[{"data":1,"prerenderedAt":1075},["ShallowReactive",2],{"subject-xuan-ya":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},567,"xuan-ya","悬崖","悬崖画高清赏析","精选中国历代悬崖题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc133c234474fc7e9cecc4c8494aac616.jpg",0,92,[14,41,66,92,115,132,152,164,180,196,210,222,230,245,259,272,287,304,315,328,341,353,366,377,385,395,405,416,429,440,452,465,473,484,492,503,514,523,530,540,552,565,575,582,591,598,607,613,623,636,646,657,670,680,692,704,716,725,735,745,752,764,776,783,790,801,813,824,832,840,850,863,873,886,898,905,915,926,934,943,954,965,973,988,996,1006,1018,1026,1034,1045,1056,1067],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},214261,"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","清","佚名","北京故宫博物院","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[23,24,25,26,27,28,29,7,30,31,32],"高清","国画","设色","工笔","人物","龙","山水","波浪","云雾","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","绢本,设色","34.9x31","人物画精选",[36],2811,8,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":59,"material":60,"size":61,"collection":62,"collections":63,"showCount":64,"zanCount":65,"manualWeight":11,"mainColor":40},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","明","沈周","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。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。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,49,50,51,52,25,53,29,54,55,56,57,27,58,7],"书画","名画","立轴","水墨","皴法","桐树","鹤","山石","树木","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 ，设色","纵123.8cm，横62.6cm","",[],116,1,{"id":67,"slug":68,"title":69,"dynasty":70,"author":71,"museum":72,"description":73,"tags":74,"thumbUrl":85,"material":86,"size":87,"collection":88,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":91},225978,"low-tide-at-pourville-1882-v2-mo-nai-225978","Low Tide at Pourville, 1882 v2","不详","莫奈","藏地不详","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。",[75,76,77,78,79,80,7,81,82,83,27,84],"印象派","油画","光影表现","色彩明快","笔触松散","大海","沙滩","低潮","天空","光影反射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6beee5faef70cf8e6fb5b703983606.jpg","未知","Xcm*Xcm","油画精选",[88],109,"2A56C6",{"id":93,"slug":94,"title":95,"dynasty":96,"author":19,"museum":97,"description":98,"tags":99,"thumbUrl":107,"material":108,"size":109,"collection":110,"collections":111,"showCount":113,"zanCount":65,"manualWeight":11,"mainColor":114},223647,"guan-pu-tu-yi-ming-223647","观瀑图","宋","美国大都会艺术博物馆","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。",[23,24,49,100,25,53,56,101,102,103,104,7,105,106],"山水画","瀑布","亭","松树","流水","老树","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米","宋画精选",[110,112],"山水画精选",106,"795548",{"id":116,"slug":117,"title":118,"dynasty":18,"author":119,"museum":72,"description":120,"tags":121,"thumbUrl":128,"material":62,"size":62,"collection":112,"collections":129,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":40},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁","弘仁（1610-1664），明代著名画家，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、倪瓒等，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、汪之瑞等四人并称“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，著有《画偈》。",[24,49,52,53,122,123,124,29,125,7,101,126,127,57],"册","行书","印章","孤石","山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[112,130],"水墨画精选",94,{"id":133,"slug":134,"title":135,"dynasty":96,"author":136,"museum":137,"description":138,"tags":139,"thumbUrl":147,"material":148,"size":149,"collection":62,"collections":150,"showCount":12,"zanCount":151,"manualWeight":11,"mainColor":40},232841,"chi-bi-tu-wu-yuan-zhi-232841","赤壁图","武元直","台北故宫博物院","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[23,24,49,140,52,53,29,141,7,57,142,143,144,145,31,146],"长卷","孤舟","江水","远山","近石","山峦","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纸本","纵50.8厘米，横136.4厘米",[],2,{"id":153,"slug":154,"title":155,"dynasty":18,"author":156,"museum":72,"description":157,"tags":158,"thumbUrl":159,"material":160,"size":161,"collection":112,"collections":162,"showCount":163,"zanCount":151,"manualWeight":11,"mainColor":40},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛","石涛(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。",[23,24,49,51,52,25,29,125,103,7,31,143,102,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纸本,设色","纵46.5cm，横30.7cm",[112],91,{"id":165,"slug":166,"title":167,"dynasty":168,"author":169,"museum":170,"description":171,"tags":172,"thumbUrl":176,"material":177,"size":62,"collection":62,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":40},220500,"e-mei-jin-ding-heng-pi-zhang-da-qian-220500","峨嵋金顶（横披）","民国","张大千","中央美术学院美术馆","云海翻涌将山峦裁出虚实层次，一侧以浅赭勾勒山石，枯涩皴笔尽显崖壁嶙峋苍劲，另一侧以青绿重彩晕染坡峦，层叠笔触晕开蓊郁生机。