口岸的商业城市上海、广州,分别出现了以赵之谦、任颐、吴昌硕为代表的 海上画派 和由居巢、居廉首创的 岭南画派 ,开拓了文人画的途径,以新颖活泼的面貌,博得广大市民阶层的喜爱,直接启导了近代和现代的画风。\n《仿高房山云山图轴》描绘的是江南春天雨后的山村景色:近处坡石高树,茅舍旁柳丝飘拂,小桥边溪水潺潺,远处峰峦高耸,丛树幽深,白云浮动。此图云山采用元人高克恭法,横点皴染,并用焦墨破醒,富有厚重的感觉。构图以高远兼平远,得遥深飘渺之意。由于他受到皇室青睐,政治地位显赫,当时追随他的人很多,遂形成娄东派,主要画家有唐岱、董邦达、黄鼎等人。唐岱出王原祁门下,兼法宋元,笔墨工稳深沉。董邦达上追董其昌、黄公望,兼承王鉴、王原祁遗意。黄鼎多用干笔皴擦,淡墨渴染,有苍郁之趣,发展了王原祁的干笔画法。",[23,24,93,135,94,98,29,7,32,96,136,1587,152,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b83397f21c92d94a99103bc798b15a1.jpg","110cmx55cm",[],{"id":10547,"slug":10548,"title":10549,"dynasty":1933,"author":423,"museum":360,"description":10550,"tags":10551,"thumbUrl":10552,"material":223,"size":223,"collection":223,"collections":10553,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,25,26,27,28,30,31,94,7,32,96,33,922,426,155,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],{"id":10555,"slug":10556,"title":10557,"dynasty":246,"author":1105,"museum":360,"description":10558,"tags":10559,"thumbUrl":10560,"material":223,"size":223,"collection":223,"collections":10561,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[24,63,234,27,94,98,29,118,7,32,33,191,75,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":10563,"slug":10564,"title":10565,"dynasty":18,"author":4432,"museum":360,"description":10566,"tags":10567,"thumbUrl":10568,"material":223,"size":223,"collection":223,"collections":10569,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":54},228310,"min-you-tu-xiang-sheng-mo-228310","闽游图","此作以平远长卷铺展江天胜景，江波婉转，矶岩错落百态，或嶙峋如剑，或浑朴似卧牛，尽现山水奇崛灵动之姿。山间村舍错落，江上扁舟泛波，旅人、渔者隐于林泉，烟火意趣暗藏苍莽丘壑之中。用笔清劲秀逸，淡墨晕染出空濛悠远的氤氲气韵，将漫游所见的山水奇景与乡野闲趣融为一体，以文人视角定格千里江川的悠然意致，尽显清雅苍润的山水格调。",[23,24,63,25,93,27,98,94,97,33,31,7,32,95,96,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56cb2f0f807be7ba59799de60f9c362.jpg",[],{"id":10571,"slug":10572,"title":10573,"dynasty":58,"author":10574,"museum":360,"description":10575,"tags":10576,"thumbUrl":10578,"material":223,"size":223,"collection":223,"collections":10579,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},226560,"bian-qiao-hui-meng-tu-juan-chen-ji-zhi-226560","便桥会盟图卷","陈及之","《便桥会盟图》卷，元，陈及之作，纸本，白描，纵36厘米，横774厘米。\n该图旧作辽画，实误。款署“祜申仲春中浣富沙竹坡陳及之作”，据考，“祐申”为元代延祐庚申年的缩写。\n该卷画“便桥会盟”故事，全图共绘246人，180匹马和4头骆驼，堪称是元代绘人马最多、物景最宏大的历史画。全卷可分为三大部分，第一段，绘以党项人为主的各类马上运动和马戏表演，第二段，绘游牧之骑，以此过渡到第三段，绘便桥会盟故事，画突厥首领颉利在便桥桥头向秦王李世民求和的情景。\n全卷以白描线条绘成，得北宋李公麟遗韵。飞动自如的线条展现出人马极强的运动感，强劲之处，顿挫有力，洒脱之笔，圆转不滞。画中人马，虽盈寸方，但神情毕肖，尽见风采，细微之处，不失博大。\n清《石渠宝笈·初编》著录。",[23,116,24,25,516,26,7,30,65,94,33,191,71,5889,10577],"骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb0ffce4747f42da84e0ed6e532f9db.jpg",[],{"id":10581,"slug":10582,"title":10583,"dynasty":246,"author":1441,"museum":360,"description":10584,"tags":10585,"thumbUrl":10586,"material":223,"size":223,"collection":223,"collections":10587,"showCount":168,"zanCount":536,"manualWeight":11,"mainColor":108},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具宋元山水的浑朴与清丽秀雅，尽显山居烟岚的悠然意趣。",[23,24,331,135,93,98,94,7,32,96,31,33,97,155,30,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":10589,"slug":10590,"title":10591,"dynasty":246,"author":5281,"museum":60,"description":10592,"tags":10593,"thumbUrl":10598,"material":27,"size":10599,"collection":223,"collections":10600,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},223558,"yu-qiao-geng-du-tu-zhou-gu-xiu-223558","渔樵耕读图轴","此图轴具有文人画的情趣，表现文人对清雅闲适、自得其乐的理想生活的追求。绣家以绣绘结合的技法追摹原作风格，远山近坡均以笔墨描绘点染。人物、木桥、茅屋、树木等则以针代笔，以丝代墨，精细地绣制。针法除平针、套针、滚针、正抢针等常用针法外，草鞋、渔篓用网针，茅屋的窗棂、房顶用编针，芦苇、小草用斜缠针，而衣纹除用滚针勾勒外，还用笔墨渲染，使之富有立体感。此幅诗塘题跋“采樵过野逢田父，理钓临溪听读书”为青色丝绣，“青碧斋”、“露香园”、“静顾”三印为红色丝绣。",[23,24,27,135,9926,26,94,30,7,32,439,97,10594,10595,10596,10597],"渔","樵","耕","读","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908abde2414ca0b61d48ac75cdcc295a.jpg","112＊45cm",[],{"id":10602,"slug":10603,"title":10604,"dynasty":246,"author":4064,"museum":132,"description":4885,"tags":10605,"thumbUrl":10606,"material":237,"size":10607,"collection":104,"collections":10608,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},223115,"shan-shui-ce-shu-guan-kai-xuan-dong-bang-da-223115","山水册-墅馆开轩",[23,24,93,98,234,94,7,32,97,33,152,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15efb3959b20cf3fcc3197891f89009.jpg","16.4x23.1",[104,82],{"id":10610,"slug":10611,"title":10612,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10613,"thumbUrl":10618,"material":164,"size":1461,"collection":223,"collections":10619,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},222950,"hong-lou-meng-75-sun-wen-222950","红楼梦75",[23,116,24,63,26,27,28,10273,30,31,564,439,39,10614,7,4030,10615,10616,38,10617],"墙","古代人物","庭院景观","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ae5891d7111947785f13e20a7aff27.jpg",[],{"id":10621,"slug":10622,"title":10623,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10624,"thumbUrl":10626,"material":164,"size":1461,"collection":223,"collections":10627,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},222909,"hong-lou-meng-34-sun-wen-222909","红楼梦34",[23,24,26,27,94,30,31,7,32,281,119,39,75,33,10625],"屋内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfd000d6a1bc745b23ae2a969f25366d.jpg",[],{"id":10629,"slug":10630,"title":10631,"dynasty":18,"author":1126,"museum":132,"description":10632,"tags":10633,"thumbUrl":10636,"material":178,"size":10637,"collection":104,"collections":10638,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},222409,"shi-xie-shan-tu-zhou-zhang-hong-222409","石屑山图轴","冈峦挺立，层层起伏；溪涧湍急，林阴茂密。山径蜿蜒而上，将峻峰林木连成一气。点画竹林，笔墨浓淡乾湿相间，产生光影浮动的效果，表现出炎炎夏日的气氛。全图用笔工细，构景繁复。竹林的笔墨浓淡乾湿相间，产生光影浮动的效果，将炎炎夏日的气氛尽表无遗。画成于1613年（万历四十一年），时作者三十七岁。青壮之年，笔墨即甚为纯熟，其成就为时人所推崇。\n此图是画位在浙江省长兴县境的石屑山，出于实景观照，画家心领意会，取山川精华，以灵动的笔墨描绘图成。该幅画赠君俞先生，君俞姓唐，晋陵人（江苏武进），与董其昌也有交往，在1623年（天启三年）时，将自己珍藏的王蒙《谷口春耕》图（此图现藏本院），赠与董其昌。",[23,24,135,94,26,27,10634,2416,255,4521,7,32,31,1202,10635],"冈峦","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2366fe87404a34b33bfe3b976ed33aeb.jpg","201.3x55.2公分；全幅 79.8公",[104,51],{"id":10640,"slug":10641,"title":10642,"dynasty":246,"author":1105,"museum":90,"description":1106,"tags":10643,"thumbUrl":10645,"material":102,"size":1109,"collection":223,"collections":10646,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},216981,"fang-song-yuan-shan-shui-ce-6-wang-jian-216981","仿宋元山水册-6",[23,24,331,27,98,29,234,191,33,32,7,96,155,5348,176,154,190,10644,152,366],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46f5271914a2b4ff894633cf7a7a1fc.jpg",[],{"id":10648,"slug":10649,"title":10650,"dynasty":246,"author":1441,"museum":328,"description":7633,"tags":10651,"thumbUrl":10652,"material":102,"size":223,"collection":223,"collections":10653,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":108},214592,"fang-gu-shan-shui-ce-12-wang-hui-214592","仿古山水册-12",[24,63,234,93,27,98,94,7,32,136,75,1444,152,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d618c998af2a6aa46e4bd9d82f6307.jpg",[],{"id":10655,"slug":10656,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":10657,"tags":10658,"thumbUrl":10660,"material":223,"size":223,"collection":104,"collections":10661,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":5732},202801,"shan-shui-tu-zhou-huang-bin-hong-202801","墨色层叠间，山峦如黛，以苍劲皴笔勾勒筋骨，干湿浓淡交织出石的肌理与云的缥缈。近景松石挺秀，松枝虬劲，与嶙峋怪石相映；林间隐见小桥流水，屋舍数椽，似有烟火气却又透着清寂。中远景峰峦起伏，云雾缭绕，将天地连成一片悠远之境。整幅画笔墨老辣，意境浑朴，尽显文人山水的沉郁与空灵，仿佛可闻山风过松，观流云漫谷，引人入胜。",[24,93,98,94,293,7,155,137,10659,23],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91b26d9e666e9cbccab8cbcfbaca997.jpg",[104],{"id":10663,"slug":10664,"title":10665,"dynasty":18,"author":10666,"museum":90,"description":10667,"tags":10668,"thumbUrl":10669,"material":223,"size":223,"collection":104,"collections":10670,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":10671},202217,"xi-shan-ce-qi-tu-zhou-qian-gu-202217","溪山策骑图轴","钱穀","溪山之间，一人策骑过板桥，衣袂轻展，似向幽林寻幽。近岸林木葱郁，枝叶以淡墨点染，疏密有致；中景水面空濛，远山以皴法淡绘，峦顶苔点错落，尽显清旷。笔墨简淡却意韵绵长，文人的闲适心境与自然山水相融，传递出悠然出尘的诗意。",[24,94,65,7,98,27,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3aaa8e5163dc11f6adde372de5eb848.jpg",[104],"bdab9a",{"id":10673,"slug":10674,"title":10675,"dynasty":246,"author":10676,"museum":90,"description":10677,"tags":10678,"thumbUrl":10679,"material":223,"size":223,"collection":104,"collections":10680,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":10681},202176,"yan-luan-wan-cui-tu-zhou-xiang-kui-202176","烟峦晚翠图轴","项奎","层叠山峦间烟岚轻笼，飞瀑垂落注入澄澈溪涧，林木葱郁处亭榭隐现，近景老树虬枝舒展，小桥跨水连岸。笔墨细腻，山石以皴法摹写肌理，树木勾勒点染兼具，水墨晕染出朦胧烟峦之态，意境清幽静谧，尽显文人山水的雅致情韵。",[24,94,98,93,96,7,32,33,97,1862,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ffd62426d293494742832143f74e55.jpg",[104],"a39787",{"id":10683,"slug":10684,"title":10389,"dynasty":277,"author":627,"museum":360,"description":1022,"tags":10685,"thumbUrl":10686,"material":494,"size":495,"collection":223,"collections":10687,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":54},290447,"shan-shui-tu-ke-luo-ban-wang-meng-290447",[23,24,116,94,93,98,293,32,137,97,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc127099e6c7fab1a64f19b3062698b5.jpg",[],14,{"id":10690,"slug":10691,"title":10692,"dynasty":277,"author":1553,"museum":360,"description":10693,"tags":10694,"thumbUrl":10695,"material":494,"size":495,"collection":223,"collections":10696,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":54},290402,"qiong-lou-xian-ju-tu-yi-ming-290402","琼楼仙居图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,116,63,28,117,27,94,31,7,30,192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc36addf53ace8021929aefb755ec324.jpg",[],{"id":10698,"slug":10699,"title":2772,"dynasty":246,"author":1115,"museum":360,"description":8296,"tags":10700,"thumbUrl":10701,"material":494,"size":495,"collection":223,"collections":10702,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},289951,"shan-shui-tu-zhou-wang-shi-min-289951",[23,24,116,63,135,93,94,191,33,6516,7,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c72e791cad1835cbe635ef2d222b47.jpg",[],{"id":10704,"slug":10705,"title":10706,"dynasty":58,"author":6011,"museum":360,"description":8326,"tags":10707,"thumbUrl":10708,"material":494,"size":495,"collection":223,"collections":10709,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},288389,"liu-tang-du-shu-tu-xiao-zhao-288389","柳堂读书图",[23,24,116,1829,93,94,31,7,32,33,97,118,99,100,6092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165c71503b97e1026060a1f82efd75a.jpg",[],{"id":10711,"slug":10712,"title":10713,"dynasty":246,"author":247,"museum":360,"description":10381,"tags":10714,"thumbUrl":10715,"material":494,"size":495,"collection":223,"collections":10716,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},288232,"jiang-shan-wo-you-tu-juan-di-jiu-shi-yi-juan-cheng-zheng-kui-288232","江山卧游图卷(第九十一卷)",[23,24,25,93,63,94,191,33,366,7,97,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6f45c6a6df6179257f192e7daa24b.jpg",[],{"id":10718,"slug":10719,"title":10720,"dynasty":246,"author":4994,"museum":360,"description":10721,"tags":10722,"thumbUrl":10723,"material":494,"size":495,"collection":223,"collections":10724,"showCount":10688,"zanCount":536,"manualWeight":11,"mainColor":108},287448,"tai-gu-yun-lan-tu-zou-yi-gui-287448","太古云岚图","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,116,63,135,94,93,27,191,155,3824,75,7,32,118,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef4e4eaf1fc1e2699370d3d8e8973ac.jpg",[],{"id":10726,"slug":10727,"title":10728,"dynasty":18,"author":525,"museum":360,"description":6965,"tags":10729,"thumbUrl":10730,"material":494,"size":495,"collection":223,"collections":10731,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},283641,"shan-shui-tu-chu-tian-qing-xiao-dong-qi-chang-283641","山水图(楚天清晓)",[23,116,24,63,135,93,94,7,32,414,97,137,98,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e6c5f60900682bcca2421464d12b76.jpg",[],{"id":10733,"slug":10734,"title":10735,"dynasty":246,"author":10736,"museum":360,"description":10737,"tags":10738,"thumbUrl":10739,"material":223,"size":223,"collection":82,"collections":10740,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},238945,"lin-yue-se-tu-ce-ye-xu-fang-ping-238945","林月色图册页","徐方平","此作用淡墨晕开空蒙月色，枯木疏枝错落伸展，勾勒出秋夜林野的清寂轮廓。山溪蜿蜒穿林，板桥横卧浅流，策杖行人驻足于侧，冷寂夜色里添了些许动静对比。笔触清润秀雅，取法北宗淡远意趣，铺展出幽旷林泉之境，将月夜林间的萧寒静谧尽数晕开。把羁旅闲步的清寂意趣与林泉幽怀相融，尽显文人画简淡出尘的诗意，仿佛让人踏入这片溶溶月色下的平林，浸身于澄澈安宁的夜色中。",[24,63,234,93,27,94,414,743,7,32,30,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa1474cbd2b9cb76aef5844274a64e1.jpg",[82],{"id":10742,"slug":10743,"title":10744,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":10745,"thumbUrl":10746,"material":223,"size":223,"collection":223,"collections":10747,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},238821,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238821","董诰律宣韶景册",[24,27,234,94,119,33,7,31,3608,250,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a87debf2185f171a6a93ba881a7ef80.jpg",[],{"id":10749,"slug":10750,"title":10751,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":10752,"thumbUrl":10753,"material":223,"size":223,"collection":223,"collections":10754,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},238416,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238416","董诰蓬壶荟胜图册",[24,27,234,98,118,94,31,7,32,152,97,414],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cbb988ed758695caf9aed77e20869d.jpg",[],{"id":10756,"slug":10757,"title":10758,"dynasty":18,"author":2049,"museum":360,"description":10759,"tags":10760,"thumbUrl":10761,"material":494,"size":495,"collection":223,"collections":10762,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},237852,"shan-shui-shan-zhao-zuo-237852","山水扇","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[24,63,1829,93,98,94,97,33,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ce62d998c4a1bca199934a0ec5116e.jpg",[],{"id":10764,"slug":10765,"title":10766,"dynasty":18,"author":2867,"museum":360,"description":10767,"tags":10768,"thumbUrl":10769,"material":494,"size":495,"collection":223,"collections":10770,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":54},237789,"shan-shui-shan-ye-wen-bo-ren-237789","山水扇页","文伯仁（1502---1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、五峰山人、五峰樵客，汉族，湖广衡山人，系籍长州（今江苏苏州）。文徵明侄子。\n性暴躁，好使气骂座，少年时曾与叔文徵明相讼，一度系狱。工画山水，效王蒙，学“三赵”（令穰、伯驹、孟頫），笔力清劲，岩峦郁茂，布景奇兀，时以巧思发之，名在文徵明之下。横披大幅颇负出蓝之誉，唯构图时有塞实之感。\n善画人物，亦能诗。其山水画有简、繁两种面貌。简者效文徵明细笔山水，景色疏朗，笔墨细秀，多抒情意趣；繁者出自王蒙，山林层叠，构图饱满，皴点繁密，境界郁茂。",[24,63,1829,93,98,94,191,33,97,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89607da89f83b489d1f2d1dadfd1514.jpg",[],{"id":10772,"slug":10773,"title":653,"dynasty":246,"author":10774,"museum":360,"description":10775,"tags":10776,"thumbUrl":10777,"material":223,"size":223,"collection":104,"collections":10778,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},237145,"shan-shui-zhou-wu-ding-237145","吴定","吴定[清]，字立人，一字维时，号稜翁，云南晋宁人，出生于1744年。\n康熙五十二年（一七一三）举人，雍正五年（一七二七）大挑一等，出宰广东博罗、清远二县。工书，行、草最妙。著稜翁诗钞。《云南通志稿》、《晋宁州志》、《李氏诗存》但犹专力经学，深求义理。定论文严于法，姚鼐有所作，必以示商。著有《黑石泉山房文集》十二卷，《诗集》六卷，及《周易集注》十卷，均《清史列传》并行于世。",[24,63,135,93,98,94,529,530,439,152,96,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fa5b431c0a88e245a20daa5e84af6d.jpg",[104],{"id":10780,"slug":10781,"title":10758,"dynasty":246,"author":10782,"museum":360,"description":10783,"tags":10784,"thumbUrl":10785,"material":494,"size":495,"collection":223,"collections":10786,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},236471,"shan-shui-shan-ni-tian-236471","倪田","初名宝田，字墨畊，别署墨畊父，号墨道人、墨翁，又号璧月盦主，江苏江都人，侨上海。画人物仕女及佛像皆取景高远，线条流畅，尤善画马及走兽，能随手挥洒，不用巧笔起稿。光绪中行商到沪，爱任颐画，即参用任法。水墨巨石，设色花卉，腴润遒劲，意境清新而富野趣。1910年任上海书画研究会庶务协董，其画在海上擅胜一时。兼工山水，但不多见，卖画沪上三十年，卒年六十五。传世作品有《写吴昌硕六十六岁肖像》轴，现藏上海博物馆。",[24,63,1829,117,27,98,94,7,30,336,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946e1b0efb5e70a174e44ce59c560e49.jpg",[],{"id":10788,"slug":10789,"title":10790,"dynasty":18,"author":10791,"museum":360,"description":10792,"tags":10793,"thumbUrl":10795,"material":223,"size":223,"collection":223,"collections":10796,"showCount":10688,"zanCount":536,"manualWeight":11,"mainColor":54},235996,"qiao-yue-dan-xia-zhou-xiang-de-xin-235996","乔岳丹霞轴","项德新","此作以奇崛岳峰起势，方硬岩壁勾勒间兼施水墨晕染，云雾萦回山腰，将厚重山石衬得空灵缥缈，隐于云间的瀑流暗生机趣。下方江岸虬松盘曲苍劲，水岸汀渚之上，孤舟渔翁独钓，林麓茅舍幽藏，糅合雄奇与清逸。\n\n笔墨取元人简淡意趣又自出机杼，干笔皴擦写山石肌理，湿墨晕染烟岚云水，虚实相生。把高旷山岳的雄浑与林下幽居的闲淡相融，绘就文人心底丘壑，尽显静穆淡远的隐逸意趣，引观者沉潜林泉高致之间。",[7265,24,331,135,98,97,33,152,155,7,10794,32],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff13466302312933c3bd5dea309f2a8.jpg",[],{"id":10798,"slug":10799,"title":10800,"dynasty":18,"author":3923,"museum":360,"description":10801,"tags":10802,"thumbUrl":10803,"material":223,"size":223,"collection":223,"collections":10804,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":54},235678,"ren-wu-shan-shui-zhou-chen-hong-shou-235678","人物山水轴","此作以上下开合铺展景致，上部危崖嵯峨，古柏虬枝盘曲如铁，与枯木疏枝相映，萧寂中带着苍古意趣。林间茅亭内，宾主围坐清谈，意态安闲自在。\n\n下部清溪石隐，板桥横斜，柴门将山居幽庭藏于林石之间，把山野独处的静穆悠远缓缓铺陈而出。\n\n笔墨朴拙高古，勾勒挺劲沉稳，设色浅淡素雅，将江南山居的隐逸之致，文人雅聚的澹泊襟怀揉入尺幅，静穆古雅，尽显幽寂出尘的林下之风。",[24,63,135,26,98,27,94,30,96,414,97,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcbf07ee97fe5196225b70c1ee21c4d0.jpg",[],{"id":10806,"slug":10807,"title":3933,"dynasty":246,"author":10808,"museum":60,"description":10809,"tags":10810,"thumbUrl":10811,"material":678,"size":223,"collection":223,"collections":10812,"showCount":10688,"zanCount":713,"manualWeight":11,"mainColor":108},234767,"huang-shan-tu-ce-jiang-zhu-234767","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,63,234,27,94,97,31,7,32,96,33,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c19b8f917096bf3b23a305e7fcab4ed.jpg",[],{"id":10814,"slug":10815,"title":10816,"dynasty":18,"author":10817,"museum":60,"description":10818,"tags":10819,"thumbUrl":10820,"material":402,"size":10821,"collection":223,"collections":10822,"showCount":10688,"zanCount":536,"manualWeight":11,"mainColor":108},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,63,25,27,98,99,94,7,32,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":10824,"slug":10825,"title":10826,"dynasty":246,"author":1441,"museum":60,"description":5770,"tags":10827,"thumbUrl":10829,"material":402,"size":10830,"collection":223,"collections":10831,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,63,116,25,27,94,98,743,7,32,400,33,31,96,293,281,75,10828],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":10833,"slug":10834,"title":10835,"dynasty":246,"author":1441,"museum":60,"description":5770,"tags":10836,"thumbUrl":10837,"material":1055,"size":10838,"collection":223,"collections":10839,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":54},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[23,24,25,93,26,94,1721,71,35,33,38,121,7,1445,2538,10828,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 横198.4cm",[],{"id":10841,"slug":10842,"title":5142,"dynasty":246,"author":10843,"museum":360,"description":10844,"tags":10845,"thumbUrl":10846,"material":223,"size":223,"collection":223,"collections":10847,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},234150,"shan-shui-he-juan-liu-ru-shi-234150","柳如是","此卷以淡墨轻皴写江岸丘壑，林木萧疏、汀洲隐现，水墨晕染出江南烟水空蒙之态，简淡天真，尽得文人画简远逸趣。\n\n通篇题跋行书秀逸灵动，笔致清劲温婉，墨色浓淡参差，与画作的淡远意境相融，诗、书、画三者浑融无间。笔墨里交织江南山水的静雅与文人情致，长卷铺展出悠悠林下之风，将澹澹愁思与清雅襟怀藏入点染挥毫间，尽显灵秀才思与林下襟期。",[23,24,63,25,93,516,98,100,118,94,7,32,96,33,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca11af530f678f1b3f4c15b1e5ac59a6.jpg",[],{"id":10849,"slug":10850,"title":10851,"dynasty":18,"author":3310,"museum":60,"description":10852,"tags":10853,"thumbUrl":10856,"material":237,"size":223,"collection":223,"collections":10857,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},234143,"jiang-nan-bie-yi-juan-lu-zhi-234143","江南别意卷","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,10854,25,93,27,100,10855,94,365,33,7,32,30],"吴门画派","书画合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7318ab2ac09bf9c15a1e91c7c9ced007.jpg",[],{"id":10859,"slug":10860,"title":10861,"dynasty":18,"author":1392,"museum":60,"description":10862,"tags":10863,"thumbUrl":10864,"material":378,"size":10865,"collection":223,"collections":10866,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,63,25,27,26,98,100,99,94,96,7,32,97,33,75,1235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":10868,"slug":10869,"title":10870,"dynasty":58,"author":10871,"museum":60,"description":10872,"tags":10873,"thumbUrl":10874,"material":164,"size":10875,"collection":223,"collections":10876,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},233851,"he-quan-cao-tang-ke-hua-tu-ye-he-quan-233851","何荃草堂客话图页","何筌","《草堂客话图》为南宋画家何荃所作。画左方松树干上署“辛卯何筌制”五字款。裱边题签“何荃草堂客话图”。对幅李佐贤跋云：“此幅旧题‘何筌《草堂客话》’，系梁蕉林相国笔迹。按筌名画谱无徵，不知此题何所据，然画笔细入毫芒，无微不到而一丝不乱，工雅兼长，洵属宋人真实本领，元以后无此画境矣。”\n图绘乡间草堂两间，绿柳、青松、翠竹环绕其间。左侧屋内两人对坐，一童子侍立院中。右侧亭内一人侧躺，神态悠闲。乡间小路上孩童三三两两，嬉戏游玩。\n何荃，南宋画家，生卒年不详。",[24,63,234,93,27,94,31,7,32,30,33,96,98,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4373cb59dd54263cc79e2110d7f29cec.jpg","24x23cm",[],{"id":10878,"slug":10879,"title":10880,"dynasty":18,"author":1392,"museum":60,"description":10881,"tags":10882,"thumbUrl":10883,"material":3008,"size":10884,"collection":223,"collections":10885,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},233140,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-heng-tang-tu-ye-wen-zheng-ming-233140","明人西山胜景合壁册-文徵明横塘图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,63,234,93,27,100,94,7,32,33,191,75,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f4f684ec7589408ab32df01c94c253.jpg","纵22.8cm，横33.2cm",[],{"id":10887,"slug":10888,"title":9759,"dynasty":18,"author":1392,"museum":60,"description":9760,"tags":10889,"thumbUrl":10890,"material":237,"size":9763,"collection":223,"collections":10891,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},232962,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232962",[24,63,234,93,27,98,100,99,118,94,439,97,31,7,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74cf6574391d8f609ec56377466c02c.jpg",[],{"id":10893,"slug":10894,"title":10895,"dynasty":246,"author":7031,"museum":360,"description":10896,"tags":10897,"thumbUrl":10899,"material":223,"size":10900,"collection":223,"collections":10901,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},232692,"shan-shui-shan-xia-ben-quan-tu-ye-fang-cong-232692","山水山峡奔泉图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》",[23,116,24,63,3457,27,98,94,10898,152,97,33,75,71,155,7],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc835b79f8135b64f62bb539dc0e09c96.jpg","46x32 厘米",[],{"id":10903,"slug":10904,"title":10905,"dynasty":18,"author":10906,"museum":132,"description":10907,"tags":10908,"thumbUrl":10909,"material":237,"size":10910,"collection":104,"collections":10911,"showCount":10688,"zanCount":536,"manualWeight":11,"mainColor":108},231414,"bai-yue-tu-leng-qian-231414","白岳图","冷谦","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[24,63,135,93,94,98,97,33,7,32,38,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[104],{"id":10913,"slug":10914,"title":10915,"dynasty":18,"author":1553,"museum":360,"description":10916,"tags":10917,"thumbUrl":10918,"material":223,"size":223,"collection":223,"collections":10919,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":54},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,63,25,27,29,66,94,33,30,7,32,336,98,3073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":10921,"slug":10922,"title":315,"dynasty":277,"author":10923,"museum":360,"description":10924,"tags":10925,"thumbUrl":10926,"material":223,"size":223,"collection":223,"collections":10927,"showCount":10688,"zanCount":536,"manualWeight":11,"mainColor":54},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,63,1829,93,27,94,98,7,32,33,97,155,38,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":10929,"slug":10930,"title":5669,"dynasty":58,"author":1553,"museum":360,"description":10931,"tags":10932,"thumbUrl":10933,"material":494,"size":495,"collection":223,"collections":10934,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,116,24,63,25,93,27,94,97,33,7,32,98,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":10936,"slug":10937,"title":10938,"dynasty":1933,"author":10939,"museum":360,"description":10940,"tags":10941,"thumbUrl":10945,"material":494,"size":495,"collection":10946,"collections":10947,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},225831,"the-langlois-bridge-march-fan-gao-225831","The Langlois bridge (March - )","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[116,10942,27,7,32,95,43,1810,30,75,33,10943,10944],"油画","笔触奔放","后印象派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg","油画精选",[10946],{"id":10949,"slug":10950,"title":10951,"dynasty":246,"author":1309,"museum":360,"description":10952,"tags":10953,"thumbUrl":10954,"material":223,"size":223,"collection":223,"collections":10955,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[23,24,63,94,27,98,119,529,530,33,252,7,32,118,100,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":10957,"slug":10958,"title":94,"dynasty":246,"author":10959,"museum":360,"description":10960,"tags":10961,"thumbUrl":10962,"material":223,"size":223,"collection":223,"collections":10963,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},224290,"shan-shui-fan-song-224290","范松","此作以全景铺展丘壑，层峦叠嶂间烟岚轻笼，将高远、平远之景相融。崖岫间红墙古寺半隐，晕染出点睛亮色，打破黛山翠林的沉静。\n\n林麓间村居错落，板桥跨溪通幽，浅滩漱石、流泉回环，把山居烟火与林泉野趣织为一体。笔墨苍秀老辣，以短皴写山石嶙峋肌理，林木枝桠攒簇尽显苍劲葱茏，淡赭轻敷衬出秋意清寂，整体气息静穆澹远，将文人心中栖隐林泉的意趣藏入层叠丘壑之中，观之如身临幽寂山境，揽尽林泉雅致。",[23,24,27,98,135,94,7,32,96,33,97,31,75,253,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c5de365c8e65858e3c9cf20b1c1d5.jpg",[],{"id":10965,"slug":10966,"title":10967,"dynasty":58,"author":1553,"museum":60,"description":10968,"tags":10969,"thumbUrl":10971,"material":164,"size":10972,"collection":223,"collections":10973,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[23,116,24,63,25,93,27,94,98,26,100,4768,7722,99,118,10970,32,33,365,7,121,336],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":10975,"slug":10976,"title":10977,"dynasty":246,"author":10259,"museum":360,"description":10978,"tags":10979,"thumbUrl":10980,"material":237,"size":223,"collection":223,"collections":10981,"showCount":10688,"zanCount":536,"manualWeight":11,"mainColor":108},223135,"shi-wan-tu-ce-shan-mian-2-ren-xiong-223135","十万图册-扇面2","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。\n任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，堪与陈洪绶并驾。人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。曾有《于越先贤传》、《剑侠传》、《列仙酒牌》等画曾刻印行世，\n传世作品有《十万图册》十页、《姚燮诗意图册》《自画像》轴等，现藏故宫博物院；咸丰五年（1855）作《四梅图》轴藏中国美术馆；《为姚梅伯作人物册》二十页、《洛神图》轴、《范湖草堂图》卷藏上海博物馆；《丁文蔚像》轴藏浙江省博物馆；《少康像》册页藏南京市博物馆；《瑶宫秋扇图》轴藏南京博物院；《四季花卉图》卷藏辽宁省博物馆；《人物图册》藏广州美术馆。",[23,24,1829,93,98,94,529,616,564,7,38,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff813e453a30df81524c4b73358b23be.jpg",[],{"id":10983,"slug":10984,"title":10985,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10986,"thumbUrl":10987,"material":164,"size":1461,"collection":223,"collections":10988,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},222947,"hong-lou-meng-72-sun-wen-222947","红楼梦72",[23,24,116,25,26,27,28,30,31,96,564,439,7,39,2978,97,643,1457,2886,744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd807b15e590283a3a76a6a485663721.jpg",[],{"id":10990,"slug":10991,"title":10992,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":10993,"thumbUrl":10994,"material":164,"size":1461,"collection":223,"collections":10995,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},222899,"hong-lou-meng-24-sun-wen-222899","红楼梦24",[23,24,27,26,63,30,94,7,32,33,119,38,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26aecca502b1ecebd2dad0237257b786.jpg",[],{"id":10997,"slug":10998,"title":1380,"dynasty":18,"author":3952,"museum":132,"description":3953,"tags":10999,"thumbUrl":11000,"material":164,"size":11001,"collection":223,"collections":11002,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":54},222159,"shan-zhuang-gao-yi-zhou-li-zai-222159",[23,24,331,135,93,98,529,530,7,32,95,96,31,318,136,30,152,235,137,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9606b6f97673ebd0ca6b1996030ab49.jpg","纵188.8cm、横109.1cm",[],{"id":11004,"slug":11005,"title":10766,"dynasty":18,"author":1392,"museum":20,"description":3999,"tags":11006,"thumbUrl":11007,"material":11008,"size":11009,"collection":223,"collections":11010,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},221984,"shan-shui-shan-ye-wen-zheng-ming-221984",[23,7,32,94,529,439,27,332,1829,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3b1f75d0ac8c2deea7ce3b35b422b3.jpg","水墨纸本","26.4×27.3厘米",[],{"id":11012,"slug":11013,"title":11014,"dynasty":277,"author":11015,"museum":132,"description":11016,"tags":11017,"thumbUrl":11018,"material":7277,"size":11019,"collection":791,"collections":11020,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},221739,"shu-qi-yan-lv-shi-zhang-kui-221739","书七言律诗","张奎","本幅为《元人法书》第十四幅，用笔起伏多变化，在王献之的行书风格中，又融入怀素的笔意。全作挥洒自如，气脉酣畅，间杂章草笔法，益增古朴趣味。",[23,99,63,24,100,93,7,32,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf32b20f8ec35220b4a6bb90ac51c54.jpg","24.5×49.1cm",[791],{"id":11022,"slug":11023,"title":7981,"dynasty":58,"author":980,"museum":60,"description":11024,"tags":11025,"thumbUrl":11026,"material":378,"size":11027,"collection":223,"collections":11028,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},221532,"xi-qiao-ce-zhang-tu-ma-yuan-221532","此图原载《四朝选藻册》。图绘苍松老树，平溪房舍，二人坐室内客话。房右小桥流水，一长者在携琴侍者陪同下策杖寻幽，点出主题。图中山石用小斧劈皴，画树勾点结合，房舍等界画用笔严谨，但工而不板，艳而不俗。",[23,116,24,63,93,27,98,94,30,7,439,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03267ed9459486b307127df5fb46464.jpg","24.8×26cm",[],{"id":11030,"slug":11031,"title":11032,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":11033,"thumbUrl":11034,"material":237,"size":6940,"collection":223,"collections":11035,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},220310,"huang-shan-tu-ce-17-hong-ren-220310","黄山图册-17",[23,116,24,63,234,93,98,94,9107,293,414,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff649b35ce22bc63f5fdd792060a6e.jpg",[],{"id":11037,"slug":11038,"title":11039,"dynasty":246,"author":1553,"museum":9064,"description":11040,"tags":11041,"thumbUrl":11042,"material":237,"size":223,"collection":223,"collections":11043,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":498},216850,"xi-xiang-ji-tu-ce-28-yi-ming-216850","西厢记图册-28","月辉轻笼草舍，薄雪覆檐，疏枝横斜间缀着几点红，似把秋冬清寒揉进暖意。屋内案前，人影静对笔墨，一室幽寂里藏着未言的心事。溪边石上，素衣女子执花伫立，眸光落向水面，衣袂与青丝随微风轻漾，手中花枝如诉如慕。\n\n笔触细腻温润，淡彩晕染出朦胧月夜。人物眉间的轻蹙、指尖的微滞，都藏着西厢故事里的缱绻怅惘。风过枝叶的轻响、溪水的低吟似在耳畔，将古典情愫里的含蓄温柔，静静铺展成一幅可感可触的诗画——每一处细节都在低语，把千年前的幽微心绪，凝在这方纸页上。",[24,234,27,26,744,7,32,30,743,136,9316,33,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F760d951c02b48612d921e06a314b57f4.jpg",[],{"id":11045,"slug":11046,"title":11047,"dynasty":246,"author":11048,"museum":203,"description":11049,"tags":11050,"thumbUrl":11051,"material":102,"size":223,"collection":223,"collections":11052,"showCount":10688,"zanCount":536,"manualWeight":11,"mainColor":108},214813,"shan-shui-hua-hui-tu-ce-6-gao-feng-han-214813","山水花卉图册-6","高凤翰","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,116,24,93,27,234,98,414,7,32,252,336,136,1721,94,645,1096],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5645da02a8b8b4685060ad00c3bc0b.jpg",[],{"id":11054,"slug":11055,"title":11056,"dynasty":246,"author":613,"museum":864,"description":1084,"tags":11057,"thumbUrl":11058,"material":102,"size":223,"collection":223,"collections":11059,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":108},214524,"yi-jin-ling-ce-10-shi-tao-214524","忆金陵册-10",[24,93,94,7,95,136,98,234,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddf28697a603132b907edcc82b620ba.jpg",[],{"id":11061,"slug":11062,"title":2772,"dynasty":5727,"author":11063,"museum":90,"description":11064,"tags":11065,"thumbUrl":11066,"material":223,"size":223,"collection":104,"collections":11067,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":11068},203008,"shan-shui-tu-zhou-he-xiang-ning-203008","何香凝","画面山峦层叠，皴笔皴染山石肌理，墨色浓淡相间，显丘壑之幽深。近景林木葱郁，竹影摇曳，流水绕石潺潺，小桥卧波连岸；中景山居隐于青霭间，似藏林泉逸趣；远景峰峦渐隐，云雾氤氲，添悠远之韵。笔墨苍劲秀润，融自然清幽与文人意趣，尽显山水静谧雅致之态。",[24,135,93,98,94,7,32,564,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417419313b5ce415991668ffe076c511.jpg",[104],"cac6b8",{"id":11070,"slug":11071,"title":5736,"dynasty":246,"author":8260,"museum":90,"description":11072,"tags":11073,"thumbUrl":11074,"material":223,"size":223,"collection":104,"collections":11075,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":11076},202117,"xue-jing-shan-shui-zhou-qian-shu-202117","画面铺展一派素净雪境，远山如银砌，淡墨晕染出雪的层叠厚重；近景枯树虬枝裹雪，山石以皴擦显肌理，屋舍隐于皑皑间，小桥横卧流水，水面泊着归舟，似有行人踏雪，静谧中藏着生活气息。水墨为底，皴染相济，留白与墨色相映成趣，线条简练却勾勒传神，将冬日清寒悠远的意境渲染得淋漓尽致，尽显传统山水的雅致韵味。",[24,93,94,98,7,32,414,75,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2555af5beb68adb6ad9849ab11e9590b.jpg",[104],"b49c81",{"id":11078,"slug":11079,"title":11080,"dynasty":246,"author":11081,"museum":90,"description":11082,"tags":11083,"thumbUrl":11084,"material":223,"size":223,"collection":104,"collections":11085,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":11086},202100,"wu-shan-wan-gui-tu-zhou-ma-zhong-li-202100","吴山晚归图轴","马中立","层岩错落，林木参差，溪流穿石蜿蜒，小桥横卧其上，一人策杖缓行，似赴晚归之途。山石以皴笔写就，纹理苍劲，兼施淡彩晕染，笔墨温润雅致。远处山峦隐于云雾，近景树木枯荣相衬，姿态各异。构图疏密得宜，虚实相生，将山野的清幽与晚归的静谧悄然融合，尽显传统山水的悠然意趣。",[24,63,135,94,93,27,98,7,32,136,336,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5b274cb3ab4c05a947697030d527f2.jpg",[104],"a4917d",{"id":11088,"slug":11089,"title":11090,"dynasty":246,"author":5979,"museum":90,"description":11091,"tags":11092,"thumbUrl":11093,"material":223,"size":223,"collection":104,"collections":11094,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":11095},201952,"xian-guan-tan-jing-tu-zhou-zhang-zong-cang-201952","仙馆谭经图轴","画面层峦叠嶂，以细腻皴法勾勒山石肌理，设色清雅晕染出淡远意境。山间仙馆隐于林麓，瀑布悬垂幽谷，溪流蜿蜒过小桥，近景枯树疏朗，尽显山林静谧之趣。笔墨苍劲中见秀润，构图疏密有致，将文人理想的栖居谭经之境融于山水间，传递出悠然恬淡的哲思与禅意。",[24,94,98,27,31,7,32,414,97,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281f9d8e271941e3bf901c5ce33c13f.jpg",[104],"b0997f",{"id":11097,"slug":11098,"title":11099,"dynasty":18,"author":89,"museum":90,"description":11100,"tags":11101,"thumbUrl":11102,"material":223,"size":223,"collection":104,"collections":11103,"showCount":10688,"zanCount":11,"manualWeight":11,"mainColor":11104},201558,"jiang-nan-feng-jing-tu-juan-shen-zhou-201558","江南风景图卷","画面以水墨皴染铺展江南景致，峰峦用披麻皴勾勒，线条苍劲灵动，林木点染秀润有致。溪流蜿蜒穿涧，小桥横卧波上，孤舟泛于清涟，屋舍隐于烟树间，亭台点缀山麓，尽显江南水乡的温婉静谧与田园生机。笔墨兼具雄浑与秀雅，意境淡远清幽，似将烟雨江南的朦胧诗意融于一卷，观之如沐春风，可感文人画的雅致意趣与山水灵韵。",[24,25,94,93,98,7,32,95,96,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb52a795e39b7a021c8b1c516c684b2e.jpg",[104],"b6b0a5",{"id":11106,"slug":11107,"title":11108,"dynasty":277,"author":1553,"museum":132,"description":11109,"tags":11110,"thumbUrl":11112,"material":47,"size":11113,"collection":104,"collections":11114,"showCount":298,"zanCount":536,"manualWeight":11,"mainColor":54},291018,"han-lin-ming-hua-tu-yi-ming-291018","寒林茗话图","庭院中白梅点点，应是冬末初春之际，山石的阴面染以石青，颇有阴冷之气；阳面留白为雪，天空与留白处的对比不很明显，有如薄雪之意。房屋中，宾主聚饮甚欢，园中松竹犹绿，梅花盛开，似写宾主间之君子情谊，如岁寒之友。",[24,116,135,27,94,30,31,7,817,96,97,33,11111],"品茗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf744039e940ac6d373fe15cc1260729.jpg","162.5x88.2",[104],{"id":11116,"slug":11117,"title":11118,"dynasty":277,"author":11119,"museum":132,"description":11120,"tags":11121,"thumbUrl":11122,"material":47,"size":11123,"collection":223,"collections":11124,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},291016,"xiao-chun-xi-jing-tu-zhao-yong-291016","小春熙景图","赵雍","赵雍（1289年－1369年），字仲穆，吴兴（今浙江湖州）人。元代书画家。赵孟頫之子。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》《溪山渔隐》《饮中八仙图》等。",[24,135,93,94,30,136,97,7,318,1721,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff512888b5e32fa7757161f1a46d8c0bd.jpg","155x76.5",[],{"id":11126,"slug":11127,"title":11128,"dynasty":18,"author":3016,"museum":360,"description":11129,"tags":11130,"thumbUrl":11131,"material":494,"size":495,"collection":223,"collections":11132,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},290927,"liang-xin-tang-shen-shi-chong-290927","凉心堂","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。",[24,93,27,94,234,31,293,7,155,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8e28dccfca39f0fd78b4380f31662a.jpg",[],{"id":11134,"slug":11135,"title":11136,"dynasty":277,"author":1553,"museum":360,"description":11137,"tags":11138,"thumbUrl":11139,"material":494,"size":495,"collection":223,"collections":11140,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},290740,"xia-jing-xi-ying-zhou-yi-ming-290740","夏景戏婴轴","元人夏景戏婴图无名款。绘垂杨文石，环以曲槛。一童擎荷盖，一执榴花，一持五毒宫扇，官服髻发。两童持几，几供钟馗，旁设瓶花、水果、粽子等物。一儿以绳系蟾蜍，一儿后随作戏蟾状。 细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[24,135,27,30,26,9494,642,39,5280,643,281,9859,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],{"id":11142,"slug":11143,"title":11144,"dynasty":246,"author":449,"museum":360,"description":9385,"tags":11145,"thumbUrl":11146,"material":494,"size":495,"collection":223,"collections":11147,"showCount":298,"zanCount":536,"manualWeight":11,"mainColor":108},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[24,63,116,135,93,27,94,30,7,32,31,33,97,6082,118,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":11149,"slug":11150,"title":11151,"dynasty":277,"author":1553,"museum":360,"description":10693,"tags":11152,"thumbUrl":11155,"material":494,"size":495,"collection":223,"collections":11156,"showCount":298,"zanCount":536,"manualWeight":11,"mainColor":54},290340,"tai-ping-you-xiang-tu-zhou-yi-ming-290340","太平有象图轴",[24,135,27,30,31,7,96,293,97,11153,642,11154],"大象","太平祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03f728f1082d05d5e3c961e092042e.jpg",[],{"id":11158,"slug":11159,"title":2283,"dynasty":58,"author":1553,"museum":360,"description":11160,"tags":11161,"thumbUrl":11163,"material":494,"size":495,"collection":223,"collections":11164,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},289961,"xue-shan-xing-lv-tu-yi-ming-289961","此作用高远之法铺展冬日丘壑，主峰雄峙苍莽，积雪覆裹山峦，淡墨晕染出萧寒空濛的雪意。山石勾勒皴擦兼具骨力与浑润，枯木虬枝劲挺，尽显冬山荒寒之态。河谷间板桥茅舍错落，行旅驮队徐行于冰岸，为寂廖雪景晕开一缕人间烟火气。以水墨铺陈，借留白晕染烘托雪后山川的清寂辽远，将北国冬山的沉雄冷寂，与行旅浮生的意趣相融，于绢素间铺展出冬日山水的苍莽生机，尽显山水笔墨的意韵与造境匠心。",[23,24,116,331,93,135,98,578,1721,153,97,414,7,31,492,11162],"人马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007534380f02353665a1374e0d8404f1.jpg",[],{"id":11166,"slug":11167,"title":11168,"dynasty":246,"author":4810,"museum":360,"description":11169,"tags":11170,"thumbUrl":11171,"material":494,"size":495,"collection":223,"collections":11172,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},289908,"shan-shui-ce-ye-12-kai-shan-shui-ce-ye-dong-gao-289908","山水册页12开-山水册页","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），首席军机大臣，上书房总师傅，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，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,3457,27,94,206,7,32,1211,97,33,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ad83cff15c87a280334ef33beaac0f.jpg",[],{"id":11174,"slug":11175,"title":1308,"dynasty":246,"author":1309,"museum":360,"description":8643,"tags":11176,"thumbUrl":11177,"material":494,"size":495,"collection":223,"collections":11178,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},288392,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-288392",[23,116,24,63,135,94,29,27,117,98,7,32,31,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6347cfccc589f6a028cefbc8cc2ea79f.jpg",[],{"id":11180,"slug":11181,"title":11182,"dynasty":18,"author":11183,"museum":360,"description":11184,"tags":11185,"thumbUrl":11186,"material":494,"size":495,"collection":223,"collections":11187,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},288072,"xia-shan-yu-yu-liu-yu-288072","夏山欲雨","刘钰","刘珏(1410—1472)字廷美,号完庵,南直隶苏州府长洲(今江苏苏州)人。宣德中,苏州知府况钟举为吏,不就,得补生员,正统三年(1438)中举人,授刑部主事,迁山西按察司佥事,年五十弃官归。",[23,116,24,135,94,27,98,191,7,32,152,31,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd380e4f1b122124cca601af28dc7c21.jpg",[],{"id":11189,"slug":11190,"title":11191,"dynasty":18,"author":11192,"museum":360,"description":11193,"tags":11194,"thumbUrl":11195,"material":494,"size":495,"collection":223,"collections":11196,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},287781,"guan-yan-tu-li-zhou-chen-ji-he-287781","观雁图立轴","陈济和","明朝史学家。字伯载，武进（今属常州）人，陈洽兄。他博学强记，读书过目能诵。口诵手钞，经史百家无不贯通，时称两脚书橱。永乐元年（1403年），明成祖诏修《文献大成》（后改称《永乐大典》），朝廷以布衣召他担任编纂总裁，他却推荐姚广孝及胡严为总裁，自任副手。藩秘库书达数百万卷，浩无端倪。陈济与姚广孝等确定了编写体例，组织了文人学士2000余人参与编写。编写过程中，执笔者凡遇到疑难问题就请教陈济，他应口为之条辩缕析。永乐六年（1408）书成，总辑成22877卷，凡例、目录60卷。陈济被授于左春坊右赞善。陈济任职谨慎无过。帝甚礼重之，凡稽古纂集之事，皆交陈济处置。他在职15年，永乐二十二年（1424年）病逝，享年62岁。陈济学问渊博；平时却十分谦虚，终身危坐手不释卷，他常说：知识和布帛粮食一样贵重，有益于社会。平生著述有：《书传补》、《元史举要》、《通鉴纲目集览正误》《思斋集》等。",[23,116,24,63,135,27,30,31,7,121,414,293,97,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1761c3e21f8d87eeaba59b3a93f7aba6.jpg",[],{"id":11198,"slug":11199,"title":11200,"dynasty":246,"author":1105,"museum":132,"description":6223,"tags":11201,"thumbUrl":11202,"material":102,"size":11203,"collection":223,"collections":11204,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},287447,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-wang-jian-287447","仿黄公望烟浮远岫图",[116,24,63,94,27,98,29,191,32,152,75,293,281,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bce4de3236da388c40dfce3e6cfb914.jpg","134.9x78.9",[],{"id":11206,"slug":11207,"title":11208,"dynasty":18,"author":1553,"museum":360,"description":11209,"tags":11210,"thumbUrl":11211,"material":223,"size":223,"collection":223,"collections":11212,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},239529,"wen-jia-shan-shui-tu-juan-yi-ming-239529","文嘉山水图卷","此作用浅绛淡色晕染江南丘壑，以披麻皴写山石肌理，笔致清隽秀雅。长卷铺展平远山水，峰峦缓叠，林麓葱郁，溪谷间云气漫漶，将山居村舍、林塔梵宇轻轻托在烟岚之间。咫尺卷内藏万千丘壑，时而见飞泉漱石，时而见幽居临流，处处皆是文雅意趣。\n\n引首篆书古雅端凝，尾跋笔意萧散，书画相映，尽显文人卧游林泉的隐逸襟怀。整体气息淡和清远，将江南山水的温润灵秀，与文人寄情丘园的闲逸，揉作一卷可游可居的幽境，观之如入桃源尘外。",[23,24,63,25,27,94,98,26,99,2842,100,118,33,97,155,38,365,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d03c4d265eba22cd51a1d7c1095f8.jpg",[],{"id":11214,"slug":11215,"title":11216,"dynasty":18,"author":3342,"museum":360,"description":11217,"tags":11218,"thumbUrl":11219,"material":494,"size":495,"collection":223,"collections":11220,"showCount":298,"zanCount":536,"manualWeight":11,"mainColor":108},239412,"qiu-lin-li-zhang-tu-zhou-sun-zhi-239412","秋林藜杖图轴","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。",[24,63,135,93,94,98,630,97,30,7,250,33,3120,253,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f73c7d36a9cd4d75b5cc1f1c0fb19b9.jpg",[],{"id":11222,"slug":11223,"title":11224,"dynasty":246,"author":5979,"museum":360,"description":11225,"tags":11226,"thumbUrl":11227,"material":223,"size":223,"collection":1006,"collections":11228,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},239133,"shan-shui-he-hui-ce-zhang-zong-cang-239133","山水合绘册","近景枯干托举丹红秋叶，醒目前方，墨色林木层叠错落，将视线引向开阔江面。水面留白晕染出烟波空濛，扁舟随波轻漾，淡笔点出汀渚浅草，柔化水岸边界。远景木桥横陈，三两隐于暮色的人物，极简勾勒便添烟火生趣。\n\n干湿墨色交织，苍劲苔点写出林木郁茂，留白水面和淡墨远山形成虚实对照，带着清寂悠缓的秋日江居意趣，笔底藏着温润的山野闲情，将江南秋江的淡远萧疏尽数铺陈，简淡笔触里意蕴悠长，静立仿佛便能走入这幅秋水栖迟的幽境之中。",[24,63,234,93,27,94,439,5348,95,7,32,250,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18439d1381c9000bc273effce1c63224.jpg",[1006,51],{"id":11230,"slug":11231,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":4966,"tags":11232,"thumbUrl":11233,"material":223,"size":223,"collection":223,"collections":11234,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},238146,"shan-shui-ce-yun-xi-238146",[24,27,98,234,93,94,95,32,7,97,33,75,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56aea8fd244e7dbad2bb6f33aeaf0fe.jpg",[],{"id":11236,"slug":11237,"title":11238,"dynasty":246,"author":1042,"museum":360,"description":5762,"tags":11239,"thumbUrl":11240,"material":494,"size":495,"collection":223,"collections":11241,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},237618,"hong-ren-shan-shui-ce-hong-ren-237618","弘仁山水册",[24,63,234,93,98,100,99,118,94,7,336,136,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd3963f9cc3e8bb7f5738ddd57592de.jpg",[],{"id":11243,"slug":11244,"title":2158,"dynasty":246,"author":11245,"museum":360,"description":11246,"tags":11247,"thumbUrl":11248,"material":494,"size":495,"collection":104,"collections":11249,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},237518,"shan-shui-ce-chen-zi-237518","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[27,234,100,118,94,30,65,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08ca6de5976d2660e517dc6ace58ddd.jpg",[104,791],{"id":11251,"slug":11252,"title":11253,"dynasty":246,"author":11254,"museum":360,"description":11255,"tags":11256,"thumbUrl":11257,"material":223,"size":223,"collection":223,"collections":11258,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},235682,"fang-yuan-ren-xiao-jing-zhou-da-chong-guang-235682","仿元人小景轴","笪重光","此展品为清代的书画，描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n现收藏于 。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[24,63,135,93,100,118,94,439,7,75,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":11260,"slug":11261,"title":11262,"dynasty":246,"author":1062,"museum":360,"description":11263,"tags":11264,"thumbUrl":11265,"material":223,"size":223,"collection":223,"collections":11266,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},235668,"shan-shui-ping-ping-wei-yan-xue-yuan-yao-235668","山水屏-平囗艳雪","此作画境清灵雅致，雪意未消的春山间，胭红梅花生于嶙峋崖石之上，冷艳交融。画面以高远构局，层崖叠嶂间坐落两座亭台，临渊而立，将山居雅趣藏于空濛云雾中。下方板桥横跨浅溪，三两行人缓行，为幽寂山景添入烟火暖意。\n设色轻和柔润，山石以淡青晕染出积雪清寒，红梅胭红点染，冷暖相映愈显雅致。亭台勾勒工整流丽，山石皴擦兼具苍劲质感，留白的云雾拓展出山水空阔意境，将残雪初融、春信悄临的清隽诗意尽显，仿若可闻山风轻拂梅枝，静享林泉幽居的恬淡意趣。",[116,24,63,27,28,94,96,7,30,1606,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bb8508f0aa0b2c49b34293c6b24f3e.jpg",[],{"id":11268,"slug":11269,"title":1767,"dynasty":246,"author":613,"museum":360,"description":931,"tags":11270,"thumbUrl":11271,"material":494,"size":495,"collection":223,"collections":11272,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},235517,"yuan-ji-shan-shui-tu-ce-shi-tao-235517",[24,63,234,93,98,94,97,33,7,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539be3c07015b163b46cd40a7d09dfe6.jpg",[],{"id":11274,"slug":11275,"title":11276,"dynasty":18,"author":1534,"museum":360,"description":11277,"tags":11278,"thumbUrl":11279,"material":494,"size":495,"collection":223,"collections":11280,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831","仿黄公望山水扇页","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。",[24,63,1829,94,29,98,93,97,33,75,7,440,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":11282,"slug":11283,"title":11284,"dynasty":18,"author":1553,"museum":60,"description":11285,"tags":11286,"thumbUrl":11287,"material":223,"size":223,"collection":223,"collections":11288,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},234211,"yue-dai-xi-shan-xiao-si-tu-juan-yi-ming-234211","岳岱溪山萧寺图卷","此作以长卷铺展山野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,116,24,63,25,93,27,98,94,31,7,32,96,121,318,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":11290,"slug":11291,"title":10502,"dynasty":246,"author":613,"museum":60,"description":10503,"tags":11292,"thumbUrl":11293,"material":678,"size":10506,"collection":223,"collections":11294,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,94,27,98,100,118,97,32,33,252,4535,7,281,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":11296,"slug":11297,"title":11298,"dynasty":246,"author":1441,"museum":360,"description":11299,"tags":11300,"thumbUrl":11301,"material":223,"size":223,"collection":223,"collections":11302,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":1224},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","江山秋色图","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,93,98,27,94,7,32,97,33,152,96,118,7224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":11304,"slug":11305,"title":11306,"dynasty":246,"author":11307,"museum":360,"description":11308,"tags":11309,"thumbUrl":11310,"material":223,"size":223,"collection":223,"collections":11311,"showCount":298,"zanCount":536,"manualWeight":11,"mainColor":54},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,63,135,93,27,26,98,94,630,75,33,97,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":11313,"slug":11314,"title":11315,"dynasty":246,"author":4829,"museum":360,"description":11316,"tags":11317,"thumbUrl":11318,"material":223,"size":223,"collection":223,"collections":11319,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,63,234,93,98,94,33,7,75,155,97,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":11321,"slug":11322,"title":11323,"dynasty":18,"author":3205,"museum":360,"description":11324,"tags":11325,"thumbUrl":11326,"material":223,"size":223,"collection":223,"collections":11327,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},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。",[23,24,63,234,27,93,94,98,191,155,32,7,31,33,121,96,97,253,30,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":11329,"slug":11330,"title":11331,"dynasty":277,"author":5492,"museum":360,"description":11332,"tags":11333,"thumbUrl":11334,"material":223,"size":223,"collection":223,"collections":11335,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","水村图卷","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[23,116,24,63,25,93,98,94,71,33,3738,75,7,250,1129,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":11337,"slug":11338,"title":5057,"dynasty":277,"author":11119,"museum":360,"description":11339,"tags":11340,"thumbUrl":11341,"material":223,"size":223,"collection":223,"collections":11342,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":498},228029,"fang-you-tu-zhao-yong-228029","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,24,27,94,98,30,96,33,7,32,492,318,136,121,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":11344,"slug":11345,"title":11346,"dynasty":246,"author":1115,"museum":360,"description":11347,"tags":11348,"thumbUrl":11349,"material":223,"size":223,"collection":223,"collections":11350,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,24,63,135,94,29,98,3812,33,32,75,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],{"id":11352,"slug":11353,"title":11354,"dynasty":246,"author":1115,"museum":360,"description":11355,"tags":11356,"thumbUrl":11357,"material":11358,"size":11359,"collection":223,"collections":11360,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},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。",[23,24,93,27,98,234,94,97,32,96,75,33,7,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg","墨色绢本","48x32",[],{"id":11362,"slug":11363,"title":11364,"dynasty":246,"author":4581,"museum":360,"description":11365,"tags":11366,"thumbUrl":11367,"material":223,"size":223,"collection":223,"collections":11368,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,116,24,63,135,27,98,94,75,33,7,32,95,136,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":11370,"slug":11371,"title":11372,"dynasty":246,"author":2578,"museum":360,"description":11373,"tags":11374,"thumbUrl":11375,"material":223,"size":223,"collection":223,"collections":11376,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,63,135,27,26,94,33,75,7,32,95,155,1587,293,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":11378,"slug":11379,"title":11380,"dynasty":246,"author":2578,"museum":360,"description":11381,"tags":11382,"thumbUrl":11383,"material":223,"size":223,"collection":223,"collections":11384,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,63,135,27,26,98,94,30,7,32,96,75,293,97,4648,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":11386,"slug":11387,"title":11388,"dynasty":58,"author":1553,"museum":360,"description":11389,"tags":11390,"thumbUrl":11391,"material":237,"size":11392,"collection":223,"collections":11393,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,116,135,27,98,94,529,1470,152,33,7,32,31,30,65,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":11395,"slug":11396,"title":11397,"dynasty":246,"author":11398,"museum":360,"description":11399,"tags":11400,"thumbUrl":11401,"material":27,"size":223,"collection":223,"collections":11402,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,63,27,26,30,94,31,33,3073,2468,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":11404,"slug":11405,"title":6304,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":11406,"thumbUrl":11407,"material":164,"size":1461,"collection":223,"collections":11408,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},222921,"hong-lou-meng-46-sun-wen-222921",[23,26,27,28,30,744,31,7,33,1190,39,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f68ca4c6fa9ab7880091059a4ab8cc1.jpg",[],{"id":11410,"slug":11411,"title":11412,"dynasty":18,"author":4676,"museum":187,"description":4677,"tags":11413,"thumbUrl":11414,"material":102,"size":4680,"collection":223,"collections":11415,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":54},219065,"xiao-xiang-ba-jing-ce-6-zhang-fu-219065","潇湘八景册-6",[23,24,93,94,564,7,32,95,234,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edfcd85b61aa66bca1a2e3c15aa591b.jpg",[],{"id":11417,"slug":11418,"title":11419,"dynasty":58,"author":11420,"museum":132,"description":11421,"tags":11422,"thumbUrl":11423,"material":47,"size":11424,"collection":104,"collections":11425,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},218873,"shan-shui-tu-su-di-chun-xiao-ma-yuan-zhong-218873","山水图-苏堤春晓","马元忠","画面中，西湖边的苏澳路景象逼真，断桥和三座鱼舱清晰可见，湖壁上的游客画面虽小，却很生动。马元忠的画史没有记载，他对苏堤在南宋时期的面貌进行了宝贵的描绘。",[23,24,63,234,28,93,27,94,31,7,95,33,250,8433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f9048532902657b0f71f4a712b0075.jpg","23.6x25.8",[104],{"id":11427,"slug":11428,"title":11429,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":11430,"thumbUrl":11432,"material":102,"size":223,"collection":223,"collections":11433,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},215028,"fang-gu-shan-shui-ce-3-wang-jian-215028","仿古山水册-3",[24,63,150,528,98,3457,94,97,33,7,32,75,11431],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51937c7fa8c49c5ec3f6019215bc8d.jpg",[],{"id":11435,"slug":11436,"title":11437,"dynasty":246,"author":11048,"museum":203,"description":11438,"tags":11439,"thumbUrl":11440,"material":102,"size":223,"collection":223,"collections":11441,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},214819,"shan-shui-hua-hui-tu-ce-2-gao-feng-han-214819","山水花卉图册-2","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,63,234,93,27,94,7,121,33,75,3048,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16a60e84bf06c1ef5e8e26698a7abd53.jpg",[],{"id":11443,"slug":11444,"title":11445,"dynasty":246,"author":11446,"museum":266,"description":11447,"tags":11448,"thumbUrl":11449,"material":208,"size":223,"collection":223,"collections":11450,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":108},214487,"cheng-fang-fang-gu-shan-shui-tu-4-cheng-fang-214487","程淓仿古山水图-4","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[23,24,63,94,93,29,7,32,136,97,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932f5ddf5bed89cac6a31c1dce2407f7.jpg",[],{"id":11452,"slug":11453,"title":653,"dynasty":18,"author":2867,"museum":90,"description":11454,"tags":11455,"thumbUrl":11456,"material":223,"size":223,"collection":104,"collections":11457,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":11458},203446,"shan-shui-zhou-wen-bo-ren-203446","这幅山水立轴笔墨清润雅致，承文人画清幽意趣。层峦叠嶂间，皴法细密灵动，晕染出山峦的厚重肌理与层次；虬曲枯树以淡墨写就，枝桠交错间透着萧疏之韵。山涧流泉隐现，山脚人家错落点缀，添了几分生活气息。构图疏密相宜，远近景层次分明，将自然山水的静谧与人文闲逸相融，尽显吴门画派的雅致风骨。",[23,24,63,135,93,98,94,97,33,152,32,30,7,38,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4456d2433a0452450622966c102bcd.jpg",[104],"b6a696",{"id":11460,"slug":11461,"title":8699,"dynasty":18,"author":11462,"museum":90,"description":11463,"tags":11464,"thumbUrl":11465,"material":223,"size":223,"collection":104,"collections":11466,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":11467},203214,"shan-shui-tu-ce-wen-cong-chang-203214","文从昌","画面水墨铺陈，淡设色点染山林气象。枯树枝桠疏朗交错，间杂几点红意，似晚秋残叶凝霜。溪上小桥卧波，流水绕石潺潺，茅屋隐于树间，檐下人影依稀，藏着文人闲居的雅致。远山以淡墨皴擦，云雾轻笼，层峦悠远。笔法细腻中见洒脱，山石肌理用皴法勾勒，树木灵动自然。整体意境清寂淡远，尽显文人山水的闲适意趣，仿佛林间风语、溪水叮咚皆在耳畔，引人沉醉。",[24,93,27,94,414,7,32,98,234,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3b68603c28bdcf9b887d1f325b43b1.jpg",[104],"c6bbaf",{"id":11469,"slug":11470,"title":11471,"dynasty":5727,"author":11472,"museum":90,"description":11473,"tags":11474,"thumbUrl":11475,"material":223,"size":223,"collection":104,"collections":11476,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":11477},203156,"qing-shan-liu-shui-tu-zhou-zheng-wu-chang-203156","青山流水图轴","郑午昌","画面层峦耸翠，山石以皴法勾勒肌理，苍劲厚重。苍松虬枝斜出，红叶点缀其间，添几分秋意生机。山间小径蜿蜒，两人对坐清谈，意态悠然。下方溪流潺潺，板桥横卧，一旅人负笈过桥，尽显山林雅趣。笔墨细腻灵动，设色清雅温润，融自然之美与人文情韵于一体，尽显传统山水画的雅致韵味。",[24,94,27,98,7,32,30,206,5348,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c447c8c0ed568bbaa32b46a11d59d9.jpg",[104],"aba396",{"id":11479,"slug":11480,"title":11481,"dynasty":246,"author":4715,"museum":90,"description":11482,"tags":11483,"thumbUrl":11484,"material":223,"size":223,"collection":104,"collections":11485,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":11486},202039,"jian-jia-nong-di-tu-zhou-li-jian-202039","兼葭弄笛图轴","层峦叠嶂间云雾轻笼，飞瀑隐现于林麓；山麓下溪流蜿蜒，小桥横跨水面，连接起幽僻小径。近岸亭榭临流而筑，一人凭栏弄笛，笛声似随水波漾开。树木葱茏，枝叶以浓淡墨色点染，皴擦结合，尽显苍劲之态。整幅画以水墨为主，设色淡雅，笔墨清润，将文人雅士寄情山水的闲逸心境融入其间，意境悠远，韵致天成。",[24,63,94,98,93,96,7,32,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92681c15299ff79bf6a717f9f28328c3.jpg",[104],"624a28",{"id":11488,"slug":11489,"title":2626,"dynasty":18,"author":2627,"museum":360,"description":11490,"tags":11491,"thumbUrl":11492,"material":494,"size":495,"collection":223,"collections":11493,"showCount":226,"zanCount":536,"manualWeight":11,"mainColor":54},290964,"ren-wu-zhou-guo-chun-290964","郭纯（1370年－1444年），原名文通，明成祖赐名纯，遂以文通为字，号朴庵，浙江永嘉人，明初宫廷画家。历事永乐、洪熙、宣德、正统四朝，备受恩宠。",[24,135,93,30,94,96,281,743,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ef8dfee46506306e5b4ab101c26285.jpg",[],{"id":11495,"slug":11496,"title":653,"dynasty":18,"author":3205,"museum":360,"description":11497,"tags":11498,"thumbUrl":11499,"material":494,"size":495,"collection":223,"collections":11500,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},290942,"shan-shui-zhou-qian-gu-290942","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,135,93,94,97,1202,1211,7,32,30,98,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8400b37a40e904224c5ba0f310bde0b0.jpg",[],{"id":11502,"slug":11503,"title":11504,"dynasty":18,"author":202,"museum":360,"description":11505,"tags":11506,"thumbUrl":11509,"material":494,"size":495,"collection":223,"collections":11510,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},290919,"tai-ping-le-shi-ce-dai-jin-290919","太平乐事册","此册页类似的作品其实常常具有宣扬“盛世太平”的政治功能，它一般描绘社会安和乐利，人民安居乐业的的太平景象。",[24,234,27,30,66,33,32,7,11507,11508,118],"乡村","太平乐事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357334b6f63e10521231573b999549f2.jpg",[],{"id":11512,"slug":11513,"title":11514,"dynasty":277,"author":4904,"museum":360,"description":11515,"tags":11516,"thumbUrl":11518,"material":494,"size":495,"collection":223,"collections":11519,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},290504,"xi-shan-xin-yu-zhou-ma-wan-290504","溪山新雨轴","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。秦淮（今江苏南京）人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[116,24,135,93,94,136,75,7,32,118,11517],"新雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e1577e996b2222b03dd3d6748e752ec.jpg",[],{"id":11521,"slug":11522,"title":11523,"dynasty":277,"author":3541,"museum":360,"description":11524,"tags":11525,"thumbUrl":11527,"material":494,"size":495,"collection":223,"collections":11528,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},290440,"dan-tai-chun-xiao-tu-ke-luo-ban-lu-guang-290440","丹台春晓图（珂罗版）","此图绘远处层峦叠嶂，树木繁茂，山涧中房舍数问，炼丹石台一座；中景孤桥跨河两岸；近景松姿挺秀于溪岸。该图仿黄公望画风，笔苍墨健，境界缥悠。",[23,24,93,331,135,31,7,97,1861,99,118,11526],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793d01668f0b27a2d701111d87c14496.jpg",[],{"id":11530,"slug":11531,"title":11532,"dynasty":277,"author":1553,"museum":360,"description":10693,"tags":11533,"thumbUrl":11534,"material":494,"size":495,"collection":223,"collections":11535,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},290403,"xi-shan-shu-wu-tu-yi-ming-290403","溪山书屋图",[24,116,94,93,135,98,7,32,95,136,336,6967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3085e8a7828c4656d239af647fcfa1c2.jpg",[],{"id":11537,"slug":11538,"title":11539,"dynasty":277,"author":2372,"museum":360,"description":11540,"tags":11541,"thumbUrl":11542,"material":494,"size":495,"collection":223,"collections":11543,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},290155,"yan-ju-tu-ni-zan-290155","岩居图","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[116,24,63,135,93,94,564,414,75,7,32,118,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c1f4d3c7d03162b0c8ff0c8d1fbbe59.jpg",[],{"id":11545,"slug":11546,"title":11547,"dynasty":246,"author":1309,"museum":360,"description":8643,"tags":11548,"thumbUrl":11550,"material":494,"size":495,"collection":223,"collections":11551,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图",[24,63,135,93,94,98,11549,6082,7,32,191,33,75,1096,99,118],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],{"id":11553,"slug":11554,"title":11555,"dynasty":18,"author":3342,"museum":360,"description":11217,"tags":11556,"thumbUrl":11558,"material":494,"size":495,"collection":223,"collections":11559,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},288020,"hu-qiu-shan-tu-jing-xin-sun-zhi-288020","虎丘山图镜心",[23,24,63,331,28,93,27,31,7,32,400,454,33,11557,30],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f35e696980bb7bf3cd169dfe3be2dd.jpg",[],{"id":11561,"slug":11562,"title":11563,"dynasty":246,"author":11564,"museum":360,"description":11565,"tags":11566,"thumbUrl":11568,"material":494,"size":495,"collection":223,"collections":11569,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},287934,"yang-liu-mu-niu-tu-wang-su-287934","杨柳牧牛图","王素","《牧牛图》描写幽静的山谷间轻岚浮动，绿荫摇曳，一个顽皮的牧童骑坐于牛背上调鸟为乐。大牛步态沉着悠闲，稳健安详，小牛昂头追赶，步态急切而天真。作者以短促浓润的笔墨勾染坡树、人物，以干细的皴擦描绘水牛，通过刻画人、牛、鸟之问融洽和谐的关系，表达了作者寄情田园质朴平淡生活的理想",[23,24,135,27,93,30,66,11567,7,120,7150],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57cf1e1cef8d99873130b6acd2b2a017.jpg",[],{"id":11571,"slug":11572,"title":11573,"dynasty":18,"author":525,"museum":360,"description":6965,"tags":11574,"thumbUrl":11576,"material":494,"size":495,"collection":223,"collections":11577,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},283773,"shu-shu-yao-cen-tu-zhou-dong-qi-chang-283773","疏树遥岑图轴",[116,24,63,135,93,94,11575,250,75,7,98,118,99],"疏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc04ef9a52bc3588b9795eae91f67593.jpg",[],{"id":11579,"slug":11580,"title":11581,"dynasty":246,"author":1553,"museum":360,"description":11582,"tags":11583,"thumbUrl":11586,"material":494,"size":495,"collection":223,"collections":11587,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},272880,"zi-tan-mu-bian-hua-ni-jin-nong-qing-tu-gua-ping-yi-ming-272880","紫檀木边画泥金农庆图挂屏","深色地子托举泥金画卷，金泽温润沉古，将山乡丰年盛景缓缓铺展。层峦皴染厚重苍劲，漫山林木错落生姿，金粉晕染出秋意深浓。错落村舍隐于林泉之间，田垄水榭、乡居人家各得其所，处处浸着农庆时节的安闲祥和。\n\n泥金工艺精工细致，屋瓦纹路、枝干松针皆勾勒入微，将乡野升平的烟火气凝于金彩之中。紫檀边框沉稳雅致，与金碧画面相映成趣，融山水意趣与民俗风情于一体，把旧日田园的丰饶闲逸定格为传世的雅致风物。",[24,8675,3869,11584,94,31,7,32,366,33,75,11585],"泥金","农庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aa894d4acbe3f09ca44cf0d124c41c.jpg",[],{"id":11589,"slug":11590,"title":11591,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":11593,"thumbUrl":11597,"material":494,"size":495,"collection":223,"collections":11598,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},272836,"zi-tan-mu-bian-zuo-qian-ci-bai-di-qing-hua-shan-shui-tu-cha-ping-yi-ming-272836","紫檀木边座嵌瓷白地青花山水图插屏","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[11594,11595,3869,11596,4877,94,95,7,32,96,33,30,191],"青花","陶瓷","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed00e7621d03287f1ae29c4fb16db2f.jpg",[],{"id":11600,"slug":11601,"title":11602,"dynasty":246,"author":1553,"museum":360,"description":11603,"tags":11604,"thumbUrl":11607,"material":494,"size":495,"collection":223,"collections":11608,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},248410,"hei-qi-miao-jin-shan-shui-tu-hai-tang-shi-pan-yi-ming-248410","黑漆描金山水图海棠式盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[11605,11606,94,7,33,121,365],"漆器","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b833f69cc1ddd420721b935c05f16.jpg",[],{"id":11610,"slug":11611,"title":11612,"dynasty":246,"author":11613,"museum":360,"description":11614,"tags":11615,"thumbUrl":11616,"material":223,"size":223,"collection":223,"collections":11617,"showCount":226,"zanCount":713,"manualWeight":11,"mainColor":108},239550,"fang-bei-yuan-shan-shui-tu-zhou-zhang-xue-ceng-239550","仿北苑山水图轴","张学曾","张学曾仿北苑山水图轴是清顺治十二年的图轴。\n《仿北苑山水图》轴，张学曾绘，纸本，墨笔。\n此画远景为巨大的山石，以披麻皴绘出，山体及近处丛树、苔草施以墨点，一小桥延伸而去。\n构图简远，韵味无穷。\n“北苑”指五代时南唐著名山水画家董源，由于他曾任北苑使之职，故名。\n画幅中笔势苍茫，吐纳北苑；笔墨干湿浓淡、画风平淡天真处又受董其昌影响。\n款署：“乙未仲冬画仿北苑似子木词坛张学曾。\n”钤“张学曾印”白文印、“张尔唯氏”朱文印。\n“乙未”为清顺治十二年（1655年）。\n鉴藏印有孙煜烽、庞莱臣诸印：“孙煜烽珍藏印”朱文印、“希逸”白文印、“虚斋审定”白文印、“庞莱臣珍藏印”朱文印。",[24,63,135,93,94,7,97,33,30,118,29,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3154627689548e75d9c6124eddbd477e.jpg",[],{"id":11619,"slug":11620,"title":11621,"dynasty":18,"author":11622,"museum":360,"description":11623,"tags":11624,"thumbUrl":11625,"material":223,"size":223,"collection":104,"collections":11626,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},237784,"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","诸家山水册-山水册页","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[24,63,234,93,98,94,7,30,336,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[104,51],{"id":11628,"slug":11629,"title":2158,"dynasty":246,"author":11630,"museum":360,"description":11631,"tags":11632,"thumbUrl":11633,"material":494,"size":495,"collection":104,"collections":11634,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},236989,"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,63,234,27,93,98,99,100,118,94,7,32,95,121,33,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[104],{"id":11636,"slug":11637,"title":11638,"dynasty":18,"author":3004,"museum":360,"description":11639,"tags":11640,"thumbUrl":11641,"material":494,"size":495,"collection":223,"collections":11642,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},235579,"lin-tang-ye-xing-tu-shan-ye-song-xu-235579","林塘野兴图扇页","此图仿佛是从一幅大画上截下的局部，其树林、稻田、坡地以及水域的画意均不完整，如此的构图，反而增强了想像空间，达到了“画外有画”的特殊效果。画面用笔粗旷，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[24,1829,93,94,33,97,252,7,32,440,30,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa033729b0f39343c16511a93fc209eff.jpg",[],{"id":11644,"slug":11645,"title":5397,"dynasty":246,"author":1105,"museum":360,"description":6223,"tags":11646,"thumbUrl":11647,"material":494,"size":495,"collection":223,"collections":11648,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},235339,"fang-gu-shu-hua-ce-wang-jian-235339",[24,63,234,528,27,94,100,118,7,32,33,250,75,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d51a7dc9bebbb0aff7ced8be3699e6.jpg",[],{"id":11650,"slug":11651,"title":11652,"dynasty":18,"author":2122,"museum":60,"description":11653,"tags":11654,"thumbUrl":11655,"material":678,"size":11656,"collection":223,"collections":11657,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},234814,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xing-chun-qiao-tu-ye-wen-jia-234814","吴门诸家寿袁方斋三绝册-行春桥图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,116,63,234,93,27,94,439,7,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea626d77f19824c78c24784154a0e1b.jpg","22.2*26.7cm",[],{"id":11659,"slug":11660,"title":4828,"dynasty":246,"author":11661,"museum":60,"description":11662,"tags":11663,"thumbUrl":11664,"material":223,"size":223,"collection":223,"collections":11665,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},234516,"shan-shui-ce-ye-liu-yu-234516","柳遇","柳遇，字仙期，清朝吴县（今江苏苏州）人。\n工人物，精密生动，布置树石栏廊，点缀幽花细草，以及玩物器皿色色佳妙，不亚于仇英。宋荦抚吴时曾延其摹南唐顾闳中所画韩熙载夜宴图，及所画东坡与佛印谈禅像均为艺林称赏。《国[清]朝画徵录、在亭丛稿、读画辑略、画传编韵》。",[24,27,234,94,136,7,32,30,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d1afa33742324cc1ab319f7c56e75e.jpg",[],{"id":11667,"slug":11668,"title":11669,"dynasty":246,"author":11670,"museum":360,"description":11671,"tags":11672,"thumbUrl":11673,"material":223,"size":223,"collection":223,"collections":11674,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},234489,"fan-zhou-gui-cun-shan-ye-gu-sheng-234489","泛舟归村扇页","顾升","顾升,原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。\n顾升，原名峒，字虞东，因生而掌文有升字，改名升，更字隅东，号斗山，又号石帆，仁和(今杭州)人。国子生，以子贵封承德郎翰林院庶吉士。书、画、篆、隶俱工，又善画大人物，松石大幅尤佳。康熙四十四年(1705)南巡，进诗画册。著写山楼并题画诗",[24,1829,93,94,95,33,7,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c18aedc0239552953e824f8f99ceb25.jpg",[],{"id":11676,"slug":11677,"title":11678,"dynasty":18,"author":11679,"museum":360,"description":11680,"tags":11681,"thumbUrl":11682,"material":223,"size":223,"collection":104,"collections":11683,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},233479,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233479","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,63,234,516,93,94,33,97,7,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6e06a944cb23362a403e4847.jpg",[104],{"id":11685,"slug":11686,"title":11687,"dynasty":18,"author":19,"museum":60,"description":10818,"tags":11688,"thumbUrl":11689,"material":402,"size":10821,"collection":223,"collections":11690,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷",[24,63,25,27,26,98,100,99,118,94,30,31,7,32,96,121,33,252,250,1799,366,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg",[],{"id":11692,"slug":11693,"title":2158,"dynasty":277,"author":5492,"museum":60,"description":5493,"tags":11694,"thumbUrl":11695,"material":678,"size":5496,"collection":223,"collections":11696,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},233176,"shan-shui-ce-cao-zhi-bai-233176",[24,63,93,100,98,234,94,33,71,250,155,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17ecbbd4b4d239fdd07a6646c24e93.jpg",[],{"id":11698,"slug":11699,"title":11700,"dynasty":18,"author":1267,"museum":60,"description":10881,"tags":11701,"thumbUrl":11702,"material":3008,"size":10884,"collection":223,"collections":11703,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},233139,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xing-chun-qiao-tu-ye-tang-yin-233139","明人西山胜景合壁册-行春桥图页",[24,63,234,93,100,98,94,7,32,336,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff9513286f80bd3fb6fa61c9ad4e095.jpg",[],{"id":11705,"slug":11706,"title":11707,"dynasty":1933,"author":1553,"museum":4820,"description":11708,"tags":11709,"thumbUrl":11712,"material":237,"size":11713,"collection":223,"collections":11714,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,25,27,26,30,33,94,32,31,7,97,1667,5787,11710,11711,121],"僧侣","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":11716,"slug":11717,"title":11718,"dynasty":246,"author":11719,"museum":266,"description":11720,"tags":11721,"thumbUrl":11722,"material":194,"size":11723,"collection":223,"collections":11724,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[23,24,93,98,94,529,530,7,33,75,155,2978,293,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":11726,"slug":11727,"title":8015,"dynasty":246,"author":8016,"museum":360,"description":11728,"tags":11729,"thumbUrl":11730,"material":494,"size":495,"collection":223,"collections":11731,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[24,93,98,63,135,94,7,32,95,75,33,191,564,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":11733,"slug":11734,"title":11735,"dynasty":18,"author":1553,"museum":360,"description":11736,"tags":11737,"thumbUrl":11738,"material":223,"size":223,"collection":223,"collections":11739,"showCount":226,"zanCount":536,"manualWeight":11,"mainColor":54},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,63,116,25,26,27,30,31,7,32,96,65,94,33,97,64,2887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":11741,"slug":11742,"title":11743,"dynasty":18,"author":1534,"museum":360,"description":11744,"tags":11745,"thumbUrl":11746,"material":223,"size":223,"collection":223,"collections":11747,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,63,135,27,93,98,94,439,293,7,30,31,644,155,1956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":11749,"slug":11750,"title":11751,"dynasty":18,"author":885,"museum":360,"description":11752,"tags":11753,"thumbUrl":11754,"material":223,"size":223,"collection":223,"collections":11755,"showCount":226,"zanCount":536,"manualWeight":11,"mainColor":108},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,63,25,93,26,100,94,30,96,7,32,33,176,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":11757,"slug":11758,"title":11759,"dynasty":58,"author":1553,"museum":360,"description":11760,"tags":11761,"thumbUrl":11763,"material":223,"size":223,"collection":223,"collections":11764,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},227878,"liu-ge-feng-fan-tu-yi-ming-227878","柳阁风帆图","水岸垂柳如烟似雾，柔条轻拂水面，将满幅晕开融融绿意。