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tore\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[48],73,{"id":243,"slug":244,"title":245,"dynasty":18,"author":246,"museum":247,"description":248,"tags":249,"thumbUrl":252,"material":253,"size":254,"collection":215,"collections":255,"showCount":256,"zanCount":126,"manualWeight":11,"mainColor":52},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","秋江渔艇图","许道宁","藏地不详","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,60,24,163,62,152,27,29,250,86,164,251,7,225],"江河","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg","未知","Xcm*Xcm",[],71,{"id":258,"slug":259,"title":260,"dynasty":116,"author":117,"museum":118,"description":261,"tags":262,"thumbUrl":267,"material":108,"size":268,"collection":48,"collections":269,"showCount":270,"zanCount":126,"manualWeight":11,"mainColor":52},218190,"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[24,62,29,83,263,164,30,264,265,27,7,104,87,266],"驴","江水","蓑笠","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[48],68,{"id":272,"slug":273,"title":274,"dynasty":176,"author":117,"museum":149,"description":275,"tags":276,"thumbUrl":279,"material":108,"size":215,"collection":280,"collections":281,"showCount":282,"zanCount":112,"manualWeight":11,"mainColor":52},219478,"hu-ren-xing-lv-tu-yi-ming-219478","胡人行旅图","此作以枯寂寒荒的塞外平野为底，疏槎兀立，淡墨晕染出土石的荒寒之气。画面里的行旅队伍意态生动，有人策骑缓行，裹紧衣袍抵御朔风，有人牵马驻足，与同伴低语暂歇，鞍上驮囊暗合行路迢遥。\n\n笔触简淡古雅，设色沉着温润，将边地行旅的羁旅劳顿，同侪间的松弛慰藉细腻铺陈。未刻意描摹壮阔景致，只截取这一段行路日常，便将塞外游子的漂泊况味尽显，带着质朴厚重的边地生活质感，淡远的氛围感勾画出羁旅之人的漫漫归途。",[60,24,82,83,182,164,104,277,7,278],"羁旅","塞外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64831dedfb1933a98537829e6477b59c.jpg","人物画精选",[280],65,{"id":284,"slug":285,"title":286,"dynasty":176,"author":287,"museum":20,"description":288,"tags":289,"thumbUrl":290,"material":82,"size":291,"collection":48,"collections":292,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":294},220983,"fang-guo-xi-han-shan-xing-lv-yun-shou-ping-220983","仿郭熙寒山行旅","恽寿平","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,82,67,27,29,30,164,35,7,104,237,166,182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5acd697e8aabd17c2b3f85707c6b56.jpg","77.2厘米",[48,49],64,"BDBDBD",{"id":296,"slug":297,"title":17,"dynasty":18,"author":298,"museum":247,"description":299,"tags":300,"thumbUrl":302,"material":253,"size":254,"collection":215,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":52},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","朱锐","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,152,62,27,164,30,85,104,194,83,7,209,301],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],61,{"id":306,"slug":307,"title":308,"dynasty":78,"author":309,"museum":20,"description":310,"tags":311,"thumbUrl":316,"material":317,"size":318,"collection":48,"collections":319,"showCount":304,"zanCount":126,"manualWeight":11,"mainColor":52},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。",[23,24,60,152,62,312,313,121,31,34,86,314,64,7,63,32,315],"云头皴","蟹爪枝","客舍","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","绢本水墨","109.1×188.8cm",[48,49],{"id":321,"slug":322,"title":323,"dynasty":18,"author":117,"museum":324,"description":325,"tags":326,"thumbUrl":333,"material":334,"size":335,"collection":46,"collections":336,"showCount":337,"zanCount":11,"manualWeight":11,"mainColor":52},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","美国纳尔逊阿特金斯艺术博物馆","《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，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。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。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,61,163,62,27,29,32,327,35,7,328,329,330,104,195,331,332,87],"岩石","山","水","孤石","飞鸟","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","纸本","38.42x417.83",[46,48,49],60,{"id":339,"slug":340,"title":98,"dynasty":18,"author":117,"museum":247,"description":341,"tags":342,"thumbUrl":344,"material":108,"size":345,"collection":48,"collections":346,"showCount":347,"zanCount":112,"manualWeight":11,"mainColor":52},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。",[24,61,29,82,343,27,34,85,195,87,63,30,32,83,7],"工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600d5fe1024