山巅楼宇隐于翠色之上，在流云间恍若仙阙。\n画作糅合北派山水的雄浑大气与南宗的秀润空灵，打破青绿旧有范式，以色调对冲凸显山川刚柔并济的质感，将峰岳的高华巍峨与清虚空灵凝于尺幅。边角题跋朱印呼应，文气与画韵相融，引观者神游绝顶，揽云听松，坠入烟霞之中。",[24,49,25,173,29,53,174,175,57,7,31],"青绿","山峰","云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bb0493805dbede2bd10a16c58db9f5.jpg","纸本设色",[],88,{"id":181,"slug":182,"title":183,"dynasty":18,"author":184,"museum":20,"description":185,"tags":186,"thumbUrl":191,"material":192,"size":193,"collection":62,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":114},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴","袁耀","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。",[24,49,51,187,25,26,29,188,189,31,57,56,106,190,7],"界画","楼阁","亭台","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg","绢本，设色","纵266.2厘米，横163厘米",[],83,{"id":197,"slug":198,"title":199,"dynasty":18,"author":200,"museum":201,"description":202,"tags":203,"thumbUrl":206,"material":148,"size":207,"collection":62,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":114},214345,"san-jue-shan-shui-ce-16-hua-yan-214345","三绝山水册-16","华嵒","美国弗利尔美术馆","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。",[23,24,122,52,25,29,141,125,204,7,53,205],"树","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5412a5acb56562b5d7a9ca0fbda12789.jpg","23.4x15.8",[],79,{"id":211,"slug":212,"title":213,"dynasty":18,"author":156,"museum":20,"description":214,"tags":215,"thumbUrl":219,"material":148,"size":62,"collection":112,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":40},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。",[24,52,51,49,50,29,7,57,101,216,217,104,124,218,53],"岩石","小屋","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[112],59,{"id":223,"slug":224,"title":118,"dynasty":18,"author":119,"museum":72,"description":225,"tags":226,"thumbUrl":228,"material":86,"size":87,"collection":112,"collections":229,"showCount":221,"zanCount":65,"manualWeight":11,"mainColor":40},235611,"hong-ren-shan-shui-ce-hong-ren-235611","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”。",[24,49,52,29,188,103,7,56,146,227,53,123,124],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[112],{"id":231,"slug":232,"title":233,"dynasty":234,"author":235,"museum":137,"description":236,"tags":237,"thumbUrl":240,"material":241,"size":242,"collection":112,"collections":243,"showCount":244,"zanCount":65,"manualWeight":11,"mainColor":114},218907,"gao-ting-tu-fang-cong-yi-218907","高亭图","元","方从义","这幅画中，云雾缭绕，青苔点点，风格轻松奔放，而山水的精髓在水墨的细微处可见，体现了元代道士通过山水寻求宁静自然和精神解脱的理念。",[23,24,52,53,49,29,126,102,204,238,239,7,124],"云","小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8948b78b7c41e70b03f086f6137a9.jpg","纸本,水墨","62.1x27.9厘米",[112],58,{"id":246,"slug":247,"title":248,"dynasty":45,"author":249,"museum":250,"description":251,"tags":252,"thumbUrl":254,"material":241,"size":255,"collection":112,"collections":256,"showCount":257,"zanCount":11,"manualWeight":11,"mainColor":258},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进","私人收藏","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[23,24,52,51,53,29,141,253,27,103,7,104,143],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[112],55,"F48FB1",{"id":260,"slug":261,"title":262,"dynasty":45,"author":263,"museum":264,"description":265,"tags":266,"thumbUrl":268,"material":148,"size":269,"collection":112,"collections":270,"showCount":271,"zanCount":65,"manualWeight":11,"mainColor":40},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","安徽省博物馆","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[23,24,52,53,51,267,29,125,102,7,56,57,143],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[112,130],54,{"id":273,"slug":274,"title":275,"dynasty":70,"author":71,"museum":72,"description":73,"tags":276,"thumbUrl":284,"material":86,"size":87,"collection":88,"collections":285,"showCount":286,"zanCount":65,"manualWeight":11,"mainColor":40},225919,"clifftop-walk-at-pourville-1882-mo-nai-225919","Clifftop Walk at Pourville, 