[{"data":1,"prerenderedAt":1432},["ShallowReactive",2],{"subject-xiao-wu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},203,"xiao-wu","小屋","小屋画高清赏析","精选中国历代小屋题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0eadd5ae849dc63cfc89b72924f06f.jpg",0,124,[14,44,71,91,109,127,144,155,166,183,195,209,221,237,264,281,298,307,321,334,344,356,364,375,385,397,414,425,440,453,466,477,486,498,511,527,538,550,563,572,579,589,599,618,630,642,652,668,678,687,699,708,718,730,744,753,764,783,792,803,812,825,834,845,854,864,882,892,902,912,920,930,940,947,958,966,975,984,991,1001,1010,1018,1031,1040,1049,1060,1069,1077,1086,1095,1105,1113,1121,1130,1140,1153,1162,1171,1179,1187,1198,1206,1216,1224,1233,1239,1247,1259,1271,1280,1287,1298,1309,1323,1331,1338,1355,1365,1376,1386,1394,1402,1412,1422],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},221307,"han-shi-shi-su-shi-221307","寒食诗","宋","苏轼","台北故宫博物院","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7],"高清","书法","行书","长卷","印章","水墨","纸","江","雨","云","寒","夜","乌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","纸本","横34.2厘米，纵18.9厘米","书法精选",[39],452,6,"BDBDBD",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":64,"material":65,"size":65,"collection":66,"collections":67,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":43},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","清","石涛","藏地不详","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,53,54,55,28,56,57,58,59,60,7,61,62,63,27],"国画","书画","册","设色","皴法","山水","孤舟","帆船","山石","树木","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg","","山水画精选",[66,68],"设色画精选",374,3,{"id":72,"slug":73,"title":74,"dynasty":75,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":86,"material":37,"size":87,"collection":66,"collections":88,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":43},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","快雪时晴图","元","黄公望","北京故宫博物院","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,53,54,26,28,58,57,24,27,80,81,82,83,7,84,85],"山","雪","枯树","岩石","小径","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纵29.7厘米，横104.6厘米",[66,89],"水墨画精选",250,{"id":92,"slug":93,"title":94,"dynasty":48,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":102,"material":103,"size":104,"collection":89,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":108},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","龚贤","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[23,53,54,99,28,57,58,100,83,7,101],"立轴","树","溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","纸本,水墨","11×42.5厘米",[89],167,1,"F48FB1",{"id":110,"slug":111,"title":112,"dynasty":18,"author":113,"museum":50,"description":114,"tags":115,"thumbUrl":120,"material":121,"size":122,"collection":65,"collections":123,"showCount":124,"zanCount":125,"manualWeight":11,"mainColor":126},289985,"lin-liu-du-zuo-tu-fan-kuan-289985","临流独坐图","范宽","《临流独坐图》表现层峦叠蟑，山势起伏，溪谷间，云烟弥漫动荡，使深山幽小充盈着活力。",[116,53,54,58,28,57,117,61,118,7,119],"名画","山峦","林木","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82f81787e5b0d6aa5b30a4e34620d.jpg","未知","Xcm*Xcm",[],155,2,"37474F",{"id":128,"slug":129,"title":130,"dynasty":131,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":139,"material":140,"size":65,"collection":66,"collections":141,"showCount":142,"zanCount":125,"manualWeight":11,"mainColor":143},219921,"qing-lv-shan-shui-tu-wen-jia-219921","青绿山水图","明","文嘉","香港艺术馆","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。”",[23,53,54,99,136,56,58,57,137,62,138,61,119,7],"青绿","瀑布","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg","纸本,设色",[66],125,"795548",{"id":145,"slug":146,"title":147,"dynasty":75,"author":76,"museum":148,"description":149,"tags":150,"thumbUrl":152,"material":153,"size":65,"collection":66,"collections":154,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":143},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","大英博物馆","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[23,53,54,99,28,57,58,117,62,7,151,27],"溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg","绢本,水墨",[66],{"id":156,"slug":157,"title":158,"dynasty":48,"author":95,"museum":50,"description":159,"tags":160,"thumbUrl":162,"material":163,"size":164,"collection":66,"collections":165,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":43},222619,"shan-shui-tu-gong-xian-222619","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”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，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。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[23,53,28,57,99,58,61,62,7,161],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纸本水墨","纵110厘米，横50厘米",[66,89],{"id":167,"slug":168,"title":169,"dynasty":18,"author":170,"museum":171,"description":172,"tags":173,"thumbUrl":178,"material":179,"size":180,"collection":66,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":143},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,53,116,99,57,28,56,58,80,81,82,7,59,138,174,175,100,176,137,177],"马","石","船","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","绢本,设色","147.6x78.1",[66],121,{"id":184,"slug":185,"title":186,"dynasty":75,"author":187,"museum":50,"description":188,"tags":189,"thumbUrl":192,"material":121,"size":122,"collection":65,"collections":193,"showCount":194,"zanCount":107,"manualWeight":11,"mainColor":43},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒","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》。",[116,53,28,99,58,82,190,7,27,24,191],"孤石","清寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":196,"slug":197,"title":198,"dynasty":131,"author":199,"museum":77,"description":200,"tags":201,"thumbUrl":204,"material