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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。",[23,24,25,26,27,28,29,30,31,7,32,33],"高清","国画","书画","长卷","水墨","皴法","山水","山石","树木","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纸本,设色","纵29.7厘米，横104.6厘米","山水画精选",[37,39],"设色画精选",675,4,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":60,"material":61,"size":62,"collection":37,"collections":63,"showCount":64,"zanCount":65,"manualWeight":11,"mainColor":42},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","唐","王维","藏地不详","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,52,24,26,53,29,54,55,56,57,30,58,31,7,59],"名画","设色","雪","枯树","飞鸟","孤舟","河流","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg","绢本,设色","",[37],519,8,{"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":91,"manualWeight":11,"mainColor":42},219426,"xue-jing-tu-guo-xi-219426","雪景图","宋","郭熙","台北故宫博物院","画中主景偏右半边，雪锋层叠，陡壑悬瀑，作高远景致，其间布列茅舍、溪桥、楼阁、瀑泉、林木等。左半边则绘溪涧蜿蜒，沙渚渔舟，遥山旷渺，作平远景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[24,75,7,76,77,78,79,80,81,82,83,84,28],"山水画","茅舍","溪桥","楼阁","瀑泉","林木","溪涧","渔舟","远山","沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","设色,绢本","194.3x111.1","宋画精选",[88],484,2,{"id":93,"slug":94,"title":95,"dynasty":70,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":104,"material":61,"size":105,"collection":106,"collections":107,"showCount":108,"zanCount":109,"manualWeight":11,"mainColor":42},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","辽宁省博物馆","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[23,52,24,25,26,27,28,55,100,56,101,7,29,102,33,103,32],"老树","寒鸦","孤石","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米","花鸟画精选",[106],385,3,{"id":111,"slug":112,"title":113,"dynasty":70,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":123,"material":61,"size":124,"collection":88,"collections":125,"showCount":126,"zanCount":127,"manualWeight":11,"mainColor":42},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽","大英博物馆","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,52,24,25,26,29,7,28,27,53,118,119,120,55,121,54,122],"山","石","树","松树","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[88,37],315,1,{"id":129,"slug":130,"title":113,"dynasty":70,"author":131,"museum":132,"description":133,"tags":134,"thumbUrl":137,"material":35,"size":62,"collection":37,"collections":138,"showCount":139,"zanCount":41,"manualWeight":11,"mainColor":140},217118,"xue-jing-shan-shui-tu-yi-ming-217118","佚名","私人收藏","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,24,25,52,135,27,28,29,7,121,118,136],"宋代","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[37],228,"BDBDBD",{"id":142,"slug":143,"title":144,"dynasty":70,"author":145,"museum":72,"description":146,"tags":147,"thumbUrl":154,"material":61,"size":155,"collection":88,"collections":156,"showCount":157,"zanCount":158,"manualWeight":11,"mainColor":140},219214,"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[23,24,25,148,53,149,150,7,151,152,153],"扇面","工笔","花鸟","寒禽","枝叶","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[88,106],226,5,{"id":160,"slug":161,"title":162,"dynasty":163,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":170,"material":61,"size":171,"collection":62,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":42},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2","清","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,25,29,53,149,28,30,55,168,78,7,31,169],"亭","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg","纵54厘米，横129.5厘米",[],183,{"id":175,"slug":176,"title":177,"dynasty":163,"author":178,"museum":49,"description":179,"tags":180,"thumbUrl":190,"material":191,"size":192,"collection":62,"collections":193,"showCount":194,"zanCount":91,"manualWeight":11,"mainColor":42},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,181,53,149,182,183,78,184,185,121,186,7,187,188,189],"立轴","界画","人物","庭院","雪山","梅","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg","未知","Xcm*Xcm",[],171,{"id":196,"slug":197,"title":198,"dynasty":18,"author":19,"museum":199,"description":200,"tags":201,"thumbUrl":207,"material":35,"size":208,"collection":37,"collections":209,"showCount":194,"zanCount":127,"manualWeight":11,"mainColor":42},218258,"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[24,52,25,27,28,29,30,57,31,78,55,7,202,203,204,205,83,206],"崖壁","屋舍","溪流","寒林","层岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[37],{"id":211,"slug":212,"title":113,"dynasty":213,"author":214,"museum":215,"description":216,"tags":217,"thumbUrl":219,"material":61,"size":220,"collection":37,"collections":221,"showCount":222,"zanCount":127,"manualWeight":11,"mainColor":42},218624,"xue-jing-shan-shui-tu-jing-hao-218624","五代十国","荆浩","美国纳尔逊阿特金斯艺术博物馆","荆浩专注于真山真水，善于画北方的雄伟山河，在艺术上有所创造和突破。他曾说：吴道子有笔无墨，向荣有墨无笔，我应取二子之长，成一家之体。同时，荆浩也很好地运用了章法，在为自己的画作营造意境方面有独特的天赋。这幅画是一个站立的山形构图，以游动的人物为点缀，山形弯曲，色彩浓重，画上刻有小字 红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[24,29,28,27,7,118,218,55,31],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[37],169,{"id":224,"slug":225,"title":226,"dynasty":70,"author":227,"museum":228,"description":229,"tags":230,"thumbUrl":236,"material":61,"size":237,"collection":37,"collections":238,"showCount":239,"zanCount":127,"manualWeight":11,"mainColor":42},218237,"xue-ji-guan-mei-tu-ma-yuan-218237","雪屐观梅图","马远","上海博物馆","马远，号钦山。其祖父、伯父、父亲、兄弟均为南宋画院画家。他对花鸟、山水、人物都很擅长，尤以山水画的成就最为突出。在光宗、宁宗年间，他任画院待诏。学李唐，画山石用大斧劈皴，并创长斧劈皴，用笔凝重。构图上，一变五代、北宋以来的“全景式”，喜欢采用边角式的构图，或峭峰直上不见顶，或绝壁直下不显脚，人称“马一角”。《雪屐观梅图》画面的重心在左下角，水滩、苍松、老梅与人物集中与此。远处雪山只是以大斧劈皴刷扫，干净利落，与近处的巨石遥相呼应。",[24,52,75,231,232,7,233,186,183,234,235],"大斧劈皴","边角构图","苍松","巨石","水滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3179ad18bc15bc6742fc5df6ed494cdd.jpg","纵16.3 厘米，横100.9厘米",[37],154,{"id":241,"slug":242,"title":243,"dynasty":18,"author":19,"museum":20,"description":244,"tags":245,"thumbUrl":247,"material":248,"size":249,"collection":37,"collections":250,"showCount":252,"zanCount":127,"manualWeight":11,"mainColor":42},220763,"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[23,24,29,27,28,181,246,54,58,218,55,203,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纸本，墨笔","纵117厘米，横55.5厘米",[37,251],"水墨画精选",143,{"id":254,"slug":255,"title":69,"dynasty":70,"author":227,"museum":72,"description":256,"tags":257,"thumbUrl":259,"material":27,"size":260,"collection":251,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":42},219305,"xue-jing-tu-ma-yuan-219305","寒江凝碧，积雪封峦。斧劈皴笔力劲挺，岩骨嶙峋间覆雪如素缟，勾勒出山川冷峻骨相。山间屋舍隐于松竹，窗棂似映暖光，与屋外冰清玉洁相映成趣。枯树虬枝盘结，苍松傲立雪中，墨色浓淡间藏生机。远处小径偶有人影，江畔一舟独泊，孤影横斜，更添天地清寂。边角取景拓深意境，雪景素净与笔墨苍劲交融，绘尽寒冬凛冽，又藏文人幽居雅韵，冷寂中透着温润生机，尽显山水之魂。",[24,25,27,28,181,29,7,169,31,218,57,55,83,258],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc179aedb48ce076562be32fe7e077397.jpg","163.3x82.4厘米",[251],142,{"id":264,"slug":265,"title":266,"dynasty":163,"author":267,"museum":49,"description":268,"tags":269,"thumbUrl":275,"material":276,"size":277,"collection":37,"collections":278,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":140},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,270,27,53,29,55,57,271,272,7,30,273,33,274],"册","小桥","流水","茅屋","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","设色,纸本","30.5×21.5",[37],136,{"id":281,"slug":282,"title":283,"dynasty":47,"author":131,"museum":72,"description":284,"tags":285,"thumbUrl":287,"material":61,"size":288,"collection":37,"collections":289,"showCount":290,"zanCount":91,"manualWeight":11,"mainColor":42},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[23,24,181,53,29,28,7,118,55,169,30,286],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[37,39],119,{"id":292,"slug":293,"title":294,"dynasty":70,"author":114,"museum":49,"description":295,"tags":296,"thumbUrl":300,"material":301,"size":192,"collection":62,"collections":302,"showCount":303,"zanCount":11,"manualWeight":11,"mainColor":304},287541,"xue-jing-han-lin-tu-fan-kuan-287541","雪景寒林图","描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[52,24,75,27,28,7,185,205,78,58,297,298,299],"积雪","萧寒","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a0f8e8b9289ba14fc9ba90349f1b9a.jpg","绢本",[],118,"37474F",{"id":306,"slug":307,"title":308,"dynasty":70,"author":227,"museum":72,"description":309,"tags":310,"thumbUrl":313,"material":314,"size":315,"collection":88,"collections":316,"showCount":303,"zanCount":91,"manualWeight":11,"mainColor":42},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 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。",[23,24,52,25,27,53,28,183,311,185,55,30,312,7],"驴","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[88,37,251],{"id":318,"slug":319,"title":320,"dynasty":70,"author":321,"museum":72,"description":322,"tags":323,"thumbUrl":326,"material":53,"size":327,"collection":88,"collections":328,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":140},221227,"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","赵令穰","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[23,52,24,26,27,53,29,7,55,324,30,59,28,286,325],"竹子","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[88,37,251],115,{"id":331,"slug":332,"title":333,"dynasty":334,"author":335,"museum":20,"description":336,"tags":337,"thumbUrl":339,"material":340,"size":341,"collection":37,"collections":342,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":140},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","明","董其昌","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\u2028　　画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,24,29,27,28,274,103,32,33,118,120,121,273,338,218,7],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纸本,水墨","纵101.7厘米，横46.7厘米",[37,251],{"id":344,"slug":345,"title":113,"dynasty":70,"author":71,"museum":72,"description":346,"tags":347,"thumbUrl":349,"material":350,"size":351,"collection":88,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":42},288542,"xue-jing-shan-shui-tu-guo-xi-288542","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[23,52,24,29,27,7,271,272,57,78,55,30,348,28],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","绢本,水墨","87.7x150.9",[88],108,{"id":355,"slug":356,"title":357,"dynasty":70,"author":227,"museum":72,"description":358,"tags":359,"thumbUrl":363,"material":53,"size":364,"collection":88,"collections":365,"showCount":366,"zanCount":11,"manualWeight":11,"mainColor":42},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,25,181,149,28,53,29,7,168,360,361,183,271,362,102],"松","马","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[88,37,39],106,{"id":368,"slug":369,"title":370,"dynasty":47,"author":371,"museum":132,"description":372,"tags":373,"thumbUrl":375,"material":301,"size":376,"collection":37,"collections":377,"showCount":378,"zanCount":11,"manualWeight":11,"mainColor":42},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","李思训","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 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徵明。",[23,24,25,181,27,28,274,29,7,30,31,362,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg","白纸本",[37,39],70,{"id":568,"slug":569,"title":570,"dynasty":70,"author":227,"museum":72,"description":571,"tags":572,"thumbUrl":576,"material":301,"size":577,"collection":88,"collections":578,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":42},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","雪滩双鹭图","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,24,25,52,27,28,573,7,574,575,55,218],"留白","滩涂","鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg","纵60厘米，横38厘米",[88,106,39],{"id":580,"slug":581,"title":582,"dynasty":18,"author":583,"museum":72,"description":584,"tags":585,"thumbUrl":586,"material":61,"size":587,"collection":588,"collections":589,"showCount":566,"zanCount":127,"manualWeight":11,"mainColor":304},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","盛懋","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[24,25,52,181,29,183,7,31,30,28,27,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8","人物画精选",[588],{"id":591,"slug":592,"title":113,"dynasty":70,"author":593,"museum":594,"description":595,"tags":596,"thumbUrl":599,"material":301,"size":600,"collection":62,"collections":601,"showCount":602,"zanCount":127,"manualWeight":11,"mainColor":42},221615,"xue-jing-shan-shui-tu-liang-kai-221615","梁楷","日本京都国立博物馆","图中描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。