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横100.5厘米",[],33,{"id":329,"slug":330,"title":331,"dynasty":18,"author":332,"museum":20,"description":333,"tags":334,"thumbUrl":338,"material":62,"size":62,"collection":112,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":40},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。",[24,49,51,52,53,29,56,57,27,298,335,336,337,217,7,190],"山路","行旅","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[112,130],31,{"id":342,"slug":343,"title":344,"dynasty":96,"author":345,"museum":72,"description":346,"tags":347,"thumbUrl":349,"material":62,"size":62,"collection":62,"collections":350,"showCount":351,"zanCount":11,"manualWeight":11,"mainColor":352},227725,"shan-gu-ji-liu-tu-xia-gui-227725","山谷激流图","夏圭","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",[24,50,49,29,52,53,51,56,57,7,104,348],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e099048944fdf9181b06d03954f9172.jpg",[],30,"37474F",{"id":354,"slug":355,"title":356,"dynasty":168,"author":357,"museum":358,"description":359,"tags":360,"thumbUrl":362,"material":363,"size":62,"collection":62,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":40},220511,"jing-guan-pu-xin-she-220511","景观","溥心畬","The Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,49,24,29,51,52,25,53,126,361,204,7,105],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg","Ink and color on 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on the Sea at Pourville, 1882",[50,76,75,400,535,401,392,7,83,81,283,536],"色彩晕染","阴影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f8aa70a2484fa22b51bc56b77a4c87.jpg",[88],19,{"id":541,"slug":542,"title":543,"dynasty":18,"author":544,"museum":72,"description":545,"tags":546,"thumbUrl":548,"material":62,"size":549,"collection":112,"collections":550,"showCount":551,"zanCount":11,"manualWeight":11,"mainColor":40},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。",[50,24,49,51,25,53,29,56,57,547,104,106,310,141,7,190],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg","纵84.6厘米，横26.5厘米",[112,130],18,{"id":553,"slug":554,"title":555,"dynasty":234,"author":409,"museum":20,"description":556,"tags":557,"thumbUrl":561,"material":562,"size":563,"collection":62,"collections":564,"showCount":551,"zanCount":11,"manualWeight":11,"mainColor":352},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[24,100,51,53,52,558,126,7,57,103,56,559,190,216,560],"雪","关隘","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","绢本，墨笔","纵：125.4厘米，横：57.2厘米",[],{"id":566,"slug":567,"title":568,"dynasty":70,"author":71,"museum":72,"description":73,"tags":569,"thumbUrl":573,"material":86,"size":87,"collection":88,"collections":574,"showCount":551,"zanCount":11,"manualWeight":11,"mainColor":40},225979,"low-tide-at-varengeville-02-1882-mo-nai-225979","Low Tide at Varengeville 02, 1882",[75,76,570,571,7,390,572,82,216,83],"光影","笔触","海水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a06f6667bc4107c5197fd92213895d.jpg",[88],{"id":576,"slug":577,"title":476,"dynasty":18,"author":156,"museum":72,"description":477,"tags":578,"thumbUrl":579,"material":148,"size":481,"collection":62,"collections":580,"showCount":581,"zanCount":11,"manualWeight":11,"mainColor":40},233384,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233384",[24,52,53,122,124,29,310,57,7,104,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d3a4c8528fd2d713c7fc6167e55db4.jpg",[],17,{"id":583,"slug":584,"title":585,"dynasty":70,"author":71,"museum":72,"description":73,"tags":586,"thumbUrl":588,"material":86,"size":87,"collection":88,"collections":589,"showCount":590,"zanCount":11,"manualWeight":11,"mainColor":40},225974,"le-petit-ailly-varengeville-in-the-sun-1897-mo-nai-225974","Le Petit Ailly, Varengeville, in the Sun, 1897",[76,75,7,310,392,280,587,460,77],"阳光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b3005428b202fab0330717460e74b0.jpg",[88],16,{"id":592,"slug":593,"title":506,"dynasty":18,"author":507,"museum":20,"description":508,"tags":594,"thumbUrl":595,"material":324,"size":511,"collection":112,"collections":596,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":40},222668,"shang-shan-si-hao-tu-huang-shen-222668",[23,24,52,25,53,29,27,103,7,101,216,436,57,146,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2950074f1e7dcfc0fcd64cd290cf3c9f.jpg",[112,130],15,{"id":599,"slug":600,"title":601,"dynasty":70,"author":71,"museum":72,"description":73,"tags":602,"thumbUrl":604,"material":86,"size":87,"collection":88,"collections":605,"showCount":606,"zanCount":65,"manualWeight":11,"mainColor":40},225924,"falaises-temps-gris-1882-1886-mo-nai-225924","Falaises, temps gris, 1882-1886",[75,76,400,535,7,279,283,603,81,572],"阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c4e3c9ba8bf19e1be7ee901cace6788.jpg",[88],14,{"id":608,"slug":609,"title":356,"dynasty":168,"author":357,"museum":358,"description":610,"tags":611,"thumbUrl":362,"material":363,"size":62,"collection":62,"collections":612,"showCount":606,"zanCount":11,"manualWeight":11,"mainColor":40},220512,"jing-guan-pu-xin-she-220512","这幅山水以高远之法布景，峭拔崖壁斜出画面，留白铺就空濛意境。淡青绿轻染山石，细笔皴擦出嶙峋肌理，兼以枯笔点苔，苍润兼具。