":205,"size":206,"collection":66,"collections":207,"showCount":208,"zanCount":125,"manualWeight":11,"mainColor":43},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","沈周","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,53,28,57,56,58,62,202,203,7,119,83,138,24,27],"竹子","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纸本，设色","纵74cm，横31cm",[66,89],89,{"id":210,"slug":211,"title":212,"dynasty":75,"author":213,"museum":214,"description":215,"tags":216,"thumbUrl":218,"material":140,"size":65,"collection":66,"collections":219,"showCount":220,"zanCount":70,"manualWeight":11,"mainColor":143},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","私人收藏","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[53,28,57,24,27,25,58,217,80,137,7,119,83],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[66],88,{"id":222,"slug":223,"title":224,"dynasty":75,"author":225,"museum":214,"description":226,"tags":227,"thumbUrl":233,"material":103,"size":234,"collection":66,"collections":235,"showCount":236,"zanCount":125,"manualWeight":11,"mainColor":43},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","吴镇","《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。",[23,53,54,26,28,58,57,24,25,27,80,228,100,229,59,217,230,231,232,7],"水","小桥","芦苇","远山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[66],82,{"id":238,"slug":239,"title":121,"dynasty":240,"author":241,"museum":50,"description":242,"tags":243,"thumbUrl":259,"material":121,"size":122,"collection":260,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":263},225779,"wei-zhi-fan-gao-225779","不详","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。",[244,245,246,247,248,249,250,62,251,7,252,253,254,255,256,257,258],"油画","厚涂","后印象派","田野","草地","天空","白云","干草堆","花朵","农田","绿色植被","蓝色天空","白色云朵","黄色田野","红色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdceef6ff3c08517124bb6ddea4f490de.jpg","油画精选",[260],81,"0D904F",{"id":265,"slug":266,"title":267,"dynasty":18,"author":268,"museum":214,"description":269,"tags":270,"thumbUrl":277,"material":179,"size":278,"collection":66,"collections":279,"showCount":280,"zanCount":125,"manualWeight":11,"mainColor":143},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[53,28,271,57,272,58,273,61,231,62,7,274,275,232,276],"山水画","写意","松树","峭壁","路径","深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[66],78,{"id":282,"slug":283,"title":284,"dynasty":240,"author":241,"museum":50,"description":242,"tags":285,"thumbUrl":295,"material":121,"size":122,"collection":260,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":126},225703,"a-weaver-s-cottage-1884-fan-gao-225703","A Weaver's Cottage 1884",[244,138,286,7,287,288,289,290,291,292,293,294],"织布机","窗户","灯","布料","木制结构","工具","室内场景","笔触","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17825a2c204d7af79695adc115eb2f0b.jpg",[260],71,{"id":299,"slug":300,"title":301,"dynasty":18,"author":113,"museum":50,"description":302,"tags":303,"thumbUrl":304,"material":65,"size":65,"collection":65,"collections":305,"showCount":306,"zanCount":11,"manualWeight":11,"mainColor":143},227494,"shan-shui-tu-zhou-fan-kuan-227494","山水图轴","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,116,53,54,99,28,56,57,58,59,61,62,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],69,{"id":308,"slug":309,"title":310,"dynasty":131,"author":311,"museum":214,"description":312,"tags":313,"thumbUrl":317,"material":179,"size":318,"collection":66,"collections":319,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":143},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","文徵明","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[53,54,99,56,58,273,59,314,61,119,7,315,57,316,62],"蓑笠","渔乐","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[66],68,{"id":322,"slug":323,"title":324,"dynasty":18,"author":325,"museum":20,"description":326,"tags":327,"thumbUrl":329,"material":56,"size":330,"collection":331,"collections":332,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":143},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","佚名","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,53,116,99,58,57,28,80,81,62,151,328,59,7],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米","宋画精选",[331,66,89],60,{"id":335,"slug":336,"title":337,"dynasty":48,"author":49,"museum":77,"description":338,"tags":339,"thumbUrl":341,"material":37,"size":65,"collection":66,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":43},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235","原济山水图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[53,28,99,54,116,58,340,62,137,83,7,119,27,24,57],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[66],59,{"id":345,"slug":346,"title":347,"dynasty":18,"author":348,"museum":214,"description":349,"tags":350,"thumbUrl":352,"material":179,"size":353,"collection":65,"collections":354,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":43},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)","马远","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。",[23,53,54,55,56,58,57,273,7,351,231,232,27,24],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg","纵28厘米、横27厘米",[],56,{"id":357,"slug":358,"title":47,"dynasty":48,"author":49,"museum":50,"description":359,"tags":360,"thumbUrl":361,"material":65,"size":65,"collection":65,"collections":362,"showCount":363,"zanCount":107,"manualWeight":11,"mainColor":43},228979,"shan-shui-tu-ce-8-kai-shi-tao-228979","此作取景清逸疏淡，枯淡笔墨勾皴江岸崖石，浅赭晕染土质坡台，素白村居朴拙静雅，隐于山坳江湾。苍松倚岸，添了几分苍润生机。江上双帆缓行，似是收棹将归，细笔轻描微波，水色空明澄澈，晕开江天静穆悠然。\n左侧题笔隽秀，诗画相融，点出如镜江色的清灵意趣。