水边两棵老树，其虬曲的枝干和稀疏的树叶，是以细致的笔法刻画出来的。画山石，仿北宋范宽的笔法，以簇点画密林；而山体皴笔甚少，在以淡墨渲染的天空的映衬下，给人以白雪皑皑之感。整个画面呈现出荒凉萧瑟的氛围。在画幅左下角寒溪边缘有“梁楷”的落款。此图不失为南宋院体山水画的经典之作。",[23,24,52,29,7,183,311,100,597,30,27,28,149,598],"寒溪","荒凉萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb6676a5452362239059e95da23644d.jpg","111.3cmx49.7cm",[],69,{"id":604,"slug":605,"title":606,"dynasty":70,"author":607,"museum":49,"description":608,"tags":609,"thumbUrl":610,"material":191,"size":192,"collection":62,"collections":611,"showCount":612,"zanCount":11,"manualWeight":11,"mainColor":42},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","赵佶","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[23,52,24,26,75,7,122,58,57,55,78,56,27,53,103,33,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],68,{"id":614,"slug":615,"title":616,"dynasty":70,"author":617,"museum":20,"description":618,"tags":619,"thumbUrl":623,"material":61,"size":624,"collection":625,"collections":626,"showCount":612,"zanCount":11,"manualWeight":11,"mainColor":140},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,52,24,25,26,32,103,27,29,57,7,620,621,622],"江","岸","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm","书法精选",[625],{"id":628,"slug":629,"title":630,"dynasty":18,"author":131,"museum":72,"description":631,"tags":632,"thumbUrl":634,"material":86,"size":62,"collection":37,"collections":635,"showCount":612,"zanCount":11,"manualWeight":11,"mainColor":304},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,24,75,274,28,53,7,30,55,272,169,83,633,121,204,205],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg",[37],{"id":637,"slug":638,"title":639,"dynasty":47,"author":48,"museum":49,"description":640,"tags":641,"thumbUrl":642,"material":191,"size":192,"collection":62,"collections":643,"showCount":644,"zanCount":11,"manualWeight":11,"mainColor":42},289895,"dong-xue-shan-jing-tu-wang-wei-289895","冬雪山景图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[24,75,27,7,185,55,30,513,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc6f6f348624fd227878f784726002c9.jpg",[],64,{"id":646,"slug":647,"title":113,"dynasty":18,"author":648,"museum":649,"description":650,"tags":651,"thumbUrl":653,"material":61,"size":62,"collection":37,"collections":654,"showCount":644,"zanCount":127,"manualWeight":11,"mainColor":304},218251,"xue-jing-shan-shui-tu-sun-jun-ze-218251","孙君泽","日本东京国立博物馆","寒枝疏瘦，柳条如丝绦般摇曳于雪色间。远山覆雪，皴笔淡染出苍茫寒意；近景暖阁内人影依稀，似有围炉清谈之趣。画面融南宋院体的精工与元人山水的空灵，留白处见雪意，线条间藏生机。萧寒天地中，暖阁的烟火气与远山的静谧相映成趣，于素净笔墨间，寻得一份静谧温情，尽显冬日山水的清旷之美。",[24,75,181,27,53,28,7,29,168,652,30,183,297,31],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[37],{"id":656,"slug":657,"title":658,"dynasty":334,"author":659,"museum":72,"description":660,"tags":661,"thumbUrl":662,"material":663,"size":664,"collection":37,"collections":665,"showCount":666,"zanCount":11,"manualWeight":11,"mainColor":42},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 简秀润，韩昴在《图绘宝鉴续纂》中说他：“画从黄子久（即黄公望），入门而醒悟。”中年自立门庭，上窥晋、唐、两宋，遍摹元代诸家笔法，集取优长,由此入门，始能各极变化。不但取法郭熙、李唐及马、夏，而且对二米、云山也精心研究过。对黄公望的画悉心尤力。当代前辈沈周的画也热心师效。加之漫游南北涉猎既广，眼界自宽，故落笔纵横奇古，风格秀润。他的画风是从多方面变代出来的。晚年作品渐趋苍劲疏宕。画风又有多种面貌，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。晚年他的笔法益苍劲，颇类沈周。他兼工人物、花鸟、兰竹、俱得古人三昧。他虽力追古法，但能融会贯通，自成风范，对以后的明末清初绘画影响很大。",[23,24,53,182,29,78,57,55,30,272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F186dde280fbc8429c16567c2833ffe8a.jpg","绫本","27×38",[37,39],63,{"id":668,"slug":669,"title":670,"dynasty":70,"author":71,"museum":72,"description":671,"tags":672,"thumbUrl":677,"material":61,"size":678,"collection":88,"collections":679,"showCount":666,"zanCount":11,"manualWeight":11,"mainColor":304},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,52,25,181,27,53,28,29,7,31,30,673,674,675,676],"桥梁","船只","亭台","流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[88,37,251],{"id":681,"slug":682,"title":683,"dynasty":213,"author":684,"museum":49,"description":685,"tags":686,"thumbUrl":688,"material":191,"size":192,"collection":62,"collections":689,"showCount":690,"zanCount":127,"manualWeight":11,"mainColor":42},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,52,24,26,53,75,552,57,523,55,501,7,687,183,513],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],62,{"id":692,"slug":693,"title":113,"dynasty":163,"author":694,"museum":132,"description":695,"tags":696,"thumbUrl":698,"material":61,"size":699,"collection":37,"collections":700,"showCount":690,"zanCount":11,"manualWeight":11,"mainColor":42},217880,"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,25,29,53,28,7,118,54,271,55,697],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[37],{"id":702,"slug":703,"title":704,"dynasty":70,"author":705,"museum":49,"description":706,"tags":707,"thumbUrl":710,"material":191,"size":192,"collection":62,"collections":711,"showCount":712,"zanCount":11,"manualWeight":11,"mainColor":42},288839,"xi-shan-xing-lv-tu-zhu-rui-288839","溪山行旅图","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。",[24,75,27,28,55,30,272,708,512,183,446,7,709],"古道","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea03f9828d4df9b53dc2f163cd69a4a0.jpg",[],61,{"id":714,"slug":715,"title":716,"dynasty":163,"author":717,"museum":49,"description":718,"tags":719,"thumbUrl":724,"material":62,"size":62,"collection":62,"collections":725,"showCount":712,"zanCount":11,"manualWeight":11,"mainColor":140},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","袁江","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,52,24,25,182,149,53,29,78,7,720,31,325,184,30,721,722,297,205,675,723],"桥","长廊","古建","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":727,"slug":728,"title":606,"dynasty":70,"author":131,"museum":228,"description":729,"tags":730,"thumbUrl":731,"material":61,"size":732,"collection":37,"collections":733,"showCount":712,"zanCount":11,"manualWeight":11,"mainColor":42},218587,"xue-jiang-gui-zhao-tu-yi-ming-218587","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[23,24,25,27,29,57,122,31,169,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[37],{"id":735,"slug":736,"title":737,"dynasty":213,"author":738,"museum":49,"description":739,"tags":740,"thumbUrl":742,"material":191,"size":192,"collection":62,"collections":743,"showCount":744,"zanCount":11,"manualWeight":11,"mainColor":42},289926,"xue-tu-ju-ran-289926","雪图","巨然","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[23,52,24,25,29,181,27,28,185,741,78,7,33],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],59,{"id":746,"slug":747,"title":357,"dynasty":18,"author":583,"museum":72,"description":748,"tags":749,"thumbUrl":751,"material":564,"size":752,"collection":37,"collections":753,"showCount":744,"zanCount":127,"manualWeight":11,"mainColor":140},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,52,24,25,181,27,53,28,29,7,205,31,169,76,58,338,30,286,750],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[37,251],{"id":755,"slug":756,"title":757,"dynasty":163,"author":131,"museum":20,"description":758,"tags":759,"thumbUrl":764,"material":62,"size":765,"collection":62,"collections":766,"showCount":767,"zanCount":11,"manualWeight":11,"mainColor":140},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,53,149,182,181,29,183,78,168,31,7,184,760,761,30,325,297,762,763],"石阶","栏杆","行乐","宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],58,{"id":769,"slug":770,"title":771,"dynasty":70,"author":772,"museum":72,"description":773,"tags":774,"thumbUrl":778,"material":350,"size":779,"collection":88,"collections":780,"showCount":781,"zanCount":11,"manualWeight":11,"mainColor":304},289867,"xue-xi-yu-fu-tu-xu-dao-ning-289867","雪溪渔父图","许道宁","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[24,75,27,28,7,29,55,205,775,776,102,687,777],"渔舍","溪岸","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[88],57,{"id":783,"slug":784,"title":785,"dynasty":70,"author":71,"museum":72,"description":346,"tags":786,"thumbUrl":787,"material":301,"size":192,"collection":62,"collections":788,"showCount":781,"zanCount":11,"manualWeight":11,"mainColor":42},288831,"han-lin-tu-guo-xi-288831","寒林图",[23,24,27,75,55,205,7,28,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f730e4c4ef38aba763543541f0e5e17.jpg",[],{"id":790,"slug":791,"title":792,"dynasty":163,"author":131,"museum":20,"description":793,"tags":794,"thumbUrl":798,"material":799,"size":800,"collection":588,"collections":801,"showCount":781,"zanCount":127,"manualWeight":11,"mainColor":42},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[52,24,25,182,53,183,78,795,7,796,797],"宫殿","大象","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","绢本，设色","纵299cm，横207cm",[588,39],{"id":803,"slug":804,"title":805,"dynasty":70,"author":806,"museum":49,"description":807,"tags":808,"thumbUrl":811,"material":191,"size":192,"collection":62,"collections":812,"showCount":813,"zanCount":11,"manualWeight":11,"mainColor":42},288243,"xue-tang-ke-hua-tu-xia-gui-288243","雪堂客话图","夏圭","此图描绘江南雪景，笔法苍劲浑厚，山石多用小斧劈破和短线条秃笔直破，从而取得了方硬奇峭，水墨苍润的艺术效果。",[23,52,24,27,75,7,57,169,55,205,58,28,809,810],"冬日","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd807fa2735ecdebe9ea2f7cddcb2e2.jpg",[],56,{"id":815,"slug":816,"title":817,"dynasty":70,"author":227,"museum":132,"description":818,"tags":819,"thumbUrl":822,"material":61,"size":823,"collection":62,"collections":824,"showCount":813,"zanCount":11,"manualWeight":11,"mainColor":140},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,24,25,270,53,29,28,121,820,7,83,821,33,103],"小屋","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg","纵28厘米、横27厘米",[],{"id":826,"slug":827,"title":828,"dynasty":70,"author":96,"museum":49,"description":829,"tags":830,"thumbUrl":832,"material":191,"size":192,"collection":62,"collections":833,"showCount":834,"zanCount":11,"manualWeight":11,"mainColor":42},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图","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。",[52,24,25,181,27,75,28,7,185,831,55,169,272,205],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg",[],55,{"id":836,"slug":837,"title":838,"dynasty":163,"author":267,"museum":72,"description":839,"tags":840,"thumbUrl":841,"material":301,"size":842,"collection":37,"collections":843,"showCount":834,"zanCount":11,"manualWeight":11,"mainColor":42},224464,"lin-fan-kuan-xue-shan-tu-zhou-wang-hui-224464","临范宽雪山图轴","山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[23,24,75,274,28,27,53,185,30,55,203,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 