右侧高阁临水而立，凭栏之人悠然远眺，将闲逸心绪融浸在湖光里。湖面轻舟扬帆趁风缓行，波光漾开静穆氛围，把远水近岸织作一卷清和夏景。\n\n画家以没骨晕染柳色，晕出江南水泽的湿润氤氲，人物虽形微却神态宛然，留白处暗写烟波浩渺。将寻常水乡日常定格在团扇之上，尽显宋人观照日常、寄情山水的审美意趣，淡墨轻岚里，尽是江南水乡的温柔况味，简淡悠长，余韵悠悠。",[23,24,1829,27,94,676,31,7,32,11762,30],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a3f08216ede90bf6be33b7dbee93e.jpg",[],{"id":11766,"slug":11767,"title":11768,"dynasty":1933,"author":11769,"museum":360,"description":11770,"tags":11771,"thumbUrl":11777,"material":494,"size":495,"collection":10946,"collections":11778,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},226080,"the-japanese-footbridge-1920-22-mo-nai-226080","The Japanese Footbridge, 1920-22","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。",[11772,10942,10943,11773,11774,11775,7,32,33,8433,3505,853,11776],"印象派","光影捕捉","色彩浓烈","倒影","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d821bdc237cb738e8fdd058a4846293.jpg",[10946],{"id":11780,"slug":11781,"title":11782,"dynasty":1933,"author":1553,"museum":360,"description":11783,"tags":11784,"thumbUrl":11788,"material":494,"size":495,"collection":223,"collections":11789,"showCount":226,"zanCount":536,"manualWeight":11,"mainColor":498},225314,"fu-shi-hui-50-yi-ming-225314","浮世绘50","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[9503,11605,11785,27,7,281,11786,743,11787],"螺钿镶嵌","水波","星星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6292ea9ec34ce7d2a4bc88eda894b420.jpg",[],{"id":11791,"slug":11792,"title":11793,"dynasty":58,"author":1553,"museum":360,"description":11794,"tags":11795,"thumbUrl":11796,"material":223,"size":223,"collection":223,"collections":11797,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,63,25,116,27,26,98,1470,840,94,95,1096,7,32,136,30,121,336,803,2609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":11799,"slug":11800,"title":11801,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":11802,"thumbUrl":11803,"material":164,"size":1461,"collection":223,"collections":11804,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},222969,"hong-lou-meng-94-sun-wen-222969","红楼梦94",[23,24,26,27,7609,30,7,32,97,33,31,39,643,950,1667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2cb4edc6fdd04ef5d3c4b9df4d44de.jpg",[],{"id":11806,"slug":11807,"title":11808,"dynasty":246,"author":1454,"museum":266,"description":1455,"tags":11809,"thumbUrl":11811,"material":164,"size":1461,"collection":223,"collections":11812,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},222925,"hong-lou-meng-50-sun-wen-222925","红楼梦50",[23,26,27,28,30,31,564,7,39,11810,33,5891,9860,2978,643],"轿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da105725489ffd05d510d3b0dfb5b19.jpg",[],{"id":11814,"slug":11815,"title":11816,"dynasty":18,"author":3923,"museum":60,"description":11817,"tags":11818,"thumbUrl":11819,"material":11820,"size":11821,"collection":223,"collections":11822,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},221891,"za-hua-tu-ce-xi-shi-tu-ye-chen-hong-shou-221891","杂画图册-溪石图页","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,24,63,116,234,27,98,94,7,32,97,30,33,152,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1898512a53945eaeb81e5c56068af5f9.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":11824,"slug":11825,"title":11826,"dynasty":277,"author":11827,"museum":60,"description":11828,"tags":11829,"thumbUrl":11830,"material":11831,"size":11832,"collection":223,"collections":11833,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},221821,"ying-shui-lou-tai-tu-ye-xia-yong-221821","映水楼台图页","夏永","因元代另一位界画大师王振鹏曾绘过大明宫，在乾隆的题诗中又有“下临无地上凌空，磅礴精神想象中。此日未详平乐馆，早年曾写大明宫”的语句，所以此幅曾被误定为王振鹏所绘。事实上，夏永的画法虽出自王振鹏，但以小幅见长。此图在艺术性上稍逊于王振鹏，但线描的精整工细似尤过之。正如熊之缙《花间笑语》评价他的画作“细若蚊睫，侔于鬼工”。\n《石渠宝笈续编·乾清宫》著录。",[23,24,63,116,234,28,516,93,31,32,7,94,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9ebc71fe2e34aada53e92454ae807c.jpg","绢本，墨笔","纵23.9厘米，横25.3厘米",[],{"id":11835,"slug":11836,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":11840,"thumbUrl":11844,"material":11845,"size":11846,"collection":223,"collections":11847,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":223},220708,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220708","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,63,116,234,94,191,11841,1616,137,7,32,11842,93,11843],"高树","策杖行人","苍润","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf36ccfeba247023e50d74a3a3b0b2d.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":11849,"slug":11850,"title":11851,"dynasty":246,"author":1062,"museum":60,"description":11852,"tags":11853,"thumbUrl":11854,"material":47,"size":11855,"collection":223,"collections":11856,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":54},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[116,24,94,28,27,31,96,7,30,97,33,1721,1606],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg","纵57厘米，横66.1厘米",[],{"id":11858,"slug":11859,"title":11860,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":11861,"thumbUrl":11862,"material":102,"size":223,"collection":223,"collections":11863,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},215015,"fang-gu-shan-shui-ce-14-wang-jian-215015","仿古山水册-14",[23,24,63,116,234,93,98,94,33,97,7,32,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b2efea2262a97f2f0a8dacae0339853.jpg",[],{"id":11865,"slug":11866,"title":11867,"dynasty":18,"author":290,"museum":60,"description":11868,"tags":11869,"thumbUrl":11870,"material":208,"size":11871,"collection":223,"collections":11872,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":108},214878,"shan-shui-ce-3-wen-zheng-ming-214878","山水册-3","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。",[23,24,63,234,93,98,100,118,94,439,97,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe62e5d5f8d6dff9bf8878cfd068d890e.jpg","28.5x15.7cm",[],{"id":11874,"slug":11875,"title":11876,"dynasty":5727,"author":9115,"museum":90,"description":11877,"tags":11878,"thumbUrl":11879,"material":223,"size":223,"collection":104,"collections":11880,"showCount":226,"zanCount":536,"manualWeight":11,"mainColor":11881},202975,"shan-shui-ren-wu-tu-ce-pu-ru-202975","山水人物图册","画面以水墨写意铺展山林清寂之境。枯树虬枝盘曲，笔触苍劲，尽展老木经霜之态；山石以淡墨皴染，层次叠现，间缀浓墨点苔，暗添生机。远处峰峦隐现，崖巅小屋孑立，似藏幽人逸趣。近景小桥横跨，桥下流水隐约，意境悠远。整幅笔墨简淡却意韵醇厚，尽显文人山水的雅致空灵，于方寸册页间见天地之阔。",[24,93,94,318,136,7,98,234,336,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd974a8a6c4ac6e4df3340df18bc8586.jpg",[104],"d5c7be",{"id":11883,"slug":11884,"title":11885,"dynasty":246,"author":1441,"museum":90,"description":11886,"tags":11887,"thumbUrl":11888,"material":223,"size":223,"collection":104,"collections":11889,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":11890},202220,"tang-ren-shi-yi-tu-zhou-wang-hui-202220","唐人诗意图轴","画面以淡墨设色铺展山水景致，远山用皴法勾勒纹理，尽显雄浑苍劲；近景枯树虬枝交错，茅舍隐于林间，溪流潺潺绕屋而过，小桥横架其上，一派清幽雅致的冬日山居意趣。笔墨细腻灵动，将唐人诗中的恬淡意境化为可视的山水图景，构图疏密有致，虚实相生，尽显传统山水画的笔墨韵味与诗意情怀。",[24,94,98,414,7,252,27,135,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a706e8ea8fbfb2e8dd917cd9f4ce7bb.jpg",[104],"988c7c",{"id":11892,"slug":11893,"title":11894,"dynasty":246,"author":4432,"museum":90,"description":11895,"tags":11896,"thumbUrl":11897,"material":223,"size":223,"collection":104,"collections":11898,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":11899},202185,"guan-pu-tu-zhou-xiang-sheng-mo-202185","观瀑图轴","画面以层叠飞瀑为脉络，苍松虬枝横斜，枝干劲挺如铁，松针细密若织。小桥跨于流泉之上，一人安坐凭栏，静赏瀑流奔涌，松风与水声相和。笔墨间，山石以皴擦显嶙峋肌理，瀑布用留白衬灵动之势，水墨晕染出清润空濛之气。整体意境清幽淡远，尽显文人雅士寄情山水的闲适心境，笔墨精妙处见匠心，于简淡中藏深致，将自然之趣与人文情怀融于尺幅之间。",[24,93,94,293,7,152,98,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2af1a7a792af2da76914347d431b1f8.jpg",[104],"ae9f92",{"id":11901,"slug":11902,"title":11903,"dynasty":18,"author":11904,"museum":90,"description":11905,"tags":11906,"thumbUrl":11907,"material":223,"size":223,"collection":104,"collections":11908,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":11909},202174,"wan-song-xiao-zhu-tu-zhou-ju-jie-202174","万松小筑图轴","居节","松风环绕间，小筑隐于万松深处，白墙黛瓦与苍松翠柏相映成趣。山石以皴法勾勒肌理，溪流潺潺过小桥，一隐者策杖徐行，似在品味林泉之乐。笔墨清润秀逸，水墨晕染层次分明，松枝苍劲有姿，小筑笔墨简洁却见雅致，尽显明代文人山水画的温婉超脱，将栖居林泉的悠然心境凝于尺幅之中。",[24,93,94,206,7,98,135,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F600d413a81a89573d5de18b1261c2ea2.jpg",[104],"b8b0aa",{"id":11911,"slug":11912,"title":11913,"dynasty":18,"author":885,"museum":90,"description":11914,"tags":11915,"thumbUrl":11916,"material":223,"size":223,"collection":49,"collections":11917,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":11918},201669,"sui-han-tu-zhou-qian-gong-201669","岁寒图轴","画面铺展冬日庭院图景，屋舍错落有致，敞轩内文人围坐，或品茗论道，暖意氤氲。院外枯树虬枝交错，松针如簇凝翠，梅枝缀蕊含香，寒意中透着盎然生机。小桥横架溪畔，行人缓步其上，流水清浅，更添几分清幽。笔墨细腻雅致，建筑界画工稳精准，人物勾勒灵动传神，树木皴擦得法，设色淡逸温润，尽显明代文人画的闲逸之趣，于岁寒时节传递出文人雅聚的静谧与旷达心境。",[24,26,28,30,31,7,32,206,1606,27,98,135,1618,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe63a8b11eb2e6decdbe5927000eddb50.jpg",[49],"b1a89c",{"id":11920,"slug":11921,"title":11922,"dynasty":18,"author":1073,"museum":90,"description":11923,"tags":11924,"thumbUrl":11925,"material":223,"size":223,"collection":104,"collections":11926,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":11927},201574,"shan-ju-chun-yan-tu-zhou-bian-wen-yu-201574","山居春宴图轴","画面以淡墨晕染出春日烟霞，山峦用细腻皴笔勾勒肌理，峰峦错落间云雾缭绕。近景处老干新枝交织，几间茅舍隐于林麓，小桥卧波，流水映带。笔墨疏朗秀逸，意境清幽淡远，似藏文人雅集之趣，尽显山居春日的宁静生机。",[24,94,98,7,32,93,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd4246a28a8e64158257034f511b32a.jpg",[104],"999482",{"id":11929,"slug":11930,"title":5561,"dynasty":277,"author":8087,"museum":360,"description":8088,"tags":11931,"thumbUrl":11932,"material":494,"size":495,"collection":223,"collections":11933,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},290961,"chun-shan-tu-yang-wei-zhen-290961",[116,24,63,135,93,98,94,136,318,7,31,97,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd696a9a640e58d489c6025ffdf5ab093.jpg",[],11,{"id":11936,"slug":11937,"title":11938,"dynasty":18,"author":3205,"museum":132,"description":11497,"tags":11939,"thumbUrl":11943,"material":208,"size":11944,"collection":82,"collections":11945,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},290945,"xue-shan-xing-lv-tu-zhou-qian-gu-290945","雪山行旅图轴",[24,135,331,93,98,1721,578,7,32,414,11940,11941,65,10644,137,11942],"苍松","行旅人物","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c0d9a198fbba7297e3d5b3a912b68.jpg","288.2x56.1",[82],{"id":11947,"slug":11948,"title":11949,"dynasty":277,"author":3856,"museum":360,"description":11950,"tags":11951,"thumbUrl":11952,"material":494,"size":495,"collection":223,"collections":11953,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},290091,"bi-shui-qing-feng-tu-ke-luo-ban-chen-ru-yan-290091","碧水青峰图（珂罗版）","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,93,94,98,33,97,31,7,32,121,591,99,118,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b976009316fccb78256bb4148d32cb9.jpg",[],{"id":11955,"slug":11956,"title":11957,"dynasty":18,"author":3342,"museum":360,"description":11217,"tags":11958,"thumbUrl":11959,"material":494,"size":495,"collection":223,"collections":11960,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},288051,"xi-qiao-lin-wu-tu-shan-mian-sun-zhi-288051","溪桥林屋图扇面",[116,24,63,1829,93,94,7,32,75,33,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db017cd0df8cb7f7d323beb4d55c81a.jpg",[],{"id":11962,"slug":11963,"title":11964,"dynasty":18,"author":2122,"museum":360,"description":8813,"tags":11965,"thumbUrl":11966,"material":494,"size":495,"collection":223,"collections":11967,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},288018,"chun-an-gui-qi-tu-shan-mian-wen-jia-288018","春岸归骑图扇面",[24,116,1829,63,27,117,94,281,7,32,96,30,65,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55092f3886da9994ea7f78ac826ade03.jpg",[],{"id":11969,"slug":11970,"title":7156,"dynasty":18,"author":1553,"museum":360,"description":11971,"tags":11972,"thumbUrl":11973,"material":223,"size":223,"collection":223,"collections":11974,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},239322,"wen-jia-shan-shui-zhou-yi-ming-239322","此作用淡墨晕染出深秋山居的幽寂之境。层峦以披麻皴轻写，山石留白衬出霜后清寒，林麓间枯木槎桠错落，茅庐依水而建，板桥尽头幽人策杖徐行，似正听松涧风声。\n笔墨简淡松秀，不事浓艳雕琢，将萧疏秋意藏于山峦林泉之间。题诗与画境相映，把霜林空寂、山光清旷的氛围感铺陈开来，尽显文人画以意驭笔的雅致，寄寓着栖心丘壑、静赏林泉的隐逸襟怀。",[24,63,135,93,98,94,7,32,96,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a6e3bf93739dbb94f972ffc8847362.jpg",[],{"id":11976,"slug":11977,"title":4809,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":11978,"thumbUrl":11979,"material":223,"size":223,"collection":223,"collections":11980,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},238833,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238833",[24,63,234,27,94,98,99,118,7,32,33,96,529,530,252,154,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6eba943f2863483400997f8cce665d.jpg",[],{"id":11982,"slug":11983,"title":10041,"dynasty":246,"author":5651,"museum":360,"description":10042,"tags":11984,"thumbUrl":11985,"material":223,"size":223,"collection":223,"collections":11986,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},238239,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238239",[24,93,98,234,94,96,7,32,66,439,97,30,75,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508aca8a9c5711e4ee592e945937e4b2.jpg",[],{"id":11988,"slug":11989,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":4966,"tags":11990,"thumbUrl":11991,"material":223,"size":223,"collection":223,"collections":11992,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},238142,"shan-shui-ce-yun-xi-238142",[24,27,98,234,94,97,293,7,75,155,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14f7fcf27a5310c0ba5dede1dab3133.jpg",[],{"id":11994,"slug":11995,"title":11996,"dynasty":246,"author":1553,"museum":360,"description":11997,"tags":11998,"thumbUrl":11999,"material":223,"size":223,"collection":223,"collections":12000,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},236951,"lu-hui-qiu-shan-ke-qi-shan-yi-ming-236951","陆恢秋山客骑扇","此作为浅绛山水小品，取团扇形制铺陈秋山行旅之景。左上方林木枯荣错落，垂藤悬曳，尽显深秋萧疏之态。石拱桥畔，策蹇旅人徐行，侍童随后相伴，点出幽寂行旅的意趣。远山以淡墨晕染，江天濛濛，留白铺就清远空阔的秋天气韵。右上角题款与画面相映，书画相融尽显文人雅致。笔墨干湿相济，山石淡赭衬墨，皴擦简练柔和，将秋山的静穆与行旅的闲澹融为一体，笔致清隽，意韵幽远，把秋日山行的清冷况味描摹尽致。",[24,63,1829,27,94,98,7,65,30,136,97,3823],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9138b46f13a6419a158fea416cc9293.jpg",[],{"id":12002,"slug":12003,"title":12004,"dynasty":246,"author":1553,"museum":360,"description":12005,"tags":12006,"thumbUrl":12007,"material":223,"size":223,"collection":223,"collections":12008,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},235667,"yuan-yao-shan-shui-ping-ping-liu-yong-pu-yi-ming-235667","袁耀山水屏-平流湧瀑","此作撷取江南水居之景，远景山峦轻笼烟霭，晕染出空濛悠远之致。山巅双松挺秀如盖，与朱栏山亭相映，山畔飞瀑叠落如碎玉，汇入清溪沿着山涧蜿蜒淌向平湖。\n\n左岸幽轩藏于繁荫翠幄间，与山亭遥遥对坐，凭栏便可尽览天光水色。平湖波平如镜，数艘渔舟静泊水面，将水畔栖居的闲静意趣晕染开来。\n\n画作工写相兼，山石皴擦苍润生姿，林木晕染清润秀雅，设色轻淡柔和，将园林雅致与山水野趣相融，铺展出江南水畔悠然世外的栖居图景，尽显清雅闲逸的诗意氛围。",[116,24,27,98,28,94,31,32,95,96,7,152,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a11aea2d5863fd9ee7ef32eededec.jpg",[],{"id":12010,"slug":12011,"title":12012,"dynasty":246,"author":2159,"museum":60,"description":12013,"tags":12014,"thumbUrl":12015,"material":678,"size":12016,"collection":223,"collections":12017,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},235028,"bai-ying-lou-tu-ce-ye-sun-yi-235028","拜影楼图册页","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[24,63,234,27,94,98,96,7,32,95,439,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056592b81dfa53b5a1a4c3aeedbef075.jpg","纵19.5厘米 横16.0厘米",[],{"id":12019,"slug":12020,"title":2158,"dynasty":18,"author":12021,"museum":360,"description":12022,"tags":12023,"thumbUrl":12024,"material":223,"size":223,"collection":104,"collections":12025,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},234269,"shan-shui-ce-sun-ri-shao-234269","孙日绍","此册页诗画合璧，右幅以淡墨晕染山水：近岸木桥横卧浅波，汀渚寂然，层叠远山如黛，烟岚轻笼间隐见楼阁，笔墨简淡空灵，晕染出烟雨江天的空濛悠远。左侧书法笔意纵逸跌宕，题诗意境呼应画中丘壑。二者相映成趣，将幽居林泉的闲雅疏旷铺陈开来，以极简笔墨勾勒出悠远山水，寄寓着文人澄怀观道的隐逸襟怀，诗书画相融相生，晕开恬淡雅致的古典意趣，尽显萧散出尘的文人山水情怀。",[23,24,63,234,93,98,100,94,529,530,7,96,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fde4ab358a106b7645441ca1c163a4b.jpg",[104],{"id":12027,"slug":12028,"title":12029,"dynasty":246,"author":12030,"museum":60,"description":12031,"tags":12032,"thumbUrl":12033,"material":257,"size":223,"collection":223,"collections":12034,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},234197,"fu-chun-tu-juan-shen-zong-jing-234197","富春图卷","沈宗敬","沈宗敬（1669—1735）《清朝画徵录》作雍正三年（1725）卒，清朝书画家笔录从之。字恪庭、南季，号狮峰、狮峰道人、双鹤老人、双杏草堂主人、卧虚山人等，华亭（今松江属上海市）人，沈荃之子。今依历代画史汇传。",[23,24,25,93,94,98,97,33,152,154,96,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa965d8172e9441cd6e732859da4e7b.jpg",[],{"id":12036,"slug":12037,"title":12038,"dynasty":18,"author":2122,"museum":60,"description":12039,"tags":12040,"thumbUrl":12041,"material":237,"size":12042,"collection":223,"collections":12043,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,63,25,93,98,100,99,94,7509,155,191,33,1445,75,7,32,95,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":12045,"slug":12046,"title":12047,"dynasty":18,"author":1392,"museum":60,"description":12048,"tags":12049,"thumbUrl":12050,"material":12051,"size":2704,"collection":223,"collections":12052,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","兰亭修褉图","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,63,25,27,26,100,94,96,30,32,7,33,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg","金笺地，设色",[],{"id":12054,"slug":12055,"title":7950,"dynasty":246,"author":12056,"museum":60,"description":12057,"tags":12058,"thumbUrl":12059,"material":12060,"size":12061,"collection":223,"collections":12062,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},233396,"shan-shui-ren-wu-ce-jin-nong-233396","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,63,234,27,94,30,7,136,119,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54429029827b441643489512e15b13be.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":12064,"slug":12065,"title":6431,"dynasty":246,"author":4829,"museum":60,"description":6433,"tags":12066,"thumbUrl":12067,"material":223,"size":223,"collection":223,"collections":12068,"showCount":11934,"zanCount":536,"manualWeight":11,"mainColor":108},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226",[24,93,98,234,94,97,33,293,152,75,4968,250,414,7,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":12070,"slug":12071,"title":2158,"dynasty":277,"author":5492,"museum":60,"description":5493,"tags":12072,"thumbUrl":12073,"material":678,"size":5496,"collection":223,"collections":12074,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},233174,"shan-shui-ce-cao-zhi-bai-233174",[24,93,98,234,99,100,94,529,530,33,7,75,176,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36164595fe8368b20261ba6fa14b9e1.jpg",[],{"id":12076,"slug":12077,"title":12078,"dynasty":277,"author":1370,"museum":132,"description":12079,"tags":12080,"thumbUrl":12081,"material":178,"size":12082,"collection":223,"collections":12083,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,24,63,25,93,98,100,99,118,94,95,7,32,96,121,136,336,564],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":12085,"slug":12086,"title":12087,"dynasty":18,"author":885,"museum":360,"description":12088,"tags":12089,"thumbUrl":12090,"material":223,"size":223,"collection":223,"collections":12091,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,63,135,26,27,30,31,7,136,97,642,39,10614,4877,94,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":12093,"slug":12094,"title":12095,"dynasty":18,"author":1553,"museum":360,"description":12096,"tags":12097,"thumbUrl":12098,"material":223,"size":223,"collection":223,"collections":12099,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","仿董源夏山图","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,63,25,94,29,27,98,191,33,71,5082,7,32,365,121,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17443e12643edb2c4b0c7baa318363d.jpg",[],{"id":12101,"slug":12102,"title":2158,"dynasty":246,"author":6397,"museum":360,"description":12103,"tags":12104,"thumbUrl":12105,"material":223,"size":223,"collection":223,"collections":12106,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},224597,"shan-shui-ce-yuan-ying-224597","此作铺陈出一卷悠然水乡山居图。远景山峦以淡墨晕染，轻烟笼岫，漾着空濛悠远的澹宕诗意。中景青绿重峦上，丹枫翠柏蓊郁成荫，山居院落沿溪错落排布，黛瓦飞檐掩映在枝叶间，将雅致烟火揉进山野清趣里。\n浅滩碎石漱着清流，近水扁舟随波徐行，渔翁垂竿独钓，把闲逸静穆揉进涟漪里。设色妍雅柔和，皴笔细腻勾勒山石肌理，淡墨晕染出烟岚轻笼的朦胧质感，将江南水乡温润灵秀的意趣尽数铺展，把幽居闲隐的雅韵凝在尺幅之中，观之如踏入这静美悠然的世外山居。",[23,24,27,98,234,94,7,32,95,31,33,97,7266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde5044ef41523288de68520c6e9bca9.jpg",[],{"id":12108,"slug":12109,"title":12110,"dynasty":246,"author":1115,"museum":360,"description":12111,"tags":12112,"thumbUrl":12113,"material":223,"size":223,"collection":223,"collections":12114,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,24,63,27,117,98,94,95,32,7,33,97,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":12116,"slug":12117,"title":12118,"dynasty":58,"author":1553,"museum":2433,"description":12119,"tags":12120,"thumbUrl":12121,"material":402,"size":12122,"collection":223,"collections":12123,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":54},223469,"gui-qu-lai-ci-shu-hua-juan-yi-ming-223469","归去来辞书画卷","此图出自东晋末陶渊明不愿为五斗米折腰，离开宦场而作的抒情小赋《归去来兮辞》。卷首是陶渊明像，后一图一文依次描绘了他辞官后，其归隐的生活情趣和内心轻松愉悦的感受。",[23,24,63,25,27,26,94,30,31,7,32,95,33,96,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c6140c5f57b11d67f190f51d137d6.jpg","30x438.6cm",[],{"id":12125,"slug":12126,"title":315,"dynasty":18,"author":12127,"museum":132,"description":12128,"tags":12129,"thumbUrl":12130,"material":223,"size":223,"collection":223,"collections":12131,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,24,63,1829,94,93,27,98,529,439,7,137,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":12133,"slug":12134,"title":12135,"dynasty":18,"author":89,"museum":90,"description":12136,"tags":12137,"thumbUrl":12138,"material":378,"size":12139,"collection":223,"collections":12140,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,63,234,93,27,28,94,31,7,32,96,35,75,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg","42.2×23.8厘米",[],{"id":12142,"slug":12143,"title":12144,"dynasty":246,"author":1105,"museum":90,"description":1106,"tags":12145,"thumbUrl":12146,"material":102,"size":1109,"collection":223,"collections":12147,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},216982,"fang-song-yuan-shan-shui-ce-5-wang-jian-216982","仿宋元山水册-5",[23,24,331,3457,27,98,93,529,530,7,33,293,75,440,152,176,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869a411b8f05c5295dbd50546c1ce7f4.jpg",[],{"id":12149,"slug":12150,"title":12151,"dynasty":246,"author":1553,"museum":9064,"description":12152,"tags":12153,"thumbUrl":12154,"material":237,"size":223,"collection":223,"collections":12155,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":498},216857,"xi-xiang-ji-tu-ce-22-yi-ming-216857","西厢记图册-22","墨色晕染的亭榭倚着清波，树影婆娑间，衣袂轻扬的女子立于廊桥，眉目温婉似含轻愁；亭中执扇的男子凝眸相望，衣袍素雅间藏着几分专注。花枝轻垂如低语，石畔苔痕似藏着时光的温柔，水面潋滟映着亭台的檐角，将古典的婉约静静铺展。\n\n画面以清雅设色晕开园林的静谧，格子窗棂漏出细碎光影，草木的淡彩与水墨的浓淡交织，似把西厢记里含蓄的情愫揉进了景物里。人物的姿态流转着脉脉情思，没有直白的诉说，却让园林的每一处角落都浸着古典爱情的温婉与朦胧。整幅画如一首浅吟的诗，将中式园林的雅致与人物的细腻心绪融于笔端，在恬淡的笔墨间，晕开一段千古流传的温柔片段。",[24,27,26,234,96,7,32,30,744,439,1667,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd8dabc6fad39c7b5cffd01ab2b6583.jpg",[],{"id":12157,"slug":12158,"title":12159,"dynasty":246,"author":12160,"museum":90,"description":12161,"tags":12162,"thumbUrl":12163,"material":208,"size":12164,"collection":223,"collections":12165,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":108},214710,"shan-shui-ce-7-gao-xiang-214710","山水册-7","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[24,63,234,516,93,98,94,97,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3461c84da8bf0a2b5f920bf5a2722b7.jpg","纵23.9 厘米，横55.4 厘米",[],{"id":12167,"slug":12168,"title":12169,"dynasty":18,"author":12170,"museum":90,"description":12171,"tags":12172,"thumbUrl":12174,"material":223,"size":223,"collection":104,"collections":12175,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":12176},203412,"mo-gu-shan-shui-ce-shen-hao-203412","摹古山水册","沈颢","笔墨摹古而意趣自出，山石勾勒皴擦见苍劲，松枝虬曲含逸气。左帧水岸相接，孤舟泛波，小桥隐现，一派江南清旷；右帧峰峦叠嶂，飞瀑流泉，林木葱茏间有人物凭栏，尽显林泉雅致。设色淡雅，构图疏密得宜，于摹仿中见个人情韵，是文人山水的典型风貌。",[24,94,12173,98,93,27,7,32,95,206,97,3811,1202,30,234,23],"摹仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f367a4b1eb7d65a438518901e2838d3.jpg",[104],"988065",{"id":12178,"slug":12179,"title":12180,"dynasty":5727,"author":5728,"museum":90,"description":12181,"tags":12182,"thumbUrl":12183,"material":223,"size":223,"collection":104,"collections":12184,"showCount":11934,"zanCount":536,"manualWeight":11,"mainColor":12185},203088,"dong-yu-chu-xie-tu-zhou-huang-bin-hong-203088","冻雨初歇图轴","雨后山岚轻笼，墨色晕染出层叠丘壑，草木带露含烟，尽显湿润之气。笔墨间皴擦点染交错，浓淡干湿互济，山石的厚重与流水的灵动相映成趣。近处小桥卧波，几椽村舍隐于林麓，远处孤舟泛于浅滩，舟子悠然，添得几分生趣。整幅画于清寂中藏生机，墨韵沉厚却不失空灵，尽显传统山水的笔墨意趣与自然之美。",[24,93,94,98,7,32,95,33,6215,5017,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77fd3c0331f2f189123ffbd7df224ea7.jpg",[104],"b4ada1",{"id":12187,"slug":12188,"title":12189,"dynasty":246,"author":613,"museum":90,"description":12190,"tags":12191,"thumbUrl":12192,"material":223,"size":223,"collection":104,"collections":12193,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":12194},202146,"yue-ye-fan-zhou-tu-zhou-shi-tao-202146","月夜泛舟图轴","夜色如墨晕染开山水轮廓，朦胧月色里，孤舟轻泛于烟波之上。近景松枝虬曲，墨色苍劲；小屋隐于林麓间，小桥卧波，添几分人间清趣。笔触纵逸洒脱，皴擦点染间丘壑自生，水墨淋漓处空濛尽现，将月夜的静谧与悠远铺陈开来。舟中之人似凭栏远眺，与天地相融，尽显文人雅士寄情山水的悠然心境。画面简淡却意韵悠长，于简括中见深致，是写意山水的精妙之作。",[24,93,94,95,7,743,98,135,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8af4bb5920483fa5ab0914c1d46a963.jpg",[104],"b4a990",{"id":12196,"slug":12197,"title":12198,"dynasty":246,"author":1115,"museum":90,"description":12199,"tags":12200,"thumbUrl":12201,"material":223,"size":223,"collection":104,"collections":12202,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":12203},202014,"chuang-xian-nong-bi-tu-zhou-wang-shi-min-202014","窗闲弄笔图轴","这幅画笔墨苍润雅致，构图层次悠远，尽显文人山水的闲逸之趣。山石以皴法皴染结合，纹理细密，山峦叠嶂间云雾轻飘，晕出空濛之境。近处苍松虬枝盘曲，树下溪流潺潺，小桥横跨水面，隐于林间的亭屋错落有致；远处村落依稀，与淡墨远山相映，一派悠然静谧。笔墨间可见对宋元山水的传承，每一处勾勒晕染都藏着画家对自然的深情与文人的清雅心境，仿佛将观者带入那窗下弄笔时的闲适氛围中。",[93,94,98,7,32,96,33,155,191,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0f293ee78e17d03f0f5974a5459bd0.jpg",[104],"aba69b",{"id":12205,"slug":12206,"title":12207,"dynasty":246,"author":12208,"museum":90,"description":12209,"tags":12210,"thumbUrl":12211,"material":223,"size":223,"collection":104,"collections":12212,"showCount":11934,"zanCount":11,"manualWeight":11,"mainColor":12213},201624,"cai-ling-tu-zhou-wang-hui-201624","采菱图轴","王翬","画面远山层叠，皴笔勾勒峰峦肌理，云雾轻笼山间，添空灵之致。近景柳丝低垂，枝干遒劲与杂树相映；村落隐于树后，小桥跨溪，流水潺潺，透着田园闲逸。水面数叶轻舟，采菱人影隐约，漾起渔乐之韵。笔墨细腻温润，设色淡雅清和，既承传统山水功底，又融生活场景鲜活气息，自然之美与人间烟火悄然融合。",[24,94,98,27,7,32,95,840,33,366,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe238d4fc5073b499650b68c17355907.jpg",[104],"c4b39e",{"id":12215,"slug":12216,"title":12217,"dynasty":18,"author":3205,"museum":360,"description":11497,"tags":12218,"thumbUrl":12219,"material":494,"size":495,"collection":223,"collections":12220,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},290948,"lin-wu-pian-zhou-qian-gu-290948","林屋扁舟",[24,234,93,94,136,7,31,99,118,100,2062,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3ae2404f007492d08905843e368342.jpg",[],{"id":12222,"slug":12223,"title":12224,"dynasty":18,"author":1267,"museum":132,"description":12225,"tags":12226,"thumbUrl":12230,"material":208,"size":12231,"collection":223,"collections":12232,"showCount":212,"zanCount":536,"manualWeight":11,"mainColor":108},290843,"ban-ji-tuan-shan-zhou-tang-yin-290843","班姬团扇轴","不过，本画中真正的女主角班婕妤（约西元前48－6），乃是班昭的祖姑。由于自幼即工诗、善赋，汉成帝时（西元前33－前7在位），被选入宫掖，初封为少使，未几又晋升成婕妤。她虽然深受皇帝钟爱，但始终能够矜重自持，绝不恃宠而骄。“婕妤辞辇”的故事，不仅为当世所称颂，且频频为后代画家引为礼仪教化的绝佳典范。\n汉成帝晚年宠幸赵飞燕（西元前43－1）姊妹，逐渐冷落班婕妤。班婕妤为了远离内廷的内斗，索性自请前往长信宫侍奉皇太后。幽居期间，先后写了〈自悼赋〉、〈捣素赋〉和〈怨歌行〉，暗喻自己凄凉孤寂的晚景，因文辞哀婉动人，而得以代代流传。",[24,116,135,27,30,744,336,7,12227,12228,118,99,12229],"芙蓉","棕榈","团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55340a9d1b1110624bc460885bb2005b.jpg","150.4x63.6",[],{"id":12234,"slug":12235,"title":12236,"dynasty":246,"author":12237,"museum":360,"description":12238,"tags":12239,"thumbUrl":12241,"material":494,"size":495,"collection":223,"collections":12242,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":1224},290469,"ben-se-na-sha-jia-xiu-chun-niu-tu-juan-qian-long-290469","本色纳纱加绣春牛图卷","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[23,25,63,24,12240,27,30,66,7,32,121,31,94,9183,281,96],"纳纱加绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4afda088d9622deba18199db8ba3c8.jpg",[],{"id":12244,"slug":12245,"title":12246,"dynasty":58,"author":1553,"museum":360,"description":12247,"tags":12248,"thumbUrl":12249,"material":494,"size":495,"collection":223,"collections":12250,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},290271,"han-gong-qiu-tu-yi-ming-290271","汉宫秋图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[116,24,63,25,28,27,30,31,7,32,39,33,97,118,99,1956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F045d0a536847ac969e6804bdb1446c39.jpg",[],{"id":12252,"slug":12253,"title":12254,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":12255,"thumbUrl":12256,"material":494,"size":495,"collection":223,"collections":12257,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},288501,"fang-fan-kuan-bu-meng-hao-ran-shi-yi-wang-hui-288501","仿范宽补孟浩然诗意",[24,93,331,29,98,135,94,31,7,32,96,3824,155,40,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c90cd07debb1bad00510702ae5c1bd.jpg",[],{"id":12259,"slug":12260,"title":12261,"dynasty":58,"author":1553,"museum":360,"description":12262,"tags":12263,"thumbUrl":12265,"material":494,"size":495,"collection":223,"collections":12266,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},288345,"xue-qiao-mai-yu-tu-yi-ming-288345","雪桥买鱼图","以淡墨晕染铺就天地一色的雪意，崖壁枯木虬枝斜出，残叶凝着薄雪，兀自点缀着萧寒。水岸渔舍错落低矮，板桥凌于寒波之上，渔舟系在岸边，好似刚收网归来，鲜鱼担于桥畔，静候买客。\n\n整幅画作以极简笔触勾勒出冬日水乡的清寂，留白处尽是冷冽空濛的雪色，不见喧嚣，只剩静谧。带着宋人独有的雅致意趣，将寻常乡野雪景绘成清冷孤高的诗意画卷，藏着冬日水乡的烟火闲淡，又晕染出荒寒出尘的山水意境。",[1829,24,116,331,93,1721,7,75,414,97,8433,95,3208,12264],"清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d0642e132ec6cd5664c979b5161599d.jpg",[],{"id":12268,"slug":12269,"title":12270,"dynasty":246,"author":12271,"museum":360,"description":12272,"tags":12273,"thumbUrl":12274,"material":494,"size":495,"collection":223,"collections":12275,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},288242,"yu-zhi-geng-zhi-tu-ai-xin-jue-luo-xuan-ye-288242","御制耕织图","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,24,63,234,516,7722,99,118,30,7,32,2343,2930,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5eaf54165aae398c3cd08f548717c06.jpg",[],{"id":12277,"slug":12278,"title":12279,"dynasty":246,"author":3353,"museum":360,"description":6643,"tags":12280,"thumbUrl":12281,"material":494,"size":495,"collection":223,"collections":12282,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},287997,"qian-long-nan-xun-zhu-bi-tu-ye-23-zhen-qian-wei-cheng-287997","乾隆南巡驻跸图页23帧",[23,24,63,116,234,28,27,31,96,2939,94,33,7,730,99,7722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b7085194310691b6fae5dae96603ea.jpg",[],{"id":12284,"slug":12285,"title":12286,"dynasty":18,"author":4599,"museum":360,"description":12287,"tags":12288,"thumbUrl":12289,"material":494,"size":495,"collection":223,"collections":12290,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},287948,"yan-si-wan-zhong-tu-ye-sheng-mao-ye-287948","烟寺晚钟图页","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[23,116,24,63,234,27,94,100,99,118,7,32,191,293,2939,155,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee2ff072691336c7ccc9a6449892a59.jpg",[],{"id":12292,"slug":12293,"title":9154,"dynasty":246,"author":12294,"museum":360,"description":12295,"tags":12296,"thumbUrl":12297,"material":494,"size":495,"collection":223,"collections":12298,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},287727,"shan-shui-fang-gu-ce-fang-shi-shu-287727","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。",[24,63,234,93,94,7,32,96,97,33,118,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8502a46d703fc1ee83d18e35b85691cd.jpg",[],{"id":12300,"slug":12301,"title":12302,"dynasty":18,"author":1553,"museum":360,"description":11592,"tags":12303,"thumbUrl":12306,"material":494,"size":495,"collection":223,"collections":12307,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},257632,"qing-hua-ying-xi-tu-wan-yi-ming-257632","青花婴戏图碗",[11595,11594,9494,94,7,30,18,27,12304,12305],"纹饰","圈足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2858e7696b3bb0007b0b8f1dac871c.jpg",[],{"id":12309,"slug":12310,"title":12311,"dynasty":246,"author":4083,"museum":360,"description":12312,"tags":12313,"thumbUrl":12314,"material":223,"size":223,"collection":104,"collections":12315,"showCount":212,"zanCount":536,"manualWeight":11,"mainColor":108},239274,"qing-luan-nuan-cui-tu-zhou-qin-bing-wen-239274","晴峦暖翠图轴","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[24,135,27,98,94,191,155,33,7,32,96,75,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7590cf853fd8a92277c9d92aa1e34b94.jpg",[104,51],{"id":12317,"slug":12318,"title":12319,"dynasty":18,"author":3004,"museum":360,"description":12320,"tags":12321,"thumbUrl":12322,"material":223,"size":223,"collection":223,"collections":12323,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},239192,"shan-chuan-ming-sheng-ce-song-xu-239192","山川名胜册","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。",[24,63,116,234,94,27,98,31,96,293,97,33,7,156,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff76f8e5ebb34a1b556907cd01691b.jpg",[],{"id":12325,"slug":12326,"title":10041,"dynasty":246,"author":5651,"museum":360,"description":12327,"tags":12328,"thumbUrl":12329,"material":223,"size":223,"collection":223,"collections":12330,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},238238,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238238","此作以青绿晕染峰岫，苍润厚重的远山托着空濛烟岚，留白将远近山水晕开淡远诗意。林麓间幽舍隐于繁枝，溪桥架于浅渚，山道逶迤，衬出山居阒寂。\n\n右下角旅人策驴缓行，僮仆挑担相随，鲜活的行旅意趣融在静穆山光里，动静相生。设色雅妍温润，皴法细腻，将幽居山野的清旷日常铺陈开来，把“山静日长”的悠然意境藏于笔底，尽显东方山水的澹泊美学。",[24,63,234,27,98,26,94,96,7,32,30,65,492,33,97,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20442350978cac3850c22182aaee49c0.jpg",[],{"id":12332,"slug":12333,"title":10041,"dynasty":246,"author":5651,"museum":360,"description":10042,"tags":12334,"thumbUrl":12335,"material":223,"size":223,"collection":223,"collections":12336,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":1224},238233,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238233",[116,24,63,234,27,94,98,31,7,32,33,97,152,96,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dee0f1c9c19b2e448314352461182f0.jpg",[],{"id":12338,"slug":12339,"title":2158,"dynasty":18,"author":12340,"museum":360,"description":12341,"tags":12342,"thumbUrl":12343,"material":237,"size":223,"collection":104,"collections":12344,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},237035,"shan-shui-ce-li-hang-zhi-237035","李杭之","李杭之[明]（？―一六四四）字僧筏，流芳（一五七五―一六二九）子。\n年未四十，弃诸生放浪山水。好古彝器，然遇人困难辄赠之。诗文书画，酷似其父。有月泛图，张鸿磐题云：“小李风流继阿翁，萧疏笔墨见心胸。”崇祯十二年（一六三九）尝作山水扇，现藏故宫博物馆。《列朝诗集小传》、《小松圆阁书画跋》、《南翔志》",[24,93,234,98,94,96,95,7,439,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3097f408a41631fd3bca46b1d4443c15.jpg",[104,82],{"id":12346,"slug":12347,"title":10766,"dynasty":18,"author":12348,"museum":360,"description":12349,"tags":12350,"thumbUrl":12351,"material":494,"size":495,"collection":223,"collections":12352,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},236806,"shan-shui-shan-ye-yang-shi-zhuo-236806","杨时倬","此作用笔苍秀，金笺底色衬出古雅温润。画面开合有度，借扇骨纹理代烟波，留白尽显空灵意境。崖岸林木蓊郁，山居隐于松荫之间，野趣悠然自生；滩头三人凭栏观水，简笔勾勒便衬出雅聚闲情。干笔皴擦晕染山石肌理，墨色浓淡分出阴阳向背，将幽寂林泉与文人情致相融，尽显萧散简远的林下之风。",[7265,1829,24,93,98,94,33,7,32,95,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f1b3f32f06ba3a6e4f5cbb124c596e7.jpg",[],{"id":12354,"slug":12355,"title":2158,"dynasty":18,"author":9409,"museum":360,"description":12356,"tags":12357,"thumbUrl":12358,"material":223,"size":60,"collection":104,"collections":12359,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},236599,"shan-shui-ce-ye-xiang-rong-236599","近岸处，戴笠旅人策杖徐行，似在溪山寻幽。浅溪如镜，白石小桥横卧水面，桥畔古木虬枝舒展，浓荫覆水。\n\n远山轻晕淡染，随溪湾缓缓隐入烟岚，错落水洲间，村舍隐在林麓深处。全作用色清雅柔和，淡赭晕开坡岸山石，以墨点簇染林木，笔法松秀简淡，未作繁复皴擦，便将山野清寂悠然铺陈开来。\n\n行旅野趣与山居安闲相融，将江南溪山的温润恬淡，凝为可游可居的幽境，尽显萧散简远的文人意趣，观之便如沐山涧清风，恍能踏入林泉，静听溪声与林风私语。",[24,63,234,93,27,98,94,7,32,33,97,250,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8531cc2a2e32f49f432b51829dc5a9cb.jpg",[104,82],{"id":12361,"slug":12362,"title":12363,"dynasty":246,"author":6380,"museum":60,"description":12364,"tags":12365,"thumbUrl":12366,"material":378,"size":12367,"collection":223,"collections":12368,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},236150,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236150","冷枚养正图书合册","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,63,234,27,26,30,7,32,33,97,643,39,99,7722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba5b95d75f318eee31421580362b513.jpg","纵三二·二厘米 横四二·三厘米",[],{"id":12370,"slug":12371,"title":2158,"dynasty":246,"author":1309,"museum":360,"description":12372,"tags":12373,"thumbUrl":12374,"material":223,"size":223,"collection":223,"collections":12375,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},236048,"shan-shui-ce-wang-yuan-qi-236048","此作用高远、平远之法铺展全景，危崖壁立，山峦层叠，兼具雄奇与秀润。以干笔积墨皴擦山石，笔力苍劲浑厚，披麻皴带着古拙意趣，草木点染清润雅致，笔墨兼具苍浑与秀灵。溪谷水泽蜿蜒环合，村居错落隐于林木扶苏间，林泉幽寂之趣尽显，将山川的沉厚生机与文人隐逸的林泉高致相融，既有宋元山水的古雅气韵，又自出机杼，把山林丘壑的静穆清远和文人画的淡逸情致揉为一体，尽显正统山水的精雅格调。",[116,24,63,234,27,98,94,529,530,7,33,75,97,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f307ac5b06d1d91c7c226dd735337.jpg",[],{"id":12377,"slug":12378,"title":12379,"dynasty":18,"author":1553,"museum":360,"description":12380,"tags":12381,"thumbUrl":12382,"material":223,"size":223,"collection":223,"collections":12383,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},236025,"dong-qi-chang-lin-he-jing-shi-yi-tu-zhou-yi-ming-236025","董其昌林和靖诗意图轴","此作以两段平远式铺展山水，清寂淡远。以干笔淡墨绘就，笔法松秀温润，山峦以披麻皴轻施皴擦，林木萧疏错落，茅舍板桥散缀烟林之间，将幽居孤高的隐逸意趣融在淡远丘壑之中。\n画面留白得当，虚实相生，淡墨轻岚晕染出空濛的林下清光，呼应题中诗意。诗书画印合为一体，尽显文人画的雅逸风神，以简淡之形写清旷之境，寄寓着慕恋林泉的林下襟怀。",[24,63,135,93,98,94,439,7,75,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeafd6d200536b0595a755c13a51b14c.jpg",[],{"id":12385,"slug":12386,"title":2158,"dynasty":246,"author":1786,"museum":60,"description":6232,"tags":12387,"thumbUrl":12388,"material":532,"size":6235,"collection":223,"collections":12389,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},235018,"shan-shui-ce-wu-li-235018",[24,63,234,93,98,94,7,32,33,97,152,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497d85d651bdc314e42e380565f3109.jpg",[],{"id":12391,"slug":12392,"title":12393,"dynasty":246,"author":1553,"museum":60,"description":12394,"tags":12395,"thumbUrl":12396,"material":378,"size":12397,"collection":223,"collections":12398,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},234902,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234902","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。",[24,63,234,27,117,26,100,118,94,31,7,32,97,33,30,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad5383086c2addf23d56ecae8eba42a.jpg","25.7×33厘米",[],{"id":12400,"slug":12401,"title":12402,"dynasty":246,"author":1309,"museum":360,"description":12403,"tags":12404,"thumbUrl":12405,"material":237,"size":12406,"collection":223,"collections":12407,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},234895,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234895","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,63,234,27,98,29,100,118,94,7,32,33,31,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd041938481266e5261f5879a6dd0ddf8.jpg","纵21厘米，横27厘米",[],{"id":12409,"slug":12410,"title":12411,"dynasty":18,"author":2122,"museum":360,"description":7157,"tags":12412,"thumbUrl":12413,"material":678,"size":223,"collection":223,"collections":12414,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},234259,"xuan-cheng-song-bie-juan-wen-jia-234259","宣城送别卷",[23,24,63,25,100,118,27,93,94,33,564,75,7,32,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3da9f12e4c80cb38116a7672a637566.jpg",[],{"id":12416,"slug":12417,"title":10502,"dynasty":246,"author":613,"museum":60,"description":10503,"tags":12418,"thumbUrl":12419,"material":678,"size":10506,"collection":223,"collections":12420,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[116,24,63,234,93,27,94,30,7,32,33,97,155,75,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":12422,"slug":12423,"title":12424,"dynasty":246,"author":7031,"museum":360,"description":12425,"tags":12426,"thumbUrl":12427,"material":223,"size":223,"collection":223,"collections":12428,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[23,24,63,116,3457,27,98,118,94,7,32,33,75,97,250,154,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":12430,"slug":12431,"title":12432,"dynasty":1933,"author":12433,"museum":360,"description":12434,"tags":12435,"thumbUrl":12436,"material":494,"size":495,"collection":223,"collections":12437,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,63,25,27,26,28,1665,99,7722,100,30,31,7,32,65,3073,94,96,121,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":12439,"slug":12440,"title":7973,"dynasty":246,"author":7031,"museum":360,"description":12441,"tags":12442,"thumbUrl":12443,"material":223,"size":223,"collection":223,"collections":12444,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},230266,"shan-shui-shi-kai-fang-cong-230266","此作用笔苍秀浑朴，以平远章法铺展春日村居意趣。板桥驮着晚归牧歌，柳丝轻笼烟岚，粉桃点破溪山春色，村庐隐在林麓间，尽得幽闲野致。平湖如镜，映出两岸茂林远岫，峰峦以干笔皴擦、墨色晕染出苍润质感，氤氲空濛春气。题诗衬合画中逸趣，将田家闲乐融在烟峦水木间，既有元人山水的萧散简远，又不失院体画的精整秀雅，笔底尽是静穆安闲的山居诗意。",[23,24,63,234,93,27,94,7,32,33,75,97,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6404cfc1abce5ce15f489d74346d7ea2.jpg",[],{"id":12446,"slug":12447,"title":12448,"dynasty":246,"author":4810,"museum":360,"description":12449,"tags":12450,"thumbUrl":12451,"material":223,"size":223,"collection":223,"collections":12452,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},230249,"jiu-ru-xian-shou-dong-gao-230249","九如献寿","此作用笔秀雅温润，以淡赭晕染丘坂，浓墨攒簇松针，苍松虬劲盘曲，荫蔽山溪幽径。策杖二人徐行林下，溪石隐现、浅谷逶迤，尽现清秋林壑疏旷之致。\n诗画合璧，借古松岁寒长青喻福寿绵长，将林下雅游闲情与祝寿深意相融。画面无繁饰堆砌，以简淡笔墨铺陈出静穆恬和的意境，在清润的林泉景致里，藏着清和雅致的颂祝之心，是兼具文人情致与吉祥意涵的山水小品。",[24,63,234,27,94,33,30,7,32,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96977665cdd169873e9aa287d401457.jpg",[],{"id":12454,"slug":12455,"title":4828,"dynasty":246,"author":8683,"museum":360,"description":12456,"tags":12457,"thumbUrl":12458,"material":494,"size":495,"collection":223,"collections":12459,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},230193,"shan-shui-ce-ye-wang-chen-230193","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[24,63,234,93,98,94,7,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b259c956580327d9785be7c1e0b5be.jpg",[],{"id":12461,"slug":12462,"title":12463,"dynasty":246,"author":1115,"museum":360,"description":12464,"tags":12465,"thumbUrl":12467,"material":223,"size":223,"collection":223,"collections":12468,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},230175,"shu-hua-shi-liu-kai-wang-shi-min-230175","书画十六开","此作用笔追法黄公望，山峦以披麻皴层层写就，浑厚苍润，尽显元人山水的沉古意趣。画面铺陈开阔，层峦叠嶂间飞泉直下，板桥连缀幽境，水畔村舍错落排布，山居人家隐于林木蓊郁的山坳里。\n\n淡施青绿晕染山石，糅合秀润与苍劲，整体意境静谧悠然。笔墨松秀温润，于摹古之中自出风神，将林泉雅逸的林下之趣藏于错落景致间，铺展出一派安闲淡远的世外山居图景。",[24,116,234,331,117,27,3812,191,2171,7,32,1383,1202,1211,12466,29],"静谧悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4b15bc29a9bde98e7a633ac4b782f6.jpg",[],{"id":12470,"slug":12471,"title":12472,"dynasty":18,"author":12473,"museum":360,"description":12474,"tags":12475,"thumbUrl":12478,"material":494,"size":495,"collection":223,"collections":12479,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},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。",[23,24,63,25,27,26,98,94,30,33,97,7,32,96,253,12476,12477],"树木茂密","山石险峻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68de92a5cd889b76de35179cab49741b.jpg",[],{"id":12481,"slug":12482,"title":12483,"dynasty":18,"author":12484,"museum":360,"description":12485,"tags":12486,"thumbUrl":12488,"material":223,"size":223,"collection":223,"collections":12489,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},228334,"liu-yin-mu-qiao-tu-ye-lu-shi-ren-228334","柳荫暮桥图页","陆士仁","此作用绢本暖褐底色晕染出薄暮柔氛，池面轻笼烟霭，垂柳依依曳于晚风，枝桠停驻寒鸦，将诗意融于画面。坡岸竹树错落，远处板桥隐在淡雾之中，衬得暮色愈发静谧安闲。\n\n设色清淡雅润，线条秀婉细腻，未以繁复勾勒，只凭晕染铺就朦胧暮色，将晚春池畔的慵懒闲寂揉进笔墨里。题画诗与小景相映成趣，把暮夜将临的恬和诗意尽数铺陈，尽显文人抒情小景的淡远意致，将闲淡空寂的晚暮氛围描摹得恰到好处。",[24,27,94,234,2746,7,336,121,2538,12487],"暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F988ee63a495d90b8af4ac0a7248c07b4.jpg",[],{"id":12491,"slug":12492,"title":12493,"dynasty":246,"author":1441,"museum":360,"description":12494,"tags":12495,"thumbUrl":12496,"material":223,"size":223,"collection":223,"collections":12497,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,24,116,63,135,27,94,98,7,32,96,121,439,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":12499,"slug":12500,"title":12501,"dynasty":246,"author":1309,"museum":360,"description":12502,"tags":12503,"thumbUrl":12507,"material":223,"size":223,"collection":223,"collections":12508,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","仿大痴山水图","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,24,116,63,331,93,27,97,32,7,137,2171,33,12504,98,3812,12505,1054,4785,12506,118,6216],"林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":12510,"slug":12511,"title":12512,"dynasty":246,"author":12237,"museum":360,"description":12513,"tags":12514,"thumbUrl":12515,"material":223,"size":223,"collection":223,"collections":12516,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,24,63,5607,27,28,94,31,7,33,235,97,96,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":12518,"slug":12519,"title":12520,"dynasty":58,"author":1553,"museum":360,"description":12521,"tags":12522,"thumbUrl":12523,"material":223,"size":223,"collection":223,"collections":12524,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":1224},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,63,25,516,93,98,1665,30,94,962,293,176,152,365,7,32,65,121,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":12526,"slug":12527,"title":12528,"dynasty":246,"author":1553,"museum":360,"description":12529,"tags":12530,"thumbUrl":12533,"material":223,"size":223,"collection":223,"collections":12534,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,63,234,93,27,98,94,12531,154,95,33,10794,250,2269,75,32,7,363,5457,12532,366],"山岩","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":12536,"slug":12537,"title":12538,"dynasty":58,"author":1553,"museum":60,"description":12539,"tags":12540,"thumbUrl":12542,"material":402,"size":12543,"collection":223,"collections":12544,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},223501,"yang-liu-xi-tang-tu-ye-yi-ming-223501","杨柳溪堂图页","此幅又名《柳溪春色图》。绘春日江南之景色，远 山横黛，緑柳成荫，屋宇临水而建，池塘平静如镜。整 幅画用笔细密，树叶以“胡椒点”为之，远山轻勾淡 染，画中人物勾勒傅粉，神态宛然。",[23,24,27,94,98,234,11567,12541,7,32,33,30,97],"溪堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75ea6fdd85cb95cb5ff01fc824ad93a5.jpg","22.5*24.5CM",[],{"id":12546,"slug":12547,"title":12548,"dynasty":246,"author":4064,"museum":132,"description":12549,"tags":12550,"thumbUrl":12551,"material":178,"size":12552,"collection":223,"collections":12553,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},223104,"duan-qiao-can-xue-tu-dong-bang-da-223104","断桥残雪图","《断桥残雪图》画的是杭州西湖十景之一“断桥残雪”景。白堤第一桥曰断桥，界于前后两湖之间。春雪未消，悉琼林瑶树，晶莹朗澈。\n断桥残雪是西湖上著名的景色，以冬雪时远观桥面若隐若现于湖面而称著。属于西湖十景之一。每当瑞雪初霁，站在宝石山上向南眺望，西湖银装素裹，白堤横亘雪柳霜桃。断桥的石桥拱面无遮无拦，在阳光下冰雪消融，露出了斑驳的桥栏，而桥的两端还在皑皑白雪的覆盖下。依稀可辩的石桥身似隐似现，而涵洞中的白雪奕奕生光，桥面灰褐形成反差，远望去似断非断，故称断桥。明代画家李流芳《西湖卧游图题跋——断桥春望》称：“往时至湖上，从断桥一望，魂销欲死。还谓所知，湖之潋滟熹微，大约如晨光之着树，明月之入庐。盖山水映发，他处即有澄波巨浸，不及也。”",[23,24,63,94,27,98,118,7,96,318,136,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8dfcaeca894047302a2b5b6fcbb4d6.jpg","133x66cm",[],{"id":12555,"slug":12556,"title":12557,"dynasty":246,"author":4810,"museum":132,"description":12558,"tags":12559,"thumbUrl":12561,"material":223,"size":223,"collection":223,"collections":12562,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},222858,"xin-she-geng-ye-dong-gao-222858","新畬耕馌","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”。",[23,24,63,234,27,26,94,30,7,32,33,2538,252,6072,66,12560],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ba419991325a08174927ef62141683.jpg",[],{"id":12564,"slug":12565,"title":12566,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":12567,"thumbUrl":12568,"material":237,"size":6940,"collection":223,"collections":12569,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},220288,"huang-shan-tu-ce-37-hong-ren-220288","黄山图册-37",[23,116,24,63,234,98,27,94,7,32,97,414,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70e277b94dfe9c6eeb04e5a7b98c942.jpg",[],{"id":12571,"slug":12572,"title":12573,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":12574,"thumbUrl":12575,"material":237,"size":6940,"collection":223,"collections":12576,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":108},220277,"huang-shan-tu-ce-47-hong-ren-220277","黄山图册-47",[23,24,93,98,234,94,96,7,32,97,136,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6cda6b166036c2ddff5b9d2083d9e2.jpg",[],{"id":12578,"slug":12579,"title":12580,"dynasty":58,"author":12581,"museum":132,"description":12582,"tags":12583,"thumbUrl":12584,"material":164,"size":223,"collection":223,"collections":12585,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":54},218674,"xi-hu-shi-jing-tu-duan-qiao-can-xue-ye-xiao-yan-218674","西湖十景图-断桥残雪","叶肖岩","雪落断桥，淡墨晕开湖山的朦胧。枯枝疏朗，似凝住冬日清寒；远山如黛，薄雪轮廓在烟霭中隐现。水墨笔触轻缓，将雪的柔、山的静、桥的孤融于一纸。断桥卧于雪色间，像守着时光的老者，静看湖山更迭；岸边松竹墨线简练，道尽寒冬里的坚韧疏朗。淡墨远山与近景残雪相映，铺展“断桥残雪”的清冷诗意，仿佛能嗅到雪中梅香清冽，触到湖面微风微凉。静谧中藏着江南冬日婉约，残雪未消处，似有游人踏雪屐痕轻浅，引人欲赴一场雪中湖山之约。",[23,24,63,234,27,94,98,529,439,7,1470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2cae48ac35dd4101f07a41be498b1dd.jpg",[],{"id":12587,"slug":12588,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":12589,"tags":12590,"thumbUrl":12592,"material":223,"size":223,"collection":104,"collections":12593,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":5732},202907,"shan-shui-tu-zhou-huang-bin-hong-202907","这幅山水图轴笔墨沉厚，山峦以积墨法层层晕染，苍劲雄浑间见灵秀。近处虬松挺峙，孤石嶙峋，枝干与石纹以焦墨勾勒，皴擦相生；山间云雾轻笼，远山隐现于烟霭，层次悠远。小桥横架溪上，屋舍藏于林麓，添得几分生趣。墨色浓淡干湿交织，黑密厚重中透出清润，尽显苍茫深邃之境，是传统山水笔墨与意境的精妙融合。",[24,94,93,98,12591,293,7,336,23],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f53ff3b160014904b50c306cc4c002.jpg",[104],{"id":12595,"slug":12596,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":12597,"tags":12598,"thumbUrl":12599,"material":223,"size":223,"collection":104,"collections":12600,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":5732},202906,"shan-shui-tu-zhou-huang-bin-hong-202906","这幅山水图笔墨苍劲浑厚，墨色层次丰富，尽显自然灵韵。层叠山峦以皴法勾勒，云雾缭绕间见虚实相生；挺拔的松树枝干虬劲，与山石相映成趣。山间小桥隐现，茅屋错落，似藏隐逸之趣。笔触枯润相间，线条老辣灵动，将山水的雄浑与雅致融为一体，传递出文人画的深邃意境与对自然的深情体悟。",[24,93,94,98,293,7,252,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8ae8bb2cd987fd1647693e28326753.jpg",[104],{"id":12602,"slug":12603,"title":653,"dynasty":246,"author":12604,"museum":90,"description":12605,"tags":12606,"thumbUrl":12607,"material":223,"size":223,"collection":104,"collections":12608,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":12609},202099,"shan-shui-zhou-tao-qi-202099","陶淇","这幅山水轴笔墨雅致，山峦层叠间皴法细腻，勾勒出岩石苍劲质感；林木错落，或虬曲或挺拔，枝叶繁疏有致；溪流蜿蜒穿涧，小桥横跨其上，隐于林麓的屋舍添了几分烟火气。整体意境清幽悠远，笔墨灵动自然，将文人眼中的山水之趣尽显无遗，仿佛置身其间，可享林泉之乐。",[94,135,98,93,27,7,32,33,97,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291eed53914507e271e2311f9a00edff.jpg",[104],"b9aea2",{"id":12611,"slug":12612,"title":3341,"dynasty":246,"author":12613,"museum":90,"description":12614,"tags":12615,"thumbUrl":12616,"material":223,"size":223,"collection":104,"collections":12617,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":12618},201880,"xie-qin-fang-you-tu-zhou-shen-yuan-201880","沈源","画面中山峦以水墨皴擦，尽显苍劲之态；溪流蜿蜒，小桥卧波，士人携琴而行，步履间似有雅韵流淌。岸边屋舍隐于林木，与自然相映成趣，整体清幽静谧，笔墨简练却意境深远，将山水之秀与文人之趣融于一纸，尽显古典雅致之美。",[94,93,135,98,7,32,30,96,136,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddad3ed479263b3c587210a951b0387a.jpg",[104],"a0917f",{"id":12620,"slug":12621,"title":2700,"dynasty":246,"author":1553,"museum":90,"description":12622,"tags":12623,"thumbUrl":12625,"material":223,"size":223,"collection":104,"collections":12626,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":12627},201760,"lan-ting-xiu-xi-tu-juan-yi-ming-201760","画面铺展烟水林泉之境，林木扶疏间，雅士或围坐清谈，或曲水畔流觞，或亭中对酌，情态悠然尽显魏晋风雅。线条灵动勾勒人物衣袂与山石草木，设色淡雅温润，山石皴法细腻，树木枝叶疏密有致，兼具工笔精致与写意逸韵。整体意境清旷悠远，再现兰亭集会的闲适文气，是传统文人画中表现雅集题材的佳作。",[24,25,27,30,7,32,96,94,26,98,12624,23],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aed8daebd23a41e0dd22f65343ee558.jpg",[104],"000000",{"id":12629,"slug":12630,"title":12631,"dynasty":246,"author":12632,"museum":90,"description":12633,"tags":12634,"thumbUrl":12638,"material":223,"size":223,"collection":104,"collections":12639,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":12640},201593,"xi-yuan-ya-ji-tu-heng-fu-gu-luo-201593","西园雅集图横幅","顾洛","画面铺展林下雅集之景：苍松蔽日，芭蕉倚石，流水绕阶而过，小桥隐于林麓。文士三五成群，或围案展卷评赏，或凭栏远眺谈玄，或横琴欲奏；仕女捧器侍侧，衣纹细劲流畅。笔致工细，设色淡雅，人物神态鲜活，或凝思或浅笑，尽显文人超逸之态。山石以皴染结合，草木葱茏有致，布局疏密得宜，将雅士闲适之趣融于幽邃自然，自成清旷意境。",[24,26,27,30,94,12635,1190,97,32,7,98,12636,12637,23],"文士","衣纹","林下雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5297981deffd60ff3bdb34516eeb8b26.jpg",[104],"ad9466",{"id":12642,"slug":12643,"title":11118,"dynasty":277,"author":11119,"museum":132,"description":11120,"tags":12644,"thumbUrl":12645,"material":47,"size":11123,"collection":223,"collections":12646,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},291022,"xiao-chun-xi-jing-tu-zhao-yong-291022",[116,24,93,135,94,30,136,176,7,32,98,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe280b2aad3933abc0a8a4ad76450f2ec.jpg",[],{"id":12648,"slug":12649,"title":9641,"dynasty":277,"author":1553,"museum":9642,"description":9643,"tags":12650,"thumbUrl":12651,"material":308,"size":9646,"collection":223,"collections":12652,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},290958,"tai-xing-xue-ji-tu-yi-ming-290958",[24,116,94,1721,414,97,152,7,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fab5a9bdaeb560a420cfd40002b9c65.jpg",[],{"id":12654,"slug":12655,"title":12656,"dynasty":58,"author":1553,"museum":360,"description":12247,"tags":12657,"thumbUrl":12658,"material":494,"size":495,"collection":223,"collections":12659,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},290110,"wu-tong-ting-yuan-tu-yi-ming-290110","梧桐庭院图",[116,24,63,28,234,26,27,31,39,33,7,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbfc008d8276fa6952b4ae41102c97fe.jpg",[],{"id":12661,"slug":12662,"title":12663,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":12664,"thumbUrl":12665,"material":494,"size":495,"collection":223,"collections":12666,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},289933,"xia-wu-yin-mei-tu-zhou-wang-hui-289933","夏五吟梅图轴",[116,24,63,135,93,27,98,94,206,564,1606,7,32,96,121,97,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb351758d9dedc7377576f498d8c508.jpg",[],{"id":12668,"slug":12669,"title":12670,"dynasty":277,"author":1553,"museum":132,"description":12671,"tags":12672,"thumbUrl":12674,"material":208,"size":12675,"collection":223,"collections":12676,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},287581,"qing-shan-zhu-ge-zhou-yi-ming-287581","青山竹阁轴","元初书法总的情况是崇尚复古。文宗天历初建奎章阁，专掌秘玩古物。元文宗常幸奎章阁欣赏法书名画，书法一度出现兴盛局面。赵孟頫，鲜于枢等名家，是这时期书法的代表。他们主张书画同法，注重结字的体态。但元代书坛纯是继承晋唐，没有自己风格，稍后于赵孟頫的康里巎巎还有些变化，奇崛独出于元代书坛。纵观元代书法，其成就大者还在真行草书方面。至于篆隶，虽有几位名家，但并不怎么出色。这种以真、行、草书为主流的书法，发展到了清代才得到改变。有元一代书风，仍沿宋习盛于帖学，宗唐宗晋，虽各有其妙，亦不能以一家之法立于书坛。",[24,116,63,135,93,331,1258,255,12673,7,454,99,98],"竹阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c3adc48962b9a348f961633ca44b36.jpg","71.9x28.4",[],{"id":12678,"slug":12679,"title":12680,"dynasty":246,"author":12681,"museum":360,"description":12682,"tags":12683,"thumbUrl":12684,"material":223,"size":223,"collection":223,"collections":12685,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","林纾","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,63,25,93,98,26,99,100,118,94,71,33,75,7,35,97,2538,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],{"id":12687,"slug":12688,"title":12319,"dynasty":18,"author":3004,"museum":360,"description":12689,"tags":12690,"thumbUrl":12691,"material":223,"size":223,"collection":223,"collections":12692,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},239195,"shan-chuan-ming-sheng-ce-song-xu-239195","这幅小品以淡设色铺展临江胜景，浅赭花青晕染远山，柔润山色裹挟朦胧雾气，黛墨点苔晕出山峦苍润肌理。雄踞矶头的楼阁层叠飞檐，丹楼黛瓦在烟水间格外醒目。江面上扁舟三两悠然泛波，细笔淡描水纹，晕开烟波浩渺之态。近岸村舍旌旗错落，晕开江畔烟火暖意，左侧山巅隐见层林古寺，与主楼遥遥呼应。\n\n画风清润淡雅，以平远构图铺展楚天开阔之境，将楼阁雄姿与烟江叠嶂相融，淡墨轻岚里晕开江汉间的灵动气韵，尽显潇湘烟水的空濛雅致，暗合文人山水的清远意趣。",[24,27,28,234,98,94,31,32,95,33,250,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2c52a1351ba4ccb07944e50bdeb46.jpg",[],{"id":12694,"slug":12695,"title":10766,"dynasty":18,"author":3342,"museum":360,"description":11217,"tags":12696,"thumbUrl":12697,"material":494,"size":495,"collection":223,"collections":12698,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},237967,"shan-shui-shan-ye-sun-zhi-237967",[24,63,1829,94,93,98,529,530,439,414,7,95,644,32,38,250,4649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":12700,"slug":12701,"title":3232,"dynasty":246,"author":3233,"museum":360,"description":3234,"tags":12702,"thumbUrl":12703,"material":223,"size":223,"collection":223,"collections":12704,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},237878,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237878",[24,63,234,93,98,29,94,7,32,136,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9624ef0bbef52c8f0aaf71b18b601c96.jpg",[],{"id":12706,"slug":12707,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":12708,"thumbUrl":12709,"material":223,"size":223,"collection":223,"collections":12710,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},237603,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237603",[24,63,234,93,528,98,99,100,118,94,743,136,97,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd29576a70d9eb2b4dfb84f569157a5.jpg",[],{"id":12712,"slug":12713,"title":2158,"dynasty":18,"author":12714,"museum":132,"description":12715,"tags":12716,"thumbUrl":12717,"material":237,"size":223,"collection":104,"collections":12718,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},237432,"shan-shui-ce-jiang-qian-237432","蒋乾","蒋嵩，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为「狂态邪学」。",[24,27,94,234,30,293,31,7,2468,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29fe2b50889a5b1d4e8f2b7c75fef4c.jpg",[104,51],{"id":12720,"slug":12721,"title":12722,"dynasty":18,"author":12723,"museum":360,"description":12724,"tags":12725,"thumbUrl":12726,"material":494,"size":495,"collection":223,"collections":12727,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},237407,"xi-xiang-ji-tu-shan-ye-xu-shi-xuan-237407","西厢记图扇页","徐士选","山阳人，万历戊午科。",[24,1829,26,27,30,744,33,97,318,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f1be9ec040238119a722cae4fc4ddd.jpg",[],{"id":12729,"slug":12730,"title":12731,"dynasty":246,"author":12732,"museum":360,"description":12733,"tags":12734,"thumbUrl":12735,"material":494,"size":495,"collection":223,"collections":12736,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},237071,"duan-qiao-shu-liu-shan-zhang-wei-237071","断桥疏柳扇","张维","字叔维，号西泠寓客，常熟(今属江苏)人，常居杭州西湖，系张季【1570（隆庆四年）-1610（万历三十八年）】弟。",[24,1829,93,94,7,281,96,30,33,250,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d8a6da14d451afa1a391db975c4c33.jpg",[],{"id":12738,"slug":12739,"title":2158,"dynasty":246,"author":1309,"museum":360,"description":8643,"tags":12740,"thumbUrl":12741,"material":494,"size":495,"collection":223,"collections":12742,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},236861,"shan-shui-ce-wang-yuan-qi-236861",[24,63,234,93,27,94,98,33,97,154,7,365,121,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9941d5d26c596ea3953f0b0f34a6302f.jpg",[],{"id":12744,"slug":12745,"title":10758,"dynasty":18,"author":12746,"museum":360,"description":12747,"tags":12748,"thumbUrl":12749,"material":494,"size":495,"collection":223,"collections":12750,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},236807,"shan-shui-shan-wang-sheng-236807","王声","此作用金笺铺底，细笔皴写江岸坡石，修竹杂木错落布陈，枝叶扶疏间漾出清润生机。水面汀渚星罗，茅亭临水而建，亭中文士凭栏晤谈，将江南水畔的幽居雅趣，收于咫尺扇面。\n\n笔墨秀雅温润，设色浅淡明净，带着清雅淡远的画中意趣，简淡构图里藏着萧散闲逸的文人韵致，把林下清谈的悠然之态晕染开来，于尺幅间尽显山水雅集的淡远意境，是小品山水里的精妙佳构。",[1829,24,94,27,98,564,336,7,32,96,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380490f5ce5ab387cf014456c62944a1.jpg",[],{"id":12752,"slug":12753,"title":2158,"dynasty":246,"author":12030,"museum":360,"description":12754,"tags":12755,"thumbUrl":12756,"material":223,"size":223,"collection":223,"collections":12757,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},236082,"shan-shui-ce-shen-zong-jing-236082","这幅册页以水墨铺就林泉幽境。近岸坡石以披麻皴写就，苍润厚重，成列长松拔地而起，干挺叶繁，带着萧森清旷之气。中景溪桥横卧，浅滩萦回，留白晕出空濛水色，将尺幅拉伸出悠远纵深感。远山含黛，淡墨轻扫，晕染出烟岚浮动的空寂。\n\n整幅笔力苍秀兼具，墨色干湿浓淡相宜，既有元人山水的淡远萧疏，又带着沉稳规整的笔墨法度，将山林幽寂、水村闲淡的意趣缓缓铺陈，观之如临深谷，似可听松涛漱石，静享林泉丘壑间的幽居雅韵。",[116,24,63,93,234,98,118,94,564,7,32,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc69b3afb5f266263aa27eedc10309db.jpg",[],{"id":12759,"slug":12760,"title":2158,"dynasty":246,"author":1309,"museum":360,"description":12761,"tags":12762,"thumbUrl":12763,"material":223,"size":223,"collection":223,"collections":12764,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},236050,"shan-shui-ce-wang-yuan-qi-236050","此作用平远视角铺展春日江乡，近岸山居临水而建，柳丝如烟垂拂，桃樱绽点丹红，草木华滋晕染融融春意。以浅绛设色晕染山色，淡墨皴擦勾勒丘林肌理，远景云水空濛，汀渚花树浮沉烟岚之间，虚实相生营造出空灵淡远的韵致，将春日山水的清和闲适尽数铺陈，尽显文人寄情丘壑的雅逸襟怀。",[24,331,234,27,98,94,119,7,32,96,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe512d3ae8f8afd41df0c7f6cefd04d77.jpg",[],{"id":12766,"slug":12767,"title":10758,"dynasty":18,"author":2122,"museum":360,"description":8813,"tags":12768,"thumbUrl":12769,"material":494,"size":495,"collection":223,"collections":12770,"showCount":241,"zanCount":536,"manualWeight":11,"mainColor":108},235786,"shan-shui-shan-wen-jia-235786",[24,63,1829,93,98,94,7,32,206,564,33,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea2a9b91cd5486fbf9e952241e2334b.jpg",[],{"id":12772,"slug":12773,"title":2772,"dynasty":246,"author":12294,"museum":360,"description":12774,"tags":12775,"thumbUrl":12776,"material":223,"size":223,"collection":223,"collections":12777,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,63,135,93,27,94,529,530,33,75,7,440,5457,2269,293,1445,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],{"id":12779,"slug":12780,"title":5397,"dynasty":246,"author":1105,"museum":360,"description":6223,"tags":12781,"thumbUrl":12782,"material":494,"size":495,"collection":223,"collections":12783,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},235344,"fang-gu-shu-hua-ce-wang-jian-235344",[24,63,234,27,93,94,7,32,96,33,97,75,99,118,98,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802836747d6adab8d34e77331c97266c.jpg",[],{"id":12785,"slug":12786,"title":5397,"dynasty":246,"author":1105,"museum":360,"description":6223,"tags":12787,"thumbUrl":12788,"material":494,"size":495,"collection":223,"collections":12789,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},235338,"fang-gu-shu-hua-ce-wang-jian-235338",[24,116,63,234,27,93,98,100,99,94,7,32,136,191,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc233811ed793ba119337b4d341e256.jpg",[],{"id":12791,"slug":12792,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":12793,"thumbUrl":12794,"material":494,"size":495,"collection":223,"collections":12795,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[24,63,234,93,98,29,94,439,7,32,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":12797,"slug":12798,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":12799,"thumbUrl":12800,"material":494,"size":495,"collection":223,"collections":12801,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},234961,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234961",[24,63,93,98,528,234,94,33,97,7,32,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc97e93ee3df5c5120d255db227d823f.jpg",[],{"id":12803,"slug":12804,"title":10443,"dynasty":246,"author":12805,"museum":360,"description":12806,"tags":12807,"thumbUrl":12808,"material":494,"size":495,"collection":223,"collections":12809,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},234841,"shan-shui-ye-gu-fu-zhen-234841","顾符稹","一作符桢，清代画家。初名稹，字瑟如，后名符稹，字松崖，号小痴，江苏兴化人。能诗、工书、善画，山水、人物远学李昭道，善以勾染作画，近学赵孟頫，以清丽著称。所作笔法工致严谨，细入毫发，树石细笔写生，颇具气势。家贫寒，以卖画自给，故临摹托古者颇多。",[24,93,27,234,98,94,136,7,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeabedbed4db47e76e2c7fe2dd580518.jpg",[],{"id":12811,"slug":12812,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":12813,"tags":12814,"thumbUrl":12815,"material":223,"size":223,"collection":223,"collections":12816,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},234644,"shan-shui-ce-cha-shi-biao-234644","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[24,63,234,93,100,94,439,96,7,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":12818,"slug":12819,"title":12820,"dynasty":246,"author":12821,"museum":360,"description":12822,"tags":12823,"thumbUrl":12824,"material":223,"size":223,"collection":223,"collections":12825,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[24,63,116,1829,93,98,94,7,32,152,33,176,564,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":12827,"slug":12828,"title":12829,"dynasty":18,"author":3205,"museum":360,"description":6874,"tags":12830,"thumbUrl":12831,"material":223,"size":223,"collection":223,"collections":12832,"showCount":241,"zanCount":536,"manualWeight":11,"mainColor":54},234566,"qian-gu-shan-shui-shan-qian-gu-234566","钱榖山水扇",[24,63,1829,93,98,94,7,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029b8b5681dd97bfa0a51a03620ac928.jpg",[],{"id":12834,"slug":12835,"title":1816,"dynasty":18,"author":1267,"museum":360,"description":5050,"tags":12836,"thumbUrl":12837,"material":223,"size":223,"collection":223,"collections":12838,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},234116,"shan-shui-tu-juan-tang-yin-234116",[24,63,25,27,98,100,99,118,94,95,32,96,121,136,336,7,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":12840,"slug":12841,"title":12842,"dynasty":18,"author":89,"museum":60,"description":10881,"tags":12843,"thumbUrl":12844,"material":3008,"size":10884,"collection":223,"collections":12845,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页",[24,63,234,93,94,7,32,75,33,100,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg",[],{"id":12847,"slug":12848,"title":8015,"dynasty":246,"author":8016,"museum":360,"description":12849,"tags":12850,"thumbUrl":12852,"material":223,"size":223,"collection":223,"collections":12853,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","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。",[23,24,93,98,135,94,962,75,7,32,95,97,33,253,12851],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":12855,"slug":12856,"title":12857,"dynasty":246,"author":12858,"museum":360,"description":12859,"tags":12860,"thumbUrl":12861,"material":223,"size":223,"collection":223,"collections":12862,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},230173,"xi-shan-cun-zhuang-tu-cheng-si-li-230173","溪山村庄图","程嗣立","此作用焦墨干笔绘就山居之景。层峦错落铺展，长松下隐现数椽村居，清溪萦回，板桥轻跨，杂木萧疏生趣盎然。以枯淡劲挺的线条勾勒山石轮廓，皴擦简括老辣，全凭墨色浓淡分出丘壑层次，不施粉彩，尽显山野萧疏清寂之态。画面两侧题跋与山水相映，文气融于笔墨间，将幽居林下的澹泊襟怀寄寓其中，以清简之笔写尽林泉高致，尽显文人山水画简淡冲和的美学意趣。",[23,24,63,135,93,98,94,1445,7,32,33,97,75,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c3fe4a576ada7779c6aaae7dbfd9bb.jpg",[],{"id":12864,"slug":12865,"title":12866,"dynasty":18,"author":1553,"museum":360,"description":12867,"tags":12868,"thumbUrl":12869,"material":223,"size":223,"collection":223,"collections":12870,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,25,27,26,28,30,31,33,281,97,39,121,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":12872,"slug":12873,"title":12874,"dynasty":18,"author":1246,"museum":360,"description":12875,"tags":12876,"thumbUrl":12877,"material":223,"size":223,"collection":223,"collections":12878,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,63,234,27,93,100,94,281,7,32,30,75,33,742,1967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],{"id":12880,"slug":12881,"title":12882,"dynasty":277,"author":1553,"museum":360,"description":12883,"tags":12884,"thumbUrl":12885,"material":223,"size":223,"collection":223,"collections":12886,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},228192,"dong-jing-shan-shui-tu-tuan-shan-yi-ming-228192","冬景山水图团扇","此作以全景铺陈冬日丘壑，构图繁密却层次井然。山峦以苍劲的墨笔勾皴，浓淡晕染出山岩的嶙峋骨相，峰顶隐于淡墨烟霭之中，晕出隆冬空蒙萧寒的氛围。虬曲的枯木虬枝如铁，交错于山石林间，尽显冬日荒寒萧索。\n\n山坳间的幽居屋舍，为清寂山林晕开一丝暖意，将山野的静穆与山居的幽隐相融。全作用墨沉郁古雅，以浓淡变化区分山石阴阳向背，枯涩的笔意尽写冬日山林的清寥，暗合林泉高致的隐逸之思，把冬日山野的荒寒淡远与幽居意趣揉合，意境静雅清和。",[23,24,63,1829,94,98,27,318,136,191,7,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e681fea99720c55e7ea2cf24efa41.jpg",[],{"id":12888,"slug":12889,"title":12890,"dynasty":58,"author":1553,"museum":132,"description":12891,"tags":12892,"thumbUrl":12893,"material":178,"size":223,"collection":223,"collections":12894,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,63,25,1665,28,27,30,31,7,121,6043,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":12896,"slug":12897,"title":12898,"dynasty":1933,"author":11769,"museum":360,"description":11770,"tags":12899,"thumbUrl":12903,"material":494,"size":495,"collection":10946,"collections":12904,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},226079,"the-japanese-bridge-1918-1924-mo-nai-226079","The Japanese Bridge, 1918-1924",[10942,11772,7,8433,33,12900,2064,12901,12902,10943],"藤蔓","色彩丰富","光影变化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9157fa76fdd18b9c6359bcfeb5f62e0d.jpg",[10946],{"id":12906,"slug":12907,"title":12908,"dynasty":246,"author":6572,"museum":360,"description":12909,"tags":12910,"thumbUrl":12911,"material":223,"size":223,"collection":223,"collections":12912,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,24,63,25,27,94,136,7,66,99,118,26,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":12914,"slug":12915,"title":7049,"dynasty":246,"author":1786,"museum":360,"description":12916,"tags":12917,"thumbUrl":12918,"material":223,"size":223,"collection":223,"collections":12919,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},224489,"fang-gu-shan-shui-ce-wu-li-224489","此作用墨苍润清逸，远景山峦以浓淡墨色层叠晕染，峰岫间留白作云气，晕出山影空濛悠远的层次感。