笔墨干湿互用，皴擦间带着疏朗纵逸之气，未作繁复堆砌，只以极简景致，绘出渔乡日暮的安闲意韵，尽显山水间萧散淡远的林下之风。",[116,53,54,55,28,56,58,60,61,62,7,63,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc902b0dd15f94b2abc4bd478738d2ba3.jpg",[],54,{"id":365,"slug":366,"title":367,"dynasty":75,"author":187,"museum":20,"description":368,"tags":369,"thumbUrl":371,"material":37,"size":372,"collection":65,"collections":373,"showCount":374,"zanCount":11,"manualWeight":11,"mainColor":43},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[116,53,54,26,28,58,57,25,27,231,370,82,7,190],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 横89.4cm",[],52,{"id":376,"slug":377,"title":378,"dynasty":48,"author":379,"museum":50,"description":380,"tags":381,"thumbUrl":382,"material":65,"size":65,"collection":65,"collections":383,"showCount":384,"zanCount":107,"manualWeight":11,"mainColor":43},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","王时敏","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,53,116,58,56,57,55,80,228,137,151,62,61,232,7,138,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],42,{"id":386,"slug":387,"title":388,"dynasty":131,"author":389,"museum":77,"description":390,"tags":391,"thumbUrl":392,"material":393,"size":394,"collection":65,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":43},220915,"shan-shui-ce-9-dong-qi-chang-220915","山水册9","董其昌","《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。",[23,53,54,55,28,58,57,82,61,7,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c33f118062bda18bcde2cd0e0d405dc.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],41,{"id":398,"slug":399,"title":400,"dynasty":131,"author":401,"museum":214,"description":402,"tags":403,"thumbUrl":410,"material":103,"size":411,"collection":66,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":43},217037,"song-xi-cao-tang-tu-tang-yin-217037","松溪草堂图","唐寅","画面上，远处是连绵起伏的山丘，山丘与右侧的开阔水域之间隐约可见亭台楼阁，左侧的山脚下松树成荫，竹林环绕，泥滩上有几间小屋，中间的房子里坐着一个书生，似乎在欣赏远处的风景。",[23,116,53,26,28,58,25,273,404,7,405,406,407,408,409],"竹林","书生","山丘","水域","亭台楼阁","草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07684cc52a756294820958df277e4be3.jpg","26x102cm",[66],38,{"id":415,"slug":416,"title":417,"dynasty":131,"author":418,"museum":419,"description":420,"tags":421,"thumbUrl":422,"material":179,"size":65,"collection":66,"collections":423,"showCount":424,"zanCount":107,"manualWeight":11,"mainColor":43},219704,"zhu-yuan-feng-seng-tu-zhao-zuo-219704","竹院逢僧图","赵左","日本大阪市立美术馆","赵左（1573-1644）的风格兼容苏州与松江两地画学传承。画中小茅屋里面对僧人而坐的文士，吻合右上方所书的唐人诗句「因过竹院逢僧话，又得浮生半日闲」。此画题颇受欢迎，而赵左的诠释方式，除了利用竹林、巨石、水面与大片云雾，将竹院独立出来，更有趣的是利用树干与围幕，将文士框限于一小方空间，促迫地享受仅存的闲逸。",[23,116,53,54,28,271,57,100,61,7,119,138,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de72b6897a34154bfb9dd405d03101.jpg",[66],37,{"id":426,"slug":427,"title":428,"dynasty":48,"author":429,"museum":77,"description":430,"tags":431,"thumbUrl":435,"material":436,"size":437,"collection":66,"collections":438,"showCount":439,"zanCount":107,"manualWeight":11,"mainColor":43},236769,"zhu-qu-zhou-wang-hui-236769","竹趣轴","王翚","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》。",[53,99,28,57,58,217,151,61,62,7,231,432,433,434],"近景","亭榭","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a53edaed5daacf78869c55444abcab9.jpg","纸本，墨笔","纵138.8厘米，横29.9厘米",[66,89],36,{"id":441,"slug":442,"title":443,"dynasty":18,"author":444,"museum":50,"description":445,"tags":446,"thumbUrl":450,"material":121,"size":122,"collection":65,"collections":451,"showCount":452,"zanCount":107,"manualWeight":11,"mainColor":143},289457,"gui-yu-tu-li-cheng-289457","归渔图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[447,53,271,56,57,82,7,119,59,351,448,449],"扇面","归渔","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],32,{"id":454,"slug":455,"title":456,"dynasty":48,"author":457,"museum":77,"description":458,"tags":459,"thumbUrl":463,"material":65,"size":65,"collection":66,"collections":464,"showCount":465,"zanCount":11,"manualWeight":11,"mainColor":43},239229,"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[53,54,99,28,57,58,61,62,138,460,161,461,462,7,340,275],"建筑","行旅","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[66,89],31,{"id":467,"slug":468,"title":469,"dynasty":48,"author":470,"museum":50,"description":471,"tags":472,"thumbUrl":474,"material":121,"size":122,"collection":65,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":143},288447,"jiang-xing-tu-gao-cen-288447","江行图","高岑","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“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……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,53,58,28,56,57,82,61,473,59,7,137],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b87c8d1b12e8229eb174baba1ea0893.jpg",[],30,{"id":478,"slug":479,"title":480,"dynasty":131,"author":481,"museum":50,"description":482,"tags":483,"thumbUrl":484,"material":65,"size":65,"collection":65,"collections":485,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":43},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","周臣","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[53,54,99,28,57,58,81,80,100,138,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":48,"author":490,"museum":20,"description":491,"tags":492,"thumbUrl":494,"material":495,"size":496,"collection":66,"collections":497,"showCount":476,"zanCount":107,"manualWeight":11,"mainColor":43},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,53,54,99,136,56,57,58,62,151,7,493,27],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","绢","120x22",[66,68],{"id":499,"slug":500,"title":501,"dynasty":48,"author":49,"museum":77,"description":502,"tags":503,"thumbUrl":506,"material":507,"size":508,"collection":65,"collections":509,"showCount":510,"zanCount":11,"manualWeight":11,"mainColor":43},233425,"yuan-ji-shan-shui-ce-shi-tao-233425","