坡岸虬松古木，枝桠舒展，细笔写叶，尽显葱茏生机，林下藏幽壑，隐见深林意趣。\n题诗与画境呼应，将空山泉响的松风禅意融于笔墨间。以书入画，笔致隽秀萧散，淡墨轻岚里铺陈出林泉高致的隐逸心境，简淡中见苍厚，清和中藏浑朴，尽显传统文人山水的文心雅韵，将中式山水的静穆诗意藏于尺素之间。",[23,24,49,51,52,25,53,29,216,57,7],[],{"id":614,"slug":615,"title":616,"dynasty":70,"author":71,"museum":72,"description":73,"tags":617,"thumbUrl":620,"material":86,"size":87,"collection":88,"collections":621,"showCount":622,"zanCount":11,"manualWeight":11,"mainColor":40},225922,"etretat-cliff-of-aval-1885-mo-nai-225922","Etretat, Cliff of Aval, 1885",[75,76,78,618,79,7,81,572,619,83,216],"光影变化","日落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95dcdfaca77220ba205b300a4561224f.jpg",[88],13,{"id":624,"slug":625,"title":626,"dynasty":18,"author":627,"museum":20,"description":628,"tags":629,"thumbUrl":631,"material":632,"size":633,"collection":62,"collections":634,"showCount":635,"zanCount":11,"manualWeight":11,"mainColor":40},234966,"wu-wai-tian-yuan-tu-ce-kun-can-234966","物外田园图册","髡残","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。",[24,49,122,52,29,630,361,102,239,7,57,53],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb02271028ddcb05ec95b99f2e0965.jpg","纸本 ，墨笔","纵21.5cm，横16.9cm",[],12,{"id":637,"slug":638,"title":639,"dynasty":70,"author":71,"museum":72,"description":73,"tags":640,"thumbUrl":644,"material":86,"size":87,"collection":88,"collections":645,"showCount":635,"zanCount":11,"manualWeight":11,"mainColor":114},226142,"view-to-the-sea-from-the-cliffs-1881-mo-nai-226142","View to the Sea from the Cliffs, 1881",[75,76,7,279,83,400,78,401,641,642,77,643],"海景","自然景观","色彩交融","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d7c8b49b3b9cabc8c4d486e8d67260.jpg",[88],{"id":647,"slug":648,"title":649,"dynasty":70,"author":71,"museum":72,"description":73,"tags":650,"thumbUrl":655,"material":86,"size":87,"collection":88,"collections":656,"showCount":635,"zanCount":11,"manualWeight":11,"mainColor":40},226056,"the-church-at-varengeville-and-the-gorge-of-les-moutiers-1882-mo-nai-226056","The Church at Varengeville and the Gorge of Les Moutiers, 1882",[75,76,400,78,79,651,652,7,80,653,277,83,460,642,618,654,401],"教堂","山坡","灌木","色彩斑斓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9790e4c9e68d356d55de3cdb85e69bf3.jpg",[88],{"id":658,"slug":659,"title":660,"dynasty":70,"author":71,"museum":72,"description":73,"tags":661,"thumbUrl":668,"material":86,"size":87,"collection":88,"collections":669,"showCount":635,"zanCount":11,"manualWeight":11,"mainColor":114},225984,"mediterannian-coast-grey-weather-1888-mo-nai-225984","Mediterannian Coast, Grey Weather, 1888",[75,76,662,663,664,665,7,57,572,666,280,603,83,667],"外光写生","松散笔触","色彩光影","海岸","礁石","地面植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4e05ce88f29c5f4b811332114b1c5b.jpg",[88],{"id":671,"slug":672,"title":673,"dynasty":70,"author":71,"museum":72,"description":73,"tags":674,"thumbUrl":677,"material":86,"size":87,"collection":88,"collections":678,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":40},226089,"the-point-de-la-heve-honfleur-1864-mo-nai-226089","The Point de la Heve, Honfleur, 1864",[76,75,675,7,81,676,27,603,641],"海滨","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9f2be6d5fa85711a161bf633cea537.jpg",[88],11,{"id":681,"slug":682,"title":683,"dynasty":70,"author":71,"museum":72,"description":73,"tags":684,"thumbUrl":690,"material":86,"size":87,"collection":88,"collections":691,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":40},225980,"low-tide-at-varengeville-1882-mo-nai-225980","Low Tide at Varengeville, 1882",[75,400,535,663,685,686,7,666,687,688,83,689,665,81,216],"自然光影","低潮海滩","水洼","海藻","云层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bc6aa78bc45b497092506718c580a7.jpg",[88],{"id":693,"slug":694,"title":695,"dynasty":18,"author":696,"museum":72,"description":697,"tags":698,"thumbUrl":701,"material":62,"size":62,"collection":62,"collections":702,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":40},239216,"cheng-bo-wan-qing-tu-zhou-xu-fang-239216","澄波万顷图轴","徐枋","以淡墨晕染江天浩渺，远山轻笼烟霭，如黛痕隐在云水之间，江帆凌波点点，衬得万顷澄波愈见空阔辽远。近景危崖层叠皴擦，枯木疏朗错落，崖畔茅亭山居幽藏林间，山巅楼宇凭崖俯瞰大江，尽得林泉高致。\n\n笔墨简淡清和，以留白衬出水天无际，带着遗世幽居的冷寂萧疏。