118.3公分",[37,251],{"id":845,"slug":846,"title":847,"dynasty":334,"author":659,"museum":115,"description":848,"tags":849,"thumbUrl":851,"material":61,"size":852,"collection":37,"collections":853,"showCount":854,"zanCount":11,"manualWeight":11,"mainColor":42},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","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",[23,24,25,29,53,28,54,204,57,850,31,30,273,7,122],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[37],53,{"id":856,"slug":857,"title":858,"dynasty":70,"author":859,"museum":72,"description":860,"tags":861,"thumbUrl":862,"material":61,"size":863,"collection":37,"collections":864,"showCount":854,"zanCount":11,"manualWeight":11,"mainColor":140},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","燕文贵","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,52,24,25,148,27,53,28,29,272,57,297,31,7,204,205,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[37,88],{"id":866,"slug":867,"title":868,"dynasty":334,"author":869,"museum":429,"description":870,"tags":871,"thumbUrl":873,"material":35,"size":874,"collection":37,"collections":875,"showCount":854,"zanCount":127,"manualWeight":11,"mainColor":140},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,25,181,27,28,29,100,872,271,272,361,183,30,31,33,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[37],{"id":877,"slug":878,"title":879,"dynasty":47,"author":48,"museum":49,"description":640,"tags":880,"thumbUrl":881,"material":191,"size":192,"collection":62,"collections":882,"showCount":883,"zanCount":11,"manualWeight":11,"mainColor":42},290239,"wan-shan-ji-xue-tu-wang-wei-290239","万山积雪图",[23,52,24,26,29,7,185,272,31,168,28,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f5c4fab22ae5e6ea7f75c69dcfa56.jpg",[],52,{"id":885,"slug":886,"title":69,"dynasty":70,"author":131,"museum":72,"description":887,"tags":888,"thumbUrl":889,"material":61,"size":890,"collection":37,"collections":891,"showCount":883,"zanCount":11,"manualWeight":11,"mainColor":140},218807,"xue-jing-tu-yi-ming-218807","这幅画完全以郭熙为原型，是一幅平坦而高大的雪山图。笔法高超，渲染细腻，与唐棣、朱德润不同，与同集的《岷山晴雪》的笔法或晋代的笔法相似。",[23,24,25,29,27,53,28,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44eed831c8d808e79d6530358092763e.jpg","25.7x26.8",[37],{"id":893,"slug":894,"title":895,"dynasty":70,"author":114,"museum":49,"description":116,"tags":896,"thumbUrl":897,"material":191,"size":192,"collection":62,"collections":898,"showCount":899,"zanCount":127,"manualWeight":11,"mainColor":140},290484,"xue-shan-tu-fan-kuan-290484","雪山图",[24,148,27,29,185,55,168,272,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbdbcb25d9a80347e20f677806d5ce0.jpg",[],50,{"id":901,"slug":902,"title":903,"dynasty":163,"author":131,"museum":49,"description":904,"tags":905,"thumbUrl":906,"material":62,"size":62,"collection":62,"collections":907,"showCount":908,"zanCount":127,"manualWeight":11,"mainColor":42},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,149,53,182,183,78,795,184,31,7,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],48,{"id":910,"slug":911,"title":912,"dynasty":163,"author":913,"museum":165,"description":914,"tags":915,"thumbUrl":924,"material":301,"size":925,"collection":62,"collections":926,"showCount":908,"zanCount":11,"manualWeight":11,"mainColor":42},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,149,53,182,183,29,7,78,184,31,916,169,917,918,919,920,921,922,923],"围墙","美人","器物","桌椅","红楼梦题材","室内场景","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg","纵43.3厘米、横76.5厘米",[],{"id":928,"slug":929,"title":930,"dynasty":18,"author":131,"museum":931,"description":932,"tags":933,"thumbUrl":939,"material":61,"size":940,"collection":37,"collections":941,"showCount":908,"zanCount":127,"manualWeight":11,"mainColor":42},218223,"xue-xi-wan-du-tu-yi-ming-218223","雪溪晚渡图","南京博物院","此幅作品描绘了冬日雪景，高峰竖立，萧然平静。峡谷瀑布，层层寒流。柴门屋舍，截然生机。一位渔翁打着小舟，悄然归来，是为屋内两位高士送酒来了。画家的用墨富有变化，笔力老练，对自然理解渗透，作品意境之浓，感触深刻。",[24,52,75,27,7,934,362,272,203,57,935,936,937,938],"高峰","渔翁","高士","饮酒","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e719109c9e31dc9233143ca682fb9.jpg","105x60.3cm",[37],{"id":943,"slug":944,"title":945,"dynasty":70,"author":946,"museum":49,"description":947,"tags":948,"thumbUrl":949,"material":191,"size":192,"collection":62,"collections":950,"showCount":951,"zanCount":11,"manualWeight":11,"mainColor":42},290494,"xue-shan-gui-lie-tu-di-yuan-shen-290494","雪山归猎图","翟院深","《宋翟院深雪山归猎图》，此画表现北方山区冬日寒冽景象。此画左下楷书署款“营丘翟院深画”，右下角钤“天水郡口藏书画印记” 。\n翟院深无作品流传于世，画中雪山崔巍，老木寒柯，气象萧疏，是一幅李成传派的宋画。",[23,24,75,28,185,55,30,7,433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],47,{"id":953,"slug":954,"title":955,"dynasty":334,"author":335,"museum":72,"description":956,"tags":957,"thumbUrl":959,"material":960,"size":62,"collection":37,"collections":961,"showCount":951,"zanCount":11,"manualWeight":11,"mainColor":140},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[52,24,25,270,274,29,7,102,27,28,33,32,301,958],"纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg","绢本与纸本",[37,251],{"id":963,"slug":964,"title":965,"dynasty":334,"author":966,"museum":49,"description":967,"tags":968,"thumbUrl":970,"material":191,"size":192,"collection":62,"collections":971,"showCount":972,"zanCount":127,"manualWeight":11,"mainColor":140},290882,"hua-bai-cai-shen-zhou-290882","画白菜","沈周","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[24,27,270,29,7,271,272,31,969,103],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd825cee9559ff66734a5ef59f26de2b.jpg",[],46,{"id":974,"slug":975,"title":976,"dynasty":163,"author":977,"museum":49,"description":978,"tags":979,"thumbUrl":982,"material":191,"size":192,"collection":62,"collections":983,"showCount":972,"zanCount":127,"manualWeight":11,"mainColor":140},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","弘仁","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[24,27,181,980,55,981,103,33,7,29],"书屋","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg",[],{"id":985,"slug":986,"title":987,"dynasty":163,"author":988,"museum":20,"description":989,"tags":990,"thumbUrl":991,"material":35,"size":992,"collection":37,"collections":993,"showCount":994,"zanCount":11,"manualWeight":11,"mainColor":140},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,25,29,7,55,169,312,272,83,168,27,53,28,181,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[37],44,{"id":996,"slug":997,"title":998,"dynasty":163,"author":999,"museum":132,"description":1000,"tags":1001,"thumbUrl":1010,"material":61,"size":1011,"collection":106,"collections":1012,"showCount":994,"zanCount":127,"manualWeight":11,"mainColor":42},218957,"xue-jing-lu-yan-tu-dou-chi-dao-ren-218957","雪景芦雁图","都痴道人","寒江雪岸，双雁栖于坡间。一雁昂首引颈，似望垂枝冰棱；一雁敛翅低首，若思冬日闲情。岸边枯草丛生，竹枝覆雪，柳丝悬冰，凝住凛冬气息。雁羽勾勒细腻，墨色浓淡相衬，绒羽质感毕现；雪地以淡墨晕染，留白见意，坡岸起伏自然。冰棱线条劲挺，柳枝疏朗，与双雁的生动形成呼应。画面虽寒，双雁相依却含暖意，于萧瑟中藏生机。笔墨兼具工致与写意，工笔绘雁之形神，写意写雪之空灵，意境清寂而不失温情，尽显冬日禽鸟之态与自然之趣。",[23,24,25,536,27,149,1002,7,1003,1004,1005,1006,1007,1008,541,1009,542],"写意","雁","枯柳","冰棱","竹枝","枯草","雪坡","温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d6f5402bf65e673703469de4723fd.jpg","135x74cm",[106],{"id":1014,"slug":1015,"title":1016,"dynasty":70,"author":593,"museum":49,"description":1017,"tags":1018,"thumbUrl":1020,"material":191,"size":192,"collection":62,"collections":1021,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":42},289957,"xue-jing-shan-shui-ye-liang-kai-289957","雪景山水页","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[24,52,148,27,28,29,7,55,57,1019],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626a1cd836e0e08dc4762048b518eb9f.jpg",[],43,{"id":1024,"slug":1025,"title":1026,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":1030,"thumbUrl":1038,"material":191,"size":192,"collection":1039,"collections":1040,"showCount":1022,"zanCount":11,"manualWeight":11,"mainColor":140},225911,"cart-on-the-snow-covered-road-with-saint-simeon-farm-1865-mo-nai-225911","Cart on the Snow Covered Road with Saint-Simeon Farm, 1865","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[1031,1032,7,1033,697,1034,31,513,286,1035,183,1036,1037],"印象派","油画","道路","农舍","车辙","积雪屋顶","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24915be9be79482c21b3c4d54acb5f56.jpg","油画精选",[1039],{"id":1042,"slug":1043,"title":1044,"dynasty":70,"author":1045,"museum":49,"description":1046,"tags":1047,"thumbUrl":1050,"material":191,"size":192,"collection":62,"collections":1051,"showCount":1052,"zanCount":11,"manualWeight":11,"mainColor":42},290274,"han-que-shuang-ying-tu-ma-lin-290274","寒鹊双鹰图","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[24,536,149,53,1048,1049,56,55,30,7,181],"鹰","鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91a9ddfc54f74ad80aef86a825a385e.jpg",[],42,{"id":1054,"slug":1055,"title":1056,"dynasty":70,"author":806,"museum":49,"description":1057,"tags":1058,"thumbUrl":1060,"material":191,"size":192,"collection":62,"collections":1061,"showCount":1052,"zanCount":11,"manualWeight":11,"mainColor":140},288429,"chai-men-yan-xue-tu-xia-gui-288429","柴门掩雪图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[24,52,25,181,27,29,28,7,102,741,1059,33],"柴门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc056fb6062ac1a688e1815a0173d7d1f.jpg",[],{"id":1063,"slug":1064,"title":1065,"dynasty":163,"author":1066,"museum":49,"description":1067,"tags":1068,"thumbUrl":1069,"material":62,"size":62,"collection":62,"collections":1070,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":140},233903,"hua-hui-shan-shui-ce-yun-shou-ping-233903","花卉山水册","恽寿平","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,270,27,29,28,122,169,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb64d6ef3ece810763cbad6bcf614832.jpg",[],41,{"id":1073,"slug":1074,"title":1075,"dynasty":334,"author":659,"museum":72,"description":1076,"tags":1077,"thumbUrl":1078,"material":301,"size":1079,"collection":37,"collections":1080,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":42},222596,"xi-shan-xue-ji-tu-lan-ying-222596","溪山雪霁图","画面上远处层峦迭嶂，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。",[23,24,53,28,29,7,57,523,55,121,30,204,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[37,39],{"id":1082,"slug":1083,"title":1084,"dynasty":1085,"author":1086,"museum":1087,"description":1088,"tags":1089,"thumbUrl":1093,"material":1094,"size":62,"collection":62,"collections":1095,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":140},220452,"hong-huang-feng-xue-tu-huang-zhou-220452","洪荒风雪图","民国","黄胄","中国现当代美术文献研究中心","黄胄的艺术具有开创性，被公认为新中国美术的代表风格之一。黄的艺术创作立足于新时代人们的生活，不断拓展他所创作的“边疆”主题。黄的题材作品打破了传统国画的陈旧陈规，演变成一种反映现实生活、与时俱进的艺术形式。他的写生艺术语言，立足历史与现实，结合国内外，推动了笔触和意境的创作。\n\n这幅取材于画家沿青藏公路旅行的画作，是黄氏最著名的代表作之一。这幅作品从仰视的角度描绘了一个地质学家团队在大雪中骑骆驼旅行的场景。