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[53,54,55,28,56,57,58,7,62,61,504,505],"杂草","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],28,{"id":512,"slug":513,"title":514,"dynasty":131,"author":515,"museum":20,"description":516,"tags":517,"thumbUrl":522,"material":523,"size":524,"collection":66,"collections":525,"showCount":526,"zanCount":11,"manualWeight":11,"mainColor":143},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","蓝瑛","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,53,56,57,99,58,81,62,151,137,83,7,138,82,273,61,351,518,519,520,521],"水榭","寒林","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg","绢本","纵82.3厘米，横28.9厘米",[66,68],27,{"id":528,"slug":529,"title":530,"dynasty":48,"author":95,"museum":531,"description":532,"tags":533,"thumbUrl":535,"material":37,"size":536,"collection":65,"collections":537,"showCount":526,"zanCount":11,"manualWeight":11,"mainColor":43},219854,"ba-jing-shan-shui-tu-3-gong-xian-219854","八景山水图-3","上海博物馆","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。",[53,28,58,82,7,534,232,57,27],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19de21601c89225b55803f981dddc27.jpg","24.4x49.7厘米",[],{"id":539,"slug":540,"title":541,"dynasty":131,"author":515,"museum":542,"description":543,"tags":544,"thumbUrl":545,"material":546,"size":547,"collection":65,"collections":548,"showCount":549,"zanCount":107,"manualWeight":11,"mainColor":143},222594,"jiang-gao-fei-xue-tu-li-zhou-lan-ying-222594","江皋飞雪图立轴","天津博物馆","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。",[23,53,54,99,58,56,57,273,82,61,7,138,351,231,519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6635bdf6b12960c4fed02b92366856.jpg","绢本设色","148cmx46cm",[],26,{"id":551,"slug":552,"title":553,"dynasty":18,"author":554,"museum":50,"description":555,"tags":556,"thumbUrl":559,"material":65,"size":65,"collection":560,"collections":561,"showCount":562,"zanCount":11,"manualWeight":11,"mainColor":143},227605,"long-mian-shan-zhuang-tu-er-ju-b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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。",[659,244,660,661,7,662,663,664,665,637,249],"印象派","外光写生","色彩晕染","海滩","退潮","海面","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e1eae68950113e2890ec28ce1dd000.jpg",[260],{"id":669,"slug":670,"title":671,"dynasty":131,"author":672,"museum":50,"description":673,"tags":674,"thumbUrl":675,"material":121,"size":122,"collection":65,"collections":676,"showCount":677,"zanCount":11,"manualWeight":11,"mainColor":43},239474,"xie-qin-fang-you-tu-shan-sun-zhi-239474","携琴访友图扇","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[116,53,54,447,28,56,57,58,62,7,138,275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47746b0b060c5b7809478631056a9d65.jpg",[],20,{"id":679,"slug":680,"title":681,"dynasty":131,"author":682,"museum":50,"description":683,"tags":684,"thumbUrl":685,"material":37,"size":65,"collection":66,"collections":686,"showCount":677,"zanCount":11,"manualWeight":11,"mainColor":43},237576,"shan-shui-zhou-wang-wen-237576","山水轴","王问","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。",[53,54,99,28,57,58,229,119,62,61,137,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[66,89],{"id":688,"slug":689,"title":690,"dynasty":75,"author":691,"museum":50,"description":692,"tags":693,"thumbUrl":696,"material":121,"size":122,"collection":65,"collections":697,"showCount":698,"zanCount":107,"manualWeight":11,"mainColor":143},290605,"han-yan-ji-xue-zhou-zhang-yu-290605","寒岩积雪轴","张羽","张羽（1333－1385）元末明初文人。字来仪，更字附凤，号静居，浔阳（今江西九江）人，后移居吴兴（今浙江湖州），与高启、杨基、徐贲称为“吴中四杰”，又与高启、王行、徐贲等十人，人称“北郭十才子”，亦为明初十才子之一。官至太常丞，山水宗法米氏父子，诗作笔力雄放俊逸，著有《静居集》。",[53,116,99,58,28,576,694,695,117,7,27,351,119],"寒岩","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7eb89bedc44eae71ac18e4967f8112.jpg",[],19,{"id":700,"slug":701,"title":501,"dynasty":48,"author":49,"museum":77,"description":502,"tags":702,"thumbUrl":705,"material":507,"size":508,"collection":65,"collections":706,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":43},233421,"yuan-ji-shan-shui-ce-shi-tao-233421",[116,53,54,55,28,57,58,61,576,62,7,703,704],"栅栏","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c55c1ae79c7d14fcee18a101340766.jpg",[],18,{"id":709,"slug":710,"title":711,"dynasty":48,"author":712,"museum":50,"description":713,"tags":714,"thumbUrl":715,"material":65,"size":65,"collection":66,"collections":716,"showCount":717,"zanCount":11,"manualWeight":11,"mainColor":43},235895,"shan-shui-tu-ce-guan-quan-235895","山水图册","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。",[53,54,55,28,57,25,58,100,61,119,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e9011e0c250b9fb2f2e0483defd6da.jpg",[66],17,{"id":719,"slug":720,"title":721,"dynasty":48,"author":722,"museum":50,"description":723,"tags":724,"thumbUrl":725,"material":726,"size":727,"collection":65,"collections":728,"showCount":729,"zanCount":11,"manualWeight":11,"mainColor":43},232895,"shui-mo-tu-ce-hua-ce-zheng-min-232895","水墨图册画册","郑旼","郑旼（1632-1683），号墓倩、穆倩、墓道人、神经证史、雪痕后人，安徽歙县人，擅长山水画。明亡之后，黄宾虹《黄山丹青志》中记载郑旼的行迹为：“……隐于狂疾，服如野僧，或有言触往事者，辄哭不休，或望空下拜，拜凡以三。簮绂中人，有愿近昵者，哭以拒之，或先避之，虽坚请不出也。”他在康熙十三年除夕日记云，“饥寒迫身……实愿甘之”，但他决不依附权贵，实在难饥，则以诗画易米，倘若以金帛予之，则必不予，即或成幅，亦毁之。郑旼人品高洁，不同流俗，刚正不阿，憎爱分明，具有坚贞民族气节的遗民。在篆刻方面，郑旼以先秦两汉为宗，每刻必有新意。