题诗与笔墨相映，将寄怀林泉、耽恋丘壑的隐逸襟怀融在山光水色之中，淡远里藏着沉郁静气，尽显文人画诗画合一的雅逸格调。",[24,49,51,52,53,29,7,57,310,699,143,700],"湖泊","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a04716dd53d779f11804342d6a38b4a.jpg",[],10,{"id":705,"slug":706,"title":707,"dynasty":18,"author":156,"museum":20,"description":708,"tags":709,"thumbUrl":712,"material":324,"size":713,"collection":62,"collections":714,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":40},233775,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233775","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。",[24,49,50,227,52,123,710,27,56,57,7,711],"写意","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe59fcd12bb8e349f58148bff1682a02f.jpg","纵27厘米，横21.3厘米",[],9,{"id":717,"slug":718,"title":719,"dynasty":70,"author":71,"museum":72,"description":73,"tags":720,"thumbUrl":723,"material":86,"size":87,"collection":88,"collections":724,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":114},226067,"the-customs-house-1882-2-mo-nai-226067","The Customs House, 1882-2",[76,75,77,535,7,310,80,277,445,642,721,722,401],"户外场景","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddb366bf2b570f259a9218d6b7fbdd5.jpg",[88],{"id":726,"slug":727,"title":728,"dynasty":70,"author":71,"museum":72,"description":73,"tags":729,"thumbUrl":733,"material":86,"size":87,"collection":88,"collections":734,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":40},226028,"seaside-at-honfleur-1864-mo-nai-226028","Seaside at Honfleur, 1864",[76,75,390,730,7,57,280,731,283,83,732,27],"鹅卵石","灯塔","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb74a62f673c9d5290737718bc4d4b6.jpg",[88],{"id":736,"slug":737,"title":738,"dynasty":70,"author":71,"museum":72,"description":73,"tags":739,"thumbUrl":743,"material":86,"size":87,"collection":88,"collections":744,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":114},226014,"rocks-at-belle-ile-1886-mo-nai-226014","Rocks at Belle-ile, 1886",[75,76,740,216,7,572,283,665,460,741,641,742],"点彩","自然风光","岩石地貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c713360af4804f6d4e334dcce4a870.jpg",[88],{"id":746,"slug":747,"title":748,"dynasty":70,"author":71,"museum":72,"description":73,"tags":749,"thumbUrl":750,"material":86,"size":87,"collection":88,"collections":751,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":114},226006,"port-domois-1886-mo-nai-226006","Port-Domois, 1886",[50,76,75,570,722,7,572,666,652,460,641,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ecb494f4f6ecfdf596d79f06f7bee0.jpg",[88],{"id":753,"slug":754,"title":755,"dynasty":45,"author":756,"museum":757,"description":758,"tags":759,"thumbUrl":761,"material":160,"size":762,"collection":62,"collections":763,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":40},219066,"xiao-xiang-ba-jing-ce-5-zhang-fu-219066","潇湘八景册-5","张复","天津博物馆","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,52,29,122,7,103,141,143,53,56,760,31,57],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c50ead1d3939511b18b28649db1b2d4.jpg","30x33厘米",[],{"id":765,"slug":766,"title":767,"dynasty":70,"author":71,"museum":72,"description":73,"tags":768,"thumbUrl":774,"material":86,"size":87,"collection":88,"collections":775,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":114},226090,"the-pointe-de-la-he-ve-at-low-tide-1865-mo-nai-226090","The Pointe de La Hève at Low Tide, 1865",[75,76,77,769,390,82,7,283,216,770,771,27,676,772,81,83,732,446,773,666],"色彩捕捉","马车","马匹","木桩","湿滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3452ead06af6265c752436484a33985b.jpg",[88],{"id":777,"slug":778,"title":779,"dynasty":18,"author":119,"museum":20,"description":308,"tags":780,"thumbUrl":781,"material":148,"size":312,"collection":62,"collections":782,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},220286,"huang-shan-tu-ce-39-hong-ren-220286","黄山图册-39",[23,50,24,49,122,52,53,29,125,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c7d8f2fb5813ef5402c7d8210582ec.jpg",[],{"id":784,"slug":785,"title":786,"dynasty":18,"author":119,"museum":20,"description":308,"tags":787,"thumbUrl":788,"material":148,"size":312,"collection":62,"collections":789,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},220271,"huang-shan-tu-ce-52-hong-ren-220271","黄山图册-52",[23,24,49,122,52,53,29,125,103,145,7,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75bd465030a0cf75c99a75a5a20ef9db.jpg",[],{"id":791,"slug":792,"title":793,"dynasty":45,"author":794,"museum":795,"description":796,"tags":797,"thumbUrl":798,"material":160,"size":799,"collection":62,"collections":800,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},217870,"zhou-li-yuan-shang-kuan-shen-ce-ba-hu-yu-kun-217870","周栎园上款什册(八)","胡玉昆","大英博物馆","水墨晕染间，层崖峻壑如劈，皴笔勾勒出山石嶙峋肌理。虬松盘结岩隙，枝干苍劲似与山风低语。山间小径蜿蜒隐现，偶见屋舍点缀，添几分幽居之趣。左侧题跋笔墨流畅，诗韵与画境交融，字里行间流露对山水清净的向往。诗画相契，尽显文人雅士寄情林泉、心向归隐的淡泊襟怀。