075bc6fd2e533eb62609.jpg","191x111",[48],57,{"id":349,"slug":350,"title":351,"dynasty":78,"author":352,"museum":353,"description":354,"tags":355,"thumbUrl":358,"material":359,"size":360,"collection":48,"collections":361,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":294},217921,"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","周臣","维多利亚和阿尔伯特博物馆","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[24,356,29,357,7,83,182,32,30,62,82,27],"扇面","山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","纸本,设色","33.5x61cm",[48],50,{"id":364,"slug":365,"title":366,"dynasty":78,"author":367,"museum":368,"description":369,"tags":370,"thumbUrl":375,"material":215,"size":215,"collection":48,"collections":376,"showCount":377,"zanCount":126,"manualWeight":11,"mainColor":294},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。",[23,24,163,82,29,27,371,7,121,32,34,85,86,63,195,372,373,327,374],"秋山","人家","松","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[48,93],48,{"id":379,"slug":380,"title":381,"dynasty":78,"author":382,"museum":383,"description":384,"tags":385,"thumbUrl":388,"material":389,"size":390,"collection":215,"collections":391,"showCount":392,"zanCount":126,"manualWeight":11,"mainColor":52},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","蓝瑛","河北省博物馆","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,26,29,27,82,328,329,86,32,63,30,386,387,7],"河流","秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","绢本，设色","纵186.5、横69厘米",[],46,{"id":394,"slug":395,"title":396,"dynasty":116,"author":397,"museum":398,"description":399,"tags":400,"thumbUrl":403,"material":404,"size":405,"collection":48,"collections":406,"showCount":407,"zanCount":126,"manualWeight":11,"mainColor":52},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","雪山行旅图","姚廷美","美国大都会艺术博物馆","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。",[23,24,152,27,82,401,30,164,402,34,7,32,165,168],"雪山","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","纸本，水墨","98.1× 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画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[24,62,152,209,104,164,83,263,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed436c0d3f62c1b92ca57ca18b61d988.jpg",[],33,{"id":467,"slug":468,"title":469,"dynasty":78,"author":117,"museum":247,"description":470,"tags":471,"thumbUrl":472,"material":215,"size":215,"collection":215,"collections":473,"showCount":474,"zanCount":11,"manualWeight":11,"mainColor":294},235874,"tang-yin-guan-shan-xing-lv-zhou-yi-ming-235874","唐寅关山行旅轴","此作画境荒寒清寂，以淡墨晕染远山，烟岚朦胧间隐出路踪。虬曲古木撑起重峦一隅，枯枝苍劲老辣，皴擦间尽显风霜雕琢之态。石拱桥下寒水浅流，策杖旅人独行桥边，衣袂似随山风微动，静穆中暗含羁旅孤愁。\n整幅以水墨写意，淡远空疏的笔墨烘托出关山行旅的苍茫意境，将天涯行客的寂寥心绪融于冷寂山水间，尽显借景抒怀的雅致意趣，笔墨简淡却意蕴悠长。",[24,26,62,29,27,87,30,83,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c7f861c1e723f95dfa0c68d42794f8.jpg",[],32,{"id":476,"slug":477,"title":478,"dynasty":176,"author":479,"museum":118,"description":480,"tags":481,"thumbUrl":485,"material":215,"size":215,"collection":48,"collections":486,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":294},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。",[24,61,26,62,27,29,30,32,83,402,36,7,482,483,484,374],"枯木","小屋","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[48,49],31,{"id":489,"slug":490,"title":491,"dynasty":116,"author":117,"museum":118,"description":492,"tags":493,"thumbUrl":494,"material":44,"size":495,"collection":46,"collections":496,"showCount":487,"zanCount":11,"manualWeight":11,"mainColor":52},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,26,62,27,82,29,401,164,31,30,33,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[46],{"id":498,"slug":499,"title":500,"dynasty":78,"author":501,"museum":132,"description":502,"tags":503,"thumbUrl":505,"material":108,"size":506,"collection":48,"collections":507,"showCount":508,"zanCount":11,"manualWeight":11,"mainColor":52},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 