近渚汀岸以干笔淡墨勾勒，间以浓墨点苔写林木，简笔轻描村居茅舍，错落隐于烟树之间。\n\n整幅构图疏密相宜，以留白衬出水乡的空阔静穆，干湿互用的笔墨带着松秀苍劲的质感，将江南水畔林泉栖居的闲淡意趣铺展开来，萧散静谧的古韵漫溢其间，仿若引人身临这山水幽居，共赴隐逸悠然的林下之境。",[116,24,63,234,93,98,94,7,32,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753cd9e04c73c33b73d3d06de173f862.jpg",[],{"id":12921,"slug":12922,"title":9786,"dynasty":246,"author":1309,"museum":360,"description":12923,"tags":12924,"thumbUrl":12925,"material":223,"size":223,"collection":223,"collections":12926,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,63,25,93,98,94,191,33,75,96,154,7,176,190,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":12928,"slug":12929,"title":12930,"dynasty":246,"author":4965,"museum":360,"description":12931,"tags":12932,"thumbUrl":12933,"material":494,"size":495,"collection":223,"collections":12934,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青","爱新觉罗·胤禧（1711年2月27日—1758年6月26日），避雍正帝讳改名为允禧，字谦斋，号紫噊，别号紫琼崖道人、春浮居士。清朝宗室大臣，康熙帝第二十一子，书画家、诗人，母为熙嫔陈氏。\n九岁从幸塞外，雍正八年（1730年）二月，封固山贝子，晋封贝勒。雍正十一年（1733年），授镶黄旗满洲都统。雍正十三年（1735年），授宗人府左宗正、正黄旗汉军都统。乾隆帝即位后，封慎郡王。乾隆三年（1738年），擢为议政大臣。乾隆五年（1740年），授正白旗满洲都统。乾隆七年（1742年），充玉牒馆总裁。乾隆二十三年（1758年）五月，去世，享年四十八岁，谥号为靖。\n能诗善赋，书画兼长，著有《花间堂诗抄》8卷、《紫琼岩诗抄》3卷，诗词气韵高古，王室罕可匹俦。恭亲王府“天香庭院”匾额，为其手笔。",[23,24,63,27,94,676,75,7,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":12936,"slug":12937,"title":2283,"dynasty":58,"author":1553,"museum":12938,"description":12939,"tags":12940,"thumbUrl":12941,"material":47,"size":12942,"collection":223,"collections":12943,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，硬峭苍劲的线条勾勒山石骨骼，留白晕染尽显积雪厚重萧寒。谷间云气翻涌，将山体切割出虚实层次，令画面深邃辽远。山脚寒林枯槎萧索，冰河之上板桥隐现，山坳茅舍藏于雪峦间，行旅之人踏雪赶路，为荒寂冬景晕开一缕人间烟火气。\n\n画家以浓淡墨色区分雪色与岩体，皴笔硬朗尽显山石嶙峋质感，将隆冬山野的空寂清寒尽数铺展，于冷寂萧寒的天地间，藏着羁旅暖意，尽显山水写实造境的精妙风骨。",[23,24,63,94,135,98,578,97,414,7,153,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e4f11b5e11ba642e4054f5428918dd.jpg","170.7x99.7",[],{"id":12945,"slug":12946,"title":12947,"dynasty":246,"author":1553,"museum":132,"description":12948,"tags":12949,"thumbUrl":12951,"material":678,"size":12952,"collection":223,"collections":12953,"showCount":241,"zanCount":536,"manualWeight":11,"mainColor":54},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,26,27,28,30,31,96,7,32,97,33,65,12950,39],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":12955,"slug":12956,"title":12957,"dynasty":246,"author":1349,"museum":90,"description":6174,"tags":12958,"thumbUrl":12959,"material":2438,"size":12960,"collection":223,"collections":12961,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},222616,"shan-shui-ba-jing-6-gong-xian-222616","山水八景-6",[23,24,93,98,94,7,32,96,33,252,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca709e50a46343aff080d2027c3af031.jpg","纵24.4 厘米 横49.7 厘米",[],{"id":12963,"slug":12964,"title":12965,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":12966,"thumbUrl":12967,"material":237,"size":6940,"collection":223,"collections":12968,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},220269,"huang-shan-tu-ce-54-hong-ren-220269","黄山图册-54",[23,24,63,234,93,98,94,97,33,152,32,7,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401bec41f44a4edc09937bc3c7c92336.jpg",[],{"id":12970,"slug":12971,"title":12972,"dynasty":18,"author":4676,"museum":187,"description":4677,"tags":12973,"thumbUrl":12974,"material":102,"size":4680,"collection":223,"collections":12975,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":54},219069,"xiao-xiang-ba-jing-ce-3-zhang-fu-219069","潇湘八景册-3",[23,24,93,94,234,98,7,97,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdaa71b6ce03f0a8330115aac19429b.jpg",[],{"id":12977,"slug":12978,"title":12979,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":12980,"thumbUrl":12981,"material":102,"size":223,"collection":223,"collections":12982,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},215021,"fang-gu-shan-shui-ce-9-wang-jian-215021","仿古山水册-9",[24,63,234,27,94,98,32,95,33,75,7,2909,644,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a24b1956f09fca82af136b3260eb23.jpg",[],{"id":12984,"slug":12985,"title":12986,"dynasty":246,"author":4695,"museum":328,"description":12987,"tags":12988,"thumbUrl":12989,"material":102,"size":223,"collection":223,"collections":12990,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":108},214372,"tian-guang-yun-jing-tu-ce-6-zhu-da-214372","天光云景图册-6","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。",[23,24,63,93,98,234,94,336,121,136,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00a79b361cedf9c13ed380609c577bc.jpg",[],{"id":12992,"slug":12993,"title":2772,"dynasty":5727,"author":12994,"museum":90,"description":12995,"tags":12996,"thumbUrl":12997,"material":223,"size":223,"collection":104,"collections":12998,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":12999},202993,"shan-shui-tu-zhou-hu-pei-heng-202993","胡佩衡","这幅山水图以水墨写意营造悠远意境，峰峦叠嶂间云雾缭绕，墨色浓淡相衬，皴擦点染兼具，山石肌理尽显苍劲。近景松枝虬劲，临水而立；中景流水潺潺，小桥横卧，一蓑笠翁独钓其间，添得几分闲适。远山隐现，古塔尖顶破云而出，与苍茫山势相映成趣。整幅画气韵生动，既有传统山水的笔墨韵味，又透出清寂悠远的文人气息，将自然之美与心境之静融于一纸。",[24,93,94,98,7,95,1096,6848,2784,155,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963d007aa8f0f5bce725b838f647933f.jpg",[104],"d0c8b1",{"id":13001,"slug":13002,"title":13003,"dynasty":277,"author":1553,"museum":90,"description":13004,"tags":13005,"thumbUrl":13006,"material":223,"size":223,"collection":223,"collections":13007,"showCount":241,"zanCount":536,"manualWeight":11,"mainColor":13008},202528,"zhong-shan-dian-ge-tu-zhou-yi-ming-202528","重山殿阁图轴","画面层峦叠嶂，青绿设色晕染山峦，石纹以皴法勾勒，尽显丘壑之奇崛。殿阁依山傍水错落而立，界画技法精工细致，飞檐翘角皆具法度。林木葱茏间，小桥横跨溪涧，隐约可见行人往来，添几分生活意趣。整体意境悠远静谧，山水的清幽与建筑的精巧相融，既得自然之趣，又显人工之妙，是元代山水与界画结合的典型之作。",[24,116,117,27,28,98,94,31,7,33,191,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b87accec4ec3aa2ca2fe0f6be7e21a2.jpg",[],"654b22",{"id":13010,"slug":13011,"title":13012,"dynasty":246,"author":12294,"museum":90,"description":13013,"tags":13014,"thumbUrl":13015,"material":223,"size":223,"collection":104,"collections":13016,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":13017},202181,"tan-xuan-tu-zhou-fang-shi-shu-202181","谭玄图轴","此画以清润水墨皴染山林之境，林木疏密交错，茅舍隐于其间，屋前人物闲适对谈，似在论道谈玄。近处溪涧潺潺，小桥横跨其上，岸畔老树虬枝盘绕，枝叶用墨或浓或淡，笔墨细腻却不失疏朗之致。整体风格雅致空灵，文人气息浓郁，将林泉的静谧与人物的悠然情态相融，传递出超然尘外的哲思韵味，尽显清代山水的清逸之趣。",[24,63,135,93,98,94,7,32,136,9316,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d422157f79eb842001448214ac15844.jpg",[104],"bfb2a4",{"id":13019,"slug":13020,"title":2772,"dynasty":246,"author":13021,"museum":90,"description":13022,"tags":13023,"thumbUrl":13024,"material":223,"size":223,"collection":104,"collections":13025,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":13026},201984,"shan-shui-tu-zhou-xu-jian-201984","徐坚","画面中山峦层叠起伏，皴擦点染间勾勒出山石纹理，树木姿态各异，苍劲者立崖畔，秀逸者依溪旁。山间溪流潺潺，小桥横跨其上，屋舍隐于林麓，静谧中透着自然生机。笔墨细腻处见工致，粗放处显意趣，设色淡雅清新，营造出清旷悠远的山水意境，尽显传统书画的雅致韵味。",[24,94,98,27,7,32,136,63,116,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F713badfffaae225259d8c08b429b344d.jpg",[104],"9c8667",{"id":13028,"slug":13029,"title":2772,"dynasty":246,"author":10676,"museum":90,"description":13030,"tags":13031,"thumbUrl":13032,"material":223,"size":223,"collection":104,"collections":13033,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":13034},201954,"shan-shui-tu-zhou-xiang-kui-201954","画面层峦叠嶂，近景古木虬枝，枝叶繁茂，树根盘结于岩石间；中景屋舍隐于林木，小桥横跨溪涧，意境清幽；远景山峦起伏，皴笔勾勒山石肌理，墨色浓淡相宜。整幅画作笔墨细腻，设色淡雅，将山水之秀与居停之静融为一体，尽显文人画的闲适意趣。",[94,27,98,33,75,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4077e5ed57f35875df36dc1f826c05.jpg",[104],"8f7048",{"id":13036,"slug":13037,"title":13038,"dynasty":18,"author":290,"museum":90,"description":13039,"tags":13040,"thumbUrl":13042,"material":223,"size":223,"collection":223,"collections":13043,"showCount":241,"zanCount":536,"manualWeight":11,"mainColor":13044},201776,"mao-yan-guan-kui-tu-zhou-wen-zheng-ming-201776","茅檐灌葵图轴","青绿设色晕染山峦，层叠间云雾缥缈，似将天地连成一片空灵。近坡林木葱茏，枝干盘曲，墨笔勾勒与青绿色点染相映，意趣盎然。溪上小桥卧波，红衣人影凭栏，茅檐隐于树后，尽显林泉之致。笔法工细中含秀逸，山石皴擦见质感，树木点叶富生机，传递出文人寄情山水的闲适心境，满卷雅致清和之气。",[24,94,117,27,7,30,26,98,13041],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918ac77c19ceed20162b172e2c59b0b0.jpg",[],"92764f",{"id":13046,"slug":13047,"title":13048,"dynasty":246,"author":13049,"museum":90,"description":13050,"tags":13051,"thumbUrl":13052,"material":223,"size":223,"collection":104,"collections":13053,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":13054},201764,"shan-ju-chun-xiao-tu-zhou-lu-dao-huai-201764","山居春晓图轴","陆道淮","层峦叠嶂间云雾轻笼，春山似被晕染得空灵悠远。山麓茅舍错落，虬松倚石，疏柳含翠，小桥跨溪连岸，流水潺潺映带生机。亭中雅士凭栏，静赏春晓景致，山间楼阁隐于林麓深处，与自然浑然相融。笔墨细腻，皴染结合，山石肌理分明，树木姿态鲜活，浅淡设色更添春意融融。整幅画意境清幽淡远，既展山水之秀，又藏山居之闲，尽显文人寄情林泉的雅致心境。",[94,98,27,7,32,96,33,1211,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F527771c6f2977ac0a0c29df0723dd004.jpg",[104],"c2ae9f",{"id":13056,"slug":13057,"title":13058,"dynasty":18,"author":525,"museum":90,"description":13059,"tags":13060,"thumbUrl":13061,"material":223,"size":223,"collection":104,"collections":13062,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":13063},201734,"lu-he-zeng-bie-tu-zhou-dong-qi-chang-201734","潞河赠别图轴","这幅画以淡墨皴染营造清旷山水之境。近处苍松虬劲，山石以简练皴笔勾勒，间杂疏林；中景小桥横跨溪流，流水潺潺；远景山峦层叠，云雾轻笼，尽显江南景致的雅致。笔墨疏朗灵动，线条温润，既得自然野趣，又含文人画空灵韵味。赠别之情隐于山水间，含蓄深沉，不着一字却尽得风流。画面布局疏密有致，意境淡远，是文人画风格的典型体现，尽显笔墨功力与意境营造的极致追求。",[24,94,1054,3061,98,293,97,7,32,191,135,6215,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F020d9a6eb4e3829c2236b26a50a48160.jpg",[104],"d3c6a8",{"id":13065,"slug":13066,"title":13067,"dynasty":246,"author":13068,"museum":90,"description":13069,"tags":13070,"thumbUrl":13071,"material":223,"size":223,"collection":104,"collections":13072,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":13073},201587,"qing-lv-shan-shui-zhou-wang-jian-201587","青绿山水轴","王鑑","这幅青绿山水轴层峦叠嶂，云雾轻笼山间，尽显深远意境。青绿设色雅致温润，山石以皴法精心勾勒，纹理清晰；草木葱郁间隐现村落屋舍，溪流蜿蜒穿谷，小桥卧波，动静相衬。笔墨兼具苍劲与秀逸，既循古法之规，又蕴个人意趣，营造出清幽静谧的文人山水氛围，将古典山水的雅致与深邃展现得淋漓尽致。",[117,27,94,98,32,7,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e3c1d099441fb96315eb7766c3295.jpg",[104],"a39582",{"id":13075,"slug":13076,"title":13077,"dynasty":58,"author":1553,"museum":360,"description":12247,"tags":13078,"thumbUrl":13079,"material":494,"size":495,"collection":223,"collections":13080,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},290109,"shui-cun-lou-ge-tu-yi-ming-290109","水村楼阁图",[23,24,1829,93,94,31,33,32,7,366,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5d6ccfac5c518af5d44f3f72c4f826.jpg",[],{"id":13082,"slug":13083,"title":315,"dynasty":58,"author":1419,"museum":360,"description":1420,"tags":13084,"thumbUrl":13085,"material":494,"size":495,"collection":223,"collections":13086,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},289770,"shan-shui-tu-guo-zhong-shu-289770",[23,24,331,27,98,94,95,121,136,7,75,71,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379069d1ed23b59d2210624377be955a.jpg",[],{"id":13088,"slug":13089,"title":5561,"dynasty":246,"author":1309,"museum":360,"description":8643,"tags":13090,"thumbUrl":13091,"material":494,"size":495,"collection":223,"collections":13092,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},288340,"chun-shan-tu-wang-yuan-qi-288340",[116,24,63,135,94,27,98,97,32,7,33,2910,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d4b65d14996a05e26a163aa4a81e2.jpg",[],{"id":13094,"slug":13095,"title":13096,"dynasty":18,"author":19,"museum":360,"description":728,"tags":13097,"thumbUrl":13098,"material":494,"size":495,"collection":223,"collections":13099,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},287402,"bei-hu-tu-shou-juan-chou-ying-287402","北湖图手卷",[23,24,25,63,94,27,26,99,4768,100,118,7,32,95,121,31,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668d4ab35bf9efef317abd774bd6b621.jpg",[],{"id":13101,"slug":13102,"title":13103,"dynasty":18,"author":1553,"museum":360,"description":13104,"tags":13105,"thumbUrl":13107,"material":494,"size":495,"collection":223,"collections":13108,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[23,24,116,331,93,27,7,32,95,75,191,155,33,99,118,13106,7150],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":13110,"slug":13111,"title":13112,"dynasty":246,"author":1553,"museum":360,"description":13113,"tags":13114,"thumbUrl":13115,"material":494,"size":495,"collection":223,"collections":13116,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},273085,"mu-bian-ke-si-shan-shui-wen-gua-ping-yi-ming-273085","木边缂丝山水纹挂屏","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[5607,8675,94,31,7,32,95,191,33,137,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56d048d20f874f83c710731f1600f71.jpg",[],{"id":13118,"slug":13119,"title":13120,"dynasty":246,"author":1553,"museum":360,"description":13121,"tags":13122,"thumbUrl":13127,"material":494,"size":495,"collection":223,"collections":13128,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},258526,"qian-long-kuan-lv-di-fen-cai-chan-zhi-lian-kai-guang-ying-xi-tu-shuang-er-bian-ping-yi-ming-258526","乾隆款绿地粉彩缠枝莲开光婴戏图双耳扁瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[11595,13123,27,7609,13124,13125,13126,6043,31,7,32,33,97,4877],"粉彩","开光","缠枝莲","婴孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df19a7d6e624242738c45784dba91ce.jpg",[],{"id":13130,"slug":13131,"title":12319,"dynasty":18,"author":3004,"museum":360,"description":13132,"tags":13133,"thumbUrl":13134,"material":223,"size":223,"collection":223,"collections":13135,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},239196,"shan-chuan-ming-sheng-ce-song-xu-239196","此作以平远之法绘就江南水色，开阔湖面铺展画面，汀渚错落浮沉于烟波间，远山以淡墨轻扫，晕染出朦胧悠远的天际。近岸林木蓊郁，古木扶疏间隐现朱檐楼阁与临水廊榭，雅致静谧。水面之上渔舟泛波、飞鸟掠影，灵动点缀间漾开鲜活生机。\n\n笔墨简淡秀润，以赭色轻敷底色，整体设色清雅古朴，将江南水畔的悠然野趣尽数铺陈，笔墨间裹挟着文人心底的闲淡意绪，尽显空灵疏朗的山水意韵。",[24,27,234,94,98,33,31,7,32,95,121,250,363,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536f529cbe3ea7f7312d041f06ba0ec3.jpg",[],{"id":13137,"slug":13138,"title":13139,"dynasty":246,"author":1553,"museum":360,"description":13140,"tags":13141,"thumbUrl":13142,"material":223,"size":223,"collection":104,"collections":13143,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":1224},238893,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238893","董诰春华集庆册","这是诗画合璧的雅致册页，上下两开各揽一境。上开绘庭院春景，亭台依着花木错落，嫩色初绽的枝桠探入闲庭，将春日闲居的恬然藏在方寸之间。下开写汀渚泛舟，柳丝蘸着春水漾开涟漪，扁舟悠游，尽揽江野春柔。\n\n设色清妍秀润，勾勒温婉细腻，工致中带着写意松弛。配书小楷隽秀端丽，诗书画意相融，将文人情思寄寓春日景致里。浅淡笔墨晕开江南春日元气，静赏间便能触摸清和雅致的春日意趣，余韵悠长。",[24,63,234,27,26,94,96,7,32,565,1606,119,31,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3ea22d6afddc092a8d36cd92c6dd4.jpg",[104,82],{"id":13145,"slug":13146,"title":10744,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":13147,"thumbUrl":13148,"material":223,"size":223,"collection":223,"collections":13149,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},238818,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238818",[24,63,234,27,94,26,98,7,32,30,75,97,119,293,33,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d45dcffa582ad09361b4fe6129d7e2.jpg",[],{"id":13151,"slug":13152,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":13153,"tags":13154,"thumbUrl":13155,"material":223,"size":223,"collection":223,"collections":13156,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},238760,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238760","此作用淡墨白描写就，笔墨清润秀简。近岸板桥垂柳，数位文士围炉雅聚，或执盏晤谈、或侧耳聆语，情态生动宛然。右侧林木蓊郁，崖石苍劲朴拙，铺展出幽寂雅致的林下天地。左侧题诗与画面呼应，诗画浑然相融，将文人幽居雅集的闲逸风流尽数铺陈。构图开合有度，以山水衬合人物雅兴，不着浓艳色彩，却把冲淡平和的雅聚氛围烘托尽致，尽显文人画诗韵与画境交融的古典意趣，将林下酬唱、寄情山水的悠然心境娓娓道来，淡而有味，清隽动人。",[24,63,234,93,100,118,94,30,7,33,743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d3b7c561e92a05412a4406eb393a42.jpg",[],{"id":13158,"slug":13159,"title":3444,"dynasty":18,"author":1553,"museum":360,"description":13160,"tags":13161,"thumbUrl":13162,"material":494,"size":495,"collection":223,"collections":13163,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},238573,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238573","画面左右泾渭分明，左侧仙官仪仗整肃，祥云缭绕间，仪卫甲胄鲜明、执仗拱卫，一派天界雍容端严之态；右侧山坳幽僻处，炮烙、水溺诸般酷刑森然罗列，受刑者形色凄楚哀苦，阴惨之气扑面而来。\n\n设色古雅妍丽，线条纤细遒劲，工笔描摹入微。以强烈视觉对比，将善恶果报的劝世意涵铺展于纸面，绘尽神佛威仪与地狱怖色，把传统因果教化具象成鲜活可观的图景，尽显精工质感，藏着醒世警俗的深沉内核。",[24,27,26,234,30,439,32,7,97,1666,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb808f81ce39ea40ac92eccb169d40ce2.jpg",[],{"id":13165,"slug":13166,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":13168,"thumbUrl":13169,"material":223,"size":223,"collection":104,"collections":13170,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},238312,"shan-shui-ce-dong-bang-da-238312","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,93,98,234,94,7,32,95,33,75,191,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401a8f7deacb8e6ea14fd07f3dd0895c.jpg",[104,82],{"id":13172,"slug":13173,"title":13174,"dynasty":246,"author":9553,"museum":360,"description":13175,"tags":13176,"thumbUrl":13177,"material":223,"size":223,"collection":223,"collections":13178,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},238257,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238257","燕山八景图册","此作以诗画合璧之形呈现胜景。左侧绘关山之景，危岩层叠巍峨，细笔勾勒皴擦尽显山石肌理，淡赭晕染出峰峦苍润气色。河谷烟波澹澹，岸边村舍戍楼错落，藏于林泉之间，既绘出雄奇关隘形胜，又晕染出山野闲淡意趣。\n\n右侧行书题诗笔致清劲舒展，诗意与画境呼应凭添怀古幽思。整幅册页清雅隽秀，将实景纪实与文人笔墨意趣相融，于尺幅之间尽揽关隘灵秀与雄浑，尽显实景山水的精妙意韵。",[24,27,94,98,234,99,100,118,529,530,33,38,7,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eabbee580fde46912ec31bc46f9834.jpg",[],{"id":13180,"slug":13181,"title":4317,"dynasty":246,"author":4318,"museum":360,"description":13182,"tags":13183,"thumbUrl":13184,"material":223,"size":223,"collection":223,"collections":13185,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},238230,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238230","此作用淡墨晕染远山，留白摹绘烟水浩渺，山峦以干笔皴擦出苍朴质感，汀渚错落隐于烟波间，寥寥数笔便勾勒出江乡秋日的空濛悠远。\n画面与左侧题诗相映成趣，诗画交融，将澹泊清旷的山居野趣铺陈开来。笔致秀雅沉静，脱尽尘俗，以极简笔墨营造出悠远空灵的意境，尽显寄情丘壑的文人雅韵，把传统山水的诗意氛围感烘托到极致。",[116,24,63,234,93,98,100,29,94,191,33,71,121,336,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b5de921774d38902a6ec18c2be0775.jpg",[],{"id":13187,"slug":13188,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":4966,"tags":13189,"thumbUrl":13190,"material":223,"size":223,"collection":223,"collections":13191,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},238163,"shan-shui-ce-yun-xi-238163",[24,63,234,27,100,118,98,94,529,530,33,7,152,176,252],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40745d9a471ce441393f4b4751514414.jpg",[],{"id":13193,"slug":13194,"title":13195,"dynasty":18,"author":13196,"museum":360,"description":13197,"tags":13198,"thumbUrl":13199,"material":494,"size":495,"collection":223,"collections":13200,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},237378,"mo-chou-hu-shan-zhang-han-237378","莫愁湖扇","张瀚","张瀚（1510—1593），字子文，号元洲 ，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,63,1829,27,93,98,7,32,75,33,281,1003,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":13202,"slug":13203,"title":13204,"dynasty":246,"author":13205,"museum":360,"description":13206,"tags":13207,"thumbUrl":13208,"material":237,"size":223,"collection":223,"collections":13209,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","补景古臣松梅观鹤图像并附山水册","徐佐","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,63,234,93,98,94,7,96,33,97,31,99,118,32,38,6216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":13211,"slug":13212,"title":2158,"dynasty":18,"author":3004,"museum":60,"description":3005,"tags":13213,"thumbUrl":13214,"material":3008,"size":3009,"collection":223,"collections":13215,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},236908,"shan-shui-ce-song-xu-236908",[24,63,234,93,27,98,94,152,7,32,33,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":13217,"slug":13218,"title":653,"dynasty":18,"author":6260,"museum":360,"description":13219,"tags":13220,"thumbUrl":13221,"material":223,"size":223,"collection":104,"collections":13222,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,63,135,93,27,94,33,97,7,32,30,118,98,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[104,82],{"id":13224,"slug":13225,"title":2158,"dynasty":246,"author":12030,"museum":360,"description":13226,"tags":13227,"thumbUrl":13228,"material":223,"size":223,"collection":223,"collections":13229,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[24,63,116,234,93,27,98,94,529,439,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":13231,"slug":13232,"title":8699,"dynasty":246,"author":1786,"museum":360,"description":13233,"tags":13234,"thumbUrl":13235,"material":223,"size":223,"collection":223,"collections":13236,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},235639,"shan-shui-tu-ce-wu-li-235639","此作以平远、高远铺陈开卷，近景山峦层叠，古木攒簇葱郁，山涧水榭人家错落，飞桥横溪，晕开几分烟火暖意。远景平湖波柔，村舍隐在轻烟黛色间，林泉幽寂里揉进日常闲趣。\n笔墨苍润兼具，以干笔皴擦写山石朴拙肌理，湿墨晕染出山岚空濛，树木枝桠以浓淡墨色区分层次，古秀苍劲。题画小诗与画面相映成趣，将江南水乡的温润雅致与林泉高致相融，恬淡悠然，尽显幽居林泉的安闲意趣，引人沉醉于这份寄情山水的自在恬和之中。",[24,63,234,93,98,94,7,32,33,97,38,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33872b235202ac0bcfa5d4b755601ed.jpg",[],{"id":13238,"slug":13239,"title":13240,"dynasty":246,"author":1441,"museum":360,"description":13241,"tags":13242,"thumbUrl":13243,"material":223,"size":223,"collection":223,"collections":13244,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},235607,"yu-feng-kan-yue-tu-zhou-wang-hui-235607","玉峰看月图轴","干淡墨色晕染出萧疏冬景，修竹劲挺伴寒林，浅溪潺湲漫过板桥，林间隐着茅舍，远山轻笼在朦胧烟霭里，似与天相接。\n笔墨松秀简淡，以留白衬出月夜空寂清旷，将文人看月雅集的诗意融在山水间。画中人物凭桥而立，似在静候月色浸漫林野，处处尽显闲淡幽远的林下意趣，把江南冬日的清寂和文人心底的旷达雅致揉作一处，尽显水墨山水的含蓄余韵。",[24,63,135,93,98,94,564,136,7,32,96,743,118,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8fb01f05805753af11d11ec086684.jpg",[],{"id":13246,"slug":13247,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":12813,"tags":13248,"thumbUrl":13249,"material":223,"size":223,"collection":223,"collections":13250,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},234646,"shan-shui-ce-cha-shi-biao-234646",[24,63,234,100,27,93,98,94,96,33,7,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d074d877d902b1927f623c2683b05e.jpg",[],{"id":13252,"slug":13253,"title":13254,"dynasty":246,"author":13255,"museum":360,"description":13256,"tags":13257,"thumbUrl":13258,"material":223,"size":223,"collection":223,"collections":13259,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},234498,"zhi-wan-shan-shui-ce-ye-fan-zhi-wan-234498","志完山水册页","范志完","范志完（？—1643），字叔恺，号成六，本县利民人，宋范仲淹后裔。自幼聪颖，为文高古，母作《八行图》以教之。明朝崇祯四年（1631年）中进士。任宣府、宁国推官、真定知府、关内道副使。崇祯十四年（1641）冬，升右佥都御史、山西巡抚。后任兵部右侍郎兼右佥都御史，总督蓟州、永平、山海、通州、天津诸镇军务。",[24,63,234,27,100,94,136,7,121,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401e4555668bde7cde39e5bc5e7e4548.jpg",[],{"id":13261,"slug":13262,"title":13263,"dynasty":18,"author":1392,"museum":60,"description":13264,"tags":13265,"thumbUrl":13266,"material":402,"size":13267,"collection":223,"collections":13268,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":1224},234234,"chui-hong-song-bie-tu-wen-zheng-ming-234234","垂虹送别图","此图卷首有王谷祥篆书引首：“垂虹送别。”画右起为吴江东门城垣、门楼，门下即垂虹桥，经文氏艺术剪裁，桥身只画三孔，桥上有一人，桥左坡底有二人，作话别状。坡左有楼宇一座，望之水天一色，客船扬帆，画左右上皆平林漠漠，远山如黛。左下款：“徵明”。卷后有文氏自题诗一首：“三载松陵重抚绥，忽随征诣向彤墀。一时目际明良会，百里方怀父母慈。岁歉具忧民乏食，政成还免众流簃。垂虹桥下棠千树，画属君侯去后思。”诗中谈到“三载松陵重抚绥”，可见，松陵垂虹桥向为送别之地。画中垂虹桥虽非对景实写，而送别之情，溢于笔墨之中。",[23,24,63,25,93,27,100,99,94,33,7,32,95,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8463e897713ca46c5ae853a46c5af9ca.jpg","纵29厘米，横109厘米",[],{"id":13270,"slug":13271,"title":13272,"dynasty":18,"author":6260,"museum":60,"description":13273,"tags":13274,"thumbUrl":13275,"material":678,"size":223,"collection":223,"collections":13276,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","云白山青图卷","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,25,93,94,98,1587,155,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":13278,"slug":13279,"title":13280,"dynasty":58,"author":1553,"museum":60,"description":13281,"tags":13282,"thumbUrl":13283,"material":378,"size":13284,"collection":223,"collections":13285,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},234005,"chun-shan-yu-ting-ye-yi-ming-234005","春山渔艇页","旧题张训礼《春山渔艇图》，著色青绿山水，洋溢着春天江山的迷人景色。小中见大，咫尺千里。",[24,116,63,234,27,98,94,95,840,136,32,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58925613d9d45dd69436ad5f30d253bc.jpg","纵29厘米横29.8厘米",[],{"id":13287,"slug":13288,"title":13289,"dynasty":246,"author":1807,"museum":60,"description":13290,"tags":13291,"thumbUrl":13292,"material":678,"size":13293,"collection":223,"collections":13294,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},233450,"ren-wu-shan-shui-ce-luo-pin-233450","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,63,234,93,27,94,30,7,32,95,2909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68d5594d240a86aa1bf6d518f9658760.jpg","纵24.2厘米，横30.7厘米",[],{"id":13296,"slug":13297,"title":13298,"dynasty":58,"author":1553,"museum":60,"description":13299,"tags":13300,"thumbUrl":13301,"material":164,"size":13302,"collection":223,"collections":13303,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},233209,"shui-cun-lou-ge-tu-ye-yi-ming-233209","水村楼阁图页","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[24,27,94,28,234,31,33,32,1383,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a3f3afa6be7d60a148037319b48597.jpg","纵23.5cm，横23.5cm",[],{"id":13305,"slug":13306,"title":2158,"dynasty":277,"author":5492,"museum":60,"description":5493,"tags":13307,"thumbUrl":13308,"material":678,"size":5496,"collection":223,"collections":13309,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},233172,"shan-shui-ce-cao-zhi-bai-233172",[24,63,234,93,98,94,529,439,7,32,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358988cca645453495c37e3807d5abeb.jpg",[],{"id":13311,"slug":13312,"title":13313,"dynasty":58,"author":1553,"museum":60,"description":13314,"tags":13315,"thumbUrl":13317,"material":378,"size":13318,"collection":223,"collections":13319,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},233016,"liu-ge-feng-fan-tu-ye-yi-ming-233016","柳阁风帆图页","此图原载《纨扇画册》。图绘万柳丛中楼阁一栋，数人依楼远眺。林中小径连桥，树人信步其中。画中湖光天色，浩渺无尽，两船扬帆而行。远空大雁成行，结队而飞。全图笔法工细，设色清丽，构图大疏大密、虚实相生。",[24,27,26,28,94,281,31,7,32,13316,35,30,33],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2eefe3a4fbd316b228360acb3c2932e.jpg","纵25.2、横26.7厘米",[],{"id":13321,"slug":13322,"title":13323,"dynasty":1933,"author":13324,"museum":360,"description":13325,"tags":13326,"thumbUrl":13327,"material":494,"size":495,"collection":223,"collections":13328,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},231674,"hu-shan-xiao-jing-tu-tian-you-song-xi-231674","湖山小景图","天游松溪","此作用上下分段的别致构图，上部行书题文与下部山水呼应成趣。近景危崖兀立，古松虬枝横斜，崖畔隐见古刹飞檐；右下汀洲之上楼阁错落，板桥连岸，渔舟系于浅渚，尽是江南水乡的悠然意态。远景烟水浩渺，峰峦浮沉在暖赭晕染的暮色间，水天相融晕出黄昏的柔暖朦胧。\n\n笔墨秀雅空灵，淡赭水墨晕染天色，山峦以简括斧劈皴带出硬朗骨相，苍松劲挺见风神，烟波轻笼见淡远。书画合璧，题文叙湖山雅事，画中藏林泉高致，将日暮湖游的清旷襟怀晕在纸间，尽显江南暮色的温软诗意，抒写出文人心中的山水闲逸之趣。",[23,24,63,135,93,27,94,31,7,32,95,96,336,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965469d075c6f7df24eb35b019b91297.jpg",[],{"id":13330,"slug":13331,"title":13332,"dynasty":246,"author":13333,"museum":360,"description":13334,"tags":13335,"thumbUrl":13336,"material":223,"size":223,"collection":223,"collections":13337,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":1224},231364,"shen-qiu-cheng-gan-tu-wang-gai-231364","深秋撑杆图","王盖","淡墨晕开深秋清寂，寒林虬枝交错，将萧索疏朗铺满卷间。轻烟漫过林梢，晕出朦胧天际，把湿冷秋意揉进了空气里。\n\n溪上架起板桥，扁舟穿桥缓行，撑杆人垂敛神态，任流水载着小舟漫溯，隔绝了尘嚣。岸畔枯木杂丛错落，淡赭融着墨色，衬得秋水愈发清浅空阔。\n\n全作用色素净浅淡，不着浓艳，却将晚秋的沉静通透铺陈尽致。动舟与静林相映，萧索秋景晕开松弛安闲，清冷底色里藏着悠然禅意，把晚秋闲静况味细细诉尽。",[23,24,93,27,94,7,95,318,136,98,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10d19d2061c64f9ac3e394db5d4f57b8.jpg",[],{"id":13339,"slug":13340,"title":2849,"dynasty":18,"author":3027,"museum":360,"description":13341,"tags":13342,"thumbUrl":13343,"material":494,"size":495,"collection":223,"collections":13344,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},230991,"yu-le-tu-zhou-chen-230991","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[24,63,94,840,26,98,93,27,95,1096,32,7,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d5492e12e7ca9101bce747991b1ada.jpg",[],{"id":13346,"slug":13347,"title":13348,"dynasty":246,"author":13349,"museum":360,"description":13350,"tags":13351,"thumbUrl":13352,"material":223,"size":223,"collection":223,"collections":13353,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},230142,"huang-shan-ba-jing-tu-ce-zheng-ban-qiao-230142","黄山八景图册","郑板桥","这幅小楷题跋清劲秀雅，结体端稳间带着疏朗意趣，笔画瘦硬匀净，既有晋唐小楷的古雅法度，又融入独有的散逸风骨。\n\n笔墨随着文思缓缓铺展，忆述画坛旧事时文墨相生相融，将文人雅怀藏进每一处笔墨细节。全无狂怪恣肆，反倒尽显静定冲淡的书卷气，是其书法中少见的敛藏之作。文思与笔情精妙融合，字里行间晕开平和悠然的文人本色，成为画册点睛的文墨双璧。",[24,63,234,93,98,94,336,136,96,7,32,121,742,492,564,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a215794450c842f2731c67ae4bfaf1.jpg",[],{"id":13355,"slug":13356,"title":13357,"dynasty":246,"author":1553,"museum":360,"description":13358,"tags":13359,"thumbUrl":13364,"material":494,"size":495,"collection":223,"collections":13365,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},229161,"tong-tai-fa-lang-dai-ji-fang-hua-ping-yi-ming-229161","铜胎珐瑯带戟方花瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[13360,13361,13362,27,94,31,7,32,4877,13363],"铜胎","珐琅器","铜制","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6789b67c5b48f626b73c2e9020820d3b.jpg",[],{"id":13367,"slug":13368,"title":13369,"dynasty":277,"author":1553,"museum":360,"description":13370,"tags":13371,"thumbUrl":13372,"material":223,"size":223,"collection":223,"collections":13373,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,24,93,98,135,63,116,94,252,439,7,32,2468,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":13375,"slug":13376,"title":9393,"dynasty":58,"author":9394,"museum":360,"description":13377,"tags":13378,"thumbUrl":13379,"material":223,"size":223,"collection":223,"collections":13380,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},227808,"cao-tang-ke-hua-tu-he-quan-227808","此作以淡墨晕染山石林木，晕开江南山野湿润清寂的氛围。临水草堂轩窗通透，堂内陈设隐约可见，屋外二人缓步闲话，将幽居雅会的闲淡意趣铺展开来。笔墨苍秀简逸，屋舍界画工致灵动，林木点染生机自现，以尺幅之境铺陈林泉高致的隐逸情怀，尽显宋人小品山水以小见大的妙处，将士人幽栖林下、寄情丘壑的心境藏于皴染点画之中，淡而有味，雅意悠长。",[23,24,63,1829,27,94,31,7,32,30,96,33,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9398f267cba5d2aa93e5525aecdb351.jpg",[],{"id":13382,"slug":13383,"title":13384,"dynasty":1933,"author":1553,"museum":360,"description":11783,"tags":13385,"thumbUrl":13386,"material":494,"size":495,"collection":223,"collections":13387,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":498},225316,"fu-shi-hui-54-yi-ming-225316","浮世绘54",[11605,27,28,26,31,30,7,121,33,962,39,643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f704c4610ac01c97ba3aeeea431aac.jpg",[],{"id":13389,"slug":13390,"title":13391,"dynasty":246,"author":1115,"museum":360,"description":11355,"tags":13392,"thumbUrl":13393,"material":11358,"size":11359,"collection":223,"collections":13394,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},224409,"shu-hua-shi-liu-kai-10-wang-shi-min-224409","书画十六开-10",[23,24,63,234,27,98,94,7,32,33,97,75,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b1fffac4109daa74541bf9f3ca25d9.jpg",[],{"id":13396,"slug":13397,"title":13398,"dynasty":18,"author":1553,"museum":360,"description":13399,"tags":13400,"thumbUrl":13401,"material":237,"size":13402,"collection":223,"collections":13403,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,63,25,93,100,94,7,32,95,96,33,4648,221,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":13405,"slug":13406,"title":13407,"dynasty":246,"author":1349,"museum":90,"description":6174,"tags":13408,"thumbUrl":13409,"material":2438,"size":12960,"collection":223,"collections":13410,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},222612,"shan-shui-ba-jing-2-gong-xian-222612","山水八景-2",[23,24,93,98,94,136,7,2910,33,818,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41cb5c793ea90b164e87ab6b3d05d0a4.jpg",[],{"id":13412,"slug":13413,"title":9940,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":13414,"thumbUrl":13415,"material":102,"size":223,"collection":223,"collections":13416,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":54},215024,"fang-gu-shan-shui-ce-6-wang-jian-215024",[24,93,94,98,529,439,7,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ba1b67e300dd1a9f8df0ed1482d390.jpg",[],{"id":13418,"slug":13419,"title":13420,"dynasty":246,"author":13421,"museum":132,"description":13422,"tags":13423,"thumbUrl":13424,"material":102,"size":223,"collection":223,"collections":13425,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":108},214722,"shan-shui-ce-ye-3-hu-gui-214722","山水册页-3","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,63,234,93,27,94,31,7,32,96,33,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda310b9e1c25c83ca4d29bc9be511e24.jpg",[],{"id":13427,"slug":13428,"title":13429,"dynasty":246,"author":4695,"museum":328,"description":12987,"tags":13430,"thumbUrl":13431,"material":102,"size":223,"collection":223,"collections":13432,"showCount":371,"zanCount":536,"manualWeight":11,"mainColor":108},214376,"tian-guang-yun-jing-tu-ce-2-zhu-da-214376","天光云景图册-2",[23,24,63,234,93,98,94,414,75,7,530,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8a3a81d0177f65a761a58e690d7eba.jpg",[],{"id":13434,"slug":13435,"title":13436,"dynasty":246,"author":4695,"museum":328,"description":12987,"tags":13437,"thumbUrl":13438,"material":102,"size":223,"collection":223,"collections":13439,"showCount":371,"zanCount":536,"manualWeight":11,"mainColor":108},214370,"tian-guang-yun-jing-tu-ce-8-zhu-da-214370","天光云景图册-8",[23,24,63,234,93,98,94,97,33,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe73416e74fecf0bf9b2ed23d4652d.jpg",[],{"id":13441,"slug":13442,"title":7049,"dynasty":246,"author":11307,"museum":90,"description":13443,"tags":13444,"thumbUrl":13447,"material":223,"size":223,"collection":104,"collections":13448,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":13449},203458,"fang-gu-shan-shui-ce-lan-meng-203458","画面以淡墨皴染铺陈冬日山水，山峦覆雪如银，枯树虬枝缀霜，屋舍隐于林麓间，静谧悠然。近景小桥横溪，红衣行人策杖而行，点染出寒冬生机。笔墨苍劲秀润，山石用皴法显肌理，树木枝干中锋勾勒见骨力，留白衬雪意空灵。整体意境清寂悠远，承袭古意又含个人笔墨情致，将冬日山水的幽趣融于册页之中。",[23,234,93,27,29,98,94,7,136,336,1721,75,3120,97,440,454,13445,6215,13446,528],"冬景","点染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77df8ec4b2e964f0158c25d8a7390d34.jpg",[104],"9a9887",{"id":13451,"slug":13452,"title":13453,"dynasty":246,"author":6901,"museum":90,"description":13454,"tags":13455,"thumbUrl":13456,"material":223,"size":223,"collection":104,"collections":13457,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":13458},202241,"qiu-shan-xiao-si-tu-zhou-fan-qi-202241","秋山萧寺图轴","水墨皴染间，秋山的清寂扑面而来。近景枯树虬劲，枝桠疏朗，山石以皴法写就，纹理分明；小桥卧于溪上，流水隐现石间。中景山峦起伏，萧寺藏于林麓，塔影孑然；远景峰岫淡远，云雾轻笼。笔墨雅致疏朗，意境清幽淡远，将秋日山林的静谧与禅意悄然铺展，尽显文人山水的空灵之韵。",[24,93,94,98,7,414,97,5632,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7039b8a54c293221df9fd8905c7997.jpg",[104],"c8b5a8",{"id":13460,"slug":13461,"title":2772,"dynasty":246,"author":13462,"museum":90,"description":13463,"tags":13464,"thumbUrl":13465,"material":223,"size":223,"collection":104,"collections":13466,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":13467},202138,"shan-shui-tu-zhou-tu-qing-ge-202138","图清格","层岩叠嶂起伏，林木葱茏间小径蜿蜒，板桥横跨溪上，隐现屋舍一二，似有幽人栖居。笔墨苍劲，山石轮廓以线勾勒，复加皴法显肌理；林木枝叶用浓淡墨色区分层次，设色古朴雅致。构图疏密有致，虚实相生，既见山川壮阔之态，又含文人寄情林泉的隐逸心境，尽显传统山水之韵致。",[94,98,27,7,136,3058,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50069b35dcd58988049b8448a5c52b4f.jpg",[104],"69492c",{"id":13469,"slug":13470,"title":13471,"dynasty":246,"author":13472,"museum":90,"description":13473,"tags":13474,"thumbUrl":13475,"material":223,"size":223,"collection":104,"collections":13476,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":13477},202135,"qun-xian-tu-zhou-lv-xue-202135","群仙图轴","吕学","画面铺展仙府胜境，群仙或乘云驾雾于天际，或策骑过桥于山间，或聚于楼阁畔，姿态各异神情生动。山石林木以细劲线条勾勒，敷色淡雅温润；人物衣袂飘飘，设色明艳却不张扬，尽显仙风道骨。楼阁界画工整，小桥流水相映成趣，飞鸟点缀天际，构图层次分明，从山麓到云端仙气氤氲，将神仙世界的逍遥奇幻展现得淋漓尽致，是清代人物画中兼具叙事性与艺术性的佳作。",[24,135,26,27,30,31,7,32,121,94,65,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb814379d5ec32f4079213d2a8d2972.jpg",[104],"a28762",{"id":13479,"slug":13480,"title":827,"dynasty":246,"author":3233,"museum":90,"description":13481,"tags":13482,"thumbUrl":13484,"material":223,"size":223,"collection":223,"collections":13485,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":13486},201662,"qing-lv-shan-shui-tu-zhou-yang-jin-201662","远山逶迤，江面帆影轻摇，铺开一片旷远之景。中景山峦以青绿设色，山石勾勒间见皴擦之妙，树木虬枝盘曲，楼阁宝塔藏于林麓，古意盎然。近坡石错落，溪水潺潺，林下雅士或闲坐清谈，或漫步寻幽，神态悠然。笔墨细腻工致，设色清丽雅致，青绿的明丽与文人的清幽相融，将自然山水之秀与人文雅集之趣凝于一轴，尽显画中意境。",[117,27,94,31,7,32,95,30,26,13483],"皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81219ec34b630fdfb5e50f33a198a97b.jpg",[],"c19c6a",{"id":13488,"slug":13489,"title":13490,"dynasty":18,"author":2049,"museum":90,"description":13491,"tags":13492,"thumbUrl":13493,"material":223,"size":223,"collection":104,"collections":13494,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":12627},201550,"fang-da-chi-qiu-shan-wu-jin-tu-juan-zhao-zuo-201550","仿大痴秋山无尽图卷","长卷铺展，秋意漫入层峦。山石以皴法勾勒，纹理苍劲；树木或疏或密，红叶点染秋光。云雾缭绕峰谷，流水蜿蜒过小桥，孤舟泛于碧波，亭舍隐于林麓。笔墨交融间，既有大痴笔意的深远，又含赵左自身的秀逸。淡设色晕染出清旷意境，山水相连如无尽诗行，引人沉醉于烟霞深处。",[24,25,94,98,93,27,95,7,32,96,33,97,155,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6171acb2b976380c517048392c6555d8.jpg",[104],{"id":13496,"slug":13497,"title":13498,"dynasty":58,"author":1553,"museum":360,"description":13499,"tags":13500,"thumbUrl":13501,"material":494,"size":495,"collection":223,"collections":13502,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},290993,"xue-shan-xing-lv-zhou-yi-ming-290993","雪山行旅轴","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[116,24,63,135,94,93,98,578,7,32,30,31,454,33,492,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a1a1c8ecfaace4914cb159de8cc047a.jpg",[],{"id":13504,"slug":13505,"title":13506,"dynasty":246,"author":13507,"museum":360,"description":13508,"tags":13509,"thumbUrl":13510,"material":494,"size":495,"collection":223,"collections":13511,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},290585,"lian-chang-gong-tu-zhou-zhang-gao-290585","连昌宫图轴","张镐","此作以工致界画还原宫苑盛景，近观殿宇台阁勾描精谨，朱廊玉阶、飞檐斗拱分毫毕现，尽显皇家宫阙的恢宏规制。淡墨皴染的山石错落而立，春林抽芽、枝叶扶苏，烟波池水漾开，将宫苑与郊野融于一色。远景田舍桥郭隐在轻岚淡霭间，虚实相映，把楼宇富丽与郊野清旷揉为一体。\n\n右上角题跋追述宫苑旧事，书画相映凭吊往昔繁华，落笔带着物是人非的澹然怅惘。整作兼具界画的严整与文人山水的写意空灵，以笔墨追怀盛世宫苑，是描摹古典皇家园林的精妙佳构。",[24,28,27,26,31,426,191,33,7,94,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf692ecb1d942d9634c583bd48473458.jpg",[],{"id":13513,"slug":13514,"title":13515,"dynasty":246,"author":5651,"museum":360,"description":13516,"tags":13517,"thumbUrl":13518,"material":494,"size":495,"collection":223,"collections":13519,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},290583,"fang-fan-kuan-shan-shui-zhang-yu-sen-290583","倣范宽山水","张雨森，清朝画家。初名雨，字作霖，一字紫琅，号苍野，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。",[24,94,29,27,98,137,7,32,152,1202,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c982027a7845bc86ee5ad75f2bd249.jpg",[],{"id":13521,"slug":13522,"title":315,"dynasty":58,"author":1419,"museum":360,"description":1420,"tags":13523,"thumbUrl":13524,"material":494,"size":495,"collection":223,"collections":13525,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},290296,"shan-shui-tu-guo-zhong-shu-290296",[24,116,331,27,98,94,95,414,75,121,32,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992854c151e737f5a0d86f76e823f47d.jpg",[],{"id":13527,"slug":13528,"title":13529,"dynasty":246,"author":1309,"museum":360,"description":8643,"tags":13530,"thumbUrl":13531,"material":494,"size":495,"collection":223,"collections":13532,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},290005,"fang-gu-shan-shui-li-zhou-wang-yuan-qi-290005","仿古山水立轴",[23,24,135,94,27,98,7,32,31,33,97,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ab5828a222f6a297f0a57b0816d1a1.jpg",[],{"id":13534,"slug":13535,"title":6458,"dynasty":246,"author":13536,"museum":360,"description":13537,"tags":13538,"thumbUrl":13539,"material":494,"size":495,"collection":223,"collections":13540,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},288473,"shan-shui-tu-li-zhou-lin-san-zhi-288473","林散之","近岸林木枝桠苍劲，以浓淡墨色点染枝叶，野趣横生。渔舟缓行江面，水波澹澹漾开清寂意趣。中景峰峦列峙，皴擦间见山石嶙峋质感，溪桥卧波，村居错落枕水，将烟火意趣揉入山水丘壑。\n\n远景岫顶以淡青晕染，烟岚轻笼云山，虚实相生晕开朦胧空濛。画作以书入画，线条老辣朴拙，干湿浓墨层次分明，题诗与画面浑然相融，将江南水村的清灵闲逸晕染开来，笔底藏着温润生机，尽现水墨山水的雅致禅意。",[23,24,135,93,27,94,7,32,95,191,33,75,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4090f06345b2d4fb4d4645a25caede3.jpg",[],{"id":13542,"slug":13543,"title":1829,"dynasty":246,"author":12681,"museum":360,"description":13544,"tags":13545,"thumbUrl":13546,"material":494,"size":495,"collection":223,"collections":13547,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},288218,"shan-mian-lin-shu-288218","林纾（1852年11月8日—1924年10月9日），中国近代文学家，字琴南，号畏庐，别署冷红生，福建闽县（今福州市）人。晚称蠡叟、践卓翁、六桥补柳翁、春觉斋主人。室名春觉斋、烟云楼等。\n早年曾从同县薛锡极读欧阳修文及杜甫诗。后读同县李宗言家所藏书，不下三四万卷，博学强记，能诗，能文，能画，有狂生的称号。光绪八年（1882年）举人，官教论，考进士不中。二十六年（1900年），在北京任五城中学国文教员。所作古文，为桐城派大师吴汝纶所推重，名益著，于是任北京大学讲席。\n辛亥革命后，入北洋军人徐树铮所办正志学校教学，推重桐城派古文。\n后在北京，专以译书售稿与卖文卖画为生。曾创办“苍霞精舍”——今福建工程学院前身。工诗古文辞，以意译外国名家小说见称于时。复肆力于画。山水初灵秀似文徵明，继而浓厚近戴熙。偶涉石涛，故其浑厚之中颇有淋漓之趣。其题画诗云：“平生不入三王派，家法微微出苦瓜，我意独饶山水味，何须攻苦学名家？”。花鸟得其师陈文台之传，淡墨薄色，神致生动。\n晚年居北京，求者多以山水，而花鸟则不复作矣。著畏庐文集、诗集、春觉斋题画跋及小说笔记等。",[24,63,1829,93,94,7,32,255,31,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb206b56e2c23bb09c5d445bd1e7e8365.jpg",[],{"id":13549,"slug":13550,"title":13551,"dynasty":246,"author":1309,"museum":360,"description":13552,"tags":13553,"thumbUrl":13554,"material":223,"size":223,"collection":223,"collections":13555,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},239463,"qing-chu-liu-da-jia-ji-ce-xia-shan-tu-ce-ye-wang-yuan-qi-239463","清初六大家集册-夏山图册页","此作用笔苍浑老辣，以干笔积墨反复皴擦，山峦层叠间云气横生，将高远、深远之境相融，衬出山林空阔幽深。坡岸林木错落，或虬劲或葱郁，溪桥村居隐于林泉间，暗合题句里长夏山居的悠然意趣。\n\n画面笔墨沉厚苍秀，于繁密皴法中透出灵透，既得宋元山水的苍茫元气，又自具朴拙静穆的文人雅韵，将夏日山林的清寂悠长晕染开来，尽显静谧澹远的山居之美。",[24,63,234,27,98,94,529,32,7,439,176,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b08c3e176452e8260dd64640da9e37.jpg",[],{"id":13557,"slug":13558,"title":3444,"dynasty":18,"author":1553,"museum":360,"description":13559,"tags":13560,"thumbUrl":13561,"material":494,"size":495,"collection":223,"collections":13562,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},238572,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238572","此作为工笔重彩道释佳制，以虹桥殿宇铺展天界朝贺盛景。祥云翻卷簇拥腾云而来的仪卫仙官，朱栏虹桥衔接殿庭，殿宇丹楹碧瓦，端庄巍峨。\n画面左右开合有序，朝贺仙僚神态端凝雍容，仪仗罗列森然，衣袂纹饰勾染精细，衣褶流转自然。石青石绿与赤金朱红交织晕染，色调浓妍富丽，将仙班翊赞升平的庄重祥瑞尽数铺陈，尽显工笔重彩的精工造诣，把天界朝会的肃穆仪轨与华贵意趣相融无间。",[7265,24,26,27,28,30,31,7,32,6043,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8024fa21f554e5c7921c4369ae0b80ba.jpg",[],{"id":13564,"slug":13565,"title":13566,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":13567,"thumbUrl":13568,"material":223,"size":223,"collection":223,"collections":13569,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},238341,"si-jing-shan-shui-xiao-ce-dong-gao-238341","四景山水小册",[24,63,234,27,94,98,7,32,136,252,191,1721,97,33,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aafa6cb457ee62a69390a61343fb58d.jpg",[],{"id":13571,"slug":13572,"title":13174,"dynasty":246,"author":9553,"museum":360,"description":13573,"tags":13574,"thumbUrl":13575,"material":223,"size":223,"collection":223,"collections":13576,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},238248,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238248","此作以诗画合璧尽显雅趣。左侧绘春日元大都琼岛，白石塔卓立洲中，层叠殿宇掩映在抽芽新绿里，淡墨晕开环泊春水，烟波轻笼，清润柔雅间晕出春日融融生机。屋舍桥道排布谨细，草木点染灵动鲜活，将皇家御苑的清隽春景凝于尺幅。\n右侧行书题诗笔致秀逸舒展，诗句咏叹春阴耕作、胜赏悦心，与画中景致呼应，诗画相生，勾勒出燕京春日独有的温润静雅，尽显小品山水的隽永情致。",[24,27,26,31,7,94,33,38,71,99,100,118,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5070eba5081d3f5f988a6347fb9c5501.jpg",[],{"id":13578,"slug":13579,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":4966,"tags":13580,"thumbUrl":13582,"material":223,"size":223,"collection":223,"collections":13583,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},238139,"shan-shui-ce-yun-xi-238139",[24,27,98,234,94,529,530,96,7,439,5348,13581,616,38,440],"黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345590e9287c67a0fd54122250c5b6a4.jpg",[],{"id":13585,"slug":13586,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":4966,"tags":13587,"thumbUrl":13588,"material":223,"size":223,"collection":223,"collections":13589,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},238138,"shan-shui-ce-yun-xi-238138",[24,27,98,234,332,94,96,7,33,97,32,250,155,4535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40d00873d5deb0b1bcf331633c4e545.jpg",[],{"id":13591,"slug":13592,"title":13593,"dynasty":18,"author":1126,"museum":360,"description":9995,"tags":13594,"thumbUrl":13595,"material":494,"size":495,"collection":223,"collections":13596,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},238059,"qiu-lin-ce-jian-shan-zhang-hong-238059","秋林策蹇扇",[24,63,1829,93,27,98,94,414,30,1778,7,252,97,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec8f396387ded7a43d80ffc1c810961.jpg",[],{"id":13598,"slug":13599,"title":13600,"dynasty":246,"author":13601,"museum":360,"description":13602,"tags":13603,"thumbUrl":13604,"material":223,"size":223,"collection":223,"collections":13605,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},237164,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237164","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,63,234,27,94,7,32,30,33,336,96,119,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2949467f327c877a6d026d990de28f.jpg",[],{"id":13607,"slug":13608,"title":13204,"dynasty":246,"author":13205,"museum":360,"description":13609,"tags":13610,"thumbUrl":13611,"material":237,"size":223,"collection":223,"collections":13612,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},237066,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237066","此帧以淡墨轻岚绘就山水小景，数株古松挺立于坡岸，虬枝舒展、松针苍润，尽展古拙挺拔之姿。浅赭晕染坡石，间缀淡墨点苔，板桥横绝溪上，幽蹊间一人策杖徐行，林岫清寂，意境萧散淡远。\n\n左侧行书清隽秀雅，笔墨温润灵动，诗画相映成趣，将林下幽居的闲淡襟怀寄寓尺幅，淡而有味，简中见韵，尽显传统文人画重意境、尚风雅的悠然意趣。",[24,63,234,93,100,98,27,293,97,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff144008ee15b9ec107b71f1f29adeb4f.jpg",[],{"id":13614,"slug":13615,"title":2158,"dynasty":18,"author":3004,"museum":60,"description":3005,"tags":13616,"thumbUrl":13617,"material":3008,"size":3009,"collection":223,"collections":13618,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},236905,"shan-shui-ce-song-xu-236905",[24,63,234,27,98,93,94,31,7,33,97,250,155,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded5fbf2b6d1ece41ac6fb9c0c577096.jpg",[],{"id":13620,"slug":13621,"title":13622,"dynasty":18,"author":1553,"museum":360,"description":13623,"tags":13624,"thumbUrl":13625,"material":494,"size":495,"collection":223,"collections":13626,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},236816,"song-xu-fen-yuan-shu-wu-shan-ye-yi-ming-236816","宋旭汾源书屋扇页","此帧水墨山水以平远糅合深远之法布局，近岸松石苍劲，古木虬枝错列，浓墨点苔晕染苍润生机，板桥柴扉隐于林麓，野意自生。中渚水光澹澹，田畴、村居错落山脚，恍见幽居闲逸之态。远景山峦以干笔皴擦，墨色由浓渐淡，层层递远，晕开山野空寂氛围。\n\n笔墨兼具元人简淡意趣与明画沉静格调，借扇面弧形章法排布丘壑，于局促尺幅间铺展阔远山水意境，写尽林泉高致，暗合文人寄情烟霞、幽居忘世的隐逸襟怀。",[24,63,1829,93,98,94,33,7,32,97,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058a0ef23ae07da656da6988eb92e19f.jpg",[],{"id":13628,"slug":13629,"title":13630,"dynasty":246,"author":5224,"museum":360,"description":13631,"tags":13632,"thumbUrl":13633,"material":494,"size":495,"collection":223,"collections":13634,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},236725,"shang-rui-xian-xing-cheng-lin-shan-ye-shang-rui-236725","上睿仙杏成林扇页","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,1829,93,98,94,136,2910,7,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc83abe99697d9d37afb704b21d4280.jpg",[],{"id":13636,"slug":13637,"title":13638,"dynasty":246,"author":1553,"museum":360,"description":13639,"tags":13640,"thumbUrl":13641,"material":223,"size":223,"collection":223,"collections":13642,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},236074,"zhu-lun-han-cun-shu-xi-qiao-zhou-yi-ming-236074","朱伦瀚村树溪桥轴","此作用青绿浅设色晕染山川，以平远章法铺展水乡盛景。烟波水泽横贯画幅，将层叠山峦切割成错落洲渚，清润的石青石绿晕染出山峦温润肌理，勾勒细劲柔和，全无浓艳浮躁之感。\n\n坡岸之上杂树虬曲苍秀，枝叶点染灵动自然，几处村舍藏于林麓之间，隐现溪桥野径，尽显幽寂闲逸的村居意趣。整幅画作浸透着淡远清旷的文人情致，将江南水乡的烟波灵秀与林下幽居的隐逸之美融为一体，观之如身临林泉，涤去尘俗喧嚣。",[24,27,98,135,94,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ea763cc22e014589c1bd3584484257.jpg",[],{"id":13644,"slug":13645,"title":8699,"dynasty":246,"author":1786,"museum":360,"description":13646,"tags":13647,"thumbUrl":13648,"material":223,"size":223,"collection":223,"collections":13649,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},235645,"shan-shui-tu-ce-wu-li-235645","这幅山水以干笔皴擦铺陈丘壑，近岸村居错落疏朗，枯木伴卧波板桥，水色空濛间晕开江南平畴的幽寂。远山层叠浑厚，飞泉隐挂崖壁，林麓苍郁朴拙。\n\n笔墨苍秀简淡，带着元人山水的萧散意韵，将闲居丘壑的雅兴藏在淡墨轻岚中。整幅画恬澹冲和，缓缓铺展出山居清旷之致，把文人静穆的幽怀融于笔墨，于简淡中见沉郁朴厚的气韵，尽显文人山水画的雅致意趣。",[24,93,98,234,99,118,94,7,32,136,336,96,75,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e75ceb242252b4cd4f81ea3cef5820.jpg",[],{"id":13651,"slug":13652,"title":12393,"dynasty":246,"author":1553,"museum":60,"description":12394,"tags":13653,"thumbUrl":13654,"material":378,"size":12397,"collection":223,"collections":13655,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},234908,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234908",[24,63,234,27,94,7,32,95,121,281,97,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e84d54867c8902d4ddec54cc53650e0.jpg",[],{"id":13657,"slug":13658,"title":12402,"dynasty":246,"author":1309,"museum":360,"description":12403,"tags":13659,"thumbUrl":13660,"material":237,"size":12406,"collection":223,"collections":13661,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},234877,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234877",[24,63,234,93,27,98,94,97,33,152,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feb2c689622a16e6b2665e84435ded2.jpg",[],{"id":13663,"slug":13664,"title":13665,"dynasty":246,"author":613,"museum":360,"description":931,"tags":13666,"thumbUrl":13667,"material":223,"size":223,"collection":223,"collections":13668,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},234651,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234651","原济金陵十景图册",[24,63,234,93,100,94,33,31,7,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3c47ff1ca092b02ce909b3e40643c4.jpg",[],{"id":13670,"slug":13671,"title":13672,"dynasty":18,"author":13673,"museum":60,"description":13674,"tags":13675,"thumbUrl":13676,"material":237,"size":223,"collection":223,"collections":13677,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,24,63,25,100,27,26,93,94,31,7,32,96,564,439,75,99,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":13679,"slug":13680,"title":2158,"dynasty":246,"author":1349,"museum":60,"description":13681,"tags":13682,"thumbUrl":13683,"material":532,"size":13684,"collection":223,"collections":13685,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},233977,"shan-shui-ce-gong-xian-233977","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,93,98,234,94,7,31,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14796f4039bf7b11eabbba7851e775e8.jpg","纵22.2厘米，横33.2厘米",[],{"id":13687,"slug":13688,"title":13689,"dynasty":18,"author":19,"museum":60,"description":3251,"tags":13690,"thumbUrl":13691,"material":402,"size":13692,"collection":223,"collections":13693,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},233755,"ren-wu-gu-shi-ce-2-chou-ying-233755","人物故事册2",[24,63,26,27,117,94,30,7,32,33,176,3457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01dd36c10a57f67835c6283078bfdad.jpg","纵41.4厘米，横33.8厘米",[],{"id":13695,"slug":13696,"title":13289,"dynasty":246,"author":1807,"museum":60,"description":13290,"tags":13697,"thumbUrl":13698,"material":678,"size":13293,"collection":223,"collections":13699,"showCount":354,"zanCount":536,"manualWeight":11,"mainColor":108},233448,"ren-wu-shan-shui-ce-luo-pin-233448",[24,63,234,27,93,516,30,7,32,281,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde166fa11eaf6af6dfc6a2b2a353f75.jpg",[],{"id":13701,"slug":13702,"title":13703,"dynasty":246,"author":4581,"museum":60,"description":6433,"tags":13704,"thumbUrl":13705,"material":223,"size":223,"collection":223,"collections":13706,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},233228,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-fang-li-cheng-shan-shui-ye-wu-hong-233228","金陵诸家山水花卉册-仿李成山水页",[24,116,63,234,93,98,94,414,136,7,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff024a8ec9b6e0df9a39e8246585e9f.jpg",[],{"id":13708,"slug":13709,"title":13710,"dynasty":246,"author":1309,"museum":60,"description":13711,"tags":13712,"thumbUrl":13713,"material":12060,"size":13714,"collection":223,"collections":13715,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},233161,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233161","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。",[24,63,234,93,98,118,94,97,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2b802df4257c3c27bb3d8b5cad9e6b.jpg","纵29厘米，横29.5厘米",[],{"id":13717,"slug":13718,"title":13719,"dynasty":1933,"author":13720,"museum":360,"description":13721,"tags":13722,"thumbUrl":13723,"material":494,"size":495,"collection":223,"collections":13724,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,63,27,26,98,94,30,3748,1606,293,97,155,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":13726,"slug":13727,"title":1829,"dynasty":246,"author":13728,"museum":360,"description":13729,"tags":13730,"thumbUrl":13731,"material":223,"size":223,"collection":223,"collections":13732,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},230165,"shan-mian-lin-xing-230165","林行","此作用淡赭晕染山峦，以短披麻皴勾勒山石肌理，厚重朴拙间见温润质感。留白作溪云环萦，虚实相映，让山水生出空濛灵秀之态。\n左侧板桥之上，三两策杖行人徐行，为幽寂山水添上鲜活烟火气；右侧竹篁深秀间茅舍隐现，暗合山居幽栖之趣。\n笔墨舒缓柔和，不见剑拔弩张的锋芒，将江南林麓的清寂安闲铺展开来，动静相融间，把文人心中林下幽居的悠然诗意，藏在淡墨轻岚之中。",[24,63,1829,93,98,94,529,616,439,564,7,32,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e978dfc087b2b735d0da2f091cf4fad.jpg",[],{"id":13734,"slug":13735,"title":13736,"dynasty":246,"author":1441,"museum":360,"description":13737,"tags":13738,"thumbUrl":13739,"material":223,"size":223,"collection":223,"collections":13740,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},229023,"hong-ye-bai-yun-tu-wang-hui-229023","红叶白云图","此作用浅绛设色铺就秋山胜景，远景山峦隐在烟岚之中，虚渺朦胧似笼轻纱，尽显山林悠远空寂。中景层峰叠翠，茂林深秀，山居幽藏其间，流泉隐隐透出山野生机。近岸丹枫点染，古木盘曲苍劲，白石映着清溪，村舍错落排布，漾出闲适悠然的田园意趣。\n笔墨兼工带写，干笔皴擦勾勒山体肌理，淡墨晕染铺就流云轻烟，设色清润雅致，将秋日山林明静温煦的氛围晕开，既有古法山水的沉静古意，又饱含鲜活的自然意趣，把秋山清远秀逸之韵娓娓绘就。",[23,24,135,94,27,98,5348,1537,97,33,7,32,75,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbb2a25874ce00d981fc9fd7c73488f.jpg",[],{"id":13742,"slug":13743,"title":13744,"dynasty":277,"author":1553,"museum":360,"description":13745,"tags":13746,"thumbUrl":13747,"material":223,"size":223,"collection":223,"collections":13748,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[23,24,93,94,234,516,98,318,136,564,336,7,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":13750,"slug":13751,"title":13752,"dynasty":1933,"author":1553,"museum":360,"description":13753,"tags":13754,"thumbUrl":13756,"material":223,"size":223,"collection":223,"collections":13757,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},225332,"fu-shi-hui-85-yi-ming-225332","浮世绘85","这幅风景版画以高远视角铺展云海深谷之景，朱红飞桥凌空横跨山涧，将孤亭与崖畔古寺相连。青绿山石鲜亮明快，暖调屋宇错落嵌入崖壁，翻涌的云海如棉絮般托举山峦，将山寺衬得恍若缥缈仙境。\n作者以利落线条勾勒建筑与山石肌理，冷暖色彩雅致对比，兼具装饰性与意境感，将深山古刹的凌空奇险和山林空寂的禅意相融，尽显幽玄出尘的意蕴，令人仿若踏入这灵秀秘境，静赏山云间的静谧禅味。",[9503,13755,27,94,31,7,155,2296,33],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f8f059fd473dcde6fb951462b02bea8.jpg",[],{"id":13759,"slug":13760,"title":13761,"dynasty":1933,"author":1553,"museum":360,"description":13762,"tags":13763,"thumbUrl":13765,"material":223,"size":223,"collection":223,"collections":13766,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},225307,"fu-shi-hui-36-yi-ming-225307","浮世绘36","平远构图铺展幽谧海国盛景，石桥跨海蜿蜒，旅人策杖徐行，将尘世烟火揉入静穆烟波。海面上古舟缓行，樯帆轻扬，漾开细碎水纹晕开闲淡意趣。远景岛岫含翠，古木疏朗，淡霭间隐见富士山，晕染出悠远空寂的氛围感。\n\n画面以清隽雅致的色彩铺陈，蓝白晕开辽阔海天，暖黄点染桥道与秋树，柔化山海的清冷。笔致朴拙温润，将远洋行旅的悠然意趣藏在平澹笔色间，侘寂淡柔的诗意漫溢其间，把山海间的松弛闲静凝为永恒帧景。",[9503,13755,27,94,7,32,95,6043,136,3189,13764],"天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1179db3afe9ee8867dfe0295acbfb673.jpg",[],{"id":13768,"slug":13769,"title":13770,"dynasty":1933,"author":1553,"museum":360,"description":13771,"tags":13772,"thumbUrl":13773,"material":223,"size":223,"collection":223,"collections":13774,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},225301,"fu-shi-hui-24-yi-ming-225301","浮世绘24","此作以月夜河谷铺展清宁画卷，靛蓝河面晕开幽柔夜色，暖棕沙崖晕着烟火暖意，冷暖交织晕融出松弛氛围。拱桥飞架两岸，串联山居水榭，三两渔舟缓行漾开碎金波光，悬月垂洒清辉，树影错落晕染出闲淡的水乡日常。\n\n上方书法与图景呼应，诗画合璧，尽显江户风物的雅致闲情。将寻常夜色揉成隽永诗意，带着浮世绘特有的市井雅韵，把水乡月夜的宁和诗意藏进笔端，晕染出东方美学的幽玄余韵，尽显浮世日常中的栖居之美。",[9503,27,94,743,7,32,95,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4360a626effed2c38c92dc097ca0cc.jpg",[],{"id":13776,"slug":13777,"title":13778,"dynasty":246,"author":1441,"museum":360,"description":13779,"tags":13780,"thumbUrl":13781,"material":223,"size":223,"collection":223,"collections":13782,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[23,24,63,135,93,98,206,676,96,7,32,336,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":13784,"slug":13785,"title":13786,"dynasty":246,"author":1115,"museum":360,"description":13787,"tags":13788,"thumbUrl":13789,"material":223,"size":223,"collection":223,"collections":13790,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[23,24,27,98,234,94,7,32,136,97,75,962,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":13792,"slug":13793,"title":13794,"dynasty":246,"author":1309,"museum":360,"description":13795,"tags":13796,"thumbUrl":13797,"material":223,"size":223,"collection":223,"collections":13798,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,24,63,94,135,27,98,529,530,33,293,176,7,154,155,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":13800,"slug":13801,"title":13802,"dynasty":246,"author":1553,"museum":20,"description":13803,"tags":13804,"thumbUrl":13805,"material":13806,"size":13807,"collection":223,"collections":13808,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":54},223486,"wu-kuan-lian-she-yi-ming-223486","无款莲社","画白莲群聚的白莲，白莲群庐山俗地净莲，是佛教末年山东林寺僧人慧远修士所建。 以慧远为首的“十八圣”，有两个界面，专职人员，有同伙，学佛修行。",[24,63,25,516,1665,30,94,7,32,33,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdbbe4bdab61cf202a84f218f71d1300.jpg","絹本、設色","35x849cm",[],{"id":13810,"slug":13811,"title":13812,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":13813,"thumbUrl":13814,"material":237,"size":6940,"collection":223,"collections":13815,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},220280,"huang-shan-tu-ce-44-hong-ren-220280","黄山图册-44",[23,116,24,63,234,93,98,94,7,32,293,97,30,152,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21470b7f1a2d452117e27065c43f0e3.jpg",[],{"id":13817,"slug":13818,"title":13819,"dynasty":246,"author":1675,"museum":90,"description":13820,"tags":13821,"thumbUrl":13822,"material":47,"size":13823,"collection":223,"collections":13824,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},219844,"shan-shui-tu-ce-3-xie-sun-219844","山水图册-3","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,63,234,93,27,98,94,7,32,336,121,136,75,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894f4e4e75e6cb0b82c2f6114e520119.jpg","14.2x19.2",[],{"id":13826,"slug":13827,"title":13828,"dynasty":246,"author":1105,"museum":90,"description":1106,"tags":13829,"thumbUrl":13830,"material":102,"size":1109,"collection":223,"collections":13831,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},216979,"fang-song-yuan-shan-shui-ce-7-wang-jian-216979","仿宋元山水册-7",[23,24,93,98,29,94,7,32,96,33,152,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d1e60ccc7907f935532a20d50acbba.jpg",[],{"id":13833,"slug":13834,"title":13835,"dynasty":246,"author":2081,"museum":360,"description":13836,"tags":13837,"thumbUrl":13840,"material":93,"size":223,"collection":223,"collections":13841,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":108},216834,"zhan-zheng-tong-ban-hua-16-lang-shi-ning-216834","战争铜版画-16","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[13838,13362,13839,730,30,31,7],"铜版画","战争画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7cacc8fbef4fd487425217955d6ee6.jpg",[],{"id":13843,"slug":13844,"title":13845,"dynasty":246,"author":613,"museum":90,"description":13846,"tags":13847,"thumbUrl":13848,"material":223,"size":223,"collection":104,"collections":13849,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":13850},203463,"xi-nan-ba-jing-tu-ce-shi-tao-203463","溪南八景图册","墨色淋漓间，山水之趣跃然纸上。枯笔皴擦出老树虬枝，湿墨晕染出云雾轻笼，小桥横卧溪上，茅屋隐于林麓，飞鸟数点划破空寂。笔意纵恣不拘，于浓淡虚实中见生机，尽显自然野逸之态。石涛以心观物，将对山水的体悟凝于笔端，画面清寂却不失灵动，每一处笔墨皆藏着对天地的深情。",[23,24,63,93,234,98,7,32,33,75,97,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f24a13e1f7609d0a2297e67a9313067.jpg",[104],"bab3aa",{"id":13852,"slug":13853,"title":13854,"dynasty":246,"author":2578,"museum":90,"description":13855,"tags":13856,"thumbUrl":13857,"material":223,"size":223,"collection":104,"collections":13858,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":13859},203302,"gao-ting-shan-kan-mei-tu-ce-hua-yan-203302","皋亭山看梅图册","冬日元气裹挟清寒，梅枝疏影横斜，绽蕊于山野间。亭台错落，小桥卧波，二三身影缓步其间，似与暗香对语。笔触灵动，淡墨勾枝轻点花萼，水墨晕染出空濛天色与覆雪肌理，衬得梅蕊愈显清妍。飞鸟掠过天际添生机，整体意境清雅悠远，将文人寻梅探幽的闲致心境融于尺幅，尽显江南冬日赏梅的诗意况味。",[234,93,27,1606,96,7,121,94,516,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3588ead388873c12f90e4e4768924d63.jpg",[104],"dbd5cc",{"id":13861,"slug":13862,"title":13863,"dynasty":18,"author":525,"museum":90,"description":13864,"tags":13865,"thumbUrl":13866,"material":223,"size":223,"collection":104,"collections":13867,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":13868},203249,"fang-song-yuan-shan-shui-tu-ce-dong-qi-chang-203249","仿宋元山水图册","笔墨间流转宋元遗韵，淡墨晕染层叠山峦，云雾如轻纱漫过林麓，将远近景致晕成虚实相生的意境。近处林木苍劲，枝桠以简括笔触勾勒，墨色浓淡交错显生机；山间小屋隐于树后，添几分烟火气，旁侧小桥轻架，似连尘世与幽境。皴法藏于山体肌理，不张扬却见骨力，水墨清润与枯涩相济，恰是“平淡天真”之趣。无繁复设色，仅墨色变化构建空间，融宋元雅致与文人意趣于一册，尽显古典山水空灵之美。",[24,63,234,93,94,98,33,155,2910,7,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9830bdd0228addf29109450c5aaf85c.jpg",[104],"a98e5f",{"id":13870,"slug":13871,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":13872,"tags":13873,"thumbUrl":13875,"material":223,"size":223,"collection":104,"collections":13876,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":5732},202932,"shan-shui-tu-zhou-huang-bin-hong-202932","画面中山峦层叠，云雾缭绕，笔墨苍劲老辣，山石以多种皴法交织，墨色浓淡相宜，干湿互用，尽显山川的雄浑与灵秀。近景处古松虬劲，枯木疏朗，山石旁点缀茅屋小桥，隐逸之趣盎然。整体气韵生动，墨色浑厚华滋，于简淡中蕴含深远意境，笔墨间藏纳自然丘壑，展现出传统山水与个人风格的完美融合，是一幅颇具韵味的水墨佳作。",[24,94,93,98,206,7,252,135,6215,13874,23],"浑厚华滋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cf6e77f1741277923aa84ced1c9b67.jpg",[104],{"id":13878,"slug":13879,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":13880,"tags":13881,"thumbUrl":13882,"material":223,"size":223,"collection":104,"collections":13883,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":5732},202910,"shan-shui-tu-zhou-huang-bin-hong-202910","这幅山水图笔墨苍劲浑厚，墨色层次丰富，干湿浓淡交织尽显山林气象。山峦以多种皴法勾勒点染，峰峦叠嶂间云雾缭绕，虚实相生。岩畔劲松挺拔，枝干虬曲，与杂树相映；小桥隐于林麓，屋舍依稀，添了人间烟火气。整体画风沉郁古拙，意境悠远，尽显传统山水的深邃韵味，笔墨间流露画家对自然的深刻体悟与人文情怀。",[24,94,93,98,293,7,97,155,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6804621f4b5a79dfbabbeb43768a29.jpg",[104],{"id":13885,"slug":13886,"title":13887,"dynasty":246,"author":6901,"museum":90,"description":13888,"tags":13889,"thumbUrl":13891,"material":223,"size":223,"collection":104,"collections":13892,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":13893},202246,"qiu-shan-mu-ai-tu-zhou-fan-qi-202246","秋山暮霭图轴","画面以淡墨晕染暮霭，远山隐现于烟岚间，峰峦轮廓柔和如黛。近景怪石嶙峋，皴笔勾勒山石肌理，纹理细腻见质感；溪流蜿蜒穿石而过，小桥横卧水面，连接疏林与村舍。枯树枝干遒劲，叶片疏落，尽显清秋萧疏之态。笔墨清润秀雅，墨色浓淡相宜，淡赭轻敷远山，添秋意暖意。整体意境幽远静谧，将秋山暮色的淡远韵致凝于立轴，尽显文人山水的雅致风骨。",[94,98,7,32,93,27,135,414,97,13890,23],"秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ae6ac93c766a1c2fb075a13ee86b1.jpg",[104],"bcae9a",{"id":13895,"slug":13896,"title":13897,"dynasty":246,"author":1309,"museum":90,"description":13898,"tags":13899,"thumbUrl":13900,"material":223,"size":223,"collection":104,"collections":13901,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":13902},202178,"wei-yan-yu-zuo-shan-shui-zhou-wang-yuan-qi-202178","为彦瑜作山水轴","画面山峦逶迤，笔墨苍劲浑厚，干笔皴擦间尽显古拙气韵。近景屋舍隐于松石侧，小桥流水意趣悠然；中景山石嶙峋，林木葱郁，姿态各异；远景云雾轻笼，峰峦隐现，层次分明。以层层积墨铺陈山水深远，师法传统却自出机杼，尽显文人画雅致沉雄。笔墨交融，意境清幽，静谧中藏生机，为典型风格之作。",[94,98,93,135,33,7,137,155,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64453a196fa11a74ff9f27e3c5715a4.jpg",[104],"e1dcd0",{"id":13904,"slug":13905,"title":13906,"dynasty":18,"author":89,"museum":90,"description":13907,"tags":13908,"thumbUrl":13909,"material":223,"size":223,"collection":104,"collections":13910,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":12627},201414,"xi-shan-ji-you-tu-juan-shen-zhou-201414","西山纪游图卷","此卷以水墨绘就，山峦起伏层叠，笔墨苍劲浑厚，尽显吴门画派文人山水的雅致。峰峦用披麻皴皴染结合，山石纹理毕现；林木以浓淡墨点染，枝繁叶茂间生机流动。山间亭台隐约，小桥跨溪，流水蜿蜒，孤舟泊岸，景致清幽淡远，似将西山游历之趣凝于尺幅。笔墨随景变幻，重墨点苔增韵，轻笔写水传情，虚实相生中，寄寓画家寄情山水的闲适心境与对自然的深切眷恋。",[116,24,63,25,93,94,98,96,7,32,95,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc80221d1ed6e43fc1ca88026028b0e45.jpg",[104],{"id":13912,"slug":13913,"title":13914,"dynasty":58,"author":1553,"museum":360,"description":13915,"tags":13916,"thumbUrl":13917,"material":494,"size":495,"collection":223,"collections":13918,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},290763,"zhi-shan-shui-zhou-yi-ming-290763","织山水轴","此作以织纹晕染湖山，远景高峰崔嵬，浅绛轻敷石色，留白作云气萦回于峰峦洲渚间，澹宕空蒙，咫尺见千里之遥。\n\n近景崖岸盘曲，古木虬枝探向湖面，崖畔草亭幽寂，隐者凭栏观水，滩头扁舟系泊，板桥横卧浅波。\n织造肌理让山石林木自带温润质感，设色清雅柔丽，将林泉高致的隐逸意趣融在静穆烟景里，尽显幽淡从容的林下风流。",[116,24,63,135,27,94,96,95,7,32,136,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf284ed8a5638a85cbbd824d7272bc5.jpg",[],{"id":13920,"slug":13921,"title":13922,"dynasty":246,"author":13923,"museum":360,"description":13924,"tags":13925,"thumbUrl":13926,"material":494,"size":495,"collection":223,"collections":13927,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},290578,"song-mei-qing-yun-tu-zhou-zhang-peng-chong-290578","松梅清韵图轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,116,63,135,94,206,1606,7,97,27,98,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f332a306f0042f842c1e355679df5e1.jpg",[],{"id":13929,"slug":13930,"title":13931,"dynasty":246,"author":13932,"museum":360,"description":13933,"tags":13934,"thumbUrl":13935,"material":494,"size":495,"collection":223,"collections":13936,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},290205,"xi-qiao-tu-tao-yuan-tu-cheng-shan-qian-wei-qiao-290205","溪桥图、桃源图成扇","钱维乔","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。",[1829,24,63,27,94,7,32,33,119,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef567c317f4d6bcbc538b6b969bc701.jpg",[],{"id":13938,"slug":13939,"title":13940,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":13941,"thumbUrl":13942,"material":494,"size":495,"collection":223,"collections":13943,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},288282,"fang-zhao-ling-rang-chun-shan-cui-ai-tu-dong-bang-da-288282","仿赵令穰春山翠霭图",[24,116,63,135,27,94,29,7,32,95,31,119,33,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0b89e65691ba05617b730761be09fa.jpg",[],{"id":13945,"slug":13946,"title":13947,"dynasty":246,"author":5188,"museum":360,"description":5518,"tags":13948,"thumbUrl":13949,"material":494,"size":495,"collection":223,"collections":13950,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},288031,"shan-shui-tu-qiu-shan-xuan-pu-yong-rong-288031","山水图(秋山悬瀑)",[116,24,63,135,27,93,94,152,7,32,31,33,97,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81d9205c807acc12b3681924f7f2bcf.jpg",[],{"id":13952,"slug":13953,"title":13954,"dynasty":18,"author":2122,"museum":360,"description":8813,"tags":13955,"thumbUrl":13957,"material":494,"size":495,"collection":223,"collections":13958,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},288017,"zhu-yuan-feng-seng-tu-wen-jia-288017","竹院逢僧图",[23,1829,24,63,94,564,96,414,97,7,13956,27],"僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f7ea4709b9ab5e7b53c43d75a7ab9c3.jpg",[],{"id":13960,"slug":13961,"title":13962,"dynasty":18,"author":1246,"museum":360,"description":13963,"tags":13964,"thumbUrl":13967,"material":494,"size":495,"collection":223,"collections":13968,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},287780,"gu-bai-wen-dao-tu-li-zhou-chen-huan-287780","古柏问道图立轴","陈焕（公元16-17世纪初），字子文，号尧峰，尧峰山人，吴县（今江苏苏州）人，陈镒后裔。\n陈焕寄情翰墨，工画山水，取法沈周并得宋元气脉，私淑侯懋功，候早卒，焕能继其业。所画山水用笔苍秀茂密，动合法度，展对间清思扑人眉睫，以画著称于万历间。\n陈焕事迹见《吴县志》、《画史会要》、《画引》、《图绘宝鉴续纂》。",[24,135,331,93,27,98,97,152,31,7,30,13965,414,10522,13966],"古柏","问道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5668619c7cfc3dff684859ec488e3.jpg",[],{"id":13970,"slug":13971,"title":13972,"dynasty":246,"author":5870,"museum":360,"description":13973,"tags":13974,"thumbUrl":13975,"material":223,"size":223,"collection":223,"collections":13976,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},239204,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239204","三大名山十二图册","此作以干笔淡墨写就溪山幽居，层岩叠岫以披麻皴出质，苍松石上扎根、崖边错落。山溪蜿蜒，板桥卧波引渡，村居隐于林麓烟霭间，一派清冷出尘的野逸之境。\n\n笔墨萧疏简淡，不事浓丽雕琢，枯淡勾勒间藏着沉郁清刚的骨力，将林泉之志寄寓丘壑。题字与绘景相融，以画托意，在静穆淡远的林下风致里，藏着遗世独立的襟怀，简淡中见苍茫，平淡里寄深情。",[24,93,234,99,118,98,94,7,32,97,33,75,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64ccfa451445c9655d321ed12af4da0.jpg",[],{"id":13978,"slug":13979,"title":10744,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":13980,"thumbUrl":13981,"material":223,"size":223,"collection":223,"collections":13982,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},238817,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238817",[24,63,234,27,26,98,94,136,336,7,30,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f3e5fb8262386be620539be12f76fb.jpg",[],{"id":13984,"slug":13985,"title":13986,"dynasty":246,"author":4810,"museum":360,"description":13987,"tags":13988,"thumbUrl":13989,"material":223,"size":223,"collection":223,"collections":13990,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},238775,"shan-shui-ren-wu-xiao-ce-dong-gao-238775","山水人物小册","此作以淡设色绘就林泉雅集之景，右半山峦清润苍秀，葱郁林木掩映幽居草堂，笔墨秀雅晕染出温润的山水意态。左畔溪岸蜿蜒逶迤，一众文人或围坐清谈、或临流闲憩，衣袂翩然间尽显林下风流。\n\n全画构图虚实相宜，以细腻秀逸的线条勾勒人物情态，淡赭花青晕染山水，设色雅致清和。将文人雅集的幽闲意趣，融于萧散淡远的林泉景致之中，既得传统文人画简淡空灵的意境，又以精妙细节描摹出文人群聚时从容恬和的情致，尽显林泉高致的文人雅怀。",[24,63,234,26,27,98,94,30,33,7,32,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc124dfd2ea1bb740823e080e69e78ebd.jpg",[],{"id":13992,"slug":13993,"title":4317,"dynasty":246,"author":4318,"museum":360,"description":13994,"tags":13995,"thumbUrl":13996,"material":223,"size":223,"collection":223,"collections":13997,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},238226,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238226","此作取山林晓景，近岸怪石错落，古寺藏于深林，溪桥引渡山径，远峰隐在烟岚轻雾间。笔墨清润苍秀，皴擦兼具苍劲秀雅意韵，布景疏密相宜，将空山晓钟的幽寂禅意晕染开来。\n\n淡墨设色晕出空濛澄澈的湖光山色，静穆恬和的意境藏在湖山深处。左侧题诗与画境相契，诗书画合为一体，尽显文人雅趣，将山寺清晨的清寂出尘融在山水间，尽显仿古山水的清丽韵致。",[24,63,93,98,29,94,31,7,32,95,96,33,97,155,4648,1129,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F457231bba39a2a53c514ce0d5484f458.jpg",[],{"id":13999,"slug":14000,"title":2158,"dynasty":246,"author":14001,"museum":360,"description":14002,"tags":14003,"thumbUrl":14004,"material":223,"size":223,"collection":104,"collections":14005,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},238176,"shan-shui-ce-song-jun-ye-238176","宋骏业","字声求，号坚甫，江苏常熟人，一作江苏苏州人。累官至兵部右侍郎。善书画，笃好山水，因聘王翚于家而画学大进。",[24,63,116,234,27,98,99,100,94,439,616,7,32,75,250,363,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24387526728024399cb9afeca90edaa9.jpg",[104,51],{"id":14007,"slug":14008,"title":14009,"dynasty":246,"author":14010,"museum":360,"description":14011,"tags":14012,"thumbUrl":14013,"material":494,"size":495,"collection":223,"collections":14014,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},238105,"feng-chen-xia-lv-cheng-shan-xu-cao-238105","风尘侠侣成扇","徐操","此作以扇面为卷，铺展山林秋景。层岩间丹枫灼艳、青松苍劲，清润山色晕染出幽旷秋意。桥畔二人衣袂翩跹，执手晤面，眉眼间尽是久别相逢的温软。山道策驴来客缓行，似赴知己邀约。\n\n人物刻画灵动传神，山石皴朴拙凝练，林木疏密得宜，将山野清趣与侠士柔情相融。浅淡设色晕染出雅致氛围，咫尺方寸间，把江湖侠侣世外相逢的悠然温情尽显，笔意秀逸绵长，尽显传统仕侠题材的隽逸风骨。",[24,63,1829,27,26,30,94,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5281ad2b4c9b2933034ddf3a5c139f30.jpg",[],{"id":14016,"slug":14017,"title":14018,"dynasty":18,"author":14019,"museum":360,"description":14020,"tags":14021,"thumbUrl":14023,"material":494,"size":495,"collection":223,"collections":14024,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},237968,"tao-liu-shan-zhuang-shan-yao-yun-zai-237968","桃柳山庄扇","姚允在","姚允在，字简叔，会稽（今浙江绍兴）人。