人物的乐观和豪迈风度，见证了全民族对新中国建设的热情和昂扬。黄先生注重气氛的营造，以人物插画为中心，结合笔墨、写生、填色等手法，使作品更具写实性和表现力。",[24,25,27,53,1002,183,1090,1091,7,1092,1085],"骆驼","犬","荒野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2abfa566ea305105f72c00f5342f08.jpg","纸本设色",[],{"id":1097,"slug":1098,"title":582,"dynasty":18,"author":1099,"museum":72,"description":1100,"tags":1101,"thumbUrl":1102,"material":350,"size":1103,"collection":251,"collections":1104,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":42},220389,"yuan-an-wo-xue-tu-yan-hui-220389","颜辉","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[23,24,25,52,27,53,28,29,7,55,30,183,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 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宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[52,24,181,75,27,28,7,122,203,102,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209ee3197ccc570616f0231447ddfeca.jpg","197.2x107.1",[88],38,{"id":1168,"slug":1169,"title":1170,"dynasty":70,"author":71,"museum":72,"description":346,"tags":1171,"thumbUrl":1172,"material":191,"size":351,"collection":62,"collections":1173,"showCount":1166,"zanCount":11,"manualWeight":11,"mainColor":42},290305,"xue-jing-shan-shui-zhou-guo-xi-290305","雪景山水轴",[24,52,75,27,28,7,185,741,271,203,57,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6724961771742b335499a8184771c46.jpg",[],{"id":1175,"slug":1176,"title":113,"dynasty":70,"author":593,"museum":49,"description":1177,"tags":1178,"thumbUrl":1179,"material":191,"size":192,"collection":62,"collections":1180,"showCount":1166,"zanCount":127,"manualWeight":11,"mainColor":42},288537,"xue-jing-shan-shui-tu-liang-kai-288537","此图描画两个身着白色披风、头戴风雪帽的骑驴人穿行山谷的情景。在画幅左下角寒溪边缘有“梁楷”的落款。",[23,24,52,27,29,181,7,512,183,55,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4256a748fc84359256c2b38ef594ca2.jpg",[],{"id":1182,"slug":1183,"title":1184,"dynasty":70,"author":1185,"museum":49,"description":1186,"tags":1187,"thumbUrl":1189,"material":191,"size":192,"collection":62,"collections":1190,"showCount":1166,"zanCount":91,"manualWeight":11,"mainColor":42},288323,"xue-shu-han-qin-tu-li-di-288323","雪树寒禽图","李迪","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。",[23,52,24,181,149,53,150,56,55,981,7,1188],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da25639e6a0aec09bce05ff5476054f.jpg",[],{"id":1192,"slug":1193,"title":1194,"dynasty":163,"author":1195,"museum":20,"description":1196,"tags":1197,"thumbUrl":1199,"material":526,"size":1200,"collection":62,"collections":1201,"showCount":1166,"zanCount":11,"manualWeight":11,"mainColor":140},233958,"yun-shan-tu-zhou-shi-tao-233958","云山图轴","石涛","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,25,181,27,28,29,1198,821,30,31,7,103,33],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8523eeee7217dae1b5bb91657e0c2417.jpg","纵45.1厘米，横30.8厘米",[],{"id":1203,"slug":1204,"title":1205,"dynasty":70,"author":71,"museum":49,"description":1206,"tags":1207,"thumbUrl":1210,"material":62,"size":62,"collection":62,"collections":1211,"showCount":1166,"zanCount":11,"manualWeight":11,"mainColor":42},227413,"xue-shan-lan-re-tu-guo-xi-227413","雪山兰若图","郭熙（约1000-约1080），字淳夫，今河南孟县人，北宋画家、绘画理论家。郭熙出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。树枝如蟹爪下垂，笔势雄健，水墨明洁。早年风格较工巧，晚年转为雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n\n郭熙在学画之初并无老师，后在临摹李成山水画中受到启发，笔法大进，亦能自放胸臆，笔势雄健，水墨明洁。画山石多用卷云或鬼脸皴，画树如蟹爪下垂。1068-1077年间为图画院艺学，后任翰林待诏直长，成为宫廷画院重要成员。于画论方面亦有建树，总结出对四季山水的审美感受及山水构图三远法等。创作活动旺盛的时代正是宋神宗在位的1068-1085年，深受神宗的恩宠，有“神宗好熙笔”，“评为天下第一”之说。",[24,75,52,27,28,1208,185,7,30,741,78,204,1209],"卷云皴","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":1213,"slug":1214,"title":1215,"dynasty":70,"author":131,"museum":72,"description":1216,"tags":1217,"thumbUrl":1220,"material":61,"size":1221,"collection":106,"collections":1222,"showCount":1166,"zanCount":11,"manualWeight":11,"mainColor":140},219955,"xue-zhu-han-qin-tu-yi-ming-219955","雪竹寒禽图","图绘三只麻雀立积雪枝头,一枝竹叶伸出.雪用白色点,画风与李嵩,吴炳等南宋画家有一定内在联系.",[23,24,52,25,149,53,150,981,54,1218,1219,7,1188],"禽","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a1245586b7b8927d4b28404e7793c.jpg","24.3x25.7",[106],{"id":1224,"slug":1225,"title":1226,"dynasty":70,"author":1227,"museum":49,"description":1228,"tags":1229,"thumbUrl":1231,"material":27,"size":62,"collection":37,"collections":1232,"showCount":1166,"zanCount":127,"manualWeight":11,"mainColor":42},218547,"han-lin-po-zhou-tu-huang-geng-218547","寒林泊舟图","黄庚","虬枝如铁，皴染出雪后寒林的苍劲。石矶覆素，茅舍隐于烟霭间，孤舟横卧岸侧，似待归人。云雾轻笼远岫，留白处漾开清寂。笔致简淡却含韵致，枯笔勾勒的枝桠带着凛冽的诗意。天地间素墨交融，静穆中藏着一丝暖意——或许是窗内的灯影，或许是舟畔的微雪。山风掠过枝梢，与寒林私语，时光在此放缓。素白的雪，墨色的树，朦胧的雾，交织成一幅冬日的静美画卷，让人心生安宁，仿佛能听见舟中茶烟袅袅，与天地同呼吸。",[24,1230,181,28,29,205,55,57,168,7,33],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9b66ef1b1a00835ad849fb37b80a87.jpg",[37],{"id":1234,"slug":1235,"title":1236,"dynasty":334,"author":131,"museum":132,"description":1237,"tags":1238,"thumbUrl":1240,"material":61,"size":1241,"collection":106,"collections":1242,"showCount":1166,"zanCount":11,"manualWeight":11,"mainColor":42},216672,"han-ting-yan-zhu-tu-yi-ming-216672","寒汀雁渚图","画面上画着泥滩，雪白的树枝，上面有三只鸟攥着树枝，摆动着，张着嘴，似乎在一起聊天。下面的两只鸭子似乎对这热闹的场面很着迷，一只鸭子歪着头往上看。",[23,24,25,150,53,149,56,1003,1239,55,7,218],"寒滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d985ffc7d1d78047821ba4d079dffd9.jpg","152x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朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,25,270,27,53,29,271,168,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[37,251],{"id":1339,"slug":1340,"title":308,"dynasty":70,"author":227,"museum":49,"description":1341,"tags":1342,"thumbUrl":1343,"material":191,"size":192,"collection":62,"collections":1344,"showCount":1345,"zanCount":11,"manualWeight":11,"mainColor":42},288430,"xiao-xue-shan-xing-tu-ma-yuan-288430","作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 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。",[24,27,75,7,708,55,183,311,446,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed436c0d3f62c1b92ca57ca18b61d988.jpg",[],33,{"id":1347,"slug":1348,"title":1349,"dynasty":163,"author":1350,"museum":49,"description":1351,"tags":1352,"thumbUrl":1354,"material":62,"size":62,"collection":37,"collections":1355,"showCount":1345,"zanCount":11,"manualWeight":11,"mainColor":42},238665,"xue-jing-shan-shui-ren-wu-tu-zhou-yuan-ying-238665","雪景山水人物图轴","袁瑛","童时侍其叔习山水，既长从徐北山（尚）学花卉，写意之笔，颇有骨力。乾隆三十年（一七六五）膺李因培（鹤峯）之荐，供奉内廷。山水晚年益加精密，出入宋、元，用笔沈厚，宗黄鼎法而变以己意。尝作乔木高居图最妙，张问陶有诗题赠。前后居京师四十年，后官粤东开平县沙冈司（瓯钵罗室书画过目考作开平知县）乾隆五十年（一七八五）归隐葑溪，筑赐诗堂以居。",[24,25,181,53,28,149,7,29,183,31,169,271,272,30,1353],"马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4bc46b2695a7ea58f51f97d7cf6ce.jpg",[37,39],{"id":1357,"slug":1358,"title":1359,"dynasty":70,"author":114,"museum":72,"description":1360,"tags":1361,"thumbUrl":1363,"material":1364,"size":1365,"collection":62,"collections":1366,"showCount":1345,"zanCount":11,"manualWeight":11,"mainColor":140},221384,"ming-hua-lin-lang-ce-qun-feng-xue-ji-fan-kuan-221384","名画琳瑯册－群峰雪霁","此作写崇山积雪，山脚并点缀密林、楼观、舟楫等。倦色黯黑，但不失古雅苍润。画中的主峰已偏一侧，且皴笔少滃染多，地质较近于土山，与记载中的范宽风格并不尽似。对幅由尹继善、刘纶、王际华、钱维城、彭元瑞、曹文埴、陈孝泳等清代臣工题咏，虽然语中对范宽多所赞誉，但无法证明本幅与范宽有关，据画风推测成作时间应在南宋以后。\n另有旧题为范宽的《山水》、《秋景山水》、《海山图》、《霍童仙界图》等数幅，虽然作品中或题“范中立”、“范宽笔”、“华原范宽”，但均与范宽的风格相去甚远，时代也无法到宋，推定是明、清时期的托名伪作。本节遂不一一叙述。",[23,52,24,25,270,29,28,27,1362,7,297,122],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c7a037a9fc0181e3f16807504492c7c.jpg","浅设色","纵40.7公分，横27.3公分",[],{"id":1368,"slug":1369,"title":1370,"dynasty":70,"author":96,"museum":49,"description":829,"tags":1371,"thumbUrl":1373,"material":191,"size":192,"collection":62,"collections":1374,"showCount":1375,"zanCount":127,"manualWeight":11,"mainColor":42},289457,"gui-yu-tu-li-cheng-289457","归渔图",[148,24,75,53,28,55,820,272,57,7,1372,299],"归渔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452eb3b75c778a86f0bc37c9d3e801fd.jpg",[],32,{"id":1377,"slug":1378,"title":1379,"dynasty":70,"author":1185,"museum":49,"description":1380,"tags":1381,"thumbUrl":1386,"material":191,"size":192,"collection":62,"collections":1387,"showCount":1375,"zanCount":11,"manualWeight":11,"mainColor":42},288953,"xue-zhong-gui-mu-tu-1-li-di-288953","雪中归牧图-1","此图描绘白雪皑皑的寒冬，牧牛人带着猎物归家的情景。牧牛人蜷缩着身子以御寒风，人与牛的动态准确生动，树石山坡的笔墨变化微妙，设色也雅润柔和。虽为小品，但很好地表现出雪后空疏静谧的景色。",[24,52,27,149,7,55,512,1382,1383,1384,1385],"牧人","郊野","清冷","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27a7f73a99fbbd7f13c2bda57a05846.jpg",[],{"id":1389,"slug":1390,"title":1391,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":1392,"thumbUrl":1400,"material":191,"size":192,"collection":1039,"collections":1401,"showCount":1375,"zanCount":11,"manualWeight":11,"mainColor":140},226082,"the-magpie-1869-mo-nai-226082","The Magpie, 1869",[1031,1032,1393,7,31,169,1394,513,1395,1396,1397,1398,1399],"光影表现","栅栏","田野","雪覆屋顶","木栅栏","雪地小径","树木枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824463157f0fab1ae34a57a4aa1805b.jpg",[1039],{"id":1403,"slug":1404,"title":1405,"dynasty":163,"author":1406,"museum":72,"description":1407,"tags":1408,"thumbUrl":1410,"material":61,"size":1411,"collection":37,"collections":1412,"showCount":1375,"zanCount":11,"manualWeight":11,"mainColor":42},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","萧晨","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,25,181,53,149,29,7,78,271,272,183,1409,121,30,169,31],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[37],{"id":1414,"slug":1415,"title":1416,"dynasty":163,"author":1417,"museum":72,"description":1418,"tags":1419,"thumbUrl":1420,"material":958,"size":1421,"collection":37,"collections":1422,"showCount":1375,"zanCount":1423,"manualWeight":11,"mainColor":42},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[52,24,25,181,27,28,29,1362,7,204,218,55,821,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[37],7,{"id":1425,"slug":1426,"title":479,"dynasty":70,"author":114,"museum":49,"description":480,"tags":1427,"thumbUrl":1428,"material":191,"size":192,"collection":62,"collections":1429,"showCount":1430,"zanCount":127,"manualWeight":11,"mainColor":304},289335,"xue-shan-lou-ge-tu-fan-kuan-289335",[23,52,24,29,181,27,28,185,78,272,30,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704b93ef24a7e30310fee13f95f51e5b.jpg",[],31,{"id":1432,"slug":1433,"title":1434,"dynasty":18,"author":1435,"museum":72,"description":1436,"tags":1437,"thumbUrl":1439,"material":340,"size":1440,"collection":62,"collections":1441,"showCount":1430,"zanCount":127,"manualWeight":11,"mainColor":140},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","曹知白","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[24,1230,75,181,28,33,1362,7,362,31,169,122,1438,55,121],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":1443,"slug":1444,"title":1445,"dynasty":334,"author":1446,"museum":72,"description":1447,"tags":1448,"thumbUrl":1451,"material":340,"size":1452,"collection":106,"collections":1453,"showCount":1430,"zanCount":11,"manualWeight":11,"mainColor":140},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","吕纪","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[23,24,181,150,149,27,53,1449,7,55,324,30,33,1450],"山鸡","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[106,39],{"id":1455,"slug":1456,"title":113,"dynasty":163,"author":694,"museum":132,"description":695,"tags":1457,"thumbUrl":1458,"material":61,"size":1459,"collection":37,"collections":1460,"showCount":1430,"zanCount":127,"manualWeight":11,"mainColor":42},217881,"xue-jing-shan-shui-tu-li-yin-217881",[24,53,181,29,7,55,58,30,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46c723cdf9a5cd63c6d3ab518013086.jpg","155.8x71.2cm",[37],{"id":1462,"slug":1463,"title":1464,"dynasty":163,"author":1465,"museum":20,"description":1466,"tags":1467,"thumbUrl":1468,"material":526,"size":62,"collection":37,"collections":1469,"showCount":1470,"zanCount":11,"manualWeight":11,"mainColor":140},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,25,270,53,149,32,33,29,7,30,55,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[37,39],30,{"id":1472,"slug":1473,"title":1474,"dynasty":70,"author":227,"museum":49,"description":550,"tags":1475,"thumbUrl":1478,"material":191,"size":192,"collection":62,"collections":1479,"showCount":1480,"zanCount":11,"manualWeight":11,"mainColor":42},289804,"han-yan-ji-xue-tu-ma-yuan-289804","寒岩积雪图",[52,24,181,27,29,7,1476,297,1477,121,55,203,183,937,28],"寒岩","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f93ef862367b2ca55ea4ca66889a885.jpg",[],29,{"id":1482,"slug":1483,"title":895,"dynasty":18,"author":1484,"museum":49,"description":1485,"tags":1486,"thumbUrl":1488,"material":191,"size":192,"collection":62,"collections":1489,"showCount":1480,"zanCount":127,"manualWeight":11,"mainColor":42},288969,"xue-shan-tu-yao-ting-mei-288969","姚廷美","姚廷美，元代画家。