曾自刻闲章：“闲来写幅青山卖，不使人间造孽钱”，盖于自己的画作上，表现出一个正直文人的清高与不俗。",[53,28,55,25,24,27,57,58,80,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da6b0639be05e6bfd10cc0a42e975a6.jpg","设色纸本","172.5×46.8cm",[],16,{"id":731,"slug":732,"title":733,"dynasty":240,"author":241,"museum":50,"description":242,"tags":734,"thumbUrl":742,"material":121,"size":122,"collection":260,"collections":743,"showCount":729,"zanCount":11,"manualWeight":11,"mainColor":143},225755,"gogh-vincent-van-cottages-fan-gao-225755","Gogh 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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。",[53,54,55,28,56,58,62,7,119,61,138,25,27,57,759,229],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg","纵27厘米，横21.3厘米",[],15,{"id":765,"slug":766,"title":767,"dynasty":240,"author":325,"museum":50,"description":768,"tags":769,"thumbUrl":781,"material":65,"size":65,"collection":65,"collections":782,"showCount":763,"zanCount":11,"manualWeight":11,"mainColor":43},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[770,771,772,56,773,174,138,81,80,228,774,273,775,776,777,778,779,695,62,7,351,780],"浮世绘","木刻","版画","桥","房屋","雪地","河流","冬季","行人","骑马","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],{"id":784,"slug":785,"title":786,"dynasty":131,"author":646,"museum":531,"description":787,"tags":788,"thumbUrl":789,"material":65,"size":65,"collection":66,"collections":790,"showCount":763,"zanCount":107,"manualWeight":11,"mainColor":791},201649,"qiu-shan-tu-zhou-liu-yuan-qi-201649","秋山图轴","层峦叠嶂间，山石皴染结合，纹理毕现，质感沉厚。山间林木萧疏，秋意渐浓，叶色或深翠或赭黄，点染有致。飞瀑流泉自崖壁倾泻，山径蜿蜒隐于林麓，山麓小屋错落，似藏幽居，添得几分生机。笔墨苍劲秀逸，设色淡雅，整体意境清寂悠远，尽显传统山水之韵致。",[58,57,56,99,53,62,137,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75feca0027a56c74d44844f56def946c.jpg",[66],"b0a595",{"id":793,"slug":794,"title":795,"dynasty":48,"author":796,"museum":77,"description":797,"tags":798,"thumbUrl":799,"material":436,"size":800,"collection":65,"collections":801,"showCount":802,"zanCount":107,"manualWeight":11,"mainColor":43},233872,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233872","西陂诗意图册","查士标","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[53,28,58,55,57,62,231,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbbcd538bb5fd72d190bc550a1e721a.jpg","纵32.8cm，横52.8cm",[],14,{"id":804,"slug":805,"title":806,"dynasty":18,"author":807,"museum":50,"description":808,"tags":809,"thumbUrl":810,"material":65,"size":65,"collection":65,"collections":811,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":143},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","李东","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,53,54,55,28,58,81,30,82,7,59,315,57,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":813,"slug":814,"title":815,"dynasty":48,"author":816,"museum":531,"description":817,"tags":818,"thumbUrl":822,"material":65,"size":65,"collection":66,"collections":823,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":824},202186,"dong-ting-qiu-yue-tu-zhou-wang-su-202186","洞庭秋月图轴","王愫","这幅画作以淡雅笔墨铺陈洞庭秋夜之境。陡峭山崖以细腻皴法勾勒纹理，枯树虬枝点缀其间，尽显秋意萧瑟。开阔水面波光隐现，远处飞鸟掠空，添灵动之韵。右下角小屋傍树而立，与自然相融，透出隐逸闲趣。整体色调清寒，虽未直绘秋月，却以空濛清旷的氛围烘托出月色皎洁，意境悠远宁静。笔墨层次丰富，山石用墨浓淡相宜，草木勾勒简练传神，尽显画家功底。构图疏密有致，左密右疏、虚实相生，将洞庭湖畔的秋夜寂寥与月色清辉完美融合，引人沉醉。",[28,57,58,59,819,7,82,63,820,821,23],"飞鸟","清旷意境","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8ff5c3d6aa85680f47b2d34af0767a.jpg",[66],"b2a58f",{"id":826,"slug":827,"title":592,"dynasty":48,"author":828,"museum":77,"description":829,"tags":830,"thumbUrl":831,"material":205,"size":65,"collection":65,"collections":832,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":43},237192,"shan-shui-ce-sun-yi-237192","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。",[53,54,55,56,57,58,62,61,7,819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982c07f251c1c753b85053dfc6e0561.jpg",[],13,{"id":835,"slug":836,"title":837,"dynasty":48,"author":838,"museum":77,"description":839,"tags":840,"thumbUrl":842,"material":205,"size":843,"collection":65,"collections":844,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":43},233890,"huang-shan-tu-ce-mei-qing-233890","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。",[53,54,58,55,28,56,57,80,841,7,138,190,27],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc4dbbd059f61494cfc3a76e398e246.jpg","纵26厘米，横33厘米",[],{"id":846,"slug":847,"title":848,"dynasty":48,"author":622,"museum":50,"description":849,"tags":850,"thumbUrl":852,"material":121,"size":122,"collection":65,"collections":853,"showCount":833,"zanCount":11,"manualWeight":11,"mainColor":143},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,116,53,54,99,28,58,57,273,851,61,7,119,62],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":855,"slug":856,"title":857,"dynasty":48,"author":858,"museum":50,"description":859,"tags":860,"thumbUrl":861,"material":65,"size":65,"collection":65,"collections":862,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":43},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830","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”。",[53,54,55,56,58,62,119,7,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],12,{"id":865,"slug":866,"title":867,"dynasty":240,"author":325,"museum":50,"description":868,"tags":869,"thumbUrl":879,"material":121,"size":122,"collection":65,"collections":880,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":43},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","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。",[770,771,56,137,62,61,119,138,460,7,407,870,871,872,873,874,875,876,877,878],"浴场场景","植物","山石景观","人物活动","传统建筑","自然景观","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],11,{"id":883,"slug":884,"title":885,"dynasty":48,"author":886,"museum":20,"description":887,"tags":888,"thumbUrl":889,"material":56,"size":890,"collection":65,"collections":891,"showCount":881,"zanCount":11,"manualWeight":11,"mainColor":43},223100,"fang-fan-kuan-hua-fu-zhou-tang-dai-223100","仿范宽画幅轴","唐岱","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”。",[23,53,54,99,271,56,57,625,80,175,100,232,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0f7f8016