善山水，学荆、关，﹝荆浩、关仝﹞笔墨道劲，﹝应系笔墨遒劲之讹﹞思致不凡。",[24,63,1829,93,27,98,94,119,281,14022,97,33,121,7,32],"山庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4088d43113d6ceb201e20e9c80750ed.jpg",[],{"id":14026,"slug":14027,"title":14028,"dynasty":18,"author":1553,"museum":360,"description":14029,"tags":14030,"thumbUrl":14031,"material":494,"size":495,"collection":223,"collections":14032,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},237820,"zhang-hong-xing-lv-tu-shan-yi-ming-237820","张宏行旅图扇","此作用笔苍润，以披麻皴写山石肌理，山峦层叠错落，将秋山萧疏之景铺陈于方寸扇面。山道间策蹇行旅徐行，衬以蓊郁林木，远近层次分明，咫尺之间尽显千里山水格局，烘托出幽寂澹远的行旅况味。\n笔墨兼得元人山水的秀逸与实景写生的朴拙，搭配左侧题跋诗画相映相合，尽显师法自然的文人山水意趣，将林泉幽居的山野雅韵融于尺幅之间，是颇具代表性的山水佳制。",[24,63,1829,93,98,94,7,97,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa295f0410ce128268edd3fe4dcc807f6.jpg",[],{"id":14034,"slug":14035,"title":14036,"dynasty":246,"author":14037,"museum":360,"description":14038,"tags":14039,"thumbUrl":14040,"material":223,"size":223,"collection":223,"collections":14041,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},237731,"wu-sheng-shi-yi-tu-ce-huang-yi-237731","无声诗意图册","黄易","此作用淡墨轻晕寒滩，枯柳虬枝错落排布，以浅淡笔墨勾勒出萧索荒寒的江岸冬色。空阔水面之上，仅以数笔极简线条点染孤舟行人，大片留白尽显江渚清寂空疏。\n右侧题诗与画境相映，将衰草寒林、闲鸥独立的诗意尽数铺展，笔墨简淡却意韵悠长。整幅画作以简驭繁，淡色浅墨晕染出清冷孤高的氛围感，将冬日水岸的寂寥之意蕴于留白浅绘间，尽显以诗入画、以画载情的文人雅致，淡而不寡，简中藏深，悠悠古意漫溢纸面。",[24,63,234,93,27,94,7,414,71,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c6f89955ac67d99ad880e3650d3f97.jpg",[],{"id":14043,"slug":14044,"title":13204,"dynasty":246,"author":13205,"museum":360,"description":14045,"tags":14046,"thumbUrl":14047,"material":237,"size":223,"collection":223,"collections":14048,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},237068,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237068","水墨浅绘林亭水畔，双松苍劲卓立，草屋幽藏于林下，浅滩汀洲横陈远浦，留白铺就空寂萧散的淡远意境。笔致清瘦秀雅，以极简笔墨勾勒出幽居林下的闲澹之景，暗合题诗中的隐逸意趣。诗书合璧，墨色朴淡松秀，不见浓丽敷色，尽以线条晕染出林下观览的清寂闲情，将简逸风骨藏于尺幅之间，淡墨之中自有悠长余韵，尽显清雅绝尘的林下雅兴。",[24,63,234,93,516,94,206,96,7,336,439,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e103788a96e8976d06a0220665940d.jpg",[],{"id":14050,"slug":14051,"title":14052,"dynasty":18,"author":14053,"museum":60,"description":14054,"tags":14055,"thumbUrl":14056,"material":237,"size":223,"collection":223,"collections":14057,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},237010,"xi-zhu-ce-zhu-ying-237010","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “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）。",[24,63,234,93,94,564,439,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1b34f36d3d366d7b85519eef1bbba0.jpg",[],{"id":14059,"slug":14060,"title":14061,"dynasty":18,"author":1553,"museum":360,"description":14062,"tags":14063,"thumbUrl":14064,"material":494,"size":495,"collection":223,"collections":14065,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},236685,"shen-shi-shan-shui-shan-yi-ming-236685","沈仕山水扇","此作用泥金笺为底，以浅绛设色绘就林泉山居。近岸枯木虬枝、杂卉错落，中景山峦逶迤，松杉掩映间藏有村舍山居，远景云气轻笼峰巅，留白虚实相生，铺展出深远山水格局。笔墨秀润清逸，皴笔简括勾勒山石肌理，淡赭晕染铺就秋意，将幽寂散淡的文人意趣融于尺幅之间，把江南林泉的清寂悠然，收束于盈尺扇面之中，观之可品林泉高致，静悟山居闲雅之趣。",[24,63,1829,27,98,94,33,75,7,32,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb795d7931b95a82c97135d2c8d68e.jpg",[],{"id":14067,"slug":14068,"title":14069,"dynasty":246,"author":1553,"museum":360,"description":14070,"tags":14071,"thumbUrl":14072,"material":223,"size":223,"collection":223,"collections":14073,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},236072,"yun-xi-yu-zhuang-shan-she-tu-zhou-yi-ming-236072","允禧渔庄山舍图轴","此作全景式铺展山林丘壑，青绿设色温润雅致，晕染出古雅氛围感。层叠山峦以细腻皴法勾勒筋骨，苔点错落尽显草木丰茂，留白云气缠绕峰腰，将山势衬得愈发空灵悠远。\n\n溪泉穿谷绕村，山舍渔庄错落隐于林麓水畔，屋舍俨然、林木扶苏，将幽居野逸的闲情融于山水间。画作笔法秀润兼具，既得山川浑厚之态，又铺陈出文人梦寐的林泉高致，静穆中带着鲜活生机，尽显传统山水里寄情林泉的雅趣。",[24,27,94,98,135,191,33,32,7,75,95,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba433d5ff3e91f793fb3c6d7c42d71b.jpg",[],{"id":14075,"slug":14076,"title":14077,"dynasty":246,"author":14078,"museum":360,"description":14079,"tags":14080,"thumbUrl":14081,"material":223,"size":223,"collection":223,"collections":14082,"showCount":260,"zanCount":536,"manualWeight":11,"mainColor":108},235924,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235924","湖山梵刹图册","潘恭寿","此作用浅设色晕染山峦，清润秀雅的青赭色调晕出柔婉的山势，烟岚轻笼，尽显江南丘壑的温润空灵。山寺藏于松壑之间，屋舍错落隐于虬松茂林之中，松枝苍劲盘曲，古意盎然。下层溪谷山居伴溪桥流水，林木葱茏静谧。\n\n诗画相衬，笔墨秀逸明净，将禅意融于湖山烟岚里，勾勒出萧散出尘的梵刹胜境，观之如临清净佛国，足以涤荡俗虑，尽显清寂雅致的世外意趣。",[24,63,116,234,27,98,94,31,7,32,136,492,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e938a92c09b488d00a732c47d06f0ca.jpg",[],{"id":14084,"slug":14085,"title":2158,"dynasty":18,"author":6882,"museum":360,"description":14086,"tags":14087,"thumbUrl":14088,"material":223,"size":223,"collection":223,"collections":14089,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235823,"shan-shui-ce-li-liu-fang-235823","此作以枯淡松灵之笔绘秋山幽居，孤峰挺立于淡墨岚气之中，疏林苍劲带秋意，村居错落隐于岩壑林间，不见喧嚣，尽是萧散闲寂。笔墨秀润简雅，不作浓丽设色，以水墨晕染出远山空濛，淡墨枯枝尽显秋韵清寒。\n左侧题诗书意清雅，与画作相映成趣，将幽栖林泉的高逸情志融于尺幅之间，尽显静穆淡远的文人雅趣，把晚明文人疏朗淡逸的精神风骨藏于山水丘壑之中。",[24,63,234,93,27,98,94,1587,33,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0307ac5dedc1a3a065d5342083a3cbb.jpg",[],{"id":14091,"slug":14092,"title":14093,"dynasty":246,"author":1553,"museum":360,"description":14094,"tags":14095,"thumbUrl":14096,"material":494,"size":495,"collection":223,"collections":14097,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[24,63,1829,93,98,100,118,94,439,962,7,32,121,96,95,30,136,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":14099,"slug":14100,"title":14101,"dynasty":18,"author":4432,"museum":360,"description":8318,"tags":14102,"thumbUrl":14103,"material":494,"size":495,"collection":223,"collections":14104,"showCount":260,"zanCount":536,"manualWeight":11,"mainColor":108},235689,"shan-shui-hua-hui-ce-xiang-sheng-mo-235689","山水花卉册",[116,24,63,234,93,98,94,7,32,33,97,75,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ce76f18a440db12e15e7aac8a905f.jpg",[],{"id":14106,"slug":14107,"title":7049,"dynasty":18,"author":12170,"museum":360,"description":14108,"tags":14109,"thumbUrl":14110,"material":494,"size":495,"collection":223,"collections":14111,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235632,"fang-gu-shan-shui-ce-shen-hao-235632","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,63,234,93,27,98,29,94,336,33,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa698f25ebf99871d4d9aff675b534aa9.jpg",[],{"id":14113,"slug":14114,"title":7049,"dynasty":18,"author":12170,"museum":360,"description":14115,"tags":14116,"thumbUrl":14117,"material":223,"size":223,"collection":223,"collections":14118,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235626,"fang-gu-shan-shui-ce-shen-hao-235626","此作以淡墨晕染山峦，皴擦相济刻画出山石嶙峋肌理，近坡石错落横生，浅波隐现溪石，蜿蜒栈道串联谷中村居与山巅古寺，远景峰峦淡化为浅灰虚影，虚实相生晕染出悠远空寂的山林意境。\n\n右上题字朱印雅致点缀，文人气韵悠然暗合仿古意趣。笔墨简淡松灵，不刻意雕琢却尽得山水真趣，将林泉幽居的静穆逸致融于尺幅之中，尽显文人画尚意抒情的特质，是师法古人又自出机杼的小品佳制。",[116,24,63,234,93,27,98,29,94,336,32,136,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F211c9dc6b8ace33b6a81cfb116839d6b.jpg",[],{"id":14120,"slug":14121,"title":14122,"dynasty":246,"author":1553,"museum":360,"description":14123,"tags":14124,"thumbUrl":14125,"material":223,"size":223,"collection":223,"collections":14126,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235545,"gao-xiang-shan-shui-tu-zhou-yi-ming-235545","高翔山水图轴","此作用笔秀逸松灵，以水墨晕染出江南山川的氤氲淡远。近岸虬松斜出，坡石错落；中景溪塘如镜，幽居藏于林麓，扁舟泛波，暗合幽人乘兴之趣；远山层峦叠嶂，枯笔皴擦写尽山石肌理，淡墨晕染衬出岚气浮动。左上角题诗添就文人情致，整幅构图疏密相宜，干湿浓淡相生，将林泉幽寂之景尽藏尺幅，萧散清和的笔墨间，寄寓着寄迹丘山、超然尘外的隐逸襟怀，尽显文人山水的静雅意趣。",[24,63,135,93,98,94,7,32,95,33,97,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9d45655fb7d98595579441514f4e6e.jpg",[],{"id":14128,"slug":14129,"title":8699,"dynasty":18,"author":14130,"museum":360,"description":14131,"tags":14132,"thumbUrl":14133,"material":494,"size":495,"collection":223,"collections":14134,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235460,"shan-shui-tu-ce-pan-zheng-235460","潘徵","潘徵 彦宗,又字子述",[24,93,234,98,94,336,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb13a97cbcea40f048ede3e3e78f3a6.jpg",[],{"id":14136,"slug":14137,"title":2158,"dynasty":18,"author":12170,"museum":360,"description":14108,"tags":14138,"thumbUrl":14139,"material":494,"size":495,"collection":223,"collections":14140,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235287,"shan-shui-ce-shen-hao-235287",[24,63,234,93,27,98,94,293,97,7,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5b4c2ba5269132e1e213af128e581c.jpg",[],{"id":14142,"slug":14143,"title":2158,"dynasty":246,"author":9204,"museum":360,"description":14144,"tags":14145,"thumbUrl":14146,"material":223,"size":223,"collection":223,"collections":14147,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235175,"shan-shui-ce-ye-xin-235175","此作画境清逸淡远，以秀挺笔触勾勒危崖叠嶂，皴擦简净清疏，淡晕山石肌理，尽显山峦空阔之姿。左侧苍松半掩山居，丹色霜叶点染秋韵，右侧木桥引渡，红衣行人缓步，为冷寂山境晕开暖意。远山佛塔隐现峰巅，暗合禅意。\n\n全幅设色简淡明净，留白衬出丘林空寂，将幽居静穆与山野生机相融，笔法温婉秀雅，以淡墨轻色晕染出江南山水的秀润空灵，简淡间漫溢出悠远的山居诗意，尽显淡逸雅致的山水意趣。",[24,63,234,93,27,98,94,96,7,30,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c352f4a9005fb53019459306174bf3.jpg",[],{"id":14149,"slug":14150,"title":2158,"dynasty":18,"author":6882,"museum":360,"description":14151,"tags":14152,"thumbUrl":14153,"material":223,"size":223,"collection":223,"collections":14154,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},235151,"shan-shui-ce-li-liu-fang-235151","此作以淡墨渴笔写山林幽境，危壁飞瀑从云崖间倾泻而下，苍松扎根峭岩，枯木虬枝斜探出画面，野意横生。\n桥上幽人凭栏静立，观瀑听涛，身影安闲自在，将飞瀑之动与观者之静相映成趣。墨色干湿互用，山石以侧锋皴擦，留白烘托出空寂萧疏的林下意境。笔意松灵兼具筋骨，简淡中藏沉厚，尽得元人山水遗韵又自具风神，把文人寄情丘壑、静悟山水的幽怀藏于尺幅间，是小品山水里的绝佳妙制。",[116,24,63,234,93,98,332,94,7,32,152,33,30,97,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddf9e8578717e69fdd14861a45946dc.jpg",[],{"id":14156,"slug":14157,"title":14158,"dynasty":246,"author":3913,"museum":360,"description":14159,"tags":14160,"thumbUrl":14161,"material":223,"size":223,"collection":104,"collections":14162,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235068,"zhu-jia-shan-shui-ce-ye-lou-ge-ce-ye-li-yin-235068","诸家山水册页-楼阁册页","以淡墨晕开氤氲底色，晕染出江南春晨烟霭朦胧的氛围感。近岸屋舍错落排布，木桥横卧水面，几叶渔舟轻泛波上，岸旁柳丝垂曳如烟似雾，将春日柔婉尽数铺展。山腰村居隐于林霭之间，远山楼阁凭崖矗立，虚实相生层层递进，铺排出悠远开阔的空间层次。\n笔墨清浅秀逸，不着浓丽色彩，全以水墨干湿浓淡烘托烟柳空濛之境，将江南水乡的温婉雅致融于尺幅，把郊野春闲的诗意定格纸面，尽显静穆淡远的文人意趣。",[24,234,93,28,94,98,31,7,32,95,33,75,35,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc870a0a569573b8ca55a3195d0141971.jpg",[104],{"id":14164,"slug":14165,"title":14166,"dynasty":246,"author":2578,"museum":360,"description":14167,"tags":14168,"thumbUrl":14169,"material":494,"size":495,"collection":223,"collections":14170,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235065,"za-hua-ce-hua-yan-235065","杂画册","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,63,234,93,98,94,97,33,7,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddc61717f7979a03a5b1e59c012100c2.jpg",[],{"id":14172,"slug":14173,"title":2158,"dynasty":246,"author":1786,"museum":60,"description":6232,"tags":14174,"thumbUrl":14175,"material":532,"size":6235,"collection":223,"collections":14176,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},235022,"shan-shui-ce-wu-li-235022",[24,93,27,234,94,7,32,33,97,250,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67761f561ff831118fff9cac861234b3.jpg",[],{"id":14178,"slug":14179,"title":14180,"dynasty":246,"author":4158,"museum":360,"description":14181,"tags":14182,"thumbUrl":14183,"material":494,"size":495,"collection":223,"collections":14184,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},234945,"yue-man-qing-you-ce-chen-mei-234945","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[116,24,63,234,27,26,30,744,33,7,32,336,100,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a79bb60951349b844904bd5a72956c6.jpg",[],{"id":14186,"slug":14187,"title":12402,"dynasty":246,"author":1309,"museum":360,"description":12403,"tags":14188,"thumbUrl":14189,"material":237,"size":12406,"collection":223,"collections":14190,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},234889,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234889",[24,63,234,27,94,29,100,118,98,1445,33,32,7,121,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a787b044c23fe3b27d88960491f37b.jpg",[],{"id":14192,"slug":14193,"title":14194,"dynasty":246,"author":14195,"museum":360,"description":14196,"tags":14197,"thumbUrl":14198,"material":223,"size":223,"collection":223,"collections":14199,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},234823,"yu-shan-zhu-xian-he-bi-ce-yun-he-xian-ju-tu-ce-ye-cai-yuan-234823","虞山诸贤合璧册-云壑仙居图册页","蔡远","虞山派又称“虞山山水画派”简称“虞山派”。为“云间画派”两大支流之一。“虞山派”包括“虞山画派”、“虞山诗派”、“虞山印派”、“虞山琴派”、“虞山派藏书楼”、“虞山派红木雕刻”、“虞山派微雕”和“虞山书法派”等等。一首《“虞山派”歌》曰：“虞山藏书读书乐，铁琴唻铜剑臫頭第一楼條；虞山画派王翬创，画祖还有黄公望；虞山琴派严天池，古琴艺术传万世；虞山印派林鹤田，篆刻刀法气宇轩；虞山诗派钱牧斋，绛云书楼胸中载；虞山书法不成派，草圣张旭醉唐代”。",[24,63,93,94,234,98,7,32,191,155,33,96,118,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a07f03dda9cd3e7eb54f8891eca37b.jpg",[],{"id":14201,"slug":14202,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":12813,"tags":14203,"thumbUrl":14204,"material":223,"size":223,"collection":223,"collections":14205,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},234643,"shan-shui-ce-cha-shi-biao-234643",[24,63,234,100,27,94,7,32,136,121,743,95,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F910d489193199787947dbcb7c725e005.jpg",[],{"id":14207,"slug":14208,"title":14209,"dynasty":246,"author":14210,"museum":60,"description":14211,"tags":14212,"thumbUrl":14213,"material":257,"size":223,"collection":223,"collections":14214,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},234311,"sun-shan-shui-ce-wang-ji-234311","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[24,63,234,93,94,136,7,30,336,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e749d71188004706e7a09094515a226.jpg",[],{"id":14216,"slug":14217,"title":14218,"dynasty":246,"author":1441,"museum":60,"description":5770,"tags":14219,"thumbUrl":14220,"material":678,"size":223,"collection":223,"collections":14221,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},234291,"ni-qian-ren-shi-yi-ce-wang-hui-234291","拟前人诗意册",[116,24,63,234,93,98,94,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8eb828c42482c449e4eba12f66b9271.jpg",[],{"id":14223,"slug":14224,"title":14225,"dynasty":1933,"author":1553,"museum":360,"description":14226,"tags":14227,"thumbUrl":14230,"material":494,"size":495,"collection":223,"collections":14231,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,25,27,26,30,14228,14229,31,7,3073,3608,293,71,1810,38,94,99,6216,427,426,33],"武士","贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":14233,"slug":14234,"title":14235,"dynasty":1933,"author":6891,"museum":360,"description":14236,"tags":14237,"thumbUrl":14239,"material":223,"size":223,"collection":223,"collections":14240,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},231672,"lu-ao-qi-sheng-tu-juan-chi-da-ya-231672","陆奥奇胜图卷","此作用淡墨晕染铺陈平远山水，汀渚山峦随卷舒展，留白托出氤氲水汽，空濛幽寂。点染的林木村居朴拙灵动，将胜景的清旷雅致尽数铺展。\n卷中配行书题跋，笔墨萧散率性，纪游文辞与山水意境相融相生，尽显文人雅趣。整卷以极简水墨，晕开东方山水的禅意侘寂，把漫游揽胜的闲情藏在尺幅长卷里，淡远空灵，是诗书画一体的文人佳构。",[23,14238,1054,93,27,25,98,99,118,94,529,530,95,121,96,33,31,155,7],"南画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f2e4305253da5ba56be20454445e88.jpg",[],{"id":14242,"slug":14243,"title":14244,"dynasty":1933,"author":12433,"museum":360,"description":12434,"tags":14245,"thumbUrl":14246,"material":494,"size":495,"collection":223,"collections":14247,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},231628,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-zhong-tu-zuo-guang-xin-231628","室町时代 清水寺缘起画卷(中)",[27,26,25,28,99,1665,30,31,7,32,33,39,66,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":14249,"slug":14250,"title":14251,"dynasty":1933,"author":14252,"museum":360,"description":14253,"tags":14254,"thumbUrl":14255,"material":494,"size":495,"collection":223,"collections":14256,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},231622,"shi-ting-shi-dai-zu-shi-da-man-song-da-zhi-tu-zhou-shou-ye-yuan-xin-231622","室町时代 祖师大满送大智图轴","狩野元信","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,63,135,93,27,94,30,95,7,32,33,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2410f5a3214a93e64d7edcf5771d2a8b.jpg",[],{"id":14258,"slug":14259,"title":14260,"dynasty":246,"author":1553,"museum":360,"description":14261,"tags":14262,"thumbUrl":14265,"material":494,"size":495,"collection":223,"collections":14266,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},230338,"bai-miao-tu-miao-man-tu-shuo-wu-yi-ming-230338","百苗图苗蛮图说（五)","柳丝轻曳、桃枝泛红，将春日柔色晕染在茅舍小院旁。画里的苗家日常鲜活又温热：挎篮的妇人正将汤水递予怀抱着幼童的丈夫，小女儿拽着父亲衣袍娇憨讨要关注，老翁倚在门扉含笑，看稚童攥着短笛信口吹奏。\n\n淡彩细笔勾勒出屋舍篱栅的朴拙，线条柔和地晕开烟火暖意，没有浓艳着色与繁复技法，只将边陲村寨的天伦之趣静静铺展。山野乡居松弛的日常瞬间被定格，把苗家质朴鲜活的烟火温情永远留存，满是平实动人的乡野诗意。",[24,63,27,26,234,30,75,281,119,7,642,14263,14264,33],"老者","栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf044c3bfaf9ae0247bb3d2c75c34de2.jpg",[],{"id":14268,"slug":14269,"title":14270,"dynasty":246,"author":14271,"museum":360,"description":14272,"tags":14273,"thumbUrl":14274,"material":223,"size":223,"collection":223,"collections":14275,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},228974,"si-ji-shan-shui-ping-ming-jian-228974","四季山水屏","明俭","此作用浅绛写就冬山雪景，以大面积留白与淡墨晕染表现峰峦积雪，浓墨勾勒崖壁轮廓，将冰雪覆山的清寒孤高尽显无余。\n\n枯松劲柏层叠错落，枝桠利落苍郁，暗写雪压枝头的沉凝质感。山坳间古寺浮屠隐于林木中，朱红屋舍素白雪景相映，冷寂里晕开一抹烟火暖意。溪谷浅滩以白代雪，水坝板桥藏于雪色间，于静谧中暗涌生机。\n\n整画仿戴进雪岭笔意，兼得浙派山水刚劲构图，又融入禅意冲淡萧散的气韵，将冬日空山的冷寂与古刹温煦相融，尽显雪后山林清旷安闲之境，笔墨清雅意趣悠长。",[23,24,63,135,93,27,94,31,33,97,235,1470,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec019cf1cea1eb3808798ea50b60410.jpg",[],{"id":14277,"slug":14278,"title":14279,"dynasty":18,"author":2557,"museum":360,"description":14280,"tags":14281,"thumbUrl":14282,"material":223,"size":223,"collection":223,"collections":14283,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","赤壁胜游图","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[23,116,24,63,25,100,99,93,27,94,95,33,32,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":14285,"slug":14286,"title":14287,"dynasty":58,"author":1553,"museum":360,"description":14288,"tags":14289,"thumbUrl":14290,"material":223,"size":223,"collection":223,"collections":14291,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},227857,"gui-mu-tu-yi-ming-227857","归牧图","柔柳垂丝轻拂溪岸，将暮春的慵懒揉入淡墨晕染的郊野暮色里。右侧石畔春树缀着初绽的碎花，清润雅致。\n\n溪间小径上，牧童斜卧牛背，抬手逗弄枝梢，自在憨顽的神态跃然绢上。水牛缓步徐行，憨态温驯，带着收工后的松弛安然。\n\n整幅笔墨简括灵动，留白悠远清寂，将日暮归牧的闲散诗意铺陈开来。寥寥数笔便定格乡野间悠然自适的日常，把田园隐逸的恬淡安闲揉进空濛画境里，尽显小品画的隽永意趣。",[116,24,63,26,27,94,30,66,676,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa148c2528ceed5d7922fc200a9a4438.jpg",[],{"id":14293,"slug":14294,"title":14295,"dynasty":246,"author":1309,"museum":360,"description":14296,"tags":14297,"thumbUrl":14299,"material":223,"size":223,"collection":223,"collections":14300,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":54},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 论画十则 麓台题画稿 沈楙德跋 题丹思画册仿叔明 仿黄子久笔 题仿大痴巨幅 烟峦秋爽仿荆关 仿梅道人笔 仿小米笔 仿黄子久 题仿大痴笔（一） 仿大痴秋山 仿大痴（一） 仿黄大痴长卷 仿大痴（二） 仿梅道人 仿大痴（三） 仿大痴《九峰雪霁》 仿大痴（四） 仿设色大痴 仿设色倪黄 题仿大痴笔（二） 送励南湖画册十幅仿宋元诸大家 题仿万壑松风丹思三十幅之一 题仿范华原三十幅之一 画设色高房山三十幅之一 仿松雪、大年笔意 题画仿王叔明长卷 题仿大痴手卷 题仿淡墨云林 题仿梅道人长卷 题学思翁仿子久法 题仿赵大年推篷四页之一 题仿董巨笔 题仿小米笔 仿大痴设色秋山 题仿梅道人 仿设色小米 仿大痴秋山 仿梅道人 仿大痴水墨长卷 画家总论题画呈八叔 仿设色大痴长卷 仿王叔明 题仿大痴没色秋山 为凯功掌宪写元季四家 仿黄子久设色 仿设色大痴秋山 仿大痴笔为轮美作 又仿大痴设色 仿设色倪黄 大横披仿设色大痴 拟设色云林小幅 仿倪黄设色小卷 仿黄鹤山樵巨幅山水 题仿董北苑 外三则 题跋广录 仿大痴笔 溪山高隐图卷 西窗消永图 为在陆策懒 仿大痴富春图 仿古山水卷 仿古山水册（一） 仿黄公望山水 仿大痴山水（一） 华山秋色图 会心大痴 仿倪瓒山水 山水（一） 为明吉作山水 仿黄鹤山樵《秋山读书图》 仿倪黄笔意 仿大痴山水（二） 意止斋图卷 沧浪亭诗意 仿黄大痴《秋山图》 仿王蒙《溪山仙馆图》 仿梅道人山水 富春山图 写大痴得力荆关 仿赵孟頫山水 仿古脱古图 夏山图 补云林《遂幽轩图》 仿王蒙山水 湖湘山水 仿倪瓒笔意 仿高尚《书云山图》 杜老诗意 四绝山水 溪山林屋图 万壑千崖卷 仿宋元六家卷 清泉白石图 仿倪黄山水 舟次所作 仿曹云西山水 倪黄笔意图 用高尚书法写少陵诗意 仿黄公望山水 仿元季六大家推篷册 仿大痴富春山笔意卷 山水为石谷 仿倪黄山水 胜弈图 仿大痴山水卷 竹溪渔浦松岭云岩卷 山水（二） 没色山水 仿山樵山水 山水（三） 仿古山水 仿倪瓒山水 仿董巨山水 仿古臣册 仿王蒙山水 为杨晋画山水 仿方方壶 仿梅道人《秋山图》 设色山水 仿大痴画法 仿王蒙山水 仿黄公望山水 仿大痴（五） 仿董巨山水 仿高克恭山水 仿山樵林泉清集丹台春晓二图意 仿黄公望笔意 仿黄公望《秋山图》 仿赵大年江南春参松雪笔意 西岭烟云卷 仿王蒙笔意 为拱辰作山水 仿米家云山 仿倪画笔意 仿惠崇江南春 仿倪黄山水 秋山图 仿大痴山水（三） 春山图 江山无尽图 山村雨景 仿黄公望《富春山色图》 仿黄公望山水 学董巨神完气足 仿诸家山水 赠王忍庵横幅二 仿云林山水 仿王蒙笔意 苍岩翠壁图 仿大痴《秋山图》 秋林叠巘图 红香夹岸图 仿黄公望《富春山居图》 仿大痴兼赵大年江南春意 远山叠嶂图 仿倪黄山水 九日适成卷 仿古 山水（四） 山水（五） 仿倪瓒山水 粤东山水 仿云林山水 夏山水阁图 高岭平川图 仿大痴山水（四） 为位凝作山水 云山罨画图卷 水墨山水 山水（六） 仿大痴山水（五） 仿黄公望笔意 山水（七） 仿大痴山水（六） 设色山水 危峰独秀图 大痴小幅 陡壁磐石图 远岫归云图 仿倪高士《滩声嘈嘈杂雨声图》 跋文徵明《石湖清胜图卷》 仿古山水册（二） 仿云林山水 附录",[23,24,63,135,27,98,94,529,14298,439,31,32,7],"平川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5175b8b65826f681dca70b8cad442470.jpg",[],{"id":14302,"slug":14303,"title":14304,"dynasty":246,"author":1309,"museum":360,"description":14305,"tags":14306,"thumbUrl":14309,"material":223,"size":223,"collection":223,"collections":14310,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,63,93,27,98,234,94,529,176,152,32,7,33,14307,14308,118,440],"林","庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":14312,"slug":14313,"title":14314,"dynasty":246,"author":8155,"museum":360,"description":14315,"tags":14316,"thumbUrl":14317,"material":223,"size":223,"collection":223,"collections":14318,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,24,63,234,27,94,98,529,439,31,7,32,118,75,33,8433,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":14320,"slug":14321,"title":14322,"dynasty":246,"author":8155,"museum":360,"description":14323,"tags":14324,"thumbUrl":14325,"material":223,"size":223,"collection":223,"collections":14326,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},224275,"shan-shui-hua-hui-ce-ba-fu-shan-224275","山水花卉冊(八)","这幅小品以浅绛晕染出清旷秋山，层叠峰峦如瘦玉排云，淡赭轻敷，尽显清峭空灵。前景枯木虬枝盘错，苍劲如龙，带着深秋的荒寒古拙，将山野萧索之气铺展开来。溪涧蜿蜒穿林，板桥横卧浅流，似能听见潺潺水声，衬出空山幽寂。\n全画笔简意足，以淡墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[23,24,27,94,7,32,318,136,336,98,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":14328,"slug":14329,"title":14330,"dynasty":246,"author":8155,"museum":360,"description":14331,"tags":14332,"thumbUrl":14333,"material":223,"size":223,"collection":223,"collections":14334,"showCount":260,"zanCount":536,"manualWeight":11,"mainColor":54},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[23,24,63,234,27,98,94,529,152,293,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":14336,"slug":14337,"title":14338,"dynasty":246,"author":1042,"museum":60,"description":6937,"tags":14339,"thumbUrl":14340,"material":237,"size":6940,"collection":223,"collections":14341,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},220278,"huang-shan-tu-ce-46-hong-ren-220278","黄山图册-46",[23,24,116,63,234,93,98,94,529,152,7,96,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3bcb6f2995ab9a55c81e16570a201bd.jpg",[],{"id":14343,"slug":14344,"title":11429,"dynasty":18,"author":8457,"museum":864,"description":14345,"tags":14346,"thumbUrl":14347,"material":102,"size":14348,"collection":223,"collections":14349,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},219675,"fang-gu-shan-shui-ce-3-yun-xiang-219675","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,63,234,93,94,29,98,7,32,336,136,962,250,33,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0685213bd864cf9c9a8c5e43505bcfda.jpg","26x15.2",[],{"id":14351,"slug":14352,"title":10355,"dynasty":18,"author":8457,"museum":864,"description":14345,"tags":14353,"thumbUrl":14354,"material":102,"size":14348,"collection":223,"collections":14355,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},219673,"fang-gu-shan-shui-ce-5-yun-xiang-219673",[24,63,234,93,94,7,32,414,97,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3d0f9a6ef079b18cdc451c097be30c.jpg",[],{"id":14357,"slug":14358,"title":14359,"dynasty":246,"author":3353,"museum":14360,"description":14361,"tags":14362,"thumbUrl":14363,"material":47,"size":223,"collection":223,"collections":14364,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},216901,"qian-long-nan-xun-zhu-bi-tu-ye-6-qian-wei-cheng-216901","乾隆南巡驻跸图页-6","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,27,28,26,94,31,33,7,32,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84da3ae4c13843a61acd8e434ddfe48.jpg",[],{"id":14366,"slug":14367,"title":14368,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":14369,"thumbUrl":14370,"material":102,"size":223,"collection":223,"collections":14371,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},215014,"fang-gu-shan-shui-ce-15-wang-jian-215014","仿古山水册-15",[116,24,63,234,27,93,98,94,32,95,136,7,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77515e72f929767d1cb298000a354283.jpg",[],{"id":14373,"slug":14374,"title":14375,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":14376,"thumbUrl":14377,"material":102,"size":223,"collection":223,"collections":14378,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":108},215011,"fang-gu-shan-shui-ce-18-wang-jian-215011","仿古山水册-18",[23,24,93,98,234,528,94,529,530,33,75,7,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea1f1d04c899beded523c5226c8bb98.jpg",[],{"id":14380,"slug":14381,"title":7049,"dynasty":18,"author":1534,"museum":90,"description":14382,"tags":14383,"thumbUrl":14385,"material":223,"size":223,"collection":223,"collections":14386,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14387},203306,"fang-gu-shan-shui-ce-lan-ying-203306","画面中山石勾勒劲挺，皴擦间见苍劲骨力，树木点染兼具秀润与古拙，枝桠虬曲如篆籀笔意。亭台隐于林麓，小桥跨溪通幽，流水潺潺映带左右，景致疏密有致，得自然野趣。笔墨层次丰富，墨色浓淡相宜，淡设色添清雅韵致，既师法古人笔意，又融个人苍秀风格，营造出静谧悠远的山水意境，尽显文人画的雅致与古意。",[94,234,98,27,93,96,7,32,136,14384],"仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bbfd51da064ea5eb78bdd4ffae1f539.jpg",[],"6b6e6a",{"id":14389,"slug":14390,"title":14391,"dynasty":5727,"author":5728,"museum":90,"description":14392,"tags":14393,"thumbUrl":14394,"material":223,"size":223,"collection":104,"collections":14395,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14396},203155,"hu-she-qing-hui-tu-zhou-huang-bin-hong-203155","湖舍清晖图轴","笔墨苍劲间，丘壑含清晖。近景山石以多变皴法写就，浓淡墨色交织出古拙质感；树木虬曲，红叶点染秋意，小桥隐于林麓。中景湖舍错落，藏在烟树间，一派悠然野趣；远景山峦层叠，淡墨晕染出朦胧烟霞，水色空濛。整幅以水墨为骨，设色淡雅，既有传统山水的章法，又透出浑厚华滋的韵致，湖光山色间尽显文人画的静谧深邃，似能闻林间风、湖畔声，引人沉醉。",[24,94,98,93,27,336,7,32,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b84740e53cbaade3d8a427ea1b0f12.jpg",[104],"d6cebb",{"id":14398,"slug":14399,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":14400,"tags":14401,"thumbUrl":14402,"material":223,"size":223,"collection":104,"collections":14403,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":5732},203047,"shan-shui-tu-zhou-huang-bin-hong-203047","画面层峦起伏，云雾缭绕山间，山石以皴擦点染之法写就，墨色浓淡相宜，尽显厚重质感。近景松枝苍劲，杂树错落，石边溪流蜿蜒，小桥横跨其上，屋舍隐于林麓间，意境清幽静谧。笔墨兼具雄浑与雅致，既得山川之灵秀，又含文人画之韵致，将自然山水的生机与深邃凝于尺幅之内，尽显笔墨功底与对山水的深情体悟。",[24,93,94,98,293,7,137,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf9e82d87c18806584593fac53d3c25.jpg",[104],{"id":14405,"slug":14406,"title":14407,"dynasty":246,"author":1309,"museum":90,"description":14408,"tags":14409,"thumbUrl":14410,"material":223,"size":223,"collection":223,"collections":14411,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14412},202519,"fang-huang-gong-wang-shan-shui-zhou-wang-yuan-qi-202519","仿黄公望山水轴","此作承元人笔意，以干淡苍劲之墨写山川气象。山峦层叠处，披麻皴与干笔擦染交织，如篆籀般朴拙有力；墨色由淡入浓，层层积染出深远空间。溪流蜿蜒穿林，小桥静卧波上，亭榭隐于松竹间，孤石点缀岸畔，处处见幽逸之趣。整体意境清旷古雅，笔墨间既有黄公望的萧散简远，又融自家沉雄醇厚之韵，尽显传统山水画的笔墨意趣与文人情怀。",[24,63,135,93,98,29,94,7,32,96,336,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ad98ce0515e75ac2017dc4c090222b6.jpg",[],"c3ad8f",{"id":14414,"slug":14415,"title":14416,"dynasty":18,"author":11462,"museum":90,"description":14417,"tags":14418,"thumbUrl":14419,"material":223,"size":223,"collection":223,"collections":14420,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14421},202463,"jiang-cun-chun-jing-tu-juan-wen-cong-chang-202463","江村春景图卷","春日江村，烟水空濛。岸柳垂丝，杂树葱茏，新绿初绽间透着暖意。远处山峦如黛，近处人家依水而居，亭台错落，小桥横卧，行人缓步其间。湖面波光粼粼，孤舟泛波，渔翁静钓，一派闲适田园之趣。笔墨细腻灵动，设色淡雅清润，山石以柔和皴法晕染，树木用线勾勒兼施点染，尽显江南水乡的温婉雅致，传递出文人眼中的春日生机与隐逸之乐。",[27,94,7,32,95,96,26,98,840,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2cd6f69657aefbee9e9b840e8a2d2.jpg",[],"c7b9a5",{"id":14423,"slug":14424,"title":14425,"dynasty":246,"author":14426,"museum":90,"description":14427,"tags":14428,"thumbUrl":14429,"material":223,"size":223,"collection":223,"collections":14430,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14431},202326,"xi-qiao-yan-yu-tu-zhou-wu-qing-yun-202326","溪桥烟雨图轴","吴庆云","画面烟水氤氲，远山隐于薄雾，墨色由淡至浓晕染出层叠朦胧。近岸茅舍临流，木栏疏朗；溪上小桥横卧，行人影绰；水面孤舟轻漾，蓑笠渔者静对烟波。笔墨以水墨为基，兼施淡彩，雨雾用湿墨渲染得湿润欲滴，树木简笔点染见生机，山石凭墨色浓淡显肌理，少皴法却富层次。整体气韵清润雅致，江南烟雨的迷离诗意扑面而来，仿佛能闻雨打枝叶之声，观之如置身烟水空濛的江南一隅。",[24,93,27,94,7,32,95,1096,7476,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7cec88730b9daa8dfac53d62dec359.jpg",[],"a2988b",{"id":14433,"slug":14434,"title":2772,"dynasty":246,"author":12030,"museum":90,"description":14435,"tags":14436,"thumbUrl":14437,"material":223,"size":223,"collection":104,"collections":14438,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14439},201980,"shan-shui-tu-zhou-shen-zong-jing-201980","此作以水墨皴染绘就山水幽境。层峦叠嶂间瀑布垂落，山石借皴法勾勒肌理，显浑厚质感；山麓林木葱茏，古松苍劲挺拔，掩映几椽茅舍；溪流蜿蜒，小桥横跨其上，似引观者步入隐逸山居。笔墨兼具工致与写意，墨色浓淡相宜，晕染出清旷静谧的意境，融自然之趣与文人淡泊心境，尽显山林幽寂之味。",[24,93,94,98,7,1861,7355,63,1211,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74eda1196c7a42ab2893f24386f9dd7.jpg",[104],"a6947f",{"id":14441,"slug":14442,"title":14443,"dynasty":246,"author":14444,"museum":90,"description":14445,"tags":14446,"thumbUrl":14447,"material":223,"size":223,"collection":104,"collections":14448,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14449},201948,"liu-yin-dang-zhou-tu-zhou-qin-yi-201948","柳荫荡舟图轴","秦仪","画面铺展悠然田园景致：柳丝垂曳，枝叶扶苏，细笔勾勒柔曼之姿；几椽茅舍与小亭隐于绿荫，质朴雅致；碧波之上扁舟轻泛，渔人悠然，小桥横跨溪涧，流水潺潺。山石以淡墨皴擦，层次浅淡却见质感；整体设色清雅，水墨交融，尽显江南水乡静谧闲适。笔墨间传递文人隐逸意趣，恬淡中藏生机，简约中见深远，是兼具写实与抒情的山水佳作。",[24,94,93,27,281,95,96,7,32,26,98,840,120,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd09bb31c44948ca777f6d95a2c9720.jpg",[104],"c5a473",{"id":14451,"slug":14452,"title":14453,"dynasty":246,"author":1309,"museum":90,"description":14454,"tags":14455,"thumbUrl":14456,"material":223,"size":223,"collection":104,"collections":14457,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14458},201765,"cang-yan-cui-bi-tu-zhou-wang-yuan-qi-201765","苍岩翠壁图轴","此图笔墨苍劲沉雄，以干笔焦墨层层皴染，山峦叠嶂间苍岩嶙峋如削，翠壁似屏。近处林木扶疏，小桥横跨溪涧，屋舍隐于岩麓，意境清幽深远。画家承娄东派衣钵，师法宋元，尤得黄公望笔意，构图开合有致，丘壑经营精妙，干笔积墨中见浑厚华滋之趣，尽显清代山水的古雅沉雄之韵。",[24,94,98,135,7,27,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d1694b69b0cca8a65de1f12660e07a.jpg",[104],"d1c4b3",{"id":14460,"slug":14461,"title":14462,"dynasty":246,"author":1309,"museum":90,"description":14463,"tags":14464,"thumbUrl":14465,"material":223,"size":223,"collection":104,"collections":14466,"showCount":260,"zanCount":536,"manualWeight":11,"mainColor":14467},201632,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-yuan-qi-201632","仿黄公望山水图轴","画面山峦层叠，笔墨苍劲浑厚，以披麻皴勾勒山石纹理，尽显古雅气象。山间林木葱茏，枝干虬劲，墨色浓淡相宜；溪畔屋舍掩映，小桥横跨流水，意境悠远静谧。整作承黄公望笔意，兼具自家“金刚杵”般的笔力，于临摹中见己意，尽显文人山水的深邃韵致，观之如入林泉之境，悠然忘俗。",[24,135,93,98,29,94,7,32,96,33,336,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9468468f58758dc9a39a243a9dda1f.jpg",[104],"b8b7b1",{"id":14469,"slug":14470,"title":14471,"dynasty":246,"author":14472,"museum":90,"description":14473,"tags":14474,"thumbUrl":14475,"material":223,"size":223,"collection":223,"collections":14476,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14477},201597,"luo-fu-xian-guan-tu-zhou-lv-huan-cheng-201597","罗浮仙馆图轴","吕焕成","画面山石嶙峋，以细腻皴法勾勒肌理，古松虬枝盘曲，松针密簇，与岩崖间的楼阁相映。楼阁隐于山巅谷隙，飞檐翘角雅致，山间云雾轻绕，添缥缈仙气。近处小桥横卧，红衣人物凭栏远眺，动静相衬。设色淡雅温润，层次分明，融罗浮仙馆的清幽与山水之趣，尽显文人山水的雅致意境。",[24,94,31,293,97,27,98,7,30,13041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468188812d4a8a4f7b18477d0c1a8e22.jpg",[],"987c66",{"id":14479,"slug":14480,"title":14481,"dynasty":246,"author":1441,"museum":90,"description":14482,"tags":14483,"thumbUrl":14484,"material":223,"size":223,"collection":104,"collections":14485,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14486},201541,"han-shan-wan-mu-tu-zhou-wang-hui-201541","寒山万木图轴","画面铺展清冷山景，万木萧疏间尽显秋冬意韵。远景山峦叠嶂，云雾轻笼如纱，渐次淡入天际；中景崖壁陡峭，皴擦纹理勾勒出山石筋骨，蜿蜒溪流穿谷而下，水声似隐；近景村舍错落溪边，小桥卧波连岸，枯树虬枝伸展，枝干以枯笔写就，尽显寒林萧索之态。笔墨上干湿互济，浓淡相宜：山石用皴法层层积染，质感厚重；树木枝干挺劲，叶色疏淡。整体构图开合有致，空间层次分明，静谧中藏生机，尽显传统山水画的笔墨韵味与清旷意境。",[94,98,93,7,32,366,817,97,155,414,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a620a97dc7631d2ecc8c39beda4312.jpg",[104],"beb1a0",{"id":14488,"slug":14489,"title":14490,"dynasty":18,"author":6260,"museum":90,"description":14491,"tags":14492,"thumbUrl":14493,"material":223,"size":223,"collection":104,"collections":14494,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14495},201487,"ju-you-wu-tong-tu-zhou-ding-yun-peng-201487","桔柚梧桐图轴","画面层叠铺展，远山如黛，连绵起伏间晕染着淡墨的朦胧；近水蜿蜒，波光轻漾映着两岸错落的林木。几座小桥横跨河面，连接起葱郁景致——梧桐枝繁叶茂，柚树（或类桔柚的林木）点缀其间，绿意盎然。岸边屋舍隐现，远处红亭静立，一叶扁舟在水中轻荡，添了几分闲适。笔触细腻工致，设色雅致清新，山石以皴法勾勒纹理，树木枝叶描绘精工，整体意境清幽淡远，尽显江南水乡的温婉诗意，仿佛能嗅到林间草木气息，听到流水潺潺之声。",[24,135,26,27,98,94,7,32,95,96,33,38,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2828d72a158560f3d7671df2948dc8.jpg",[104],"afa083",{"id":14497,"slug":14498,"title":14499,"dynasty":18,"author":525,"museum":90,"description":14500,"tags":14501,"thumbUrl":14502,"material":223,"size":223,"collection":104,"collections":14503,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":14504},201387,"shu-hua-he-juan-dong-qi-chang-201387","书画合卷","画卷铺展，烟波浩渺的水面横贯画面，远近山峦层叠错落，或巍峨雄浑，或秀逸多姿。岸边林木疏密有致，枝干虬曲苍劲，尽显自然意趣；几处小桥隐于水畔，与灵动的流水相映成趣。笔墨间，水墨晕染细腻，皴法运用精妙，线条婉转灵动，既蕴董其昌的笔墨神韵，又含吴伟业的文人雅致，整体清旷淡远，意境幽邃，引人入胜。",[24,63,25,93,94,98,7,32,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd589eaedc3a6f0cd2091369adaf9f3c.jpg",[104],"c8bfb1",{"id":14506,"slug":14507,"title":14508,"dynasty":18,"author":3205,"museum":360,"description":11497,"tags":14509,"thumbUrl":14510,"material":494,"size":495,"collection":223,"collections":14511,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},290949,"ming-xue-quan-tu-qian-gu-290949","明雪泉图",[1829,24,93,94,1721,7,33,121,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca8253e284102559f0532da683aa5576.jpg",[],{"id":14513,"slug":14514,"title":14515,"dynasty":246,"author":1553,"museum":360,"description":14516,"tags":14517,"thumbUrl":14520,"material":494,"size":495,"collection":223,"collections":14521,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},290465,"qiu-shui-feng-qiao-tu-yi-ming-290465","秋水枫桥图","此作以水墨绘就秋山胜景，近岸老木盘虬，扎根嶙峋危石，寒枝疏朗尽染秋意，板桥轻卧浅波，林麓深处隐见村居野舍。中远景峰峦峭拔，以淡墨晕染出烟雨空濛的虚实层次，群雁掠过长天，秋水澹澹，汀渚间疏苇摇曳生姿。画作以枯淡与浓墨相映，笔意简远秀润，将江南晚秋的清寂萧疏铺陈开来，带着林下隐逸的澹泊意趣，尽现空灵冷隽的文人山水意境，藏着独属于秋日的澹泊诗意。",[23,24,63,94,93,98,136,7,32,121,137,191,14518,14519],"秋水","枫桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35798ae6392615e12ec39cdfc4750e27.jpg",[],{"id":14523,"slug":14524,"title":14525,"dynasty":246,"author":14526,"museum":360,"description":14527,"tags":14528,"thumbUrl":14529,"material":494,"size":495,"collection":223,"collections":14530,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},290218,"shan-shui-shan-mian-1-zhang-xiong-290218","山水扇面-1","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[23,1829,24,63,27,93,30,94,7,33,95,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608618e592d102b03e1a9df3a376c79.jpg",[],{"id":14532,"slug":14533,"title":14534,"dynasty":246,"author":1454,"museum":360,"description":5968,"tags":14535,"thumbUrl":14537,"material":494,"size":495,"collection":223,"collections":14538,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":1224},288383,"bu-liao-qing-zan-cuo-tu-wei-xiang-sun-wen-288383","不了情暂撮土为香",[23,24,26,27,30,65,31,7,32,94,281,39,28,14536],"伤情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb37f28bb6ef67198e5ff91fae70edc.jpg",[],{"id":14540,"slug":14541,"title":14542,"dynasty":246,"author":1454,"museum":360,"description":5968,"tags":14543,"thumbUrl":14547,"material":494,"size":495,"collection":223,"collections":14548,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":1224},288375,"jia-lian-lu-zhong-ding-qin-liu-lang-sun-wen-288375","贾琏路中定亲柳郎",[23,24,27,26,30,94,75,281,71,7,119,14544,14545,6533,14546],"撑伞","雨天","贾琏路中定亲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52dae0627e8a0a3e5b564635fc9f3a4f.jpg",[],{"id":14550,"slug":14551,"title":14552,"dynasty":246,"author":1553,"museum":360,"description":14553,"tags":14554,"thumbUrl":14557,"material":494,"size":495,"collection":223,"collections":14558,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},273654,"zi-tan-mu-ke-jin-xian-shan-zhuang-guo-yuan-tu-gua-ping-yi-ming-273654","紫檀木缂金线山庄果园图挂屏","以深色底料托举金线缂织，晕染出一幅悠然山居图景。丹枫环伺的堂舍内，宾主围坐清谈，木桥之上渔人负薪缓步而归，远山如黛，静卧烟波湖畔。\n\n整幅挂屏缂金走线匀细流畅，将山石皴理、林木枝叶的层次一一勾勒，把江南闲居的恬淡意趣融入丝缕之间。既得文人山水画的雅致意境，又尽显缂金工艺的华贵精巧，织绣之工与山水意境相融无间，将山居岁月的雅逸日常定格，尽显清代织艺与画韵合璧之美。",[8675,3869,14555,24,94,14022,14556,365,7,33,191,818,30,120],"缂金工艺","果园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc44da3486a08bbd1bfda55225e44f5.jpg",[],{"id":14560,"slug":14561,"title":14562,"dynasty":246,"author":1553,"museum":360,"description":14563,"tags":14564,"thumbUrl":14567,"material":494,"size":495,"collection":223,"collections":14568,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},272983,"hong-mu-diao-hua-bian-diao-shan-shui-tu-gua-ping-yi-ming-272983","红木雕花边雕山水图挂屏","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[14565,8675,94,31,7,33,97,3869,14566,75],"木雕","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd079daf48e703661bf866abd43512173.jpg",[],{"id":14570,"slug":14571,"title":14572,"dynasty":246,"author":1553,"museum":360,"description":14573,"tags":14574,"thumbUrl":14576,"material":494,"size":495,"collection":223,"collections":14577,"showCount":622,"zanCount":536,"manualWeight":11,"mainColor":498},272897,"zi-tan-mu-bian-qian-ya-geng-zhi-tu-gua-ping-yi-ming-272897","紫檀木边嵌牙耕织图挂屏","此作以沉郁底色晕染出江南水村居停景致，以嵌牙工艺勾勒细节。近岸垂柳扶风，板桥轻衔水榭人家，屋舍窗棂分毫毕现；中层林木交映，霜色点染枝头，廊屋依水延展，尽显闲雅日常；远景峰巅留白如积雪，晕染出悠远静谧的山水意境。\n嵌牙工艺细腻入微，将枝叶脉络、屋宇架构雕琢精巧雅致，紫檀边框衬得画面愈发古隽沉静，将文人心中的田园闲趣凝于屏间，尽显工艺美学与山居诗意的融合之妙。",[8675,3869,14575,14566,27,28,31,7,33,454,2930],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c2d60cbb7a460b6e496af6bea1a873.jpg",[],{"id":14579,"slug":14580,"title":14581,"dynasty":246,"author":1553,"museum":360,"description":13113,"tags":14582,"thumbUrl":14585,"material":494,"size":495,"collection":223,"collections":14586,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":498},268768,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268768","缂丝群仙庆寿图轴",[5607,135,27,26,30,14583,14584,31,9565,7,293,7267,365,1666,97],"群仙","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c98b1f84701fe1f2b6606debe51a96.jpg",[],{"id":14588,"slug":14589,"title":14590,"dynasty":246,"author":8700,"museum":360,"description":8701,"tags":14591,"thumbUrl":14595,"material":494,"size":495,"collection":223,"collections":14596,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},241470,"xing-kai-jin-zhu-fang-cong-yi-duan-juan-yao-song-241470","行楷晋麈芳丛一段卷",[99,25,14592,7722,7267,14593,14594,12227,206,564,1606,4102,119,5960,7,32,95,121,743,94,645],"行楷","海棠","石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01aec93a00f535293be71bc9dc187444.jpg",[],{"id":14598,"slug":14599,"title":6727,"dynasty":246,"author":6728,"museum":360,"description":14600,"tags":14601,"thumbUrl":14602,"material":223,"size":223,"collection":223,"collections":14603,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},239414,"fang-gu-shan-shui-ping-qin-zu-yong-239414","此作用平远构图铺展湖乡霁后之景。浩淼湖面之上，舟楫轻泛、水鸟翔集，洲渚错落延展，田畦方整如织，村舍掩映于林麓间，行人缓步堤岸，满溢悠然烟火意趣。下半段笔意陡转，青绿重峦挺拔苍劲，古松虬枝盘绕，山巅亭台、山麓城郭错落排布，融田园疏淡与山水雄浑于一体。\n\n笔墨承袭元明文人画意，设色淡雅秀润，线条松秀柔和，题诗呼应画境，将江南湖山的清润灵秀与村居闲趣相融，师法古人又自出机杼，把江南雨后的雅致诗意尽铺尺幅之中。",[24,63,135,27,98,29,94,96,121,7,32,95,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0faa8571b923df80597b934c85f728d.jpg",[],{"id":14605,"slug":14606,"title":1104,"dynasty":246,"author":4810,"museum":360,"description":14607,"tags":14608,"thumbUrl":14609,"material":223,"size":223,"collection":223,"collections":14610,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},238905,"fang-song-yuan-shan-shui-ce-dong-gao-238905","此作以开合之境铺展幽居秋意，近岸木板桥连汀渚，杂树点染蓝、朱异色，晕开清秋绚烂意趣。山岩以干笔皴擦，苍浑朴厚，崖畔山居隐于林木间，飞瀑穿石下注溪涧，野趣悠然自生。溪流转折间，视线渐引向远江，白帆轻曳，淡墨平峦横卧天际，虚实相生中，将山野幽寂与江天旷远相融。浅绛设色温润雅致，笔墨兼具苍秀与清润，暗合山水简淡意韵，以鲜活点彩衬出秋光明丽，尽显林下幽居的静穆清旷，仿若可神游其间，坐览林泉烟霞，品味山居闲逸。",[24,63,234,27,98,94,7,32,95,33,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b8bc09fe2e7559af2d3a86f3149bc3.jpg",[],{"id":14612,"slug":14613,"title":10744,"dynasty":246,"author":1553,"museum":360,"description":14614,"tags":14615,"thumbUrl":14616,"material":223,"size":223,"collection":223,"collections":14617,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},238812,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238812","此作以近松远水铺展山居景致，近岸苍松盘虬，黛色松针层叠如盖，浓淡点染见出葱郁生机。中景溪湾环抱着错落村居，板桥横架浅滩，有人凭栏远眺，三两屋舍隐在林麓间，烟火气暗融在清寂山水中。远景山峦以淡墨皴擦，晕染出层叠悠远的朦胧意态，留白处铺就浩渺水色，衬出空阔天光。\n\n全作用笔秀雅柔和，淡赭轻敷衬出山峦暖意，笔墨兼具工致与写意，将江南乡野的幽宁闲逸娓娓铺陈，尽显春日溪村的清和安谧，藏着文人向往的林泉雅意。",[24,63,234,94,27,98,7,32,33,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087eeba28a0cc157854521c9b6613fb.jpg",[],{"id":14619,"slug":14620,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":14621,"thumbUrl":14622,"material":494,"size":495,"collection":223,"collections":14623,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},238690,"shan-shui-ce-dong-bang-da-238690",[24,63,234,93,98,94,31,33,97,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11d17d6aafdb5120bc92264527079c4e.jpg",[],{"id":14625,"slug":14626,"title":4317,"dynasty":246,"author":4318,"museum":360,"description":14627,"tags":14628,"thumbUrl":14629,"material":223,"size":223,"collection":223,"collections":14630,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},238225,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238225","此作用笔苍浑秀润，以细腻皴擦绘层叠丘壑，云雾裹挟山峦晕染出空濛意境，古松虬曲苍劲，板桥通幽隐于林下，清寂淡远的山居之境跃然纸面。\n诗画相映成趣，题跋书法笔力隽秀，将笔墨意趣与文人情思相融，尽显静穆萧散的林下之风，把江南丘壑的幽澹之美铺陈开来，是兼具笔墨法度与文人雅韵的山水佳构。",[24,63,93,98,29,94,439,7,156,97,234,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd0fb50a4b11b86467520a55c299439.jpg",[],{"id":14632,"slug":14633,"title":4317,"dynasty":246,"author":4318,"museum":360,"description":14634,"tags":14635,"thumbUrl":14637,"material":223,"size":223,"collection":223,"collections":14638,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},238216,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238216","此作为仿古佳制，右幅绘溪林静境，苍松虬劲成荫，溪桥隐于林下，远山以淡墨晕染留白，晕开空濛烟岚，尽显林泉幽寂的隐逸之趣。笔触温婉秀润，循古法而出新意，将淡远清和的山水风神尽显无余。\n左幅题咏琳琅，诗画合璧，以文衬景，把寄情丘壑的雅怀诉诸笔端，笔墨间浸透了传统文人澄怀观道的林下襟怀，整幅册页清雅隽永，尽显师古能化的笔墨功力。",[24,63,116,331,93,27,98,97,33,293,7,32,155,2633,14636,1054],"仿古风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763a5f1073179bed6806c33f9105b513.jpg",[],{"id":14640,"slug":14641,"title":10758,"dynasty":18,"author":3004,"museum":360,"description":12320,"tags":14642,"thumbUrl":14643,"material":494,"size":495,"collection":223,"collections":14644,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237797,"shan-shui-shan-song-xu-237797",[1829,24,63,93,98,94,33,97,71,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3a6c04c455368f424f3d5a4dc2cf09.jpg",[],{"id":14646,"slug":14647,"title":14036,"dynasty":246,"author":14037,"museum":360,"description":14648,"tags":14649,"thumbUrl":14650,"material":494,"size":495,"collection":223,"collections":14651,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237728,"wu-sheng-shi-yi-tu-ce-huang-yi-237728","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,63,234,93,27,30,7,94,3849,121,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24362325b7ee87adefb091d91774fb01.jpg",[],{"id":14653,"slug":14654,"title":14036,"dynasty":246,"author":14037,"museum":360,"description":14648,"tags":14655,"thumbUrl":14656,"material":494,"size":495,"collection":223,"collections":14657,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237727,"wu-sheng-shi-yi-tu-ce-huang-yi-237727",[24,93,234,118,7,32,121,94,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93279d7109f89dcc760bc9034e59dc8c.jpg",[],{"id":14659,"slug":14660,"title":14101,"dynasty":18,"author":14661,"museum":360,"description":14662,"tags":14663,"thumbUrl":14664,"material":494,"size":495,"collection":223,"collections":14665,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237516,"shan-shui-hua-hui-ce-jiang-shou-cheng-237516","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,63,234,93,100,30,94,439,616,7,3849],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750b646708ded8d5b431ae47025f085.jpg",[],{"id":14667,"slug":14668,"title":2158,"dynasty":246,"author":14669,"museum":360,"description":14670,"tags":14671,"thumbUrl":14672,"material":237,"size":223,"collection":104,"collections":14673,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237426,"shan-shui-ce-chen-jia-le-237426","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》。",[24,63,234,93,98,94,7,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f85dcd74c3352e687d0065251ba96b.jpg",[104],{"id":14675,"slug":14676,"title":8699,"dynasty":246,"author":14677,"museum":360,"description":14678,"tags":14679,"thumbUrl":14680,"material":494,"size":495,"collection":223,"collections":14681,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237396,"shan-shui-tu-ce-xue-xuan-237396","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,63,234,27,93,98,94,7,32,33,97,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3754680fb070bdf393422f28ab8006.jpg",[],{"id":14683,"slug":14684,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":4471,"tags":14685,"thumbUrl":14686,"material":223,"size":223,"collection":223,"collections":14687,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237106,"shan-shui-ce-cha-shi-biao-237106",[24,63,234,93,94,33,7,32,95,336,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c3c7b9db23d012365667c2d45e9f9.jpg",[],{"id":14689,"slug":14690,"title":14691,"dynasty":246,"author":1553,"museum":360,"description":14692,"tags":14693,"thumbUrl":14694,"material":494,"size":495,"collection":223,"collections":14695,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237080,"qin-shi-dong-ting-qiu-yue-shan-ye-yi-ming-237080","钦式洞庭秋月扇页","这幅扇面以淡墨晕染铺就水天色，左侧江岸立起层叠楼阁，港湾内舟楫系泊，近岸草木萧疏晕染出秋意。湖面开阔空寂，远帆缓行于烟波之间，将秋水辽远铺陈开来。\n\n工细勾勒的楼阁与淡扫晕染的水天相映，虚实相生间晕化出洞庭秋月的清寂空灵。笔墨古朴淡雅，以简淡的皴染写江岸坡石，点染间尽显秋夜的静谧悠远，将洞庭月夜的清旷诗意融于咫尺扇面之中，暗含文人寄情烟水的幽远意趣，尽显传统山水小品的雅致韵致。",[24,1829,93,27,94,31,7,32,95,743,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1b36e7c1be3d1165aa0f167217805.jpg",[],{"id":14697,"slug":14698,"title":2158,"dynasty":18,"author":14699,"museum":360,"description":14700,"tags":14701,"thumbUrl":14702,"material":237,"size":223,"collection":223,"collections":14703,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237034,"shan-shui-ce-zhang-yan-237034","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[24,93,98,234,94,97,33,7,32,31,95,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a3edadf28b3e44827dd0ce94174703.jpg",[],{"id":14705,"slug":14706,"title":14707,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":14708,"thumbUrl":14709,"material":494,"size":495,"collection":223,"collections":14710,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},237000,"xue-jing-shan-shui-ce-wang-hui-237000","雪景山水册",[24,63,234,93,98,94,1721,7,96,31,336,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95f21a757869f6960a0e4b30638e21.jpg",[],{"id":14712,"slug":14713,"title":2158,"dynasty":246,"author":11630,"museum":360,"description":11631,"tags":14714,"thumbUrl":14715,"material":494,"size":495,"collection":223,"collections":14716,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},236988,"shan-shui-ce-zhang-xi-236988",[24,63,234,93,98,100,118,94,7,32,33,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14806fff5a66b9c26c15e38670e1e3e9.jpg",[],{"id":14718,"slug":14719,"title":10766,"dynasty":246,"author":14720,"museum":360,"description":14721,"tags":14722,"thumbUrl":14723,"material":494,"size":495,"collection":223,"collections":14724,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},236810,"shan-shui-shan-ye-lu-yuan-236810","陆远","陆远，字静致。善水山，宗法米氏。康熙四年（1665）山水扇现藏故宫博物院，康熙二十三年（1684）《观梅图》著录於《南宗名画苑》。",[24,1829,93,98,94,33,75,7,32,250,363,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3d82a1ce70331d455d53455088d3be4.jpg",[],{"id":14726,"slug":14727,"title":14218,"dynasty":246,"author":1441,"museum":360,"description":5770,"tags":14728,"thumbUrl":14729,"material":223,"size":223,"collection":223,"collections":14730,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},236451,"ni-qian-ren-shi-yi-ce-wang-hui-236451",[24,93,234,98,94,7,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c53245ae015e98a66134ace8f53dec2.jpg",[],{"id":14732,"slug":14733,"title":14734,"dynasty":18,"author":14735,"museum":360,"description":14736,"tags":14737,"thumbUrl":14739,"material":494,"size":495,"collection":223,"collections":14740,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},236393,"han-shan-wan-mu-shan-zhang-feng-yi-236393","寒山万木扇","张凤仪","张凤仪( ?-1633年)明末抗清女将军，沁水人，明末忠臣（尚书）张铨之女，母亲霍氏，夫马祥麟（秦良玉和抗倭将领马千乘之子）。出生于战乱时代，受母亲霍氏和张铨影响，熟读兵书史集，能文善武。早年跟随母亲霍氏及爷爷（万历尚书）张五典（退休为农时）进行抗清活动。婚后跟随马祥麟四处征战。",[116,24,63,1829,93,98,94,414,7,30,14738],"寒山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18df79bc67763eccbaaae90aae4fbb26.jpg",[],{"id":14742,"slug":14743,"title":14744,"dynasty":246,"author":9967,"museum":360,"description":14745,"tags":14746,"thumbUrl":14747,"material":223,"size":223,"collection":223,"collections":14748,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},236104,"chun-jing-shan-shui-tu-zhou-li-shi-zhuo-236104","春景山水图轴","此作用淡绛设色铺陈春日山居，先以烟霭笼住远山，浅披麻皴勾勒出山峦温润质感，春日空濛尽现。开阔平缓的水面上，板桥木桥连缀溪村，错落村舍隐于初绽的柳桃之间，浅粉嫩绿晕开融融春意。\n\n画面动静相生，溪水流淌衬出村野静谧，将元人山水的空灵雅致与清丽设色意趣相融，把春日水乡的闲逸山居图景缓缓铺展，尽显山乡春日里的柔润生机与世外幽宁。",[24,27,94,135,7,32,33,75,191,155,119,839,98,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1c09a715a0baa9e13a5302b519b433.jpg",[],{"id":14750,"slug":14751,"title":3127,"dynasty":246,"author":1553,"museum":360,"description":14752,"tags":14753,"thumbUrl":14754,"material":223,"size":223,"collection":223,"collections":14755,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},236066,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236066","此作用笔简淡松秀，绘就冬日郊野之景。枯木寒林错落苍劲，虬枝瘦干尽显古拙姿态，留白晕染出空濛清寂的萧疏寒意。近景板桥之上行人徐行，林麓间茅舍错落，漾出幽闲野趣。整体意境淡远萧疏，以简驭繁将郊林冬日的静谧铺陈开来，右上角题字添缀文人气韵，暗合文人寄情林泉的幽怀，尽显仿古山水的雅逸意趣，将冬日林野的清寂闲雅藏于笔墨之间。",[24,63,234,93,29,98,94,318,136,7,32,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a464c894302ac9e286789abd11005a.jpg",[],{"id":14757,"slug":14758,"title":3127,"dynasty":246,"author":1553,"museum":360,"description":14759,"tags":14760,"thumbUrl":14761,"material":223,"size":223,"collection":223,"collections":14762,"showCount":622,"zanCount":536,"manualWeight":11,"mainColor":108},236064,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236064","此作用水墨晕染江南春山朝暮之景，云雾如缕，在层叠峰峦与林麓间漫溢缠绕，将青山晕染得虚实相生，似含温润水汽。近岸苍木蓊郁，山坞中隐见村居屋舍，下方溪河蜿蜒舒展，三两扁舟轻泛烟波，野趣悠然。\n\n笔法松秀温雅，以淡墨反复皴擦晕染，不见刻露之笔，处处透着静穆淡远的意境，将江南山水的柔婉清幽与文人向往的林泉雅趣融为一体，观之如身临幽寂山野，足以涤荡尘心。",[24,63,234,93,29,98,94,152,33,71,155,97,7,96,95,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae085406406d31950536f0b8ca2ee6f.jpg",[],{"id":14764,"slug":14765,"title":2158,"dynasty":246,"author":1309,"museum":360,"description":14766,"tags":14767,"thumbUrl":14768,"material":223,"size":223,"collection":223,"collections":14769,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},236054,"shan-shui-ce-wang-yuan-qi-236054","此作用笔苍劲老辣，以干笔枯墨反复皴擦山峦，层层铺陈出山石浑厚苍润的质感。山峦开合有致，高远与深远兼得，尽显层林叠嶂的幽深意境。林木错落穿插，姿态古拙秀挺，山居村舍掩映在林泉烟霭之间，晕染出江南山野的幽寂清宁。\n\n画面气息高古静穆，师法元人笔意，将文人山水的书卷气融于笔墨之中，于简淡疏朗里藏着沉郁苍茫的力道，缓缓铺展出林泉高致的悠然意趣，让观画之人仿佛踏入这清幽山居，沉醉在这份安谧雅致的山水之境。",[24,63,234,93,94,98,33,7,32,97,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6812b912b7fec3140154e618a8e51b1e.jpg",[],{"id":14771,"slug":14772,"title":14773,"dynasty":246,"author":1553,"museum":360,"description":14774,"tags":14775,"thumbUrl":14776,"material":223,"size":223,"collection":223,"collections":14777,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},235979,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235979","半山山水人物册","此作为水墨写意小品，以极简笔墨晕染出江南水乡的空濛意趣。苍劲老干以浓墨枯笔写出，苔点醒出古拙生气；留白作烟波水面，寥寥数笔勾勒出扁舟渔父，隐于舟中，淡写村居篱落与苇草，似有微风穿拂摇曳。\n\n画面干湿浓淡对比鲜明，大片留白撑起幽清远阔的意境，萧散简淡间，晕染出水乡日常的恬寂闲静。不见繁复刻画，却将渔隐的悠然、水乡的清和融入方寸之间，笔简意足，尽显文人写意画的疏淡禅意，仿佛可闻水波轻响，静享一隅江村的安闲况味。",[24,63,234,93,94,30,7,32,95,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c7d6ad1d31bd0925cff24cdb4ca87a.jpg",[],{"id":14779,"slug":14780,"title":8699,"dynasty":246,"author":9732,"museum":360,"description":14781,"tags":14782,"thumbUrl":14783,"material":494,"size":495,"collection":223,"collections":14784,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},235906,"shan-shui-tu-ce-guan-quan-235906","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[24,63,234,93,98,94,7,97,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4169c0a0ffa86872925f8f981ded500a.jpg",[],{"id":14786,"slug":14787,"title":14788,"dynasty":246,"author":1441,"museum":360,"description":14789,"tags":14790,"thumbUrl":14791,"material":223,"size":223,"collection":223,"collections":14792,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},235780,"zhu-jia-ji-jin-ce-yun-shan-ye-wang-hui-235780","诸家集锦册-云山页","此作用淡墨晕染云霭，以短披麻皴写山峦，苍润浑厚。云气以留白与淡晕相融，将层峦托于云海之上，虚实相生间尽显飘渺灵动。茂林清溪之畔隐着山居小屋，野逸幽寂的林下栖居之趣扑面而来。\n\n右上角题诗与画面呼应，诗画交融，尽显文人山水的雅致意韵。笔墨干湿浓淡交织，松秀苍浑，既见丘壑幽深，又具笔墨雅韵，将江南云山空蒙秀润之景，与文人幽栖的襟怀相融，简淡间意蕴悠长，尽显山水小品的隽永情致。",[24,63,234,93,98,94,7509,33,97,155,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa306eb381b484c752eb4e75fab1e7f67.jpg",[],{"id":14794,"slug":14795,"title":8699,"dynasty":18,"author":14130,"museum":360,"description":14796,"tags":14797,"thumbUrl":14798,"material":223,"size":223,"collection":223,"collections":14799,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},235451,"shan-shui-tu-ce-pan-zheng-235451","这幅水墨山水以虚实相生的笔意晕染烟岚江南。主峰以浓墨皴擦，棱线苍劲，在淡墨晕开的烟霭中卓然挺立，和周遭隐现的远山形成强烈虚实对比。汀洲松林以简笔点簇，萧疏错落，带着山野清寂之趣。湖面留白写意，以数点淡墨轻描渔舟，愈发衬出天地空阔。浅岸小径蜿蜒向林麓，藏露之间引人遐思山隅深处的幽居。\n全作用笔极简，以水墨干湿浓淡铺就迷蒙诗意，没有繁复勾勒，却将湖山静穆悠远的意境全然铺展，尽显文人画的空灵意趣，仿佛能让人浸在山野湿润的雾气里，静赏这份林下幽寂的悠然。",[24,63,234,93,98,94,439,7,95,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c47be9871ca1901d2d2ae09e1224f3f.jpg",[],{"id":14801,"slug":14802,"title":2158,"dynasty":246,"author":8691,"museum":360,"description":14803,"tags":14804,"thumbUrl":14805,"material":223,"size":223,"collection":223,"collections":14806,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},235328,"shan-shui-ce-wen-dian-235328","此作用干笔淡墨铺就，前景坡岸间几株古木姿态舒展，苔点晕染出坡地清润意趣，策杖文人缓步林麓，似正沉醉秋光。远景以淡墨轻岚晕出朦胧丘壑，留白悠远空灵。左上角题诗与画意相融，笔墨秀雅松灵，未施浓彩，尽显清寂淡远的文人意趣。将秋日郊野闲游的幽恬心境藏于极简勾勒间，静穆萧散的林下之风溢于笔底，把江南秋郊的清旷诗意融在疏淡皴染中，观之如临其境，可感画中寄情林泉的雅人襟怀。",[24,63,234,93,98,94,33,7,32,30,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc131e210096ca435812d8704a61fcec4.jpg",[],{"id":14808,"slug":14809,"title":14810,"dynasty":18,"author":1553,"museum":360,"description":14811,"tags":14812,"thumbUrl":14813,"material":223,"size":223,"collection":223,"collections":14814,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},235313,"ju-jie-shan-shui-zhou-yi-ming-235313","居节山水轴","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。",[24,63,135,93,98,94,7,32,96,33,97,30,152,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2711e04f3e46342e03aa2539dd6fc223.jpg",[],{"id":14816,"slug":14817,"title":2158,"dynasty":18,"author":12170,"museum":360,"description":14108,"tags":14818,"thumbUrl":14819,"material":494,"size":495,"collection":223,"collections":14820,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},235290,"shan-shui-ce-shen-hao-235290",[24,63,234,93,27,98,94,97,33,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb555c58fbbde8e400dadbfb758b6f7.jpg",[],{"id":14822,"slug":14823,"title":14824,"dynasty":246,"author":847,"museum":60,"description":14825,"tags":14826,"thumbUrl":14827,"material":194,"size":14828,"collection":223,"collections":14829,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},234915,"xue-jing-gu-shi-ce-sun-hu-234915","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,63,234,27,100,26,99,94,1721,75,33,7,9025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a903a9e7094137117389a07086cb5c7.jpg","纵31．5厘米 横25．6厘米",[],{"id":14831,"slug":14832,"title":12402,"dynasty":246,"author":1309,"museum":360,"description":12403,"tags":14833,"thumbUrl":14834,"material":237,"size":12406,"collection":223,"collections":14835,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},234882,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234882",[24,63,234,27,94,98,7,32,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df1518a055839c665b21d179fa85aa8.jpg",[],{"id":14837,"slug":14838,"title":13289,"dynasty":246,"author":1807,"museum":60,"description":13290,"tags":14839,"thumbUrl":14840,"material":678,"size":13293,"collection":223,"collections":14841,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},233446,"ren-wu-shan-shui-ce-luo-pin-233446",[24,27,234,94,30,7,32,95,119,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c10130c1a52d65085d434faa412416.jpg",[],{"id":14843,"slug":14844,"title":14845,"dynasty":1933,"author":1553,"museum":360,"description":14846,"tags":14847,"thumbUrl":14849,"material":494,"size":495,"collection":223,"collections":14850,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[23,14848,27,28,26,30,31,7,32,33,75,65,293],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":14852,"slug":14853,"title":14854,"dynasty":1933,"author":14855,"museum":360,"description":14856,"tags":14857,"thumbUrl":14858,"material":494,"size":495,"collection":223,"collections":14859,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下）","狩野探幽","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[24,63,234,93,27,516,94,565,30,31,7,32,1606,5960,564,4102,336,96,121,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f0f3f9d209b31058c7b680bf600a6.jpg",[],{"id":14861,"slug":14862,"title":14863,"dynasty":1933,"author":14864,"museum":360,"description":14865,"tags":14866,"thumbUrl":14870,"material":494,"size":495,"collection":223,"collections":14871,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,63,25,27,26,516,29,118,565,30,95,121,12227,7267,96,31,32,1829,14867,14868,14869,206,564,97,7,744,3208,64,1667,33,4029,100,2842],"孔雀","雉鸡","燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":14873,"slug":14874,"title":14875,"dynasty":246,"author":1553,"museum":360,"description":14876,"tags":14877,"thumbUrl":14879,"material":494,"size":495,"collection":223,"collections":14880,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},230336,"bai-miao-tu-miao-man-tu-shuo-si-yi-ming-230336","百苗图苗蛮图说(四)","这幅工笔设色小品，以灵动笔触铺展苗乡出行图景。木桥之上挑货汉子步履轻快，竹篮盛着满满烟火日常。盛装妇人身背长伞，衣襟纹饰雅致细腻，随行童子憨态可掬，稚犬蹦跳嬉闹鲜活灵动，持锄男子紧随其后，将山野劳作的松弛尽数勾勒。远景山峦晕染朦胧，飞瀑穿林而下，粉花缀在青崖，淡墨轻晕开山居清逸。画作未刻意猎奇民俗风情，而是以细腻视角定格苗家日常的恬淡鲜活，将乡野生计的烟火意趣与山水清灵融为一体，把苗岭日常的温柔生机藏在笔墨晕染间。",[24,27,26,234,30,94,7,32,121,119,14878],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ce470f883074425eca78903e825a9a.jpg",[],{"id":14882,"slug":14883,"title":14884,"dynasty":246,"author":1553,"museum":360,"description":14885,"tags":14886,"thumbUrl":14887,"material":223,"size":223,"collection":223,"collections":14888,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":54},230327,"lang-qiao-shan-shui-tu-yi-ming-230327","廊桥山水图","此作截取江岸一隅，崖壁以石青石绿晕染敷色，古雅厚重，间杂丹红秋叶，冷暖相映晕开深秋明丽。苍松杂木扎根崖间，笔墨点染间尽显葱郁生机。\n\n浅滩汀渚错落排布，水面留白尽显烟波空濛之态。滩头人物往来、牧放嬉游，纤毫小笔勾勒出鲜活烟火，将山居野逸与人间日常相融无间。\n\n笔法兼工带写，山石皴擦简练古拙，树木点染生动自然，承继青绿山水明丽设色的传统，又以生活化场景消解了古典山水的清冷疏离，尺幅间铺展出世外桃源般的悠然意韵。",[24,27,117,26,94,7,32,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6071decbc12190d4d9612207ecb3d76d.jpg",[],{"id":14890,"slug":14891,"title":14892,"dynasty":277,"author":1553,"museum":360,"description":14893,"tags":14894,"thumbUrl":14895,"material":223,"size":223,"collection":223,"collections":14896,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},228229,"guan-jing-tu-yi-ming-228229","观景图","以水墨晕染出林泉幽隅，老干虬曲的大树遮天蔽日，浓墨点簇的枝叶如盖，掩映着后方隐约的山居茅舍。淡墨皴擦的坡岸蜿蜒延伸，留白处似清溪浅濑，石上隐者凭坐对谈，共赏烟林清景。\n\n笔意简淡清疏，不施浓艳，以水墨的浓淡干湿晕开朦胧烟岚，将幽居林下的散淡襟怀藏在晕染的雾气之中。残题与画作相映，尽显简远意趣，寥寥数笔便勾勒出林泉高致，把山泽间的静穆悠然铺陈在尺幅之内，观之如身临疏旷幽寂的林下烟景，尽得闲雅隐逸之致。",[24,63,93,94,30,100,98,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bae947a0ca7be4223f0dd9af5acdecc.jpg",[],{"id":14898,"slug":14899,"title":14900,"dynasty":1933,"author":1553,"museum":360,"description":14901,"tags":14902,"thumbUrl":14903,"material":223,"size":223,"collection":223,"collections":14904,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},225334,"fu-shi-hui-87-yi-ming-225334","浮世绘87","飞流直下的瀑布以劲挺利落的蓝白线条铺就，仿佛携着轰然水声自崖头倾泻而下。崖畔朱色小屋静立，暖调破开冷冽水汽，让奔涌的山水多了一丝人间暖意。右下角旅人负具驻足观瀑，衬出飞瀑的宏阔，将人与自然的尺度铺展开来。\n\n设色明丽雅致，青绿山石晕染出山野苍翠，钴蓝飞瀑撞入眼底，暖棕崖壁点缀其间，尽显浮世绘独有的装饰质感。画作揉合幽谷飞瀑的壮阔与山居的幽寂烟火，将日式山水特有的诗意幽玄之美尽显无余。",[9503,13755,27,94,152,31,7,32,30,33,75,155,176,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd712d7caa336d20298db6aa8156e555f.jpg",[],{"id":14906,"slug":14907,"title":14908,"dynasty":1933,"author":1553,"museum":360,"description":11783,"tags":14909,"thumbUrl":14910,"material":494,"size":495,"collection":223,"collections":14911,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":498},225315,"fu-shi-hui-52-yi-ming-225315","浮世绘52",[9503,28,27,30,31,7,32,95,744,3505,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f70554bdf46d54672590acfbd6859e.jpg",[],{"id":14913,"slug":14914,"title":14915,"dynasty":246,"author":1309,"museum":360,"description":14916,"tags":14917,"thumbUrl":14918,"material":223,"size":223,"collection":223,"collections":14919,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},224382,"fang-yi-feng-shan-shui-wang-yuan-qi-224382","仿一峰山水","此帧全景山水层峦叠嶂，逶迤连绵，尽显浑穆苍茫的山水元气。以干笔积墨之法，以披麻皴反复皴擦山峦，笔墨苍厚华滋，细密间见疏朗之致。河谷间村舍错落隐于林木，松荫下茅舍临水枕溪，板桥横陈浅滩，将山居隐逸的澹然意趣藏于丘壑之中。画作追摹前贤笔意却自出机杼，以熟后生的笔法调和苍润，在繁密构图里经营疏密节奏，将端稳气质与林下幽居的清雅意韵相融，尽显文人山水的静穆悠长。",[23,24,63,135,94,27,98,529,530,7,33,96,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91ef16d54ccbedb446bb64249d083de.jpg",[],{"id":14921,"slug":14922,"title":14923,"dynasty":246,"author":2535,"museum":60,"description":14924,"tags":14925,"thumbUrl":14926,"material":223,"size":14927,"collection":223,"collections":14928,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},223200,"geng-zhi-tu-ce-jiao-bing-zhen-223200","耕织图册","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,63,234,26,27,30,75,7,32,33,5126,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2373f4bbfbe1b7f46ec5c4dd932db73.jpg","34.7cm×27.7cm",[],{"id":14930,"slug":14931,"title":14932,"dynasty":246,"author":1349,"museum":90,"description":6174,"tags":14933,"thumbUrl":14934,"material":2438,"size":12960,"collection":223,"collections":14935,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},222617,"shan-shui-ba-jing-7-gong-xian-222617","山水八景-7",[23,24,93,98,94,95,1096,7,32,840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa752e449fa9c8910dd0ea8b775ce48cd.jpg",[],{"id":14937,"slug":14938,"title":14939,"dynasty":18,"author":14940,"museum":90,"description":14941,"tags":14942,"thumbUrl":14943,"material":208,"size":14944,"collection":223,"collections":14945,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},219787,"za-hua-ce-3-guo-xu-219787","杂画册-3","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,93,27,98,94,33,7,97,30,118,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8656177970db50b8abe47bab4b356de1.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":14947,"slug":14948,"title":14949,"dynasty":18,"author":1126,"museum":266,"description":14950,"tags":14951,"thumbUrl":14952,"material":102,"size":223,"collection":223,"collections":14953,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},217907,"shi-ji-jun-chen-gu-shi-tu-4-zhang-hong-217907","史记君臣故事图-4","朱红菱格窗棂半敞，映出室内朦胧人影——或俯身低语，或静卧凝思，君臣间的故事在方寸空间里悄然铺展。阶前荷塘碧叶田田，叶脉间流转着湿润的光，木桥蜿蜒，栏杆纹饰细腻如织，将庭院雅致与水泽清灵相连。\n\n线条细劲流畅，似用墨线勾勒时光轮廓；设色古朴淡雅，赭石与青绿交织，晕染出明代文人画的温润气韵。没有浓墨重彩的张扬，却以含蓄笔触将史籍瞬间定格：建筑的榫卯纹理藏着匠心，荷塘的风掠过叶尖，人物眉眼间的微妙情绪，都在笔墨里沉淀成可触的历史余温。\n\n它像一卷被时光浸润的诗笺，把史籍中的对话、沉默与温情，凝作草木间的光影、窗棂后的剪影，让观者在虚实交织处，读懂那些藏在尺幅里的岁月回响。",[24,27,28,26,30,31,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d4f00072fe8b0a1198e5851dff3a341.jpg",[],{"id":14955,"slug":14956,"title":14957,"dynasty":18,"author":14958,"museum":217,"description":14959,"tags":14960,"thumbUrl":14962,"material":102,"size":14963,"collection":223,"collections":14964,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},217876,"zhou-li-yuan-shang-kuan-shen-ce-san-hu-yu-kun-217876","周栎园上款什册(三)","胡玉昆","画面分左右两帧，右帧绘山水清境：林木错落间隐现茅舍，远山含烟，近水漾波，墨色淡雅却藏生机；左帧以行书题跋，笔势流畅，文字与画意相契，尽显文人雅趣。整幅作品诗画一体，意境清幽，笔墨简淡却韵味悠长，于疏朗间见细腻，传递出古代文人对自然与生活的诗意观照，尽显雅致脱俗的审美意趣。",[24,63,3457,93,27,100,98,1054,94,33,3738,75,7,32,14961],"笔墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a87ed8dc6c04dc387d956147aeb76ea.jpg","24.7x32.3cm",[],{"id":14966,"slug":14967,"title":14968,"dynasty":18,"author":14969,"museum":360,"description":14970,"tags":14971,"thumbUrl":14972,"material":102,"size":223,"collection":223,"collections":14973,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},216346,"xi-xiang-ji-cha-ye-7-min-qi-ji-216346","西厢记插页-7","闵齐伋","扇面如弯月轻展，墨线勾勒烟峦叠嶂与疏林幽径。山石细皴显肌理，树木枝叶婆娑含风。溪边人影错落，或立或语，衣袂轻扬藏文人情态；远处亭台隐于林麓，与云气相融添悠远。题字朱印点缀其间，笔墨雅致韵致天成。简练线条营造清幽意境，山水人物相映成趣，似将古典情愫化作可触的山水清嘉。每处细节透着明式文人画的雅致含蓄，让人沉醉于这方小天地，感受跨越时空的古典温柔。",[7265,24,63,1829,516,94,30,7,32,33,121,96,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459ec78c0fdae4e0c9bc3b2b1d53cbbf.jpg",[],{"id":14975,"slug":14976,"title":14977,"dynasty":246,"author":1105,"museum":328,"description":9361,"tags":14978,"thumbUrl":14979,"material":102,"size":223,"collection":223,"collections":14980,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":108},215012,"fang-gu-shan-shui-ce-17-wang-jian-215012","仿古山水册-17",[23,24,117,27,98,234,94,97,33,32,7,75,250,2269,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1f2b5608e75f73c8e5cce67ae9717b.jpg",[],{"id":14982,"slug":14983,"title":2158,"dynasty":246,"author":14984,"museum":90,"description":14985,"tags":14986,"thumbUrl":14987,"material":223,"size":223,"collection":104,"collections":14988,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":14989},203413,"shan-shui-ce-xi-gang-203413","奚冈","画面中山峦层叠，云雾轻笼，似隐似现间漾出空灵之韵。近处树木错落，枝干虬劲，笔墨清隽；小桥横跨浅溪，流水脉脉，添得几分悠然。水墨晕染与皴法交织，线条简练却含韵致，山石纹理与树木姿态相映成趣，尽显文人画的雅致淡远。整体意境清逸，如啜清茶，余味绵长，仿佛置身静谧山林，心随景宁，神与物游。",[24,94,93,98,7,33,234,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b16681b782b75d84330f93c0dd8f3.jpg",[104],"d5cdc5",{"id":14991,"slug":14992,"title":14993,"dynasty":5727,"author":14994,"museum":90,"description":14995,"tags":14996,"thumbUrl":14997,"material":223,"size":223,"collection":104,"collections":14998,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":14999},203395,"gui-qu-lai-ci-tu-zhou-weng-rui-wu-203395","归去来辞图轴","翁瑞午","画面以青绿设色晕染山峦，云雾轻笼间显幽深之致。近景茅屋简朴雅致，松枝虬曲如盖，树下士人衣袂飘然，似与童子闲话归园之乐。小桥横架溪上，花草点缀石畔，飞鸟隐于天际，处处流露归隐田园的恬淡意趣。笔墨兼具工写，人物神态悠然，山水意境悠远，将《归去来辞》中“复得返自然”的心境具象化，尽显文人画的清雅韵致。",[24,117,27,94,30,252,293,7,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142bd580125eaa2bd2d08f44b804de70.jpg",[104],"baa38b",{"id":15001,"slug":15002,"title":15003,"dynasty":5727,"author":15004,"museum":90,"description":15005,"tags":15006,"thumbUrl":15007,"material":223,"size":223,"collection":104,"collections":15008,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15009},203193,"qing-shan-xiu-ting-tu-zhou-gao-jian-fu-203193","青山秀亭图轴","高剑父","这幅山水以水墨为骨，皴擦勾勒山石轮廓，墨色浓淡交织出云雾氤氲之态。崖巅亭台独立，涧上小桥隐现，树木枝叶以灵动笔触绘就，点缀淡彩更添生机。笔墨既承传统写意之韵，又含写生写实之真，将山川的奇秀与静谧融于一体，尽显自然意趣与人文情怀。",[24,94,93,27,96,7,98,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1414c742bc46d22ebb734bb3c980e8e9.jpg",[104],"b0a591",{"id":15011,"slug":15012,"title":2772,"dynasty":5727,"author":5728,"museum":90,"description":15013,"tags":15014,"thumbUrl":15015,"material":223,"size":223,"collection":104,"collections":15016,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":5732},202933,"shan-shui-tu-zhou-huang-bin-hong-202933","这幅山水图轴笔墨浑厚华滋，意境苍茫深秀。层岩叠嶂间云雾氤氲，虚实相生；近处松石挺劲，枝干虬曲，墨色浓淡相宜。溪畔茅舍隐约，小桥横跨，似有隐士居于此间，尽显清寂雅致的山林气象。画家以干笔皴擦勾勒山石肌理，湿墨晕染烘托云气，浓淡干湿交错，墨色层次丰富，尽显“黑密厚重”之韵，蕴含着对自然山川的深刻体悟与文人画的诗意情怀，是其山水风格的典型体现。",[24,93,94,98,293,97,7,7355,155,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46178af2211fd537f0e2f3702937a46.jpg",[104],{"id":15018,"slug":15019,"title":5345,"dynasty":246,"author":15020,"museum":90,"description":15021,"tags":15022,"thumbUrl":15023,"material":223,"size":223,"collection":223,"collections":15024,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15025},202675,"qiu-jing-shan-shui-zhou-shi-pu-202675","施溥","秋山层叠，皴笔勾勒出山石苍劲肌理；虬松虬劲，枝叶间红叶点染秋意。山涧溪流蜿蜒，小桥横架，一人策杖徐行，为静谧景致添得生趣。远处峰峦隐于云雾，近处屋舍藏于林麓，虚实相生间尽显山水悠远。画作以淡雅设色晕染秋韵，构图层次分明，远近错落，将秋日山水的幽寂与闲逸融于一体，笔墨间流露传统山水的情致与意趣。",[94,98,27,293,7,30,5348,1956,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ad2032dd14e475be0340eb819143bd.jpg",[],"cc9877",{"id":15027,"slug":15028,"title":15029,"dynasty":246,"author":15030,"museum":90,"description":15031,"tags":15032,"thumbUrl":15033,"material":223,"size":223,"collection":223,"collections":15034,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15035},202573,"xi-qiao-gu-shu-tu-zhou-tang-yi-fen-202573","溪桥古树图轴","汤贻汾","这幅水墨山水以简淡笔触绘就，虬枝古树傍桥而生，枝干苍劲，墨色层次分明，尽显老木沧桑之姿。小桥横架溪上，桥上人影孑然，似赏景沉思。远处平野朦胧，云雾轻绕，意境空灵悠远。笔法疏朗却意韵绵长，将文人的闲适心境与自然的清寂之美相融，尽显水墨山水的雅致韵味。",[24,135,93,94,7,136,98,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0caff1d4efaeae8724756e038c44b995.jpg",[],"dcd5c9",{"id":15037,"slug":15038,"title":2772,"dynasty":246,"author":1309,"museum":90,"description":15039,"tags":15040,"thumbUrl":15041,"material":223,"size":223,"collection":104,"collections":15042,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15043},201701,"shan-shui-tu-zhou-wang-yuan-qi-201701","这幅山水图取境悠远，山峦层叠间笔墨苍劲沉厚，皴擦点染交织，积墨技法运用精妙，尽显沉雄气象。山间林木葱茏，松枝虬曲，屋舍隐于岩麓，小桥跨溪而过，意境清幽雅致。构图严谨中见灵动，墨色浓淡相宜，设色淡雅，既承传统山水之韵，又展画家自家风貌，于咫尺间含千里之势，传递出文人山水的静谧与深邃。",[24,63,94,98,27,7,191,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a898e522a600d62ed83886e45593979.jpg",[104],"cdc1ab",{"id":15045,"slug":15046,"title":15047,"dynasty":246,"author":613,"museum":90,"description":15048,"tags":15049,"thumbUrl":15050,"material":223,"size":223,"collection":104,"collections":15051,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15052},201694,"shan-lin-le-shi-tu-zhou-shi-tao-201694","山林乐事图轴","笔墨纵横间，山石以皴擦相济之法尽显奇崛，近松苍劲虬曲，中景山峦叠嶂，小径蜿蜒处隐见亭榭与行游之人，远景峰岫含烟，云雾轻笼。整幅以水墨为底，浓淡干湿交织，将山林清幽与文人逸趣融于一体，既见笔力雄浑，又藏诗意禅味，仿佛引观者步入静谧丘壑，共品自然与人文交织的悠然之乐。",[24,93,94,98,293,7,96,30,135,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c853f21885c4cdc3feb90aeb68b6c7.jpg",[104],"a9a39d",{"id":15054,"slug":15055,"title":15056,"dynasty":246,"author":9905,"museum":90,"description":15057,"tags":15058,"thumbUrl":15059,"material":223,"size":223,"collection":104,"collections":15060,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15061},201676,"dian-cang-shan-se-tu-zhou-huang-xiang-jian-201676","点苍山色图轴","层峦叠嶂如黛，云雾似缕轻缠峰腰，远近山景因之错落有致。山石以皴擦显肌理，或浓墨点苔增苍劲，或淡笔晕染衬空灵。山下江流蜿蜒，孤舟泛于碧波，岸畔村舍隐于树影，小桥横卧溪上，行人策马路过，烟火气与清寂山光相融。笔墨干湿相济，设色淡雅温润，既展山川雄浑之态，又含水乡灵秀之韵，自然意趣与人文情致交织，尽得传统山水画气韵生动之妙。",[94,27,98,7,32,95,65,366,6215,155,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2f80673801566b69d1f6606ddfe3dd1.jpg",[104],"8b7b70",{"id":15063,"slug":15064,"title":15065,"dynasty":18,"author":8597,"museum":90,"description":15066,"tags":15067,"thumbUrl":15069,"material":223,"size":223,"collection":104,"collections":15070,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15071},201667,"he-jing-na-liang-tu-zhou-yuan-shang-tong-201667","荷静纳凉图轴","画面铺展清幽之境：近坡古树虬劲，枝叶繁密如盖，山石以皴法勾勒，纹理分明；中流亭榭凌波而立，竹桥轻架水面，流水潺潺绕石而过，小桥卧波连两岸；远处竹影森森，山峦淡远朦胧，云雾轻笼天际，似有微风拂面。笔墨灵动有致，树木点染间见生机，设色淡雅温润，将纳凉的闲适与自然的静谧相融，尽显文人雅士寄情山水的悠然心境，仿佛能闻得竹梢风动、水石相击的清响。",[94,96,7,32,98,27,564,33,97,15068,23],"文人意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ab2cd7326a244667baa64e7c609797.jpg",[104],"b8ab92",{"id":15073,"slug":15074,"title":15075,"dynasty":246,"author":6183,"museum":90,"description":15076,"tags":15077,"thumbUrl":15079,"material":223,"size":223,"collection":104,"collections":15080,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15081},201614,"long-men-cha-wu-tu-zhou-qian-du-201614","龙门茶屋图轴","山石层叠，皴笔细密，墨色浓淡交织出苍润肌理；松柳相依，枝叶轻扬，清逸之姿衬出烟霞意韵。溪边茶屋隐于林麓，竹篱环护，屋内人影依稀，似有茶香漫溢。小桥横架溪上，远山淡抹，近水无声，动静之间，尽展文人幽居之雅趣。