生卒年不详，约活动于元至正年间。字彦卿，吴兴（浙江湖州）人。与孟珍、吴庭晖同时齐名。写山水师郭熙，明詹景凤谓其笔劲而近熟，乏高旷之趣。至正二十年（1360）尝作有余闲图。按熙朝名画录、清代画史俱作清人，误。图绘宝鉴、东图玄览佚其名，作姚彦卿。",[52,24,181,27,29,185,7,362,1487,28],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bbfac296d014d06d38879a4b5009eba.jpg",[],{"id":1491,"slug":1492,"title":1493,"dynasty":18,"author":1127,"museum":49,"description":1128,"tags":1494,"thumbUrl":1495,"material":191,"size":192,"collection":62,"collections":1496,"showCount":1480,"zanCount":11,"manualWeight":11,"mainColor":42},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图",[23,24,29,27,55,56,7,83,395,100,872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":1498,"slug":1499,"title":1500,"dynasty":163,"author":913,"museum":165,"description":914,"tags":1501,"thumbUrl":1503,"material":301,"size":925,"collection":62,"collections":1504,"showCount":1480,"zanCount":11,"manualWeight":11,"mainColor":140},223059,"hong-lou-meng-45-sun-wen-223059","红楼梦45",[23,24,25,149,53,183,78,271,30,1502,7],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4c87d242030d66b31807cf55c9643.jpg",[],{"id":1506,"slug":1507,"title":1508,"dynasty":70,"author":227,"museum":72,"description":1509,"tags":1510,"thumbUrl":1511,"material":191,"size":192,"collection":62,"collections":1512,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":140},290857,"xue-tan-shuang-lu-zhou-ma-yuan-290857","雪滩双鹭轴","雪崖枯枝，芦竹寒汀，滩旁四只白鹭，均做瑟缩之状，寒天的景致，令人有着身临其境的感觉。而浓淡墨色画出的树石、远山和芦草，对比于留白的积雪处，和几不见墨痕的白鹭们，在黑白之间，充分表现出清冷的意趣，达到了画雪得其清的境界。另从岩壁上伸出的枝干，曲折延伸，势如蛟龙升腾游动，这种笔势往下拖垂，形成长而斜向伸出的画枝方法，正是典型的「拖枝马远」风貌。",[24,52,181,27,53,29,150,7,55,574,575,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa75c57e47aed948cb8b6beca83ae9f.jpg",[],28,{"id":1515,"slug":1516,"title":1517,"dynasty":70,"author":227,"museum":72,"description":1518,"tags":1519,"thumbUrl":1520,"material":799,"size":1521,"collection":62,"collections":1522,"showCount":1513,"zanCount":11,"manualWeight":11,"mainColor":42},289839,"ban-qiao-ta-xue-tu-ma-yuan-289839","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[24,52,181,27,29,183,271,121,30,56,7,28,103,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636557144d63e628304ba78221c9a8b3.jpg","纵99cm，横59.1cm",[],{"id":1524,"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ue-jing-zhou-lan-ying-222592","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,181,53,29,28,7,271,272,57,168,55,30,169,183,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[37,251],{"id":1601,"slug":1602,"title":1603,"dynasty":334,"author":659,"museum":72,"description":1604,"tags":1605,"thumbUrl":1609,"material":301,"size":1079,"collection":37,"collections":1610,"showCount":1565,"zanCount":11,"manualWeight":11,"mainColor":42},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","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。",[23,24,53,28,181,29,54,31,204,362,218,820,183,55,121,30,7,1606,205,1607,1608],"水榭","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg",[37,39],{"id":1612,"slug":1613,"title":1614,"dynasty":163,"author":1066,"museum":49,"description":1615,"tags":1616,"thumbUrl":1617,"material":191,"size":192,"collection":62,"collections":1618,"showCount":1619,"zanCount":11,"manualWeight":11,"mainColor":140},290517,"wan-heng-xiang-xue-tu-zhou-yun-shou-ping-290517","万横香雪图轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[52,24,181,27,53,29,186,168,272,360,7,103,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad4a6e995ee7f9c06ba18b7fe95f55c.jpg",[],26,{"id":1621,"slug":1622,"title":1623,"dynasty":70,"author":1624,"museum":49,"description":1625,"tags":1626,"thumbUrl":1630,"material":191,"size":192,"collection":62,"collections":1631,"showCount":1619,"zanCount":11,"manualWeight":11,"mainColor":42},289838,"lu-ting-mi-xue-tu-liang-shi-min-289838","芦汀密雪图","梁师闵","描绘的是密雪覆盖着沙清丘岸的芦塘小景，将空旷清幽景象与漫天密雪的景色形成对比，是一幅山水与花鸟融汇的湖天小景佳作。",[23,52,24,25,26,53,149,29,1627,741,1628,395,7,1629,1019,33,103],"芦汀","鸥鹭","寒冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e108e0525ede8d74ace20844b3898c.jpg",[],{"id":1633,"slug":1634,"title":1635,"dynasty":334,"author":659,"museum":1636,"description":1596,"tags":1637,"thumbUrl":1638,"material":1639,"size":1640,"collection":62,"collections":1641,"showCount":1619,"zanCount":127,"manualWeight":11,"mainColor":42},222594,"jiang-gao-fei-xue-tu-li-zhou-lan-ying-222594","江皋飞雪图立轴","天津博物馆",[23,24,25,181,29,53,28,121,55,30,820,183,7,83,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6635bdf6b12960c4fed02b92366856.jpg","绢本设色","148cmx46cm",[],{"id":1643,"slug":1644,"title":1645,"dynasty":18,"author":131,"museum":429,"description":1646,"tags":1647,"thumbUrl":1648,"material":61,"size":1649,"collection":37,"collections":1650,"showCount":1619,"zanCount":11,"manualWeight":11,"mainColor":42},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[23,52,24,25,75,53,28,185,311,55,30,183,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[37],{"id":1652,"slug":1653,"title":1654,"dynasty":18,"author":1435,"museum":72,"description":1655,"tags":1656,"thumbUrl":1657,"material":340,"size":1658,"collection":62,"collections":1659,"showCount":1660,"zanCount":11,"manualWeight":11,"mainColor":140},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[52,24,25,181,27,29,121,55,203,271,272,30,56,103,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],25,{"id":1662,"slug":1663,"title":895,"dynasty":70,"author":71,"museum":49,"description":346,"tags":1664,"thumbUrl":1665,"material":191,"size":192,"collection":62,"collections":1666,"showCount":1660,"zanCount":11,"manualWeight":11,"mainColor":42},290168,"xue-shan-tu-guo-xi-290168",[24,75,27,7,28,205,30,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee398fa2009e87df92e6aca7bb8a1f6f.jpg",[],{"id":1668,"slug":1669,"title":1670,"dynasty":70,"author":1045,"museum":49,"description":1046,"tags":1671,"thumbUrl":1673,"material":191,"size":192,"collection":62,"collections":1674,"showCount":1660,"zanCount":11,"manualWeight":11,"mainColor":42},289881,"mei-zhu-an-chun-tu-ma-lin-289881","梅竹鹌鹑图",[23,52,24,25,181,53,149,150,186,981,1672,7,30],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd99cd98ba5fbef7a7a832aad92ca642.jpg",[],{"id":1676,"slug":1677,"title":1678,"dynasty":334,"author":1679,"museum":49,"description":1680,"tags":1681,"thumbUrl":1682,"material":191,"size":192,"collection":62,"collections":1683,"showCount":1660,"zanCount":127,"manualWeight":11,"mainColor":42},289805,"ta-xue-xun-mei-tu-wang-e-289805","踏雪寻梅图","王谔","绘高士踏雪访梅之雅事。整幅构图师郭熙景式，枯树画法也仿郭熙的蟹爪，而山石皴法则用小斧劈，峦头灌木双学于范宽",[52,24,181,27,28,29,7,183,55,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3eb580310d9ccdf1ea2d63f2bb4390c.jpg",[],{"id":1685,"slug":1686,"title":1687,"dynasty":70,"author":131,"museum":97,"description":1688,"tags":1689,"thumbUrl":1692,"material":301,"size":1693,"collection":106,"collections":1694,"showCount":1660,"zanCount":11,"manualWeight":11,"mainColor":42},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[23,24,25,26,27,53,149,28,103,33,55,100,56,7,272,1690,1691],"平坡","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[106,39],{"id":1696,"slug":1697,"title":1698,"dynasty":70,"author":806,"museum":49,"description":1057,"tags":1699,"thumbUrl":1700,"material":191,"size":192,"collection":62,"collections":1701,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":42},290859,"xue-ji-tan-mei-tu-zhou-xia-gui-290859","雪屐探梅图轴",[24,181,27,28,29,7,186,55,30,168,271,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127085a96abf0e00473103e5b0e94b99.jpg",[],24,{"id":1704,"slug":1705,"title":1706,"dynasty":163,"author":1707,"museum":49,"description":1708,"tags":1709,"thumbUrl":1712,"material":191,"size":192,"collection":62,"collections":1713,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":140},290591,"zhen-hai-si-xue-jing-zhou-zhang-ruo-ai-290591","镇海寺雪景轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,25,181,29,7,78,271,272,121,1710,53,28,33,1711,182],"寺庙","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaaf25a4a84a0d50516cc3589bc39e7.jpg",[],{"id":1715,"slug":1716,"title":1717,"dynasty":18,"author":1718,"museum":49,"description":1719,"tags":1720,"thumbUrl":1723,"material":191,"size":192,"collection":62,"collections":1724,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":42},287548,"xue-xi-xing-lv-tu-zhu-qian-287548","雪溪行旅图","朱迁","鲁端王，朱观，朱健杙、嫡一子，在位时间：1528年—1549年嘉靖七年袭封。二十八年薨。",[24,27,75,7,55,30,1721,1722,204,385,1384,28],"木桥","行旅车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7df3005f4a3bf0d11afbba4c6813039.jpg",[],{"id":1726,"slug":1727,"title":1728,"dynasty":213,"author":1729,"museum":49,"description":1730,"tags":1731,"thumbUrl":1734,"material":191,"size":192,"collection":62,"collections":1735,"showCount":1702,"zanCount":127,"manualWeight":11,"mainColor":42},287430,"fan-bu-xue-wei-tu-juan-hu-qian-287430","番部雪围图卷","胡虔","镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,52,24,25,26,53,183,361,1091,1732,7,55,1733,33,103],"狩猎","骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2666de7fd20238ba4a96ca82410b4f.jpg",[],{"id":1737,"slug":1738,"title":1739,"dynasty":163,"author":1740,"museum":20,"description":1741,"tags":1742,"thumbUrl":1743,"material":526,"size":1744,"collection":37,"collections":1745,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":140},236412,"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","王原祁","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,181,27,28,274,29,30,31,169,272,821,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[37,39,625],{"id":1747,"slug":1748,"title":1749,"dynasty":163,"author":1750,"museum":20,"description":1751,"tags":1752,"thumbUrl":1753,"material":526,"size":1754,"collection":62,"collections":1755,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":140},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","钱杜","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[24,181,53,29,78,271,183,31,28,149,33,103,30,325,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":1757,"slug":1758,"title":1759,"dynasty":334,"author":1760,"museum":72,"description":1761,"tags":1762,"thumbUrl":1765,"material":564,"size":1766,"collection":37,"collections":1767,"showCount":1702,"zanCount":11,"manualWeight":11,"mainColor":42},222065,"xue-ye-fang-dai-zhou-zhou-wen-jing-222065","雪夜访戴轴","周文靖","此图描写东晋名士王徽之夜里梦醒，见月色皎洁兴致突生，遂趋船造访好友戴逵。