183e9f28c29a883a1292e5.jpg","123.5x69.3",[],{"id":893,"slug":894,"title":895,"dynasty":48,"author":896,"museum":50,"description":897,"tags":898,"thumbUrl":899,"material":37,"size":65,"collection":66,"collections":900,"showCount":901,"zanCount":11,"manualWeight":11,"mainColor":43},240886,"lu-tang-yao-he-shi-ju-ye-qi-zhi-jia-240886","录唐姚合诗句页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[53,54,55,28,58,80,100,7,57,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd420e1227963466a348e450bf9d57d90.jpg",[66],10,{"id":903,"slug":904,"title":905,"dynasty":131,"author":906,"museum":50,"description":907,"tags":908,"thumbUrl":910,"material":65,"size":65,"collection":65,"collections":911,"showCount":901,"zanCount":11,"manualWeight":11,"mainColor":43},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","杨文骢","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[53,54,99,28,57,58,62,83,558,7,231,909,202,275],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":913,"slug":914,"title":915,"dynasty":48,"author":722,"museum":214,"description":916,"tags":917,"thumbUrl":918,"material":103,"size":65,"collection":65,"collections":919,"showCount":901,"zanCount":11,"manualWeight":11,"mainColor":43},214513,"shui-mo-tu-ce-5-zheng-min-214513","水墨图册-5","郑旼是清代著名的画家，他的水墨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，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，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，郑旼的水墨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，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[53,54,55,28,25,57,58,80,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc0141316cc60b4a71f2c1adb54b234.jpg",[],{"id":921,"slug":922,"title":923,"dynasty":131,"author":924,"museum":50,"description":925,"tags":926,"thumbUrl":927,"material":121,"size":122,"collection":65,"collections":928,"showCount":929,"zanCount":11,"manualWeight":11,"mainColor":43},237403,"shan-shui-shan-ye-ding-yun-peng-237403","山水扇页","丁云鹏","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。",[53,54,447,28,58,82,80,7,57,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e166761ecc75bb66a219308be29751.jpg",[],9,{"id":931,"slug":932,"title":933,"dynasty":48,"author":934,"museum":50,"description":935,"tags":936,"thumbUrl":937,"material":121,"size":122,"collection":65,"collections":938,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":43},288340,"chun-shan-tu-wang-yuan-qi-288340","春山图","王原祁","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」",[116,53,54,99,58,56,57,61,119,229,62,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d4b65d14996a05e26a163aa4a81e2.jpg",[],8,{"id":941,"slug":942,"title":592,"dynasty":48,"author":934,"museum":50,"description":943,"tags":944,"thumbUrl":945,"material":65,"size":65,"collection":65,"collections":946,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":43},236870,"shan-shui-ce-wang-yuan-qi-236870","此帧取平远章法，近岸陂陀之上杂木扶苏，茅舍隐于树荫间，漾出幽寂村居之致。水面开阔空明，留白尽现湖光清旷。远山以干笔淡墨皴擦，山峦平缓舒展，苔点疏简萧散。\n\n画作师法元人萧散意趣，以渴笔淡墨层层积染，笔墨苍润松秀，在清空格调中融入浑朴醇厚的质感。题字朱印点缀提亮画面，整幅气息静穆淡远，于简淡中见苍劲，枯涩中含温润，观之如临林泉，尘俗尽涤，尽显文人画以意驭笔的雅致格调。",[53,54,55,28,57,58,217,100,7,231,909],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c9c6dc81a288f4e46e612797932fe.jpg",[],{"id":948,"slug":949,"title":950,"dynasty":48,"author":429,"museum":50,"description":951,"tags":952,"thumbUrl":954,"material":955,"size":956,"collection":65,"collections":957,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":43},234714,"fang-gu-shan-shui-ce-wang-hui-234714","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。",[53,28,57,953,55,58,137,62,202,7,231,119],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49868da8cf21daec366c99bda4056446.jpg","纸本，水墨","25.6厘米，横：20.5厘米",[],{"id":959,"slug":960,"title":592,"dynasty":48,"author":95,"museum":77,"description":961,"tags":962,"thumbUrl":963,"material":436,"size":964,"collection":65,"collections":965,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":43},233974,"shan-shui-ce-gong-xian-233974","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。",[53,54,28,55,58,57,100,175,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64310292f88a83a0135ec9a111518a6.jpg","纵22.2厘米，横33.2厘米",[],{"id":967,"slug":968,"title":969,"dynasty":48,"author":95,"museum":531,"description":970,"tags":971,"thumbUrl":972,"material":29,"size":973,"collection":65,"collections":974,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":43},222612,"shan-shui-ba-jing-2-gong-xian-222612","山水八景-2","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。",[23,53,28,57,58,576,229,7,62,407,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41cb5c793ea90b164e87ab6b3d05d0a4.jpg","纵24.4 厘米 横49.7 厘米",[],{"id":976,"slug":977,"title":978,"dynasty":131,"author":311,"museum":77,"description":979,"tags":980,"thumbUrl":981,"material":103,"size":982,"collection":65,"collections":983,"showCount":939,"zanCount":11,"manualWeight":11,"mainColor":43},214874,"shan-shui-ce-6-wen-zheng-ming-214874","山水册-6","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。",[23,53,54,55,28,56,57,25,27,58,100,61,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df6172fccb4c60a4fb3395ec04a2632.jpg","28.5x15.7cm",[],{"id":985,"slug":986,"title":857,"dynasty":48,"author":858,"museum":50,"description":859,"tags":987,"thumbUrl":988,"material":65,"size":65,"collection":65,"collections":989,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":43},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827",[53,54,55,28,56,58,351,82,519,61,695,7,151,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d752b98269b50249bb4911e5586c67.jpg",[],7,{"id":992,"slug":993,"title":994,"dynasty":48,"author":995,"museum":50,"description":996,"tags":997,"thumbUrl":999,"material":37,"size":65,"collection":65,"collections":1000,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":43},237064,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237064","补景古臣松梅观鹤图像并附山水册","徐佐","此作以淡墨写就山居清景，古松虬曲苍劲，石质嶙峋朴拙，茅庐隐于林泉之间，白衣策杖徐行，似正寻幽访鹤。