整幅画作笔墨雅致，意境清幽，将自然之美与人文之思融于尺幅，尽显清代文人山水画的温婉韵致。",[24,94,98,135,93,206,676,97,7,15078,23],"茶屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7eeb8462931b4f5a7c0bc0a53c2fb3c.jpg",[104],"b4ad9a",{"id":15083,"slug":15084,"title":15085,"dynasty":246,"author":15086,"museum":90,"description":15087,"tags":15088,"thumbUrl":15089,"material":223,"size":223,"collection":223,"collections":15090,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15091},201588,"guan-shan-xing-lv-tu-zhou-lu-wei-201588","关山行旅图轴","陆㬙","画面中山峦起伏，云雾轻笼，意境悠远。遒劲老树盘根于峭壁，枝干虬曲苍劲，尽显生命力。下方河流潺潺，小桥横跨河面，隐约行人，暗合行旅之意。山石以皴法写就，笔墨浓淡交错，设色淡雅温润。林间树木疏密有致，远近层次分明，笔墨韵味醇厚。整体构图虚实相生，空灵清寂，尽显传统山水画的笔墨功力与意境营造之妙。",[24,63,94,93,27,98,136,7,32,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a9c45e19bc36de86547cd3719d02b6.jpg",[],"bf9d66",{"id":15093,"slug":15094,"title":15095,"dynasty":18,"author":525,"museum":90,"description":15096,"tags":15097,"thumbUrl":15098,"material":223,"size":223,"collection":104,"collections":15099,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15100},201581,"fang-dong-yuan-xi-shan-xing-lv-tu-zhou-dong-qi-chang-201581","仿董源溪山行旅图轴","画面山峦以披麻皴写就，笔墨清润雅致，尽显江南山水的温婉灵秀。前景林木葱茏，溪流蜿蜒，小桥隐现，屋舍错落于林间，一派静谧田园之景。远景层峦叠嶂，云雾氤氲，虚实相生间拓展出深远意境。画家以仿古为径，融董源山水的平淡天真与自身笔墨的空灵韵致，营造出清逸淡远的文人气息，尽显其“以书入画”的笔墨功力与对传统山水的深刻体悟。",[94,27,7,32,98,29,137,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a80e40347fe1da6ee22891cc32a063.jpg",[104],"97793f",{"id":15102,"slug":15103,"title":15065,"dynasty":246,"author":2578,"museum":90,"description":15104,"tags":15105,"thumbUrl":15106,"material":223,"size":223,"collection":104,"collections":15107,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15108},201545,"he-jing-na-liang-tu-zhou-hua-yan-201545","盛夏时节，荷塘静谧如镜，亭中雅士凭栏而坐，静待荷风拂面。岸边林木葱郁，枝叶以浓淡墨点染，生机盎然；山石用简淡皴擦，显朴拙之态。小桥横跨浅滩，与亭台相映成趣，整体画面笔墨秀逸，设色清雅，将文人远离尘嚣、纳凉消暑的闲适心境融入山水之间，尽显自然与人文交融的雅致意趣。",[24,94,96,7266,7,98,27,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98cc80d01e18800ea96bb2097998f70d.jpg",[104],"8f7657",{"id":15110,"slug":15111,"title":11894,"dynasty":246,"author":15112,"museum":90,"description":15113,"tags":15114,"thumbUrl":15115,"material":223,"size":223,"collection":104,"collections":15116,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":15117},201503,"guan-pu-tu-zhou-zhou-hao-201503","周灏","画面中山峦层叠，皴笔勾勒山石肌理，墨色浓淡相间显丘壑之深。飞瀑自峭壁倾泻，隐于云雾间添灵动韵致。山间楼阁错落，林木葱郁，小径蜿蜒入幽；近景溪石横卧，流水潺潺，小桥静卧岸畔，一派清幽雅致的山居气象。笔墨苍劲中含秀逸，构图虚实相生，意境悠远，尽显自然与人文交融的恬淡之趣。",[24,93,94,98,31,7,32,97,33,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c3066403650407874b55628030d2d91.jpg",[104],"9b8c78",{"id":15119,"slug":15120,"title":15121,"dynasty":246,"author":1349,"museum":90,"description":15122,"tags":15123,"thumbUrl":15125,"material":223,"size":223,"collection":104,"collections":15126,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":12627},201457,"ba-jing-shan-shui-juan-gong-xian-201457","八景山水卷","墨色流转间，山峦层叠，林木苍劲。龚贤以积墨皴染之法，皴擦结合，使山石厚重而灵秀。八景次第铺展，或孤舟泊于烟水，小桥连岸；或亭榭隐于林间，云雾轻笼。画面虚实相济，清幽淡远，江南山水的温婉与深邃尽现，似可感林泉之静，观四时之韵。",[24,25,93,94,98,95,7,96,15124,121,23],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcfbfb009898e8a869781f66d34262f4.jpg",[104],{"id":15128,"slug":15129,"title":15130,"dynasty":246,"author":5979,"museum":360,"description":15131,"tags":15132,"thumbUrl":15135,"material":494,"size":495,"collection":223,"collections":15136,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},290985,"liu-tang-xia-yu-gao-zong-yu-ti-zhou-zhang-zong-cang-290985","柳塘夏雨高宗御题轴","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,116,135,93,98,99,118,94,15133,15134,32,95,121,7,96,136,2609,191],"柳塘","夏雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63f5b5760409e528a471071399f414.jpg",[],{"id":15138,"slug":15139,"title":15140,"dynasty":246,"author":6467,"museum":132,"description":15141,"tags":15142,"thumbUrl":15144,"material":494,"size":495,"collection":223,"collections":15145,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},290524,"yan-luan-ye-wu-zhou-hong-wu-290524","烟峦野屋轴","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。",[24,93,94,135,98,191,15143,293,7,32,121,366,95],"野屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbed4d9e56f6266c185a2e5dc8ac394.jpg",[],{"id":15147,"slug":15148,"title":15149,"dynasty":1933,"author":15150,"museum":360,"description":15151,"tags":15152,"thumbUrl":15153,"material":494,"size":495,"collection":223,"collections":15154,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},290472,"song-yin-shan-jian-tu-zhou-zhao-zhong-mo-290472","松荫山涧图轴","赵重默","此作用浅绛晕染山岚，远山以淡墨轻敷，层峦叠嶂间林木蓊郁苍润。飞泉自崖壁垂落，山坳村居错落，左畔浮屠静立，烟云轻笼山脚，漾出空濛雅致。\n\n山涧蜿蜒穿林，板桥之上行旅策驴，为清寂山林添入烟火暖意。左上题诗与景致相融，笔致秀润温婉，将春日山乡的湿润清幽铺陈开来。丘壑林泉里藏着幽居山野的闲雅意趣，观之便如踏入桃源，俗尘尽涤，漫溢出东方山水独有的淡远禅意。",[23,24,135,27,94,31,7,32,6848,293,492,1617,99,118,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a0204406ff7057b31a81ffb0ca56e5.jpg",[],{"id":15156,"slug":15157,"title":15158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":15159,"thumbUrl":15160,"material":494,"size":495,"collection":223,"collections":15161,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},290390,"mo-gao-fang-shan-bi-yi-tu-li-zhou-dong-bang-da-290390","摹高房山笔意图立轴",[23,24,135,331,117,27,7,32,136,191,137,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7f3c07b5c65a4a9452ef30254e70b6.jpg",[],{"id":15163,"slug":15164,"title":4590,"dynasty":1933,"author":1553,"museum":360,"description":15165,"tags":15166,"thumbUrl":15167,"material":494,"size":495,"collection":223,"collections":15168,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},290017,"shan-shi-qing-lan-tu-yi-ming-290017","列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[23,24,116,63,135,93,94,98,31,7,32,95,96,97,293,3479,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":15170,"slug":15171,"title":15172,"dynasty":1933,"author":15173,"museum":360,"description":15174,"tags":15175,"thumbUrl":15176,"material":494,"size":495,"collection":223,"collections":15177,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},289367,"tu-dao-chao-tun-tu-qing-mu-mu-mi-289367","兔道朝暾图","青木木米","此作用笔兼具中日山水意趣，取景开合相生。远山以淡墨晕染出空濛烟岚，峰峦轮廓温润朴拙，暗合米家山水氤氲之态。近岸桃红柳翠，板桥通幽，山居藏于虬枝茂叶间，清溪蜿蜒穿谷，渔舟泛波划破春水静澜。\n\n右侧崖壁题笔古雅，笔墨干湿浓淡交叠，苍松怪石兼具苍劲秀逸之姿。将春日溪山的清寂生机揉为一处，渔樵幽隐之趣暗含其间，把文人寄兴林泉的澹然幽怀，晕染进烟柳春山之中，静穆又暗藏灵动意韵。",[23,24,331,27,93,98,94,7,32,95,96,119,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b4914d50ec75112b683d1d423ddc33.jpg",[],{"id":15179,"slug":15180,"title":15181,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":15182,"thumbUrl":15184,"material":494,"size":495,"collection":223,"collections":15185,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},288500,"dan-ai-cang-shan-tu-dong-bang-da-288500","淡霭苍山图",[116,24,63,135,93,98,331,15183,155,10522,252,7,33,99,118],"苍山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8214838b222f6c271dd732b2a627adb5.jpg",[],{"id":15187,"slug":15188,"title":15189,"dynasty":246,"author":1553,"museum":360,"description":14563,"tags":15190,"thumbUrl":15191,"material":494,"size":495,"collection":223,"collections":15192,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},272963,"zi-tan-mu-diao-hua-bian-zuo-hua-shan-shui-tu-bo-li-cha-ping-yi-ming-272963","紫檀木雕花边座画山水图玻璃插屏",[24,331,27,94,7,454,3869,14566,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d9da621918ebd4851e29a7074f591c.jpg",[],{"id":15194,"slug":15195,"title":15196,"dynasty":246,"author":1553,"museum":360,"description":15197,"tags":15198,"thumbUrl":15201,"material":494,"size":495,"collection":223,"collections":15202,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":498},272879,"zi-tan-mu-bian-qian-yu-shan-shui-tu-gua-ping-yi-ming-272879","紫檀木边嵌玉山水图挂屏","此挂屏以黑漆为底，取各色玉料巧作镶嵌，晕染出一方江南园林胜景。远景山峦叠翠，亭台隐于林麓，题字墨韵点衬风雅；近岸柳丝垂波，临水轩榭明丽雅致，舟船泛于湖面，桥上雅士晤谈晏晏，意态悠然。\n\n匠者借玉石天然色泽区分景致层次，深浅玉色晕开远近空间，将江南烟霭温润之美凝于屏中。紫檀边框沉稳内敛，把文人山水意趣与百宝嵌工艺相融，静赏间如身临水墨江南，尽显清代工造的精巧匠心与雅致审美。",[8675,15199,3869,15200,94,31,7,32,30,96,33,99,95],"玉石","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78abdb89b00f3b0e9ae27403638350f2.jpg",[],{"id":15204,"slug":15205,"title":15206,"dynasty":246,"author":1553,"museum":360,"description":15207,"tags":15208,"thumbUrl":15211,"material":494,"size":495,"collection":223,"collections":15212,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},272848,"zi-tan-mu-bian-zuo-qian-ya-gu-dian-cui-ren-wu-tu-cha-ping-yi-ming-272848","紫檀木边座嵌牙骨点翠人物图插屏","此作以紫檀为骨，雕纹古雅工致，屏心借牙骨点翠施艺。黑地如夜，托衬得画面明丽雅致。\n画面铺陈江南雅集盛景：山峦以点翠晕出幽蓝清润的层叠意趣，亭台水榭错落其间，士人泛舟游赏、亭中晤谈、桥上流连，稚童嬉闹点缀角落，人物衣袂飘然、神态鲜活，将文人雅聚的闲情逸趣尽数铺展。\n百宝嵌的精妙工艺揉合古典文人意趣，既是雅致陈设，亦是清代匠造审美与文人情思融合的精巧之作。",[11596,3869,15209,15210,15200,30,96,7,31,94,27,4877],"牙骨","点翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6fd3d510d18881a34432014c6f4534.jpg",[],{"id":15214,"slug":15215,"title":15216,"dynasty":246,"author":1553,"museum":360,"description":15217,"tags":15218,"thumbUrl":15219,"material":494,"size":495,"collection":223,"collections":15220,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},272839,"zi-tan-mu-bian-zuo-qian-yu-ren-xi-chi-mu-shan-shui-tu-cha-ping-yi-ming-272839","紫檀木边座嵌玉人鸂鶒木山水图插屏","此插屏以硬木沉凝托举山水雅境，鸂鶒木随形皴刻出层叠山峦，古亭依林而立，石桥架于曲水之上，苔痕枝桠皆见匠心。莹白玉人伫于松下，素洁温润的玉色与沉郁木色相衬，将文人林下访友的闲雅意境收于屏间。青绿底衬铺陈开湖天色光，让山水更见空濛悠远。刀工细腻入微，将山林野趣与园林雅致融为一体，雕嵌相合静中藏动，把林泉高致缩于咫尺，尽显传统工艺的清韵雅致，是文人意趣与工艺巧思的精妙结合。",[11596,14566,3869,15199,94,31,7,32,30,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817d76c82158a26f03fc09ba74345fcd.jpg",[],{"id":15222,"slug":15223,"title":15224,"dynasty":246,"author":1553,"museum":360,"description":15225,"tags":15226,"thumbUrl":15228,"material":494,"size":495,"collection":15229,"collections":15230,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},258985,"yi-xing-yao-zi-sha-yu-ti-shi-peng-cha-tu-hu-yi-ming-258985","宜兴窑紫砂御题诗烹茶图壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[11595,15227,14566,30,31,7,4877],"紫砂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddb369aa9c1b609db3d3f432460971a.jpg","瓷器精选",[15229],{"id":15232,"slug":15233,"title":15234,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":15235,"thumbUrl":15236,"material":494,"size":495,"collection":223,"collections":15237,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},257906,"qing-hua-han-jiang-du-diao-tu-bi-yan-hu-yi-ming-257906","青花寒江独钓图鼻烟壶",[11595,4877,11594,94,95,840,7,32,1096,9709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff833b10396ab6031d530ca386313864e.jpg",[],{"id":15239,"slug":15240,"title":6727,"dynasty":246,"author":6728,"museum":360,"description":15241,"tags":15242,"thumbUrl":15243,"material":223,"size":223,"collection":223,"collections":15244,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},239413,"fang-gu-shan-shui-ping-qin-zu-yong-239413","此作用青绿浅绛晕染桃源春涧之景，层叠山峦以披麻皴勾勒，苔点错落晕出山峦苍润生机。山坳水畔村居错落排布，板桥飞泉萦纡林间，桃松杂木各含清姿，将世外山居的幽寂闲雅铺陈眼前。\n\n右上角题诗自叙追仿元人笔意，以笔墨复刻林泉雅趣，丘壑间既承古法意韵，又自含萧散出尘的静穆意境，尽显传统山水画里寄情山水的文人逸致。",[24,63,135,27,98,528,94,7,32,33,152,75,206,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31d7174efa971295b9e6bc389b44049.jpg",[],{"id":15246,"slug":15247,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":9155,"tags":15248,"thumbUrl":15249,"material":494,"size":495,"collection":223,"collections":15250,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},239336,"shan-shui-ce-cha-shi-biao-239336",[24,63,234,93,100,98,94,7,32,136,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8dff69e7110e34fb36fb8e410db69d.jpg",[],{"id":15252,"slug":15253,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":9155,"tags":15254,"thumbUrl":15255,"material":494,"size":495,"collection":223,"collections":15256,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},239335,"shan-shui-ce-cha-shi-biao-239335",[24,93,98,234,94,7,97,155,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb99e6f26520c0e892f3ebb62bfd584.jpg",[],{"id":15258,"slug":15259,"title":8699,"dynasty":18,"author":1126,"museum":360,"description":9995,"tags":15260,"thumbUrl":15261,"material":494,"size":495,"collection":223,"collections":15262,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},239318,"shan-shui-tu-ce-zhang-hong-239318",[24,63,234,93,98,94,97,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9642a66c525ac027a91ca90a9842efe.jpg",[],{"id":15264,"slug":15265,"title":13972,"dynasty":246,"author":5870,"museum":360,"description":15266,"tags":15267,"thumbUrl":15268,"material":223,"size":223,"collection":223,"collections":15269,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},239203,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239203","此作书画合璧，以干笔淡墨绘就山林古寺。层峦叠嶂间松荫翳然，板桥通幽，行人缓步徐行，意境清寂淡远，尽显静穆出尘之致。\n行书题诗笔致清劲萧散，与画面的野逸气息彼此呼应。笔墨洗练不事雕琢，以留白烘托出空寂禅意，将山水的幽邃与沉郁清介的襟怀相融，淡墨皴擦间漫溢出荒寒雅静的林下之风，是寄寓了文人孤高心性的山水佳作。",[24,93,94,98,234,99,118,7,32,293,97,31,96,33,156,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e51aa9b0ddb8cc46ad09ca88e82366.jpg",[],{"id":15271,"slug":15272,"title":2158,"dynasty":246,"author":10427,"museum":360,"description":10428,"tags":15273,"thumbUrl":15274,"material":223,"size":223,"collection":223,"collections":15275,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},239008,"shan-shui-ce-li-dong-239008",[24,63,234,27,94,31,7,97,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F510aef1940f26a918f28f3be24c6cb7a.jpg",[],{"id":15277,"slug":15278,"title":2158,"dynasty":246,"author":3233,"museum":360,"description":3234,"tags":15279,"thumbUrl":15280,"material":223,"size":223,"collection":223,"collections":15281,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238989,"shan-shui-ce-yang-jin-238989",[24,63,234,27,98,94,33,97,32,7,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22aea7b50e02f8f31baeec33ecb242e.jpg",[],{"id":15283,"slug":15284,"title":13986,"dynasty":246,"author":4810,"museum":360,"description":15285,"tags":15286,"thumbUrl":15287,"material":223,"size":223,"collection":223,"collections":15288,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238778,"shan-shui-ren-wu-xiao-ce-dong-gao-238778","此作以平远之法铺展山居幽境，左侧水岸茅亭孑立，古木虬枝横斜，浓荫掩着幽隐天地。右侧层岩叠翠，松荫蓊郁，山涧泉流蜿蜒穿石，留白晕出烟波空濛，衬出水天无尽的悠远。笔墨秀雅工致，浅赭淡绿晕染山石林木，设色清润柔和，既带着元人山水的萧散意趣，又兼具精细雅致的笔墨质感，将江南山居的安谧恬和尽数铺陈，尽显寄情林泉的文人雅逸襟怀，淡远清宁的氛围漫溢纸面，观之如身临幽寂林泉，涤尽尘俗喧嚣。",[24,63,234,27,94,30,98,97,33,32,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6044ce94a47fbde6dbe841bd747675f.jpg",[],{"id":15290,"slug":15291,"title":13986,"dynasty":246,"author":4810,"museum":360,"description":15292,"tags":15293,"thumbUrl":15294,"material":223,"size":223,"collection":223,"collections":15295,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238771,"shan-shui-ren-wu-xiao-ce-dong-gao-238771","此作用淡墨轻皴勾勒冬末水岸山居，枯木虬枝交错延展，数处红叶点缀枝头，为清萧底色晕开暖意，枝桠留白尽显疏朗空寂。屋舍隐于林麓之间，朴拙雅致，石矶错落依水排布，石阶蜿蜒衔起山居与江滩，漾出野寂闲趣。远景山峦以淡赭晕染，和留白江面相融，衬出江天寥廓空远。\n题款小字清雅和画面相映，整作画风秀逸温润，摒弃浓墨重彩，以简淡笔墨铺就幽寂安闲的世外之境，将江村冬日清旷淡远的意境娓娓铺展，尽显文人画雅致意趣，淡而不枯，简中藏味，暗合寄情林泉的隐逸襟怀。",[24,27,98,234,94,30,414,7,32,97,75,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27329fb35154b8faa775a36acb9369c2.jpg",[],{"id":15297,"slug":15298,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":15299,"tags":15300,"thumbUrl":15301,"material":223,"size":223,"collection":223,"collections":15302,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238749,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238749","此作用笔秀雅简淡，以水墨写就园林幽居之景。右侧楼阁凭栏立人，古木环合，檐角隐于枝叶间，静谧安闲；左侧溪桥蜿蜒，水榭依水而建，水波澹澹衬出空濛之态，奇石错落、嘉木扶疏，铺陈出林泉雅境。\n诗画合璧，以留白晕染烟霞之致，将拟古诗意具象化。整体疏朗清寂，不着浓彩，以简练皴擦勾勒山石肌理，淡墨点染林木苍润，尽显江南园林的闲雅隐逸之趣，藏着文人士大夫悠游林泉、静赏烟霞的澹泊襟怀。",[24,63,234,93,94,7,32,96,33,97,75,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beae70bf636e6e1c5680dd3f003c793.jpg",[],{"id":15304,"slug":15305,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":15306,"tags":15307,"thumbUrl":15308,"material":223,"size":223,"collection":223,"collections":15309,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238748,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238748","此幅以淡墨写就郊林清景。右侧古松虬劲苍茂，松下二人对坐晤谈，衣袂简雅，尽显林下闲逸之姿。左侧平林远岫，浅溪横桥，山石以干笔皴擦，淡墨晕染，清润秀逸。\n\n诗画合璧，将早行郊游的闲雅意趣融于山水间，笔致简净松秀，以简淡笔墨铺陈出萧散出尘的林下之思。清和笔墨晕开春日郊野的柔润清旷，把观景游赏的雅兴藏在一山一水、一松一人中，诗画呼应，静穆平和，尽显文人山水的淡远意境。",[24,63,234,93,98,94,33,30,7,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2462a8ce8ca5ba5a1ed1c415901cd6aa.jpg",[],{"id":15311,"slug":15312,"title":15313,"dynasty":246,"author":4064,"museum":360,"description":15314,"tags":15315,"thumbUrl":15316,"material":223,"size":223,"collection":223,"collections":15317,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238716,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238716","画弘历和江文通诗意图册","此作用白描绘就雅集盛景，左畔古木怪石环抱幽亭，右方水榭远山含藏烟波。汀洲之上文人两两揖晤，衣袂舒展、仪态温恭，尽显林下酬唱的清逸闲趣。\n\n画师以铁线勾勒写形，山石皴擦简淡却见丘壑层次，古木虬枝挺拔苍劲，笔致秀挺洗练。题诗与画境呼应，诗画交融，将文人雅聚的风流意韵尽藏卷中，笔墨间浸透着古典山水人文的悠然意趣。",[24,63,234,93,98,30,94,439,616,96,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc51b9748c6e4f11f137e26f6f94113.jpg",[],{"id":15319,"slug":15320,"title":15313,"dynasty":246,"author":4064,"museum":360,"description":15321,"tags":15322,"thumbUrl":15323,"material":223,"size":223,"collection":223,"collections":15324,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238711,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238711","此作用左文右图的形制，将诗画相融。画面以水墨绘就板桥送别之景，着笠佩剑的行者停驻桥头，与揖手相送的故友遥遥相对，侧旁侍从牵马静候，依依别情尽在无言。远景山峦以淡墨轻皴，烟岚晕染出平远空濛之态，近岸枯木虬枝挺拔，衬出萧疏清远的氛围。\n\n笔墨秀雅清劲，皴擦简淡含蓄，将离别的缱绻怅惘融于山水间。题字与朱印错落排布，诗书画印相映成趣，尽显文人雅韵，把诗文里的惜别深情化作可感的山水意境，含蓄隽永。",[24,63,93,27,26,98,94,30,31,7,136,96,492,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9563c77083b5aa0bd8dc5dec7ab912ba.jpg",[],{"id":15326,"slug":15327,"title":14923,"dynasty":246,"author":15328,"museum":360,"description":15329,"tags":15330,"thumbUrl":15332,"material":494,"size":495,"collection":223,"collections":15333,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238451,"geng-zhi-tu-ce-mian-yi-238451","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,27,26,234,30,2343,32,281,75,6072,1096,7,33,15331,97],"稻田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab5daa01a8299f54332abb7a49a6b30d.jpg",[],{"id":15335,"slug":15336,"title":13566,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":15337,"thumbUrl":15338,"material":223,"size":223,"collection":223,"collections":15339,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},238340,"si-jing-shan-shui-xiao-ce-dong-gao-238340",[116,24,63,234,27,93,98,94,97,33,31,96,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab52e0d7d248ec9501bef69b68622765.jpg",[],{"id":15341,"slug":15342,"title":2158,"dynasty":246,"author":6295,"museum":360,"description":15343,"tags":15344,"thumbUrl":15345,"material":223,"size":223,"collection":223,"collections":15346,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238200,"shan-shui-ce-tang-dai-238200","左页小楷题自作山水诗，笔致清劲隽秀，诗中摹写空山雨过、烟霭随行之景。右页浅绛山水，近岸林木苍茂，板桥通幽径，层岩叠嶂延绵向远，飞泉自崖顶垂落，流云轻笼峰峦，晕染出空濛淡远之境。\n全作用笔沉稳秀润，设色淡雅柔和，诗画相合，将山居幽寂清宁的意韵铺陈尽致，尽显正统山水的雅正法度，藏文人画的诗意留白，绘就了一卷空山无尘、烟岚随行的世外林泉图景。",[24,27,98,100,99,118,94,97,33,7,32,3811,155,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99d7bd8f32d56ff93233a99f07171b.jpg",[],{"id":15348,"slug":15349,"title":2158,"dynasty":246,"author":6295,"museum":360,"description":15350,"tags":15351,"thumbUrl":15352,"material":223,"size":223,"collection":223,"collections":15353,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},238198,"shan-shui-ce-tang-dai-238198","此作以干笔皴擦写寒林丘壑，嶙峋山石间枯木萧疏，淡墨晕染远山如笼薄烟，与混茫天色相融，将冬日山野的荒寂清冷铺陈开来。边角取景，愈显天地空阔、幽绝尘寰。\n\n左侧题诗与画境相契，山空人绝、孤鸟独飞，把世外幽隐的清苦禅意晕开，朱红古印沉朴雅致，与水墨冷调相映成趣。尺幅之间藏林泉高致，将文人幽居寄情山水的意趣尽显无余，笔底皆是沉静淡远的林下之风。",[24,63,234,93,27,98,99,118,529,1470,439,97,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d955d2c00347e29d254ec2a2f46329b.jpg",[],{"id":15355,"slug":15356,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":15357,"tags":15358,"thumbUrl":15359,"material":223,"size":223,"collection":223,"collections":15360,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238152,"shan-shui-ce-yun-xi-238152","此作用左诗右图的形制，尽显文人雅趣。画面笔墨清润淡雅，山峦以披麻皴写就，层叠起伏间带着苍秀古拙之意。林麓间村居隐现，溪桥横陈，淡淡晕染的云烟铺就出空寂幽远的山居氛围，将红尘隔绝的林下之境缓缓铺展。配诗与山水呼应，将眼前丘壑视作仙乡，落笔清隽，书画合璧尽显静穆萧散的隐逸意趣，寥寥笔墨勾勒出超然世外的悠远意境，尽显寄情山水的文人襟怀。",[24,63,234,93,98,94,31,7,32,336,33,99,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93487567e330727c50dc26b00c0aefb.jpg",[],{"id":15362,"slug":15363,"title":2158,"dynasty":246,"author":9418,"museum":360,"description":15364,"tags":15365,"thumbUrl":15366,"material":223,"size":223,"collection":223,"collections":15367,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},238016,"shan-shui-ce-lu-zun-shu-238016","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,63,234,93,98,94,564,439,75,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c9ec43783404bf2adb345b2f388fbc.jpg",[],{"id":15369,"slug":15370,"title":8699,"dynasty":246,"author":15371,"museum":360,"description":15372,"tags":15373,"thumbUrl":15374,"material":223,"size":223,"collection":223,"collections":15375,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237867,"shan-shui-tu-ce-jin-xue-jian-237867","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[24,63,234,93,27,94,98,7,32,191,33,2538,71,190,250,4649,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143db4af058fe90f4e3815f655e91d60.jpg",[],{"id":15377,"slug":15378,"title":15379,"dynasty":18,"author":15380,"museum":360,"description":15381,"tags":15382,"thumbUrl":15383,"material":494,"size":495,"collection":223,"collections":15384,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},237811,"jiang-gan-li-ma-shan-ye-ma-yi-237811","江干立马扇页","马逸","马逸，字南坪，晚号陔南，清代江苏常熟人。",[24,63,1829,93,98,94,30,65,800,7,33,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf2dc4217e38e19041df8f18b637a45.jpg",[],{"id":15386,"slug":15387,"title":2158,"dynasty":246,"author":8691,"museum":60,"description":8692,"tags":15388,"thumbUrl":15389,"material":223,"size":223,"collection":223,"collections":15390,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237556,"shan-shui-ce-wen-dian-237556",[24,93,98,234,94,7,33,75,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1dc8704ccc0fa573a13f8df1a26694.jpg",[],{"id":15392,"slug":15393,"title":15394,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":15395,"thumbUrl":15397,"material":494,"size":495,"collection":223,"collections":15398,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237534,"fang-shan-qiao-yan-ju-shan-wang-hui-237534","仿山樵岩居扇",[1829,24,94,98,27,33,75,95,118,7,32,97,414,4648,365,42,15396],"题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96b2ed25eb13c72ff22e242312452c49.jpg",[],{"id":15400,"slug":15401,"title":2158,"dynasty":18,"author":12714,"museum":132,"description":12715,"tags":15402,"thumbUrl":15403,"material":237,"size":223,"collection":223,"collections":15404,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},237435,"shan-shui-ce-jiang-qian-237435",[24,63,234,27,98,94,7,32,96,206,564,30,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2486eb2359c6a02f2a753ded94a267da.jpg",[],{"id":15406,"slug":15407,"title":8699,"dynasty":246,"author":14677,"museum":360,"description":14678,"tags":15408,"thumbUrl":15409,"material":494,"size":495,"collection":223,"collections":15410,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237392,"shan-shui-tu-ce-xue-xuan-237392",[24,63,234,93,98,94,97,33,155,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc0110d9cdad07df1c56fa5804d3bae.jpg",[],{"id":15412,"slug":15413,"title":15414,"dynasty":18,"author":12170,"museum":90,"description":15415,"tags":15416,"thumbUrl":15417,"material":1055,"size":15418,"collection":223,"collections":15419,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237267,"shen-hao-shan-shui-tu-ce-shen-hao-237267","沈灏山水图册","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,63,116,234,93,98,94,529,439,7,530,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dd60538f0f673a1a97b9f647aa6e14.jpg","15.2x23.6厘米",[],{"id":15421,"slug":15422,"title":15423,"dynasty":246,"author":2037,"museum":60,"description":15424,"tags":15425,"thumbUrl":15426,"material":237,"size":223,"collection":223,"collections":15427,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237210,"shu-hua-he-bi-ce-cha-shi-biao-237210","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,63,234,93,100,118,94,7,32,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bd0c710f4973968061bd74246a8651.jpg",[],{"id":15429,"slug":15430,"title":2158,"dynasty":18,"author":12340,"museum":360,"description":12341,"tags":15431,"thumbUrl":15432,"material":237,"size":223,"collection":223,"collections":15433,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237038,"shan-shui-ce-li-hang-zhi-237038",[24,93,234,98,94,136,7,32,96,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a579f29aa8dbba2b788e39f201e5c7e.jpg",[],{"id":15435,"slug":15436,"title":14052,"dynasty":18,"author":14053,"museum":60,"description":14054,"tags":15437,"thumbUrl":15438,"material":237,"size":223,"collection":223,"collections":15439,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},237015,"xi-zhu-ce-zhu-ying-237015",[24,63,234,93,27,94,7,30,33,97,253,121,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677d0ff05e5bfb1c095108ee6c723523.jpg",[],{"id":15441,"slug":15442,"title":15443,"dynasty":18,"author":1553,"museum":360,"description":15444,"tags":15445,"thumbUrl":15446,"material":494,"size":495,"collection":223,"collections":15447,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},236876,"lu-zhi-shi-hu-chun-you-cheng-shan-yi-ming-236876","陆治石湖春游成扇","以泥金笺为底，淡墨写就江南春山。远山如黛，笼在轻烟薄雾之间，似被春帷半遮，带着朦胧的倦意。近岸林木错落，屋舍隐于枝桠，湖面空阔无波，将春日的清寂铺陈开来。\n\n笔墨简淡松灵，不重浓艳，只以皴擦点染勾勒出悠远的山水意韵，把石湖春游的闲逸悄然藏在烟霭之中。扇骨浅刻细纹，与扇面淡远山水相映，自带沉静古朴的文人气韵，将江南春日的温柔疏淡凝于盈尺之间，展合皆是幽远林下风致。",[24,63,1829,93,27,98,94,30,7,32,96,121,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496cc0747c5cbed3f29b2bed0c958226.jpg",[],{"id":15449,"slug":15450,"title":7049,"dynasty":246,"author":15451,"museum":60,"description":15452,"tags":15453,"thumbUrl":15454,"material":678,"size":223,"collection":223,"collections":15455,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},236822,"fang-gu-shan-shui-ce-zhao-cheng-236822","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》",[24,63,234,27,98,94,31,7,32,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcbda10da79040e9e4b31c98e3cd549.jpg",[],{"id":15457,"slug":15458,"title":15459,"dynasty":246,"author":1553,"museum":360,"description":15460,"tags":15461,"thumbUrl":15462,"material":223,"size":223,"collection":223,"collections":15463,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},236744,"huang-can-mo-ti-xian-guo-tu-wan-shan-yi-ming-236744","黄粲摹梯仙国图纨扇","此作用异形纨扇为底，以青绿设色铺陈仙山胜景。画面分上下层叠布境，高远见峰峦崔嵬，深远现云壑藏幽。山石兼用斧劈皴晕染青蓝，苍润相间，古意淳厚。林舍山居错落溪谷，山亭隐于岩岫之间，行旅人物点缀林麓，将世外仙气与山居野趣相融。边角题跋错落排布，书画相映成趣，复刻唐人梯仙意境，以尺幅小景铺展出完整仙山天地，摹古之中自含明清雅致意韵，方寸间尽显缥缈出尘的世外气象。",[24,63,116,1829,27,26,29,94,31,7,32,33,97,152,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb27ad1e62d63a829b95a257d0f7b036.jpg",[],{"id":15465,"slug":15466,"title":10758,"dynasty":18,"author":15467,"museum":360,"description":15468,"tags":15469,"thumbUrl":15470,"material":494,"size":495,"collection":223,"collections":15471,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},236703,"shan-shui-shan-lin-fan-236703","林凡","以干笔淡墨绘就秋山幽居，近岸板桥横陈，策杖行人缓步徐行，篱舍错落隐于林间。远山层叠晕染，主峰以短皴攒簇，勾勒苍厚肌理，金笺底色晕开疏淡墨色，衬出空寂秋意。\n此作以尺幅铺展咫尺千里之境，笔墨简淡清逸，以简驭繁，将林泉高致藏于方寸扇面。萧散野趣漫溢其间，尽显文人画的幽寂襟怀，观之如临深秋日暮的山居，静赏山光林影，遥想丘壑间的隐逸闲情。",[1829,24,93,98,94,97,33,75,7,30,250,4649,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600b1b6f1911a4652e5bdd3c55f1145.jpg",[],{"id":15473,"slug":15474,"title":7683,"dynasty":18,"author":6050,"museum":360,"description":7684,"tags":15475,"thumbUrl":15476,"material":223,"size":223,"collection":223,"collections":15477,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},236643,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236643",[24,63,234,93,27,98,94,7,31,33,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aea8e7936c19953620bbd12ccb95cf1.jpg",[],{"id":15479,"slug":15480,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":4471,"tags":15481,"thumbUrl":15482,"material":223,"size":223,"collection":223,"collections":15483,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},236596,"shan-shui-ce-cha-shi-biao-236596",[24,63,234,93,98,94,136,7,30,336,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c5a31ba571ba653ac6679cd5cb13b41.jpg",[],{"id":15485,"slug":15486,"title":15487,"dynasty":246,"author":3934,"museum":60,"description":15488,"tags":15489,"thumbUrl":15490,"material":15491,"size":15492,"collection":223,"collections":15493,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},236386,"huang-shan-tu-zhou-mei-qing-236386","黄山图轴","图绘黄山的硃砂泉。构图为上下呼应的对仗式，上方低垂的山岩和下方与之相对峙的杂树，均以粗笔作横点写出，墨气淋漓蕴藉，显示出山林的苍郁深秀之貌。图中蜿蜒而下的硃砂泉以淡墨细笔勾画，生动简约的线条显现出泉水的清澈与流畅。不同的物象施以不同的笔法，既贴切地表现了景致，也展示了作者娴熟多变的笔墨风格。",[24,93,98,135,94,97,33,75,155,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07f3f74e4adf6673a0a657038a99c1d.jpg","绫本，墨笔","纵185.2厘米，横56.7厘米",[],{"id":15495,"slug":15496,"title":15497,"dynasty":18,"author":1553,"museum":360,"description":15498,"tags":15499,"thumbUrl":15500,"material":494,"size":495,"collection":223,"collections":15501,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},236298,"sha-shi-geng-qiu-mu-li-huai-tu-shan-ye-yi-ming-236298","沙士鲠秋暮离怀图扇页","秋郊暮色晕染出萧索况味，疏木寒林间藏着黯然离情。左侧车旁，旅人执手话别，衣袂轻扬，将千言万语凝在指尖；右侧故友勒马回首，马蹄徐缓，把不舍系在晚风里。\n\n浅设色铺就秋野底色，枯荣交织的林木点染暮秋清寂，留白处似漫着霜天薄霭，将缱绻离愁悄然晕开。线条清劲秀逸，人物神态宛然，把文人别离的含蓄深挚收在咫尺扇面中，淡墨轻皴写尽秋日送别的悠远意境，尺幅之间，铺展出绵长羁旅别愁。",[1829,24,27,94,30,65,7,33,97,492,98,118,1956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7233616f75777a8d6189fd1a0fb46c.jpg",[],{"id":15503,"slug":15504,"title":2158,"dynasty":246,"author":12030,"museum":360,"description":15505,"tags":15506,"thumbUrl":15507,"material":223,"size":223,"collection":223,"collections":15508,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},236080,"shan-shui-ce-shen-zong-jing-236080","此作用笔松秀平和，以淡墨铺陈江南水岸之景。近岸杂木错落，苍枝与柔柯相互掩映，板桥轻卧浅波，林麓间隐见村居茅舍，暗合幽居林泉的隐逸意趣。远山以淡墨轻勾浅皴，留白写就浩渺江天，墨色清润层次柔和，尽显娄东一脉温婉苍秀的画风特质。整幅不作刻意繁复刻画，简淡朴拙间铺展出萧疏清寂的山水之境，将文人幽栖林下的闲静心绪藏于浅淡笔墨中，意境空澄闲雅，尽显正统山水画的文人气韵。",[24,63,93,98,94,7,32,33,1587,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852936f910c7d535395c9891b41760a6.jpg",[],{"id":15510,"slug":15511,"title":15512,"dynasty":18,"author":1553,"museum":360,"description":15513,"tags":15514,"thumbUrl":15515,"material":494,"size":495,"collection":223,"collections":15516,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},235768,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-chen-chun-bai-hua-zhou-tu-ye-yi-ming-235768","吴门诸家寿袁方斋三绝册-陈淳百花洲图页","此作以淡彩晕染江南沙洲春景，溪岸蜿蜒舒展，疏柳轻曳掩映村舍，浅滩系着扁舟，渔翁正整理渔具，野趣悠然弥散。笔墨简淡清润，以写意笔法勾勒出水乡春日的恬柔氛围，烟柳婆娑间藏着乡居野逸之趣，将江南水畔的闲静日常晕染纸上。左侧题诗与画境相衬，书画合璧尽显雅致文心，把吴门画派独有的文人意趣融于尺幅间，淡而不寡，简中见情，将沙洲春日的闲逸定格在笔墨之中，处处透着松弛淡然的江南意韵。",[24,63,234,27,94,564,7,32,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F427bce2250ae53e129bae38db3fbe434.jpg",[],{"id":15518,"slug":15519,"title":2158,"dynasty":246,"author":1309,"museum":360,"description":15520,"tags":15521,"thumbUrl":15522,"material":223,"size":223,"collection":223,"collections":15523,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},235114,"shan-shui-ce-wang-yuan-qi-235114","此作以浅绛绘秋山，高远平远相融。主峰巍峨崔嵬，山石以干笔积墨勾勒皴擦，层层晕染出山峦苍厚质感，苔点疏密错落，尽显浑厚华滋。谷间林木蓊郁，丹枫点染出融融秋意，山坳茅舍隐现，野趣横生。\n\n溪涧蜿蜒穿谷，板桥通幽，策杖行旅、待渡闲人点缀其间，为静谧丘壑添上烟火暖意。整幅笔墨苍润秀逸，于严整丘壑间藏灵变意趣，将文人山水的幽淡诗意融于排布之中，静穆古雅的气息漫溢纸面，尽显传统山水的写意风神与雅致意境。",[24,63,234,27,98,94,97,33,32,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8869ecec6edad61049ef53f0670d9d.jpg",[],{"id":15525,"slug":15526,"title":2158,"dynasty":246,"author":1309,"museum":360,"description":15527,"tags":15528,"thumbUrl":15529,"material":223,"size":223,"collection":223,"collections":15530,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},235108,"shan-shui-ce-wang-yuan-qi-235108","此作以层岩叠嶂构景，主峰高峙崖间，飞泉垂落，林木错落扎根岩隙，山道蜿蜒隐于林泉之间。以干笔积墨反复皴擦，尽显山石坚硬厚重之质感，设色浅淡柔和，糅合元人山水的萧散意趣与沉雄气度。\n\n构图繁而不乱，层层递进，烘托出山林幽深静谧的氛围，尽显正统山水画的章法森严与文人画的秀雅意韵。笔笔扎实醇厚，带着浓郁古意，将秋日山林的清寂苍莽之景定格，于细节处见功夫，尽显传统山水画的笔墨意趣与山水精神。",[116,24,63,234,27,98,94,97,33,152,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98995493e5b9a1fa4eb18b1a7a3f3bb3.jpg",[],{"id":15532,"slug":15533,"title":15534,"dynasty":246,"author":15535,"museum":360,"description":15536,"tags":15537,"thumbUrl":15538,"material":223,"size":223,"collection":223,"collections":15539,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},235099,"zheng-min-shan-shui-ce-zheng-min-235099","郑旼山水册","郑旼","此作为水墨山水与行书题诗合璧之作。绘者以清劲简逸的淡墨勾勒皴擦山石林木，笔致空灵简淡，不作浓艳晕染，晕出山岚空濛的温润氛围。画面孤松挺秀临幽涧，崖顶茅亭孑然独立，古洞藏于崖畔，处处透着古禅林的冷寂幽绝，恰与题诗意境呼应。\n\n整幅作品以画载诗心，诗书与山水意境相融，尽得萧散静穆的林下之风，将幽栖林泉的尘外之思寄寓尺幅间，淡远冲和，悠悠禅意漫溢纸面，尽显清逸淡简的画中逸趣。",[24,63,234,93,100,98,94,7,32,336,293,96,33,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84e9fc2dfcee711535c64d30d924d0d7.jpg",[],{"id":15541,"slug":15542,"title":15543,"dynasty":246,"author":15544,"museum":60,"description":15545,"tags":15546,"thumbUrl":15547,"material":678,"size":15548,"collection":223,"collections":15549,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234972,"shu-shui-tu-yu-shi-ling-234972","菽水图","余世苓","余世苓（1756－1839年左右），字松田，号藕时，浙江诸暨高湖沿人。家境贫寒，曾先后在安徽、江苏及直隶等地任微职，以孝行闻名。\n由图上余世苓墨题而知他与华冠有着深厚的友谊，此图是他36岁时华冠为他所绘。作为肖像画，华冠没有将像主画成正襟危坐的标准像样式，而是将像主置身于日常生活的环境中，绘他在冰天雪地的户外身穿单衣、足着草履、肩扛手提菽水急行赶路的情景。菽水原指豆子和水，意为粗茶淡饭，后引申为晚辈对长辈的供养。图中远山、近水及坡地运用“有限中出无限，无画处成妙境”的表现技法，以不露笔痕的淡墨轻渍，令画作荒寒之气顿生，不仅准确地表现出寒冬恶劣的气候环境，而且暗示出像主在艰苦的生活条件下尽心孝敬父母的高逸人品。人物面部先以淡色晕染，后以重墨点画眉眼，将像主充满睿智的神态表现得惟妙惟肖，显示出作者较强的人像写真功底。",[24,27,26,93,30,7,32,136,75,293,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff292854e2c62c4e9b033ed10c46110c8.jpg","纵90.2厘米，横49.1厘米",[],{"id":15551,"slug":15552,"title":12393,"dynasty":246,"author":1553,"museum":60,"description":12394,"tags":15553,"thumbUrl":15554,"material":378,"size":12397,"collection":223,"collections":15555,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},234907,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234907",[24,63,234,27,94,31,7,32,33,97,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d55cb3ca3e110c84748c4d63b41ec2.jpg",[],{"id":15557,"slug":15558,"title":12393,"dynasty":246,"author":1553,"museum":60,"description":12394,"tags":15559,"thumbUrl":15560,"material":378,"size":12397,"collection":223,"collections":15561,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},234904,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234904",[24,63,234,27,117,94,96,31,7,97,33,100,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F423e5e9850aea424014196c0d9f17e1d.jpg",[],{"id":15563,"slug":15564,"title":12402,"dynasty":246,"author":1309,"museum":360,"description":12403,"tags":15565,"thumbUrl":15566,"material":237,"size":12406,"collection":223,"collections":15567,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234890,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234890",[24,63,528,93,98,118,94,97,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69dd6eef3b5d73e63187b417abe59c7d.jpg",[],{"id":15569,"slug":15570,"title":15571,"dynasty":18,"author":1553,"museum":360,"description":15572,"tags":15573,"thumbUrl":15579,"material":494,"size":495,"collection":223,"collections":15580,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},234834,"wei-zhi-huang-qiu-shan-xing-lv-shan-yi-ming-234834","魏之璜秋山行旅扇","金笺之上铺展秋日郊野之景，近岸老树丹黄错落，篱舍隐于林樾，溪桥边商旅驱骡徐行，三两策杖行人悠然随行，鲜活晕开行旅意趣。中远景陂陀逶迤，村舍藏于林麓之间，孤松卓立岗阜之巅。浅赭淡墨晕染秋山，明净萧疏的氛围漫开全幅。笔触秀润简淡，构图舒展雅致，将乡野闲寂与行路意趣相融，铺就出秋日山居的悠远兴味，尽显清和温婉的山水意韵。",[1829,24,63,27,94,136,15574,7,40,15575,15576,1383,3823,15577,15578,153,1211],"篱舍","骡","孤松","萧疏","闲寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c323c56c5482cc0c622ba35940ab492.jpg",[],{"id":15582,"slug":15583,"title":12820,"dynasty":246,"author":15584,"museum":360,"description":15585,"tags":15586,"thumbUrl":15587,"material":223,"size":223,"collection":223,"collections":15588,"showCount":343,"zanCount":536,"manualWeight":11,"mainColor":108},234619,"shan-shui-wan-shan-jiang-yun-234619","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,63,1829,27,94,98,96,7,32,30,136,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca450350bd005e7d6ea3a71b235a250e.jpg",[],{"id":15590,"slug":15591,"title":12820,"dynasty":246,"author":15592,"museum":360,"description":15593,"tags":15594,"thumbUrl":15595,"material":223,"size":223,"collection":223,"collections":15596,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234604,"shan-shui-wan-shan-shen-han-234604","沈翰","沈瀚[清]字咏荪，浙江绍兴人。同光（一八六二-一九O八）二十六岁问候补湖南通判，不得意，仕于湖南，直至去世。以卖画授徒为生。善画山水，师法四王，入王时敏之室。光绪季年卒，年约六十余。作品目前市场价3000至5000一平尺。清末至民国初年，众多湖湘书画家均受其影响，如雷恪等不少都是其授业弟子。",[24,63,1829,93,98,94,439,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793dea798330021dc6ac87c803934b98.jpg",[],{"id":15598,"slug":15599,"title":12820,"dynasty":246,"author":15600,"museum":360,"description":15601,"tags":15602,"thumbUrl":15603,"material":223,"size":223,"collection":223,"collections":15604,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234601,"shan-shui-wan-shan-wang-ting-ru-234601","汪廷儒","汪廷儒（1804-1852）字醇卿，又字莼青，江苏仪征人。道光二十四年（1844）翰林官编修，二十六年（1846）江西副主考。、山水，极得董其昌用笔、用墨之妙，皴减而有法。墨晕黠宕，尤长画册、扇。用笔沉着苍润，亦极似查士标。辑广陵思古内、外编，书未成而卒，年四十九。",[116,24,63,1829,93,98,94,7,32,75,33,97,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b39f06e94c59a8b0568722bcc63ca0.jpg",[],{"id":15606,"slug":15607,"title":15608,"dynasty":246,"author":5979,"museum":360,"description":15609,"tags":15610,"thumbUrl":15611,"material":223,"size":223,"collection":223,"collections":15612,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234488,"zhang-zong-cang-shan-shui-shan-zhang-zong-cang-234488","张宗苍山水扇","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[24,63,1829,94,93,98,97,33,365,75,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4de2c8cd77fb71aafb12dc46de73bdbe.jpg",[],{"id":15614,"slug":15615,"title":15616,"dynasty":18,"author":15617,"museum":60,"description":15618,"tags":15619,"thumbUrl":15620,"material":223,"size":223,"collection":223,"collections":15621,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},234474,"xie-qin-fang-you-shan-ye-zhu-shi-ying-234474","携琴访友扇页","朱士瑛","朱士瑛[清]工细，人物似仇英。崇祯十五年（一六四二）作西园雅集扇，现藏故宫博物院。",[1829,24,63,94,27,98,30,7,32,33,97,96,2385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff02324773abd73861c19fbb32e344e53.jpg",[],{"id":15623,"slug":15624,"title":15625,"dynasty":246,"author":15626,"museum":360,"description":15627,"tags":15628,"thumbUrl":15629,"material":223,"size":223,"collection":223,"collections":15630,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234360,"you-niao-shi-tu-ce-jin-kun-234360","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[116,24,63,234,27,100,118,94,97,33,121,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb07a0225e437c1e747181905459273.jpg",[],{"id":15632,"slug":15633,"title":15634,"dynasty":18,"author":15635,"museum":360,"description":15636,"tags":15637,"thumbUrl":15638,"material":223,"size":223,"collection":223,"collections":15639,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234260,"shan-shui-he-zhuang-tu-juan-sun-wei-234260","山水合装图卷","孙玮","孙玮，号松溪翁，明代隆庆万历间吴（今江苏苏州）人。工山水。其事迹已收入《中国美术家人名辞典》。",[23,116,24,63,25,93,27,94,96,121,7,32,136,336,31,33,97,99,100,4768,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f75bafa04edc4b27c971f59e44d99dc.jpg",[],{"id":15641,"slug":15642,"title":15643,"dynasty":246,"author":14037,"museum":60,"description":15644,"tags":15645,"thumbUrl":15646,"material":4350,"size":15647,"collection":223,"collections":15648,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。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，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。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的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[23,24,63,25,93,27,100,118,94,30,33,336,7,32,96,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":15650,"slug":15651,"title":15652,"dynasty":246,"author":1553,"museum":60,"description":15653,"tags":15654,"thumbUrl":15656,"material":678,"size":15657,"collection":223,"collections":15658,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},233050,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233050","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[24,27,26,98,234,30,94,33,97,7,5889,15655,43,5890,191,190],"战马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f63223c1ea273ea7c8fd79807a62ff0.jpg","长55.6厘米，宽91.1厘米。",[],{"id":15660,"slug":15661,"title":15662,"dynasty":1933,"author":15663,"museum":360,"description":15664,"tags":15665,"thumbUrl":15668,"material":494,"size":495,"collection":223,"collections":15669,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},230642,"rembrandt-harmensz-van-rijn-030-lun-bo-lang-230642","Rembrandt Harmensz.van Rijn - 030","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[10942,15666,7,32,95,33,11507,30,15667],"风景画","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff980775fb95df8229b0b3bdb63d90cc5.jpg",[],{"id":15671,"slug":15672,"title":15673,"dynasty":1933,"author":11769,"museum":360,"description":11770,"tags":15674,"thumbUrl":15680,"material":494,"size":495,"collection":10946,"collections":15681,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":54},226052,"the-bridge-in-amsterdam-1874-mo-nai-226052","The Bridge in Amsterdam, 1874",[11772,10942,11773,15675,15676,7,71,38,15677,15678,15679,30,13764,11786],"色彩晕染","笔触灵动","钟楼","城市景观","水面倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad8b6bab72277afe5adc5dc515421fd.jpg",[10946],{"id":15683,"slug":15684,"title":15685,"dynasty":1933,"author":1553,"museum":360,"description":11783,"tags":15686,"thumbUrl":15688,"material":494,"size":495,"collection":223,"collections":15689,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},225360,"fu-shi-hui-116-yi-ming-225360","浮世绘116",[9503,13755,27,30,7,94,33,2909,250,40,15687],"木构","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470dc3e2bc58aa88dfd1322fabf0c464.jpg",[],{"id":15691,"slug":15692,"title":15693,"dynasty":1933,"author":1553,"museum":360,"description":15694,"tags":15695,"thumbUrl":15696,"material":223,"size":223,"collection":223,"collections":15697,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},225357,"fu-shi-hui-113-yi-ming-225357","浮世绘113","远景山峦晕染出空濛晨霭，山巅藏着幽蓝古寺飞檐。中景洲渚之上，虬劲古松与披覆粉白花云的樱树错落，深浅绿意铺陈出春日融融生机。近处长桥横跨碧水，行人负担徐行，渔舟浮于水面，渔人俯身忙碌，将市井烟火揉入山水清景。\n\n整体用色明快雅致，以蓝绿为基调烘托出春日清润柔和，平涂色块带着独有的装饰美感，将自然之景与日常闲趣糅合，定格下郊野水乡的安闲诗意，把春日里松弛悠然的氛围晕染在纸面之上。",[9503,13755,27,7,32,33,250,30,3048,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4c73237d61e65c645d77b79f4db7ab.jpg",[],{"id":15699,"slug":15700,"title":15701,"dynasty":1933,"author":1553,"museum":360,"description":15702,"tags":15703,"thumbUrl":15706,"material":223,"size":223,"collection":223,"collections":15707,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},225321,"fu-shi-hui-64-yi-ming-225321","浮世绘64","这幅绘作以旅人过桥铺展开市井行旅图景。前景木桥上，脚夫负货、骑手牵马，行旅匆匆，蓝衣纹章、竹笠货箱细节饱满，鲜活勾勒出江户出行的烟火日常。远景沙岸缓丘晕染出柔和的浅黄与黛色，屋舍松林错落河畔，水色清浅铺陈开开阔的水乡暮色。\n\n构图以桥身为视觉动线，将人间烟火与郊野闲淡揉合一处，明快平涂的色块带着典型的装饰意趣，把行旅奔波的日常晕染出悠然的江户风情，动静相映间，俗常光景里藏着旧时东瀛的鲜活气韵。",[9503,27,13755,7,32,65,30,33,75,191,15704,15705],"木桥","驮运","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254508edf3ec840f83465301da8ef94f.jpg",[],{"id":15709,"slug":15710,"title":15711,"dynasty":18,"author":4499,"museum":360,"description":15712,"tags":15713,"thumbUrl":15714,"material":223,"size":223,"collection":223,"collections":15715,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},224560,"shu-hua-ce-ye-25-xiao-yun-cong-wang-shi-zhen-224560","《书画册页》-25","此作以黄山实景入画，峰林如万笏朝天，奇崛冷峻间尽显山岳雄姿。盘崖山道萦回曲折，将错落楼宇、策杖旅人串联，静穆山景因行人添上几分灵动生机。\n\n笔墨枯淡简劲，以勾勒皴擦写就山石肌理，苍松虬枝斜出，笔意萧疏散淡，带着清冷荒疏的古雅意趣。题跋小字清隽，与淡墨轻岚融为一体，将黄山的幽绝与文人雅怀相融，把皖南山水的清旷冷逸铺陈于尺幅间，是兼具写实与抒情的山水佳构。",[24,63,93,98,94,31,7,33,97,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fb2b4eb2f4e2c05041ae041e2f8b94.jpg",[],{"id":15717,"slug":15718,"title":15719,"dynasty":246,"author":8155,"museum":360,"description":15720,"tags":15721,"thumbUrl":15722,"material":223,"size":223,"collection":223,"collections":15723,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},224273,"shan-shui-hua-hui-ce-er-fu-shan-224273","山水花卉冊(二)","此作以淡赭晕染出水天浑然的底色，群峰被绘作奇崛瘦硬的嶙峋之态，如笋如刃错落浮于虚渺烟岚之间。山间林木以细笔极简点簇，萧疏冷逸。画面留白肆意铺陈，勾勒出荒寒空濛的幽寂意境。左侧题印与山水相映，添了文墨雅趣。画家舍去繁复皴染，以简淡笔墨写胸中丘壑，将北方山川的奇峭风骨，与遗世孤高的文人意趣相融，尽显清冷淡远的禅味，笔墨简净却意韵悠长。",[23,24,63,234,93,27,94,336,7,33,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a89b3cc5fc5b36085465ba8a7fd6dc.jpg",[],{"id":15725,"slug":15726,"title":15727,"dynasty":246,"author":1553,"museum":132,"description":15728,"tags":15729,"thumbUrl":15731,"material":223,"size":15732,"collection":223,"collections":15733,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},223330,"wan-qing-jia-he-yi-ming-223330","万顷嘉禾","此作用泥金施于石青地，色调华贵雅致。水网交织的江南水乡里，田畴铺展，农人往来舟桥之间，或于田埂忙碌，柳丝轻曳如烟，远山含黛温润柔和。\n\n鲜活复刻了春日农耕的日常图景，将田家烟火揉进细腻工笔中。静穆底色上，金彩勾勒出的屋舍、田亩与人影，让整幅画面于华贵中晕开质朴暖意，静中有动，把江南春耕的融融生机晕染成诗意画卷，藏着平和饱满的田园意趣。",[23,24,63,26,27,94,30,7,32,33,15730],"禾苗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F352139e8795726d873a59baf620b434a.jpg","67x101.2",[],{"id":15735,"slug":15736,"title":14923,"dynasty":246,"author":2535,"museum":60,"description":14924,"tags":15737,"thumbUrl":15740,"material":223,"size":14927,"collection":223,"collections":15741,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},223212,"geng-zhi-tu-ce-jiao-bing-zhen-223212",[24,3457,26,27,63,15738,15739,5856,30,454,7,39,33,99],"耕织图","农桑生产","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed3539b6666f10d690eb5ccdbcf6260.jpg",[],{"id":15743,"slug":15744,"title":15745,"dynasty":246,"author":639,"museum":132,"description":15746,"tags":15747,"thumbUrl":15748,"material":27,"size":15749,"collection":223,"collections":15750,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},222702,"zhong-kui-tan-mei-zhou-jin-ting-biao-222702","锺馗探梅轴","该幅画钟馗戴笠，背束梅花一捆，撷衣欲行经雪桥；后一人口衔梅枝，手撑破伞随之。清代，钟馗已晋身为五月花神，但仍有少数画家，钟爱描绘钟馗于雪天探梅的雅兴，聊以“借景抒怀”。金廷标此作，当即欲藉婡冄頭助钟條进士访梅的情境，隐喻画中人孤高不群的内在性格。",[23,24,27,26,135,30,1606,1470,7,414,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e25e9673e9682cbb2e7dc8bb0feca86.jpg","154.6×78.9公分",[],{"id":15752,"slug":15753,"title":15754,"dynasty":246,"author":3353,"museum":14360,"description":14361,"tags":15755,"thumbUrl":15756,"material":47,"size":223,"collection":223,"collections":15757,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},216890,"qian-long-nan-xun-zhu-bi-tu-ye-20-qian-wei-cheng-216890","乾隆南巡驻跸图页-20",[23,24,27,28,234,31,96,7,33,39,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a65755c58602b04ab3ecf5e4544700b.jpg",[],{"id":15759,"slug":15760,"title":15761,"dynasty":18,"author":14969,"museum":360,"description":15762,"tags":15763,"thumbUrl":15764,"material":102,"size":223,"collection":223,"collections":15765,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},216344,"xi-xiang-ji-cha-ye-8-min-qi-ji-216344","西厢记插页-8","柳丝垂拂间，仕女凭栏而立，花木扶疏点缀红蕊，与青枝相映成趣。右侧楼阁隐现，人物于栏后若有所思，水波轻漾的河面之上，小桥勾连两岸，似将思绪引向远方。线条工细流畅，如行云流水勾勒出人物温婉神态与景物雅致轮廓；设色淡雅清润，浅蓝的水、青绿的树、素净的衣袂，晕染出古典静谧氛围。画面似捕捉《西厢记》中幽微瞬间——或许是莺莺与红娘凭栏凝思，或许是离别的怅惘在水畔流转，含蓄传递爱情的缱绻与怅惘。文学诗意与视觉雅致相融，尽显传统艺术的情韵与灵动，仿佛能听见柳下低语、水面风吟，沉浸于古典故事的悠远意境里。",[24,27,26,28,30,744,31,7,32,281,645,643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f345e494f737c79eca1ecd59cb97.jpg",[],{"id":15767,"slug":15768,"title":15769,"dynasty":18,"author":19,"museum":132,"description":15770,"tags":15771,"thumbUrl":15772,"material":47,"size":15773,"collection":223,"collections":15774,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":108},214899,"di-wang-dao-tong-wan-nian-tu-ce-15-chou-ying-214899","帝王道统万年图册-15","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,27,26,28,30,31,7,33,2886,8798,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F801e19c1140643968ca07639e2c73ee1.jpg","32.5*32.6",[],{"id":15776,"slug":15777,"title":15778,"dynasty":246,"author":1441,"museum":90,"description":15779,"tags":15780,"thumbUrl":15781,"material":223,"size":223,"collection":223,"collections":15782,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15783},203455,"shan-shui-he-ce-wang-hui-203455","山水合册","画面中山峦层叠错落，松枝虬劲挺秀，溪流蜿蜒穿石，小桥隐于幽径。笔墨兼具苍劲与清润，皴擦间显山石肌理，晕染处透林木生机，构图疏密有致，意境清幽淡远，尽显文人山水的雅致意趣，仿佛可闻松风拂面、溪声潺潺。",[24,63,234,93,98,100,118,99,94,136,97,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bb5a1d51aeac5fd17b7f85b4c59dcf.jpg",[],"bcb09d",{"id":15785,"slug":15786,"title":15787,"dynasty":5727,"author":15788,"museum":90,"description":15789,"tags":15790,"thumbUrl":15791,"material":223,"size":223,"collection":104,"collections":15792,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15793},203401,"ji-xue-wan-qing-tu-zhou-wu-dai-qiu-203401","积雪晚晴图轴","吴待秋","画面以积雪覆峦为核心，峰岫错落间，几处屋舍藏于岩侧，隐现幽居之韵。近景枯木疏枝裹雪，松针苍劲依旧，溪水蜿蜒穿石而过，小桥横架其上，生趣暗生。笔墨清润，山石以淡墨皴擦晕染，积雪留白显素净质感；树木枝干勾勒简练却见风骨。整体意境清冷静谧，晚晴之晖似漫于天际，给银白世界添些许暖意。构图疏密有致，远峰近树相映成趣，尽展冬日山林的幽寂与暗藏的生机。",[24,94,3563,27,98,137,7,32,33,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13f7607559d79501c8116484b9689de3.jpg",[104],"aea091",{"id":15795,"slug":15796,"title":15797,"dynasty":18,"author":2606,"museum":90,"description":15798,"tags":15799,"thumbUrl":15800,"material":223,"size":223,"collection":223,"collections":15801,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15802},202719,"xi-shan-sui-wan-tu-zhou-xie-shi-chen-202719","溪山岁晚图轴","山峦层叠，皴笔勾勒出山石嶙峋质感，枯木寒枝交错，尽显岁晚萧瑟之意。林间隐现屋舍，溪涧横跨小桥，山间行人点缀其间，静谧中藏生活暖意。笔墨兼具刚健与秀逸，雄浑山势与细腻林木刻画相融，营造苍茫悠远的冬日溪山意境，引人入胜。",[24,94,98,7,32,137,33,97,135,93,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095c87cb28272a0281e94b5c5ad94174.jpg",[],"674d24",{"id":15804,"slug":15805,"title":15806,"dynasty":246,"author":14426,"museum":90,"description":15807,"tags":15808,"thumbUrl":15810,"material":223,"size":223,"collection":223,"collections":15811,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15812},202562,"yan-yu-gui-cun-tu-zhou-wu-qing-yun-202562","烟雨归村图轴","画面以淡墨晕染铺陈烟雨朦胧之境，远山隐于云雾间，虚实相生。山间黛瓦楼阁错落，近岸村舍依水而居，树木苍劲，墨色浓淡交错。水面渔舟轻漾，舟子蓑笠在身，悠然挥桨；小桥上行人撑伞缓行，衣袂沾着雨意。画作以水墨为底，兼施淡彩，笔法灵动，皴染结合，将江南水乡的烟雨韵致与田园闲适勾勒得入木三分，尽显文人画的雅致诗意。",[24,135,93,27,94,31,7,32,95,1096,98,15809],"人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3b81c191a6d7ac21ac85be43753236.jpg",[],"a09588",{"id":15814,"slug":15815,"title":15816,"dynasty":18,"author":1534,"museum":90,"description":15817,"tags":15818,"thumbUrl":15819,"material":223,"size":223,"collection":223,"collections":15820,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15821},202420,"shu-shan-xing-lv-tu-zhou-lan-ying-202420","蜀山行旅图轴","层峦叠嶂的蜀山巍峨耸峙，山石以苍劲皴法皴染，肌理分明，尽显雄奇之势。山间林木葱郁，楼阁掩映于岩壑间，古朴清幽。下方栈道蜿蜒，小桥横跨溪谷，行旅者身影隐约其上，为静谧山水添灵动生机。设色古雅沉厚，笔墨刚健中含秀逸，既勾勒出蜀山的险峻壮阔，又传递出行旅途中的悠然意趣，是浙派画风苍劲韵致的生动体现。",[94,98,31,7,27,135,30,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d47156ed169867bfb4414393c751a98.jpg",[],"8a6739",{"id":15823,"slug":15824,"title":15825,"dynasty":246,"author":15826,"museum":90,"description":15827,"tags":15828,"thumbUrl":15829,"material":223,"size":223,"collection":104,"collections":15830,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15831},201661,"nan-shan-tu-zhou-wang-zhuan-201661","南山图轴","王撰","这幅山水以水墨绘就，层峦叠嶂间云雾轻笼，山形用皴法勾勒，肌理分明。山间溪流蜿蜒而下，两岸林木疏朗有致，小桥隐于树影中，景致清寂雅致。笔墨简练却意境悠远，山石的厚重与云雾的空灵相映成趣，传递出文人画特有的宁静与悠远，尽显自然之美与心境之宁。",[24,93,94,98,7,32,33,97,155,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3086d883d9d9462be79dce849f0816.jpg",[104],"e1d8c5",{"id":15833,"slug":15834,"title":2772,"dynasty":246,"author":7189,"museum":90,"description":15835,"tags":15836,"thumbUrl":15837,"material":223,"size":223,"collection":104,"collections":15838,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15839},201633,"shan-shui-tu-zhou-wang-san-xi-201633","这幅山水图轴峰峦挺秀，沟壑间林木繁荫，小径通幽处掩映茅亭，石桥跨溪，意境静谧雅致。笔墨细腻，山石以皴法表现肌理，树木姿态各异，设色温润，既显山川之雄奇，又含林泉之幽趣，传递出清寂悠远的文人情怀。",[24,94,27,98,96,7,33,97,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb6fe3bc2e2dd9616eb689bdb25ecc2.jpg",[104],"beaf92",{"id":15841,"slug":15842,"title":15843,"dynasty":246,"author":11307,"museum":90,"description":15844,"tags":15845,"thumbUrl":15847,"material":223,"size":223,"collection":223,"collections":15848,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15849},201602,"qiu-shan-hua-jiu-tu-zhou-lan-meng-201602","秋山话旧图轴","层峦错落间，林木扶疏，红叶点染出秋的况味。飞瀑沿岩壑奔流，溅起清响；山间小径通幽，隐现的亭屋中似有故人促膝话旧。笔墨苍秀相济，皴法勾勒山石纹理，树木姿态各异，设色淡雅却见秋韵悠长。清幽意境里，藏着山林的静谧与文人雅聚的闲逸，尽显自然之趣与人文情怀。",[24,94,27,98,5348,152,7,6516,13890,15846],"文人雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf7d87474b4c88d94c0561ee1a99c2c7.jpg",[],"907246",{"id":15851,"slug":15852,"title":15853,"dynasty":18,"author":6882,"museum":90,"description":15854,"tags":15855,"thumbUrl":15856,"material":223,"size":223,"collection":104,"collections":15857,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15858},201447,"nan-cun-shui-zhu-tu-zhou-li-liu-fang-201447","南村水竹图轴","笔墨间晕染出江南水乡的恬淡意趣：远山淡抹，云气轻飘，近岸柳丝依依，树木枯荣交错，几座村舍隐于水畔，小桥横跨溪涧，一派悠然自得的田园风光。山石以简洁皴法勾勒，墨色层次丰富，设色淡雅清润，水天相映，尽显文人山水画的清逸之韵，将村居的宁静与自然的生机融于一体。",[24,94,93,27,135,7,32,1383,98,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c1d5420855c67c31185a1e092ee21b.jpg",[104],"bcb7af",{"id":15860,"slug":15861,"title":10758,"dynasty":18,"author":3027,"museum":90,"description":15862,"tags":15863,"thumbUrl":15864,"material":223,"size":223,"collection":104,"collections":15865,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":15866},201367,"shan-shui-shan-zhou-chen-201367","这幅山水扇面构图精巧，借弧形空间铺陈景致。虬枝老树盘桓画面中央，墨线勾勒的枝干苍劲如铁，皴擦点染间尽显古木沧桑；树下溪流蜿蜒，小桥横跨其上，一士人凭栏凝思，似与山水对话。山石以皴法写就，线条利落，墨色层次分明，丘壑之态毕现。笔墨兼具院体的严谨与文人画的清逸，于方寸扇面间营造出悠远静谧的林泉之境，尽显明代山水的雅致意趣。",[24,1829,94,318,136,7,32,98,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73938d0d182998d0185b3b5091c42fcf.jpg",[104],"c8bfae",{"id":15868,"slug":15869,"title":5978,"dynasty":18,"author":89,"museum":90,"description":15870,"tags":15871,"thumbUrl":15872,"material":223,"size":223,"collection":104,"collections":15873,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":12627},201327,"wu-zhong-shan-shui-tu-juan-shen-zhou-201327","这幅长卷以水墨设色铺陈吴中山川胜景，笔墨苍润沉厚，皴擦点染间尽显山峦肌理与林木意态。峰峦起伏错落，或陡峭雄浑或平缓悠然；溪流蜿蜒穿谷，小桥横跨碧波，舟楫泛于水面，渔樵隐于烟霞村落间。茅舍亭台依山傍水，点缀得宜，一派江南田园的悠然意趣。设色淡雅清逸，与水墨交融，既保留文人画空灵韵致，又不失自然生机。左侧题跋与山水相映成趣，文情画意浑然一体，传递出画家对吴中山水的眷恋与超脱尘俗的隐逸情怀。",[24,25,93,27,94,98,7,32,95,96,366,10854,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958ede41df15c4ecce92b2a356748659.jpg",[104],{"id":15875,"slug":15876,"title":15877,"dynasty":246,"author":13923,"museum":360,"description":13924,"tags":15878,"thumbUrl":15879,"material":494,"size":495,"collection":223,"collections":15880,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},290581,"chun-shan-chu-yun-zhou-zhang-peng-chong-290581","春山出云轴",[24,63,135,93,27,94,7,32,96,97,33,118,99,98,3313,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a2d0b96d95d1df047caa62a9b73bb9.jpg",[],{"id":15882,"slug":15883,"title":2772,"dynasty":246,"author":15884,"museum":360,"description":15885,"tags":15886,"thumbUrl":15887,"material":494,"size":495,"collection":223,"collections":15888,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":2759},290076,"shan-shui-tu-zhou-wu-zheng-290076","吴徵","吴徵（1878—1949）字待秋，名徵，以字行。别号抱鋗（xuán）居士、疏林仲子、春晖外史、鹭丝湾人、栝苍亭长、晚署老鋗。浙江崇德（今桐乡）人。",[23,24,135,63,93,27,98,94,31,7,32,365,3824,97,1211,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c021396dcb8125857cf8d0c83a5324.jpg",[],{"id":15890,"slug":15891,"title":15892,"dynasty":1933,"author":1553,"museum":360,"description":15893,"tags":15894,"thumbUrl":15895,"material":494,"size":495,"collection":223,"collections":15896,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},289448,"shan-zhong-jie-lu-tu-yi-ming-289448","山中结庐图","近景苍木扶苏，几间茅庐错落溪畔，朱红板桥卧于浅流之上，策杖行人徐行其间，野趣悠然。中景山腰朱栏回廊隐于烟岚翠色中，林木疏密得宜，灵动皴笔晕染出山石温润质感，墨色浓淡变化间尽显层次。远景山峦以淡墨轻笼，云气氤氲，晕染出空濛清远的山林意境。\n\n全作用笔松秀简逸，浅设色与水墨相融相生，以留白衬出林泉静气，将幽居山野的隐逸意趣藏于尺幅间，尽显文人山水萧散淡远之美，观之如身临静雅林泉，俗念尽消。",[23,24,63,135,27,94,1211,31,7,32,97,136,99,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc461cd64fa822aa61f431e016d2109c3.jpg",[],{"id":15898,"slug":15899,"title":15900,"dynasty":1933,"author":15901,"museum":360,"description":15902,"tags":15903,"thumbUrl":15905,"material":494,"size":495,"collection":223,"collections":15906,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},289447,"zuo-zhu-ben-san-shi-liu-ge-xian-hua-juan-duan-jian-zhu-ji-ming-shen-yue-weng-cang-qiu-289447","佐竹本三十六歌仙画卷断简(住吉明神)","岳翁藏丘","岳和声（生卒年不详），字尔律，一作之律，号石梁，一号梁父，自号餐微子，浙江嘉兴府秀水县（今桐乡市）人。南宋著名军事家、诗人岳飞十八世孙。",[23,24,63,25,4768,27,94,96,7,414,121,1665,7902,15904],"住吉明神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f598121f3dfe7714864feecc3a1190a.jpg",[],{"id":15908,"slug":15909,"title":94,"dynasty":18,"author":15910,"museum":360,"description":14167,"tags":15911,"thumbUrl":15912,"material":494,"size":495,"collection":223,"collections":15913,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},283785,"shan-shui-bo-shun-nian-283785","卜舜年",[24,116,93,94,25,7,32,33,191,75,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5810b4b52f3ccd05b9b8f6292e323a.jpg",[],{"id":15915,"slug":15916,"title":15917,"dynasty":1933,"author":1553,"museum":360,"description":15918,"tags":15919,"thumbUrl":15920,"material":494,"size":495,"collection":223,"collections":15921,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},281567,"juan-ben-cai-hui-shan-shui-ren-wu-tu-zhou-yi-ming-281567","绢本彩绘山水人物图轴","此作画风清雅秀润，以水泽汀洲铺展意境，苍劲古松错落排布于渚岸，枝桠挺秀，葱郁华滋。构图以蜿蜒水面分割景致，平远取景搭配崖壁飞瀑的高远之态，层次舒展灵动。浅绛间掺青绿晕染山石，色调清和柔润，亭台山居、渡桥扁舟点缀其间，不着笔刻意刻画人物，却暗合林泉幽隐之趣。整体意境澹泊悠然，将文人林下栖居的避世闲情融于山川松涛中，尽显传统山水寄兴言情的雅致内核，观之如身临幽寂林泉，静享山野清宁。",[24,135,164,27,26,94,293,152,7,32,95,96,31,1211,7150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c762a3713447f38fd382e4fabbc12af.jpg",[],{"id":15923,"slug":15924,"title":15925,"dynasty":246,"author":1553,"museum":360,"description":15926,"tags":15927,"thumbUrl":15930,"material":494,"size":495,"collection":223,"collections":15931,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},274505,"zi-tan-kuang-qun-xian-zhu-shou-cha-ping-zhong-yi-ming-274505","紫檀框群仙祝寿插屏钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[15928,4877,13361,3869,14566,15199,96,7,293,645,31,15929],"插屏钟","群仙祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23f771d319d8bbf4dfe701de58caeac.jpg",[],{"id":15933,"slug":15934,"title":15935,"dynasty":246,"author":1553,"museum":360,"description":15936,"tags":15937,"thumbUrl":15939,"material":494,"size":495,"collection":223,"collections":15940,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},273649,"ke-jin-jia-xiu-shan-zhuang-ren-wu-tu-gua-ping-yi-ming-273649","缂金加绣山庄人物图挂屏","绀蓝地色如浸过暮色，金丝织就湖山胜景。近旁水榭敞轩中，文人围坐清谈，板桥之上行人信步缓行。林石隐现间，临水亭台宛然天成，远岫轻描晕开空濛水色。\n\n缂金走线匀净挺括，绣缀补足细节肌理，山石皴擦苍劲古拙，林木枝叶俯仰生姿，将江南山庄的闲雅意趣凝于尺幅。整体简淡清和，把林下雅集的悠然与湖山烟景相融，织绣与画意合二为一，尽显旧时文人隐逸林泉的澹然情怀。",[24,8675,15938,9926,94,14022,365,7,30,33,32,26],"缂金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77195dc9cf9066a01bf8ea59eb215c0.jpg",[],{"id":15942,"slug":15943,"title":15944,"dynasty":246,"author":1553,"museum":360,"description":15945,"tags":15946,"thumbUrl":15948,"material":494,"size":495,"collection":223,"collections":15949,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},272991,"zi-tan-kuang-fa-lang-gua-ping-yi-ming-272991","紫檀框珐琅挂屏","上部金盘錾刻诗文，笔力端秀朗润，墨韵风骨凝于金石之上，古意悠然。下方珐琅山水，以鲜亮釉色晕染出层峦叠翠，流云缱绻缠绕峰岫，亭台隐于茂林清溪之畔，行人缓步石桥，将江南山水的温婉灵韵定格。紫檀边框暗雕缠枝纹，线条婉转古雅，将錾金诗文的文气与珐琅彩的画意揉合，器韵雅致沉静，尽显雅致的陈设意趣与隽永的工艺审美。",[8675,3869,14566,13361,99,7722,331,94,31,7,33,15947,27],"云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa311098610456f3cd893e70f5a4f3f7e.jpg",[],{"id":15951,"slug":15952,"title":15953,"dynasty":246,"author":1553,"museum":360,"description":15954,"tags":15955,"thumbUrl":15957,"material":494,"size":495,"collection":223,"collections":15958,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},272987,"mu-bian-mi-se-di-xiu-shan-shui-tu-wei-ping-xin-yi-ming-272987","木边米色地绣山水图围屏心","此作以米色素缎为地，施针走线间铺展山居图景。绣工以平针、套针等技法晕染色彩，青瓦山居随坡错落，石桥衔起幽径，秋木丹黄相间，远山轻覆蓝彩，烟霞柔丝勾勒，白鹤悠然振翅于天际，曲水萦回绕穿林泉。构图疏密相宜，配色柔和沉静，将文人山水的澹泊意境藏于针线之中，兼具院体工致与文人雅趣，把丝绣工艺与山水意趣融作一处，雅致清逸尽显匠心。",[24,63,27,94,31,7,121,564,33,32,9926,15956],"围屏心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147b2e4f75604aacb359bdf6a3a3c72c.jpg",[],{"id":15960,"slug":15961,"title":15962,"dynasty":246,"author":1553,"museum":360,"description":15963,"tags":15964,"thumbUrl":15966,"material":494,"size":495,"collection":223,"collections":15967,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},272884,"zi-tan-mu-bian-hua-bo-li-gua-ping-yi-ming-272884","紫檀木边画玻璃挂屏","此作为玻璃反向绘制，工艺殊为精巧。画面以青绿设色晕染出山水雅境，却融入西洋光影技法，山石褶皱明暗尽显，云雾柔润朦胧，赋予传统山水通透的层次感。澄澈湖面泛着幽蓝波光，扁舟轻摇，板桥通岸，亭台错落隐于苍翠峰林之间，将东方山居闲逸之意托于笔端。\n\n紫檀边框雕饰回纹缠枝，古朴雅致，衬得画面愈发清丽。整体融中西所长，既有文人山水的静美意境，又以明暗铺陈烘托出山川的悠远空濛，色彩浓妍和谐，将中式隐逸之趣与西洋写实光影相融，别具别致韵味。",[24,15965,117,27,94,31,7,32,95,96,191,33,2468,3869,8675],"玻璃画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c980b7ceed54e1f88b2d50c576249e.jpg",[],{"id":15969,"slug":15970,"title":15971,"dynasty":246,"author":1553,"museum":360,"description":13121,"tags":15972,"thumbUrl":15974,"material":494,"size":495,"collection":223,"collections":15975,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},256674,"dou-cai-ying-xi-tu-yu-hu-chun-ping-yi-ming-256674","斗彩婴戏图玉壶春瓶",[246,11595,15973,13126,30,7,33,97,27],"斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7da76035fa473f46454ece01dd69494.jpg",[],{"id":15977,"slug":15978,"title":15979,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":15981,"thumbUrl":15983,"material":494,"size":495,"collection":223,"collections":15984,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},248752,"hei-qi-miao-jin-shan-shui-ren-wu-tu-he-yi-ming-248752","黑漆描金山水人物图盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[7609,11605,15982,27,94,30,31,7,32],"黑漆描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d010bd5ce9c6ec185b65edea0143ea.jpg",[],{"id":15986,"slug":15987,"title":15988,"dynasty":246,"author":1553,"museum":360,"description":15989,"tags":15990,"thumbUrl":15993,"material":494,"size":495,"collection":223,"collections":15994,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},248579,"kuan-cai-long-feng-shan-shui-ren-wu-tu-chang-fang-xiang-yi-ming-248579","款彩龙凤山水人物图长方箱","此件以款彩技法施艺，黑漆为底，刀笔勾勒间晕染出斑斓图景。顶面龙凤穿游于缠枝纹中，龙姿遒劲威严，凤形灵动雍容，瑞气盎然。箱体周身铺展山水人物长卷，亭台隐于林木，溪桥架过浅滩，野鹿闲游、禽鸟振翼，村人往来阡陌，宛若桃源胜境。\n漆色沉雅浓丽，走线细腻入微，将宫廷华贵与田园清趣融于一器，把祥瑞吉意和文人雅趣揉为一体，静穆底色托衬出鲜活图景，尽显匠作精工巧思，古雅耐看意蕴悠长。",[11605,15991,27,6043,15992,94,30,31,7,32,4877],"款彩","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb4b26ea71c20b5a15eabe3367d22980.jpg",[],{"id":15996,"slug":15997,"title":15998,"dynasty":246,"author":1553,"museum":360,"description":15999,"tags":16000,"thumbUrl":16007,"material":494,"size":495,"collection":223,"collections":16008,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},246865,"ti-hong-zhu-lin-qi-xian-tu-bi-tong-yi-ming-246865","剔红竹林七贤图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[11605,16001,14566,255,30,365,7,97,246,16002,38,16003,16004,16005,16006,1618],"剔红","古代文人","自然景物","立体雕刻","红漆工艺","园林场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ec6c70d6554dd1c179b536d37779ae.jpg",[],{"id":16010,"slug":16011,"title":16012,"dynasty":18,"author":16013,"museum":360,"description":16014,"tags":16015,"thumbUrl":16017,"material":237,"size":223,"collection":791,"collections":16018,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},240121,"shi-ye-li-ben-long-240121","诗页","李本漋","这件小楷结体端稳秀雅，笔致清劲匀整，点画筋骨内含，收放合宜。字间排布疏朗齐整，通篇气息静穆安和，尽显雅致文人气韵。浅棕纸底衬得乌亮墨色愈发温润沉静，古雅氛围油然而生。\n\n用笔一丝不苟，起收转折皆恪守法度，既带着唐人小楷的谨严工整，又暗含明代书法特有的隽秀风神。诗书雅意融于笔端，每一字都如谦谦君子，风骨暗藏却不张扬，缓缓铺陈出旧时文人心底的缱绻意绪，尽显翰墨清韵。",[99,100,93,16016,7,32,65],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b33745d225533c5dcc646efc85ba9.jpg",[791],{"id":16020,"slug":16021,"title":16022,"dynasty":246,"author":1553,"museum":360,"description":16023,"tags":16024,"thumbUrl":16025,"material":494,"size":495,"collection":223,"collections":16026,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},239480,"chi-cheng-shan-shui-wan-shan-yi-ming-239480","赤城山水纨扇","此作为绢本山水小品，以干笔淡墨晕染出清寂淡远的山居之境。层叠崖壑间虬松错落，枝桠舒展掩映幽居茅舍，涧谷隐有流泉暗涌，留白处似漾着浅溪，衬出山野空濛萧疏的意趣。\n\n画家以简淡皴擦勾勒山石肌理，笔墨松灵秀润，将林泉高致的隐逸之趣藏于尺幅之中。题字清雅与山水笔墨相融，尽显文人画幽淡闲远的意韵，把尘嚣之外的林下清居绘得灵动悠然，空灵雅致的意境漫溢于绢素之上，是意韵悠长的小品佳制。",[24,63,1829,94,93,98,118,97,33,38,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbced76f92d058eb60b775cbf1a7e75bf.jpg",[],{"id":16028,"slug":16029,"title":16030,"dynasty":246,"author":5188,"museum":360,"description":5518,"tags":16031,"thumbUrl":16032,"material":494,"size":495,"collection":223,"collections":16033,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},239372,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239372","画载月十咏诗意册",[24,63,234,93,27,28,516,94,96,136,318,743,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60223ec76359aa218bac089dcfe6d84f.jpg",[],{"id":16035,"slug":16036,"title":2158,"dynasty":246,"author":16037,"museum":360,"description":16038,"tags":16039,"thumbUrl":16041,"material":223,"size":223,"collection":223,"collections":16042,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},239349,"shan-shui-ce-lin-fu-chang-239349","林福昌","此作以浅绛设色绘秋郊闲景，笔致简淡清润。近岸杂木扶疏，丹黄点染枝叶，衬出清秋意韵，柔柳垂条伴卧波板桥，野趣悠然。平林远岫以淡墨轻扫，晕出郊原的疏阔空寂。田埂间数人徐行，似趁晴日郊野闲游，将秋日乡居的闲散意趣藏入画中。\n\n右上角题诗映合画意，书画相融，尽显文人雅韵。整体无浓墨重彩刻画，以淡彩轻笔写尽江南秋郊的萧散恬和，将郊原清秋的疏旷悠然晕染开来，余韵悠长。",[24,27,234,94,7,33,30,16040,5348],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52413ef38b5d09152c2ca7b27ab5a912.jpg",[],{"id":16044,"slug":16045,"title":11224,"dynasty":246,"author":5979,"museum":360,"description":16046,"tags":16047,"thumbUrl":16048,"material":223,"size":223,"collection":223,"collections":16049,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},239132,"shan-shui-he-hui-ce-zhang-zong-cang-239132","此作以淡墨皴擦勾勒山石肌理，浓墨点染苍松古木，将峡谷飞泉的野逸之境铺陈开来。急流穿涧，裹挟着山石苍劲厚重的质感，留白晕染出泉流清冽灵动之态。前景二人驻足观瀑，将人的视角引至画中，衬出山水辽远空寂，尽显山林清幽古雅的意趣。笔墨干湿互用，既以浓淡墨色晕出山峦层次，又以简笔写就泉流奔腾之势，于简淡之中饱含山林生机，以笔墨追摹自然意韵，尽显传统山水师法自然、以景抒怀的雅致意趣。",[24,93,27,98,234,94,7,32,97,33,30,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787d350fd0b4cd9d8fc97989a2297772.jpg",[],{"id":16051,"slug":16052,"title":16053,"dynasty":246,"author":16054,"museum":360,"description":16055,"tags":16056,"thumbUrl":16057,"material":494,"size":495,"collection":223,"collections":16058,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},239070,"chun-shan-wan-shan-niu-jia-yin-239070","春山纨扇","钮嘉荫","钮嘉荫（1857～1915），字叔文，号闻叔、夫椒山民，室名结古欢室，吴县（今苏州）人。精鉴别，工书及篆刻，金石考证，真草篆隶，均能入古。",[24,63,1829,27,93,98,94,7,32,95,30,33,191,252,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0770e76b1f3fca05524519016f581287.jpg",[],{"id":16060,"slug":16061,"title":2158,"dynasty":246,"author":3233,"museum":360,"description":3234,"tags":16062,"thumbUrl":16063,"material":223,"size":223,"collection":223,"collections":16064,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238990,"shan-shui-ce-yang-jin-238990",[24,93,98,234,94,529,530,95,33,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b30ca62fb56b0c204076deceecb4e2.jpg",[],{"id":16066,"slug":16067,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":16068,"tags":16069,"thumbUrl":16070,"material":223,"size":223,"collection":223,"collections":16071,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238757,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238757","此作用平远与深远构图相融，右侧层峦叠嶂，林木蓊郁苍润，以干笔皴擦勾勒山石肌理，兼具苍劲秀润之致；左侧汀洲延展，板桥轻架水面，亭台隐于烟柳间，晕染出江南水畔的空濛淡远。\n\n笔墨松灵厚重兼具，以水墨晕染铺就清和底色，将山林沉静与水乡温婉相融。题诗与绘景呼应，把观景抒怀的雅致心绪藏于尺幅间，尽显冲淡平和的文人意趣，铺展出悠然古雅的古典山水意境。",[24,63,234,93,94,31,7,32,96,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf66004e493c9b8ba5dce33cf664e8b8.jpg",[],{"id":16073,"slug":16074,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":16075,"tags":16076,"thumbUrl":16077,"material":223,"size":223,"collection":223,"collections":16078,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238751,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238751","此作用淡墨轻皴绘就村居春景，将耕稼闲居合为一卷。左侧田埂蜿蜒，农人驱牛犁地，远山以淡墨晕染留白，烟岚轻笼，野趣盎然。右侧柴扉半启，稚子倚门，幽柳下士人凭立，望向乡居屋舍，屋内人影隐约，尽显村居松弛安然。\n\n全画笔墨秀润清简，设色素净无华，题诗与绘景相映，将春日耕忙与林下闲思相融，铺展出平和冲淡的太平村居图，尽显文人心中的田园雅意，淡而有味，余韵悠长。",[24,63,234,93,27,94,30,66,7,136,32,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecabb437ecea08ed69a8f675f78b324.jpg",[],{"id":16080,"slug":16081,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":16082,"tags":16083,"thumbUrl":16084,"material":223,"size":223,"collection":223,"collections":16085,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238750,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238750","此作分为两段景致，右幅层岩峻拔，山道隐于苍林茂叶间，水墨皴擦勾勒出山体质感，古意萧森，尽显林泉幽寂之致。左幅绘平野送别，篱舍错落、嘉木扶苏，驻车长者与将行友人相对，侍从恭立旁侧，人物情态温雅缱绻，惜别之意流于眉目之间。\n\n整幅以淡墨晕染，笔致松秀简淡，书画合璧，将诗文间的怀远别情融于尺幅。丘壑之静穆与赠别之温情相映，既有山野林泉的清远恬和，又藏人情往复的温润深挚，尽显文人诗意画的抒情意趣，意境清和雅致，暗合中式水墨的含蓄之美。",[24,234,93,98,94,30,65,96,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc34e80017b62c88abd7e87afbb22704a.jpg",[],{"id":16087,"slug":16088,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":16089,"tags":16090,"thumbUrl":16091,"material":223,"size":223,"collection":223,"collections":16092,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238741,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238741","这幅山水小品以淡墨晕染出空濛烟岚，远山如黛，含露带雾。临河村居疏朗错落，屋中宾主围坐闲话，溪上架木桥通幽，近岸嘉木扶疏，水色清浅映带林峦。\n笔墨简淡秀润，以干皴轻写山形，不着浓艳敷色，尽显萧散简远之趣。将幽居闲雅的诗意融于烟水村居间，疏密得宜的构图里，平和悠然的林下之致扑面而来，是诗画相映的佳制，把闲居寄兴的意韵化作了眼前静谧清远的江南村居图景。",[24,63,234,93,98,94,7,32,33,75,250,118,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad9bbb3fb5b2e5f9f373542fc3f5816f.jpg",[],{"id":16094,"slug":16095,"title":5886,"dynasty":246,"author":1553,"museum":360,"description":16096,"tags":16097,"thumbUrl":16098,"material":223,"size":223,"collection":223,"collections":16099,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238661,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238661","本作属铜版纪实战图，以全景铺陈战事凯旋的盛大图景。右上御题诗文彰显军功赫赫，左侧关隘要塞人马攒动，尽显战后班师的忙碌荣归；右侧阵列齐整的官兵踏山而来，鞍马齐整、士气昂扬。\n\n以硬朗精准的线条勾勒出层叠山峦与关隘城防，细腻刀工复刻出山石肌理与行军阵列，中西技法相融，既如实还原了平疆战事的恢弘实况，也暗藏宣扬王朝武功的意涵。画面将凯旋的肃穆昂扬与战地山川的苍劲厚重交织，写实之中带着庄重的纪念性，是清代纪实战阵图的上乘之作。",[116,24,63,26,93,28,234,98,7609,30,65,94,31,7,71,97,33,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21518810a7ad247a1e956fc7a658f2a5.jpg",[],{"id":16101,"slug":16102,"title":16103,"dynasty":246,"author":3353,"museum":360,"description":6643,"tags":16104,"thumbUrl":16105,"material":223,"size":223,"collection":223,"collections":16106,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238523,"shan-shui-xiao-ce-qian-wei-cheng-238523","山水小册",[24,63,234,93,98,94,7,33,97,32,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae25243995859bfe1b4a03fd7cc7351.jpg",[],{"id":16108,"slug":16109,"title":13174,"dynasty":246,"author":9553,"museum":360,"description":16110,"tags":16111,"thumbUrl":16112,"material":223,"size":223,"collection":223,"collections":16113,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238253,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238253","此作绘就秋晓清景，晓月初悬远空，薄雾柔化山棱，永定河如素练蜿蜒铺展，石桥静卧河面，桥畔村舍错落、林树疏朗。晨霭晕开天地边界，将清寂秋意漫染四方。浅淡赭石晕染坡岸，轻墨勾绘林木屋舍，不作繁冗皴擦，却将平远之境铺陈得悠远空寂。\n\n右侧题诗笔意秀雅舒展，诗画相映，把客行早发的羁旅清怀融进烟水晓色中。整体设色明净清润，淡远间藏着细腻意趣，将朝暾初露时的薄寒意韵，与题诗中的早行情致合为一体，尽显文人画雅致清寂的韵致。",[24,63,234,27,28,100,118,94,7,32,75,33,250,743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353f4e0eef594e7649adc21cf5ff24c.jpg",[],{"id":16115,"slug":16116,"title":2158,"dynasty":246,"author":6295,"museum":360,"description":16117,"tags":16118,"thumbUrl":16119,"material":223,"size":223,"collection":223,"collections":16120,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238203,"shan-shui-ce-tang-dai-238203","此作绘江南早春胜景，烟波漾漾间，岸柳垂丝、桃花灼艳，村居错落隐在烟林之中，远山含黛如螺，汀上渔舟轻泛，处处漫着融融春意。设色柔丽清雅，浅绛晕染山峦，青绿点饰草木，笔致秀润苍雅，构图疏朗舒逸。\n左侧题诗与画境呼应，笔墨端秀，诗画合璧，将春日湖山的温柔生机铺陈开来，尽显文人画闲适淡远的意趣，把东风暖遍青芜的诗意具象成缱绻春景，淡冶雅致中藏着沉静的笔墨韵致，写尽江南春朝的温润明媚。",[24,63,234,27,98,94,281,119,7,75,35,33,7118,250,1799,154,9942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13998ad4effe87246a6b48492d2dc99.jpg",[],{"id":16122,"slug":16123,"title":2158,"dynasty":246,"author":6295,"museum":360,"description":16124,"tags":16125,"thumbUrl":16126,"material":223,"size":223,"collection":223,"collections":16127,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238199,"shan-shui-ce-tang-dai-238199","浅绛皴擦出岩壑肌理，重林沉凝在清霭之间，风神疏旷悠然。飞瀑高悬如匹练垂空，将春山的生机揉进空蒙雾气中。浓荫深掩孤村柴扉，静锁山居闲逸意趣。峰腰苔痕青润，危崖草亭孑立，似候访客寻幽踏春，探问山灵私语。