然抵达之后，又打消念头而折回，或曰：「乘兴而来，尽兴而返。」为明代历史人物故事画之佳例。此幅构图继承南宋马、夏特色，却较之概括简约，而其潇洒放逸之笔法，则近似元人风格。",[23,24,27,53,28,181,29,57,183,7,31,1763,55,1764],"月夜","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c217c7206bd4b15f36643d89ad02332.jpg","320X120.2",[37,251],{"id":1769,"slug":1770,"title":1434,"dynasty":70,"author":114,"museum":49,"description":116,"tags":1771,"thumbUrl":1772,"material":191,"size":192,"collection":62,"collections":1773,"showCount":1774,"zanCount":11,"manualWeight":11,"mainColor":140},290249,"qun-feng-xue-ji-tu-fan-kuan-290249",[52,24,25,29,7,1362,28,103,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa447f7519179612f6b7a6dbc95edc9e2.jpg",[],23,{"id":1776,"slug":1777,"title":1778,"dynasty":70,"author":1779,"museum":49,"description":1780,"tags":1781,"thumbUrl":1783,"material":191,"size":192,"collection":62,"collections":1784,"showCount":1774,"zanCount":11,"manualWeight":11,"mainColor":42},289587,"xue-jiang-mai-yu-tu-li-dong-289587","雪江卖鱼图","李东","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[23,24,148,27,29,7,57,55,775,272,1782,1384,28],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038a369550e9f84fa41dc6cef7d24d39.jpg",[],{"id":1786,"slug":1787,"title":1788,"dynasty":1027,"author":1789,"museum":49,"description":1790,"tags":1791,"thumbUrl":1792,"material":62,"size":62,"collection":62,"collections":1793,"showCount":1774,"zanCount":11,"manualWeight":11,"mainColor":42},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","雪舟","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[23,52,24,1230,181,29,7,78,55,30,338,83,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":1795,"slug":1796,"title":1016,"dynasty":70,"author":593,"museum":594,"description":595,"tags":1797,"thumbUrl":1798,"material":449,"size":1799,"collection":62,"collections":1800,"showCount":1774,"zanCount":11,"manualWeight":11,"mainColor":42},221616,"xue-jing-shan-shui-ye-liang-kai-221616",[24,75,7,55,57,597,27,28,183,311,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85860d84d0ad711c939e5c6fb99e44de.jpg","纵111.3厘米、横49.7厘米",[],{"id":1802,"slug":1803,"title":1804,"dynasty":334,"author":335,"museum":228,"description":1805,"tags":1806,"thumbUrl":10,"material":62,"size":62,"collection":37,"collections":1807,"showCount":1774,"zanCount":11,"manualWeight":11,"mainColor":1808},203011,"yan-wu-ba-jing-tu-ce-dong-qi-chang-203011","燕吴八景图册","画面取山水之精粹，左幅以淡彩晕染山峦，峰顶赭石点染与深绿山体形成层次，云雾借留白与淡墨晕化，松枝挺劲，岸畔茅舍隐现，尽显江南山水的温润悠远；右幅以水墨写雪景，山石皴法刚健，线条勾勒积雪厚重与岩石肌理，枯树疏枝傲立，寒江静谧，传递冬日山川的清寂萧疏。笔墨间可见董其昌对意境的追求，不重写实而重神韵，以简洁构图营造空灵淡远的文人气息，尽显“以画为寄”的艺术主张。",[148,27,53,28,29,360,76,30,821,7,55,552,23],[37],"beae99",{"id":1810,"slug":1811,"title":1812,"dynasty":70,"author":71,"museum":49,"description":346,"tags":1813,"thumbUrl":1814,"material":191,"size":192,"collection":62,"collections":1815,"showCount":1816,"zanCount":11,"manualWeight":11,"mainColor":42},289729,"dai-du-tu-guo-xi-289729","待渡图",[24,52,75,55,57,7,205,28,1019],"https:\u002F\u002Foss.chuangqi.store\u002Fthum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。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[148,24,25,52,27,53,29,7,360,186,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":1859,"slug":1860,"title":1861,"dynasty":163,"author":267,"museum":1862,"description":1863,"tags":1864,"thumbUrl":1865,"material":1639,"size":1866,"collection":62,"collections":1867,"showCount":1816,"zanCount":11,"manualWeight":11,"mainColor":140},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","溪山雪意图卷","美国大都会艺术博物馆","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,26,29,27,28,53,7,122,58,31,55,121,169,271,103,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":1869,"slug":1870,"title":1871,"dynasty":334,"author":1872,"museum":49,"description":1873,"tags":1874,"thumbUrl":1876,"material":62,"size":62,"collection":62,"collections":1877,"showCount":1816,"zanCount":11,"manualWeight":11,"mainColor":42},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","戴进","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,25,52,27,29,28,118,121,78,271,361,169,7,272,1875,312,1300],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":1879,"slug":1880,"title":1881,"dynasty":70,"author":131,"museum":49,"description":1882,"tags":1883,"thumbUrl":1884,"material":62,"size":62,"collection":62,"collections":1885,"showCount":1816,"zanCount":11,"manualWeight":11,"mainColor":42},227353,"xue-jing-shan-shui-tu-ye-yi-ming-227353","雪景山水图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,24,52,25,148,27,53,29,7,31,169,30,28,205,348,272,122,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cfc4556f00600874ca160553f7402e2.jpg",[],{"id":1887,"slug":1888,"title":1889,"dynasty":334,"author":1890,"museum":1891,"description":1892,"tags":1893,"thumbUrl":1894,"material":1895,"size":1896,"collection":62,"collections":1897,"showCount":1816,"zanCount":11,"manualWeight":11,"mainColor":140},222226,"si-wan-shan-shui-tu-4-wan-shan-fei-xue-wen-bo-ren-222226","四万山水图4-万山飞雪","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,75,52,25,181,27,28,149,118,54,31,58,218,168,55,7,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","纸本墨笔","48X123cm",[],{"id":1899,"slug":1900,"title":1901,"dynasty":70,"author":772,"museum":72,"description":773,"tags":1902,"thumbUrl":1904,"material":350,"size":779,"collection":62,"collections":1905,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":304},290940,"xue-xi-yu-fu-zhou-xu-dao-ning-290940","雪溪渔父轴",[52,24,181,27,29,7,55,102,272,28,1903],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f27de3f670f6cff184316c4bfa2242.jpg",[],21,{"id":1908,"slug":1909,"title":1910,"dynasty":70,"author":96,"museum":49,"description":829,"tags":1911,"thumbUrl":1912,"material":191,"size":192,"collection":62,"collections":1913,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":140},289780,"yao-feng-qi-shu-tu-li-cheng-289780","瑶峰琪树图",[52,24,25,29,27,55,30,7,32,103,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f229c5713131362d665ca7363e7250.jpg",[],{"id":1915,"slug":1916,"title":1917,"dynasty":334,"author":1918,"museum":20,"description":1919,"tags":1920,"thumbUrl":1923,"material":958,"size":62,"collection":37,"collections":1924,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":140},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452","晴雪长松图轴","张瑞图","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[24,25,181,27,29,121,30,7,28,31,1921,1922],"枝干","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[37,251],{"id":1926,"slug":1927,"title":1928,"dynasty":163,"author":1929,"museum":49,"description":1930,"tags":1931,"thumbUrl":1932,"material":62,"size":62,"collection":37,"collections":1933,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":140},234254,"shan-shui-tu-ce-jin-xue-jian-234254","山水图册","金学坚","金学坚，字成峰，秀水（浙江嘉兴）人。王翚弟子。山水初宗元人，后参宋法，笔意古健，布局极为绵密。",[23,24,53,270,29,28,122,31,169,272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f66fd4c895d162d5784a0043b41cbd.jpg",[37,39],{"id":1935,"slug":1936,"title":1937,"dynasty":1027,"author":131,"museum":49,"description":1938,"tags":1939,"thumbUrl":1946,"material":62,"size":62,"collection":62,"collections":1947,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":400},225362,"fu-shi-hui-118-yi-ming-225362","浮世绘118","冬雪寒夜，游女与仆役冒雪夜行。游女身姿端雅，朱红和服衬着温婉神情，油纸伞拢住一身矜贵，手牵提灯晕开暖光。仆役缩肩弓背，粗布纹衣裹着瑟缩身形，怀揽长箱，在碎雪寒风中疾步随行。\n\n画面以银灰铺就雪色背景，细白点染飞雪，冷色调里揉进提灯暖光与衣装朱色，冷暖交织衬出寒夜行路的孤寂幽清。线条柔婉精细，将人物神情衣褶刻画入微，把江户风月里的浮生况味藏进寒夜行旅的片刻，尽显雅致细腻的市井意趣。",[1940,1941,53,183,1942,1943,1944,7,1945],"浮世绘","木刻","和服","伞","灯笼","木屐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec402dd0ca0f14d14e40a22f876fd7c.jpg",[],{"id":1949,"slug":1950,"title":1951,"dynasty":334,"author":1952,"museum":72,"description":1953,"tags":1954,"thumbUrl":1956,"material":1094,"size":1957,"collection":62,"collections":1958,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":42},222176,"han-jiang-diao-ting-zhou-lu-zhi-222176","寒江钓艇轴","陆治","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,52,24,25,181,53,149,552,57,523,55,324,7,183,1955],"钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","65.7x36.6厘米",[],{"id":1960,"slug":1961,"title":1962,"dynasty":70,"author":131,"museum":72,"description":1963,"tags":1964,"thumbUrl":1965,"material":61,"size":1966,"collection":37,"collections":1967,"showCount":1906,"zanCount":11,"manualWeight":11,"mainColor":140},218705,"xue-xi-gu-si-tu-yi-ming-218705","雪溪古寺图","这幅画描绘了一个山村和一座耸立在深雪中的山谷中的古寺，一个骑驴的和尚与一个拿着雨伞的仆人一起走在雪地里。这幅画的尺寸很小，是郭熙风格的典范，画中的小屋和小刺沏是程式化的，可能是元明时期的作品。",[23,24,25,27,28,29,54,1309,30,31,204,325,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b70cfa37a2e0c165015de0b7e5d2a2.jpg","24.5x25",[37],{"id":1969,"slug":1970,"title":1971,"dynasty":70,"author":772,"museum":72,"description":1972,"tags":1973,"thumbUrl":1974,"material":301,"size":1975,"collection":62,"collections":1976,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":42},290941,"guan-shan-mi-xue-tu-zhou-xu-dao-ning-290941","关山密雪图轴","该图以立幅形式表现深山春雪过后的景色。画之上部雪山巍峨，巨大的山体覆盖住了画卷的上部，起伏雄伟的山峰上树木茂密，山腰之中，有几间屋舍，画家用工笔画出屋舍，使之与粗犷的群山形成对应。小屋旁边溪水流淌，水磨欢转，使寂寥静谧的雪山增添了生气，使得画面更加的传神与生动。该图运笔凝重细劲，以短笔布皴，严谨而有法度，故疏而不薄。这幅雪景图里既有李成的绘画特点，也有从范宽那里学到的刚劲雄厚的格调。",[24,29,181,7,185,55,205,28,27,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b5e8337a90edbc0f062b91c23ff162.jpg","121.3x81.3",[],20,{"id":1979,"slug":1980,"title":1981,"dynasty":70,"author":114,"museum":49,"description":116,"tags":1982,"thumbUrl":1984,"material":191,"size":192,"collection":62,"collections":1985,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":140},290485,"han-jiang-diao-xue-tu-fan-kuan-290485","寒江钓雪图",[24,148,27,28,29,7,552,57,100,1983,1019],"渔钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940c5adbd17c34e372b298c7f48423e2.jpg",[],{"id":1987,"slug":1988,"title":1989,"dynasty":163,"author":1990,"museum":49,"description":1991,"tags":1992,"thumbUrl":1993,"material":191,"size":192,"collection":62,"collections":1994,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":140},290477,"za-hua-ce-luo-pin-290477","杂画册","罗聘","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[24,270,27,53,183,361,186,7,708,29,33,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592d4b0ace611b41fb72031e43f9b747.jpg",[],{"id":1996,"slug":1997,"title":1998,"dynasty":70,"author":1999,"museum":49,"description":2000,"tags":2001,"thumbUrl":2004,"material":191,"size":192,"collection":62,"collections":2005,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":304},289871,"han-shan-pan-che-tu-zhang-jia-289871","寒山盘车图","张浃","宣和画院待诏。