简淡笔墨勾勒出幽寂出尘的林下意趣，皴擦点染皆见文人写意之妙。左侧题诗行书笔意舒展，诗画相映成趣，将林泉高致寄于尺幅之间，悠悠古意漫溢纸面，尽显文人心底的丘壑与幽居雅兴。",[53,54,55,28,58,62,61,7,138,24,841,998],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7575b193c25fbf3cb6a0f186c0a3224d.jpg",[],{"id":1002,"slug":1003,"title":1004,"dynasty":48,"author":1005,"museum":50,"description":1006,"tags":1007,"thumbUrl":1008,"material":121,"size":122,"collection":65,"collections":1009,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":43},236725,"shang-rui-xian-xing-cheng-lin-shan-ye-shang-rui-236725","上睿仙杏成林扇页","上睿","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。",[53,447,28,57,58,576,7,229,61,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc83abe99697d9d37afb704b21d4280.jpg",[],{"id":1011,"slug":1012,"title":592,"dynasty":48,"author":796,"museum":50,"description":1013,"tags":1014,"thumbUrl":1016,"material":65,"size":65,"collection":65,"collections":1017,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":43},234641,"shan-shui-ce-cha-shi-biao-234641","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。",[116,53,54,55,28,25,57,58,100,175,7,1015],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d9e861acc45aa892e05b5dca2b8d72.jpg",[],{"id":1019,"slug":1020,"title":1021,"dynasty":240,"author":656,"museum":50,"description":657,"tags":1022,"thumbUrl":1029,"material":121,"size":122,"collection":260,"collections":1030,"showCount":990,"zanCount":11,"manualWeight":11,"mainColor":143},226066,"the-customs-house-1882-mo-nai-226066","The 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van Uden--Wooded Landscape with a House by a River","前景古木虬曲苍劲，枝桠肆意舒展，细密排线勾勒出斑驳树皮与蓬松叶簇，尽显岁月镌刻的厚重质感。缓坡顺着笔触延绵铺展，错落林木向着远景渐次淡去，朦胧间晕开郊野村落的浅淡轮廓。\n\n蓝底衬出素描线条的柔和层次，明暗交织晕染出清寂的郊野晨氛。留白与疏密笔触交织，铺就出悠远的空气感，仿佛能触到林间湿润的晚风，听见枝桠轻晃的细碎声响。笔触克制却藏着对乡野的细腻体察，将郊野的松弛生机揉入画面，静望便坠入松弛安闲的乡野意趣之中。",[1265,1266,1267,1268,118,7],"素描","风景画","古树","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf07d38cfad3ea9f4f00675d497fc595.jpg",[],{"id":1272,"slug":1273,"title":1274,"dynasty":131,"author":1275,"museum":50,"description":1276,"tags":1277,"thumbUrl":1278,"material":121,"size":122,"collection":65,"collections":1279,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},237503,"shan-shui-hua-hui-ce-jiang-shou-cheng-237503","山水花卉册","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。",[53,54,55,25,28,557,58,80,100,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a8208bae8572f67ce9052943eb3c783.jpg",[],{"id":1281,"slug":1282,"title":592,"dynasty":131,"author":1116,"museum":50,"description":1283,"tags":1284,"thumbUrl":1285,"material":65,"size":65,"collection":65,"collections":1286,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},235818,"shan-shui-ce-li-liu-fang-235818","此帧以干笔枯墨写水岸之景，近坡老木盘曲，枝桠交错苍劲，淡墨轻扫出浅渚荒岸，林梢之后茅檐半露，远景林木攒簇，简淡空蒙。\n\n通篇笔墨洗练，干湿浓淡相映，不做繁密勾染，却将江村野居的清寂幽然尽数铺展。搭配左侧题识，恰为注脚——潇洒超逸舒展自如，笔墨堪称双绝。\n师法元人萧散意趣，以极简之笔勾勒林下幽居之境，藏文人心底悠然丘壑，淡而愈远，简而弥长，尽显晚明文人画尚韵尚简的风雅意致。",[53,54,55,28,57,58,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d7f5c0ed44a7dc8f7d6d68b8ad2c70.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":48,"author":379,"museum":531,"description":1291,"tags":1292,"thumbUrl":1295,"material":65,"size":65,"collection":65,"collections":1296,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":1297},202278,"qiu-luan-shuang-pu-tu-zhou-wang-shi-min-202278","秋峦双瀑图轴","层峦起伏间，双瀑如练飞泻，云雾氤氲缠绕峰谷，秋木扶疏，或挺拔或虬曲，点缀岩崖。山间茅舍隐现，添几分幽寂之趣。笔墨取法宋元，山石以披麻皴皴擦，线条苍劲，墨色层层晕染，浓淡交错，尽显山水深远之致。构图兼具高远、深远，空间层次分明，既承黄公望之秀逸，又融自身笔墨之浑厚。画作于静谧中藏生机，秋意清旷，传递出文人对自然的眷恋与精神栖居的向往，是清初“四王”山水传承宋元传统的典型之作。",[53,58,57,28,99,1293,1294,62,232,7,23],"秋峦","双瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f4c7844459b8d8ab9431b6a267d76c.jpg",[],"978c7d",{"id":1299,"slug":1300,"title":1301,"dynasty":240,"author":325,"museum":50,"description":1302,"tags":1303,"thumbUrl":1307,"material":121,"size":122,"collection":65,"collections":1308,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":43},289238,"rembrandt-cottage-among-trees-yi-ming-289238","Rembrandt--Cottage among Trees","灵动松弛的线条铺陈出悠然乡野意趣，高大林木环拥着茅草小屋。苍劲枝干与蓬松叶丛形成疏密对比，线条浓淡晕染出林木的深浅层次，将郊野植被的蓬勃生机藏在笔锋起落间。蜿蜒土路漫向屋前，木栅栏随性散落，带着未经修饰的朴拙质感。\n\n全画未施繁复色彩，仅以利落速写笔触勾勒光影氛围，留白处任由乡野的静谧漫溢，将郊野日常的慵懒松弛定格在纸面。随性自然的笔触带着鲜活张力，把平凡乡居的清宁诗意娓娓道来，尽显速写捕捉刹那氛围感的动人魅力。",[1265,1304,1305,7,62,703,740,1306],"风景","乡村","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1674e477343fb08cadf003de8f85ddaf.jpg",[],{"id":1310,"slug":1311,"title":1312,"dynasty":240,"author":325,"museum":50,"description":1313,"tags":1314,"thumbUrl":1321,"material":121,"size":122,"collection":65,"collections":1322,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},289237,"rembrandt-cottage-near-the-entrance-to-a-wood-yi-ming-289237","Rembrandt--Cottage near the Entrance to a Wood","这幅速写以棕褐底色晕开郊野意趣，短促线条勾画出农舍的质朴轮廓，茅草屋顶的蓬松肌理、木构门庭的烟火细节，都带着随性的鲜活感。侧旁林木以晕染铺就朦胧暗影，和清晰的农舍形成虚实对照，让画面有了呼吸感。\n\n干湿浓淡的墨色区分光影层次，松弛的笔法如同郊野漫步时的随手记录，将乡野日常的闲散安宁凝于纸面，粗粝笔触里藏着郊野乡居的静谧诗意，仿佛能听见风掠过茅草的轻响，窥见乡居角落的松弛日常。",[1315,1265,1316,1317,1318,1319,1320,7],"速写","淡彩","西洋画","乡村风景","农舍","林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7f1930c7c5ca15172aba193737313e.jpg",[],{"id":1324,"slug":1325,"title":1274,"dynasty":48,"author":1326,"museum":50,"description":1327,"tags":1328,"thumbUrl":1329,"material":65,"size":65,"collection":65,"collections":1330,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":43},239164,"shan-shui-hua-hui-ce-chen-heng-ke-239164","陈衡恪","此作以浅绛写秋山幽居，枯淡朴拙的崖石间石径逶迤，山角小屋隐于丹红花枝中，远岸水天晕染出空濛秋意，寥寥笔墨便勾勒出江天清寒岑寂的氛围。