笔墨雅致与意境悠远交织，似能窥见雅士们于林泉间品茗赏景、诗画唱和的闲逸时光，令人沉醉于这份自然与心灵的双重归栖。",[24,49,122,52,53,218,29,56,57,103,7,436,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d3834a21679e7817ec440f3937cf26.jpg","24.7x32.3cm",[],{"id":802,"slug":803,"title":804,"dynasty":18,"author":805,"museum":250,"description":806,"tags":807,"thumbUrl":811,"material":160,"size":62,"collection":62,"collections":812,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},215027,"fang-gu-shan-shui-ce-4-wang-jian-215027","仿古山水册-4","王鉴","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。",[24,49,122,25,52,173,29,7,56,808,809,31,53,810],"水域","树林","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0393365bda3bc690fcdbd70ef24cce4c.jpg",[],{"id":814,"slug":815,"title":816,"dynasty":70,"author":817,"museum":72,"description":818,"tags":819,"thumbUrl":821,"material":86,"size":87,"collection":62,"collections":822,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":40},231739,"jiang-hu-shi-dai-qian-tang-guan-chao-tu-ping-feng-chi-da-ya-231739","江户时代 钱塘观潮图屏风","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。",[23,24,49,52,53,820,29,56,57,31,7,103],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8db9acb303c8ef84afdfe3579cf19e.jpg",[],7,{"id":825,"slug":826,"title":827,"dynasty":70,"author":71,"museum":72,"description":73,"tags":828,"thumbUrl":830,"material":86,"size":87,"collection":88,"collections":831,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":114},226066,"the-customs-house-1882-mo-nai-226066","The Customs House, 1882",[75,76,77,722,401,7,217,392,277,83,216,665,829],"红屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d927e85e5b3de05817043939c2f33bf.jpg",[88],{"id":833,"slug":834,"title":835,"dynasty":70,"author":71,"museum":72,"description":73,"tags":836,"thumbUrl":838,"material":86,"size":87,"collection":88,"collections":839,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":40},226036,"stormy-seascape-1883-mo-nai-226036","Stormy Seascape, 1883",[76,75,50,641,7,283,837,27],"暴风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb26baa629ef030f780ed19edcc59ad9.jpg",[88],{"id":841,"slug":842,"title":843,"dynasty":70,"author":71,"museum":72,"description":73,"tags":844,"thumbUrl":848,"material":86,"size":87,"collection":88,"collections":849,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":114},226018,"rough-sea-at-etretat-1868-1869-mo-nai-226018","Rough Sea at Etretat, 1868-1869",[76,75,845,80,283,7,81,846,603,847,77],"厚涂","人物群像","远船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055642d364c4ea2e671843e053b242ba.jpg",[88],{"id":851,"slug":852,"title":853,"dynasty":70,"author":71,"museum":72,"description":73,"tags":854,"thumbUrl":861,"material":86,"size":87,"collection":88,"collections":862,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":114},225992,"on-the-cliff-at-pourville-bright-weather-1882-mo-nai-225992","On the Cliff at Pourville, Bright Weather, 1882",[75,76,400,78,7,279,280,460,83,855,401,685,856,857,808,700,858,859,860],"户外风景","海岸景观","明亮天气","山坡植被","色彩融合","风景写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0824c37911c3c410cd4f9a4c0ecfb7c.jpg",[88],{"id":864,"slug":865,"title":866,"dynasty":70,"author":19,"museum":72,"description":867,"tags":868,"thumbUrl":871,"material":62,"size":62,"collection":62,"collections":872,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":40},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。",[869,870,25,29,188,106,31,7,57],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f8f059fd473dcde6fb951462b02bea8.jpg",[],{"id":874,"slug":875,"title":876,"dynasty":18,"author":119,"museum":877,"description":878,"tags":879,"thumbUrl":883,"material":62,"size":62,"collection":62,"collections":884,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":885},201610,"shan-shui-zhou-hong-ren-201610","山水轴","上海博物馆","画面构图疏朗旷远，悬崖峭壁之上，孤亭依枯树而立，清寂之韵扑面而来。笔墨以干笔淡墨见长，山石轮廓用刚劲线条勾勒，辅以简洁皴擦，质感坚凝；远处山峦淡墨晕染，层次空灵。平展水面无波，与远岫相映，更添空濛悠远之感。整体意境孤高淡远，既含自然真趣，亦藏画家遗世独立的心境，是新安画派清逸冷寂风格的典型呈现。",[24,29,470,53,7,880,296,881,882,18],"孤亭","远岫","平水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755e9940189622221b98592b190c93cf.jpg",[],"c7b496",{"id":887,"slug":888,"title":889,"dynasty":18,"author":890,"museum":72,"description":891,"tags":892,"thumbUrl":895,"material":86,"size":87,"collection":62,"collections":896,"showCount":897,"zanCount":11,"manualWeight":11,"mainColor":40},237486,"shan-shui-tu-ce-yao-song-237486","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。",[24,49,122,893,52,53,29,204,56,102,894,7,103],"草书","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2736daa6a5070b4358b8996e1e8055c.jpg",[],6,{"id":899,"slug":900,"title":901,"dynasty":70,"author":71,"museum":72,"description":73,"tags":902,"thumbUrl":903,"material":86,"size":87,"collection":88,"collections":904,"showCount":897,"zanCount":11,"manualWeight":11,"mainColor":40},226037,"stormy-weather-at-e-tretat-1883-mo-nai-226037","Stormy Weather at étretat, 1883",[76,75,837,7,283,665,27,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b34dd87f18920cf43959289581472c.jpg",[88],{"id":906,"slug":907,"title":908,"dynasty":18,"author":909,"museum":72,"description":910,"tags":911,"thumbUrl":912,"material":62,"size":62,"collection":62,"collections":913,"showCount":914,"zanCount":11,"manualWeight":11,"mainColor":40},239362,"shan-shui-ce-wang-san-xi-239362","山水册","王三锡","此作取景分两重溪山，上部峡谷溪流宛转，矶渚错落排布，淡墨晕染山石，线条松秀灵动，间杂几株清瘦林木，幽寂空阔之意扑面而来。