郭熙门弟子。画人物、山水善布置，好作盘车图。绍兴（一一三一至一一六二）间复官，赐金带。",[24,75,182,7,708,2002,2003,28,1019],"盘车","寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ef6c19adfe76479308d9fbb3dab52f.jpg",[],{"id":2007,"slug":2008,"title":2009,"dynasty":163,"author":913,"museum":165,"description":914,"tags":2010,"thumbUrl":2014,"material":301,"size":925,"collection":62,"collections":2015,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":140},222961,"hong-lou-meng-86-sun-wen-222961","红楼梦86",[23,149,53,182,29,78,271,183,917,7,761,2011,1943,31,1502,325,55,2012,30,184,286,2013],"亭子","古装","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face67c130a7ac403f4b975c7af2da2cf.jpg",[],{"id":2017,"slug":2018,"title":2019,"dynasty":163,"author":2020,"museum":228,"description":2021,"tags":2022,"thumbUrl":2023,"material":340,"size":2024,"collection":62,"collections":2025,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":140},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4","王鉴","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[52,24,25,29,274,28,27,7,118,120,121,218,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg","纵55.4厘米，横36.0厘米",[],{"id":2027,"slug":2028,"title":2029,"dynasty":70,"author":131,"museum":72,"description":2030,"tags":2031,"thumbUrl":2032,"material":61,"size":2033,"collection":88,"collections":2034,"showCount":2035,"zanCount":11,"manualWeight":11,"mainColor":42},290686,"guan-mei-tu-zhou-yi-ming-290686","观梅图轴","此图描绘山石中,微露屋檐的一角,一位士人依凭著栏杆,观赏雪中寒梅",[24,52,181,182,27,183,78,29,186,360,297,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc7fa2e59132c477924c220213ce4f6.jpg","109.6x53.6",[88],19,{"id":2037,"slug":2038,"title":2039,"dynasty":18,"author":2040,"museum":49,"description":2041,"tags":2042,"thumbUrl":2043,"material":191,"size":192,"collection":62,"collections":2044,"showCount":2035,"zanCount":127,"manualWeight":11,"mainColor":42},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》。",[24,52,181,29,27,100,1476,297,122,820,33,7,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7eb89bedc44eae71ac18e4967f8112.jpg",[],{"id":2046,"slug":2047,"title":2048,"dynasty":163,"author":2049,"museum":49,"description":2050,"tags":2051,"thumbUrl":2052,"material":191,"size":192,"collection":62,"collections":2053,"showCount":2035,"zanCount":11,"manualWeight":11,"mainColor":140},289934,"shan-shui-fang-gu-ce-cha-shi-biao-289934","山水仿古册","查士标","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[24,270,27,29,271,272,31,78,122,7,33,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2c0f7225f99710e188a3268bdc2775.jpg",[],{"id":2055,"slug":2056,"title":2057,"dynasty":70,"author":1247,"museum":49,"description":2058,"tags":2059,"thumbUrl":2061,"material":191,"size":192,"collection":62,"collections":2062,"showCount":2035,"zanCount":11,"manualWeight":11,"mainColor":42},289892,"xue-ji-xiao-xing-tu-guo-zhong-shu-289892","雪霁晓行图","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[52,24,29,7,182,181,28,30,2060,203,205,27],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa073fbe6026acf7b071e27be9e2b4dd.jpg",[],{"id":2064,"slug":2065,"title":2066,"dynasty":163,"author":2067,"museum":49,"description":2068,"tags":2069,"thumbUrl":2070,"material":62,"size":62,"collection":62,"collections":2071,"showCount":2035,"zanCount":11,"manualWeight":11,"mainColor":140},237445,"xue-jing-mei-zhu-shu-wu-shan-mian-wu-gu-xiang-237445","雪景梅竹书屋扇面","吴穀祥","以淡墨晕染积雪，留白铺就天地清寒底色。虬曲梅枝破雪而出，细小红萼点点，暗透生机；修竹亭亭立雪，墨色浓淡层叠，苍劲枝叶凝着雪意，更显挺秀疏朗。覆雪湖石隐现棱骨，留白处尽是薄雪覆地，极简便烘托出冬日清寂。右侧题字清雅疏朗，书画相映成趣。\n\n整体笔意秀润温婉，无萧索苦寒，反倒带着幽淡文人气韵，将岁寒梅竹的清逸风骨收于扇面尺幅间，静谧雅致，尽显文人幽怀雅趣。",[24,25,148,27,7,186,981,980,102,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf01914bbf0494ae177982be3e9f7bab.jpg",[],{"id":2073,"slug":2074,"title":2075,"dynasty":163,"author":267,"museum":49,"description":2076,"tags":2077,"thumbUrl":2078,"material":62,"size":62,"collection":62,"collections":2079,"showCount":2035,"zanCount":11,"manualWeight":11,"mainColor":140},224444,"fang-li-cheng-xue-ji-tu-wang-hui-224444","仿李成雪霁图","此作用淡墨晕染山石，以留白托出积雪的莹白蓬松，将雪裹山峦的厚重萧寒尽数铺展。枯木虬枝劲挺错落，枝梢缀着残雪，溪面凝冰仍暗藏水意潺潺，悬瀑似冻未绝，于冷寂间暗寓生机。\n\n整幅画作尽得冬日空山的清寂辽远，师法宋人笔意，苍浑之中兼具秀润雅致，把雪后山川的荒寒冷寂，晕化为淡逸悠远的诗意，令人恍若置身冰封雪覆的空山，浸溺在这份清绝尘嚣的静谧之中。",[23,24,25,181,274,27,28,29,7,246,218,31,362,297,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9125d4abb2b29d2399e2e24c79ab71e9.jpg",[],{"id":2081,"slug":2082,"title":2083,"dynasty":163,"author":2084,"museum":49,"description":2085,"tags":2086,"thumbUrl":2089,"material":191,"size":192,"collection":62,"collections":2090,"showCount":2091,"zanCount":11,"manualWeight":11,"mainColor":42},290577,"xue-jing-ren-wu-qian-long-yu-ti-zhou-zhang-peng-chong-290577","雪景人物乾隆御题轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,181,27,7,29,183,76,121,55,2087,33,2088,1384],"题字","幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebecd8fd68b61db612f78fd8a2c040f.jpg",[],18,{"id":2093,"slug":2094,"title":2095,"dynasty":70,"author":2096,"museum":49,"description":2097,"tags":2098,"thumbUrl":2099,"material":191,"size":192,"collection":62,"collections":2100,"showCount":2091,"zanCount":11,"manualWeight":11,"mainColor":140},288921,"xi-shan-ji-xue-tu-gao-ke-ming-288921","溪山积雪图","高克明","高克明，生卒年不洋，绛州(今山西新绛) 人，主要活动时期在太宗，仁宗二朝，为当时著名的山水画家。善佛道、人马、花竹、翎毛、禽虫、畜兽、鬼神、屋宇，皆造于妙。工画山水，采撷诸家之美，参成一艺之精，团扇卧屏，尤长小景，但矜其巧密，殊乏飘逸之致。喜幽默，多行郊野间，览山林之趣，箕坐终日，归则求静室以居，沉屏思虑；神游物外，景造笔下。景德（1004-1007）中游京师，大中祥符（1008-1016）中入图画院，与太原王端、上谷燕文贵、颖川陈用志为画友。尝诏入殿，命画图壁。迁至待诏，守少府监主簿，赐紫衣。景佑初仁宗命画臣鲍国资画四时景于彰圣阁，国资战惧不已，不能下笔，诏克明代之。淮海富商陈永以百千求春龙起蛰图，克阴坚让不从。皇佑初受勅图画三朝盛德之事，人物才及寸余，宫殿山川，銮与仪衞，成备焉。凡一百事，名三朝训鉴图。 《圣［宋］朝名画评、图画见闻志、宣和画谱、书画题殴记、挥尘后录》。高克明的山水画创作，大多是从实地观察获得素材，复经自己 深思熟虑、苦心经营中得来，并不专师于一家，却能注意采撷诸家之美，参成一艺之精，自为体格，颇有创新的味道。\n高克明的绘画成就，在当时已得到公认。《宋朝名画评》将其作品列为妙品第一，认为：“高克明铺成景物，自 成一家，当代少有。”宋高宗赵恒曾写诗云：“(高)克明已死（许）道宁逝，郭熙后有新成名。”认为高克明品第尚在著名画家郭熙之上。明 人王世贞甚至说：“今世称二马(远、麟)、刘(松年)、夏珪，要亦以易知之耳。若克明，殆犹顾(恺之)、陆(探微)之于张(僧鹞)、吴(道子)， 岂可同日语哉！”高克明山水画作品的代表作为《雪意图》(现藏美国)，描绘溪山雪后的清寒景色。画面中央为一片溪水，近岸为树木房屋， 远方则遥山对峙，稍近又绘有树木房屋道路。整幅画画上表现出一种清旷荒寒的烙调，而又不失苍秀嫣润的气韵。另外，经营位置的周详得当 ，意境表达的幽静深院，笔墨运用的精细整饬，都有自创的新意在内。高克明的其他山水画作品，见于著录的还有《夏山飞瀑》、《窠石野渡 图》，《烟岚窠石图》各二幅。",[24,52,29,7,103,32,33,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d06dfcc696c5dd85402e98745a0a984.jpg",[],{"id":2102,"slug":2103,"title":2104,"dynasty":18,"author":2105,"museum":20,"description":2106,"tags":2107,"thumbUrl":2110,"material":2111,"size":2112,"collection":62,"collections":2113,"showCount":2091,"zanCount":11,"manualWeight":11,"mainColor":304},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴","马琬","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”。",[24,75,181,28,27,54,118,2108,31,121,30,2109,461,218,7],"悬崖","关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","绢本，墨笔","纵：125.4厘米，横：57.2厘米",[],{"id":2115,"slug":2116,"title":2117,"dynasty":163,"author":977,"museum":20,"description":2118,"tags":2119,"thumbUrl":2121,"material":958,"size":2122,"collection":62,"collections":2123,"showCount":2091,"zanCount":11,"manualWeight":11,"mainColor":140},220316,"huang-shan-tu-ce-13-hong-ren-220316","黄山图册-13","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,52,270,27,28,30,122,2120,31,7],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc417d6e1a625c43032297da4992c2db5.jpg","21.5x18.3厘米",[],{"id":2125,"slug":2126,"title":2127,"dynasty":18,"author":131,"museum":2128,"description":2129,"tags":2130,"thumbUrl":2131,"material":350,"size":2132,"collection":62,"collections":2133,"showCount":2134,"zanCount":127,"manualWeight":11,"mainColor":42},290963,"tai-xing-xue-ji-tu-yi-ming-290963","太行雪霁图","台北故宫博物馆","一群行旅或骑驴或牵骡、骆驼，在险峻的太行山径赶路，饶有北国风情。路旁枯树，山石上的白雪都令人想起冬日的严寒。缩颈弯腰及以袖口掩鼻的人物，更以生动的表情形容出隆冬的凄苦。\n该幅的山石构景雄奇，用笔劲利。前者承继北宋范宽一派的遗绪；后者则有南宋马夏的影响。",[24,52,29,7,55,30,362,271,272,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe442c7a2622bf594b90fb9b28854a51f.jpg","156x103",[],17,{"id":2136,"slug":2137,"title":357,"dynasty":70,"author":772,"museum":72,"description":2138,"tags":2139,"thumbUrl":2140,"material":301,"size":2141,"collection":62,"collections":2142,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":42},290299,"hua-xue-jing-zhou-xu-dao-ning-290299","崇山峻岭，峰峦积雪，百木俱凋，苍松挺立。雪江中，渔夫披簑垂钓，溪畔上，三人围炉饮酒。通幅以墨渲染水天，更觉阴冷萧瑟。",[24,75,181,7,246,55,205,28,27,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff213122db4f95a5a16f09c320c5b6ab0.jpg","169.2x103.2",[],{"id":2144,"slug":2145,"title":2146,"dynasty":70,"author":2147,"museum":49,"description":2148,"tags":2149,"thumbUrl":2151,"material":191,"size":192,"collection":62,"collections":2152,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":42},289873,"xue-an-han-ya-tu-li-an-zhong-289873","雪岸寒鸦图","李安忠","画中，几棵古木参天，树木虬屈，乱藤攀援。坡石苍润，主峰凸兀，气整伟峻。土坡用笔卷动如风，枯木则中峰勾勒，寒木风骨，平正势奇，枯枝多变，壮如屈铁，气韵深厚。悬崖旷野间，寒鸦或枝头落，或成群飞舞，空中盘旋。仿佛寒鸦群的呜鸣声在山谷间回荡着，忽远忽近。气象萧疏，烟林清旷，峰峦深厚，势伏雄强。",[52,24,181,149,53,150,7,55,56,101,2150],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd545dfce38be3dfe405f73584480cd6b.jpg",[],{"id":2154,"slug":2155,"title":2156,"dynasty":70,"author":593,"museum":49,"description":1017,"tags":2157,"thumbUrl":2159,"material":191,"size":192,"collection":62,"collections":2160,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":42},289455,"dai-xue-gui-yu-tu-liang-kai-289455","戴雪归渔图",[24,148,27,29,100,56,523,7,2158,1019],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b8b1f2538144ea090b404283cfbe23.jpg",[],{"id":2162,"slug":2163,"title":2164,"dynasty":70,"author":2165,"museum":49,"description":2166,"tags":2167,"thumbUrl":2170,"material":191,"size":192,"collection":62,"collections":2171,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":42},288944,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-288944","潇湘八景-江天暮雪","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,26,75,27,28,7,2168,205,30,57,56,675,2169],"江河","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6cad3d138a2f588d7e6ddb399c2267.jpg",[],{"id":2173,"slug":2174,"title":2175,"dynasty":334,"author":335,"museum":49,"description":2176,"tags":2177,"thumbUrl":2178,"material":191,"size":192,"collection":62,"collections":2179,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":140},283721,"fang-gu-shan-shui-ce-dong-qi-chang-283721","仿古山水册","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,270,27,29,31,169,122,28,33,103,7],"https:\u002F\u002Foss.chuangqi.store\u002F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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[24,25,148,27,29,7,31,30,203,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73fc28e16c28d2d8c79e704fcf828365.jpg",[],{"id":2197,"slug":2198,"title":2199,"dynasty":334,"author":1952,"museum":49,"description":2200,"tags":2201,"thumbUrl":2202,"material":62,"size":62,"collection":62,"collections":2203,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":42},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","寒江钓艇图","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[24,25,181,334,53,149,57,523,55,552,7,33,29,1955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":2205,"slug":2206,"title":2207,"dynasty":334,"author":2208,"museum":72,"description":2209,"tags":2210,"thumbUrl":2212,"material":61,"size":2213,"collection":37,"collections":2214,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":140},218885,"han-shan-mu-di-tu-shi-rui-218885","寒山牧羝图","石锐","这幅画描绘了一个被白雪覆盖的深谷，一群肥硕的羊在玩耍，无忧无虑，估计有足够的草料过冬。