\n\n诗画相映成趣，笔致苍秀兼备，淡设晕染出春日山乡的清和幽寂，将林泉高致藏于尺幅间，观之恍若步入云深之处，揽烟霞、听流泉，尽得林泉雅韵。",[24,63,27,98,234,94,529,616,33,75,7,32,5457,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dcc4abf16f05eceec82252ed998da1.jpg",[],{"id":16129,"slug":16130,"title":2158,"dynasty":246,"author":6295,"museum":360,"description":16131,"tags":16132,"thumbUrl":16133,"material":223,"size":223,"collection":223,"collections":16134,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238197,"shan-shui-ce-tang-dai-238197","此帧以淡墨皴染层峦，烟气氤氲裹挟峰岫，似要融于空濛天色。近岸松柯苍劲虬曲，山居隐于林木间，板桥溪流通往烟水深处，平波衔着遥岑，尽得山水悠然之致。\n\n笔底带着沉静古意，皴法温厚敦实，墨色干湿互用，将重岚吞吐、云封户牖的幽寂山居写尽。诗画相生，没有繁复刻画，却把林泉高致藏在每一处留白晕染中，淡而弥远，静中生趣，尽显文人山水的雅逸襟怀。",[24,94,234,93,27,98,439,7,32,96,75,492,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d8516760a361a91553e3cc73638d0c.jpg",[],{"id":16136,"slug":16137,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":16138,"tags":16139,"thumbUrl":16140,"material":223,"size":223,"collection":223,"collections":16141,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238155,"shan-shui-ce-yun-xi-238155","此作用淡墨勾勒尖削峰林，以留白晕染雪意，群峰莹白清寒，如被素雪裹覆。山坳板桥茅舍隐现，枯木疏枝错落溪岸，寒水无波，处处漫着冬日的清寂萧疏。\n\n笔墨极简却意韵悠长，以劲爽线条勾勒山石肌理，淡墨皴擦写出雪中山峦的苍润质感，不着粉白却尽显冬山素净。搭配左侧题诗，诗书相映，将林下幽居的出世雅趣融在尺幅之间，借清冷冬景寄寓超脱孤高的文人襟怀，淡远空寂中藏着静谧禅意。",[24,63,234,93,98,99,100,118,94,7,32,31,97,414,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ee8007cd6cbc51f1607ef9f15f0123.jpg",[],{"id":16143,"slug":16144,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":16145,"tags":16146,"thumbUrl":16147,"material":223,"size":223,"collection":223,"collections":16148,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238150,"shan-shui-ce-yun-xi-238150","此作半幅绘汀洲水村，丘峦错落逶迤，洲渚萦回水畔，村舍隐于茂林浅岸间。笔墨秀润清和，淡赭轻墨晕染出空濛烟水，浅淡设色衬出草木温润生机，尽显静穆悠远的山居雅韵。\n另一侧题以行书诗句，笔致俊逸舒展，诗画呼应，将林泉幽意与文人情思相融。整幅疏密相宜，抛却繁复刻绘，以极简之笔勾勒出萧散清旷的山水意境，藏着文人寄情丘壑的澹然襟怀。",[24,63,234,27,94,100,118,98,7,32,33,97,31,250,1799,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ca3093fbc2bc3b2ed6fa2df9b8fbf5.jpg",[],{"id":16150,"slug":16151,"title":16152,"dynasty":246,"author":6467,"museum":360,"description":16153,"tags":16154,"thumbUrl":16155,"material":223,"size":223,"collection":223,"collections":16156,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},238101,"hong-wu-shan-shui-ce-hong-wu-238101","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,63,234,27,94,98,7,32,96,33,97,118,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f76534a332e17a5ee0c2eb513ab3876.jpg",[],{"id":16158,"slug":16159,"title":8699,"dynasty":246,"author":4016,"museum":360,"description":16160,"tags":16161,"thumbUrl":16162,"material":223,"size":223,"collection":223,"collections":16163,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237948,"shan-shui-tu-ce-liu-yu-237948","此作以淡墨绘就山林幽居之景，危崖间飞瀑垂落，涧水潺潺，板桥通于林麓之间，杂木错落苍秀，笔墨朴拙松灵，皴擦间尽显山石肌理。画面清寂空远，将山野林泉的幽邃之美藏于尺幅之间，尽显林下幽居的闲适意趣。\n左侧题诗与画作相映成趣，行书笔致俊逸舒展，诗画合璧，把幽栖丘壑、远避尘嚣的雅志寄寓其中，整体简淡空灵，尽显文人山水画的清逸格调，观之如临幽寂林泉，引人忘俗。",[24,63,116,234,93,98,100,118,94,7,32,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bc33a366a33d8cfe5d3b499dad3fa3.jpg",[],{"id":16165,"slug":16166,"title":16167,"dynasty":18,"author":1553,"museum":360,"description":16168,"tags":16169,"thumbUrl":16170,"material":494,"size":495,"collection":223,"collections":16171,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},237788,"wen-shi-shan-shui-shan-ye-yi-ming-237788","文石山水扇页","此作为典型吴门意趣文人山水，以扇面咫尺形制铺展丘壑。近林木蓊郁苍润，点叶错落灵动，茅庐隐于树石隐处，暗合幽居野逸之致。水墨皴擦写就山石肌理，浓淡墨色晕染出草木层叠，留白虚处暗引溪径通连远山，萧散空寂间尽显林下雅致。右上角题款极简融于画面，暗寄文人寄情林泉、归心丘园的隐逸心绪。虽无署名，却深得明季山水画简淡清和的神韵，将山野闲居的幽寂之美凝于盈握之间，以小品见大境，尽显文人山水的空逸意趣。",[24,63,1829,93,98,94,529,616,439,75,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102baf5086a7eb075c2298524451c22b.jpg",[],{"id":16173,"slug":16174,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":16175,"thumbUrl":16176,"material":494,"size":495,"collection":223,"collections":16177,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237598,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237598",[24,63,234,93,98,29,99,100,118,94,7,32,33,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f5abfa30caf400f8371c638e17569a.jpg",[],{"id":16179,"slug":16180,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":16181,"thumbUrl":16182,"material":223,"size":223,"collection":223,"collections":16183,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237595,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237595",[24,63,234,93,94,96,7,33,336,250,98,118,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769ee6e6b1586e807a48102a11c50080.jpg",[],{"id":16185,"slug":16186,"title":3127,"dynasty":246,"author":1441,"museum":360,"description":3128,"tags":16187,"thumbUrl":16188,"material":223,"size":223,"collection":223,"collections":16189,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237593,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237593",[24,63,93,98,29,234,94,529,33,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e79ced0e65d463a655008f25ad40b2.jpg",[],{"id":16191,"slug":16192,"title":2158,"dynasty":246,"author":11245,"museum":360,"description":11246,"tags":16193,"thumbUrl":16194,"material":494,"size":495,"collection":223,"collections":16195,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},237519,"shan-shui-ce-chen-zi-237519",[24,63,234,27,100,94,7,32,95,136,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17554939d4c613f21ad5685d9d8150fd.jpg",[],{"id":16197,"slug":16198,"title":14101,"dynasty":18,"author":14661,"museum":360,"description":14662,"tags":16199,"thumbUrl":16200,"material":494,"size":495,"collection":223,"collections":16201,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237512,"shan-shui-hua-hui-ce-jiang-shou-cheng-237512",[24,63,234,93,27,98,94,33,97,7,32,96,30,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d63a35a73b6037ec99be11c07049ca7.jpg",[],{"id":16203,"slug":16204,"title":14101,"dynasty":18,"author":14661,"museum":360,"description":14662,"tags":16205,"thumbUrl":16206,"material":494,"size":495,"collection":223,"collections":16207,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237509,"shan-shui-hua-hui-ce-jiang-shou-cheng-237509",[24,63,234,100,93,27,98,94,7,32,136,336,152,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F657b8503a53cdef5c5728cb4fe25766b.jpg",[],{"id":16209,"slug":16210,"title":15423,"dynasty":246,"author":2037,"museum":60,"description":15424,"tags":16211,"thumbUrl":16212,"material":237,"size":223,"collection":223,"collections":16213,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237211,"shu-hua-he-bi-ce-cha-shi-biao-237211",[63,234,93,94,99,100,98,97,33,32,7,95,644,818,4405],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a872af8137fe1d04a918ab57a33480.jpg",[],{"id":16215,"slug":16216,"title":2158,"dynasty":18,"author":12021,"museum":360,"description":16217,"tags":16218,"thumbUrl":16219,"material":494,"size":495,"collection":223,"collections":16220,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},237003,"shan-shui-ce-sun-ri-shao-237003","明代进士",[24,63,234,93,98,94,97,33,7,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9bebee8129eca29e0ff454f2255e06.jpg",[],{"id":16222,"slug":16223,"title":2158,"dynasty":246,"author":11630,"museum":360,"description":11631,"tags":16224,"thumbUrl":16225,"material":494,"size":495,"collection":223,"collections":16226,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},236991,"shan-shui-ce-zhang-xi-236991",[24,63,234,27,94,96,7,95,33,250,818,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16f393562b2bf8809c3861f07f2c7d0.jpg",[],{"id":16228,"slug":16229,"title":7049,"dynasty":246,"author":15451,"museum":60,"description":15452,"tags":16230,"thumbUrl":16231,"material":678,"size":223,"collection":223,"collections":16232,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},236826,"fang-gu-shan-shui-ce-zhao-cheng-236826",[24,63,234,27,93,98,100,94,7,95,1096,33,962,97,250,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5208ae73805442288960f9f3ad6580a4.jpg",[],{"id":16234,"slug":16235,"title":10758,"dynasty":18,"author":1126,"museum":360,"description":9995,"tags":16236,"thumbUrl":16237,"material":494,"size":495,"collection":223,"collections":16238,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},236817,"shan-shui-shan-zhang-hong-236817",[116,24,1829,93,98,94,31,33,97,7,32,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677679d86e310a166719d6ee13748177.jpg",[],{"id":16240,"slug":16241,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":4471,"tags":16242,"thumbUrl":16243,"material":223,"size":223,"collection":223,"collections":16244,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},236594,"shan-shui-ce-cha-shi-biao-236594",[24,63,234,93,98,94,97,33,32,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c6b1af62300f7fa7f7a536b331effc3.jpg",[],{"id":16246,"slug":16247,"title":14209,"dynasty":246,"author":14210,"museum":360,"description":14211,"tags":16248,"thumbUrl":16249,"material":223,"size":223,"collection":223,"collections":16250,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},236513,"sun-shan-shui-ce-wang-ji-236513",[24,93,98,234,94,152,33,75,7,250,1799,2296,154,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc410be49906f71475b7f2831a4d22d.jpg",[],{"id":16252,"slug":16253,"title":14218,"dynasty":246,"author":1441,"museum":360,"description":5770,"tags":16254,"thumbUrl":16255,"material":223,"size":223,"collection":223,"collections":16256,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},236450,"ni-qian-ren-shi-yi-ce-wang-hui-236450",[24,63,234,27,98,100,118,94,136,743,7,32,318,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3cf9638cee82cd115b971a0dfd63712.jpg",[],{"id":16258,"slug":16259,"title":16260,"dynasty":246,"author":1553,"museum":360,"description":16261,"tags":16262,"thumbUrl":16263,"material":494,"size":495,"collection":223,"collections":16264,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},236295,"du-hua-shan-shui-tu-shan-ye-yi-ming-236295","□度画山水图扇页","这帧泥金扇面笔墨简淡疏朗，以平远章法铺陈山水。近岸枯木虬枝错落，林下山居掩映，扁舟轻泛波心，野逸之趣盎然。远景山峦以淡墨晕染，虚实间晕开空濛烟岚，留白处尽显山水空寂之境。\n\n题款与画面相映成趣，墨色与泥金底色交融古雅华贵。整体笔意萧散，以简驭繁，将文人山水的清冷淡远尽数铺展，寥寥数笔勾勒出幽寂出尘的林泉隐居之致，尽显清雅绝尘的林下风韵，简中见韵，淡而不寡。",[1829,24,93,94,439,7,3048,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd13feb5d0210db319e0f68aed02567.jpg",[],{"id":16266,"slug":16267,"title":14077,"dynasty":246,"author":14078,"museum":360,"description":16268,"tags":16269,"thumbUrl":16270,"material":223,"size":223,"collection":223,"collections":16271,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},235931,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235931","此作以浅绛写就禅林胜境，主山高峙，淡墨晕染出山峦空蒙秀润之态，皴笔轻简灵秀，尽现山石肌理。山腰朱墙古寺隐于苍松之间，虬松盘曲撑空，山道蜿蜒接引幽境，衬得梵宇愈见清寂。\n溪山之下，寒木错落、村居隐现，浅赭敷色晕染秋意，溪水曲折藏露，尽得林泉幽致。搭配题诗墨韵清雅，书画相映成趣，将江南山水温润雅致与古刹禅意相融，笔墨清润含蓄，烘托出幽寂出尘的林下禅境，尽显文人山水淡远静穆的雅逸风神。",[24,63,234,27,98,94,31,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52be9f4a6f210a79e3deba9f918cdaa.jpg",[],{"id":16273,"slug":16274,"title":14077,"dynasty":246,"author":14078,"museum":360,"description":16275,"tags":16276,"thumbUrl":16277,"material":223,"size":223,"collection":223,"collections":16278,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},235928,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235928","淡墨晕染的远山虚灵清透，如同含烟的梦境晕开天际。近岸林木疏密错落，浅绛点染枝叶，清润秀雅。朱红梵刹隐现于青林之间，飞檐翘角带着古雅意趣，石桥架过浅溪，汀岸浅渚晕开温润水汽。\n\n整幅画作以浅绛设色，笔致秀逸温婉，将古寺的幽僻禅境铺陈开来。题诗与画面相映成趣，淡远山水衬出梵宇宁谧，仿佛林风裹着古寺梵音缓缓漫出，把出世的静雅融在淡墨轻彩里，尽显清和空寂的林下之致，以简淡之笔写尽湖山古寺的幽闲禅趣。",[24,7609,27,94,31,7,32,33,97,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26c6363e0b336d3fea589a0e065fa37.jpg",[],{"id":16280,"slug":16281,"title":7049,"dynasty":246,"author":14677,"museum":360,"description":14678,"tags":16282,"thumbUrl":16283,"material":494,"size":495,"collection":223,"collections":16284,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},235746,"fang-gu-shan-shui-ce-xue-xuan-235746",[24,63,234,27,94,98,529,530,439,7,31,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9127db220887743e618c9aa6952259f.jpg",[],{"id":16286,"slug":16287,"title":16288,"dynasty":246,"author":16289,"museum":360,"description":16290,"tags":16291,"thumbUrl":16292,"material":494,"size":495,"collection":223,"collections":16293,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},235536,"xi-xiang-tu-ce-ye-bu-235536","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,63,234,27,30,744,7,31,97,281,119,100,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6cc23bd25d3cce9a38c1458183fbe05.jpg",[],{"id":16295,"slug":16296,"title":16297,"dynasty":18,"author":1553,"museum":360,"description":16298,"tags":16299,"thumbUrl":16300,"material":494,"size":495,"collection":223,"collections":16301,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},235143,"chen-dan-zhong-shan-shui-ce-yi-ming-235143","陈丹衷山水册","此作画诗合璧，淡设色绘就山居幽境。近岸长松挺秀清拔，板桥通幽，茅庐隐于林麓之间，溪湾轻舟闲泊，野意悠然。远景崖巖层叠，以苔点皴染山石苍厚肌理，淡赭晕染山峦，晕出清润空濛的朝暮烟岚之气。\n\n左侧题诗与画境相契，笔墨清隽雅致，以书入画，尽显林下风雅。整幅气韵淡远空灵，带着江南山水的温润秀雅，将文人幽栖林泉、寄情丘壑的隐逸心绪藏于尺幅之间，是极具文人意趣的小品佳制。",[24,63,234,93,27,98,94,33,97,32,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795591126e0731b8263a4d86cc489e07.jpg",[],{"id":16303,"slug":16304,"title":8699,"dynasty":246,"author":2578,"museum":360,"description":16305,"tags":16306,"thumbUrl":16307,"material":223,"size":223,"collection":223,"collections":16308,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},235074,"shan-shui-tu-ce-hua-yan-235074","此作用淡墨晕染暮春烟湖之景，垂柳柔丝披拂映水，板桥轻横岸侧，茅舍隐于柳荫。湖面烟霭朦胧，天际一棹孤舟穿雨而行，简淡空灵之间，将江南烟雨的柔婉空濛尽数铺陈。\n笔致松秀清润，摒弃繁复皴擦，以水墨浓淡晕染出湿润氤氲的氛围，左侧题诗与画面相映成趣，文墨相生，自带清寂淡远的文人意趣。寥寥数笔便将烟雨春湖的幽谧诗意定格，尽显以简驭繁的笔墨功力，把江南水乡的朦胧柔情藏进尺幅之中，淡而有味，余韵悠长。",[24,63,93,100,94,234,281,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e20fe331684783563c132ed996a525.jpg",[],{"id":16310,"slug":16311,"title":14166,"dynasty":246,"author":2578,"museum":360,"description":14167,"tags":16312,"thumbUrl":16313,"material":494,"size":495,"collection":223,"collections":16314,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},235055,"za-hua-ce-hua-yan-235055",[24,63,234,27,94,96,7,7266,439,281,8433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406b16a073e476c648ed020abc218f64.jpg",[],{"id":16316,"slug":16317,"title":16318,"dynasty":246,"author":1441,"museum":360,"description":5413,"tags":16319,"thumbUrl":16320,"material":494,"size":495,"collection":223,"collections":16321,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},234980,"shan-chuan-hun-hou-tu-shan-ye-wang-hui-234980","山川浑厚图扇页",[24,1829,93,98,94,7,32,95,96,33,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dcc8ea08ca0097baf7f6b0804412d83.jpg",[],{"id":16323,"slug":16324,"title":3933,"dynasty":246,"author":10808,"museum":60,"description":10809,"tags":16325,"thumbUrl":16326,"material":678,"size":223,"collection":223,"collections":16327,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},234739,"huang-shan-tu-ce-jiang-zhu-234739",[24,63,234,93,98,100,99,94,97,33,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe58d980ec0a467b7840514f8a6343ed9.jpg",[],{"id":16329,"slug":16330,"title":15625,"dynasty":246,"author":15626,"museum":360,"description":15627,"tags":16331,"thumbUrl":16332,"material":223,"size":223,"collection":223,"collections":16333,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},234357,"you-niao-shi-tu-ce-jin-kun-234357",[24,63,234,27,94,96,7,32,121,33,97,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ac3aac0a9d8a12216dcab23b5f4bd3.jpg",[],{"id":16335,"slug":16336,"title":16337,"dynasty":1933,"author":16338,"museum":360,"description":16339,"tags":16340,"thumbUrl":16341,"material":494,"size":495,"collection":223,"collections":16342,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},231719,"jiang-hu-shi-dai-shan-shui-tu-ping-feng-di-yi-ping-peng-cheng-bai-chuan-231719","江户时代 山水图屏风-第一屏","彭城百川","1697-1752 江户时代中期的画家。",[23,24,94,28,93,98,27,31,7,32,33,97,155,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2459b6003b2266b79592c88255f0a1c.jpg",[],{"id":16344,"slug":16345,"title":16346,"dynasty":1174,"author":1553,"museum":360,"description":16347,"tags":16348,"thumbUrl":16349,"material":494,"size":495,"collection":223,"collections":16350,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},227114,"hai-shou-pu-tao-wen-jing-8-yi-ming-227114","海兽葡萄纹镜-8","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[24,63,94,27,336,7,119,118,97,33,154,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fc5af77fc87fecb506467f9c818316.jpg",[],{"id":16352,"slug":16353,"title":16354,"dynasty":1933,"author":1553,"museum":360,"description":11783,"tags":16355,"thumbUrl":16356,"material":494,"size":495,"collection":223,"collections":16357,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},225446,"fu-shi-hui-204-yi-ming-225446","浮世绘204",[9503,27,13755,30,7,7267,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8296753e1886850d5144bca77b68cb1d.jpg",[],{"id":16359,"slug":16360,"title":16361,"dynasty":1933,"author":1553,"museum":360,"description":16362,"tags":16363,"thumbUrl":16365,"material":223,"size":223,"collection":223,"collections":16366,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},225432,"fu-shi-hui-190-yi-ming-225432","浮世绘190","画面以雄峻山城起笔，天守阁踞于丹红崖石之上，石砌城垣古朴厚重，苍松虬枝斜倚岩壁，黑瓦层叠尽显肃穆巍峨。左侧浩渺青湖之上，扁舟独行划破碧波，对岸田畴铺展，浅褐远山晕染天际，霞色将长空晕开绯色暖光。\n\n鲜亮明快的配色将靛蓝水色、朱砂岩彩与米黄纸底交织相融，远近层次分明，把武士城郭的庄重与乡野湖山的安然糅合为一体，带着和风绘卷独有的雅致意趣，将旅人眼中的山城盛景定格，尽显江户风景画静谧悠远的独特韵味。",[9503,13755,27,94,31,7,95,33,1587,118,16364],"塔楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa8f869ea786ff499894457de29c7b6.jpg",[],{"id":16368,"slug":16369,"title":16370,"dynasty":1933,"author":1553,"museum":360,"description":16371,"tags":16372,"thumbUrl":16373,"material":223,"size":223,"collection":223,"collections":16374,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},225326,"fu-shi-hui-74-yi-ming-225326","浮世绘74","这幅以春樱湖山为景，石青铺就浩渺水天，柔粉樱花漫覆青绿丘峦，冷暖交织晕开清和春日。木桥山道串起村舍屋宇，山上游人比肩、岸边客聚成群，漾波舟船载着踏青之人，将江户时节的赏樱盛景铺陈眼前。明快雅致的配色晕染出松弛温婉的和风意趣，全景构图兼具开阔氛围感与细节鲜活度，把市井游春的闲逸日常融在湖樱盛景中，将春日舒展明媚的生机定格成诗意悠长的风物画卷。",[9503,27,13755,94,7,32,35,75,33,30,3189,71,803],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd158e996809e261a9f0f984c1658ae84.jpg",[],{"id":16376,"slug":16377,"title":16378,"dynasty":246,"author":8155,"museum":360,"description":16379,"tags":16380,"thumbUrl":16381,"material":223,"size":223,"collection":223,"collections":16382,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},224279,"shan-shui-hua-hui-ce-shi-san-fu-shan-224279","山水花卉冊(十三)","此作用色简淡古雅，浅赭为底，淡墨晕出山峦轮廓，谷间冷月斜悬，晕开朦胧清寂。层叠飞瀑以稚拙线条勾勒，无繁复皴擦，却藏水姿流动之意。两岸垂柳柔条披拂，轻垂于浅溪之上，朱红板桥卧于水面，冷调中一抹艳色点睛，衬出幽谧山居的灵动生机。\n构图空灵疏朗，以极简笔墨勾勒林泉山水，将文人林下隐逸的雅趣寄于其间，淡墨轻岚间静穆萧疏，尽显清寂出尘的林下之风，笔简意足，淡远悠长，尽显文人画寄情山水的意趣。",[23,24,63,234,27,93,94,7,32,743,33,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204690b521a9d4e47796e1e04a8ee204.jpg",[],{"id":16384,"slug":16385,"title":16386,"dynasty":18,"author":1553,"museum":360,"description":16387,"tags":16388,"thumbUrl":16392,"material":223,"size":223,"collection":223,"collections":16393,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,63,25,27,26,30,96,31,7,32,565,99,100,7722,118,2436,2437,2438,2439,16389,12950,12624,16390,16391,3869,9927,1606,5960,564,4102,7266,7267,4029,3208,66,65,3073],"礼器","饪食器","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":16395,"slug":16396,"title":14923,"dynasty":246,"author":2535,"museum":60,"description":14924,"tags":16397,"thumbUrl":16401,"material":223,"size":14927,"collection":223,"collections":16402,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},223174,"geng-zhi-tu-ce-jiao-bing-zhen-223174",[116,24,63,234,26,27,30,6072,16398,154,33,7,16399,120,9183,16400],"田埂","土地","劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf0903dbb43da13b65095d4d0ad615c.jpg",[],{"id":16404,"slug":16405,"title":14923,"dynasty":246,"author":2535,"museum":60,"description":14924,"tags":16406,"thumbUrl":16408,"material":223,"size":14927,"collection":223,"collections":16409,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},223172,"geng-zhi-tu-ce-jiao-bing-zhen-223172",[116,24,63,26,27,30,2343,32,7,33,75,11507,9183,16407],"孩童活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883896c3414839bf619d1412131db36e.jpg",[],{"id":16411,"slug":16412,"title":16413,"dynasty":246,"author":4064,"museum":132,"description":16414,"tags":16415,"thumbUrl":16416,"material":16417,"size":16418,"collection":223,"collections":16419,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},223114,"liu-lang-wen-ying-zhou-dong-bang-da-223114","柳浪闻莺轴","绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[23,24,135,93,27,98,94,676,96,33,7,38,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5be68a7e5d6e64376f4ae160ef00626.jpg","轴 纸本 设色","126.9x66.8",[],{"id":16421,"slug":16422,"title":16423,"dynasty":246,"author":4064,"museum":132,"description":12549,"tags":16424,"thumbUrl":16425,"material":2528,"size":12552,"collection":223,"collections":16426,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},223112,"duan-qiao-can-xue-zhou-dong-bang-da-223112","断桥残雪轴",[23,24,63,135,93,27,94,1470,7,96,414,250,1799,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2cb61ef0f3ef3886ddf67e4ca4abea.jpg",[],{"id":16428,"slug":16429,"title":16430,"dynasty":246,"author":4064,"museum":132,"description":12549,"tags":16431,"thumbUrl":16432,"material":237,"size":16433,"collection":223,"collections":16434,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},223111,"duan-qiao-can-xue-yu-ti-zhou-dong-bang-da-223111","断桥残雪御题轴",[23,24,63,135,93,94,98,250,155,33,75,7,32,97,440,1212,1202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6591715b6da5650f2c0cb662f335d50c.jpg","68.6x38.2厘米",[],{"id":16436,"slug":16437,"title":16438,"dynasty":246,"author":15535,"museum":20,"description":16439,"tags":16440,"thumbUrl":16441,"material":2899,"size":223,"collection":223,"collections":16442,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":498},222715,"huang-shan-ba-jing-tu-ce-4-zheng-min-222715","黄山八景图册4","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。",[24,63,234,93,94,33,97,7,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ce34c5eaa9c3bf9f87d2ec3b9720b8.jpg",[],{"id":16444,"slug":16445,"title":16446,"dynasty":18,"author":3784,"museum":132,"description":16447,"tags":16448,"thumbUrl":16449,"material":47,"size":16450,"collection":223,"collections":16451,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":108},216763,"jiu-lao-tu-4-huang-biao-216763","九老图-4","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,116,26,27,30,14263,7,293,962,645,2385,4030,97,12950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11dfd356931d7c386cbe98730bd03dd3.jpg","27.2x193",[],{"id":16453,"slug":16454,"title":16455,"dynasty":246,"author":1553,"museum":9064,"description":16456,"tags":16457,"thumbUrl":16458,"material":47,"size":223,"collection":223,"collections":16459,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},215952,"di-jian-tu-shuo-cai-hui-ben-52-yi-ming-215952","帝鉴图说彩绘本-52","画面铺展一派热闹而雅致的园居图景。朱红廊柱与青瓦飞檐相映，亭榭错落于花木间，尽显古建之美。人物情态鲜活：或策骑缓行，衣袂轻扬；或凭栏观景，低语浅笑；或于池畔嬉戏，裙摆随水波轻晃。孩童追逐打闹，仕女拈花而立，动静交织间，满溢生活的闲逸与繁华。细腻笔触勾勒出衣纹褶皱、建筑雕饰，色彩柔和却层次分明，似将一段悠然时光凝于绢素之上，让观者不觉沉浸其中，感受那份穿越时空的古雅意趣。",[24,27,26,30,744,31,96,7,65,33,1191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1435d9608c46db906f35ae065928af7d.jpg",[],{"id":16461,"slug":16462,"title":16463,"dynasty":246,"author":1553,"museum":9064,"description":16464,"tags":16465,"thumbUrl":16466,"material":47,"size":223,"collection":223,"collections":16467,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":54},215936,"di-jian-tu-shuo-cai-hui-ben-67-yi-ming-215936","帝鉴图说彩绘本-67","青蓝山石层叠如染，泼洒出苍莽气象；山间楼阁隐现于松影间，朱红檐角点缀苍翠，动静相宜。碧波细纹如鳞，与远山淡霭相映，漾开清旷悠远之境。画面中车马仪仗错落有致，行者或策马路途，衣袂飘举间尽现古雅意趣；或侍立轿侧，神态恭谨中藏着鲜活气息。工笔彩绘细腻勾勒每一处细节，色彩明快却不失古拙韵味，将叙事性与诗意山水巧妙交融，尽显古典画卷的雅致与生机，仿佛能让人窥见往昔场景的生动片段。",[24,27,117,26,234,94,30,65,31,96,33,97,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37134201a0cbfda4a5993f2a87dbae45.jpg",[],{"id":16469,"slug":16470,"title":7049,"dynasty":246,"author":11307,"museum":90,"description":16471,"tags":16472,"thumbUrl":16473,"material":223,"size":223,"collection":104,"collections":16474,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":13449},203289,"fang-gu-shan-shui-ce-lan-meng-203289","寒林雪景铺展眼前，天地素裹，枯木虬枝交错，枝头几点殷红破雪而出，似梅萼初绽，为清寂冬日添一抹暖意。远山以淡墨皴擦晕染，积雪留白简洁雅致，林间茅屋隐现，炊烟若有似无，小桥横架溪上，行人策杖缓行，动静之间尽显山居闲适。用笔兼具苍劲与秀润，墨色层次分明，雪景的空濛与树木的挺劲形成对比，仿古意趣中蕴含自然生机，整体意境悠远淡静，如品一杯清茗，余味绵长。",[24,94,234,93,27,318,136,7,98,1606,528,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3135a40ab241f58629dd249cc9601d.jpg",[104],{"id":16476,"slug":16477,"title":16478,"dynasty":5727,"author":9115,"museum":90,"description":16479,"tags":16480,"thumbUrl":16481,"material":223,"size":223,"collection":223,"collections":16482,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16483},203110,"cao-tang-xian-ju-tu-zhou-pu-ru-203110","草堂闲居图轴","画面以淡设色铺陈山水，松竹苍秀，溪流绕石潺潺，小桥横卧其上，草堂隐于林麓之侧，屋内人影悠然，尽显幽居闲致。笔墨清逸雅致，山石以皴法勾勒肌理，树木枝干挺劲，叶色点染细腻，远山轻描如烟霭，近景浓淡相宜。整体意境静谧悠远，藏文人雅士寄情林泉的淡泊心境，尽展传统山水的诗意格调与笔墨韵味。",[24,94,27,98,333,804,154,7,135,1054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca64ace45b822e0e091150299008d413.jpg",[],"d2c0a2",{"id":16485,"slug":16486,"title":16487,"dynasty":246,"author":16488,"museum":90,"description":16489,"tags":16490,"thumbUrl":16491,"material":223,"size":223,"collection":223,"collections":16492,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16493},202589,"liu-di-shen-chu-you-ren-jia-tu-zhou-ju-lian-202589","柳堤深处有人家图轴","居廉","柳丝垂拂堤岸，几椽茅舍隐于枝叶间，似藏着烟火暖意。曲桥跨于浅流，水面漾着微光，一叶孤舟静浮，添了几分悠然。远处山峦以淡墨轻皴，轮廓柔缓，与近景的浓淡层次相映。笔墨细腻处见工致，柳枝的飘逸、山石的肌理皆精心描摹，设色淡雅却含生机，将水乡的温婉与田园的静谧融于尺幅，尽显恬淡闲适的诗意。",[94,7,32,95,840,26,27,136,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F442c0ef6ce09a9f53ea11a788cc664ec.jpg",[],"cfb187",{"id":16495,"slug":16496,"title":16497,"dynasty":246,"author":16498,"museum":90,"description":16499,"tags":16500,"thumbUrl":16501,"material":223,"size":223,"collection":223,"collections":16502,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16503},202581,"xi-shan-gao-yi-tu-zhou-yang-yong-jian-202581","溪山高逸图轴","杨雍建","画面以水墨皴染绘就层峦叠嶂，峰岭巍峨间隐现飞瀑流泉。山麓林木葱郁，清溪绕舍，小桥横架，屋内人凭窗闲坐，尽显林泉隐逸之趣。笔法苍劲，皴法细腻，墨色层次丰富，融山水清幽与文人雅致于一体，传递出超然尘外的高逸情怀。",[24,93,94,98,7,32,33,137,15809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d798f593a36b94876c9f9543495c2c0.jpg",[],"cab28e",{"id":16505,"slug":16506,"title":16507,"dynasty":246,"author":8269,"museum":90,"description":16508,"tags":16509,"thumbUrl":16510,"material":223,"size":223,"collection":223,"collections":16511,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16512},202529,"zhu-lin-you-ju-tu-zhou-zhou-hao-202529","竹林幽居图轴","画面以错落的竹林为核心，几间茅舍隐于竹间，山间飞瀑倾泻，小桥跨溪而卧，尽显幽居之静。笔墨运用精妙，竹叶浓淡相衬，层次分明；山石以皴擦结合，线条简练却质感十足。整体意境清旷绝尘，似可闻竹间风吟、溪水流声，将文人向往的隐逸之趣融于尺幅之中，观之令人心宁神远。",[24,93,94,564,98,7,32,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0edc260ae0b02f03a5cc0077effd1dd.jpg",[],"d0c5be",{"id":16514,"slug":16515,"title":16516,"dynasty":246,"author":16517,"museum":90,"description":16518,"tags":16519,"thumbUrl":16520,"material":223,"size":223,"collection":223,"collections":16521,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16522},202387,"xi-chun-tu-juan-huang-juan-202387","嬉春图卷","黄卷","画卷铺展春日雅境，仕女群像散落于亭台、林麓、桥畔与舟中，构成鲜活的闺阁闲情图。左侧亭榭内，佳人凭栏观景；林间红毯铺地，众女围坐宴乐，或执杯浅酌，或展卷品赏；石桥上，仕女联袂而行，衣袂轻扬；柳荫下，画舫凌波，舟中女子抚琴笑语；右侧台阁里，三五人对弈品茗，神态悠然。画面以工笔细绘人物神态，线条温婉流畅，设色清丽雅致，景物如垂柳依依、石桥卧波、亭榭错落，皆衬出春日柔媚与生机。整卷气息娴静雅致，将古代女性闲情逸致与春日胜景融为一体，尽显古典审美意趣。",[24,25,26,27,30,744,96,7,32,95,281,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea551950e5a4f8f5609421ecc56c46b.jpg",[],"ac947b",{"id":16524,"slug":16525,"title":16526,"dynasty":246,"author":11307,"museum":90,"description":16527,"tags":16528,"thumbUrl":16530,"material":223,"size":223,"collection":223,"collections":16531,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16532},202369,"ce-jian-xun-shi-tu-zhou-lan-meng-202369","策蹇寻诗图轴","山峦叠嶂间，枯木疏枝交错，茅舍隐于林麓，瀑布自岩间垂落，溪畔小桥轻架。笔墨皴染结合，山石轮廓以劲挺线条勾勒，树木枝干虬曲有致，淡彩晕染出古雅色调，尽显文人山水的清寂悠远。策蹇寻诗的意趣虽未直白绘出，却于静谧景致中暗蕴寻访幽境、求索诗意的文人雅怀，引人入胜。",[24,94,27,98,7,152,7355,16529,529],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d133a06510b536fd689de9acd2aeac.jpg",[],"785b33",{"id":16534,"slug":16535,"title":2772,"dynasty":246,"author":16536,"museum":90,"description":16537,"tags":16538,"thumbUrl":16539,"material":223,"size":223,"collection":104,"collections":16540,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16541},202142,"shan-shui-tu-zhou-wang-mian-ying-202142","汪渑煐","水墨铺陈间，江河如练蜿蜒，岸畔丘峦以皴笔勾勒，纹理疏朗却见苍劲。远处峰影淡远，似隐于烟霭；近处石桥卧波，连接两岸人家，屋舍疏落于林麓间，添了几分人间烟火。岸边小径上，两人缓步，身影闲淡，与周遭的枯树、青松、矶石相映，更显山水之静谧。整幅画以简练笔触写尽自然之趣，水墨晕染中意境悠远，尽显文人山水的雅致清寂。",[24,93,94,98,7,75,30,33,1054,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768a8b557f50379bd86ac93fc0e10f5b.jpg",[104],"ae926e",{"id":16543,"slug":16544,"title":16545,"dynasty":246,"author":6183,"museum":90,"description":16546,"tags":16547,"thumbUrl":16549,"material":223,"size":223,"collection":223,"collections":16550,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16551},201615,"xi-wu-pin-quan-tu-zhou-qian-du-201615","溪坞品泉图轴","画面意境清雅悠远，远山层叠含黛，云雾轻笼如纱，溪流蜿蜒穿林而过。近景松柳交映，松枝苍劲挺拔，柳条依依垂拂，山石以淡青绿设色，肌理温润细腻。数名文人或坐于石畔品泉，或立在桥边闲语，神态悠然闲适，尽显林下幽情与文人雅趣。笔墨兼具工细之精致与写意之空灵，设色淡雅温润，将溪山胜境与诗意生活融于一卷，传递出清代文人画特有的从容与诗意。",[24,135,27,94,293,281,30,7,26,1054,7224,16548],"雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c042653ac1cfedf8c4b80ae8ef81458.jpg",[],"bcad99",{"id":16553,"slug":16554,"title":5752,"dynasty":246,"author":12294,"museum":90,"description":16555,"tags":16556,"thumbUrl":16557,"material":223,"size":223,"collection":104,"collections":16558,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16559},201546,"shan-shui-juan-fang-shi-shu-201546","这幅画作以水墨为载体，借皴法勾勒山石嶙峋肌理，山峦层峦叠嶂间透出苍劲古朴之韵。山间林木疏密相间，枝叶扶苏，几处屋舍隐于林间，与蜿蜒溪流、静卧小桥相映，构筑出清幽雅致的山居图景。远处平野朦胧，意境悠远，尽显自然山水的静谧与文人画的淡远情怀。",[93,94,98,7,32,33,97,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635a51a971710a244b8bfb9ff02e4f61.jpg",[104],"a79787",{"id":16561,"slug":16562,"title":16563,"dynasty":246,"author":5979,"museum":90,"description":16564,"tags":16565,"thumbUrl":16566,"material":223,"size":223,"collection":104,"collections":16567,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16568},201540,"wan-he-qian-ya-tu-zhou-zhang-zong-cang-201540","万壑千崖图轴","这幅山水立轴，山峦层叠起伏，千崖峥嵘，万壑深幽。笔墨间以皴法写山石肌理，淡墨晕染出峰峦层次，苍劲中见秀逸。山间村落隐于林麓，溪流蜿蜒穿谷，小桥横跨水面，林木疏密错落，几处红叶点缀，添秋意盎然。整体意境清旷悠远，雅致中含生机，尽显自然之趣与文人雅怀。",[24,94,135,98,27,7,32,366,5348,1202,191,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c37fcf89b90e11f6db2f55df0475178.jpg",[104],"b7b2aa",{"id":16570,"slug":16571,"title":16572,"dynasty":246,"author":1441,"museum":90,"description":16573,"tags":16574,"thumbUrl":16575,"material":223,"size":223,"collection":104,"collections":16576,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16577},201493,"cang-yan-bai-die-tu-zhou-wang-hui-201493","苍岩百叠图轴","笔墨苍润沉厚，山峦层叠错落，如积玉堆云般绵延展开。画家以多变皴法写山石肌理，披麻与斧劈交融，勾勒间见骨力，点染处显韵致；林木或繁密或疏朗，枝桠虬劲，叶簇葱茏，尽显自然生机。近处溪涧蜿蜒，小桥横卧，隐现人家屋舍；远处云雾轻笼，峰峦渐淡，天地间透着清幽旷远之致。整幅画布局开合有度，远近层次分明，既承传统山水精髓，又融个人体悟，于静谧中藏灵动，厚重里见秀逸，尽显山水神韵与笔墨之妙。",[94,98,93,135,7,32,191,1202,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1e3f1bd4e2c4dad913509f40452e55.jpg",[104],"a59581",{"id":16579,"slug":16580,"title":16581,"dynasty":246,"author":1309,"museum":90,"description":16582,"tags":16583,"thumbUrl":16584,"material":223,"size":223,"collection":104,"collections":16585,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16586},201375,"xian-zhang-cuo-e-tu-zhou-wang-yuan-qi-201375","仙掌嵯峨图轴","此图以淡墨干笔皴擦，峰峦嵯峨连绵，山石肌理在层层积墨中尽显厚重。山间林木错落，溪流蜿蜒穿石而过，小桥隐于树影，屋舍半藏岩麓，似蕴隐士栖居之趣。笔法浑厚沉雄，淡设色晕染出清逸氛围，山峦叠嶂间气脉连贯，尽显苍劲雅致之韵。",[24,94,3060,98,12591,27,7,32,33,137,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc41b7230ffd94fb1752d956fc7df9cbd.jpg",[104],"b2a89c",{"id":16588,"slug":16589,"title":10758,"dynasty":18,"author":1534,"museum":90,"description":16590,"tags":16591,"thumbUrl":16592,"material":223,"size":223,"collection":104,"collections":16593,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":16594},201350,"shan-shui-shan-lan-ying-201350","此作笔墨苍劲洒脱，山石以斧劈皴皴擦勾勒，线条刚健利落，墨色浓淡相宜，尽显浑厚质感。林木葱郁繁茂，笔触细腻灵动，枝桠交错间生机盎然。山间小径蜿蜒隐现，溪流潺潺似有声，意境清幽悠远。扇面构图精巧，疏密得宜，咫尺间纳丘壑之美，兼具浙派雄浑气势与文人画雅致意趣，于方寸间展现自然山水的深邃与生机。",[94,1829,98,27,97,33,7,93,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659448f1fd22a4abc9d1a50302a78cbc.jpg",[104],"c7b197",{"id":16596,"slug":16597,"title":16598,"dynasty":246,"author":16599,"museum":360,"description":16600,"tags":16601,"thumbUrl":16602,"material":494,"size":495,"collection":223,"collections":16603,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},290387,"xue-ji-tu-ma-xian-290387","雪霁图","马咸","马咸[清]字嵩洲，号泽山，浙江平湖人。工山水，兼南北两派",[23,24,116,94,1721,191,33,137,7,30,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7218a63bb031abaf91bf9f65f84a03.jpg",[],{"id":16605,"slug":16606,"title":16607,"dynasty":246,"author":16608,"museum":360,"description":16609,"tags":16610,"thumbUrl":16612,"material":494,"size":495,"collection":223,"collections":16613,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},290207,"jin-fen-shan-ju-tu-jing-xin-guan-huai-290207","金粉山居图镜心","关槐","字晋卿，一字晋轩，号雪岩，一号署笙，又号柱生，晚号青城山人，仁和（今杭州）人。乾隆四十五年（1780）传胪，官礼部侍郎。词章翰墨，脱颖不群。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。供奉内廷，宠眷特懋。有《群仙胪祝轴》、《溪山秋爽轴》等。",[23,1829,24,63,16611,94,1211,33,7,99,7722,27],"金粉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a8dab4e92dbc3f7ab60e5be51db3a1.jpg",[],{"id":16615,"slug":16616,"title":16617,"dynasty":246,"author":1454,"museum":360,"description":5968,"tags":16618,"thumbUrl":16619,"material":494,"size":495,"collection":223,"collections":16620,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},288408,"jin-lan-qi-hu-pou-jin-lan-yu-sun-wen-288408","金澜契互剖金澜语",[23,24,26,27,30,744,94,31,96,7,32,336,1721,6773],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1711a4116bf9c4f211193501edc48129.jpg",[],{"id":16622,"slug":16623,"title":16624,"dynasty":246,"author":1553,"museum":360,"description":15926,"tags":16625,"thumbUrl":16628,"material":494,"size":495,"collection":223,"collections":16629,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},274443,"tong-du-jin-fan-san-zhuan-ba-xian-zhong-yi-ming-274443","铜镀金翻伞转八仙钟",[4877,13362,16626,14566,16627,30,10942,7,31],"金器","八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3bc68baf2ab5109eaa210ce071720f.jpg",[],{"id":16631,"slug":16632,"title":16633,"dynasty":246,"author":1553,"museum":360,"description":16634,"tags":16635,"thumbUrl":16636,"material":494,"size":495,"collection":223,"collections":16637,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},272984,"mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272984","木边画玻璃山水图挂屏","通景式构图铺展园林雅集盛景，远景水榭凌于烟波之上，云气轻拢山林，朦胧悠远。中近景亭台之内，文友围坐品茗清谈；池畔桥间，雅士信步游赏，孩童嬉闹伴侧，各色人物情态鲜活，将文人日常的闲雅意趣尽数铺陈。\n此作以玻璃为底施彩，色调柔丽古雅，晕染细腻柔和，兼具笔墨意趣与玻璃工艺的独特质感，搭配古朴雕花边框，融装饰性与艺术性为一体，细腻定格了旧时文人的风雅日常，尽显中式园林里的悠然意韵。",[24,27,8675,15965,94,30,31,7,32,96,1619,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5255230d4a2057ad6d35ce8cd2c3ecf3.jpg",[],{"id":16639,"slug":16640,"title":16641,"dynasty":246,"author":1553,"museum":360,"description":16642,"tags":16643,"thumbUrl":16645,"material":494,"size":495,"collection":223,"collections":16646,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},272961,"zi-tan-mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272961","紫檀木边画玻璃山水图挂屏","这幅玻璃绘就的山水，以柔润晕染铺展天光水色，远景江波澹澹衔接着朦胧天际，近崖蜿蜒层叠，古木荫蔽间西洋风格的楼阁错落排布，石阶顺着山形迤逦而下。\n\n三两行人漫步山径，溪涧悬瀑轻坠，木桥凌波，滩涂间群羊悠然信步，将山居闲趣与烟火日常揉入画中。东方山水的悠远意境，糅合西洋写实的光影技法，晕开古雅柔和的色调，边框錾饰卷纹衬得画面雅致沉静，藏着中西艺术交融的别致风情。",[15965,8675,3869,27,94,31,7,32,33,30,16644],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec48855c485ab00cf7e78e3adbc127e.jpg",[],{"id":16648,"slug":16649,"title":16650,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":16651,"thumbUrl":16652,"material":494,"size":495,"collection":223,"collections":16653,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},258953,"qing-hua-yu-jia-le-tu-fang-hua-pen-yi-ming-258953","青花渔家乐图方花盆",[11594,11595,27,94,30,840,7,32,33,922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267a4b329040818a3c4eb0f273f1f9a0.jpg",[],{"id":16655,"slug":16656,"title":16657,"dynasty":246,"author":16658,"museum":360,"description":16659,"tags":16660,"thumbUrl":16661,"material":494,"size":495,"collection":223,"collections":16662,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},241462,"yang-zhou-ji-shi-heng-bai-en-you-241462","扬州纪事横","白恩佑","白恩佑（1812年－？），字蘭岩，一字叔啟，號石仙，晚號石翁，山西省介休縣人。清朝官員。",[93,99,100,118,7,32,95,31,33,492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567d58e31b506dd8b35dad587f2ee542.jpg",[],{"id":16664,"slug":16665,"title":16666,"dynasty":246,"author":16667,"museum":360,"description":16668,"tags":16669,"thumbUrl":16670,"material":494,"size":495,"collection":223,"collections":16671,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},239503,"lv-bi-shan-shui-ce-lv-bi-239503","吕璧山水册","吕璧","此页以淡墨绘就清秋山景，枯木错落尽染秋意，山道迤逦深入林峦，危崖之巅山寺凌然，远山以淡赭晕染，虚渺悠远，尽显清秋疏寂空阔之致。\n\n笔触简淡松灵，不事浓艳，以留白衬出山居清寂，尽显文人画简淡天真的意趣。左侧题诗与画境呼应，将山色秋光、归帆暮景的诗意融于画中，诗画相生，借秋山秋江之景，抒写出幽淡闲远的林下襟怀，淡而有味，简中见雅。",[24,63,234,93,94,7,32,33,97,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe069a21185246ef5077275e0b1b2878.jpg",[],{"id":16673,"slug":16674,"title":16675,"dynasty":246,"author":16676,"museum":360,"description":16677,"tags":16678,"thumbUrl":16679,"material":494,"size":495,"collection":223,"collections":16680,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},239496,"shan-shui-ce-8-shang-guan-zhou-239496","山水册8","上官周","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[24,234,93,27,98,94,7,30,65,439,529,2468,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ea919d3ef3fe9511db8b8ab46d8471.jpg",[],{"id":16682,"slug":16683,"title":16030,"dynasty":246,"author":5188,"museum":360,"description":16684,"tags":16685,"thumbUrl":16686,"material":223,"size":223,"collection":223,"collections":16687,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},239378,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239378","此作以干笔淡墨绘就冬日水村，取景清寂淡远。近岸老木虬曲苍劲，石拱桥卧于浅溪之上，将目光牵向水畔幽居。中洲孤亭枕水，枯林错落坡陀，远景汀洲朦胧晕染，留白铺展出烟水空濛之态。\n\n边角题诗与画意浑然相融，无繁复皴染，却将冬夜清寒静谧铺陈尽致。笔致松秀空灵，尽显文人画简淡天真的雅逸格调，把幽居寄兴、耽恋林泉的隐逸情思藏在淡墨轻岚之中，尽显闲寂出尘的林下之风。",[24,234,93,94,98,7,96,136,336,414,97,818,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a700c6cfc566e3df68eb9cf7dc7ed1.jpg",[],{"id":16689,"slug":16690,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":9155,"tags":16691,"thumbUrl":16692,"material":494,"size":495,"collection":223,"collections":16693,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},239326,"shan-shui-ce-cha-shi-biao-239326",[24,63,234,93,100,94,136,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26623af81f0f6e9ae6d3a70d6dda7d3c.jpg",[],{"id":16695,"slug":16696,"title":13972,"dynasty":246,"author":5870,"museum":360,"description":16697,"tags":16698,"thumbUrl":16699,"material":223,"size":223,"collection":223,"collections":16700,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},239200,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239200","此帧以水墨绘山居清景，山谷间村居错落，林木蓊郁，飞泉穿岩漱石，层峦以淡墨晕染出空濛烟岚，将江南山水温润之态尽数铺展。笔墨以干笔皴擦出山石肌理，墨色层次清润柔和，意境幽寂淡远。左侧行书题跋笔致苍劲朴拙，书画相映成趣，尽显文人雅意。画面寄寓着幽居林泉的隐逸襟怀，将沉郁静穆的心境融于丘壑林泉，笔底皆是世外丘山，毫端尽见林下高致。",[24,93,234,98,99,118,94,7,32,31,96,33,97,155,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dfdc15d81e286e5bd0c0537523e416.jpg",[],{"id":16702,"slug":16703,"title":13972,"dynasty":246,"author":5870,"museum":360,"description":16704,"tags":16705,"thumbUrl":16706,"material":223,"size":223,"collection":223,"collections":16707,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},239199,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239199","此帧绘天台桃源胜景，层岩峻岭拔地而起，飞瀑穿谷而下，溪湾回环间村居、板桥、渔舟错落隐现，林泉幽寂宛如化外仙境。以干笔皴擦勾勒山石苍莽肌理，淡墨晕染出空濛岚气，笔墨苍秀简远，尽显静穆清旷之致。左侧题咏桃源的行书笔致清劲疏朗，书画合璧，以文衬景，将世外幽居的澹逸与林下守志的襟怀融于一画，淡远萧散间，藏着幽栖丘山的雅意。",[24,93,98,234,99,118,94,7,32,96,33,97,152,253,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea69c09b056d642b6b126fa6049aec.jpg",[],{"id":16709,"slug":16710,"title":16711,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":16712,"thumbUrl":16721,"material":223,"size":223,"collection":223,"collections":16722,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238846,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238846","画归余纪典图册",[24,63,234,27,28,94,31,96,33,7,30,16713,16714,16715,16716,16717,16718,1237,16719,16720],"远景山峦","近景建筑","树木丛生","传统设色技法","清代绘画风格","园林式建筑","工笔兼写意","自然景观与人文建筑结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194cd5e3a655d7cb80f4c2115c4fd35a.jpg",[],{"id":16724,"slug":16725,"title":8348,"dynasty":246,"author":4064,"museum":360,"description":16726,"tags":16727,"thumbUrl":16728,"material":223,"size":223,"collection":223,"collections":16729,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238740,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238740","此作用淡墨绘就水乡村居小景，屋舍静掩林间，白衣高士彳亍阶前，水岸疏林错落，板桥卧波连起汀洲。笔致松秀温婉，全以水墨皴擦晕染，不施浓艳设色，构图疏朗空阔，留白衬出乡野幽寂闲静之态。\n\n画面呼应题咏诗意，将文人幽栖林下的恬然意趣融于尺幅之间，把拟古诗中隐逸澹远的意绪具象铺展，诗画合璧，尽显清寂萧散的文人山水审美意趣，是意境淡远的雅致小品。",[24,63,234,93,98,7,32,33,75,30,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed036f22173363c02c721b163c6a0d24.jpg",[],{"id":16731,"slug":16732,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":16733,"thumbUrl":16734,"material":494,"size":495,"collection":223,"collections":16735,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},238676,"shan-shui-ce-dong-bang-da-238676",[24,93,94,234,98,7,32,33,97,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf024dcb69f81c3c64a089a76948bb8.jpg",[],{"id":16737,"slug":16738,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":16739,"thumbUrl":16740,"material":494,"size":495,"collection":223,"collections":16741,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},238671,"shan-shui-ce-dong-bang-da-238671",[24,234,93,27,94,95,7,32,75,33,97,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadaf6395575f7c467808ad9c1b468923.jpg",[],{"id":16743,"slug":16744,"title":15652,"dynasty":246,"author":1553,"museum":360,"description":16745,"tags":16746,"thumbUrl":16748,"material":494,"size":495,"collection":223,"collections":16749,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238640,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238640","整幅作品以全景式构图铺展战事江色，翻涌的浪涛皴擦出逼人的水势，水师战船列阵破浪突进，楼橹严整、甲士森然。岸畔骑兵按辔待发，步卒云集呼应，将渡江攻坚的肃杀张力拉满。\n左侧题诗点明战事经纬，细密劲挺的线条勾勒出人物军马的错落排布，写实笔触还原出征伐的浩荡兵威，在纪实性中融入美术表现力，将临战前的紧绷氛围与行军的磅礴声势融为一体，尽展战地的雄浑质感。",[26,93,516,234,30,65,32,7,94,16747,64,136],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c72102d787db874e642d713fd8ec447.jpg",[],{"id":16751,"slug":16752,"title":16753,"dynasty":246,"author":3353,"museum":360,"description":6643,"tags":16754,"thumbUrl":16755,"material":494,"size":495,"collection":223,"collections":16756,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},238537,"chun-jing-shan-shui-ce-qian-wei-cheng-238537","春景山水册",[24,93,100,118,234,98,94,529,439,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74de15983a7e569f1f45091ea1bb6b78.jpg",[],{"id":16758,"slug":16759,"title":14923,"dynasty":246,"author":15328,"museum":360,"description":15329,"tags":16760,"thumbUrl":16761,"material":494,"size":495,"collection":223,"collections":16762,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238449,"geng-zhi-tu-ce-mian-yi-238449",[24,234,27,30,7,32,281,9183,120,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9036b7146ae4ae581be7f42900a1c7e.jpg",[],{"id":16764,"slug":16765,"title":4317,"dynasty":246,"author":4318,"museum":360,"description":16766,"tags":16767,"thumbUrl":16768,"material":223,"size":223,"collection":223,"collections":16769,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238224,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238224","此作山峦层叠，以干笔皴擦晕染，浑朴苍润，尽显夏山沉厚肌理。近岸林木蓊郁，板桥通幽，野居隐于翠微间，漾着山居的恬然意趣。落照漫过山岚，将暮色温煦铺陈开来，晕染出夏日山野的静穆悠长。\n\n诗书合璧，题咏衬景，笔底追摹古意又自含灵秀，将江南夏夕的沉宁诗意晕染纸上，把山野暮色的悠然定格，藏着文人画平淡天真的隽永风神。",[24,63,234,29,94,93,98,191,33,154,7,97,155,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf179075dd529cfd9657085347521301.jpg",[],{"id":16771,"slug":16772,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":16773,"tags":16774,"thumbUrl":16775,"material":223,"size":223,"collection":223,"collections":16776,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238157,"shan-shui-ce-yun-xi-238157","此作为诗画合璧的文人雅构，水墨山水取法米家笔意，以淡墨晕染出山峦烟岚空蒙之态，披麻皴写就的峰峦隐在云气之中，愈显悠远清旷。近渚林木错落，山居茅舍隐于林樾，汀岸小桥孤静野逸，将幽寂林泉之趣藏于尺幅间。\n旁配行书题诗，笔致俊朗疏爽，诗文意境与画境相融，把寻访林泉、随兴栖居的出世襟怀缓缓铺展。整幅诗画相生，雅致清和，尽显传统文人画的林下雅意与幽淡襟怀。",[24,63,93,98,100,94,7,32,33,75,118,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3526ae5c6d8dd96e405ab6d41f712a.jpg",[],{"id":16778,"slug":16779,"title":16152,"dynasty":246,"author":6467,"museum":360,"description":16153,"tags":16780,"thumbUrl":16781,"material":223,"size":223,"collection":223,"collections":16782,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238099,"hong-wu-shan-shui-ce-hong-wu-238099",[24,94,27,98,234,529,530,7,33,75,176,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a9ff639abaf69328690c9f4ea70572.jpg",[],{"id":16784,"slug":16785,"title":2158,"dynasty":246,"author":16786,"museum":360,"description":16787,"tags":16788,"thumbUrl":16789,"material":494,"size":495,"collection":223,"collections":16790,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238090,"shan-shui-ce-lu-yao-238090","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。",[24,63,234,93,98,118,94,136,75,7,97,250,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcb3f878059d80f0cba811ed9f11335.jpg",[],{"id":16792,"slug":16793,"title":2158,"dynasty":246,"author":9418,"museum":360,"description":15364,"tags":16794,"thumbUrl":16795,"material":223,"size":223,"collection":223,"collections":16796,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238018,"shan-shui-ce-lu-zun-shu-238018",[24,63,234,93,516,94,7,32,95,75,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f13bde9516857c66a1cb109f1e97440.jpg",[],{"id":16798,"slug":16799,"title":2158,"dynasty":246,"author":9418,"museum":360,"description":15364,"tags":16800,"thumbUrl":16801,"material":223,"size":223,"collection":223,"collections":16802,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},238010,"shan-shui-ce-lu-zun-shu-238010",[24,93,234,98,94,7,32,95,33,75,191,2538,252,2746,366,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff9821dd3850851740b99bfddc180ac.jpg",[],{"id":16804,"slug":16805,"title":2158,"dynasty":246,"author":6728,"museum":360,"description":10049,"tags":16806,"thumbUrl":16807,"material":494,"size":495,"collection":223,"collections":16808,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":2759},238008,"shan-shui-ce-qin-zu-yong-238008",[24,63,234,100,118,93,94,98,97,33,152,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2fe77bc493f6c0542d0054f47306eb.jpg",[],{"id":16810,"slug":16811,"title":8699,"dynasty":246,"author":4016,"museum":360,"description":16812,"tags":16813,"thumbUrl":16814,"material":223,"size":223,"collection":223,"collections":16815,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},237949,"shan-shui-tu-ce-liu-yu-237949","此作以焦墨渴笔绘层叠峰峦，繁皴密点写就山石硬朗肌理，林木蓊郁翳然，山坳茅舍幽隐，丘壑深幽间漾着静穆古意。左侧题诗与画境相映，诗画交融，将林泉高隐的太古幽情铺陈开来，把天地浑茫沉静与隐逸者的澹泊襟怀融为一体，尽显朴拙苍茫的林下之风，带着静绝尘嚣的雅逸意趣，是颇具文人意致的山水小品。",[24,63,234,93,98,94,529,7,336,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f5cc63a0c355272ddb3f76da532e1f.jpg",[],{"id":16817,"slug":16818,"title":2158,"dynasty":246,"author":16819,"museum":360,"description":16820,"tags":16821,"thumbUrl":16822,"material":494,"size":495,"collection":223,"collections":16823,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},237916,"shan-shui-ce-cheng-ming-237916","程鸣","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[24,93,98,234,94,7,96,439,97,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bb1dfc927926f0ed714179a1b05e02.jpg",[],{"id":16825,"slug":16826,"title":8699,"dynasty":246,"author":15371,"museum":360,"description":15372,"tags":16827,"thumbUrl":16828,"material":223,"size":223,"collection":223,"collections":16829,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},237864,"shan-shui-tu-ce-jin-xue-jian-237864",[24,63,234,93,27,94,7,32,95,121,136,75,97,440,119,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25f4500cb71f860e9a33d7c00d98160.jpg",[],{"id":16831,"slug":16832,"title":2158,"dynasty":246,"author":11245,"museum":360,"description":11246,"tags":16833,"thumbUrl":16834,"material":494,"size":495,"collection":223,"collections":16835,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},237520,"shan-shui-ce-chen-zi-237520",[24,63,234,27,94,100,33,7,32,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b7f907486537e23a2916596deb42fb.jpg",[],{"id":16837,"slug":16838,"title":2158,"dynasty":246,"author":16839,"museum":360,"description":16840,"tags":16841,"thumbUrl":16842,"material":237,"size":223,"collection":223,"collections":16843,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},237376,"shan-shui-ce-wang-jiu-237376","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。",[24,63,234,93,98,100,118,94,7,32,97,33,95,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F041f24086126d0d9690fb7af995dae50.jpg",[],{"id":16845,"slug":16846,"title":2158,"dynasty":18,"author":12340,"museum":360,"description":12341,"tags":16847,"thumbUrl":16848,"material":237,"size":223,"collection":223,"collections":16849,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},237043,"shan-shui-ce-li-hang-zhi-237043",[24,63,234,516,93,94,414,7,250,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb319f8656840cda158834f7f41a6093d.jpg",[],{"id":16851,"slug":16852,"title":7387,"dynasty":246,"author":6432,"museum":360,"description":16853,"tags":16854,"thumbUrl":16855,"material":494,"size":495,"collection":223,"collections":16856,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},236943,"jiu-ru-zhi-ji-ce-wang-gai-236943","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,63,234,27,100,94,30,65,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f6fd7db7eb92a2c01bbf63d903cb725.jpg",[],{"id":16858,"slug":16859,"title":7049,"dynasty":246,"author":15451,"museum":60,"description":15452,"tags":16860,"thumbUrl":16861,"material":678,"size":223,"collection":223,"collections":16862,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},236825,"fang-gu-shan-shui-ce-zhao-cheng-236825",[24,63,27,98,234,528,94,7,32,96,33,97,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9d86ff49b5624323ec8936e26f4f0.jpg",[],{"id":16864,"slug":16865,"title":7683,"dynasty":18,"author":6050,"museum":360,"description":7684,"tags":16866,"thumbUrl":16867,"material":223,"size":223,"collection":223,"collections":16868,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},236640,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236640",[24,63,116,234,93,27,98,94,31,33,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c65fc43ab3a8b40dce023b15e5acbb1.jpg",[],{"id":16870,"slug":16871,"title":2158,"dynasty":246,"author":16819,"museum":360,"description":16872,"tags":16873,"thumbUrl":16874,"material":164,"size":223,"collection":223,"collections":16875,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},236503,"shan-shui-ce-cheng-ming-236503","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[24,63,234,93,98,94,7,75,33,250,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dd82d64eebcd6105243818b56a84c56.jpg",[],{"id":16877,"slug":16878,"title":16879,"dynasty":18,"author":1553,"museum":360,"description":16880,"tags":16881,"thumbUrl":16883,"material":223,"size":223,"collection":223,"collections":16884,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},236430,"shu-zhi-shan-shui-ce-yi-ming-236430","殳执山水册","这幅山水小品以淡墨晕染出烟霭山城，虚实相生间尽显空寂萧疏之美。城垣逶迤盘桓山巅，楼阁隐现薄雾之中，恍若仙山琼宇藏于烟岚。林麓之下，旅人策蹇徐行，溪畔茅舍临流静立，远处佛塔淡影浮沉在朦胧烟霭中，将山野清寂与浅淡烟火意趣相融。\n\n笔墨简淡清润，以淡墨皴擦点染弱化山石棱角，留白与晕染交织出空濛诗意，将郊野山城的清旷雅致勾勒尽致，尽显简淡幽远的文人意趣，引人沉醉在这烟水山岚的悠然意境里。",[24,63,234,93,27,94,31,96,439,65,7,492,97,16882,332],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f87642505a7b80225be89ce4786ca89.jpg",[],{"id":16886,"slug":16887,"title":16888,"dynasty":18,"author":7058,"museum":360,"description":16889,"tags":16890,"thumbUrl":16891,"material":494,"size":495,"collection":223,"collections":16892,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},236302,"qiu-tong-yin-yu-shan-zhang-fu-236302","秋桐阴雨扇","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[24,1829,93,27,94,191,33,31,96,7,32,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6dfc2ffd76807ff0d84d0c321c68a4.jpg",[],{"id":16894,"slug":16895,"title":16896,"dynasty":246,"author":8562,"museum":60,"description":16897,"tags":16898,"thumbUrl":16899,"material":257,"size":223,"collection":223,"collections":16900,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},236141,"fang-yuan-ren-shan-shui-ce-he-yi-236141","仿元人山水册","赫奕 [清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[24,63,234,29,93,98,94,7,32,33,97,250,96,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b45a9ecd58a4bf0a2f3ac5cea04180.jpg",[],{"id":16902,"slug":16903,"title":2158,"dynasty":246,"author":16904,"museum":360,"description":16905,"tags":16906,"thumbUrl":16907,"material":223,"size":223,"collection":223,"collections":16908,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},235945,"shan-shui-ce-qi-zhi-jia-235945","祁豸佳","此作用极简淡墨铺陈丘林野景，坡岸之上古松斜欹，杂木荒寒，枝桠错落间尽现初冬萧索意趣。远山以干笔淡皴轻勾，墨色晕染出空濛清旷的幽远意境，留白处尽显山水疏朗空寂之态。\n\n左幅行书题跋笔致秀逸舒展，与画面的清简格调浑然相融，书画相映，衬出文人雅逸的林下之风。全作用笔简净含蓄，以清冷淡远的笔墨勾勒出冲淡冷寂的山水意韵，尽显文人画中萧散淡远的审美意趣。",[24,63,234,93,98,100,118,94,33,336,7,96,97,3120,136,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfe5cbbdc3931077709f5f8b72cba5a.jpg",[],{"id":16910,"slug":16911,"title":2158,"dynasty":246,"author":16904,"museum":360,"description":16912,"tags":16913,"thumbUrl":16914,"material":223,"size":223,"collection":223,"collections":16915,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},235944,"shan-shui-ce-qi-zhi-jia-235944","此作用淡墨晕染山峦，以皴擦勾勒出山石苍莽肌理，浓淡墨色点簇林木，错落间尽显葱郁生机。山坳板桥连缀村居，野意悠然，将江南幽居林景融于尺幅。左侧行书题跋笔墨舒展，与画作相映成趣，书画合璧更添雅韵。\n\n全幅画风简淡清逸，不作刻意雕琢，以写意之笔铺陈林泉高致，尽显寄情山水、避世幽栖的文人意趣，淡墨轻岚之间藏着沉静悠远的林下襟怀，观之如临幽寂山林，令人尘心渐息。",[24,63,234,93,27,94,7,32,33,97,100,98,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b29e3d11ca38b400422b53e68e3b299.jpg",[],{"id":16917,"slug":16918,"title":2158,"dynasty":246,"author":16904,"museum":360,"description":16919,"tags":16920,"thumbUrl":16921,"material":223,"size":223,"collection":223,"collections":16922,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},235943,"shan-shui-ce-qi-zhi-jia-235943","此作用笔松秀简淡，近岸苍木扶苏，屋舍隐于松涛之间，中流扁舟凌波，远山嶙峋空灵，以淡墨轻皴晕染出空寂山居之境。\n\n画面留白疏朗，衬出山峦空濛清润，将江南丘壑的静穆淡远铺陈开来。左侧行书题字隽逸雅致，书画合璧，尽显文人追慕古贤绘事的幽怀。整体简淡萧疏，把林下栖居的雅寂禅意藏于笔底，淡而弥远，清而有味，尽显文人山水的悠然意趣。",[24,63,234,93,94,529,439,7,32,100,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d8f3150cf510c25790e5bf315b8c74.jpg",[],{"id":16924,"slug":16925,"title":2158,"dynasty":246,"author":16904,"museum":360,"description":16926,"tags":16927,"thumbUrl":16928,"material":223,"size":223,"collection":223,"collections":16929,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},235937,"shan-shui-ce-qi-zhi-jia-235937","此作用笔清癯简淡，枯笔勾勒崖壁，皴擦极简便将山石嶙峋荒疏之态尽显。几株虬劲枯木无叶，愈发衬出空山萧索。坡上孤亭孑然独立，远景以淡墨晕染远山，江天寥廓混茫，意境幽冷孤高。\n\n整体取法逸笔草草的文人意趣，以简淡笔墨写尽清寂林下之境，寄寓幽远超然的襟怀，淡墨间浸透疏淡避世的雅韵，留白处皆是余味，简中见深，淡而弥长。",[24,63,93,100,98,234,94,136,97,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5945a50217da6dd6387ae3ca6be8bf72.jpg",[],{"id":16931,"slug":16932,"title":14077,"dynasty":246,"author":14078,"museum":360,"description":16933,"tags":16934,"thumbUrl":16935,"material":223,"size":223,"collection":223,"collections":16936,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},235926,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235926","这幅画截取冬日湖山一隅，素雪覆峦，天地澄澈清寂。湖面波色澹澹，将冷冽水汽晕开在纸面。朱红梵宇静立岸畔，撞破冰色的单调，点亮了萧索冬景。远处佛塔孤挺于雪岭，与古寺遥遥相望，禅意自生。\n枯柳寒木虬枝错落，淡墨晕染出积雪留白，笔法清润秀雅，将冬日元气暗藏于冷寂间。右上角题诗与画境相映，诗画相融，把江南雪后梵刹的空灵悠然铺展开来，淡远含蓄的古意扑面而来，令人沉湎在这份冷雅安宁之中。",[116,24,63,234,27,94,31,235,7,33,1721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde125e9d55a9325d0a01ab1425d1a1db.jpg",[],{"id":16938,"slug":16939,"title":16940,"dynasty":246,"author":16941,"museum":360,"description":16942,"tags":16943,"thumbUrl":16944,"material":223,"size":223,"collection":223,"collections":16945,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},235783,"zhu-jia-shu-hua-he-bi-ce-shan-shui-ye-wu-shi-rui-235783","诸家书画合璧册-山水页","吴世睿","这幅山水以平远之法铺陈，近岸苍木错落，茅舍隐于林麓，板桥卧波漾着野趣。渐远则田畴层叠、村舍依依，远山以淡墨晕染，虚实相生，将江南郊野的温润清寂尽数铺陈。\n\n笔墨简淡秀雅，线条松灵含蓄，皴擦晕染皆出自然，尽显文人画萧散意趣。对开草书笔意纵逸跌宕，与山水清逸相得益彰。书画合璧，将观景寄情的雅趣藏在尺幅间，淡而弥远，耐人寻味。",[24,63,234,93,100,98,94,33,75,7,32,43,1445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff247532932a57842612aa76893757df0.jpg",[],{"id":16947,"slug":16948,"title":16949,"dynasty":18,"author":2617,"museum":360,"description":16950,"tags":16951,"thumbUrl":16952,"material":494,"size":495,"collection":223,"collections":16953,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},235769,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wu-song-jiang-tu-ye-chen-chun-235769","吴门诸家寿袁方斋三绝册-吴淞江图页","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[24,63,234,93,27,99,118,94,7,32,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098f5ef4d61784b2c3a4c75fb32b5218.jpg",[],{"id":16955,"slug":16956,"title":2158,"dynasty":246,"author":4016,"museum":360,"description":16957,"tags":16958,"thumbUrl":16959,"material":494,"size":495,"collection":223,"collections":16960,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},235494,"shan-shui-ce-liu-yu-235494","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[24,63,234,93,98,99,100,118,94,336,136,7,32,75,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8baf66db1615a9818a722bb646ef0e1.jpg",[],{"id":16962,"slug":16963,"title":16297,"dynasty":18,"author":1553,"museum":360,"description":16964,"tags":16965,"thumbUrl":16966,"material":494,"size":495,"collection":223,"collections":16967,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},235140,"chen-dan-zhong-shan-shui-ce-yi-ming-235140","此作以没骨间杂浅绛晕染山峦，峰尖如黛，云雾在林麓间缓缓氤氲，将青碧山石与丹红霜叶晕融成朦胧空濛的秋山图景。山径蜿蜒隐没于茂草霜林间，萧索秋意裹着幽寂禅意漫开。\n\n笔意秀雅温润，以水色糅合墨韵消解了线条的凌厉，明丽设色又带着沉静质感，将晚秋山野的清旷萧寒含蓄铺展。左侧题诗与画境呼应，诗画合璧，点破万籁俱寂的深秋天光，尽显晚明山水崇尚的淡远萧疏之美，是文人寄情丘壑，以景抒怀的典型佳构。",[24,63,234,27,94,7,32,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232dcaea0c8b8b7c0d9fdd2d9376772e.jpg",[],{"id":16969,"slug":16970,"title":16971,"dynasty":246,"author":16972,"museum":360,"description":16973,"tags":16974,"thumbUrl":16975,"material":223,"size":223,"collection":223,"collections":16976,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},235069,"zhu-jia-shan-shui-ce-ye-hua-hui-ye-wang-jing-235069","诸家山水册页-花卉页","王敬","此作用淡墨晕染远山，以披麻皴轻写山峦肌理，笔墨松秀柔润，晕出烟雨溟蒙的空寂氛围。近处水岸错落，苍松扶苏含翠，柳丝轻笼烟岚，板桥茅舍、水上亭台次第铺陈，取景简淡却层次丰盈，尽显江南水村的清润闲雅。\n题诗与画面相映成趣，诗画交融，以极简笔致勾勒幽远静穆的林下诗意，尽显文人画尚简重意的特质。笔致萧散空灵，淡而不薄，简而愈远，悠悠见出林下清寂的隐逸襟怀，整体氤氲着静雅出尘的水墨诗意。",[24,93,98,234,94,96,7,32,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113368b18e266db2890ec5f45fafef56.jpg",[],{"id":16978,"slug":16979,"title":3933,"dynasty":246,"author":10808,"museum":60,"description":10809,"tags":16980,"thumbUrl":16981,"material":678,"size":223,"collection":223,"collections":16982,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},234751,"huang-shan-tu-ce-jiang-zhu-234751",[24,93,100,94,96,32,7,176,33,234,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd65a8ea7146fe0911e87ceef6ebc60bb.jpg",[],{"id":16984,"slug":16985,"title":16986,"dynasty":246,"author":1553,"museum":360,"description":16987,"tags":16988,"thumbUrl":16989,"material":223,"size":223,"collection":223,"collections":16990,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},234557,"yu-mu-shang-xin-ce-jiang-zhu-huang-hai-dan-tai-tu-ce-ye-yi-ming-234557","娱目赏心册-江注黄海丹台图册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,63,234,93,100,118,99,94,7,32,136,96,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe24883cf2c9df50c59031297861df435.jpg",[],{"id":16992,"slug":16993,"title":15625,"dynasty":246,"author":15626,"museum":360,"description":15627,"tags":16994,"thumbUrl":16995,"material":223,"size":223,"collection":223,"collections":16996,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},234361,"you-niao-shi-tu-ce-jin-kun-234361",[24,63,234,100,118,27,94,7,32,33,75,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43947393ebed197c253016c5f649581d.jpg",[],{"id":16998,"slug":16999,"title":15625,"dynasty":246,"author":15626,"museum":360,"description":15627,"tags":17000,"thumbUrl":17001,"material":223,"size":223,"collection":223,"collections":17002,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},234355,"you-niao-shi-tu-ce-jin-kun-234355",[24,63,234,27,100,118,94,96,33,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1926b69575b602ac1c84ca32a34428.jpg",[],{"id":17004,"slug":17005,"title":2158,"dynasty":246,"author":639,"museum":360,"description":17006,"tags":17007,"thumbUrl":17008,"material":223,"size":223,"collection":223,"collections":17009,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},234339,"shan-shui-ce-jin-ting-biao-234339","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。",[24,93,94,234,7,32,454,30,99,6082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7297a0aee7987d8b37b4b29da02d73e3.jpg",[],{"id":17011,"slug":17012,"title":17013,"dynasty":246,"author":14037,"museum":60,"description":17014,"tags":17015,"thumbUrl":17016,"material":678,"size":17017,"collection":223,"collections":17018,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},233931,"dai-lu-fang-bei-tu-ce-huang-yi-233931","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。",[24,93,234,94,33,75,191,366,99,118,98,7,253,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5131bf38d823db72553583446cc506d0.jpg","纵17.4厘米，横50.8厘米",[],{"id":17020,"slug":17021,"title":17022,"dynasty":246,"author":8155,"museum":60,"description":17023,"tags":17024,"thumbUrl":17025,"material":378,"size":17026,"collection":223,"collections":17027,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},233813,"shan-shui-ce-2-fu-shan-233813","山水册2","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[24,63,234,27,117,94,4768,98,31,7,32,33,3738,97,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220efb4562ed1b81e99dc1d77f38e22b.jpg","纵36.5厘米，横37厘米",[],{"id":17029,"slug":17030,"title":17031,"dynasty":246,"author":1553,"museum":60,"description":17032,"tags":17033,"thumbUrl":17037,"material":237,"size":5893,"collection":223,"collections":17038,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},233069,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233069","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[24,25,26,27,30,31,7,33,17034,17035,5891,38,28,17036],"营帐","队列","开阔场地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f097642794586561b6e219993e0706.jpg",[],{"id":17040,"slug":17041,"title":17042,"dynasty":1933,"author":1553,"museum":360,"description":17043,"tags":17044,"thumbUrl":17047,"material":494,"size":495,"collection":223,"collections":17048,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},231798,"chun-ri-ji-li-xing-fu-xing-shi-xia-juan-yi-ming-231798","春日祭礼兴福行事下卷","此作以全景长卷铺展祭典全貌，淡彩浅设辅以工整白描，将一场庄重古礼完整铺陈于绢素之上。\n左侧朝官按序列班，衣袍明黄齐整肃穆，仪杖陈设规制俨然；中段人马辚辚而行，扈从仪物森然有序，百官随扈的宏大仪仗历历在目；右侧水屋御殿临河而设，拜谒的臣僚进退有度，河畔林木葱郁衬出仪典的静穆氛围。\n画作细节考究，人物衣冠、官署形制皆贴合古礼，搭配题跋补全仪典始末，兼具纪实性与古韵美感，让旧日皇家祭礼的庄重排场宛在眼前。",[23,24,63,25,26,27,30,31,7,32,96,65,33,17045,39,17046,9485,38,94],"祭祀","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56da5d090e05a00fa387d5a52a4e401a.jpg",[],{"id":17050,"slug":17051,"title":17052,"dynasty":1933,"author":1553,"museum":360,"description":17053,"tags":17054,"thumbUrl":17055,"material":223,"size":223,"collection":223,"collections":17056,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},231691,"shi-ting-shi-qi-qiao-yi-ming-231691","室町时期 桥","此画以淡墨轻赭铺就秋山暮色，近坡古木虬曲，疏枝朗叶尽染萧索秋意，板桥跨溪连接山居野径，山坳间隐见村舍，暗藏烟火余温。远景奇峰崷崪，以简劲皴笔写山石棱线，晕染出空濛山岚，天际群雁齐飞，汀洲渔舟点点。\n\n画面虚实相生，将幽寂山野与隐逸闲趣相融，淡墨里漾着清远禅意，静中含动，把秋日林泉的疏旷淡远娓娓铺陈，藏着寄迹林泉的悠然意绪。",[23,24,93,331,98,7,136,121,97,32,250,818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cacd3845460cff03a842a59e29690a.jpg",[],{"id":17058,"slug":17059,"title":17060,"dynasty":1933,"author":1553,"museum":360,"description":17061,"tags":17062,"thumbUrl":17064,"material":223,"size":223,"collection":223,"collections":17065,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},231656,"yun-juan-tu-juan-yi-ming-231656","云卷图卷","此作以全景长卷铺展世间烟火，疏密有致的构图将郊野与町肆串联。画面里市集人流攒动，官绅出行的仪仗、贩夫走卒的行迹、乘马驱车的行人错落交织，朱红牌坊临水而立，乡野村居错落铺陈。\n工细的线条勾勒出各色人物的情态衣袂，古雅的设色晕染出郊野的温润底色，将市井喧嚷、仕宦排场与田舍闲趣融为一体。细节里藏着往昔日常的鲜活风貌，把旧岁世相凝于绢素之间，尽显写实叙事的古雅意趣。",[23,24,25,27,26,30,65,7,75,2538,17063,33,121,66,43,427,38],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5c9e889cce3d7668f0cb97b6412eb.jpg",[],{"id":17067,"slug":17068,"title":17069,"dynasty":1933,"author":17070,"museum":360,"description":17071,"tags":17072,"thumbUrl":17073,"material":494,"size":495,"collection":223,"collections":17074,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":1224},231596,"shi-ting-shi-dai-shan-shui-tu-zhou-zhou-wen-231596","室町时代 山水图轴","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,63,135,93,98,94,31,7,293,97,250,33,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efd00ba4510536798ee87c1edb5bf8a.jpg",[],{"id":17076,"slug":17077,"title":17078,"dynasty":246,"author":1553,"museum":360,"description":17079,"tags":17080,"thumbUrl":17081,"material":494,"size":495,"collection":223,"collections":17082,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},229134,"song-hua-shi-shan-shui-cha-ping-yi-ming-229134","松花石山水插屏","此插屏巧借松花石天然色泽，以紫褐石皮镂刻山水，留青质为烟岚空濛。远山层叠逶迤，近崖苍劲嶙峋，古松虬曲、林木深秀，板桥横波，山居隐于翠色间，将文人画中山水意境凝于石上，静穆中藏着山野清趣。配座以硬木精雕回纹、卷草，素雅古朴，与石屏浑然一体，尽显文房清玩的内敛雅致，将林泉高致融于案头一方，尽显中式造物的含蓄诗意。",[246,14566,94,31,7,97,33,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0ad0e0c5f923f9cba124a5cf44414b.jpg",[],{"id":17084,"slug":17085,"title":17086,"dynasty":1933,"author":1553,"museum":360,"description":11783,"tags":17087,"thumbUrl":17088,"material":494,"size":495,"collection":223,"collections":17089,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},225493,"fu-shi-hui-251-yi-ming-225493","浮世绘251",[24,28,27,30,31,7,38,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b26ce9eee196b32ba8ac9964b526be8.jpg",[],{"id":17091,"slug":17092,"title":17093,"dynasty":1933,"author":1553,"museum":360,"description":17094,"tags":17095,"thumbUrl":17096,"material":223,"size":223,"collection":223,"collections":17097,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},225361,"fu-shi-hui-117-yi-ming-225361","浮世绘117","这幅作品以木桥行旅为焦点，将赶路的旅人、驮货的马队收揽于前景，鲜活铺展出行路的日常烟火。远景以青蓝晕染水色，暖黄晕开沙洲浅山，柔化了天地边界，将旅途的奔波与水乡清寂融为一景。\n\n画面动静相映，负货的旅人神色匆匆，岸边堆放的木料、错落村舍晕开世俗暖意，远景的淡墨山林又晕开松弛悠远的氛围。雅致柔和的色调铺陈出悠然诗意，将市井行路的日常晕染出浮世独有的烟火温情。",[9503,27,13755,7,65,30,33,71,11557,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3d0ae1c9f6f01c11bdafee0de5148d.jpg",[],{"id":17099,"slug":17100,"title":17101,"dynasty":1933,"author":1553,"museum":360,"description":17102,"tags":17103,"thumbUrl":17105,"material":223,"size":223,"collection":223,"collections":17106,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},225356,"fu-shi-hui-112-yi-ming-225356","浮世绘112","明黄的拱形木桥凌于清浅水面之上，结构舒展雅致，醒目的色调让桥身成为画面焦点。桥上行人三两，或凭栏远眺天光水色，或拾级缓行，衣袂轻曳间尽显日常的松弛闲趣。\n\n沿岸绿植蓊郁，临水屋舍与淡远空蒙的天色相映，水面漾开柔缓波纹，晕开悠然的市井氛围。线条洗练精准，将桥的建筑美感与俗世情态相融，以澹雅平和的色调，把隅间闲景晕染成隽永的和风诗意，藏着独属于旧时烟火的澹泊温情。",[9503,27,30,7,32,137,9306,17104,1865],"闲趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71216c2f204223fd22dffe8e81dbbff.jpg",[],{"id":17108,"slug":17109,"title":17110,"dynasty":246,"author":17111,"museum":360,"description":17112,"tags":17113,"thumbUrl":17114,"material":494,"size":495,"collection":223,"collections":17115,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},224148,"shou-zha-er-shi-si-tong-san-yu-yue-224148","手札二十四通三","俞樾","有清一代，书法可分两途。康、乾时期，书宗董、赵，以帖为式，风格清健流丽，儒雅闲静。然以承继为主。嘉、道之后，此风参以颜、柳，庙堂之气重而风流韵致少，故“馆阁”之讥，时或有之。与其反道而行之者，碑派兴起，渐成流风。晚清士大夫，初学阁帖，中年之后参以北碑，既增筋骨，又不乏生动。遂成一时之风尚。俞曲园即其一例也。\n曲园与小坡二十四札书信，以言学术、诗词者居多，时间大约在光绪八年（1882-1887）之间。信札之书体，除一通为隶书外，俱为行楷书。曲园早年科举应试，字体工整圆润，有馆阁之风。后习篆、隶，书风为之一变，隶形篆意，古朴厚重，不加雕饰，犹如经生治史。老年所书楷联，则参以碑意，大气重拙。然此册之书法，除古朴、重拙之外，更有气质闲雅，潇洒风流，宋人之意跃然纸上。此或翰札特有之形态，抑或特有之魅力也。",[23,63,99,25,100,118,27,31,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7056e696fa256fbf0163cb6639b594c3.jpg",[],{"id":17117,"slug":17118,"title":17119,"dynasty":246,"author":17120,"museum":360,"description":17121,"tags":17122,"thumbUrl":17123,"material":223,"size":223,"collection":223,"collections":17124,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},224108,"shan-shui-hua-hui-ce-jiu-fu-mei-224108","山水花卉冊(九)","傅眉","此作以扇面取景，分作两段景致。上部烟柳笼堤，淡墨晕染远山，云气朦胧悠远，柳枝如烟似雾，苍劲枝干托曳柔条，刚柔相济，汀渚水色空濛，漾出幽寂春寒之意。下半幅叠石临流，水榭孤悬矶石之上，碧波萦回石畔，古松盘曲于岩岫之间，笔墨苍润朴拙。\n全作用浅赭铺陈底色，墨色浓淡掩映，将江南水岸早春的清寂闲雅凝于尺幅，既有文人画的简淡空灵，又带着质朴厚重的笔致，意境萧散淡远，尽显静穆幽隽的林下之致，雅静悠然，余韵悠长。",[23,24,93,27,234,94,96,32,7,439,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812487675da15e438230aa404acdf6dc.jpg",[],{"id":17126,"slug":17127,"title":17128,"dynasty":246,"author":9553,"museum":360,"description":9554,"tags":17129,"thumbUrl":17130,"material":378,"size":9558,"collection":223,"collections":17131,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},223261,"yan-shan-ba-jing-tu-8-ju-yong-die-cui-zhang-ruo-cheng-223261","燕山八景图-8-居庸叠翠",[23,24,27,98,94,191,152,33,75,32,7,190,366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc343a62b6d8555ef1d8fb230e44efd87.jpg",[],{"id":17133,"slug":17134,"title":14923,"dynasty":246,"author":2535,"museum":60,"description":14924,"tags":17135,"thumbUrl":17138,"material":223,"size":14927,"collection":223,"collections":17139,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},223179,"geng-zhi-tu-ce-jiao-bing-zhen-223179",[116,24,3457,26,27,9183,2343,17136,71,7,33,99,17137],"劳作人物","农桑题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebfd1fa96a6ef63eab95237d5354c78.jpg",[],{"id":17141,"slug":17142,"title":17143,"dynasty":246,"author":15535,"museum":20,"description":16439,"tags":17144,"thumbUrl":17145,"material":2899,"size":223,"collection":223,"collections":17146,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},222717,"huang-shan-ba-jing-tu-ce-6-zheng-min-222717","黄山八景图册6",[23,24,63,234,93,98,94,1587,32,152,33,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2576cbfb62fe233cc4cb346af5ffbf.jpg",[],{"id":17148,"slug":17149,"title":17150,"dynasty":246,"author":15535,"museum":20,"description":16439,"tags":17151,"thumbUrl":17152,"material":2899,"size":223,"collection":223,"collections":17153,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":498},222714,"huang-shan-ba-jing-tu-ce-3-zheng-min-222714","黄山八景图册3",[23,24,63,234,93,98,94,7,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe867f889879a8e62b86b36c5b0a5a158.jpg",[],{"id":17155,"slug":17156,"title":17157,"dynasty":246,"author":11048,"museum":20,"description":17158,"tags":17159,"thumbUrl":17160,"material":2632,"size":17161,"collection":223,"collections":17162,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},222638,"shan-shui-shu-fa-ce-liu-kai-4-gao-feng-han-222638","山水书法册六开-4","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,24,63,234,93,98,94,7,32,30,336,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f6a136073f3bb154cce56b914e397b.jpg","31.8x24.8厘米",[],{"id":17164,"slug":17165,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":17166,"thumbUrl":17170,"material":11845,"size":11846,"collection":223,"collections":17171,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":223},220699,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220699",[23,24,234,93,94,191,1616,137,7,32,7326,99,100,17167,17168,17169],"归隐","墨色苍润","构图繁密","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee50e7857a14853f6fdb678132d77729.jpg",[],{"id":17173,"slug":17174,"title":17175,"dynasty":246,"author":17176,"museum":360,"description":17177,"tags":17178,"thumbUrl":17179,"material":102,"size":223,"collection":223,"collections":17180,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},218017,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-1-ceng-yan-dong-218017","七道子山水人物画册18帧-1","曾衍东","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[23,24,63,234,93,94,414,75,7,95,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24a64444f3d045f4865a61f4d071438.jpg",[],{"id":17182,"slug":17183,"title":17184,"dynasty":246,"author":17185,"museum":328,"description":17186,"tags":17187,"thumbUrl":17189,"material":102,"size":17190,"collection":223,"collections":17191,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},217009,"ruan-yuan-yi-shi-shi-jing-tu-ce-6-wang-yun-217009","阮元遗事十景图册-6","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。",[24,63,234,27,94,33,75,7,17188,118,98],"田垄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82597e7ff621eed02f0b60a5bdf3196f.jpg","27.9x33cm",[],{"id":17193,"slug":17194,"title":17195,"dynasty":246,"author":1553,"museum":9064,"description":17196,"tags":17197,"thumbUrl":17198,"material":47,"size":223,"collection":223,"collections":17199,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},215961,"di-jian-tu-shuo-cai-hui-ben-47-yi-ming-215961","帝鉴图说彩绘本-47","亭榭翼然立于绿茵间，朱檐映着天光，檐下人物或立或语，衣纹细腻如流水，神态间藏着恭肃与恳谈之意。