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人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,24,60,61,764,82,29,104,83,182,164,30,7],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":768,"slug":769,"title":770,"dynasty":78,"author":771,"museum":247,"description":772,"tags":773,"thumbUrl":774,"material":253,"size":254,"collection":215,"collections":775,"showCount":776,"zanCount":11,"manualWeight":11,"mainColor":52},236700,"xing-lv-tu-shan-du-ji-long-236700","行旅图扇","杜冀龙","杜冀龙[明]字士良，吴县（今江苏苏州）人。",[24,61,356,29,62,27,84,30,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0b849724ebc6b0c6ddcbb25a53e47c.jpg",[],5,{"id":778,"slug":779,"title":780,"dynasty":18,"author":513,"museum":781,"description":782,"tags":783,"thumbUrl":785,"material":389,"size":786,"collection":215,"collections":787,"showCount":776,"zanCount":11,"manualWeight":11,"mainColor":559},221681,"song-shan-xing-lv-tu-ti-ba-li-shan-221681","松杉行旅图题跋","美国弗瑞尔美术馆","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。",[23,24,61,596,784,62,29,373,516,7],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fca6f0e7cbbff492bee7e7fa4d997e2.jpg","163.6*107.2CM",[],{"id":789,"slug":790,"title":791,"dynasty":176,"author":792,"museum":247,"description":793,"tags":794,"thumbUrl":796,"material":253,"size":254,"collection":215,"collections":797,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":294},237446,"wu-gu-xiang-zhang-lin-xing-lv-shan-mian-wu-gu-xiang-237446","吴穀祥长林行旅扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[24,61,356,62,27,29,795,7,87],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5838ebe2ac32e29e76e9fa5c712c.jpg",[],4,{"id":800,"slug":801,"title":802,"dynasty":78,"author":117,"museum":247,"description":803,"tags":804,"thumbUrl":812,"material":253,"size":254,"collection":215,"collections":813,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":52},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。",[356,24,61,82,29,87,805,34,806,807,808,809,371,810,811,7,555],"篱舍","行人","骡","孤松","村舍","萧疏","闲寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c323c56c5482cc0c622ba35940ab492.jpg",[],{"id":815,"slug":816,"title":817,"dynasty":176,"author":818,"museum":572,"description":819,"tags":820,"thumbUrl":821,"material":215,"size":215,"collection":215,"collections":822,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":823},202684,"xi-shan-xing-lv-tu-zhou-yang-cai-202684","溪山行旅图轴","杨埰","此图笔墨苍劲秀逸，山峦以细腻皴法勾勒皴染，岩石肌理毕现；溪流蜿蜒间，枯树疏枝点缀岸边。行旅者策马路过，马匹神态悠然，山间亭台隐于林麓，添文人雅致。整体意境悠远，融自然山水之雄浑与生活意趣于一体，尽显清代山水画典型风貌，传递出对山水行旅的诗意描摹，笔墨间饱含对自然与人文的深刻体察。",[24,29,27,182,504,87,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F579e206047fc4dadb71d8010e1dc9e82.jpg",[],"dab9a0",{"id":825,"slug":826,"title":491,"dynasty":176,"author":827,"museum":572,"description":828,"tags":829,"thumbUrl":831,"material":215,"size":215,"collection":215,"collections":832,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":833},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。",[24,26,82,27,29,401,7,34,63,137,32,830],"瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e69d93b6534461180b42705ffd45eea.jpg",[],"b28f62",{"id":835,"slug":836,"title":837,"dynasty":176,"author":838,"museum":572,"description":839,"tags":840,"thumbUrl":843,"material":215,"size":215,"collection":215,"collections":844,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":845},202277,"cang-shan-xing-yin-tu-zhou-cha-shi-biao-202277","苍山行吟图轴","查士标","画面以淡墨勾勒苍山轮廓，皴染结合的山峦间，林木疏朗错落，亭榭隐于幽径旁。山麓处溪流缓绕，一士人骑驴行于林间，似在吟哦，尽显文人雅士的闲适意趣。笔墨简淡空灵，线条清劲，意境萧散悠远，将山林的清幽与行旅的悠然融于一体，传递出文人画特有的疏淡雅致之韵。",[24,29,27,7,195,554,841,842],"淡墨","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02b9746fed8f1bba5fc28126ca8f286.jpg",[],"7b5928",{"id":847,"slug":848,"title":849,"dynasty":176,"author":117,"museum":247,"description":850,"tags":851,"thumbUrl":852,"material":253,"size":254,"collection":215,"collections":853,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":52},288367,"she-xi-tu-ye-yi-ming-288367","涉溪图页","此作用开合之境铺展冬野行旅图景，一侧巨岩陡立，巉岩覆郁，另一侧古木虬曲，疏枝尽露荒寒。浅滩处旅人牵衣涉溪，水波微动漾起细碎涟漪；崖畔山道上骑者徐行，与溪间行人遥相呼应。远景佛塔隐于烟霭山峦间，晕染出空寂萧疏的氛围感。\n\n笔墨苍朴老辣，以斧劈皴勾勒山石肌理，枯笔写出老树荒寒之态，设色古雅沉静。将羁旅赶路的日常，晕染成悠远的山水诗韵，把行旅迢遥之意融于山野清寂之中，尽显以景寄情的传统意趣，带着清雅朴拙的古意。",[23,24,152,82,27,164,85,30,83,182,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d751b3682c24b460fdd522736a75857.jpg",[],{"id":855,"slug":856,"title":857,"dynasty":176,"author":117,"museum":247,"description":858,"tags":859,"thumbUrl":864,"material":253,"size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