下半段以险峻崖嶂为主体，双松虬曲扎根危石，古拙苍劲，姿态奇崛。下方汀岸平缓，茅舍隐现一角，与上部深远山水形成疏密对照。\n\n全作用浅绛淡设色，笔墨简淡秀雅，意境清远冷寂，尽显文人画萧散淡远之致，将江南溪山的清旷之美，以极简笔墨勾勒晕染，淡而不薄，简中见雅，寄寓着画者林泉高致的隐逸襟怀。",[24,52,53,122,29,7,57,676,437,479,104,125,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85d082822abb6054ae8bb023d4baaba3.jpg",[],5,{"id":916,"slug":917,"title":918,"dynasty":70,"author":919,"museum":72,"description":920,"tags":921,"thumbUrl":924,"material":86,"size":87,"collection":62,"collections":925,"showCount":914,"zanCount":11,"manualWeight":11,"mainColor":40},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段","谷文晁","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,25,29,140,922,923,216,57,83,700,81,238,7,445,103,460,446,27,53],"海","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":927,"slug":928,"title":908,"dynasty":18,"author":909,"museum":72,"description":929,"tags":930,"thumbUrl":931,"material":86,"size":87,"collection":62,"collections":932,"showCount":933,"zanCount":11,"manualWeight":11,"mainColor":40},239366,"shan-shui-ce-wang-san-xi-239366","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[50,24,49,122,52,53,29,188,204,7,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a43366824ee0218286cb020d6ec8a.jpg",[],4,{"id":935,"slug":936,"title":937,"dynasty":70,"author":71,"museum":72,"description":73,"tags":938,"thumbUrl":941,"material":86,"size":87,"collection":88,"collections":942,"showCount":933,"zanCount":11,"manualWeight":11,"mainColor":40},225991,"on-the-cliff-at-pourville-1882-mo-nai-225991","On the Cliff at Pourville, 1882",[50,75,76,400,859,79,7,390,687,216,939,83,445,940,572,689],"苔藓","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd5caab6c9a2e9966804884f6e8426.jpg",[88],{"id":944,"slug":945,"title":946,"dynasty":45,"author":947,"museum":72,"description":948,"tags":949,"thumbUrl":952,"material":62,"size":62,"collection":62,"collections":953,"showCount":933,"zanCount":11,"manualWeight":11,"mainColor":40},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","萧云从 王士祯","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[24,49,122,52,25,53,218,124,29,27,105,125,7,216,57,950,238,951],"枝干","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":955,"slug":956,"title":957,"dynasty":18,"author":958,"museum":72,"description":959,"tags":960,"thumbUrl":962,"material":62,"size":62,"collection":62,"collections":963,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":40},236513,"sun-shan-shui-ce-wang-ji-236513","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。",[24,52,53,122,29,101,57,310,106,143,961,7,58,216],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc410be49906f71475b7f2831a4d22d.jpg",[],3,{"id":966,"slug":967,"title":968,"dynasty":70,"author":19,"museum":72,"description":969,"tags":970,"thumbUrl":971,"material":62,"size":62,"collection":62,"collections":972,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":40},225342,"fu-shi-hui-95-yi-ming-225342","浮世绘95","崖边席地的旅人正静聆飞瀑，青绿苔岫晕染出山林苍润的生机。山泉自洞窟水潭奔涌直下，规整竖线摹写出水流奔淌的沉凝力量，上方涡旋水纹蓝白交错，和飞瀑的直挺线条形成动静呼应。暖黄与浅柔草色铺陈山野，衬得幽蓝水色愈发清冽深邃。\n\n画面将山林幽寂的禅意融于雅致配色，把耽于林泉的闲雅心境具象化，空灵静美的韵致里，似能听见瀑声回荡空谷，将自然野趣与文人幽怀晕染在纸面之中。",[869,870,25,101,7,27,57,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F024f0b69b72d40a1727f1dcd80154460.jpg",[],{"id":974,"slug":975,"title":976,"dynasty":45,"author":977,"museum":877,"description":978,"tags":979,"thumbUrl":985,"material":62,"size":62,"collection":112,"collections":986,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":987},201476,"xing-hua-xian-guan-tu-zhou-tang-yin-201476","杏花仙馆图轴","唐寅","苍崖壁立如削，古松盘曲于岩间，枝干虬劲，松针若簇。溪流穿石而过，潺潺有声，近岸茅舍几间，隐于林木。笔墨兼工带写，山石勾勒简练，皴染相济，显嶙峋之态；松枝用笔细劲，墨色浓淡相宜。小径上二人对语，情态悠然，衬出山林的清寂雅逸。