庭中稚童携袖奔走，似是打破沉静的活泼注脚，松枝虬曲如篆，小池泛着幽蓝，草木皆以淡墨细描，晕染出清雅的古意。整幅画以细腻笔触铺陈场景，既还原了典故中的情境，又以雅致的色彩与构图传递出劝诫的深意——于平和景致中见治世之思，于人物互动里藏修身之智，是传统叙事绘画中“文以载道”的生动体现，每一处细节皆如徐徐展开的书卷，引观者在赏心悦目中体悟历史的镜鉴。",[116,24,63,27,26,96,31,30,33,1810,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf5896c897e7a176c51e96a38d685a3.jpg",[],{"id":17201,"slug":17202,"title":17203,"dynasty":246,"author":17204,"museum":17205,"description":17206,"tags":17207,"thumbUrl":17208,"material":93,"size":223,"collection":223,"collections":17209,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":54},215637,"yu-zhi-geng-zhi-tu-14-kang-xi-215637","御制耕织图-14","康熙","哈佛艺术博物馆","笔墨勾勒出质朴的田园日常，左右两帧各呈劳作图景。左页人物或侍立或操作，器物屋舍细节毕现，草木扶疏间漫溢烟火气；右页水流潺潺，人物持物往来，衣袂轻扬间藏着生活的韵律。线条细腻婉转，将耕织场景的平实与生动凝于纸端，既见白描技艺之精，更显对日常劳作的深挚观照。静穆中流淌着人间的温热与生机，似能触到岁月里那份踏实的烟火味道，让寻常劳作在笔墨间焕发出沉静的美感与力量。",[23,24,63,234,516,26,30,32,75,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9b62923d15901d7d6254155f8d5291.jpg",[],{"id":17211,"slug":17212,"title":17213,"dynasty":246,"author":1553,"museum":360,"description":17214,"tags":17215,"thumbUrl":17216,"material":208,"size":223,"collection":223,"collections":17217,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":108},215620,"tian-xia-ming-shan-tu-6-yi-ming-215620","天下名山图-6","笔墨以线立骨，细腻勾勒山川脉络与田园肌理。左幅阡陌纵横如织，碧波轻漾间，一叶扁舟载着悠然划过；右幅峰峦叠嶂，古雅建筑隐于林麓沟壑，石阶蜿蜒牵起山径幽意。整卷将名山的雄秀与人间的清宁相融，既有自然山川的苍莽之态，又含田园村落的温婉烟火，似在静静铺展一幅山水间的岁月长卷，让观者于笔墨间触摸到山水与人文交织的悠远意韵。",[24,63,93,98,94,31,7,32,95,564,33,97,2343,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc844afe824d45f26ecc3c99f7f06bb6e.jpg",[],{"id":17219,"slug":17220,"title":17221,"dynasty":246,"author":12237,"museum":132,"description":17222,"tags":17223,"thumbUrl":17224,"material":47,"size":223,"collection":223,"collections":17225,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":498},215046,"shu-hua-he-bi-tu-ce-6-qian-long-215046","书画合璧图册-6","乾隆皇帝（1711-1799年在位）是清朝的第六位皇帝，他是一位非常喜爱书画的皇帝，并且也是一位出色的书画家。他的书画合璧图册是他的一部杰作，其中收集了他自己的书画作品以及其他著名书画家的作品。这本图册有很多种版本，不同版本中包含的作品也有所不同。乾隆皇帝的书画合璧图册被认为是中国书画史上的一部重要著作，因为它收集了当时最优秀的书画作品，并且这本图册本身也是一部艺术杰作。",[23,24,63,234,516,93,26,99,7722,118,94,30,96,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce35a5632617cbc7aa9ebb9f107ede1e.jpg",[],{"id":17227,"slug":17228,"title":17229,"dynasty":5727,"author":9115,"museum":90,"description":17230,"tags":17231,"thumbUrl":17232,"material":223,"size":223,"collection":223,"collections":17233,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17234},203244,"xi-shan-shi-qu-tu-zhou-pu-ru-203244","溪山诗趣图轴","画面山峦层叠，云雾轻笼，松枝虬劲，翠叶间丹红点缀，秋意隐现。山舍临溪而筑，幽人凭栏，似与溪山共语；桥下流水潺潺，策杖行者徐行，尽显林泉雅趣。笔墨清逸，皴染相济，山石以淡墨勾勒皴擦，云雾借留白晕染，意境空灵悠远，尽显传统文人画的雅致风骨。",[24,94,27,98,206,7,32,63,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768390801436ddff7fa15a27f98b023e.jpg",[],"cabb9b",{"id":17236,"slug":17237,"title":17238,"dynasty":246,"author":4994,"museum":90,"description":17239,"tags":17240,"thumbUrl":17243,"material":223,"size":223,"collection":223,"collections":17244,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17245},203064,"chu-qian-xie-sheng-shan-shui-tu-ce-zou-yi-gui-203064","楚黔写生山水图册","笔墨清润间，楚黔山水之姿跃然纸上。崖壁陡峭如削，皴擦勾勒见苍劲骨力；林木葱茏含翠，点染晕染显自然生机。小桥卧波连村舍，亭台隐于云霭间，既有写生的写实生动，又具文人画的雅致意境。线条细腻处藏匠心，意境深远中蕴野趣，将地域山水的奇秀与灵韵融为一体，读之如临其境，感自然之美与画者对山水的深情体悟。",[24,94,17241,98,96,7,32,1202,17242,27],"写生","崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483ee0416902cd8d12b8bb1b17e24f36.jpg",[],"9d8365",{"id":17247,"slug":17248,"title":17249,"dynasty":18,"author":2606,"museum":90,"description":17250,"tags":17251,"thumbUrl":17252,"material":223,"size":223,"collection":223,"collections":17253,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17254},202718,"wan-li-wu-yun-shi-yi-tu-zhou-xie-shi-chen-202718","万里无云诗意图轴","这幅画以淡墨铺陈出清旷月夜之境，远山层叠隐于薄雾，近景古松虬枝盘曲，苍劲有力。木桥横架其间，三人凭栏而立，似共赏万里无云的澄明夜色。亭台掩映于林麓，飞檐与松影相映成趣。笔墨兼工带写，山石以皴法勾勒纹理，树木枝干挺劲，人物衣袂轻扬，神态悠然。整体意境空灵静谧，既展自然山水之幽远，又含文人雅集之清趣，尽显明代文人画的抒情意韵。",[24,63,135,93,27,94,30,96,7,743,121,3824,98,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe484253225520cbfb23237efdabc2f43.jpg",[],"a78973",{"id":17256,"slug":17257,"title":14270,"dynasty":246,"author":17258,"museum":90,"description":17259,"tags":17260,"thumbUrl":17261,"material":223,"size":223,"collection":223,"collections":17262,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17263},202694,"si-ji-shan-shui-ping-wu-tao-202694","吴滔","画面以水墨晕染铺陈层叠山峦，皴笔勾勒山石肌理，线条苍劲中见灵动。苍松翠柏与疏枝林木错落交织，或繁密蔽日，或疏朗映空，尽显自然野趣。山间溪水潺潺，木桥横跨其上，桥上人影孑立，似凝听泉声，又若远眺山景，意境清幽淡远。笔墨虚实相生，雅致中藏生机，将山林的静谧与文人的闲逸心境融于一纸，引人探寻画中幽境。",[24,93,94,98,7,32,97,33,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661b0a2ab585f52fb3c2f358775d2fd4.jpg",[],"bab0a7",{"id":17265,"slug":17266,"title":17267,"dynasty":18,"author":290,"museum":90,"description":17268,"tags":17269,"thumbUrl":17270,"material":223,"size":223,"collection":223,"collections":17271,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17272},202648,"ban-tang-yan-yue-tu-zhou-wen-zheng-ming-202648","半塘烟月图轴","烟霭如纱轻笼山水，山峦以淡墨皴染出层叠肌理，近坡的松枝苍劲挺秀，掩映着飞檐楼阁。桥下流水蜿蜒，一叶孤舟浮于江面，似随波漾开夜色的静谧。笔墨温润细腻，设色淡雅清和，皴擦点染间尽显吴门画派的雅致韵致。亭台隐约，小径通幽，整幅画将半塘月色下的空灵悠远与文人闲逸心境悄然融合，如一首无声的诗，漫溢着古典的清寂与悠然。",[94,93,27,98,7,32,95,31,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275f42dd66b152cc5df4ac1dc000acd5.jpg",[],"b7a284",{"id":17274,"slug":17275,"title":17276,"dynasty":246,"author":1441,"museum":90,"description":17277,"tags":17278,"thumbUrl":17279,"material":223,"size":223,"collection":223,"collections":17280,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17281},202613,"shan-tang-kan-mei-tu-zhou-wang-hui-202613","山堂看梅图轴","画面以山堂为隐处，梅枝疏朗点题，松柳垂荫间，小桥卧波，流水潺潺。文人雅士或凭栏观梅，或沿溪漫步，意态悠然。笔墨兼具苍劲与秀润，皴擦细腻显山石肌理，设色淡雅见草木生机，构图疏密有致，将林泉之趣与文人雅兴融于一体，尽显传统山水的雅致韵致。",[24,94,1606,206,7,32,27,98,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23638c7ff66b8a933f4e9c7098eb5786.jpg",[],"c3a47a",{"id":17283,"slug":17284,"title":11938,"dynasty":246,"author":17285,"museum":90,"description":17286,"tags":17287,"thumbUrl":17289,"material":223,"size":223,"collection":223,"collections":17290,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17291},202567,"xue-shan-xing-lv-tu-zhou-zhang-sheng-202567","章声","画面以淡赭设色晕染雪山，峰崖陡峭，线条勾勒出岩石肌理，皴擦间见苍劲质感。山间楼阁隐于崖畔，小桥横跨飞瀑，行旅之人或策杖山道，或聚于桥边，动态与静穆雪景相映。树木枝干覆雪，疏朗有致，瀑布潺潺而下，添了几分灵动。整体意境清寂悠远，既显自然山川之壮美，又含旅途行役之况味，笔墨简练却意蕴深厚。",[24,135,27,98,94,578,153,7,31,1863,33,17288],"瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e69d93b6534461180b42705ffd45eea.jpg",[],"b28f62",{"id":17293,"slug":17294,"title":14407,"dynasty":246,"author":4829,"museum":90,"description":17295,"tags":17296,"thumbUrl":17297,"material":223,"size":223,"collection":223,"collections":17298,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17299},202511,"fang-huang-gong-wang-shan-shui-zhou-gao-cen-202511","这幅山水轴层峦叠嶂，气势浑朴。笔墨间可见仿黄公望的苍劲笔意，山石以细腻皴法勾勒纹理，尽显嶙峋质感；瀑布从崖壁间蜿蜒倾泻，增添灵动之气。山间屋舍错落，隐于林木葱茏处，似有文人雅士居停其间；小桥跨溪，流水潺潺，与挺拔树木相映成趣，整体意境清幽雅致，尽显自然与人文相融之妙，传递出超脱尘俗的隐逸情怀。",[24,94,98,97,152,137,7,1202,29,13041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92dc6ad303376b17e7d9d5c5b12252a1.jpg",[],"b1a18f",{"id":17301,"slug":17302,"title":6079,"dynasty":18,"author":525,"museum":90,"description":17303,"tags":17304,"thumbUrl":17305,"material":223,"size":223,"collection":223,"collections":17306,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17307},202483,"xi-shan-yu-yi-tu-zhou-dong-qi-chang-202483","雨雾轻笼溪山，远山淡墨晕染，峰峦隐于烟霭间，空濛悠远。近景苍松枯木交错，笔意萧散，墨色浓淡相宜；村落藏于林麓，小桥跨流水，石径蜿蜒，生机暗涌。皴擦点染间，笔墨层次丰富，雨意的湿润感透过纸背，似能嗅到山间清润气息。文人之笔凝山水空灵，水墨晕染与线条疏朗相映，尽显雅致韵致，引人入胜。",[93,94,98,7,32,336,136,318,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8fd6b511c6bb0bc9dbf8e9973f101b.jpg",[],"b7a7a2",{"id":17309,"slug":17310,"title":17311,"dynasty":246,"author":1349,"museum":90,"description":17312,"tags":17313,"thumbUrl":17314,"material":223,"size":223,"collection":223,"collections":17315,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17316},202465,"jie-lou-yun-shang-tu-zhou-gong-xian-202465","结楼云上图轴","画面中山峦层叠，墨色浓淡交错，以皴染结合之法勾勒山体肌理，显厚重层次感。几间茅屋隐于林麓间，错落有致；小桥横跨溪畔，连接幽僻小径。近处林木葱茏，枝干苍劲，墨色晕染间见笔力。整体意境清幽静谧，似能嗅到山林间的湿润气息，笔墨间流露文人对自然的深切眷恋，尽显山水之雅韵与林下之幽情。",[24,94,93,98,135,252,7,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5529a35e5c918046dbe4233b58c73dec.jpg",[],"ad9d88",{"id":17318,"slug":17319,"title":2772,"dynasty":246,"author":1309,"museum":90,"description":17320,"tags":17321,"thumbUrl":17322,"material":223,"size":223,"collection":223,"collections":17323,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":15043},202381,"shan-shui-tu-zhou-wang-yuan-qi-202381","这幅山水图轴取境深远，层峦叠嶂间笔墨苍劲老辣，皴染交织尽显山石纹理之妙。山间树木姿态各异，松枝虬曲如铁，杂树错落有致，与山石浑然一体。近景处小桥卧波，屋舍掩映于林麓间，流水潺潺似可闻，营造出清幽静谧的文人栖居之境。整体构图疏密得当，气息醇厚含蓄，承宋元山水遗韵，又融个人笔墨意趣，尽显沉雄古逸之态，为文人山水画的典范之作。",[24,94,98,7,63,116,6215,1054,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9590973518b677a737c49b535a925f1.jpg",[],{"id":17325,"slug":17326,"title":2772,"dynasty":246,"author":12294,"museum":90,"description":17327,"tags":17328,"thumbUrl":17329,"material":223,"size":223,"collection":223,"collections":17330,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17331},202380,"shan-shui-tu-zhou-fang-shi-shu-202380","这幅山水图轴笔墨清润雅致，承娄东派遗风。山峦以披麻皴层层皴染，线条劲挺柔婉兼具；云雾借淡墨晕散或留白，虚实相生间拓出深远意境。近处林木葱茏，小桥卧波，屋舍隐于岩麓，细节生动却不繁琐，尽显文人画简淡天真之趣。整体构图层次分明，远岫叠嶂至近景溪桥气脉连贯，营造出静谧悠远的山水胜境，传递画家对自然的体悟与文人雅致情怀。",[24,94,93,98,135,7,32,9316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9724f464202538f2035ff6234be33f.jpg",[],"b09b76",{"id":17333,"slug":17334,"title":15806,"dynasty":246,"author":14426,"museum":90,"description":17335,"tags":17336,"thumbUrl":17338,"material":223,"size":223,"collection":223,"collections":17339,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":15812},202345,"yan-yu-gui-cun-tu-zhou-wu-qing-yun-202345","画面烟雨濛濛，远山隐于淡墨晕染的霭气间，若隐若现。山间屋舍错落，林木以浓淡墨色点染，层次分明。溪面薄雾轻笼，渔舟泛波，舟子身影悠然。近岸古木虬枝，墨色沉郁，桥下行人撑伞徐行，衣袂带露，尽显归程的闲适。笔墨兼融中西，水墨渲染出烟雨的湿润朦胧，皴擦技法勾勒山石林木的质感，动静相宜间，铺展一幅诗意盎然的水乡烟雨图。",[24,93,94,7476,366,801,7,40,98,17337],"渲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641cff4c4cbdfc044f29da7e762eecc5.jpg",[],{"id":17341,"slug":17342,"title":14462,"dynasty":246,"author":17343,"museum":90,"description":17344,"tags":17345,"thumbUrl":17346,"material":223,"size":223,"collection":223,"collections":17347,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17348},202312,"fang-huang-gong-wang-shan-shui-tu-zhou-zou-zhi-lin-202312","邹之麟","这幅画笔墨清润，得黄公望山水遗韵，皴擦点染间尽显丘壑之趣。画面布局错落有致，近处古松虬劲，枝干盘曲，与嶙峋怪石相映；茅屋隐于林麓，溪水流淌，小桥横跨其上，意境清幽静谧。远处山峦层叠，淡墨晕染，留白处见空灵，尽显文人画的雅致。整幅作品以水墨为主，线条简练却富韵味，将自然之趣与人文情怀融于一体，传递出悠远的山水意境。",[94,93,98,206,252,7,154,135,2852,97,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55303eae1829c86468574393066557d8.jpg",[],"c1a88d",{"id":17350,"slug":17351,"title":5752,"dynasty":246,"author":1441,"museum":90,"description":17352,"tags":17353,"thumbUrl":17355,"material":223,"size":223,"collection":223,"collections":17356,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17357},202231,"shan-shui-juan-wang-hui-202231","此卷山水笔墨苍劲秀逸，山峦层叠间皴法多变，披麻皴勾勒丘壑肌理，斧劈皴凸显岩崖刚健。溪流蜿蜒穿林过石，小桥卧波连岸通幽，亭台隐于松竹深处，孤舟泊于烟水之畔，枯藤老树与疏林新绿相映，尽展秋冬清旷之韵。构图疏密有致，虚实相生，远岫含烟，近景入微，兼具仿古之精与写生之妙，一派悠远的文人山水意境。",[24,94,25,98,93,7,32,95,96,318,136,118,26,17354],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04e01267d033b58c8c6d44b595943c8.jpg",[],"bdb3a1",{"id":17359,"slug":17360,"title":17361,"dynasty":18,"author":2867,"museum":90,"description":17362,"tags":17363,"thumbUrl":17364,"material":223,"size":223,"collection":223,"collections":17365,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17366},202193,"ting-yu-tu-zhou-wen-bo-ren-202193","听雨图轴","烟霭轻笼远岫，溪光漫过林皋。楼阁藏于苍树间，幽人凭栏，静聆雨丝敲叶。流水绕舍，小桥横波，孤舟泊岸，江南烟雨的清寂扑面而来。笔墨细腻温润，山石皴擦见纹理，树木淡墨晕染显层次，远近景致虚实相生。整幅画氤氲着文人的闲适心境，将听雨的悠然与自然之趣相融，尽显雅致韵致。",[24,94,93,27,31,7,32,95,98,13041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca1f783cb98a4d6072081be8cdfb4086.jpg",[],"9c949d",{"id":17368,"slug":17369,"title":17370,"dynasty":18,"author":4432,"museum":90,"description":17371,"tags":17372,"thumbUrl":17373,"material":223,"size":223,"collection":223,"collections":17374,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17375},201554,"zi-zeng-shi-bing-hua-zhou-xiang-sheng-mo-201554","自赠诗并画轴","层岩叠嶂间，高崖之上隐现亭榭，林木错落掩映幽径。小桥横架溪涧，流水潺潺绕石而过，数株古树扎根崖边，枝干苍劲，叶态葱茏。笔墨运用淡雅温润，皴擦结合勾勒山石纹理，线条挺劲却不失灵动，将山水的静谧与生机融为一体。画面意境清幽雅致，仿佛能闻得林间风声与溪水叮咚，尽显文人山水的逸趣与沉静气韵。",[24,93,94,96,7,32,98,13041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb670ef31a6cdd5ce9cf7dd80f23aa.jpg",[],"b3b0aa",{"id":17377,"slug":17378,"title":17379,"dynasty":246,"author":1115,"museum":90,"description":17380,"tags":17381,"thumbUrl":17382,"material":223,"size":223,"collection":104,"collections":17383,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17384},201518,"fang-huang-zi-jiu-shan-shui-zhou-wang-shi-min-201518","仿黄子久山水轴","画面山峦层叠，脉络舒展，以干笔淡墨施披麻皴，山石纹理苍劲古拙，深得黄子久山水的空灵神韵。林木错落，枯荣相生，溪流蜿蜒绕石，小桥横跨碧波，屋舍隐于深林，透着悠然隐逸之趣。笔墨清润雅致，墨色层次丰富，既恪守古法又蕴藉己意，整体意境悠远恬淡，堪称仿古山水的精品。",[24,94,98,93,7,32,75,29,135,3060,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8622f1f1dc50e89fcfc6ad095a9a7191.jpg",[104],"a9a395",{"id":17386,"slug":17387,"title":17388,"dynasty":246,"author":13068,"museum":90,"description":17389,"tags":17390,"thumbUrl":17391,"material":223,"size":223,"collection":104,"collections":17392,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17393},201504,"xi-shan-wu-jin-tu-zhou-wang-jian-201504","溪山无尽图轴","画面层峦起伏，山势连绵，林木错落葱郁，显自然生机。山石以细腻皴法勾勒纹理，笔墨苍润，皴染结合处见浑厚质感；溪流蜿蜒穿谷，小桥横跨其上，溪畔孤舟静泊，添几分幽寂。构图远近相衔，层次深远，咫尺间展溪山无尽之境，尽显传统山水的雅致韵味与笔墨功力。",[94,98,93,135,7,32,95,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddeacf25cb9ef6b92b188099073d996.jpg",[104],"8c7d6c",{"id":17395,"slug":17396,"title":17397,"dynasty":246,"author":1441,"museum":90,"description":17398,"tags":17399,"thumbUrl":17400,"material":223,"size":223,"collection":104,"collections":17401,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17402},201492,"qiu-feng-huang-ye-tu-zhou-wang-hui-201492","秋枫黄叶图轴","山峦以皴法勾勒肌理，层叠间云雾缭绕，显山水深远之致。山麓林木错落，丹枫黄叶点染秋光，添萧瑟清旷之韵。溪涧蜿蜒，小桥横跨，行人缓步，衬出幽寂山居意趣。笔墨兼融南北宗之长，皴染结合，设色淡雅，将自然野趣与文人情怀相融，尽显秋日山林的恬淡诗意。",[24,94,135,27,98,7,32,33,191,155,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6398c4e32838fec821b7641f219831.jpg",[104],"c2b3a2",{"id":17404,"slug":17405,"title":17406,"dynasty":246,"author":1309,"museum":90,"description":17407,"tags":17408,"thumbUrl":17409,"material":223,"size":223,"collection":104,"collections":17410,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17411},201483,"dou-bi-pan-shi-tu-zhou-wang-yuan-qi-201483","陡壁磐石图轴","画面陡壁凌云，磐石嶙峋，干笔皴擦勾勒山石肌理，墨色浓淡层叠间尽显苍劲质感。云雾缠峰绕谷，虚实相生拉开深远空间；山脚林木扶疏，茅舍隐于溪畔，小桥流水点缀其间，漾出清幽雅致的生活意趣。笔墨承传统章法，融个人感悟，以细腻笔触营造静谧深远的文人山水之境，尽显娄东派的笔墨韵味与正统山水的审美意趣。",[94,98,27,135,7,32,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e2c1bd69f0c37e62e89fa85ef5911d4.jpg",[104],"bbaf92",{"id":17413,"slug":17414,"title":17415,"dynasty":246,"author":1309,"museum":90,"description":17416,"tags":17417,"thumbUrl":17418,"material":223,"size":223,"collection":104,"collections":17419,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17420},201452,"fang-huang-gong-wang-fu-chun-shan-se-tu-zhou-wang-yuan-qi-201452","仿黄公望富春山色图轴","这幅画作山峦起伏，云雾氤氲其间，将深远的山水意境铺展开来。近景树木苍劲，枝干挺拔，与嶙峋山石相映成趣；中景溪流蜿蜒，小桥横跨其上，添得几分生趣；远景群峰巍峨，皴擦细腻，尽显山石纹理的厚重质感。笔墨承袭黄公望之韵，又融入自家浑厚华滋的风格，皴法运用娴熟，设色淡雅，构图层次分明，于仿作中见个人笔墨意趣，尽显清代山水画的典型风貌。",[24,94,98,27,7,32,97,33,29,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732b36131cf53640a196bc5779e687f0.jpg",[104],"b1b3a9",{"id":17422,"slug":17423,"title":17424,"dynasty":246,"author":13068,"museum":90,"description":17425,"tags":17426,"thumbUrl":17428,"material":223,"size":223,"collection":104,"collections":17429,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17430},201377,"yun-he-song-yin-tu-zhou-wang-jian-201377","云壑松阴图轴","山峦层叠，云雾缭绕于峰峦之间，似轻纱般笼罩着幽谷。苍松虬劲，盘根错节于岩畔，松阴掩映下，山石纹理以细腻皴法勾勒，尽显古朴质感。瀑布自峭壁飞泻，溪流潺潺，小桥横跨其上，亭台隐于林木深处，处处透着静谧幽深的气息。笔墨苍劲秀逸，水墨晕染得当，层次分明的构图将山水之趣娓娓道来，仿佛置身于远离尘嚣的世外桃源，感受自然与人文交融的雅致意境。",[24,94,98,206,17427,7,96,93,135,23],"云壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c16cd912f4e5e289466180bb1e99d5.jpg",[104],"aba89f",{"id":17432,"slug":17433,"title":17434,"dynasty":277,"author":627,"museum":90,"description":17435,"tags":17436,"thumbUrl":17437,"material":223,"size":223,"collection":104,"collections":17438,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17439},201336,"tian-xiang-shen-chu-tu-zhou-wang-meng-201336","天香深处图轴","层叠山峦间，皴法交织如织，笔墨苍劲中见细腻，山石肌理毕现。林间屋舍隐于葱茏树影，小桥卧波，流水萦回，山石错落间野趣横生。构图繁密却气韵生动，墨色浓淡相宜，勾勒出幽深静谧的雅士栖居之境，尽显元人山水的笔墨情韵与文人风骨。",[24,116,63,135,93,94,98,75,7,32,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17430a553174f4b5d5b8f94c757c1a9.jpg",[104],"958472",{"id":17441,"slug":17442,"title":17443,"dynasty":18,"author":3027,"museum":90,"description":17444,"tags":17445,"thumbUrl":17446,"material":223,"size":223,"collection":104,"collections":17447,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":17448},201313,"ting-lin-xiao-xia-tu-zhou-zhou-chen-201313","亭林消夏图轴","层岩叠嶂间，古松虬枝倚石横生，山巅亭阁半隐于云霭，添幽邃之致。山麓水畔，敞轩临流，文人对坐清谈，树影婆娑，风意微凉。山石以皴法勾勒，笔墨苍劲中含秀润；林木疏密有致，水墨晕染与浅设色相融，兼得北派雄健与南宗秀逸。整体清旷闲适，尽显夏日山林静谧与文人消夏雅兴。",[94,96,98,93,27,7,32,30,3824,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48906835f086aac2256f8091cbe22cd.jpg",[104],"947f6d",{"id":17450,"slug":17451,"title":17452,"dynasty":1933,"author":1553,"museum":360,"description":17453,"tags":17454,"thumbUrl":17457,"material":494,"size":495,"collection":223,"collections":17458,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},289547,"attributed-to-matthijs-cock-landscape-with-a-town-by-the-seashore-yi-ming-289547","Attributed to Matthijs Cock--Landscape with a Town by the Seashore","以棕褐线条晕开山海乡居图景，近坡荒草萋萋，几株古木虬曲苍劲，疏朗枝桠晕染山野意趣。坡下石桥横跨浅溪，矮屋簇拥钟楼漫出烟火暖意。\n视线铺展至中远景，滨海屋舍错落着融入山岚，海面扁舟轻泊，朦胧远山柔化了天地边界。笔触克制细腻，以极简线条铺陈层次，不着浓丽色彩，却将郊野渔村的松弛日常揉进阔远天地间，藏着古朴写实的质感，把山海乡野的静穆悠远晕在纸面，尽显古典风景绘作里含蓄温柔的自然意趣。",[15666,17455,94,2539,17456,33,7,454,97],"素描","海岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadbf5e3a353af94ff6a0b1e0715beafd.jpg",[],{"id":17460,"slug":17461,"title":17462,"dynasty":1933,"author":1553,"museum":360,"description":17463,"tags":17464,"thumbUrl":17470,"material":494,"size":495,"collection":223,"collections":17471,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},289285,"paul-ce-zanne-bathers-by-a-bridge-recto-study-after-houdon-s-ecorche-yi-ming-289285","Paul Cézanne--Bathers by a Bridge (recto); Study after Houdon's Ecorché","这幅速写以灵动的炭笔线条随性勾勒出浴者松弛舒展的姿态，寥寥几笔就抓住躯体的柔润张力，淡彩晕染出朦胧的水光与苍翠树色。桥拱作为视觉中心，框住嬉水的人群，虚实之间将郊野清润的自然气息和沐浴的闲适融为一体。\n\n带着未完成的松弛质感，没有精修的匠气，潦草却精准的线条留存下画家捕捉瞬间时的鲜活悸动，水色与树影的淡彩铺陈晕开清润夏日氛围，将郊野沐浴的松弛日常揉合在随性的笔触里，让观者触摸到创作时的热忱与松弛呼吸感。",[17465,17466,17467,30,7,11431,17468,17469],"速写","淡彩画","西洋画","水景","浴者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F648c3523fe37be2b7e00b91b82d1f740.jpg",[],{"id":17473,"slug":17474,"title":17475,"dynasty":1933,"author":1553,"museum":360,"description":17476,"tags":17477,"thumbUrl":17482,"material":494,"size":495,"collection":223,"collections":17483,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},288719,"vincent-van-gogh-nursery-on-schenkweg-yi-ming-288719","Vincent van Gogh--Nursery on Schenkweg","枯瘦秃树错落而立，细密笔触晕染出水泽边荒草的萧索蓬松。凝滞的水面晕开景物轮廓，将沉郁静谧揉进每一处线条里。远处屋舍隐在灰调暮色中，寒鸦斜掠长空，把空旷孤寂铺满城郊角落。克制的笔调裹藏着饱满情绪，将无人问津的城郊荒境，晕成带着清冷诗意的日常一隅，静诉着独处时的沉郁安然，让萧瑟荒芜也染上细腻温柔的氛围感。",[17455,16882,414,121,1556,454,17478,17479,17480,17481,7],"荒草","郊外","萧瑟","秋冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5366e8d7509e05852b010c1108615378.jpg",[],{"id":17485,"slug":17486,"title":94,"dynasty":246,"author":17487,"museum":360,"description":17488,"tags":17489,"thumbUrl":17490,"material":494,"size":495,"collection":223,"collections":17491,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},283779,"shan-shui-guo-ji-283779","郭骥","郭骥，字友三，乾隆、嘉庆年间吴县人，画家。",[24,331,27,98,32,191,137,33,7,95,1211,7150,100,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2243e6a947fb918c9503ad44494876.jpg",[],{"id":17493,"slug":17494,"title":17495,"dynasty":246,"author":1553,"museum":360,"description":17496,"tags":17497,"thumbUrl":17499,"material":494,"size":495,"collection":223,"collections":17500,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},275820,"qing-yu-dong-gao-shu-yu-zhi-san-lao-ji-ce-yi-ming-275820","青玉董诰书御制三老记册","漆黑如凝夜，金彩似熔星，将林泉幽居之景晕染于器身。汀洲茅舍隐于苍林，曲水绕阶，渔舟泊岸，把江南山居的闲澹逸趣凝缩方寸间。髹漆沉穆莹润，描金走线匀净秀雅，将文人山水意境纳于置物雅器，平涂勾勒间带着沉静古雅的质感，把隐逸之思藏于日常之中，工艺与画意相融，尽显清隽雅致的旧时意趣。",[11605,17498,94,96,7,32],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0e7bb307aa6d284347dcd907a5f484.jpg",[],{"id":17502,"slug":17503,"title":17504,"dynasty":246,"author":1553,"museum":360,"description":17505,"tags":17506,"thumbUrl":17507,"material":494,"size":495,"collection":223,"collections":17508,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},273394,"zi-tan-xiang-xi-yang-bo-li-hua-bei-hai-tang-shi-mu-bing-ba-jing-yi-ming-273394","紫檀镶西洋玻璃画背海棠式木柄把镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[17498,3869,14566,4877,30,7,31,94,27,17467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030748d49b7ca58a29a08b0489d1a72d.jpg",[],{"id":17510,"slug":17511,"title":9178,"dynasty":246,"author":1553,"museum":360,"description":17512,"tags":17513,"thumbUrl":17514,"material":494,"size":495,"collection":223,"collections":17515,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},272996,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272996","金底澄澈如凝霜，冬山素雪覆层峦，青白山岩似玉琢冰雕，苍松虬劲翠色凌霜，枯木疏枝衬出冬日清寂。板桥跨寒溪，红袍策蹇徐行，旅人孤影融于荒寒山色间。右上角题诗清隽，与冷寂雪景相生，晕染出冬日行旅的幽寂况味。\n\n珐琅彩料填色匀净明丽，堆塑出山石林木的肌理层次，浅浮雕质感让景致错落立体，将冬日山水的清旷淡远与文人意趣揉合一处，是融精湛工艺与清雅画意的精妙之作。",[13361,3869,8675,27,94,7,30,65,414,293,1721,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b94097600ccab82723dec43700e82f7.jpg",[],{"id":17517,"slug":17518,"title":17519,"dynasty":246,"author":1553,"museum":360,"description":17520,"tags":17521,"thumbUrl":17524,"material":494,"size":495,"collection":223,"collections":17525,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},272861,"mu-zuo-dui-hua-cha-ping-yi-ming-272861","木座堆花插屏","此屏以点翠堆花工艺铺展庭院雅集图景，亭台回廊错落勾连，松石虬枝以幽蓝晕染，似将凉夜清光凝于屏间。仕女围坐案前，或展卷赏玩，或品茗清谈，衣袂纹饰细腻入微，将深闺闲雅日常缓缓铺陈。\n\n底座雕瑞兽缠枝，鬃毛纹路利落古朴，与屏面玲珑雅致形成精妙呼应。整器工巧兼具，匠人的心思藏在每一处细节中，将旧时深宅的闲雅日常定格，晕开东方古典美学的温婉意韵，是工艺审美与文人意趣相融的绝佳缩影。",[11596,3869,14566,17522,30,31,7,1936,17523,39],"堆花","石狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85454315a721b968c50ff26f00808df.jpg",[],{"id":17527,"slug":17528,"title":17529,"dynasty":246,"author":1553,"museum":360,"description":17530,"tags":17531,"thumbUrl":17533,"material":494,"size":495,"collection":223,"collections":17534,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},272783,"zi-tan-mu-qian-ci-pian-duo-bao-ge-yi-ming-272783","紫檀木嵌瓷片多宝格","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[3869,11595,11594,94,31,7,32,17532,4877],"多宝格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79073f72292b85c9a58a1430c0ede1cc.jpg",[],{"id":17536,"slug":17537,"title":17538,"dynasty":2012,"author":1553,"museum":360,"description":17539,"tags":17540,"thumbUrl":17542,"material":494,"size":495,"collection":223,"collections":17543,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":498},272338,"hu-kai-wen-fang-yu-yuan-tu-ji-jin-mo-feng-ze-yuan-mo-yi-ming-272338","胡开文仿御园图集锦墨-丰泽园墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[2437,17541,94,31,7,75,14566,11606,1936],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9708ef849824853ee5354a6fa65e62.jpg",[],{"id":17545,"slug":17546,"title":17547,"dynasty":246,"author":1553,"museum":360,"description":17539,"tags":17548,"thumbUrl":17549,"material":494,"size":495,"collection":223,"collections":17550,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},271194,"wu-shou-mo-jian-zhi-cang-lang-ting-mo-yi-ming-271194","吴守默监制沧浪亭墨",[2437,17541,14566,94,96,136,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd688a2924ced95f6a9461a1b0d3f92e0.jpg",[],{"id":17552,"slug":17553,"title":17554,"dynasty":246,"author":1553,"museum":360,"description":17555,"tags":17556,"thumbUrl":17557,"material":494,"size":495,"collection":223,"collections":17558,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},269102,"xiang-ya-diao-yue-man-qing-you-qi-yue-jing-ce-yi-ming-269102","象牙雕月曼清游七月景册","此作融雕、绘、书于一体，左侧以象牙镂雕出莹白花树，搭配彩绘庭院水畔景致。仕女们衣袂翩跹，或抬器物或执罗伞，情态悠然松弛，浅褐山石、清绿水色衬出静谧雅致的游园氛围，将深闺雅集的闲逸意趣具象呈现。右侧御题篆字端方雅致，与游园景致相映成趣，铺陈开七月深闺雅游的闲淡风华，尽显清代匠艺的精巧灵秀与文人雅致意趣的融合。",[234,14575,14566,2842,99,27,30,744,31,7,33,3208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359260365821cde12bd46d4a81cea58f.jpg",[],{"id":17560,"slug":17561,"title":17562,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":17563,"thumbUrl":17564,"material":494,"size":495,"collection":223,"collections":17565,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},261652,"qing-hua-shan-shui-tu-bi-tong-yi-ming-261652","青花山水图笔筒",[11595,11594,94,7,32,33,31,743,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2130f48e86bec489ccb0558057a6044b.jpg",[],{"id":17567,"slug":17568,"title":17569,"dynasty":246,"author":1553,"museum":360,"description":17570,"tags":17571,"thumbUrl":17572,"material":494,"size":495,"collection":223,"collections":17573,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},261193,"dao-guang-kuan-yan-zhi-zi-di-fen-cai-kai-guang-shan-shui-tu-wan-yi-ming-261193","道光款胭脂紫地粉彩开光山水图碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[11595,13123,13124,27,94,645,7,32,121,17498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677eb6168257d1233df2c522454543ed.jpg",[],{"id":17575,"slug":17576,"title":17577,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":17578,"thumbUrl":17581,"material":494,"size":495,"collection":223,"collections":17582,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},260776,"qing-hua-ti-shi-ren-wu-gu-shi-tu-bi-tong-yi-ming-260776","青花题诗人物故事图笔筒",[11595,11594,30,7,1778,33,97,17579,17580],"笔筒","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac28e6bdfaedc81a31d8cd353e7fd89.jpg",[],{"id":17584,"slug":17585,"title":17586,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":17587,"thumbUrl":17588,"material":494,"size":495,"collection":223,"collections":17589,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":498},260185,"qing-hua-shan-shui-ren-wu-tu-da-ping-yi-ming-260185","青花山水人物图大瓶",[11595,11594,94,30,7,32,31,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01bf136458720c249e1bdb70aa34328.jpg",[],{"id":17591,"slug":17592,"title":17593,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":17594,"thumbUrl":17595,"material":494,"size":495,"collection":223,"collections":17596,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":498},259667,"qing-hua-ba-xian-zhu-shou-tu-wan-yi-ming-259667","青花八仙祝寿图碗",[11595,11594,16627,14584,94,293,7,32,7902,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e3970c3669c07e9223879d36e35c9d.jpg",[],{"id":17598,"slug":17599,"title":17600,"dynasty":246,"author":1553,"museum":360,"description":13121,"tags":17601,"thumbUrl":17603,"material":494,"size":495,"collection":223,"collections":17604,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":498},258803,"fen-cai-kai-guang-shan-shui-shi-wen-ping-yi-ming-258803","粉彩开光山水诗文瓶",[11595,13123,13124,27,94,17602,31,7,32,33,7609],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F101b26fce3ed0994cb6f8d32861d40a3.jpg",[],{"id":17606,"slug":17607,"title":17608,"dynasty":246,"author":1553,"museum":360,"description":13121,"tags":17609,"thumbUrl":17610,"material":494,"size":495,"collection":223,"collections":17611,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},258740,"jia-qing-kuan-fen-cai-ying-xi-tu-pie-kou-ping-yi-ming-258740","嘉庆款粉彩婴戏图撇口瓶",[11595,13123,27,7609,9494,94,33,7,32,6043,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b389111fa02179e0436ab97bfdef8e8.jpg",[],{"id":17613,"slug":17614,"title":17615,"dynasty":246,"author":1553,"museum":360,"description":17616,"tags":17617,"thumbUrl":17618,"material":494,"size":495,"collection":223,"collections":17619,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},250598,"hui-chang-jiu-lao-tu-yu-shan-yi-ming-250598","会昌九老图玉山","随青润玉料山势施艺，将林泉雅集的幽然意趣凝于刀下。层叠山峦间古松虬枝舒展，半山亭台隐于云岫烟岚，廊桥之上，老者执手晤谈，衣袂翩然尽显悠然。圆雕、透雕相融，将山林的空寂幽深与雅集的闲适澹然刻画入微。玉料天然色泽与雕琢景致相映，把林下雅聚盛景定格，以精湛工法藏文人林泉之乐，刀凿见匠心却无匠气，尽显高古雅致的林下之风，是清代玉雕写意传神的精妙之作。",[15199,14566,94,30,31,7,96,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7aa7e8ebfce36cc176c5577647be2d.jpg",[],{"id":17621,"slug":17622,"title":17623,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":17624,"thumbUrl":17625,"material":494,"size":495,"collection":223,"collections":17626,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},247117,"qian-long-kuan-ti-hong-shan-shui-ren-wu-fang-he-tu-chang-fang-he-yi-ming-247117","乾隆款剔红山水人物放鹤图长方盒",[7609,11605,14566,16001,94,30,3178,31,7,121,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669eba239fcfa75ce38d252e744c47bf.jpg",[],{"id":17628,"slug":17629,"title":17630,"dynasty":246,"author":1553,"museum":360,"description":15999,"tags":17631,"thumbUrl":17633,"material":494,"size":495,"collection":223,"collections":17634,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":1224},246100,"ti-hong-guan-e-tu-bi-tong-yi-ming-246100","剔红观鹅图笔筒",[7609,11605,14566,16001,30,17632,7,32,33,94,96,4877],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcde1304543a2163df75cac5ed9575647.jpg",[],{"id":17636,"slug":17637,"title":17638,"dynasty":18,"author":17639,"museum":60,"description":17640,"tags":17641,"thumbUrl":17642,"material":237,"size":223,"collection":791,"collections":17643,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},240997,"shu-yi-lu-tang-ye-ji-lian-ju-juan-zhu-ying-deng-240997","书宜禄堂夜集联句卷","朱应登","此狂草长卷笔墨纵逸酣畅，字势奇宕舒展。牵丝映带间流转自然，将唱和雅兴寄寓于笔墨节律。布白疏密相生，时如惊风骤雨、字间缠绕密不透风，时似空山留白、疏朗自在。行与行错落呼应，如流泉奔涌一气呵成。墨色枯润浓淡交织，燥锋挺劲见筋骨，湿笔腴润藏温雅，起落提按间暗合夜集疏放的文人意气，尽显狂草抒情性与法度之美。",[23,99,25,100,93,118,94,95,1096,7,32,96,121,1606,5960,564,4102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c98dbb2e6557e349cc7e45226036aa3.jpg",[791],{"id":17645,"slug":17646,"title":16666,"dynasty":246,"author":16667,"museum":360,"description":17647,"tags":17648,"thumbUrl":17649,"material":494,"size":495,"collection":223,"collections":17650,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},239506,"lv-bi-shan-shui-ce-lv-bi-239506","这帧册页书画合璧，意境悠然。右侧山水以淡墨晕染出层叠远山，峰峦似笼着薄雾般朦胧清润，近渚之上几株苍松杂木挺秀遒劲，枝叶疏密有致，静立如世外君子。水面空明无澜，岸畔横露板桥一角，愈发衬出江天寥廓安寂。\n\n左侧题诗笔致清逸，字句与画境呼应，将秋山行旅的幽寂况味缓缓铺陈。整幅以水墨淡绘，没有繁复皴擦，留白晕染间铺展萧散淡远的秋江林峦之景，将秋日山林的清寂冷隽藏于尺幅，尽显文人寄情山水、澄怀观道的澹然意趣。",[24,63,234,93,100,118,98,94,529,530,439,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4e2f85cebf0611c80c33fbcda7d921.jpg",[],{"id":17652,"slug":17653,"title":16666,"dynasty":246,"author":16667,"museum":360,"description":17654,"tags":17655,"thumbUrl":17656,"material":494,"size":495,"collection":223,"collections":17657,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},239504,"lv-bi-shan-shui-ce-lv-bi-239504","此作取景清寂雅致，右侧绘汀渚枯木，虬枝苍劲无叶，孑然独立。淡墨晕染远山，留白铺陈水色，极简笔墨勾勒出深秋荒寒之境，咫尺尺幅间尽显空濛悠远的意境。\n\n左侧题字与画作相映成趣，书画合璧尽显文人雅韵。笔墨疏朗空灵，以少胜多，将清冷幽思融于山水之间，将传统文人尚简尚淡的审美追求寄寓其中，是一件极具意趣的山水小品。",[24,63,234,93,94,414,7,32,97,100,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39faedac3f4a4e249c0c4067c6f0759d.jpg",[],{"id":17659,"slug":17660,"title":17661,"dynasty":246,"author":1553,"museum":360,"description":17662,"tags":17663,"thumbUrl":17664,"material":223,"size":223,"collection":223,"collections":17665,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},239399,"wang-yun-hua-mei-hua-zhou-yi-ming-239399","汪鋆画梅花轴","此作用干笔淡墨绘就幽寂秋山，危峰层峦叠起，山道盘绕萦回，涧水穿谷汇入平湖。近岸长松劲挺，坡石错落排布，水畔茅舍隐于林木间，尽显林泉幽居的清寂萧疏。以披麻皴晕染山石肌理，墨色干湿相生，淡皴轻染间铺展出山林空远冷逸的秋日氛围。整幅构图简约雅致，将山水灵秀清润尽藏笔底，暗合文人寄情丘壑、静守林泉的幽淡心境，笔墨尽显内敛冲淡的文人山水意趣。",[24,63,135,93,98,94,176,33,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d912e7714afe0ba16f9fdec3334048.jpg",[],{"id":17667,"slug":17668,"title":2158,"dynasty":246,"author":16037,"museum":360,"description":17669,"tags":17670,"thumbUrl":17671,"material":223,"size":223,"collection":223,"collections":17672,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},239347,"shan-shui-ce-lin-fu-chang-239347","此作以浅绛设色晕染山峦，花青铺陈草木苍润生机，赭石淡扫坡岸暖意。苍松错落挺拔，笔墨工写兼具，挺劲的松针勾勒出古木风神。屋舍隐于林麓之间，寥寥数笔便绘出幽居之态。近处分垄田亩淡墨轻描，江面渔翁独钓，衬出天地空阔安闲。整体色调清雅柔和，无浓艳堆砌，将江南烟霭淡荡的野趣融于尺幅，笔墨简淡却意韵悠长，尽显林泉幽居的清寂出尘之美，寄寓着文人栖隐山水的澹泊意趣。",[116,24,63,234,27,98,94,33,293,75,7,30,6607,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0696a9122de8c610418115de6e914537.jpg",[],{"id":17674,"slug":17675,"title":7049,"dynasty":246,"author":17676,"museum":360,"description":17677,"tags":17678,"thumbUrl":17679,"material":223,"size":223,"collection":223,"collections":17680,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},239296,"fang-gu-shan-shui-ce-wu-lin-239296","吴麐","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[24,93,27,3457,528,98,94,7,32,31,33,97,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650263a4628f2ccb74d6894b4f3c5b6d.jpg",[],{"id":17682,"slug":17683,"title":17684,"dynasty":246,"author":8683,"museum":360,"description":17685,"tags":17686,"thumbUrl":17687,"material":223,"size":223,"collection":223,"collections":17688,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238979,"shan-shui-ce-fang-huang-zi-jiu-bi-yi-wang-chen-238979","山水册－仿黄子久笔意","此作用笔苍秀松灵，以披麻皴绘山峦，尽显元人山水萧散淡远之态。山峦层叠间，飞瀑垂落，草亭临渊静立，坡岸杂木扶疏，姿态苍古。淡赭敷色清润雅致，构图虚实相生，高远深远兼具，既恪守黄子久简淡天真的笔意，又融入自身笔墨的苍厚老辣。林泉间幽寂隐逸之致尽显，将文人寄情山水的林下风流藏于尺幅之间，师古而不失己意，清寂淡远的意境漫溢纸面，是摹古自出机杼的佳构。",[24,63,234,93,98,29,94,7,32,96,33,97,152,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f968b7da59c6e8be88ba70997f38a3d.jpg",[],{"id":17690,"slug":17691,"title":1104,"dynasty":246,"author":4810,"museum":360,"description":17692,"tags":17693,"thumbUrl":17694,"material":223,"size":223,"collection":223,"collections":17695,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238902,"fang-song-yuan-shan-shui-ce-dong-gao-238902","这幅山水以水墨写就，主峰雄峙画面中央，皴笔苍劲老辣，将山石的嶙峋质感尽皆铺陈。山间烟岚轻漾，晕染出幽谷空濛，把远近山林的层次悄然拉开。水岸汀洲错落延展，村庐隐于疏林之间，板桥卧波连接野岸，枯木疏枝带着萧寒野趣。整体笔墨温润苍秀，追摹萧散简远的山水意境，淡墨轻岚里晕染出江南林泉的空澹闲雅，于尺幅间铺展出丘壑之深，尽显文人画静穆幽远的林下意趣，是颇具意韵的仿古佳构。",[24,93,94,29,98,234,1587,32,95,33,7,155,250,363,154,5309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a344db5d2aae719cc6ae065d46043a0.jpg",[],{"id":17697,"slug":17698,"title":16711,"dynasty":246,"author":4810,"museum":360,"description":4811,"tags":17699,"thumbUrl":17700,"material":223,"size":223,"collection":223,"collections":17701,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238845,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238845",[24,63,234,27,26,30,31,75,33,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75081ae6b3bf1ce71d007bdc32053914.jpg",[],{"id":17703,"slug":17704,"title":16711,"dynasty":246,"author":4810,"museum":360,"description":17705,"tags":17706,"thumbUrl":17707,"material":223,"size":223,"collection":223,"collections":17708,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238844,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238844","此作用淡墨轻敷、浅赭晕染，绘就幽寂园林一隅。左侧苍松虬枝扶苏，浓墨点苔尽显葱郁生机。朱红围栏圈出院落，执伞侍者缓步廊下，衬出院宇空阔安闲。右侧屋舍隐在烟霭之中，淡墨烘染的云晕化实景为朦胧诗意，远近层次分明。\n\n笔致秀雅清劲，界画工致不失灵秀，山水庭院排布错落自然。题诗与画作呼应，诗画交融尽显文人写意雅致，将日常闲居的静穆安然铺陈开来，自带平和冲淡的古典意趣。",[234,27,28,26,94,31,7,32,30,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e754ecddfe95a2f3ebabbbd87791b5.jpg",[],{"id":17710,"slug":17711,"title":16711,"dynasty":246,"author":4810,"museum":360,"description":11169,"tags":17712,"thumbUrl":17713,"material":494,"size":495,"collection":223,"collections":17714,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238838,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238838",[24,27,26,30,96,136,318,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facabdf50bf84d62f8073ece3e2e6b013.jpg",[],{"id":17716,"slug":17717,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":17718,"thumbUrl":17719,"material":494,"size":495,"collection":223,"collections":17720,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238701,"shan-shui-ce-dong-bang-da-238701",[24,93,94,98,234,7,32,293,97,75,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317b091f73ff7b2d29215c59452c50f5.jpg",[],{"id":17722,"slug":17723,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":17724,"thumbUrl":17725,"material":494,"size":495,"collection":223,"collections":17726,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238699,"shan-shui-ce-dong-bang-da-238699",[24,63,234,93,98,94,96,7,439,97,32,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624c3ee84f200892c1bc942cc389c740.jpg",[],{"id":17728,"slug":17729,"title":17730,"dynasty":246,"author":1553,"museum":360,"description":17731,"tags":17732,"thumbUrl":17739,"material":494,"size":495,"collection":223,"collections":17740,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238613,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238613","平定两金川得胜图册","这幅铜版画以规整肃穆的构图，铺陈开得胜祝捷的恢弘场面。画面以中央帐殿为视觉中心，两侧将士阵列齐整，甲胄鲜明，旌旗肃立；官员按序列于台前，仪容恭谨仪仗严整。远景亭台石桥、林木屋舍细致写实，还原了彼时的风物样貌。整体线条细密精准，兼具纪实性与艺术性，既复刻了庆功仪式的森严礼制，又将军功告成后的庄重威仪凝于纸面，如实定格下这一盛大的祝捷场景，传递出厚重的历史纪实感。",[7609,516,26,30,31,7,33,17733,17035,17046,38,17734,17735,17736,17737,17738],"帐篷","群体","官员","士兵","线描","纪实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d75fa3ee651435db5f127d2bc6779c.jpg",[],{"id":17742,"slug":17743,"title":16103,"dynasty":246,"author":3353,"museum":360,"description":17744,"tags":17745,"thumbUrl":17746,"material":223,"size":223,"collection":223,"collections":17747,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":1224},238530,"shan-shui-xiao-ce-qian-wei-cheng-238530","这幅山水以跨页铺展清寂秋山之景，淡紫与浅赭晕染峰峦，烟岚缠绕崖谷，晕开空濛幽远的氛围感。近处以细笔写枯木虬枝，苍劲舒展，林麓间村居隐现，野桥横过寒溪，生机暗蕴萧疏之中。远山层叠渐淡，融于烟霭，将平远、深远之境收拢于尺幅。\n\n笔墨简淡清润，略去繁复皴擦，以淡彩轻染衬出山水清灵之气，尽显文人山水的书卷意趣，在简净画面中铺陈出萧淡天真的山野逸韵，将秋冬山乡的空寂冷雅娓娓道来。",[24,63,234,93,27,98,94,136,7,32,96,336,191,33,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50dbb87d4e75b4bd5ca8862fa38a9f58.jpg",[],{"id":17749,"slug":17750,"title":16103,"dynasty":246,"author":3353,"museum":360,"description":17751,"tags":17752,"thumbUrl":17753,"material":223,"size":223,"collection":223,"collections":17754,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238528,"shan-shui-xiao-ce-qian-wei-cheng-238528","此作以册页开合铺陈山水之致，近岸古木枯荣错落，虬枝苍劲，坡石以淡墨轻皴，尽显嶙峋肌理。留白铺就阔朗水面，一叶扁舟静泊，渔翁垂纶，暗合寄情江湖的隐逸闲趣。远景以淡墨晕染平林远山，朦胧晕化，将咫尺画幅拉展出悠远纵深。\n\n全作用笔松秀空灵，以水墨晕染出清寂淡远的意境，将江南水泽的静穆雅致收于尺幅之中，以简淡笔墨写尽林下丘壑的悠然襟怀，尽显文人山水以画言情的意趣。",[24,63,234,93,94,529,32,136,121,336,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdb6049c94f34145323caec020a6c43.jpg",[],{"id":17756,"slug":17757,"title":16103,"dynasty":246,"author":3353,"museum":360,"description":17758,"tags":17759,"thumbUrl":17760,"material":223,"size":223,"collection":223,"collections":17761,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},238527,"shan-shui-xiao-ce-qian-wei-cheng-238527","云烟如素缕缠裹黛色主峰，干湿浓淡的墨晕晕开峰峦明暗，皴笔勾勒出山岩苍劲厚重的筋骨，与柔缓舒卷的云气相映，刚柔互济。\n\n前景淡墨点染村居茅舍，浓墨簇就林木枝叶，朴拙雅致。右下角板桥轻横野渡，漾出乡野清寂意趣。\n\n整幅以水墨铺陈，虚实相生，笔意简淡却意蕴悠长，将山林幽居的闲澹意境藏于尺幅，带着清雅文心，观之便觉林泉野趣扑面而来，静穆悠然。",[24,63,234,93,98,94,439,7,31,118,97,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84af3ee070cc708889f5108376b8f5df.jpg",[],{"id":17763,"slug":17764,"title":16103,"dynasty":246,"author":3353,"museum":360,"description":6643,"tags":17765,"thumbUrl":17766,"material":223,"size":223,"collection":223,"collections":17767,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},238524,"shan-shui-xiao-ce-qian-wei-cheng-238524",[24,93,98,234,94,7,32,318,136,336,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff182266dfb7f3fc4e6a2d62bc75c6222.jpg",[],{"id":17769,"slug":17770,"title":17771,"dynasty":246,"author":17772,"museum":360,"description":17773,"tags":17774,"thumbUrl":17775,"material":494,"size":495,"collection":223,"collections":17776,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238510,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238510","巡行纪程诗画册","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,63,234,27,94,7,32,31,33,97,1445,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c937c1f0c73c3393a282a632d9ad6d6.jpg",[],{"id":17778,"slug":17779,"title":17771,"dynasty":246,"author":17772,"museum":360,"description":17773,"tags":17780,"thumbUrl":17781,"material":494,"size":495,"collection":223,"collections":17782,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238509,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238509",[24,63,234,27,94,31,7,100,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2cf8001bc07293046e9ab942b9ebb7.jpg",[],{"id":17784,"slug":17785,"title":17771,"dynasty":246,"author":17772,"museum":360,"description":17773,"tags":17786,"thumbUrl":17787,"material":494,"size":495,"collection":223,"collections":17788,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238506,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238506",[24,63,234,27,100,94,7,32,31,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a5be6605a6c05304d8418cf6769648f.jpg",[],{"id":17790,"slug":17791,"title":17792,"dynasty":246,"author":15328,"museum":360,"description":15329,"tags":17793,"thumbUrl":17795,"material":494,"size":495,"collection":223,"collections":17796,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238457,"mian-yi-mian-hua-tu-ce-mian-yi-238457","绵亿棉花图册",[24,63,234,27,26,30,75,9256,39,7,32,96,962,6072,120,16400,17794],"织物加工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9039c794c6789c404ba79bc666ba360a.jpg",[],{"id":17798,"slug":17799,"title":17800,"dynasty":246,"author":4810,"museum":360,"description":11169,"tags":17801,"thumbUrl":17802,"material":494,"size":495,"collection":223,"collections":17803,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},238408,"dong-gao-hui-jing-han-hui-tu-xiao-ce-dong-gao-238408","董诰荟景含晖图小册",[24,63,234,27,26,94,414,96,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f79e438a8e1ed7107a26505d8f957a.jpg",[],{"id":17805,"slug":17806,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":17807,"thumbUrl":17808,"material":223,"size":223,"collection":223,"collections":17809,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238309,"shan-shui-ce-dong-bang-da-238309",[116,24,63,94,93,98,516,96,136,97,7,3120,155,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f3c94ef9e0372f203acbe93ec24bd5.jpg",[],{"id":17811,"slug":17812,"title":2158,"dynasty":246,"author":17813,"museum":132,"description":17814,"tags":17815,"thumbUrl":17816,"material":27,"size":17817,"collection":223,"collections":17818,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238268,"shan-shui-ce-zhang-yan-238268","张演","此作以平远之法铺展江南水村之景，清润雅致。田埂蜿蜒间，二人策杖闲话，意态悠然；右侧山居敞轩，有人凭栏远望，静享林泉之趣。河流萦回穿绕，板桥轻跨水面，岩岫间林木错落，青绿点染枝叶，浅赭晕染山石田垄，色调柔和温婉。远景烟波浩渺，淡墨晕染出水天濛濛之态，融天地于清和之中。全画笔致秀润，将幽居雅集的日常铺陈开来，尽显水乡闲适安恬的林下之风，把文人心中的栖居理想化作眼前实景，意韵悠长。",[24,63,234,27,98,94,7,32,30,33,97,492,8008],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ee377a2f16098478fd47e47cf80ba9.jpg","37.1x31.7",[],{"id":17820,"slug":17821,"title":2158,"dynasty":246,"author":17813,"museum":132,"description":17822,"tags":17823,"thumbUrl":17824,"material":27,"size":17817,"collection":223,"collections":17825,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238265,"shan-shui-ce-zhang-yan-238265","此作用笔秀润，以浅绛设色铺就林泉幽境。层叠山峦以披麻皴写就，云气留白晕出山峦空濛深远，山坳瀑流垂落，浅滩回环串联远近，让整幅山水灵动鲜活。\n\n前景林木蓊郁，古松虬枝盘曲，杂树点叶各具意态。树荫下幽坐一人，静听松风涧鸣，右侧岩畔野鹿闲游，为山林添生机。设色清隽柔和，淡赭铺底石青缀苔点叶，全无浓艳堆砌，将幽居林泉的静穆隐逸之趣铺陈开来，把林下幽栖的闲雅心境融在烟岚林壑间，尽显江南山林温润淡远的文人意趣。",[24,27,98,234,94,33,7,32,30,97,152,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbdcc83f55b3d7182015c6e2645c45f4.jpg",[],{"id":17827,"slug":17828,"title":2158,"dynasty":246,"author":14001,"museum":360,"description":17829,"tags":17830,"thumbUrl":17831,"material":223,"size":223,"collection":223,"collections":17832,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238189,"shan-shui-ce-song-jun-ye-238189","此作用淡墨晕染秋山幽居之景。近岸苍松怪石错落而立，山居隐于林木深处，远岫平缓晕在烟水之上，留白铺陈出空濛辽远的意境，尽显清秋疏旷之致。笔墨简淡秀雅，以干笔皴擦勾勒山石肌理，林木萧疏灵动，不事浓艳雕琢，纯以水墨绘就静穆淡远的出世之态。左侧题诗与画境呼应，将林泉间无扰的太平秋光娓娓道来，书画相得益彰，尽显文人情趣，绘出士人心中的隐逸桃源，淡而愈厚、实而愈清，藏着无声的安然意趣。",[24,63,93,98,234,94,7,32,33,97,75,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524922c6b57f987daf5dc9c7e8b7b325.jpg",[],{"id":17834,"slug":17835,"title":2158,"dynasty":246,"author":14001,"museum":360,"description":17836,"tags":17837,"thumbUrl":17838,"material":223,"size":223,"collection":223,"collections":17839,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238186,"shan-shui-ce-song-jun-ye-238186","此作诗画合璧，意境悠然。画幅以淡彩晕染山峦，秀润苍郁的林木错落溪边，山居藏于翠微之间，溪桥横卧浅流，烟岚轻笼幽谷，将江南山水的温润灵秀铺陈开来。笔墨清和柔婉，设色雅致明净，处处透着闲适静谧的林下意趣。左侧题字笔致流丽秀雅，诗文与画境呼应，把文人耽恋林泉的隐逸情怀融在山水丘壑之中。观之如踏入幽寂山居，静听松风裹着泉鸣，沉醉在澹远悠然的诗意山光里，尽显文人山水的清雅格调。",[24,63,234,27,98,99,118,94,33,97,7,32,31,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a09dd6f013766756d9ad08ccb8d86bd.jpg",[],{"id":17841,"slug":17842,"title":2158,"dynasty":246,"author":14001,"museum":360,"description":17843,"tags":17844,"thumbUrl":17846,"material":223,"size":223,"collection":223,"collections":17847,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238185,"shan-shui-ce-song-jun-ye-238185","这幅山水取清秋林居之景，远山层叠含烟，近岸林木蓊郁，村居隐于林下溪旁，板桥横卧浅溪，萧疏秋意漫溢尺幅。笔墨清润淡逸，构图疏密相宜，将深幽山野的静穆闲适晕染开来。\n\n搭配行书题诗，诗画呼应，把深林秋气的幽寂写尽，诗书画印相映成趣，尽显文人画雅致风骨。简淡笔触间藏着澹泊意韵，仿若将观者带入清秋林泉，暂忘尘嚣，坠入山野幽居的安宁悠然之中。",[24,63,3457,93,27,98,94,33,75,253,7,7609,17845,97,154],"传统山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1755325fc89e719a5b466f55a8eced29.jpg",[],{"id":17849,"slug":17850,"title":2158,"dynasty":246,"author":4965,"museum":360,"description":17851,"tags":17852,"thumbUrl":17853,"material":223,"size":223,"collection":223,"collections":17854,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238153,"shan-shui-ce-yun-xi-238153","设色清雅温润，以淡赭晕染山峦，皴笔细腻勾勒出岩体质感，坡岸林木错落排布，水榭板桥点缀溪谷，将幽居藏于绝涧深林之间，尽显山野丘壑的悠然意趣。\n\n题诗与画境互为表里，诗画交融，铺陈出林泉高致的隐逸情怀。笔墨间藏着冲淡恬和的林下之风，以淡雅之态描摹出林泉幽寂的世外之境，将文人心中的丘壑山水诉诸纸面，观之如临绝尘幽居，引人步入忘俗的山居雅意中。",[24,94,27,98,99,100,118,234,7,32,33,97,31,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a676ec269400083967ea7fda07bd5d.jpg",[],{"id":17856,"slug":17857,"title":2158,"dynasty":246,"author":9418,"museum":360,"description":17858,"tags":17859,"thumbUrl":17860,"material":223,"size":223,"collection":223,"collections":17861,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238015,"shan-shui-ce-lu-zun-shu-238015","以淡墨晕染铺就空濛夜色，江天相接处轻笔扫过，晕开清寂寥廓的氛围感。水岸村居错落排布，黛瓦茅舍依水偎依，三两舟楫静系埠头，似在等候晚归旅人。右侧林木疏朗，简笔勾勒枝桠便见生趣，浓淡墨色区分开前后层次，衬出水乡的安闲静谧。\n\n淡墨写意，不作繁复皴擦，只以晕染烘托出江南夜泊松弛淡远的况味。题字朱印作为点缀，晕开文人情致，整幅小品简而意足，把深夜水乡的清宁藏在每一笔淡墨之中，空濛悠远，尽显文人山水的空灵意趣。",[24,93,234,94,439,75,7,8433,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5127db98ab08bd52c4c2fb2bac6bfa64.jpg",[],{"id":17863,"slug":17864,"title":2158,"dynasty":246,"author":9418,"museum":360,"description":15364,"tags":17865,"thumbUrl":17866,"material":223,"size":223,"collection":223,"collections":17867,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},238013,"shan-shui-ce-lu-zun-shu-238013",[24,63,234,93,94,98,7,32,95,96,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5edc34bcb58531f39795f5cc7d14e73.jpg",[],{"id":17869,"slug":17870,"title":2158,"dynasty":246,"author":6728,"museum":360,"description":10049,"tags":17871,"thumbUrl":17872,"material":494,"size":495,"collection":223,"collections":17873,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":2759},238006,"shan-shui-ce-qin-zu-yong-238006",[24,93,98,234,99,100,94,7,32,95,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6858c6c2499c1dcd736a59ba4c8771.jpg",[],{"id":17875,"slug":17876,"title":2158,"dynasty":246,"author":16819,"museum":360,"description":16820,"tags":17877,"thumbUrl":17878,"material":494,"size":495,"collection":223,"collections":17879,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},237913,"shan-shui-ce-cheng-ming-237913",[24,63,234,93,98,94,33,7,32,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd701ab1bc4597ddd9e4107d0bcff499.jpg",[],{"id":17881,"slug":17882,"title":17883,"dynasty":246,"author":17884,"museum":360,"description":17885,"tags":17886,"thumbUrl":17888,"material":494,"size":495,"collection":223,"collections":17889,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},237847,"xu-yong-jia-shan-shui-shan-ye-xu-yong-jia-237847","须用嘉山水扇页","须用嘉","须用嘉，明末清初，字嘉客，毗陵（今江苏常州）人。主要活动于崇祯年间，擅山水、枯木，竹石等，其作品以水墨为主。其山 水师法倪瓒，加以发展，画法疏简，格调幽淡 ，笔法精细流畅，用笔工细绵密，稍带生涩，于精熟中见稚拙，多作疏林坡岸，浅水遥岑。折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，外落寞而内蕴激情。浓墨苔点，风格突出，画面常有“山木半落叶，西风方满林”的意境。画作流传极为少见。",[24,1829,93,98,94,439,97,32,7,365,440,1202,191,154,252,3059,17887,13446,332],"勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e70765a086f8a8eef626ef92038b382.jpg",[],{"id":17891,"slug":17892,"title":8699,"dynasty":246,"author":247,"museum":360,"description":10381,"tags":17893,"thumbUrl":17894,"material":494,"size":495,"collection":223,"collections":17895,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},237753,"shan-shui-tu-ce-cheng-zheng-kui-237753",[24,63,234,93,100,98,94,96,7,32,33,97,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c90b573e17375a07170ad46780bd53c.jpg",[],{"id":17897,"slug":17898,"title":8699,"dynasty":246,"author":247,"museum":360,"description":10381,"tags":17899,"thumbUrl":17900,"material":494,"size":495,"collection":223,"collections":17901,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},237748,"shan-shui-tu-ce-cheng-zheng-kui-237748",[24,63,234,93,100,98,94,7,136,96,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dced4cf7a3a09a2c63df383fcda678.jpg",[],{"id":17903,"slug":17904,"title":2158,"dynasty":18,"author":12170,"museum":360,"description":14108,"tags":17905,"thumbUrl":17906,"material":494,"size":495,"collection":223,"collections":17907,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},237630,"shan-shui-ce-shen-hao-237630",[24,93,94,7,31,118,3849,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fca833f23a8848e04225d83bdec00c.jpg",[],{"id":17909,"slug":17910,"title":8699,"dynasty":246,"author":8700,"museum":360,"description":8701,"tags":17911,"thumbUrl":17912,"material":494,"size":495,"collection":223,"collections":17913,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},237482,"shan-shui-tu-ce-yao-song-237482",[24,63,234,93,100,98,94,336,439,7,118,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9279561c441fbfa0710aa559471b8984.jpg",[],{"id":17915,"slug":17916,"title":14166,"dynasty":246,"author":11245,"museum":360,"description":11246,"tags":17917,"thumbUrl":17918,"material":494,"size":495,"collection":223,"collections":17919,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},237280,"za-hua-ce-chen-zi-237280",[24,93,234,94,7,32,33,191,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070a70b8dd44528aea6b5b2c07ec3008.jpg",[],{"id":17921,"slug":17922,"title":2158,"dynasty":18,"author":12021,"museum":360,"description":16217,"tags":17923,"thumbUrl":17924,"material":494,"size":495,"collection":223,"collections":17925,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},237007,"shan-shui-ce-sun-ri-shao-237007",[24,63,234,93,98,94,97,33,96,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff47c4b9b7e9acfd4fa866105a01a3880.jpg",[],{"id":17927,"slug":17928,"title":7049,"dynasty":246,"author":15451,"museum":60,"description":15452,"tags":17929,"thumbUrl":17930,"material":678,"size":223,"collection":223,"collections":17931,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},236824,"fang-gu-shan-shui-ce-zhao-cheng-236824",[24,63,234,93,27,98,94,191,33,75,7,32,99,38,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1739596ae452fafa5ae111e0d004afe4.jpg",[],{"id":17933,"slug":17934,"title":2158,"dynasty":246,"author":2037,"museum":360,"description":4471,"tags":17935,"thumbUrl":17936,"material":223,"size":223,"collection":223,"collections":17937,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},236592,"shan-shui-ce-cha-shi-biao-236592",[24,63,116,234,93,98,94,33,1587,154,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d2852e635d12944449bd69517b5894.jpg",[],{"id":17939,"slug":17940,"title":17941,"dynasty":246,"author":1553,"museum":360,"description":17942,"tags":17943,"thumbUrl":17944,"material":223,"size":223,"collection":223,"collections":17945,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},235040,"yuan-ji-za-hua-tu-ce-yi-ming-235040","原济杂画图册","此作为水墨山水小品，以淡墨晕染出清秋萧索意趣。近处坡石错落，杂木虬曲苍劲，茅舍隐于松荫之下，板桥跨溪独悬，野趣盎然。远山以淡墨轻扫，浑茫虚灵，将画面拉向悠远空寂。\n题诗与画境相融，把旧梦金陵的怅惘寄寓在溪山秋景之中，诗画合璧，暗合文人借景抒怀的意趣。笔致松秀简淡，不作繁复皴染，却将荒寒幽寂的秋意烘托尽致，淡远空灵之间，藏着澹泊又带着怅然的悠悠心绪，尽显文人山水以简驭繁的韵致。",[24,93,98,234,94,96,7,136,336,33,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2976a2fe76233a14d1dbe89f5c7f7bf8.jpg",[],{"id":17947,"slug":17948,"title":2158,"dynasty":246,"author":4064,"museum":60,"description":17949,"tags":17950,"thumbUrl":17951,"material":223,"size":223,"collection":223,"collections":17952,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},234793,"shan-shui-ce-dong-bang-da-234793","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。",[24,63,234,93,98,94,33,97,32,7,336,96,318,136,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d394e3188a6393c396bd36ad031d0.jpg",[],{"id":17954,"slug":17955,"title":3933,"dynasty":246,"author":10808,"museum":60,"description":10809,"tags":17956,"thumbUrl":17957,"material":678,"size":223,"collection":223,"collections":17958,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},234731,"huang-shan-tu-ce-jiang-zhu-234731",[24,63,234,93,100,98,94,99,118,529,616,33,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8195fb39ae85c54dc2445b7729fbd.jpg",[],{"id":17960,"slug":17961,"title":12820,"dynasty":246,"author":17962,"museum":360,"description":17963,"tags":17964,"thumbUrl":17965,"material":223,"size":223,"collection":223,"collections":17966,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},234606,"shan-shui-wan-shan-he-wei-pu-234606","何维朴","何维朴 （1842年—1922年），湖南道县人。 字诗孙，晚号盘止，亦号盘叟，又号秋华居士、晚遂老人，室名颐素斋、盘梓山房。何绍基之孙。以山水画著称，宗娄东派；书摹其祖何绍基亦得其形似。\n同治六年（1867年）乡试副贡，官内阁中书，协办侍读，江苏候补知府。\n工书、画，晚寓上海盘梓山房，以此自给。画以山水著称。宗娄东四家，清远高妙，无时流霸悍草率习气。对于古画之鉴别尤精。书摹其祖绍基，亦得其神似。少精篆刻，宗秦汉，晚年倦于酬世不复作。有印文曰清凉山下转轮僧。收藏古印甚多，有《颐素斋印存》六卷传世。卒年八十一。",[24,63,1829,93,94,98,7,32,95,96,33,191,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead678894b438df0db08e139fb584e16.jpg",[],{"id":17968,"slug":17969,"title":2158,"dynasty":246,"author":639,"museum":360,"description":17006,"tags":17970,"thumbUrl":17972,"material":223,"size":223,"collection":223,"collections":17973,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},234340,"shan-shui-ce-jin-ting-biao-234340",[24,63,234,27,98,100,118,94,7,32,33,1445,65,30,17971,75,281,156],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35dde4c19bf31999408a992d8a81474.jpg",[],{"id":17975,"slug":17976,"title":17977,"dynasty":1933,"author":1553,"museum":360,"description":17978,"tags":17979,"thumbUrl":17989,"material":223,"size":223,"collection":223,"collections":17990,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},225359,"fu-shi-hui-115-yi-ming-225359","浮世绘115","这幅版画以明媚春景入画，岛屿错落于澄澈水色间，漫山樱花如云似雪，苍松点缀翠色，晕染出融融春意。回环山径上踏青游人缓步徐行，渡头与岸畔人影攒动，乌篷船静泊水面，波痕轻漾晕开清浅蓝调。屋舍错落花林间，木桥勾连水岸，将春日郊野的鲜活烟火铺陈开来。\n\n用色明快柔婉，石青铺就水天，砂黄晕染坡岸，粉白樱枝与深松翠影相映成趣，带着日式版画独有的装饰意趣。构图疏密得宜，将踏青的闲雅盛景定格，把市井闲情与春日诗意揉为一处，尽显雅致悠然的和风美学。",[9503,13755,27,94,7,32,35,75,33,30,3189,4968,440,1840,17980,17981,17982,137,17983,818,9306,40,42,17984,17985,17986,17987,17988,1129],"开花植物","海湾","行船","步道","堤岸","林间小路","水岸人家","花树","远岛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89971454455ccd323ecef04635e7d4f.jpg",[],{"id":17992,"slug":17993,"title":14923,"dynasty":246,"author":2535,"museum":60,"description":14924,"tags":17994,"thumbUrl":17996,"material":223,"size":14927,"collection":223,"collections":17997,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},223175,"geng-zhi-tu-ce-jiao-bing-zhen-223175",[24,7609,26,27,30,32,33,7,17995,6072,120,16400,6150,9026],"水田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f653a624e495c327d2b97e1d5fbb0f0.jpg",[],{"id":17999,"slug":18000,"title":18001,"dynasty":246,"author":4064,"museum":132,"description":18002,"tags":18003,"thumbUrl":18004,"material":178,"size":223,"collection":223,"collections":18005,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},223105,"duan-qiao-can-xue-tu-gao-zong-yu-ti-dong-bang-da-223105","断桥残雪图-高宗御题","此为断桥残雪图高宗御题部分.",[23,116,24,63,94,100,99,7,1470,118,93,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e66f0aab7d9c8b28261b41d1c5ca758.jpg",[],{"id":18007,"slug":18008,"title":18009,"dynasty":246,"author":15535,"museum":20,"description":16439,"tags":18010,"thumbUrl":18011,"material":2899,"size":223,"collection":223,"collections":18012,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":498},222718,"huang-shan-ba-jing-tu-ce-7-zheng-min-222718","黄山八景图册7",[23,24,63,234,93,98,94,97,7,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50a7be94e2ba511328461200f70aca0.jpg",[],{"id":18014,"slug":18015,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":18016,"thumbUrl":18018,"material":11845,"size":11846,"collection":223,"collections":18019,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":223},220707,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220707",[24,234,93,94,191,137,7,32,18017,30,17168,17169,17167],"树竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002b53359e561c2b101355553f27ff3f.jpg",[],{"id":18021,"slug":18022,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":18023,"thumbUrl":18024,"material":11845,"size":11846,"collection":223,"collections":18025,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":223},220689,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220689",[23,24,234,331,93,191,11841,564,137,7,32,30,99,7722,118,17167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb77097ca63058bde1bd885223b88c679.jpg",[],{"id":18027,"slug":18028,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":18029,"thumbUrl":18030,"material":11845,"size":11846,"collection":223,"collections":18031,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":223},220684,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220684",[24,234,94,93,191,11841,1616,137,7,32,30,99,17167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dbcd2e5a004d20f24def788ca6b54eb.jpg",[],{"id":18033,"slug":18034,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":18035,"thumbUrl":18037,"material":11845,"size":11846,"collection":223,"collections":18038,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":223},220680,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220680",[23,116,24,63,234,93,94,191,11841,1616,137,7,32,30,100,18036,17167,17168,17169],"题咏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a22bf85c7c0e917ffbba786a999d21.jpg",[],{"id":18040,"slug":18041,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":18042,"thumbUrl":18043,"material":11845,"size":11846,"collection":223,"collections":18044,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":223},220675,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220675",[23,24,63,234,100,7722,99,94,96,31,7,32,93,27,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7507ef328f02ffcb0b99271a4a0326ad.jpg",[],{"id":18046,"slug":18047,"title":11837,"dynasty":246,"author":11838,"museum":1277,"description":11839,"tags":18048,"thumbUrl":18049,"material":11845,"size":11846,"collection":223,"collections":18050,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":223},220669,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220669",[23,24,63,234,93,94,191,11841,1616,137,7,32,7326,99,100,6968,11843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176492039e9c19654dbf2a5e8cea088b.jpg",[],{"id":18052,"slug":18053,"title":18054,"dynasty":246,"author":17176,"museum":360,"description":17177,"tags":18055,"thumbUrl":18056,"material":102,"size":223,"collection":223,"collections":18057,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},218015,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-3-ceng-yan-dong-218015","七道子山水人物画册18帧-3",[23,24,63,234,93,98,100,118,99,94,7,414,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f4f5fd9ca997eaf71a741e54200a0d.jpg",[],{"id":18059,"slug":18060,"title":18061,"dynasty":18,"author":18062,"museum":360,"description":18063,"tags":18064,"thumbUrl":18065,"material":237,"size":223,"collection":223,"collections":18066,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":498},217191,"shui-hu-quan-tu-4-du-jin-217191","水浒全图-4","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[24,63,30,26,516,27,25,31,7,32,492,96,16747,65,94,565],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee5d79c2e88704ca94184f23a489429.jpg",[],{"id":18068,"slug":18069,"title":18070,"dynasty":246,"author":2081,"museum":360,"description":13836,"tags":18071,"thumbUrl":18073,"material":93,"size":223,"collection":223,"collections":18074,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},216791,"zhan-zheng-tong-ban-hua-54-lang-shi-ning-216791","战争铜版画-54",[13838,13839,93,30,15655,94,7,31,5889,16747,99,18072],"军事场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffebcd96fa660a9f124870a975042d6e.jpg",[],{"id":18076,"slug":18077,"title":18078,"dynasty":246,"author":1553,"museum":9064,"description":18079,"tags":18080,"thumbUrl":18081,"material":47,"size":223,"collection":223,"collections":18082,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},215947,"di-jian-tu-shuo-cai-hui-ben-55-yi-ming-215947","帝鉴图说彩绘本-55","庭院之内，朱红廊宇连缀，青瓦覆顶，檐角微翘。几株苍树斜倚，枝叶婆娑，映得庭中绿意盎然。廊下数人或立或语，衣袂轻扬间神态恭谨；庭中一人屈膝躬身，似在呈禀要事，君臣之仪尽显。远处小桥隐于树影，山石错落，流水潺潺，添了几分雅致。画面色彩明丽，线条细腻，建筑的规制与人物的动态皆刻画入微。既还原了古代宫廷的生活片段，又传递出庄重肃穆的氛围，仿佛能透过画纸窥见往昔君臣互动的瞬间，历史的厚重感与艺术的细腻感在此交融，耐人寻味。",[24,27,28,26,30,31,39,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039fd3ed39d4692b29aab1c0e4e3c6bf.jpg",[],{"id":18084,"slug":18085,"title":18086,"dynasty":246,"author":1553,"museum":9064,"description":18087,"tags":18088,"thumbUrl":18089,"material":47,"size":223,"collection":223,"collections":18090,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},215929,"di-jian-tu-shuo-cai-hui-ben-75-yi-ming-215929","帝鉴图说彩绘本-75","青绿山水间，亭台依山而筑，朱红廊柱衬翠瓦，檐角云气袅袅，恍若仙境。桥下石阶旁，数人凭栏赏景或低语论道，衣袂轻扬；阶下孩童追逐嬉戏，稚态可掬，为静谧景致注入鲜活生机。山石皴染细腻，草木葱茏有致，色彩明丽雅致，工笔笔触精准勾勒人物情态与景物细节，尽显古典绘画的匠心。整幅画融山水清幽与人间烟火于一体，动静相宜间，晕染出悠然闲适的古典意境，引人沉醉。",[116,24,26,27,117,28,234,30,31,94,7,33,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6717539a3eab9cfd6dbb3ecce633ca8c.jpg",[],{"id":18092,"slug":18093,"title":18094,"dynasty":246,"author":17204,"museum":17205,"description":18095,"tags":18096,"thumbUrl":18100,"material":93,"size":223,"collection":223,"collections":18101,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},215634,"yu-zhi-geng-zhi-tu-13-kang-xi-215634","御制耕织图-13","素笔勾勒的茅舍间，灯火摇曳映着蚕织人的身影，夜露沾衣仍劳作不辍。题句里的“养蚕苦”“弱躯”，道尽蚕妇晨昏不息的辛劳。线条简练却入微，从屋舍的结构到人物的姿态，皆透着对民生的体察。左侧织机旁的专注，右侧蚕筐边的忙碌，将耕织的日常化为纸上的温度。没有浓墨重彩，却以清简之笔，留存下对农桑的重视与对劳动者的体恤，让千年耕织传统在尺幅间静静流淌，每一道线条都藏着对烟火人间的深情凝视。",[23,24,63,516,26,30,31,7,32,33,16399,6072,120,39,2978,14264,1235,18097,75,1457,4030,18098,18099],"日常劳作","文字题跋","农耕场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef8fdc203e96184cf1dcaf781ed53ba.jpg",[],{"id":18103,"slug":18104,"title":18105,"dynasty":246,"author":17204,"museum":17205,"description":18106,"tags":18107,"thumbUrl":18114,"material":93,"size":223,"collection":223,"collections":18115,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},215626,"yu-zhi-geng-zhi-tu-28-kang-xi-215626","御制耕织图-28","笔墨铺展田园生息的画卷，左幅水畔田埂间，农人躬身劳作，秧苗成行排列，树影婆娑映于溪面，春耕的忙碌与生机跃然纸上；右幅稻浪轻摇处，众人挥镰收割，或捆束稻禾，或担粮归途，眉眼间藏着丰收的质朴期盼。\n\n细腻线条勾勒人物动态，衣袂褶皱、农具细节皆清晰可辨，背景的树木河流与农田相映成趣，满溢乡土气息。这幅图既是劳作场景的真实记录，更承载着对农桑为本的珍视——将民生之重融入田园诗意，让观者在笔墨间触摸到古代农耕文明的温度与厚度。",[23,24,63,516,26,17737,9183,2343,18108,18109,33,7,32,15331,6072,30,18110,18111,18112,18113,7609],"农民","劳作","乡村场景","农作物","灌溉","田间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d9f297132c0f055ea47fcb9eaa25b4.jpg",[],{"id":18117,"slug":18118,"title":18119,"dynasty":246,"author":17204,"museum":17205,"description":18120,"tags":18121,"thumbUrl":18123,"material":93,"size":223,"collection":223,"collections":18124,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":54},215625,"yu-zhi-geng-zhi-tu-26-kang-xi-215625","御制耕织图-26","画面分左右两帧，左帧水乡劳作图景鲜活，人物涉水持物，衣袂轻摆间流露生活真意；右帧牛耕场景质朴，耕者躬身扶犁，老牛缓步田埂，辛勤之态跃然纸上。纤细流畅的线条勾勒景物层次与人物神态，笔墨细腻体察农桑日常。写实笔触还原田间织户光景，烟火气中藏着对耕织并重传统的推崇，方寸间尽显农耕文明的深厚底蕴，是对民生本真的生动镌刻。每一处细节皆含温度，从人物的动态到景物的肌理，皆以细腻笔触铺展，于静谧中传递出对农桑生活的深切关照，尽显传统生活美学与人文情怀。",[23,24,63,516,26,234,99,118,30,66,7,32,75,6607,18122],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6569c9920554040911e9fa864f7958a1.jpg",[],{"id":18126,"slug":18127,"title":18128,"dynasty":246,"author":1553,"museum":360,"description":18129,"tags":18130,"thumbUrl":18131,"material":208,"size":223,"collection":223,"collections":18132,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},215616,"tian-xia-ming-shan-tu-10-yi-ming-215616","天下名山图-10","线描勾勒的山水间，山石皴纹细密如织，嶙峋体态跃然纸上。远近峰峦层叠，云雾在缝隙间游走，留白处漾开空灵气息。山间屋舍星罗，或傍崖而筑，或临溪而居；小桥卧波，溪流潺潺似携清响。林木疏朗点缀，添几分生机。构图疏密相宜，把山川的雄奇与人文的雅致揉合，绘就清幽静谧的山林胜境，藏着传统山水里“天人合一”的诗意回响。笔墨间见匠心，每一处线条都藏着对自然的敬畏与对生活的向往，尽显古典山水的含蓄之美。",[24,63,516,98,94,97,33,31,7,32,75,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904439cdb94d15742ad8bc019e959ee1.jpg",[],{"id":18134,"slug":18135,"title":18136,"dynasty":246,"author":1553,"museum":360,"description":18137,"tags":18138,"thumbUrl":18139,"material":208,"size":223,"collection":223,"collections":18140,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":108},215575,"tian-xia-ming-shan-tu-47-yi-ming-215575","天下名山图-47","层峦叠嶂间，山巅楼阁隐于云霭，似触天阙；山腰石梁蜿蜒，人影攒动如织，似携笑语穿林。山麓处，飞檐翘角的亭台藏于林木葱茏，溪水绕阶而过，溅起细碎清响。右侧峰峦起伏，林木疏密有致，与左侧山水相映成趣。细腻笔触勾勒出山水的灵秀，建筑与人物的点缀让静谧自然多了烟火气，仿佛能引人步入这清幽世界，暂忘尘嚣。整幅画将自然之美与人文气息相融，尽显名山胜景的生机与雅致。",[24,63,234,516,93,98,94,529,31,7,30,33,38,97,440],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2c9216afee7ded53a374e2f0a995f7.jpg",[],{"id":18142,"slug":18143,"title":18144,"dynasty":246,"author":18145,"museum":90,"description":18146,"tags":18147,"thumbUrl":18149,"material":223,"size":223,"collection":223,"collections":18150,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18151},203346,"shi-nv-tu-ce-wu-jia-you-203346","仕女图册","吴嘉猷","月夜银辉漫洒河面，一艘雕饰精巧的花船浮于碧波之上。舱内仕女衣饰素雅，或浅笑交谈，或凭窗远眺，神态温婉娴静；船檐下灯笼垂挂，光影流转间添了几分柔媚。背景里小桥横跨两岸，楼阁隐于树影，远山如黛晕在朦胧月色中，江南夜色的静谧与闲逸扑面而来。画家以工细线条勾勒人物轮廓与景物细节，设色清雅柔和，将仕女的温婉之态与江南夜景的诗意相融，笔墨间尽显古典雅致的情韵，传递出细腻动人的生活意趣。",[26,27,5787,18148,743,32,31,7,94,15809],"花船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b90b97ff719b6f09954eae8208e42ae.jpg",[],"c1b79e",{"id":18153,"slug":18154,"title":18155,"dynasty":5727,"author":18156,"museum":90,"description":18157,"tags":18158,"thumbUrl":18159,"material":223,"size":223,"collection":104,"collections":18160,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18161},203247,"feng-xue-jian-lv-tu-zhou-wang-zhen-203247","风雪蹇驴图轴","王震","画面以水墨为主调，兼施淡彩。寒林枯树虬枝遒劲，积雪覆枝，墨色浓淡交错间显层次感。小桥之上，红衣旅人披蓑戴笠骑驴前行，仆从紧随，衣袂飘动似迎风，动态鲜活。背景山峦积雪，留白与墨块相映，营造萧瑟清寒的冬日氛围。笔触简练却形神兼备，人物神态生动，驴的憨态与风雪冷寂形成对比，传递旅途况味，兼具文人画意趣与生活气息。",[24,93,27,30,7,414,94,1778,332,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a052eac30219cbb04063aedf4be1827.jpg",[104],"bdb29c",{"id":18163,"slug":18164,"title":13289,"dynasty":246,"author":6183,"museum":90,"description":18165,"tags":18166,"thumbUrl":18167,"material":223,"size":223,"collection":223,"collections":18168,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18169},203092,"ren-wu-shan-shui-ce-qian-du-203092","画面中山峦叠翠，瀑布沿岩壑奔流而下，草木葱茏间，一屋临溪而建，小桥横跨水面，屋内二人对坐，似在品茗论道。笔墨细腻雅致，山石以淡皴晕染，树木枝叶勾勒点染兼具，设色温润清和，将自然之幽寂与文人之雅趣相融。整体意境恬淡悠然，尽显山居闲适之态，人物虽小却形神毕肖，笔法工致中透着灵动，是清代文人山水画中颇具韵味的小品，于尺幅间藏纳丘壑之美与林下之风。",[24,94,30,27,26,98,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e15d26a04439bcddb91fc942be7c440.jpg",[],"bead9f",{"id":18171,"slug":18172,"title":18173,"dynasty":5727,"author":18174,"museum":90,"description":18175,"tags":18176,"thumbUrl":18177,"material":223,"size":223,"collection":223,"collections":18178,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18179},202762,"xi-ting-mi-ju-tu-zhou-qian-hong-yu-202762","溪亭觅句图轴","钱鸿遇","画面中山峦层叠，皴笔皴擦点染，尽显山石肌理；飞瀑如练倾泻，注入深潭漾起清韵。近景老树盘曲，枝干疏朗苍劲，树下溪涧蜿蜒，小桥卧波，溪畔亭宇隐约，似有幽人凭栏觅句。笔墨以水墨见长，浓淡干湿交错，线条劲健灵动，将自然之趣与文人雅意相融，营造出静谧悠远的意境，引人沉醉于林泉之乐中。",[94,93,98,96,7,136,152,32,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6118c6ab114487e6adb6a75a1d6f9a2a.jpg",[],"dad2be",{"id":18181,"slug":18182,"title":18183,"dynasty":246,"author":18184,"museum":90,"description":18185,"tags":18186,"thumbUrl":18187,"material":223,"size":223,"collection":223,"collections":18188,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18189},202739,"song-jiang-yuan-tiao-tuan-shan-xu-wen-cheng-202739","松江远眺团扇","徐文承","扇面之上，松江景致婉转铺陈。苍松虬枝劲挺，松针细密如簇，尽显古木峥嵘之态；近岸小亭隐于林麓，翼角轻翘似邀人驻足。桥下流水蜿蜒，远山层叠云雾轻笼，江天相映成空濛之境。笔墨兼具工致与灵动，山石以皴法晕染肌理，设色淡雅却层次分明，天光（或月色）洒于江面，更添清寂悠远之韵。方寸之间融江南水乡灵秀与旷远，观之如临江畔，松涛与流水交织，心境随之沉静。",[1829,94,27,98,206,96,7,32,800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873971d80be2fb714d8f50c78a34c904.jpg",[],"b6ab9a",{"id":18191,"slug":18192,"title":18193,"dynasty":246,"author":1553,"museum":90,"description":18194,"tags":18195,"thumbUrl":18196,"material":223,"size":223,"collection":223,"collections":18197,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18198},202688,"fang-shi-shu-you-he-ting-quan-tu-zhou-yi-ming-202688","方士庶幽壑听泉图轴","画面绘幽壑深谷之景，清泉蜿蜒而下，穿乱石、过林麓，小桥横架溪畔，林木葱茏间透着静谧。山石以皴法写就，线条劲健而富有层次，树木笔墨苍润，枝叶疏密有致。整体意境清幽淡远，似可闻泉声叮咚，尽显文人寄情山水的雅趣。笔墨细腻处见功力，水墨晕染间藏生机，将自然之美与闲适心境完美融合。",[24,93,94,98,7,32,97,33,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9a647beb2fedc21a73edf90439d979.jpg",[],"bfb0a6",{"id":18200,"slug":18201,"title":18202,"dynasty":246,"author":18203,"museum":90,"description":18204,"tags":18205,"thumbUrl":18206,"material":223,"size":223,"collection":223,"collections":18207,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18208},202683,"pan-gu-tu-zhou-lu-qi-202683","盘谷图轴","陆起","画面层叠的山峦间，岩石以皴法勾勒纹理，苍劲厚重。古木虬枝或倚岩而生，或疏落林间，添几分清寂秋意。小桥横跨溪流，流水潺潺而下，楼阁隐于远处林麓，似藏幽居之趣。远近景致错落有致，墨色与淡彩交融，尽显山水静谧深远之态，传递出文人向往的林泉之志。",[94,98,27,7,32,31,33,176,2852,1054,93,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f8f05ed6ee3d16ea482870411fddab8.jpg",[],"7f7249",{"id":18210,"slug":18211,"title":18212,"dynasty":246,"author":4819,"museum":90,"description":18213,"tags":18214,"thumbUrl":18215,"material":223,"size":223,"collection":223,"collections":18216,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18217},202582,"fang-wang-shu-ming-qiu-shu-tu-zhou-xiao-yun-cong-202582","仿王叔明秋树图轴","画面层峦叠嶂间，秋水潺湲，小桥横卧溪上，老树疏枝带秋意，山间屋舍隐现，行人策马路旁，一派清旷悠远的秋山胜景。笔墨承袭王叔明苍劲之韵，山石以皴法勾勒，线条细腻灵动，设色淡雅温润，将秋林的疏朗、溪山的静谧与人物的闲逸融为一体，尽显文人山水的雅致意趣。",[24,94,135,98,27,7,32,136,65,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a614dda1aac4c15661f555b555186f5.jpg",[],"c0a171",{"id":18219,"slug":18220,"title":18221,"dynasty":246,"author":18222,"museum":90,"description":18223,"tags":18224,"thumbUrl":18226,"material":223,"size":223,"collection":223,"collections":18227,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18228},202532,"dong-hu-diao-ting-tu-zhou-luo-mu-202532","东湖钓亭图轴","罗牧","画面远山层叠，以水墨皴染出苍浑质感，近坡林木疏秀，茅舍错落隐于岸畔，亭榭临流而立，小桥横跨浅溪，一派湖山渔隐的恬淡景致。笔墨兼融秀润与朴拙，皴法细腻中见雄浑，水墨晕染自然天成，尽显文人画的雅致野逸。