\n\n左侧题诗行书笔意萧散苍劲，书画相映成趣，将山居秋日的寥廓况味铺陈开来。整体意韵清隽雅致，极简构图里藏着悠长的文人逸趣，平淡朴拙的笔墨晕开深沉秋日诗意，尽显诗画交融的文人画意趣，将幽居秋怀缓缓诉与观者。",[53,54,55,28,56,25,24,58,61,62,493,7,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb47d304de3f00a16658d44c1b95355.jpg",[],{"id":1332,"slug":1333,"title":1274,"dynasty":48,"author":1326,"museum":50,"description":1334,"tags":1335,"thumbUrl":1336,"material":121,"size":122,"collection":65,"collections":1337,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":43},239155,"shan-shui-hua-hui-ce-chen-heng-ke-239155","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[53,54,55,28,25,27,57,58,273,851,190,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0ea724bc454d10e8804f9bfe42a487c.jpg",[],{"id":1339,"slug":1340,"title":1341,"dynasty":240,"author":1342,"museum":50,"description":1343,"tags":1344,"thumbUrl":1353,"material":121,"size":122,"collection":65,"collections":1354,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":43},232387,"he-er-bai-yin-46-he-er-bai-yin-232387","荷尔拜因46","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[1345,557,771,1346,138,1347,1348,1349,1350,62,460,292,1351,1352,7],"册页","宗教","床榻","羊群","帐篷","山地","户外场景","卧榻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0792a4de4426d538713a909d665e62c6.jpg",[],{"id":1356,"slug":1357,"title":1358,"dynasty":48,"author":1359,"museum":531,"description":1360,"tags":1361,"thumbUrl":1362,"material":65,"size":65,"collection":66,"collections":1363,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":1364},201497,"dan-tai-chun-xiao-tu-zhou-gu-hui-201497","丹台春晓图轴","顾蕙","画面以水墨绘就，山石轮廓用流畅线条勾勒，辅以皴法表现肌理，尽显苍劲古朴。山间树木疏朗，枝干挺秀，嫩芽初绽透着春意。溪流蜿蜒穿石而过，岸边小屋隐于林麓间，营造出清幽静谧的山居氛围。四周题跋与朱印相映，笔墨雅致，文气盎然，尽显文人画的意趣与韵味，将春日丹台的淡远景致凝于尺幅之中。",[53,28,57,99,58,62,151,7,27,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4adc279b8b8a06b22653e5008ac26e8.jpg",[66],"e4d5bb",{"id":1366,"slug":1367,"title":1368,"dynasty":48,"author":325,"museum":50,"description":1369,"tags":1370,"thumbUrl":1374,"material":121,"size":122,"collection":65,"collections":1375,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":143},281542,"tong-tai-hua-fa-lang-xi-yang-ren-wu-tu-chang-fang-wei-jiao-shi-he-yi-ming-281542","铜胎画珐琅西洋人物图长方委角式盒","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",[1371,1372,1149,1373,59,62,7,56],"琺瑯器","铜制","西洋人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa8013af3c5f1c6104211059dbf7a19.jpg",[],{"id":1377,"slug":1378,"title":1379,"dynasty":48,"author":325,"museum":50,"description":1380,"tags":1381,"thumbUrl":1384,"material":121,"size":122,"collection":65,"collections":1385,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},262208,"mo-cai-shan-shui-tu-zhe-yao-xiao-wan-yi-ming-262208","墨彩山水图折腰小碗","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。",[1382,1149,1383,28,58,7,62,119,117,229],"陶瓷","墨彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F353415dbce8319c5e730f614e64b7945.jpg",[],{"id":1387,"slug":1388,"title":950,"dynasty":48,"author":1389,"museum":50,"description":1390,"tags":1391,"thumbUrl":1392,"material":65,"size":65,"collection":65,"collections":1393,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},239297,"fang-gu-shan-shui-ce-wu-lin-239297","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。",[53,28,57,55,58,62,61,7,202,119,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d360c913b9776c53f4ba54343c43c5.jpg",[],{"id":1395,"slug":1396,"title":1397,"dynasty":48,"author":325,"museum":50,"description":1398,"tags":1399,"thumbUrl":1400,"material":121,"size":122,"collection":65,"collections":1401,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},237963,"ke-wei-shang-shan-xia-yan-fang-ni-shan-shui-ye-yi-ming-237963","客囗（上“山”下“严”）仿倪山水页","此帧取法倪云林山水意趣，近岸枯木疏朗错落，枝桠萧索清瘦，茅庐隐于林后，远山淡晕无痕，留白铺陈出冷寂空阔的天地。\n\n以淡墨干笔勾勒皴擦，不施浓艳，尽显荒寒淡远的林下之风。左侧题诗与画境呼应，“石瘦山空树半枯”恰合画面清冷气质，将天地岑寂、幽人自适的隐逸心境融于尺幅之间，深得倪氏“逸笔草草，聊写胸中逸气”的精髓，是颇具逸致的仿古佳制。",[53,54,55,28,557,25,625,58,576,82,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48185a14ebac8d510815a35c4b24a3b.jpg",[],{"id":1403,"slug":1404,"title":1405,"dynasty":48,"author":1406,"museum":531,"description":1407,"tags":1408,"thumbUrl":1409,"material":65,"size":65,"collection":65,"collections":1410,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1411},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。",[53,28,56,99,82,7,229,58,25,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81094fa7cd428cc160181e2514bd0282.jpg",[],"b3b7b8",{"id":1413,"slug":1414,"title":1415,"dynasty":48,"author":1182,"museum":531,"description":1416,"tags":1417,"thumbUrl":1419,"material":65,"size":65,"collection":65,"collections":1420,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1421},202490,"fang-ni-yun-lin-lao-shu-yuan-shan-tu-zhou-wang-jian-202490","仿倪云林老树远山图轴","这幅画作追摹倪云林笔意，画面清冷萧疏：几株老树虬枝疏朗，枯藤悬垂，树下溪流萦回，山石错落；远处山峦淡远，以简淡墨色晕染，尽显空濛之致。王鉴以精湛笔墨诠释云林神韵，线条简劲利落，山石用折带皴勾勒，墨色层次清雅，构图空灵留白，既保留倪氏“逸笔草草”的疏旷，又融入自身温润厚重的笔意。整幅画清幽淡远，意境悠远，是清代摹古山水的典范之作，展现了对元人山水精神的深刻把握与艺术传承。",[58,1418,576,231,151,7,28,57,625,99,23],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b80f8c7e10579159af44b83bd437b8d.jpg",[],"c4b9af",{"id":1423,"slug":1424,"title":1425,"dynasty":48,"author":1426,"museum":531,"description":1427,"tags":1428,"thumbUrl":1429,"material":65,"size":65,"collection":66,"collections":1430,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1431},201514,"shan-shui-tu-shan-ji-huang-jun-201514","山水图扇集","黄均","扇面弧度间，山水意境徐徐铺陈。层叠山石以皴笔勾勒，墨色浓淡交替，显其嶙峋肌理；远处峰峦轻晕淡染，云雾缭绕中见悠远之态。岩隙间隐现小屋，旁立苍树，似藏文人逸居之趣。笔墨兼具苍劲与秀润，皴擦与晕染相和，将丘壑之静、林泉之幽凝于咫尺扇面，尽显传统山水的空灵雅致。",[447,58,57,28,61,62,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ceb3a2c4b48b2a0125b0170e5f5342.jpg",[66],"c9bfae",1777535703482]