画面融院体之精谨与文人之洒脱，意境淡远，尽显山水间寄寓的超脱情怀。",[980,981,53,29,982,983,58,7,27,51,984,23],"文人画","兼工带写","古松","茅舍","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7c06352007ce7d383be6e8cec1bc79.jpg",[112],"85654b",{"id":989,"slug":990,"title":908,"dynasty":18,"author":991,"museum":72,"description":992,"tags":993,"thumbUrl":994,"material":62,"size":62,"collection":62,"collections":995,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":40},234342,"shan-shui-ce-jin-ting-biao-234342","金廷标","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。",[24,52,53,122,29,101,103,174,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0296a6485e76af46213abb7f1b76cce.jpg",[],{"id":997,"slug":998,"title":999,"dynasty":18,"author":1000,"museum":20,"description":1001,"tags":1002,"thumbUrl":1003,"material":324,"size":1004,"collection":62,"collections":1005,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":40},233436,"huang-shan-tu-ce-mei-qing-233436","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。",[24,52,29,122,53,710,174,31,189,56,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf5057451075fc3f6e26ecdc2281993.jpg","纵26厘米，横33厘米",[],{"id":1007,"slug":1008,"title":1009,"dynasty":45,"author":1010,"museum":877,"description":1011,"tags":1012,"thumbUrl":1015,"material":62,"size":62,"collection":62,"collections":1016,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":1017},201446,"song-jian-xuan-ya-tu-zhou-xiang-yuan-bian-201446","松涧悬崖图轴","项元汴","这幅画以水墨绘就山水景致，悬崖峭壁以简练线条勾勒，复施皴法表现山石肌理，厚重质感尽显。涧水蜿蜒穿流，虽无色彩却似闻声。近处枯树枝干疏朗，与苍松相映成趣，添得清寂之韵。笔墨层次丰富，浓淡干湿交织，既摹自然之态，又含文人雅意。画面意境悠远，松风涧鸣仿佛可闻，尽显山水灵秀与静谧。",[24,52,29,53,630,1013,7,56,296,51,1014],"涧","印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26e715b0428d3456e5ce9717cf7c2095.jpg",[],"a49a90",{"id":1019,"slug":1020,"title":908,"dynasty":18,"author":1021,"museum":72,"description":1022,"tags":1023,"thumbUrl":1024,"material":62,"size":62,"collection":62,"collections":1025,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":40},235376,"shan-shui-ce-mei-geng-235376","梅庚","此作书画合璧，以淡墨晕染危崖孤峙，石骨瘦硬嶙峋，崖畔疏草轻曳，两位高士凭栏远眺，山岫以浅墨虚淡晕开，渺远朦胧。笔意洗练简淡，尽得山水荒萧清远之致。\n\n题跋行书苍劲舒朗，文辞描摹山境奇崛诡怪，与画面逸趣互为呼应，将山川奇崛之态与林下幽怀相融，尽显静穆萧散的文人意韵，极简笔墨勾勒出超尘绝俗的世外之境，余韵悠长。",[24,49,122,52,53,29,125,7,27,218,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec20673a8b6ba474bec2f109530873d9.jpg",[],{"id":1027,"slug":1028,"title":999,"dynasty":18,"author":1029,"museum":20,"description":1030,"tags":1031,"thumbUrl":1032,"material":324,"size":62,"collection":62,"collections":1033,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":40},234729,"huang-shan-tu-ce-jiang-zhu-234729","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。",[24,49,122,52,29,53,123,124,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c687d4e72fdc696dc6f7e84406df87.jpg",[],{"id":1035,"slug":1036,"title":1037,"dynasty":70,"author":1038,"museum":72,"description":1039,"tags":1040,"thumbUrl":1043,"material":86,"size":87,"collection":62,"collections":1044,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":114},231991,"de-jia-7-de-jia-231991","德加7","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[76,75,1041,145,7,392,83,277,25,1042,401,643],"粉彩","风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e201ee0601505c5858958149138c11e.jpg",[],{"id":1046,"slug":1047,"title":1048,"dynasty":70,"author":1049,"museum":72,"description":1050,"tags":1051,"thumbUrl":1054,"material":86,"size":87,"collection":62,"collections":1055,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":114},230629,"rembrandt-harmensz-van-rijn-0263-lun-bo-lang-230629","Rembrandt Harmensz.van Rijn - 0263","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van 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。",[76,1052,499,676,27,7,57,83,1053,570],"风车","渔事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82886b0f1a72b64b8ec5f51cdf1632c7.jpg",[],{"id":1057,"slug":1058,"title":1059,"dynasty":45,"author":1060,"museum":72,"description":1061,"tags":1062,"thumbUrl":1065,"material":148,"size":62,"collection":62,"collections":1066,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":352},217173,"shui-hu-quan-tu-21-du-jin-217173","水浒全图-21","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。",[24,49,1063,27,29,1064,7,57,56],"白描","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff228b8784caf3abf62f49177d61835e1.jpg",[],{"id":1068,"slug":1069,"title":1070,"dynasty":18,"author":19,"museum":72,"description":1071,"tags":1072,"thumbUrl":1073,"material":241,"size":62,"collection":62,"collections":1074,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},215586,"tian-xia-ming-shan-tu-37-yi-ming-215586","天下名山图-37","画面以危崖为轴，一侧平远湖山如展卷，烟波轻笼岸树，远山层叠成淡墨剪影；一侧崖壁如削，线条勾勒出嶙峋肌理，皴擦间见山石苍劲。崖巅数人衣袂轻扬，凭栏望断湖山，似与风语，又或沉醉于天地清旷。笔墨古雅，以线塑形，墨色深浅晕染出山水层次，将文人寄情丘壑的闲逸与山水壮阔融于尺幅。每一笔藏着旧时光的温润，每处留白盛着悠远意境，尽显古典山水的雅致与深远，仿佛踏入画中，同赏这名山胜景里的岁月清欢。",[24,49,1063,53,29,27,57,7,143,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c377219a7cbda13df694934a0c1b75.jpg",[],1777535705052]