清寂悠远的氛围里，似可闻林泉轻响，窥见隐者悠然世外的闲适心境，是兼具笔墨意趣与意境营造的佳作。",[93,98,94,96,7,33,7355,1054,18225,23],"野逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33580b271df69b51063a591a512ee1c.jpg",[],"c2b49f",{"id":18230,"slug":18231,"title":18232,"dynasty":246,"author":5159,"museum":90,"description":18233,"tags":18234,"thumbUrl":18235,"material":223,"size":223,"collection":223,"collections":18236,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18237},202403,"yun-feng-yan-chu-tu-zhou-dai-xi-202403","云峰烟楚图轴","峰峦层叠，皴笔皴擦山石脉络，墨色浓淡交织出嶙峋质感。云雾如轻纱漫卷，缠绕山腰处虚实相生，拓延画面深远之境。下方枯树虬枝伸展，与嶙峋怪石相映成趣，小径蜿蜒隐现，似引观者步入山林幽寂。笔墨清润雅致，意境萧疏淡远，尽显文人山水的空灵韵味，于简淡中藏丘壑，于虚静中见生机。",[24,94,98,93,135,336,136,318,7,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde293d9a33c22e0ad8d782f493fb767f.jpg",[],"c9bba9",{"id":18239,"slug":18240,"title":18241,"dynasty":18,"author":3016,"museum":90,"description":18242,"tags":18243,"thumbUrl":18244,"material":223,"size":223,"collection":223,"collections":18245,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18246},202310,"shan-ju-tu-zhou-shen-shi-chong-202310","山居图轴","层岩叠嶂间，皴笔婉转勾勒山石脉络，墨色浓淡相宜，晕染出秀润的山峦气象。山间小桥卧波，溪流潺潺，村落隐于林泉，树木错落，枯荣有致，尽显山居之宁静清幽。笔墨雅致空灵，意境淡远，将文人寄情山水的逸趣融于尺幅之间，是明代文人山水画的佳构。",[94,135,93,98,7,32,366,33,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4e623e9fe3b32442776fe7ff5624e1.jpg",[],"6b5f45",{"id":18248,"slug":18249,"title":18250,"dynasty":246,"author":18251,"museum":90,"description":18252,"tags":18253,"thumbUrl":18254,"material":223,"size":223,"collection":223,"collections":18255,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18256},202291,"yuan-ren-shi-yi-tu-zhou-ying-bao-202291","元人诗意图轴","瑛宝","画面取元人诗意，以水墨皴染写山水之致。远山层叠，皴法朴拙见骨，近景老树虬枝，小桥卧波，亭榭隐于林麓间，流水萦回，意境清寂淡远。笔墨简括却意韵悠长，树石勾勒得劲健，墨色晕染显层次，将元人山水的萧散之趣与诗意栖居的雅致融于一纸，尽显文人画的疏淡情怀。",[94,93,98,7,32,136,96,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf44d74cbd471ac148eaf7b70e91609.jpg",[],"b89c75",{"id":18258,"slug":18259,"title":18260,"dynasty":246,"author":18261,"museum":90,"description":18262,"tags":18263,"thumbUrl":18265,"material":223,"size":223,"collection":223,"collections":18266,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18267},202273,"lin-yun-shou-ping-qiu-fan-tu-zhou-gu-yun-202273","临恽寿平秋帆图轴","顾沄","此作追摹恽寿平清逸笔意，山水景致疏淡有致。近岸枯藤老树盘曲，枝桠间透出萧疏秋意；坡地之上几株青松挺劲，与浅草相映；中景小桥隐于林麓，流水潺潺似可闻；远景山峦层叠，云气轻笼，一叶孤舟浮于烟波，飞鸟掠空添得空寂。笔墨以水墨为底，皴擦结合，线条灵动含骨，墨色浓淡相宜，淡染出秋山的静谧之态。既承原作雅致韵致，又暗融自身笔墨情味，于临摹中见个人意趣，尽显秋日山水的疏朗空濛之美。",[24,94,93,98,318,136,95,121,7,32,18264],"临","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb809ebd077558c26437be0a8089a5363.jpg",[],"c9c1b3",{"id":18269,"slug":18270,"title":18271,"dynasty":246,"author":1115,"museum":90,"description":18272,"tags":18273,"thumbUrl":18274,"material":223,"size":223,"collection":223,"collections":18275,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18276},202264,"yan-a-bie-ye-tu-zhou-wang-shi-min-202264","严阿别业图轴","画面层峦叠翠，溪流蜿蜒穿谷，屋舍隐于林麓间，尽显清幽山居之致。笔墨苍劲浑厚，以披麻皴勾勒山石肌理，皴染相济，凸显山川厚重质感；林木疏密有致，枝叶扶苏间见生机。构图深远，近景屋舍与远景山峦呼应，传递出文人寄情山水的雅致心境，笔墨间尽显传统山水画的笔墨韵味与意境之美。",[94,98,93,32,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b87d2abb51ced9c99a592cf8f36c82a.jpg",[],"ccc1ae",{"id":18278,"slug":18279,"title":18280,"dynasty":246,"author":16839,"museum":90,"description":18281,"tags":18282,"thumbUrl":18283,"material":223,"size":223,"collection":223,"collections":18284,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18285},202227,"hui-shan-er-quan-tu-juan-wang-jiu-202227","惠山二泉图卷","画面以惠山景致为蓝本，溪流蜿蜒穿石而过，嶙峋山石间林木葱茏，枝干虬劲。小桥横卧溪畔，亭台隐于林麓，一二行人缓步其间，更添生趣。笔墨层次丰富，皴擦结合尽显山石肌理，树木勾勒细致，墨色浓淡相宜，整体风格清雅自然，尽显江南山水之灵秀。",[94,98,93,7,32,96,33,97,15809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b01c0320eebcb6c5fb2f65beb2d2604.jpg",[],"666975",{"id":18287,"slug":18288,"title":18289,"dynasty":18,"author":19,"museum":90,"description":18290,"tags":18291,"thumbUrl":18292,"material":223,"size":223,"collection":223,"collections":18293,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18294},202219,"you-chun-tu-shan-chou-ying-202219","游春图扇","画面以雅致青绿设色铺展春日盛景，山峦叠翠间林木葱茏，细笔勾勒的枝叶透着盎然生机。小桥流水蜿蜒穿境，仕女与士人或缓步赏春，或凭栏闲谈，姿态闲适自然。仇英以工笔之细腻绘出景物的精致质感，设色清丽却不艳俗，将游春的悠然氛围融入弧形扇面的独特形制中，山水的悠远与人物的闲雅相映成趣，尽显文人雅士春日踏青的诗意情境，是明代工笔青绿扇面的典范之作。",[26,117,27,1829,94,30,7,32,951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f6e29e7bc8a15fa9f93f0c8bdca1c3.jpg",[],"c2b8a8",{"id":18296,"slug":18297,"title":2772,"dynasty":246,"author":18298,"museum":90,"description":18299,"tags":18300,"thumbUrl":18302,"material":223,"size":223,"collection":223,"collections":18303,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18304},202037,"shan-shui-tu-zhou-pan-si-mu-202037","潘思牧","层峦叠嶂间云雾轻笼，飞瀑自崖壁倾泻而下，山巅松竹错落，隐现亭台一角。近景古松虬劲，枝叶繁茂，树下茅舍临溪而建，有人凭栏低语；小桥横跨清涧，二翁相携漫步，尽显闲适。山石以皴法皴染结合，笔墨秀润，设色淡雅清新，将江南山水的灵秀与文人意趣融于一体。画面意境恬淡悠远，传递出寄情林泉的悠然心境，笔墨细节见功底，尽显清代山水画的文人气息。",[94,98,27,96,7,206,30,135,18301],"国","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f5452788a433f8b774a67c7fadad36a.jpg",[],"ab9578",{"id":18306,"slug":18307,"title":18308,"dynasty":246,"author":1115,"museum":90,"description":18309,"tags":18310,"thumbUrl":18311,"material":223,"size":223,"collection":104,"collections":18312,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18313},201454,"wei-zhi-weng-zuo-shan-shui-zhou-wang-shi-min-201454","为至翁作山水轴","这幅山水轴笔墨苍润醇厚，承元人山水遗风，峰峦以披麻皴层层皴染，墨色浓淡相间，显山石纹理与厚重质感。山峦叠嶂间云雾轻笼，留白处虚实相生，拓展深远意境。山间屋舍隐于林木，溪流蜿蜒穿石而过，小桥横跨溪上，林木萧疏有致，尽显文人笔下山水的静谧雅致。画家以娴熟笔法勾勒景物，既见复古之韵，又含自然生机，整体画面清寂悠远，耐人寻味。",[24,93,94,98,135,7,1202,155,137,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48838923769ab9cd6ed4c4323b10cb9c.jpg",[104],"d3b69f",{"id":18315,"slug":18316,"title":18317,"dynasty":246,"author":13068,"museum":90,"description":18318,"tags":18319,"thumbUrl":18320,"material":223,"size":223,"collection":104,"collections":18321,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18322},201442,"xia-shan-gao-yin-tu-zhou-wang-jian-201442","夏山高隐图轴","这幅画山峦层叠起伏，笔墨苍劲秀润，皴染并用间尽显山石肌理。峰岭间林木葱茏，亭台隐于幽径旁，溪流潺潺绕谷，小桥横跨其上，营造出夏日山居的静谧清旷。画家承董巨遗韵，以披麻皴写山体，设色淡雅温润，章法谨严中蕴含文人隐逸之趣，将夏山的生机与高隐的闲逸相融，意境悠远，耐人寻味。",[24,94,27,98,96,7,32,135,6215,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5780c1534466d2bd76d7d29fb196859.jpg",[104],"a5a497",{"id":18324,"slug":18325,"title":2772,"dynasty":18,"author":18326,"museum":90,"description":18327,"tags":18328,"thumbUrl":18329,"material":223,"size":223,"collection":104,"collections":18330,"showCount":536,"zanCount":11,"manualWeight":11,"mainColor":18331},201380,"shan-shui-tu-zhou-shi-zhong-201380","史忠","这幅山水图以水墨写意，笔墨苍劲洒脱，山峦叠嶂间皴擦点染，尽显自然野趣。林木疏密错落，掩映着几处屋舍，似有隐者居于此间；溪流蜿蜒，小桥横跨其上，添了几分悠然生趣。整体意境悠远宁静，笔墨随性中透着古拙，传递出文人对山水田园的淡泊向往，尽显明代文人画的逸格之美。",[24,93,94,98,7,32,33,75,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388a9a69fbbe85d41f3d3c92bc498e96.jpg",[104],"d0b9a0",{"id":18333,"slug":18334,"title":18335,"dynasty":246,"author":1553,"museum":360,"description":17530,"tags":18336,"thumbUrl":18337,"material":494,"size":495,"collection":223,"collections":18338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},281513,"xiang-tong-yang-ci-ping-yi-ming-281513","镶铜洋瓷瓶",[11595,9181,4877,13362,14566,27,94,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb4a1cc2d013887d4484ad20f75f166.jpg",[],{"id":18340,"slug":18341,"title":18342,"dynasty":246,"author":1553,"museum":360,"description":18343,"tags":18344,"thumbUrl":18346,"material":494,"size":495,"collection":223,"collections":18347,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},277416,"tai-ping-ke-zhuang-shou-pian-zhen-yin-yi-ming-277416","“泰平克壮寿骈臻”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[118,18345,15199,14566,564,7,94],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05c3e8e0cabab65c33a3d781545fe60.jpg",[],{"id":18349,"slug":18350,"title":18351,"dynasty":246,"author":1553,"museum":360,"description":18352,"tags":18353,"thumbUrl":18356,"material":494,"size":495,"collection":223,"collections":18357,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},274127,"tong-du-jin-fa-lang-tao-shui-fa-biao-yi-ming-274127","铜镀金珐琅套水法表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[13362,16626,9181,17498,18354,18355,31,7,32],"饰品","怀表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c53fef2361aee6cf9446aaa1fb2951.jpg",[],{"id":18359,"slug":18360,"title":18361,"dynasty":246,"author":1553,"museum":360,"description":18362,"tags":18363,"thumbUrl":18364,"material":494,"size":495,"collection":223,"collections":18365,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},273638,"mu-zuo-qian-fa-lang-shan-shui-tu-cha-ping-yi-ming-273638","木座嵌珐琅山水图插屏","这件作品以掐丝珐琅工艺铺展江南村居盛景，远景峰峦叠翠，青釉晕出山棱脉络，鎏金勾边衬出巍峨层次，天际流云舒卷。近水村落屋舍俨然，鎏金勾勒屋梁廊檐，珐琅釉色晕染田畴水泽，青绿嫩黄铺就水田肌理。白鹭栖于浅滩，家犬闲卧柴门，村人提篮行于岸畔，处处皆是悠然野趣。\n\n工艺精细，釉色明丽沉稳，将乡居烟火融于彩饰之间，把江南水乡的温婉灵秀定格在方寸屏面，藏着中式田园的诗意栖居之美，尽显雅致工巧的造物意趣。",[9181,11596,94,75,2343,7,32,3448,27,120,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75130a64640d97bbee5224134efc6f09.jpg",[],{"id":18367,"slug":18368,"title":15944,"dynasty":246,"author":1553,"museum":360,"description":18369,"tags":18370,"thumbUrl":18371,"material":494,"size":495,"collection":223,"collections":18372,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},272999,"zi-tan-kuang-fa-lang-gua-ping-yi-ming-272999","紫檀边框古雅厚重，上部金面錾就楷书铭文，笔锋端稳周正，金石质感尽显华贵雅致，墨韵金辉交织书卷意趣。\n\n下方珐琅彩山水以青蓝晕染层叠峰峦，釉色莹亮通透，皴刻细腻写实。林泉之间隐着村舍人家，溪桥蜿蜒连通山居，将江南林泉雅致晕染得当，工致笔触间带着灵动生机，鲜亮釉色晕开悠然山居意韵。\n\n整器融多类工艺于一体，文人情思与匠造匠心相合，尽显雅致内敛的中式意趣，是清代陈设工艺里的精巧之作。",[8675,13361,3869,99,7722,331,117,27,94,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5877cc448bfe13824ed7e8279880657d.jpg",[],{"id":18374,"slug":18375,"title":9178,"dynasty":246,"author":1553,"museum":360,"description":18376,"tags":18377,"thumbUrl":18378,"material":494,"size":495,"collection":223,"collections":18379,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},272998,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272998","以金地托底，青绿晕染山川层峦，亭榭临水而建，菱荷铺满湖面，扁舟泛波载着渔人，文士闲坐水阁观景，古木虬枝苍劲。整幅挂屏以珐琅填色，明丽鲜亮且持色耐久，山水意境清逸悠然。右上角题字添就文雅意趣，搭配沉穆边框，将精细匠艺与文人山水意趣相融，把江南水景的闲雅诗意凝于屏间，尽显雅致居赏美学底蕴。",[13361,8675,3869,117,27,94,96,31,7,32,95,7266,33,99,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed82bf60d1de82f093f91f41961a7aa.jpg",[],{"id":18381,"slug":18382,"title":17529,"dynasty":246,"author":1553,"museum":360,"description":17530,"tags":18383,"thumbUrl":18384,"material":494,"size":495,"collection":223,"collections":18385,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},272784,"zi-tan-mu-qian-ci-pian-duo-bao-ge-yi-ming-272784",[3869,11595,94,31,7,32,17532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b792ad36a9498720e0eac45374ef295.jpg",[],{"id":18387,"slug":18388,"title":18389,"dynasty":246,"author":1553,"museum":360,"description":18390,"tags":18391,"thumbUrl":18392,"material":494,"size":495,"collection":223,"collections":18393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},271915,"duan-shi-shan-shui-chi-chang-fang-yan-yi-ming-271915","端石山水池长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[2439,11605,94,31,7,32,95,96,14566,17541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336ae120aaa50502d74d820d97a4c6fb.jpg",[],{"id":18395,"slug":18396,"title":18397,"dynasty":246,"author":1553,"museum":360,"description":17539,"tags":18398,"thumbUrl":18400,"material":494,"size":495,"collection":223,"collections":18401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},271269,"cheng-hou-cun-zhen-cang-re-he-tu-mo-zhi-jing-yun-di-mo-yi-ming-271269","程后村珍藏热河图墨-芝迳云堤墨",[2437,99,7722,2842,7,95,18399],"洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476a4a9b88b3e22b69b5f8ecbe7b8448.jpg",[],{"id":18403,"slug":18404,"title":18405,"dynasty":18,"author":1553,"museum":360,"description":18406,"tags":18407,"thumbUrl":18409,"material":494,"size":495,"collection":223,"collections":18410,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},271150,"duan-shi-qu-chi-hai-shui-bian-wu-yue-chang-fang-yan-yi-ming-271150","端石曲池海水边五岳长方砚","端石质地温润凝腻，天然石色晕染出沉雅肌理，砚膛曲池内敛，周沿錾刻海水纹，暗合山海襟怀。原配漆盒以褐漆为底，描金填红绘就山居盛景：层林环伺间亭台错落，古塔凌然峙立，小桥卧波引渡，烟波错落间尽显园林雅致，盒底云纹翩跹灵动。砚台的朴拙沉静，与漆盒的妍丽华美联袂，将文房清趣与工艺匠心融于一体，尽显旧时案头赏用兼具的风雅意致。",[2439,11605,31,7,94,18408],"文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811632270e35bd043230be3c9b719d4f.jpg",[],{"id":18412,"slug":18413,"title":18414,"dynasty":246,"author":1553,"museum":360,"description":18390,"tags":18415,"thumbUrl":18418,"material":494,"size":495,"collection":223,"collections":18419,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1224},270934,"yu-ming-song-hua-jiang-shi-chang-fang-yan-yi-ming-270934","御铭松花江石长方砚",[2439,14566,94,30,7,33,18416,18417],"松花江石","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5a11671c1300194576c4571907de99.jpg",[],{"id":18421,"slug":18422,"title":18423,"dynasty":246,"author":1553,"museum":360,"description":14563,"tags":18424,"thumbUrl":18425,"material":494,"size":495,"collection":223,"collections":18426,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},269904,"wang-gai-kuan-mu-diao-shan-shui-tu-bi-tong-yi-ming-269904","王概款木雕山水图笔筒",[4877,3869,14566,13755,94,400,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb719059026086747237401365ce0fa01.jpg",[],{"id":18428,"slug":18429,"title":18430,"dynasty":246,"author":1553,"museum":360,"description":13113,"tags":18431,"thumbUrl":18432,"material":494,"size":495,"collection":223,"collections":18433,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},264496,"tao-hong-se-ke-si-man-hua-di-jing-wen-pao-liao-yi-ming-264496","桃红色缂丝满花地景纹袍料",[12950,9927,5607,94,31,96,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8aaaf9c8923be3c77e6c88c128c5b1d.jpg",[],{"id":18435,"slug":18436,"title":18437,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":18438,"thumbUrl":18439,"material":494,"size":495,"collection":223,"collections":18440,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},262320,"qing-hua-shan-shui-tu-dai-gai-wen-pan-yi-ming-262320","青花山水图带盖温盘",[11595,16390,17498,11594,94,7,121,5960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89a0e064a74070128a652390bd62e9.jpg",[],{"id":18442,"slug":18443,"title":18444,"dynasty":246,"author":1553,"museum":360,"description":15999,"tags":18445,"thumbUrl":18447,"material":494,"size":495,"collection":223,"collections":18448,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},262220,"wu-cai-shi-ju-shan-shui-tu-bi-tong-yi-ming-262220","五彩诗句山水图笔筒",[11595,4877,94,117,27,31,7,32,99,118,18446],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75829a6ec7fe21aa73de4fcdb8ad558d.jpg",[],{"id":18450,"slug":18451,"title":18452,"dynasty":246,"author":1553,"museum":360,"description":13121,"tags":18453,"thumbUrl":18454,"material":494,"size":495,"collection":223,"collections":18455,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},262214,"qian-long-kuan-huang-di-fen-cai-kai-guang-shan-shui-tu-shuang-lian-ping-yi-ming-262214","乾隆款黄地粉彩开光山水图双连瓶",[11595,13123,94,31,7,32,95,118,27,13124,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a086d8ba1fab2c93026b702437d359b.jpg",[],{"id":18457,"slug":18458,"title":18459,"dynasty":246,"author":1553,"museum":360,"description":17570,"tags":18460,"thumbUrl":18462,"material":494,"size":495,"collection":223,"collections":18463,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},262208,"mo-cai-shan-shui-tu-zhe-yao-xiao-wan-yi-ming-262208","墨彩山水图折腰小碗",[11595,17498,18461,93,94,2910,33,32,191,7],"墨彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353415dbce8319c5e730f614e64b7945.jpg",[],{"id":18465,"slug":18466,"title":18467,"dynasty":246,"author":1553,"museum":360,"description":17570,"tags":18468,"thumbUrl":18469,"material":494,"size":495,"collection":223,"collections":18470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},262159,"qian-long-kuan-fen-cai-jin-di-kai-guang-shan-shui-tu-wan-yi-ming-262159","乾隆款粉彩锦地开光山水图碗",[11595,13123,13124,94,7,32,95,645,17498,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa08302fd93a0b8b7204ad7c7cf05a576.jpg",[],{"id":18472,"slug":18473,"title":18474,"dynasty":246,"author":1553,"museum":360,"description":15999,"tags":18475,"thumbUrl":18476,"material":494,"size":495,"collection":223,"collections":18477,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},261845,"mo-cai-shan-shui-tu-bi-tong-yi-ming-261845","墨彩山水图笔筒",[11595,18461,94,30,7,31,96,235,97,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4813d671b9dd95aa6780727408c12c97.jpg",[],{"id":18479,"slug":18480,"title":18481,"dynasty":246,"author":1553,"museum":360,"description":15999,"tags":18482,"thumbUrl":18483,"material":494,"size":495,"collection":223,"collections":18484,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},261757,"fen-cai-ren-wu-tu-bi-tong-yi-ming-261757","粉彩人物图笔筒",[11595,13123,27,30,7,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6f37b90f0b7435892d44b3d7958c73.jpg",[],{"id":18486,"slug":18487,"title":18488,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":18489,"thumbUrl":18492,"material":494,"size":495,"collection":223,"collections":18493,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},261645,"qing-hua-dan-miao-wu-ren-tu-bi-tong-yi-ming-261645","青花淡描舞人图笔筒",[11595,4877,18490,30,744,18491,2385,31,7],"青花淡描","舞蹈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f9f263affa2b1e89e8df1327e755ec.jpg",[],{"id":18495,"slug":18496,"title":18497,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":18498,"thumbUrl":18500,"material":494,"size":495,"collection":223,"collections":18501,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},261603,"qing-hua-shi-ju-shan-shui-ren-wu-tu-guan-yi-ming-261603","青花诗句山水人物图罐",[11595,11594,94,30,96,7,33,97,2468,743,18499,17498],"瓷罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde31f90ef547e488676774319f93860b.jpg",[],{"id":18503,"slug":18504,"title":18505,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":18506,"thumbUrl":18507,"material":494,"size":495,"collection":223,"collections":18508,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},261575,"qing-hua-shan-shui-tu-ping-yi-ming-261575","青花山水图瓶",[11595,11594,94,7,32,95,121,414,97,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593220691aa9dad6352db57697923aff.jpg",[],{"id":18510,"slug":18511,"title":18512,"dynasty":18,"author":1553,"museum":360,"description":11592,"tags":18513,"thumbUrl":18514,"material":494,"size":495,"collection":223,"collections":18515,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},261354,"jia-jing-kuan-qing-hua-ren-wu-tu-wan-yi-ming-261354","嘉靖款青花人物图碗",[11595,11594,30,7,4877,17498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7fd64b0dee4984a07ca486b5661f6e.jpg",[],{"id":18517,"slug":18518,"title":18519,"dynasty":246,"author":1553,"museum":360,"description":15999,"tags":18520,"thumbUrl":18521,"material":494,"size":495,"collection":223,"collections":18522,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},261226,"mo-cai-shan-shui-ren-wu-tu-bi-tong-yi-ming-261226","墨彩山水人物图笔筒",[11595,18461,94,30,7,97,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf53bb1903df26b08843c30e8be9f6e.jpg",[],{"id":18524,"slug":18525,"title":18526,"dynasty":246,"author":1553,"museum":360,"description":18527,"tags":18528,"thumbUrl":18529,"material":494,"size":495,"collection":223,"collections":18530,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},260579,"wu-cai-shan-shui-ren-wu-tu-gang-yi-ming-260579","五彩山水人物图缸","通景铺展山水雅集之境，石青与草绿晕染丘林苍润，矾红点染花树晕开春日暖意。石桥之上二雅士凭栏闲观，衣袂悠然似在共赏春山。桥下碧波轻漾，水禽浮掠，远山含黛，村舍隐于林麓之间。\n\n釉色古厚匀净，设色明丽不失沉静，朴拙笔意勾勒出山野生机，将文人寄情山水的雅趣凝于瓷面，融山水画意境与瓷绘工艺于一体，尽显恬淡悠远的林下幽情。",[11595,18446,27,94,30,7,32,33,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d416ee3876143360ab485d9f0035d4.jpg",[],{"id":18532,"slug":18533,"title":18534,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":18535,"thumbUrl":18537,"material":494,"size":495,"collection":223,"collections":18538,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},260521,"qing-hua-shi-ju-shan-shui-tu-lu-yi-ming-260521","青花诗句山水图炉",[11595,11594,94,99,31,7,32,95,18536],"炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0021b536716c882037534bb77e0e2a.jpg",[],{"id":18540,"slug":18541,"title":18542,"dynasty":246,"author":1553,"museum":360,"description":18543,"tags":18544,"thumbUrl":18546,"material":494,"size":495,"collection":223,"collections":18547,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},259784,"ye-chun-yin-guan-kuan-wu-cai-ji-wen-bei-yi-ming-259784","冶春吟馆款五彩鸡纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[11595,12624,18446,18545,645,33,7],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b6454cce960f4955ff8e24c68b9bbd.jpg",[],{"id":18549,"slug":18550,"title":18551,"dynasty":246,"author":1553,"museum":360,"description":11592,"tags":18552,"thumbUrl":18553,"material":494,"size":495,"collection":223,"collections":18554,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},258961,"kang-xi-kuan-qing-hua-wei-jiao-fang-hua-pen-yi-ming-258961","康熙款青花委角方花盆",[11595,11594,26,98,94,7,32,96,33,97,962,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88f62575bbb8248aca256c431d32129.jpg",[],{"id":18556,"slug":18557,"title":18558,"dynasty":246,"author":1553,"museum":360,"description":18559,"tags":18560,"thumbUrl":18561,"material":494,"size":495,"collection":223,"collections":18562,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},258830,"fen-cai-shan-shui-ren-wu-tu-chang-fang-hua-pen-yi-ming-258830","粉彩山水人物图长方花盆","此器以粉彩晕染出江南村居全景，远山叠翠，青釉晕开层峦层次，屋舍粉墙黛瓦依水而建。朱红小桥凌波横卧，湖面渔舟缓行，山道间行人往来、牧者驱牛徐行，田埂间稚童嬉闹，满是太平烟火的悠然意趣。\n\n器身边角以描金回纹点缀，勾勒雅致形制。釉色明丽柔和，将瓷艺工巧与山水雅趣相融，把乡野日常的鲜活景致凝于四方瓷上，既有文人山水的悠远意境，亦藏着俗世生活的脉脉温情。",[246,11595,13123,27,94,30,7,32,33,75,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc403cb549744449603c7af6021745fa.jpg",[],{"id":18564,"slug":18565,"title":18566,"dynasty":246,"author":1553,"museum":360,"description":18567,"tags":18568,"thumbUrl":18571,"material":494,"size":495,"collection":223,"collections":18572,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},258705,"qian-long-kuan-wu-cai-deng-long-zun-yi-ming-258705","乾隆款五彩灯笼尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[11595,18446,18569,18570,27,30,94,7,33,31],"灯笼尊","盛酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8292d0db7026a998e6a435705f28c112.jpg",[],{"id":18574,"slug":18575,"title":18576,"dynasty":246,"author":1553,"museum":360,"description":13121,"tags":18577,"thumbUrl":18578,"material":494,"size":495,"collection":223,"collections":18579,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},258703,"qian-long-kuan-fen-cai-shi-ju-shan-shui-tu-fang-ping-yi-ming-258703","乾隆款粉彩诗句山水图方瓶",[11595,13123,27,94,31,7,32,96,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d6a65f80097576fad5dd18841d04d61.jpg",[],{"id":18581,"slug":18582,"title":18583,"dynasty":246,"author":1553,"museum":360,"description":18584,"tags":18585,"thumbUrl":18586,"material":494,"size":495,"collection":223,"collections":18587,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},258693,"fen-cai-bi-shi-shan-shui-ren-wu-tu-guan-jia-yi-ming-258693","粉彩璧式山水人物图冠架","瓷面以粉彩晕染山居雅景，峰峦层叠间林泉烟霭弥漫，亭台茅舍错落藏于翠色中，山道间策杖行人徐行，尽绘出世幽居的悠然意趣。\n\n下部瓷座青花缠枝纹秀美，镂空雕花兼具精巧与实用，木铜构件古雅沉稳，将瓷绘的秀润与工艺精工相融。粉彩设色柔丽清逸，山石皴染细腻写实，草木鲜活灵动，将文人山水意趣藏纳于日常器具，静赏可见清韵雅致。器物兼顾收纳与观赏，暗合旧时文人簪冠置帽间的风雅余韵。",[13123,27,94,30,7,11595,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41e8e818ed5ca242292026cf9deeef9.jpg",[],{"id":18589,"slug":18590,"title":18591,"dynasty":18,"author":1553,"museum":360,"description":11592,"tags":18592,"thumbUrl":18593,"material":494,"size":495,"collection":223,"collections":18594,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},257704,"cheng-hua-kuan-qing-hua-ren-wu-tu-wan-yi-ming-257704","成化款青花人物图碗",[11594,11595,30,94,7,33,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9a208c60c3157bc791f373c57d1610.jpg",[],{"id":18596,"slug":18597,"title":18598,"dynasty":18,"author":1553,"museum":360,"description":11592,"tags":18599,"thumbUrl":18600,"material":494,"size":495,"collection":223,"collections":18601,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},257268,"qing-hua-ren-wu-wen-wan-yi-ming-257268","青花人物纹碗",[11595,11594,30,7,2468,94,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf9aebca7837deb202cf03a4cd8204a.jpg",[],{"id":18603,"slug":18604,"title":18605,"dynasty":18,"author":1553,"museum":360,"description":18606,"tags":18607,"thumbUrl":18611,"material":494,"size":495,"collection":223,"collections":18612,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},251976,"bai-yu-tou-diao-ren-wu-wen-qian-jian-yi-ming-251976","白玉透雕人物纹嵌件","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[15199,18608,18609,30,7,18610,18354],"白玉","透雕","嵌件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d949ad2a2fc6a922331311bedbb2ade.jpg",[],{"id":18614,"slug":18615,"title":18616,"dynasty":246,"author":1553,"museum":360,"description":15999,"tags":18617,"thumbUrl":18619,"material":494,"size":495,"collection":223,"collections":18620,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},251745,"bi-yu-yu-qiao-geng-du-tu-bi-tong-yi-ming-251745","碧玉渔樵耕读图笔筒",[7609,15199,4877,14566,18618,117,94,30,10594,10595,10596,10597,206,95,1096,66,7,32,96],"浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b870719d1a74d25d89d46015424bce.jpg",[],{"id":18622,"slug":18623,"title":18624,"dynasty":246,"author":1553,"museum":360,"description":18625,"tags":18626,"thumbUrl":18627,"material":494,"size":495,"collection":223,"collections":18628,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},251532,"bi-yu-ke-shi-xian-shan-lou-ge-tu-shan-zi-yi-ming-251532","碧玉刻诗仙山楼阁图山子","此作取浓翠莹润的碧玉料而成，以圆雕、透雕技法层叠造景。山峦逶迤层叠，古松虬枝苍劲，亭台藏于林壑，板桥引渡，雅士策杖悠游，将世外山居的幽寂雅趣凝于玉中。山巅填金题铭，文饰与刀工相映成趣，既得山野林泉的自在意韵，又不失规整雅致的工艺法度。整体布局疏密得当，刀工细腻入微，将传统文人山水的悠远意境镌刻于顽玉，把水墨山水的雅趣凝固为永恒的立体画卷。",[7609,15199,14566,94,3859,31,7,30,293,32,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e4a7b4ee6468686eaf397ceffd6b96.jpg",[],{"id":18630,"slug":18631,"title":18632,"dynasty":246,"author":1553,"museum":360,"description":18633,"tags":18634,"thumbUrl":18636,"material":494,"size":495,"collection":223,"collections":18637,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},249405,"qia-si-fa-lang-shan-shui-tu-fang-ping-yi-ming-249405","掐丝珐琅山水图方瓶","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[18635,27,94,96,7,33,4877],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0ca2d14ee1151b5feddbc442ab82e.jpg",[],{"id":18639,"slug":18640,"title":18641,"dynasty":246,"author":1553,"museum":360,"description":13121,"tags":18642,"thumbUrl":18644,"material":494,"size":495,"collection":223,"collections":18645,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":498},249251,"qian-long-kuan-hua-fa-lang-kai-guang-shan-shui-tu-fang-ping-yi-ming-249251","乾隆款画珐琅开光山水图方瓶",[11595,13361,18643,13124,27,94,7,32,31,4877],"画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39046bcff2f258121196156dabb7502f.jpg",[],{"id":18647,"slug":18648,"title":18649,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18650,"thumbUrl":18651,"material":494,"size":495,"collection":223,"collections":18652,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},248868,"ti-hong-shan-shui-ren-wu-tu-mei-hua-shi-he-yi-ming-248868","剔红山水人物图梅花式盒",[7609,11605,16001,14566,27,94,30,962,293,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b3b67cb9d4ab403d4d8148a7fbaf4b.jpg",[],{"id":18654,"slug":18655,"title":18656,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18657,"thumbUrl":18662,"material":494,"size":495,"collection":223,"collections":18663,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},248165,"ti-hong-fan-ren-jin-bao-tu-tao-shi-he-yi-ming-248165","剔红番人进宝图桃式盒",[7609,11605,16001,18658,14566,18659,30,18660,31,7,18661],"雕漆","桃式","番人","宝物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c3282bf9301cafbb0ed39c25898e44.jpg",[],{"id":18665,"slug":18666,"title":18667,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18668,"thumbUrl":18669,"material":494,"size":495,"collection":223,"collections":18670,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},248074,"ti-hong-shan-shui-ren-wu-tu-shuang-tao-shi-he-yi-ming-248074","剔红山水人物图双桃式盒",[7609,11605,16001,14566,94,30,96,33,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4025f5a8638a3f17fd600aceeebf4f32.jpg",[],{"id":18672,"slug":18673,"title":18667,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18674,"thumbUrl":18675,"material":494,"size":495,"collection":223,"collections":18676,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},248068,"ti-hong-shan-shui-ren-wu-tu-shuang-tao-shi-he-yi-ming-248068",[7609,16001,14566,11605,94,30,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6da6649f588a4e24a93ae25c02f908c.jpg",[],{"id":18678,"slug":18679,"title":18680,"dynasty":246,"author":1553,"museum":360,"description":18681,"tags":18682,"thumbUrl":18683,"material":494,"size":495,"collection":223,"collections":18684,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},248051,"ti-hong-shan-shui-ren-wu-tu-chang-fang-ti-xia-yi-ming-248051","剔红山水人物图长方提匣","此提匣以剔红技法精工细作，满布的锦地纹如织如绣，将开光图景衬得分外雅致。柜门及侧板之上，层叠山峦间亭榭错落，文人雅士或凭栏观览，或促晤清谈，意韵悠然古雅。\n\n顶面镂雕缠枝纹样，提梁座布局精巧，兼顾美观与收纳实用性。朱红漆色古厚沉润，雕刻层次清晰明朗，刀工圆秀细腻，将山水林泉的隐逸之趣融于器物之中。形制规整端庄，纹饰排布疏密得宜，在日常器具里注入文人雅集的意趣，是漆作工艺与古典审美结合的佳致之作。",[7609,11605,16001,14566,94,30,31,7,3869,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88524bcbb48137d035b62e103c137b2.jpg",[],{"id":18686,"slug":18687,"title":18688,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18689,"thumbUrl":18691,"material":494,"size":495,"collection":223,"collections":18692,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},247600,"ti-hong-shan-shui-ren-wu-tu-chang-fang-wei-jiao-he-yi-ming-247600","剔红山水人物图长方委角盒",[7609,11605,16001,14566,94,30,7,18690,4877],"长方委角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a18698ddefec08b0811826e85bd7e0.jpg",[],{"id":18694,"slug":18695,"title":18696,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18697,"thumbUrl":18698,"material":494,"size":495,"collection":223,"collections":18699,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},247581,"ti-hong-shan-shui-ren-wu-tu-hai-tang-shi-he-yi-ming-247581","剔红山水人物图海棠式盒",[11605,16001,14566,7609,94,30,4877,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21073ff281f222626aade197a52e124c.jpg",[],{"id":18701,"slug":18702,"title":18649,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18703,"thumbUrl":18704,"material":494,"size":495,"collection":223,"collections":18705,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},247543,"ti-hong-shan-shui-ren-wu-tu-mei-hua-shi-he-yi-ming-247543",[7609,11605,16001,14566,94,30,7,32,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6c8eb3f1ae6046d2207833a714d9a9.jpg",[],{"id":18707,"slug":18708,"title":18709,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18710,"thumbUrl":18711,"material":494,"size":495,"collection":223,"collections":18712,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},247433,"ti-hong-kai-guang-shan-shui-ren-wu-tu-yuan-he-yi-ming-247433","剔红开光山水人物图圆盒",[11605,16001,14566,13124,94,30,31,7,32,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8eaea2a1910502174cd331585882f78.jpg",[],{"id":18714,"slug":18715,"title":18716,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18717,"thumbUrl":18718,"material":494,"size":495,"collection":223,"collections":18719,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},247271,"ti-hong-ba-xian-zhu-shou-tu-yuan-he-yi-ming-247271","剔红八仙祝寿图圆盒",[7609,11605,14566,16001,4877,16627,30,31,7,32,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b41c3123a2a1361028b463360e8f81b.jpg",[],{"id":18721,"slug":18722,"title":18723,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18724,"thumbUrl":18725,"material":494,"size":495,"collection":223,"collections":18726,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},247074,"qian-long-kuan-ti-hong-kai-guang-shan-shui-ren-wu-tu-fang-he-yi-ming-247074","乾隆款剔红开光山水人物图方盒",[7609,11605,16001,14566,13124,94,30,7,33,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918fbb71b211d7e976e69d24a3029f30.jpg",[],{"id":18728,"slug":18729,"title":18730,"dynasty":246,"author":1553,"museum":360,"description":15980,"tags":18731,"thumbUrl":18732,"material":494,"size":495,"collection":223,"collections":18733,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},247024,"qian-long-kuan-ti-hong-shan-shui-ren-wu-guan-yu-tu-bian-yuan-he-yi-ming-247024","乾隆款剔红山水人物观渔图扁圆盒",[246,11605,14566,16001,94,30,7,32,840,31,4877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c36a975b4e5f6c61a33284b200fe597.jpg",[],{"id":18735,"slug":18736,"title":18737,"dynasty":246,"author":1553,"museum":360,"description":18738,"tags":18739,"thumbUrl":18740,"material":494,"size":495,"collection":223,"collections":18741,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},246436,"ti-hong-bai-zi-tu-cha-ping-yi-ming-246436","剔红百子图插屏","髹朱莹润亮泽，通身雕刻精细入微。屏心之上亭台凌波、佳木葱茏，百余名稚童穿梭其间，燃爆竹、提花灯、嬉戏宴饮，百态鲜活，将闹春盛景铺陈得热闹饱满，满溢着多子多福的吉庆意趣。下枋龙纹矫健翻腾，回纹边框周正雅致，锦地衬出画面层次，雕工圆熟饱满，将精湛工艺尽显无余，把融融喜气凝于刀笔之间，是兼具审美价值与美好寄寓的工艺佳器。",[11605,14566,16001,30,96,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F571a95c38d7d51382897fae69bc0d45d.jpg",[],{"id":18743,"slug":18744,"title":18745,"dynasty":18,"author":1553,"museum":360,"description":11603,"tags":18746,"thumbUrl":18749,"material":494,"size":495,"collection":223,"collections":18750,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},246011,"ti-hong-xie-qin-fang-you-tu-lian-ban-shi-pan-yi-ming-246011","剔红携琴访友图莲瓣式盘",[11605,18658,16001,7265,30,31,7,32,18747,2385,94,365,33,18748,28],"莲瓣","携琴访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a607a99de92ff953b39f15ffa49293a.jpg",[],{"id":18752,"slug":18753,"title":18754,"dynasty":246,"author":1553,"museum":360,"description":18755,"tags":18756,"thumbUrl":18760,"material":494,"size":495,"collection":223,"collections":18761,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},241609,"wei-shu-qi-yan-shi-ye-yi-ming-241609","囗璹七言诗页","此作用笔灵动婉转，牵丝映带自然圆融，行书章法疏密相宜。行笔间时见顿挫，中锋侧锋交替，墨色浓淡晕染有致，将七言诗中江南烟水之景融于笔底。笔墨尽得文人雅韵，通篇气息闲适萧散，将汀洲水禽、暮秋江景的诗意和书法笔意相衬，秀雅清逸的笔调里，藏着江南烟水的朦胧意蕴。整体书卷气浓厚，将诗歌里幽寂清和的江南暮色意境同书法抒情性融为一体，观之如览烟笼江南，韵致悠长，是行书小品里的佳制。",[99,100,118,95,744,7,18757,18758,1470,7270,18759],"落花","晚风","江南","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa013a8ccf05354ca843290a029aaa3ee.jpg",[],{"id":18763,"slug":18764,"title":13139,"dynasty":246,"author":1553,"museum":360,"description":18765,"tags":18766,"thumbUrl":18767,"material":223,"size":223,"collection":223,"collections":18768,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},238894,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238894","此作为诗画合璧小品，上下两帧各成意境。上帧枯木虬枝错落，溪岸浅滩之上，幽人闲坐濯饮，淡赭敷色晕染出料峭早春的清寂疏朗，笔墨简淡却藏悠远况味。\n\n下帧晕染春山浅黛，村居隐于茂林之间，田埂蜿蜒，将春日郊野的融融生机铺展开来。右侧行书秀润端雅，诗句衬景，诗画相映，把春日郊居的闲逸雅兴凝于尺幅，尽显含蓄隽永的文人情致。",[24,63,234,27,94,33,7,38,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88f7b4bca5c328139aed7647428847b.jpg",[],{"id":18770,"slug":18771,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":18772,"thumbUrl":18773,"material":494,"size":495,"collection":223,"collections":18774,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238691,"shan-shui-ce-dong-bang-da-238691",[24,63,234,93,94,7,136,97,33,191,98,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9574b121ace885e1fedc69eb56b00aac.jpg",[],{"id":18776,"slug":18777,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":18778,"thumbUrl":18779,"material":494,"size":495,"collection":223,"collections":18780,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238689,"shan-shui-ce-dong-bang-da-238689",[24,63,93,234,98,94,529,530,439,7,121,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb5e81de8681eeed35879b2e28ae6a6.jpg",[],{"id":18782,"slug":18783,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":18784,"thumbUrl":18785,"material":494,"size":495,"collection":223,"collections":18786,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238688,"shan-shui-ce-dong-bang-da-238688",[24,63,234,516,93,94,96,33,7,32,31,98,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb4deb934387fb3bf61ea3812e0d305.jpg",[],{"id":18788,"slug":18789,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":18790,"thumbUrl":18791,"material":494,"size":495,"collection":223,"collections":18792,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238685,"shan-shui-ce-dong-bang-da-238685",[24,63,93,98,234,94,7,32,75,97,33,414,293,191,8433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f103bee86751e1d36f92cbabceda4f.jpg",[],{"id":18794,"slug":18795,"title":2158,"dynasty":246,"author":4064,"museum":360,"description":13167,"tags":18796,"thumbUrl":18797,"material":494,"size":495,"collection":223,"collections":18798,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238684,"shan-shui-ce-dong-bang-da-238684",[24,93,98,234,94,136,7,75,118,1470,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16769bfebaf7289d1181ea668a718994.jpg",[],{"id":18800,"slug":18801,"title":5886,"dynasty":246,"author":1553,"museum":360,"description":18802,"tags":18803,"thumbUrl":18804,"material":223,"size":223,"collection":223,"collections":18805,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},238656,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238656","全景式铺展崇山峻岭，将山地战事的行军、攻坚排布于险隘之间。左侧官兵沿栈道攀援突进，右侧火炮摧破土寨，浓烟翻卷腾涌，动静张力尽显。\n\n线条刚劲利落，精准刻画出崖壁陡绝、兵卒悍锐，将山地作战的艰险尽数铺陈。题诗配文呼应画面叙事，以写实笔法复刻征剿战况，兼具纪实性与艺术性，既是纪功绘卷，也尽显战事版画的表现力，还原出平乱战事的紧迫悍勇。",[24,63,26,98,27,94,30,65,33,71,492,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91218a070f41f03319c4b91351a1910d.jpg",[],{"id":18807,"slug":18808,"title":2158,"dynasty":246,"author":17813,"museum":132,"description":18809,"tags":18810,"thumbUrl":18811,"material":27,"size":17817,"collection":223,"collections":18812,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238263,"shan-shui-ce-zhang-yan-238263","此作淡墨轻岚，晕染出江南水乡晨间清景。近岸林木葱茏，牧人缓步驱牛，野意盎然。板桥卧波，牵起两岸疏林村舍，烟水之上渔舟静泛，远山隐没在空濛雾气中。\n\n山石以淡墨轻皴敷色，林木以点染写出清润生机，笔墨松秀温婉，摒弃奇崛刻绘，将乡野闲澹之景融于山水间，平和安闲的田园意趣扑面而来。以淡设色晕开晨昏氤氲，将自然林泉与村居野逸的日常融为一体，尽显清和淡远的文人逸韵，寄寓着林泉高致的雅致情怀。",[24,27,98,234,94,7,32,439,66,30,529,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda32e92815f548dd67b00d869391af9.jpg",[],{"id":18814,"slug":18815,"title":2158,"dynasty":246,"author":17813,"museum":132,"description":18816,"tags":18817,"thumbUrl":18821,"material":27,"size":17817,"collection":223,"collections":18822,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238262,"shan-shui-ce-zhang-yan-238262","此作用笔秀雅温静，铺展出一段山乡行旅闲趣远景。危崖高耸，古松横斜探出，栈道行人拾级缓行；中景溪岸垂柳依依，车马络绎，旅人策蹇赶路；近处板桥卧波，茅檐驿店前，商旅解鞍歇脚，烟火漫溢。淡赭皴染山石，清妍敷色林木，将文人山水的秀润格调，揉进山野行旅的鲜活日常里。清冷山光间点缀行路暖意，把恬淡乡野与行旅匆匆的烟火温情融于一帧，处处漫着安宁悠远的世外闲情，将观者轻轻揽入这清寂又充满生机的山乡驿路之中。",[24,234,94,27,98,7,32,492,65,30,1861,18818,2746,18819,153,18820],"危崖","驿店","世外闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fa8b21fcee535afaf3e2047ab72960.jpg",[],{"id":18824,"slug":18825,"title":2158,"dynasty":246,"author":6728,"museum":360,"description":10049,"tags":18826,"thumbUrl":18827,"material":494,"size":495,"collection":223,"collections":18828,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},238002,"shan-shui-ce-qin-zu-yong-238002",[24,63,234,93,27,94,31,7,32,33,97,96,99,100,118,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc8b0915da28b34be636867785c995.jpg",[],{"id":18830,"slug":18831,"title":2158,"dynasty":246,"author":6728,"museum":360,"description":10049,"tags":18832,"thumbUrl":18833,"material":494,"size":495,"collection":223,"collections":18834,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":2759},237998,"shan-shui-ce-qin-zu-yong-237998",[24,63,234,93,100,98,118,94,7,32,95,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bff83aea346d5b127b7dcd5a909fad.jpg",[],{"id":18836,"slug":18837,"title":18838,"dynasty":246,"author":18839,"museum":360,"description":18840,"tags":18841,"thumbUrl":18842,"material":494,"size":495,"collection":223,"collections":18843,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236230,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236230","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[1829,24,63,27,94,98,33,7,32,75,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f6ee978b4c7e034c703942ef989c96.jpg",[],{"id":18845,"slug":18846,"title":18838,"dynasty":246,"author":18839,"museum":360,"description":18840,"tags":18847,"thumbUrl":18848,"material":494,"size":495,"collection":223,"collections":18849,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236227,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236227",[24,63,1829,27,98,94,33,7,38,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e9cad4df8ccd173640d6876a9bfd05.jpg",[],{"id":18851,"slug":18852,"title":18838,"dynasty":246,"author":18839,"museum":360,"description":18840,"tags":18853,"thumbUrl":18854,"material":494,"size":495,"collection":223,"collections":18855,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236214,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236214",[1829,27,94,33,31,75,440,7,32,26,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffec3566553d362e55c0acbbd93a58825.jpg",[],{"id":18857,"slug":18858,"title":18838,"dynasty":246,"author":18839,"museum":360,"description":18840,"tags":18859,"thumbUrl":18860,"material":494,"size":495,"collection":223,"collections":18861,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236213,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236213",[1829,24,27,94,98,99,31,33,365,38,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb219c4ed6a60e21cf2efe7dbb4b17fe5.jpg",[],{"id":18863,"slug":18864,"title":18838,"dynasty":246,"author":18839,"museum":360,"description":18840,"tags":18865,"thumbUrl":18866,"material":494,"size":495,"collection":223,"collections":18867,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},236209,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236209",[1829,24,117,27,94,33,71,250,191,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e88ce8f66dd7b28801eb1e733919cc.jpg",[],{"id":18869,"slug":18870,"title":11678,"dynasty":18,"author":11679,"museum":360,"description":11680,"tags":18871,"thumbUrl":18872,"material":223,"size":223,"collection":223,"collections":18873,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},233511,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233511",[24,63,234,516,28,31,96,7,33,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd685d0d44d5d56cee9333a6609919cd1.jpg",[],{"id":18875,"slug":18876,"title":18877,"dynasty":246,"author":17185,"museum":328,"description":17186,"tags":18878,"thumbUrl":18879,"material":102,"size":17190,"collection":223,"collections":18880,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},217010,"ruan-yuan-yi-shi-shi-jing-tu-ce-5-wang-yun-217010","阮元遗事十景图册-5",[24,63,234,93,27,136,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37835948a03947cb2eca1ac136b31dcb.jpg",[],{"id":18882,"slug":18883,"title":18884,"dynasty":18,"author":1553,"museum":360,"description":18885,"tags":18886,"thumbUrl":18887,"material":2005,"size":223,"collection":223,"collections":18888,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},216652,"xuan-da-shan-xi-san-zhen-tu-8-yi-ming-216652","宣大山西三镇图-8","万历三十一年秘阁本",[23,24,27,28,94,7,492,65,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc151786c198b62c08a97880d781da3d6.jpg",[],{"id":18890,"slug":18891,"title":18892,"dynasty":18,"author":1553,"museum":360,"description":18885,"tags":18893,"thumbUrl":18894,"material":2005,"size":223,"collection":223,"collections":18895,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},216648,"xuan-da-shan-xi-san-zhen-tu-10-yi-ming-216648","宣大山西三镇图-10",[23,24,27,94,28,30,7,65,492,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bdd96d24e8a9e940c4429e5a06195.jpg",[],{"id":18897,"slug":18898,"title":18899,"dynasty":18,"author":1553,"museum":360,"description":18885,"tags":18900,"thumbUrl":18901,"material":2005,"size":223,"collection":223,"collections":18902,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},216621,"xuan-da-shan-xi-san-zhen-tu-36-yi-ming-216621","宣大山西三镇图-36",[23,24,27,117,28,94,30,65,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d9427d1fe4ba05fc1ca986cf49b262.jpg",[],{"id":18904,"slug":18905,"title":18906,"dynasty":18,"author":1553,"museum":360,"description":18907,"tags":18908,"thumbUrl":18909,"material":47,"size":223,"collection":223,"collections":18910,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216584,"xuan-da-shan-xi-san-zhen-tu-61-yi-ming-216584","宣大山西三镇图-61","明万历三十一年秘阁本",[23,24,63,116,27,117,94,99,7722,7,121,30,65,97,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40368b3ea7e888647b85bc024bdd6c2.jpg",[],{"id":18912,"slug":18913,"title":18914,"dynasty":18,"author":1553,"museum":360,"description":18907,"tags":18915,"thumbUrl":18916,"material":47,"size":223,"collection":223,"collections":18917,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216577,"xuan-da-shan-xi-san-zhen-tu-64-yi-ming-216577","宣大山西三镇图-64",[23,24,63,27,94,7,65,30,31,97,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e438fe0b3361cb17093e79ec53379b.jpg",[],{"id":18919,"slug":18920,"title":18921,"dynasty":18,"author":1553,"museum":360,"description":18907,"tags":18922,"thumbUrl":18923,"material":47,"size":223,"collection":223,"collections":18924,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216555,"xuan-da-shan-xi-san-zhen-tu-85-yi-ming-216555","宣大山西三镇图-85",[23,24,63,27,117,94,30,65,31,7,492,191,2644,33,28,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e61fe34c7766e54a3faa3cba6d3a8e.jpg",[],{"id":18926,"slug":18927,"title":18928,"dynasty":18,"author":1553,"museum":360,"description":18907,"tags":18929,"thumbUrl":18930,"material":47,"size":223,"collection":223,"collections":18931,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216530,"xuan-da-shan-xi-san-zhen-tu-110-yi-ming-216530","宣大山西三镇图-110",[23,24,63,27,26,100,118,94,492,33,38,191,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b92442dab99477c86b97be2abf9dff.jpg",[],{"id":18933,"slug":18934,"title":18935,"dynasty":18,"author":1553,"museum":360,"description":18907,"tags":18936,"thumbUrl":18937,"material":47,"size":223,"collection":223,"collections":18938,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216525,"xuan-da-shan-xi-san-zhen-tu-120-yi-ming-216525","宣大山西三镇图-120",[23,24,63,27,28,100,94,31,7,65,121,97,33,30,7265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2e384585dc9e952efef865ec686427.jpg",[],{"id":18940,"slug":18941,"title":18942,"dynasty":18,"author":1553,"museum":360,"description":18907,"tags":18943,"thumbUrl":18944,"material":47,"size":223,"collection":223,"collections":18945,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216499,"xuan-da-shan-xi-san-zhen-tu-145-yi-ming-216499","宣大山西三镇图-145",[23,24,63,117,27,26,94,529,7,492,96,97,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ec722a6854b8918fad84157af45aac.jpg",[],{"id":18947,"slug":18948,"title":18949,"dynasty":18,"author":1553,"museum":360,"description":18950,"tags":18951,"thumbUrl":18952,"material":47,"size":223,"collection":223,"collections":18953,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216477,"xuan-da-shan-xi-san-zhen-tu-165-yi-ming-216477","宣大山西三镇图-165","墨笔题跋与青绿山水相映成趣，左文详述边镇形胜与防务，右画勾勒山峦驿路之态。淡彩晕染的峰峦间，驿道蜿蜒如带，骑马者行色匆匆，似传军情；“阻胡堡”的标注醒目，点出戍守要冲。文字纪实与图像写意交融，既具舆图的精准，又含绘事的生动。线条简练却见筋骨，色彩清雅而富层次，将明代边塞的地理格局与军事氛围凝于尺幅，是边塞文化与艺术结合的缩影，藏着历史烽烟里的边地脉动。",[23,24,63,27,94,529,492,65,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cff2654ddf8322200d957b6fb679f0.jpg",[],{"id":18955,"slug":18956,"title":18957,"dynasty":18,"author":1553,"museum":360,"description":18958,"tags":18959,"thumbUrl":18960,"material":47,"size":223,"collection":223,"collections":18961,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216423,"xuan-da-shan-xi-san-zhen-tu-216-yi-ming-216423","宣大山西三镇图-216","青绿染就的峰峦如翠屏列峙，皴擦间显地形险厄。蜿蜒道路穿梭山谷，桥梁横架溪涧，关隘标注点睛，暗合军事防御的缜密布局。左侧蝇头小楷详述地理沿革与戍守要略，图文相契，既是实用边镇舆图，又具文人画雅致韵致。线条古朴简练，设色清雅沉静，边塞雄浑与绘图精细融于一纸，尽显明代舆图实用与审美兼备之妙，于笔墨间藏边地防务的深谋远虑。",[23,24,63,27,117,94,30,65,7,32,97,33,43,118,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c00de953b33f00d92dab7e51ce0213.jpg",[],{"id":18963,"slug":18964,"title":18965,"dynasty":18,"author":1553,"museum":360,"description":18966,"tags":18967,"thumbUrl":18968,"material":47,"size":223,"collection":223,"collections":18969,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},216401,"xuan-da-shan-xi-san-zhen-tu-240-yi-ming-216401","宣大山西三镇图-240","青绿设色晕染山峦，层叠起伏间云雾轻笼，勾勒出边塞的苍茫气象。画面中央“永代堡”醒目，周边烽燧、关隘标记错落，军事地理信息隐于山水意境。左侧题跋与右侧图像互文，既是实用的舆图记录，又兼具传统山水画的笔墨意趣，在写实与写意间达成巧妙平衡，既承载着历史的厚重，又流露着艺术的雅致，尽显其独特的双重价值。",[23,24,63,27,117,26,28,100,94,191,7,155,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F503be16ffe8bed85a96b41f589560823.jpg",[],{"id":18971,"slug":18972,"title":18973,"dynasty":246,"author":1553,"museum":360,"description":18974,"tags":18975,"thumbUrl":18976,"material":208,"size":223,"collection":223,"collections":18977,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215604,"tian-xia-ming-shan-tu-22-yi-ming-215604","天下名山图-22","奇峰嵯峨，层峦叠嶂间云气氤氲，烟岚如轻纱漫卷。山坳隐现亭台，与嘉木相映成趣；山麓城墙蜿蜒，门楼古朴，藏岁月沧桑。笔墨以线描为骨，勾勒精准利落，山石皴法简洁有致，简练中见丘壑之深。云雾柔润与山石硬朗相衬，动静相宜，尽显山川雄浑与灵秀。意境清幽旷远，引观者步入烟霞深处，听松涛阵阵，观云卷云舒，心随山水静，意与天地悠。",[24,516,94,234,31,33,121,7,32,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269afc58a44f0e1e03b8848a437d5522.jpg",[],{"id":18979,"slug":18980,"title":18981,"dynasty":246,"author":1553,"museum":360,"description":18982,"tags":18983,"thumbUrl":18984,"material":208,"size":223,"collection":223,"collections":18985,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215600,"tian-xia-ming-shan-tu-24-yi-ming-215600","天下名山图-24","笔墨勾勒间，层峦叠嶂自左铺展，峰崖错落如剑戟横空，皴法细密处见山石肌理，苍劲中藏秀逸。山脚下林木扶疏，几株古松枝干虬劲，掩映着茅舍隐现，石径蜿蜒间，一隐士凭石而坐，似与山光对语，野趣盎然。右侧云气氤氲，淡墨晕染出烟波浩渺，远处楼阁半藏于雾霭，恍若仙境浮于尘世。整幅画面虚实相生，近景的真切与远景的缥缈相映成趣，将山水之雄浑与文人之雅意融于一纸，观之如临溪山深处，心随云卷云舒，顿生旷远之思。",[24,516,98,94,1587,33,176,32,7,96,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ca8330c953affc3651f81a97b60ad8.jpg",[],{"id":18987,"slug":18988,"title":18989,"dynasty":246,"author":1553,"museum":360,"description":18990,"tags":18991,"thumbUrl":18992,"material":208,"size":223,"collection":223,"collections":18993,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215599,"tian-xia-ming-shan-tu-19-yi-ming-215599","天下名山图-19","峰峦如削，劲挺线条勾勒出山石嶙峋轮廓，皴擦点染间显肌理苍古。云雾轻笼，淡墨晕染与留白相映，层叠山岩似浮于烟霭之上。山间隐现亭榭，小径行人缓步，为雄奇景致添几分生活意趣。笔墨细腻却藏力道，线条精准而富变化，既绘出山川壮阔气象，又含林泉高致清雅之韵。整幅画以线立骨、以墨生韵，将自然奇秀与文人情怀融于一纸，尽显传统山水的笔墨匠心与意境之美。",[24,63,516,94,98,1587,33,31,32,7,30,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5563039e1aa92ca9812b376ef1e688c5.jpg",[],{"id":18995,"slug":18996,"title":18997,"dynasty":246,"author":1553,"museum":360,"description":18998,"tags":18999,"thumbUrl":19000,"material":208,"size":223,"collection":223,"collections":19001,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215597,"tian-xia-ming-shan-tu-28-yi-ming-215597","天下名山图-28","画面以清劲线条勾勒山水神韵，层峦叠嶂如黛染屏，皴擦间见石骨嶙峋。左侧峰麓，几椽屋宇隐于苍松翠柏，石阶蜿蜒入林，似藏烟霞逸趣。右侧平畴开阔，溪流如练，三五行人策蹇徐行，衣袂轻扬间添几分人间烟火。远近林木疏密有致，或挺拔如盖，或虬曲含姿，与山势相映成趣。整幅图于简淡中见深远，既有山川雄秀，又含隐逸清寂，更兼市井鲜活，尽展名山灵韵与人文之味。",[24,63,234,516,94,529,439,7,32,65,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3a6bd166d4db149c98e1e329f9b8e9.jpg",[],{"id":19003,"slug":19004,"title":19005,"dynasty":246,"author":1553,"museum":360,"description":19006,"tags":19007,"thumbUrl":19008,"material":208,"size":223,"collection":223,"collections":19009,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215595,"tian-xia-ming-shan-tu-27-yi-ming-215595","天下名山图-27","笔墨勾勒层峦叠嶂，峰岫间飞瀑流泉倾泻而下，汇入蜿蜒溪流。岸边草木扶疏，几间屋舍隐于林麓，似有人家栖居。水面波纹细密，与山石线条相映，尽显山水清幽雅致。构图疏密有致，远近层次分明，自然之趣与人文之境相融。虽无色彩渲染，却以线条韵律传递山川静谧生机，恍若置身其间，听泉声、观云起，得一份尘外之闲。",[24,63,234,516,98,94,32,7,152,33,97,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d5c6121a4d69b45f219c480c48ac97.jpg",[],{"id":19011,"slug":19012,"title":19013,"dynasty":246,"author":1553,"museum":360,"description":19014,"tags":19015,"thumbUrl":19016,"material":208,"size":223,"collection":223,"collections":19017,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215589,"tian-xia-ming-shan-tu-32-yi-ming-215589","天下名山图-32","线条勾勒出嶙峋山石的肌理，层叠山峦间，河流如练蜿蜒。一径通幽处，隐见亭台小筑，似与草木山石相融，藏着尘外清宁。远处峰峦渐淡，留白若云雾轻笼，拓开悠远意境。笔意清疏却含匠心，水面波纹灵动，山间路径隐约，处处透着山水的静谧深邃。仿佛能闻涧水潺潺，听松风拂过，引人踏入那片远离喧嚣的幽境，感受自然与人文交织的恬淡之趣。整幅画以简驭繁，将山水的秀逸与隐逸的情怀凝于笔端，尽显传统山水的空灵之美。",[516,94,97,71,7,96,33,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6f7224d0a6ff605b99985586fa52ba.jpg",[],{"id":19019,"slug":19020,"title":19021,"dynasty":246,"author":1553,"museum":360,"description":19022,"tags":19023,"thumbUrl":19024,"material":208,"size":223,"collection":223,"collections":19025,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215588,"tian-xia-ming-shan-tu-34-yi-ming-215588","天下名山图-34","线描为骨，勾勒层峦叠嶂的奇崛之势。峰岫错落间，古洞隐于深崖，飞檐亭阁嵌于山坳，似藏仙踪。山间小径蜿蜒，樵夫行旅缓步，添几分人间烟火；溪上石拱桥横跨，流水潺潺隐于林麓，藏几许清寂幽趣。树木或苍劲或疏朗，与山石线条的转折相映，虚实相生间，山川雄秀与隐逸清幽交织。笔墨简练却含细腻，仿佛能闻松风穿谷，见云气绕峰，将名山胜景的灵韵凝于尺幅，引人遐想那谷中岁月、洞外春秋。",[24,63,234,516,94,31,7,30,33,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7a13f541d4c36b9e36b0e1e1884dcf.jpg",[],{"id":19027,"slug":19028,"title":19029,"dynasty":246,"author":1553,"museum":360,"description":19030,"tags":19031,"thumbUrl":19032,"material":208,"size":223,"collection":223,"collections":19033,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215579,"tian-xia-ming-shan-tu-44-yi-ming-215579","天下名山图-44","细笔勾勒的山水间，奇峰拔地而起，层岩如浪叠涌，山腹幽洞隐现，小径蜿蜒向深处。近岸流水轻漾，林木疏朗点染，远山含黛，云雾若有若无，似藏仙踪。构图疏密相宜，山石纹理精细，草木点缀得宜，简淡笔墨中透出山川灵秀之气。仿佛能闻涧水潺潺，见烟霞绕峰，引人踏入这清幽深远的胜境，探寻隐于林泉间的恬淡与空灵。",[24,63,234,516,94,529,530,7,33,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46b4cb5330500972434417d2e4d542e.jpg",[],{"id":19035,"slug":19036,"title":19037,"dynasty":246,"author":1553,"museum":360,"description":19038,"tags":19039,"thumbUrl":19041,"material":208,"size":223,"collection":223,"collections":19042,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215576,"tian-xia-ming-shan-tu-46-yi-ming-215576","天下名山图-46","笔墨勾勒层峦叠嶂，山石皴法简练却显肌理，如披苍苔。楼阁依山就势，或隐于松荫，或踞于峰巅，飞檐翘角间藏着古雅意趣。山间小径蜿蜒，似引观者步步深入林泉。近景石桥古朴，桥下流水虽未着色，却能想见潺潺之声；岸边树木姿态各异，枝桠舒展如活。整体构图疏密相宜，近景的烟火气与中远景的清寂相融，将自然之秀与人文之韵凝于一纸。无彩却见生机，无声似闻松风，仿佛踏入这片山林，便能暂忘尘嚣，沉醉于那份静谧悠远的雅致之中。林间清幽、山居闲适、峰峦悠远，尽在黑白线条里流转，尽显传统山水的独特韵味。",[24,63,234,516,93,98,28,94,31,96,7,32,33,97,492,19040],"城桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8530e81a6265541cc7f38617990f21a7.jpg",[],{"id":19044,"slug":19045,"title":19046,"dynasty":246,"author":1553,"museum":360,"description":19047,"tags":19048,"thumbUrl":19049,"material":208,"size":223,"collection":223,"collections":19050,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215571,"tian-xia-ming-shan-tu-53-yi-ming-215571","天下名山图-53","层岩叠嶂间，林木扶疏，溪流蜿蜒穿绕。数匹骏马散落其间：或悠然伫立溪畔，或扬蹄欲驰坡前，动静相谐，生气盎然。近岸水纹细腻，远岫轮廓简练，山石皴法与树木枝桠交错，尽显自然野趣。线条勾勒见功底，墨色淡而层次明，将山野牧歌景致铺展得淋漓尽致。既见山林幽寂，亦闻骏马嘶鸣，一派天人相融的野逸氛围，仿佛能嗅到草木清香，感受到风过林梢的轻响，沉醉于这方自在天地。",[24,63,234,516,94,65,33,97,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1df2e88fcffac04e86a7b212f9ba41.jpg",[],{"id":19052,"slug":19053,"title":19054,"dynasty":246,"author":1553,"museum":360,"description":19055,"tags":19056,"thumbUrl":19057,"material":208,"size":223,"collection":223,"collections":19058,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":108},215560,"tian-xia-ming-shan-tu-66-yi-ming-215560","天下名山图-66","层峦叠嶂间，栈道蜿蜒穿林越岫，隐现的楼阁与幽邃洞穴相映，似藏仙踪。笔墨劲挺灵动，皴擦勾勒出山石苍劲肌理，云雾以淡墨晕染，虚实相生间拓开深远意境。山间林木疏密有致，清泉或隐或现，整体构图错落有致，于细节处见匠心。画面既透着山水的雄浑壮阔，又含着隐逸的清幽雅致，仿佛能让人听见林间风声、涧水潺潺，窥见仙境一角的静谧与神秘。",[24,63,516,94,529,530,7,33,31,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da59a9c7a69cde462c4dc7b76776f38.jpg",[],{"id":19060,"slug":19061,"title":19062,"dynasty":246,"author":1553,"museum":360,"description":19063,"tags":19064,"thumbUrl":19065,"material":102,"size":223,"collection":223,"collections":19066,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":54},215113,"er-shi-si-xiao-tu-ce-20-yi-ming-215113","二十四孝图册-20","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,24,27,234,30,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170389f4ecc0d26e531a7bf3a4f23d74.jpg",[],{"id":19068,"slug":19069,"title":2158,"dynasty":246,"author":19070,"museum":90,"description":19071,"tags":19072,"thumbUrl":19073,"material":223,"size":223,"collection":223,"collections":19074,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19075},203378,"shan-shui-ce-yang-bo-run-203378","杨伯润","这幅山水册页以水墨为基，淡设色晕染出清雅氛围。成片竹林以细劲线条勾勒，墨色浓淡相衬，尽显竹之挺秀；溪间流水蜿蜒，孤石点缀其中，小桥连接两岸，桥上人物凭栏而立，与自然景致相融。笔墨兼具细腻与洒脱，山石以浅皴晕染，肌理隐现，整体意境静谧悠远，藏文人画的闲适之韵，于方寸间营造出可居可游的山水之境。",[24,93,94,234,564,7,32,336,27,30,13483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c64374602413aa636507f0aa5eec41.jpg",[],"cec4ba",{"id":19077,"slug":19078,"title":19079,"dynasty":246,"author":19080,"museum":90,"description":19081,"tags":19082,"thumbUrl":19084,"material":223,"size":223,"collection":223,"collections":19085,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19086},203217,"shui-hui-yuan-jiu-zhi-shu-hua-ce-shen-fu-203217","水绘园旧址书画册","沈复","笔墨绘就的江南园林景致，林木葱茏间屋舍错落隐现，溪流潺潺绕岸而过，小桥横跨其上，尽显清幽雅致。淡墨皴法晕染山石草木，线条灵动勾勒枝叶屋宇，左侧行书笔意流畅自然，与右侧山水相映成趣。书画一体，将文人的闲适心境融入尺幅之中，于册页间传递出恬淡的生活意趣与细腻的艺术韵味。",[94,100,93,27,7,32,137,1202,234,98,6215,1054,3061,19083],"工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e684a9beb368d88d6741958653abba.jpg",[],"c4bcab",{"id":19088,"slug":19089,"title":8699,"dynasty":246,"author":9204,"museum":90,"description":19090,"tags":19091,"thumbUrl":19092,"material":223,"size":223,"collection":223,"collections":19093,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19094},203140,"shan-shui-tu-ce-ye-xin-203140","画面布局疏朗有致，近处树木葱茏，枝干虬劲，间有溪流蜿蜒，小桥横跨其上，添得几分生趣。中景楼阁隐于林木间，屋舍雅致，似有人居，意境清幽。远景山峦淡染，云雾轻笼，营造出深远的空间感。用笔细腻，山石勾勒简洁，辅以皴法表现质感，设色淡雅，尽显江南山水的温婉之态。整体氛围静谧闲适，仿佛能感受到林间清寂与流水潺潺，传递出文人雅士寄情山水的恬淡心境。",[94,27,31,7,32,33,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49a6d4d89d3b450c361e65826f504f4.jpg",[],"c8bdac",{"id":19096,"slug":19097,"title":19098,"dynasty":246,"author":13068,"museum":90,"description":19099,"tags":19100,"thumbUrl":19101,"material":223,"size":223,"collection":223,"collections":19102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19103},202662,"fang-chen-ru-yan-shan-shui-tu-zhou-wang-jian-202662","仿陈汝言山水图轴","此作山峦层叠，皴擦细腻，山石轮廓分明，墨色浓淡相宜。草木葱茏间，亭台隐现于林麓，小桥流水蜿蜒其间，树木姿态各异，疏密有致。笔墨兼具苍劲与秀润，既承陈汝言山水清逸之致，又融自家浑厚华滋之韵，营造出静谧悠远的山林意境，尽显文人画的雅致与深邃，于临摹中见己意，堪称清代山水临摹佳作。",[94,98,96,7,93,29,135,24,116,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F403a5e27d59bcbd7aa2d1616fd184e27.jpg",[],"cebcbe",{"id":19105,"slug":19106,"title":19107,"dynasty":246,"author":19108,"museum":90,"description":19109,"tags":19110,"thumbUrl":19111,"material":223,"size":223,"collection":223,"collections":19112,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19113},202512,"ci-yan-zhai-jian-bie-tu-zhou-zhu-he-nian-202512","赐研斋饯别图轴","朱鹤年","疏林寒树错落，茅舍掩映其间，小桥横架溪上，似有离人伫立桥边，依依惜别之意溢于画面。笔墨以水墨为主，淡设色晕染，枯笔勾勒枯枝，线条简练却含情韵，淡墨晕染背景，营造出清寂怅惘的饯别氛围。屋内人影隐约，似有饯别场景暗生，树影婆娑间，清冷的意境与送别主题相融。题字以行书挥就，笔墨流畅，与画面相得益彰，印章点缀更添雅致。整幅画作以简练笔触传递悠远情致，尽显文人画的含蓄与深情。",[24,93,27,135,414,2910,7,94,100,118,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81094fa7cd428cc160181e2514bd0282.jpg",[],"b3b7b8",{"id":19115,"slug":19116,"title":19117,"dynasty":246,"author":2578,"museum":90,"description":19118,"tags":19119,"thumbUrl":19120,"material":223,"size":223,"collection":223,"collections":19121,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19122},202283,"fang-da-chi-shan-shui-zhou-hua-yan-202283","仿大痴山水轴","笔墨清润秀逸，山峦以披麻皴写就，线条松灵婉转，淡墨晕染间显丘壑层次。林木扶疏，枝干虬曲或挺拔，枝叶细劲勾勒，墨色浓淡相衬，生机暗藏。溪流蜿蜒穿谷，小桥横卧水面，村落屋舍隐于树石间，亭台点缀山腰，静谧悠远如桃源。布局疏密有致，虚实相生，既承黄公望山水萧散简远之韵，又融华喦自身灵动之趣，古雅中见生机，传递恬淡林下之风。",[24,93,94,98,7,32,96,33,29,13041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cbace2ded94f355682d0b7d49779784.jpg",[],"b29c7d",{"id":19124,"slug":19125,"title":19126,"dynasty":246,"author":13068,"museum":90,"description":19127,"tags":19128,"thumbUrl":19129,"material":223,"size":223,"collection":223,"collections":19130,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19131},202262,"qiu-shan-tu-zhou-wang-jian-202262","秋山图轴","这幅秋山图轴笔墨醇厚雅致，山峦层叠间尽显宋元遗韵。主峰以浑厚皴法勾勒纹理，墨色浓淡交错，既见山石苍劲质感，又含秋林清疏之态。山间溪涧蜿蜒，小桥横架其上，旁侧亭榭隐于林木，似有幽人倚栏观秋，静谧中透着文人旷达意趣。林木以细劲笔触写之，枝叶疏密有致，秋意悄然融入每一处笔墨。整体虚实相生，远近层次分明，承袭董巨披麻皴温润，兼具自家笔墨灵动，营造出清寂悠远的秋山胜境，尽显传统山水画意境之美。",[24,94,98,93,7,32,96,1202,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5871985f45909cc5f98dc624c0a4550e.jpg",[],"887b65",{"id":19133,"slug":19134,"title":19135,"dynasty":246,"author":19136,"museum":90,"description":19137,"tags":19138,"thumbUrl":19139,"material":223,"size":223,"collection":223,"collections":19140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19141},202085,"xue-han-xi-shan-tu-zhou-xu-zhen-nan-202085","雪寒溪山图轴","徐振南","寒溪凝素，山峦覆雪如缟。枯木枝桠缀霜，嶙峋山石以皴擦出肌理，雪色则用淡墨渲染，层次清润。山间隐见茅舍，小桥横架溪畔，似有行人蹑足而过，于冷寂中藏生机。整幅画以水墨写雪景，墨色浓淡相宜，笔触兼具苍劲与秀逸，营造出雪后溪山的清旷冷逸之境，尽显冬日山水的静谧与深远。",[24,94,98,7,414,135,530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F251cf1966721ff5caf7a2ad2f3e2ee2a.jpg",[],"ab8247",{"id":19143,"slug":19144,"title":19145,"dynasty":246,"author":19146,"museum":90,"description":19147,"tags":19148,"thumbUrl":19149,"material":223,"size":223,"collection":223,"collections":19150,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19151},201872,"chong-luan-yong-cui-tu-zhou-yan-yu-201872","崇峦拥翠图轴","严钰","这幅画作中山峦层叠起伏，笔墨皴擦间尽显山石质感，云雾轻笼峰巅，添几分缥缈之韵。山间林木错落葱郁，小径蜿蜒隐现，桥下流水淙淙，屋舍藏于林麓，处处流露清幽雅致之趣。整体气韵连贯，意境悠远，将自然山水的静谧生机凝于尺幅之间。",[24,94,93,27,98,7,32,33,137,191,2468],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dabb1816eeb31e79c85986e355c21d.jpg",[],"ac9b81",{"id":19153,"slug":19154,"title":19155,"dynasty":246,"author":4064,"museum":90,"description":19156,"tags":19157,"thumbUrl":19158,"material":223,"size":223,"collection":223,"collections":19159,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19160},201659,"ci-shan-tu-zhou-dong-bang-da-201659","慈山图轴","画面以清劲之笔勾勒山石轮廓，辅以细腻皴法表现肌理，淡墨晕染间显层峦叠嶂之态。山顶林木疏朗，坡麓处楼阁错落，白墙黛瓦隐于枯荣相间的树丛中，静谧悠然。右侧溪流蜿蜒，小桥横跨其上，岸边乱石与浅滩相映，似闻流水潺潺。整体墨色层次丰富，既有文人画的雅致意境，又含写实细节，将慈山景致的清幽之韵传递得淋漓尽致，尽显山居生活的恬淡与悠远。",[24,94,98,31,7,32,97,33,93,13041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874b222e9d5068037877f9b51cbc1ed.jpg",[],"bdab99",{"id":19162,"slug":19163,"title":653,"dynasty":18,"author":3004,"museum":90,"description":19164,"tags":19165,"thumbUrl":19167,"material":223,"size":223,"collection":223,"collections":19168,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19169},201482,"shan-shui-zhou-song-xu-201482","寒雪裹覆层峦，飞瀑自峭壁倾泻而下，云雾轻笼山巅，晕开一片清寂悠远。山间松枝凝雪仍挺劲，虬干旁红枫点缀，添几分暖意；溪流穿乱石蜿蜒，小桥上人影凭栏，林下茅亭隐现，似藏隐逸之趣。山石以皴擦勾勒肌理，淡墨晕染雪景，线条苍劲中见雅致，设色淡雅却层次分明，将冬日山水的清旷与文人逸趣融于尺幅间，尽显笔墨之韵与意境之深。",[24,135,94,98,27,7,32,96,293,1862,97,19166],"红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fa380fac5925017f88ff0c8a75d54d.jpg",[],"e2dfd7",{"id":19171,"slug":19172,"title":19173,"dynasty":246,"author":1686,"museum":90,"description":19174,"tags":19175,"thumbUrl":19176,"material":223,"size":223,"collection":104,"collections":19177,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19178},201439,"lv-shu-ting-li-tu-zhou-kun-can-201439","绿树听鹂图轴","画面山峦层叠，林木苍郁，松枝虬劲，亭舍隐于林间，小桥跨溪，流水潺潺。笔墨浑厚华滋，皴擦点染交织，墨色浓淡相生，设色淡雅温润，尽显山水幽深静谧之趣，似可闻鹂鸣于绿树间，意境悠远。",[24,116,135,94,7,32,96,33,98,93,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaad42195736cfc0caeb0b6e167d6c08.jpg",[104],"aaa092",{"id":19180,"slug":19181,"title":19182,"dynasty":246,"author":1441,"museum":90,"description":19183,"tags":19184,"thumbUrl":19185,"material":223,"size":223,"collection":104,"collections":19186,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19187},201397,"fang-jiang-guan-dao-shan-shui-tu-zhou-wang-hui-201397","仿江贯道山水图轴","峰峦层叠间，皴笔细密勾勒山石肌理，墨色浓淡晕染出云雾缭绕之态，山脚林木扶疏，枝干虬劲多姿。近景处小桥横卧溪上，行人缓步其间，添几分野趣。笔墨苍秀相济，既循江贯道山水清逸遗风，又融自身对传统的深刻体悟，构图开合有度，气韵流转，尽显古典山水的雅致意境与文人情怀。",[94,98,93,24,7,1202,155,191,528,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea279b2d1ea3e78b3015c416176e4ca2.jpg",[104],"ad9b82",{"id":19189,"slug":19190,"title":10758,"dynasty":18,"author":290,"museum":90,"description":19191,"tags":19192,"thumbUrl":19193,"material":223,"size":223,"collection":104,"collections":19194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19195},201356,"shan-shui-shan-wen-zheng-ming-201356","这幅山水小品笔墨细腻温润，尽显文人画的雅致韵致。近景山石以皴法精心勾勒，纹理清晰；林木葱郁，枝桠舒展，笔墨间透着生机。中景处屋舍隐于树后，小桥横跨溪上，流水潺潺似可闻，一派闲适的田园气息。远景山峦用淡墨晕染，与轻烟薄雾相融，意境空灵悠远。整幅作品构图疏密得当，用笔精细却不失灵动，将自然之趣与文人居停的悠然心境完美结合，传递出静谧平和的氛围，尽显对山水田园的深情寄寓。",[94,1829,98,26,33,7,32,137,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46dac4d62d6eda726db880e877a8054.jpg",[104],"c2c1b1",{"id":19197,"slug":19198,"title":19199,"dynasty":246,"author":1441,"museum":90,"description":19200,"tags":19201,"thumbUrl":19202,"material":223,"size":223,"collection":104,"collections":19203,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19204},201344,"fang-hui-chong-shui-cun-tu-deng-shan-ye-wang-hui-201344","仿惠崇水村图等扇页","扇面之上，柳丝依依垂岸，小桥横卧溪间，水村景致隐现于淡墨轻烟中。笔墨细腻雅致，柳枝以流畅线条写就，间杂淡绿晕染，柔婉动人；山石用皴法表现肌理，层次丰富；水面留白与淡墨勾勒相映，尽显水乡清寂之韵。构图疏密得当，近景柳岸错落，远景水天相连，一派江南悠然之态。仿惠崇笔意却自出机杼，融古雅与生机于一体，尽显对自然的入微体察与深厚笔墨功底，传递出恬淡闲适的文人意趣。",[1829,93,27,94,7,32,98,676,29,2103,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec55c917c55a5d96f6fb7429a8b4b1b.jpg",[104],"cdc4b3",{"id":19206,"slug":19207,"title":19208,"dynasty":246,"author":6901,"museum":90,"description":19209,"tags":19210,"thumbUrl":19211,"material":223,"size":223,"collection":104,"collections":19212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19213},201340,"jiang-gan-feng-yu-tu-zhou-fan-qi-201340","江干风雨图轴","淡赭设色晕染江天，山峦以披麻皴勾勒苍润纹理。近坡枯树虬枝盘桓，笔意老辣；中景江面帆影摇曳，舟楫浮沉于烟波；岸边屋舍错落，小桥上人物行色匆匆，烟火气与自然景交融。远景层峦叠嶂，云雾缭绕间与江水相映，意境悠远。整幅画作工细中见写意，将江干风雨之态与人间百态凝于笔墨，尽显江南水乡的温婉苍茫。",[24,94,27,98,1233,35,191,7,33,26,30,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3076d4023f1435585cb0b04ae9e08e73.jpg",[104],"ae8557",{"id":19215,"slug":19216,"title":19217,"dynasty":246,"author":2037,"museum":90,"description":19218,"tags":19219,"thumbUrl":19220,"material":223,"size":223,"collection":104,"collections":19221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19222},201305,"fang-huang-gong-wang-fu-chun-sheng-lan-tu-zhou-cha-shi-biao-201305","仿黄公望富春胜览图轴","这幅画作追摹黄公望《富春山居图》的萧散意趣，构图层次丰富，远山叠嶂隐于淡墨晕染中，近水潺潺绕岸而过。山石以披麻皴勾勒纹理，笔墨疏朗却见苍劲；树木姿态各异，或苍松挺拔，或疏枝横斜，尽显文人画的清逸之韵。山间亭台隐约，溪上小桥卧波，景致错落间透出悠远空灵的意境。整幅画以水墨为基调，淡远中见深厚，既承黄公望的简远风骨，又融自身的淡宕才情，是新安画派摹古出新的佳作，尽显文人山水的清幽雅致与笔墨意趣。",[24,93,94,98,7,96,29,63,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f386151bb1cff80e5fca45316f4799.jpg",[104],"aea997",{"id":19224,"slug":19225,"title":19226,"dynasty":18,"author":4599,"museum":90,"description":19227,"tags":19228,"thumbUrl":19229,"material":223,"size":223,"collection":104,"collections":19230,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19231},201300,"wen-fei-qing-shi-yi-tu-zhou-sheng-mao-ye-201300","温飞卿诗意图轴","画面中山峦巍峨，皴笔皴擦出山石纹理，质感厚重。近岸树木萧疏，枝桠横斜，几座水榭依水而筑，木桥连岸，孤舟静泊，一派幽居之景。水墨层次分明，淡远清旷，如诗中意境铺展，静谧悠远。",[93,98,94,33,7,32,95,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5730997b622de323c9dd3c4008e4a7c4.jpg",[104],"a19b89",{"id":19233,"slug":19234,"title":17434,"dynasty":18,"author":2199,"museum":90,"description":19235,"tags":19236,"thumbUrl":19237,"material":223,"size":223,"collection":104,"collections":19238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19239},201287,"tian-xiang-shen-chu-tu-zhou-du-qiong-201287","画面层次分明，近景松枝挺秀，茅舍隐于林间，小桥流水绕屋而过；中景平湖开阔，远山含黛；远景峭壁飞瀑，动静相生。笔墨苍润，山石以皴法写就，纹理有致；树木敷色淡雅，尽显生机。整幅画将自然之清幽与文人之闲适融于一体，意境超然，传递出明代文人寄情山水的雅致情怀。",[24,63,135,94,98,206,7,32,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41a9eb5b6e831d3bf7a8b42b6260aeb.jpg",[104],"bfbbb3",{"id":19241,"slug":19242,"title":19243,"dynasty":18,"author":89,"museum":90,"description":19244,"tags":19245,"thumbUrl":19246,"material":223,"size":223,"collection":104,"collections":19247,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19248},201283,"ye-weng-zhuang-tu-juan-shen-zhou-201283","野翁庄图卷","画面铺展江南林泉之趣，山石以披麻皴写就，线条苍润，苔点错落，尽显丘壑秀逸。茂林修竹间，屋舍隐现，溪流蜿蜒穿林而过，小桥衔接幽径，一派静谧村居气象。笔墨融注文人逸致，构图疏密有致，虚实相生，既见自然野趣，又含林下风致，尽显吴门画派的苍劲与雅致。",[24,63,25,94,98,27,7,32,33,137,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d7af389af095d82c19a93d4a9c25cb.jpg",[104],"a59c8b",{"id":19250,"slug":19251,"title":19252,"dynasty":246,"author":1441,"museum":90,"description":19253,"tags":19254,"thumbUrl":19255,"material":223,"size":223,"collection":104,"collections":19256,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19257},201281,"song-shan-cao-tang-tu-zhou-wang-hui-201281","嵩山草堂图轴","近景林木扶疏，山石错落，小桥连岸，茅亭隐于其间；草堂依林而建，窗明几净似有书香溢出。中景水面浩渺，与远景层叠山峦呼应，笔墨清润雅致。山石以皴法写就，肌理分明；树木枝干虬劲，墨色浓淡相衬，既得传统山水之章法，又含自然野趣，勾勒出文人栖居的静谧天地，尽显寄情林泉的闲适意韵。",[24,63,135,94,93,98,7,33,97,333,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ca6fa256f3e038fc027fbc76a802b3.jpg",[104],"a99f98",{"id":19259,"slug":19260,"title":19261,"dynasty":246,"author":1115,"museum":90,"description":19262,"tags":19263,"thumbUrl":19264,"material":223,"size":223,"collection":104,"collections":19265,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19266},201280,"fang-wu-zhen-shan-shui-tu-zhou-wang-shi-min-201280","仿吴镇山水图轴","画面山峦起伏，云气氤氲其间，层叠峰岭在虚实间晕染出深远意境。林木以浓淡墨色勾勒，枝干苍劲挺拔，叶片繁密处见笔力沉厚。山间溪流蜿蜒，小桥横跨其上，隐现的屋舍与自然景致相融，尽显清幽雅致。笔墨师法吴镇，以披麻皴写山石肌理，线条浑厚朴拙，水墨晕染层次丰富，既得元人山水的静谧深远，又蕴含自身对传统的深刻体悟，是摹古而能化的典范之作。",[24,94,93,98,29,135,191,1202,154,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecb5d5b55797f3ae097516b36b04006.jpg",[104],"bfb8a5",{"id":19268,"slug":19269,"title":2772,"dynasty":246,"author":1309,"museum":90,"description":19270,"tags":19271,"thumbUrl":19272,"material":223,"size":223,"collection":104,"collections":19273,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":15043},201241,"shan-shui-tu-zhou-wang-yuan-qi-201241","此作山峦层叠，以干笔皴擦为主，淡墨层层晕染，山石纹理苍劲厚重，尽显笔墨功底。近景林木错落，小桥横卧溪上，屋舍隐于林间，清幽雅致；中景山势起伏，云雾轻笼，虚实相生；远景峰峦隐现，气象浑朴。构图深远，层次分明，皴点染皆见古法传承，又含个人意趣，营造出静谧悠远的山水之境，尽显文人山水的雅致与深邃。",[94,98,3060,93,7,96,33,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21cb6707d702f7034079e8b10b61412.jpg",[104],{"id":19275,"slug":19276,"title":14407,"dynasty":246,"author":1441,"museum":90,"description":19277,"tags":19278,"thumbUrl":19279,"material":223,"size":223,"collection":104,"collections":19280,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19281},201239,"fang-huang-gong-wang-shan-shui-zhou-wang-hui-201239","笔墨苍润秀逸，承黄公望浅绛山水遗韵，山峦以披麻皴皴染结合，肌理浑厚。云雾轻笼峰谷，虚实相生间拓展深远空间。山间林木葱郁，松枝挺劲，杂树错落；小径蜿蜒而下，小桥横跨溪流，屋舍隐于林麓，尽显清幽淡远之致。整体章法疏密得宜，气韵连贯，既守古法又蕴新意，是仿古而能化的佳构。",[94,98,27,7,32,1202,135,7224,137,155,253,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10de6524d2fa0cde2f4b7310046b4ea.jpg",[104],"b4a692",{"id":19283,"slug":19284,"title":19285,"dynasty":246,"author":265,"museum":90,"description":19286,"tags":19287,"thumbUrl":19288,"material":223,"size":223,"collection":104,"collections":19289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19290},201238,"xue-man-shan-cun-tu-zhou-wang-yun-201238","雪满山村图轴","雪覆峰峦如素裹，枯木枝桠戟指寒空。山间屋舍错落，隐于雪影林隙；小桥横架溪涧，行人策马路过，步履间携来淡淡烟火。笔墨以皴擦勾勒山石肌理，淡墨晕染积雪，虚实相生中，冬日山村的清冷静谧与生活气息悄然交融。简劲的线条裹着寒意，却在屋舍与行人处藏了温软，尽显雪天山林的幽远之趣与生机暗涌。",[24,94,98,7,65,414,135,1721,137,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dee6d64bdfe12583c826b300dfa9e1e.jpg",[104],"74643b",{"id":19292,"slug":19293,"title":19294,"dynasty":246,"author":1042,"museum":90,"description":19295,"tags":19296,"thumbUrl":19297,"material":223,"size":223,"collection":223,"collections":19298,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19299},201234,"mei-hua-mao-wu-tu-zhou-hong-ren-201234","梅花茅屋图轴","画面以干笔淡墨勾勒，山峦叠嶂间，几椽茅屋隐于梅枝疏影下，小桥横架溪上，流水潺潺。山石用折带皴，线条刚劲如铁，尽显冷峻之态；梅枝以简练笔触点染，暗香浮动。笔墨简淡却意蕴深远，清冷孤绝的意境中，藏着画家超然物外的心境，尽显新安画派高古简远之韵。仿佛山风携梅香漫溢，溪水伴松涛轻吟，引人步入那片静谧绝尘的天地。",[24,93,3060,2419,94,252,7,32,1606,97,63,13041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a26e219c0f533bbc57d7cbb6f53b1f.jpg",[],"b9aa96",{"id":19301,"slug":19302,"title":5525,"dynasty":246,"author":13068,"museum":90,"description":19303,"tags":19304,"thumbUrl":19305,"material":223,"size":223,"collection":104,"collections":19306,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":19307},201227,"xi-qiao-ce-zhang-tu-zhou-wang-jian-201227","画面山峦层叠，皴法细腻灵动，笔墨苍润浑厚，尽显古雅气象。溪流蜿蜒穿谷而过，溪上小桥卧波，岸边林木葱茏，错落间掩映着村舍人家。近处山石嶙峋，树木姿态各异，笔墨细致入微；远处峰峦起伏，云雾轻笼，意境悠远。整体构图疏密有致，虚实相生，传递出静谧恬淡的山水之趣，尽显传统山水画的笔墨神韵与文人意趣。",[24,94,98,7,32,93,63,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6bae899c2cafcfd4b9509e3bc8824ad.jpg",[104],"9a8d81",1777535694321]