这幅画最初被刻为宋画，但面板上刻有石瑞的印章，而且笔触犀利、扎实，与现存的石锐画作一致",[23,24,53,29,118,2211,55,30,7,28,149],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77610d8f14e27540826202b95bfeee6a.jpg","22.5x22.7厘米",[37],{"id":2216,"slug":2217,"title":2218,"dynasty":70,"author":131,"museum":72,"description":2219,"tags":2220,"thumbUrl":2221,"material":350,"size":2222,"collection":88,"collections":2223,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":42},290766,"xi-shan-chu-xue-zhou-yi-ming-290766","溪山初雪轴","写雪后山岭清冷寒寂之景。深谷大山，古木怪石，山路蜿蜒，溪流潺潺，屋宇坐落在山脚下，行人行进于小桥上。画面气韵殊胜，笔墨高古，山路盘旋，水泉插天，宫殿出没，林木萧瑟，构图严谨而多变，作者延续了北宋山水画可居可游的构图方式，把人与山川紧密地融合在一起，打破了冬日山川的荒凉之感。",[24,29,181,7,28,30,55,271,272,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c32ff595d114902698a69c188d47bc.jpg","181.9x101.9",[88],16,{"id":2226,"slug":2227,"title":2228,"dynasty":334,"author":335,"museum":49,"description":2229,"tags":2230,"thumbUrl":2231,"material":191,"size":192,"collection":62,"collections":2232,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":140},283770,"guan-shan-xue-ji-tu-juan-dong-qi-chang-283770","关山雪霁图卷","该画主要对平远山景进行详细描绘，笔墨仍作平远景，山峦起伏层叠，林壑幽深，布局严谨而气势雄健，墨色浑厚用笔苍劲老辣，兼有生拙秀润的韵致。",[23,52,24,26,25,27,29,7,122,80,28,103,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b4e279e00538389e26971602b2698b.jpg",[],{"id":2234,"slug":2235,"title":1844,"dynasty":334,"author":1845,"museum":49,"description":1846,"tags":2236,"thumbUrl":2237,"material":191,"size":192,"collection":62,"collections":2238,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":400},237870,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-237870",[24,25,148,27,28,29,7,31,169,183,271,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c30cc20242b010b260c4ea9c2cc93e.jpg",[],{"id":2240,"slug":2241,"title":2242,"dynasty":334,"author":131,"museum":49,"description":2243,"tags":2244,"thumbUrl":2246,"material":62,"size":62,"collection":106,"collections":2247,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":140},237123,"li-chen-xue-jing-hua-niao-zhou-yi-ming-237123","李辰雪景花鸟轴","落尽琼花天不惜，封他梅蕊玉无香。",[24,52,25,181,27,53,7,150,1219,1004,2245,33,149],"梅花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d91d86fc3db71687041c45119956c42.jpg",[106],{"id":2249,"slug":2250,"title":2251,"dynasty":334,"author":131,"museum":49,"description":1882,"tags":2252,"thumbUrl":2253,"material":62,"size":62,"collection":62,"collections":2254,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":42},234691,"ming-ren-xue-jing-shan-shui-ce-ye-yi-ming-234691","明人雪景山水册页",[24,53,29,7,57,55,30,33,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5051c35d93cc31f1ab80646be71c8.jpg",[],{"id":2256,"slug":2257,"title":1332,"dynasty":163,"author":2258,"museum":20,"description":2259,"tags":2260,"thumbUrl":2261,"material":2262,"size":62,"collection":37,"collections":2263,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":140},234320,"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,270,27,28,32,33,29,30,31,338,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg","纸本，水墨",[37,39,625],{"id":2265,"slug":2266,"title":2267,"dynasty":1027,"author":2268,"museum":49,"description":2269,"tags":2270,"thumbUrl":2271,"material":62,"size":62,"collection":62,"collections":2272,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":140},231662,"da-zheng-yuan-nian-xiao-xiang-ba-jing-heng-shan-da-guan-231662","大正元年 潇湘八景","横山大观","素白雪色晕染铺陈，将天地晕作一色，几处青绿山棱划破苍茫冷寂，带着残冬将息的生机。画面以大量留白拉扯开江野暮雪的辽远空茫。\n\n下方渔翁戴笠披蓑，垂竿静立，身侧小童默然相伴，暖棕衣料在一片素白里晕开澹澹烟火气。将东方禅意的空寂与隐逸闲情揉为一处，水墨晕染与浮世绘质感相融，于荒寒天地间刻画出悠然静穆的一隅，把清冷悠然藏在留白与淡彩之间，唤起心底对辽远天地间闲逸之趣的共鸣。",[23,24,53,29,7,183,28,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9640f36885bbe464aa57c33c0f8baee.jpg",[],{"id":2274,"slug":2275,"title":2276,"dynasty":334,"author":2277,"museum":49,"description":2278,"tags":2279,"thumbUrl":2280,"material":62,"size":62,"collection":62,"collections":2281,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":140},228307,"jiang-shan-xue-ji-tu-shou-juan-xiang-sheng-mo-228307","江山雪霁图手卷","项圣谟","此作用淡墨晕染，留白拟积雪，绘就雪后江天。近岸寒林枯槎错落，崖巅孤亭孑立，可眺江色；山石以干笔皴擦，凝住冬日元气。远景江波澹澹，远山如墨痕晕散，孤鸟掠空衬出天地寥廓，满卷萧寒清旷之意。\n师法宋元笔墨，以极简之笔写尽雪霁荒寒，将文人幽居远眺的寄怀藏于山水间。后附题跋小楷娟秀，书画相映，在素淡笔墨里晕开空寂禅意，尽显古雅清逸的文人画风骨。",[23,24,25,26,27,28,29,7,30,31,168,56,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55f709ab0f0994569af64b386bef267.jpg",[],{"id":2283,"slug":2284,"title":2285,"dynasty":163,"author":2286,"museum":49,"description":2287,"tags":2288,"thumbUrl":2289,"material":62,"size":62,"collection":62,"collections":2290,"showCount":2224,"zanCount":11,"manualWeight":11,"mainColor":140},224240,"tan-xue-tu-juan-li-zong-wan-224240","探雪图卷","励宗万","此作用平远视角铺展林泉雅境，以披麻皴绘层峦，石骨温润，淡赭晕染出浅淡暖意，衬出山峦清和质感。长溪蜿蜒穿谷，汀渚错落板桥连缀村居，黛瓦茅庐或临水依崖，或藏于花林松荫。\n\n山径、板桥之上，雅士策杖寻幽、携琴晤谈，暗合林泉高致。桃林初绽、松枝苍劲，红白点缀浅绛山水之间，冷润雅致。全卷以精工细笔写尽山居闲旷，将文人心中的世外烟霞融于尺幅，尽显静谧悠然的林下意趣，淡远清和的气息漫卷整幅画卷。",[23,24,25,26,149,28,53,29,7,271,272,183,78,31,30,273,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435c1018f07729175bd8cc1346e76e1.jpg",[],{"id":2292,"slug":2293,"title":2294,"dynasty":70,"author":131,"museum":72,"description":2295,"tags":2296,"thumbUrl":2299,"material":350,"size":2300,"collection":88,"collections":2301,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":42},290986,"xue-zhan-niu-che-tu-yi-ming-290986","雪栈牛车图","寒天积雪，林木萧索，远方丘陵起伏，牛车行旅络绎不绝，往返於雪径上；庄院内牛骡或卧或息，檐前二人握手倾谈旅况。画家以叙述性的手法，详实地掌握了严冬季节，郊野行旅的活动景况。 幅中坡石皆用斧劈法侧斜横皴，用笔凝重，墨色浓郁，画法齐整严谨。以笔墨论，或是出於南宋后期受李唐风格影响者所作。",[24,75,27,7,2297,512,708,122,55,169,2298,30],"牛车","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca962091e2a05f32ff6737bcf33face7.jpg","164.2x104.1",[88],15,{"id":2304,"slug":2305,"title":2306,"dynasty":334,"author":131,"museum":49,"description":2307,"tags":2308,"thumbUrl":2309,"material":191,"size":192,"collection":62,"collections":2310,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":42},288157,"fang-song-ren-xue-shan-xing-lv-tu-li-zhou-yi-ming-288157","仿宋人雪山行旅图立轴","此作用笔苍劲老辣，以层层积墨晕染出冰封雪裹的寒山，嶙峋怪石棱角分明，积雪似凝脂覆于崖巅，留白与墨色相生，晕出山坳间的濛濛寒雾。古松虬曲苍劲，枝干擎着薄雪，于冷寂中透出倔强生机。\n\n山径间踽踽独行的旅人，为这片阒寂雪境添上一缕烟火气，反衬出天地空阔荒寒。整幅画将冬山的凛冽清旷铺陈开来，静穆中藏着深幽的山水意趣，尽显萧寒孤远的冬日山野之美。",[23,24,52,181,29,274,27,7,121,30,708,446,183,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2231d82e879c9de295b72e33f2816647.jpg",[],{"id":2312,"slug":2313,"title":2314,"dynasty":70,"author":1247,"museum":49,"description":2058,"tags":2315,"thumbUrl":2316,"material":191,"size":192,"collection":62,"collections":2317,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":42},287571,"jiang-xing-xue-ji-tu-guo-zhong-shu-287571","江行雪霁图",[24,182,27,1250,7,1251,103,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff341d05fedaf4a2a138c6beae3be607f.jpg",[],{"id":2319,"slug":2320,"title":2321,"dynasty":163,"author":2322,"museum":20,"description":2323,"tags":2324,"thumbUrl":2327,"material":526,"size":2328,"collection":62,"collections":2329,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":140},233143,"han-tuo-can-xue-tu-zhou-hua-yan-233143","寒驼残雪图轴","华嵒","图绘天寒地冻、晓月高悬的雪夜，一旅者与驼露宿山路的景象。画面以对角线分割，右下为该画主体即人与驼。在雪山脚下寒林枯树旁，一枯瘦的双峰驼正低头啮雪，帐篷中一人向外观望。作者用寥寥数笔简练地绘出帐篷的圆形；人物高鼻、卷发、胡须浓密，似西域人；骆驼以线勾出后稍加晕染，驼骨微露，双目圆睁，神情专著，充分显示出华嵒减笔画的深厚功力。左上以淡墨染底表示雪夜的阴霾，以浓墨勾出一弯残月与孤雁，这与下部留白所表示的残雪形成对照，视觉反差强烈，由此可以看出华嵒驾驭画面的高超能力和文人的审美情趣。\n该画的画意与华嵒的《天山积雪图》有相似之处，二图的人物面象也略似，两件作品均形象生动，是华嵒的代表作。",[24,25,181,53,27,1090,183,2325,2326,1477,56,33,7,1763],"残雪","孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cfed74214149a504d200af26a333aa.jpg","纵139.7厘米，横58.4厘米",[],{"id":2331,"slug":2332,"title":2333,"dynasty":163,"author":2334,"museum":49,"description":2335,"tags":2336,"thumbUrl":2337,"material":62,"size":62,"collection":62,"collections":2338,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":140},230966,"zhong-kui-tan-mei-tu-jin-ting-biao-230966","钟馗探梅图","金廷标","寒雪覆地，万木凝霜，虬曲老树裹着厚雪，萧索中透着清寂。画面主角敛去往日凶煞，化身乡野翁叟，斗笠覆顶，肩负梅枝，踏过小桥时眉眼松弛，似为寻得暗香忘却本职，只剩踏雪寻芳的悠然。身后小童缩着脖颈，挑着伞盖匆匆随行，憨态可掬。\n整作以淡墨晕开茫茫雪色，线条朴拙简练，将神威仙灵世俗化，把凌冬雅趣与俗世温情相融，打破固有狞厉印象，以寻常行旅的温情图景，消解题材自带的肃杀，尽显隆冬寻梅的闲逸诗意。",[24,25,53,149,183,186,2298,297,55,502,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ef8da1600122e28775a7e31276ba9e.jpg",[],{"id":2340,"slug":2341,"title":2342,"dynasty":1027,"author":131,"museum":49,"description":2343,"tags":2344,"thumbUrl":2349,"material":62,"size":62,"collection":62,"collections":2350,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":140},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。",[1940,1941,2345,53,720,361,183,54,118,136,169,121,286,58,513,2346,2347,297,31,820,7,2348],"版画","行人","骑马","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],{"id":2352,"slug":2353,"title":2354,"dynasty":163,"author":267,"museum":49,"description":2355,"tags":2356,"thumbUrl":2357,"material":62,"size":62,"collection":62,"collections":2358,"showCount":2302,"zanCount":11,"manualWeight":11,"mainColor":140},224459,"hua-hui-shan-shui-he-ce-1-7-wang-hui-224459","花卉山水合册1-7","此作用水墨写就冬日林泉之景，枯木虬曲苍劲，扎根嶙峋岩岸，间有翠松点染，于萧寒里暗蕴生机。山岩以干笔皴擦勾勒，朴拙厚重的棱角间，溪涧萦回、细瀑垂落，静景暗藏动势。远景以淡墨晕染烟霭，水天相融朦胧悠远，归雁掠过长空，更衬荒寒清寂。\n\n左侧题款朱印点缀，文气与画意浑然相融。全作用枯淡笔触铺陈萧疏之境，于极简中晕染出澹泊诗意，将冬日林泉的幽寂清远刻画尽致，笔意苍秀兼具，尽显文人山水雅逸格调，是以简驭繁的水墨佳作。",[23,24,52,25,270,27,28,29,55,218,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0081d806b4ce52c4d8230dfefa4b761b.jpg",[],{"id":2360,"slug":2361,"title":2362,"dynasty":70,"author":131,"museum":49,"description":2363,"tags":2364,"thumbUrl":2365,"material":191,"size":192,"collection":62,"collections":2366,"showCount":2367,"zanCount":11,"manualWeight":11,"mainColor":42},289010,"jiang-shan-ji-xue-tu-yi-ming-289010","江山霁雪图","此作用高远与平远构图铺展景致，左侧巨峰积雪覆顶，青绿晕染山峦，温润雅致又不失厚重苍劲。淡墨晕开江面空蒙，留白衬出江天萧寒澄澈。\n\n山脚村居隐于枯木疏枝之下，对岸汀渚间寺宇错落，烟波浩渺间尽显冬霁清旷。山石皴擦带着北派山水的雄浑质感，设色古雅沉静，将雪初晴后江山的冷寂辽远，与乡居的静谧安然相融，尽抒寄情林泉的幽远意趣。",[52,24,75,374,53,7,29,78,169,55,524,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb70e65ad9c770a86cf194c313fb816.jpg",[],14,{"id":2369,"slug":2370,"title":2371,"dynasty":163,"author":267,"museum":20,"description":1863,"tags":2372,"thumbUrl":2375,"material":1094,"size":2376,"collection":62,"collections":2377,"showCount":2367,"zanCount":11,"manualWeight":11,"mainColor":42},234192,"han-jiang-xue-yi-tu-juan-wang-hui-23419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論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,26,27,53,29,246,821,31,2446,7,58],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":2450,"slug":2451,"title":2452,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":2453,"thumbUrl":2462,"material":191,"size":192,"collection":1039,"collections":2463,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":140},225985,"melting-of-floes-at-ve-theuil-1881-mo-nai-225985","Melting of Floes at Vétheuil, 1881",[1031,1032,2454,2455,2456,1438,2457,2458,58,31,2459,7,2460,2461,513],"笔触","光影","色彩","浮冰","融化","山脉","倒影","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e3a52b1fd28e2461a358c222129b93.jpg",[1039],{"id":2465,"slug":2466,"title":2467,"dynasty":1027,"author":131,"museum":49,"description":2468,"tags":2469,"thumbUrl":2471,"material":191,"size":192,"collection":62,"collections":2472,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":140},225440,"fu-shi-hui-198-yi-ming-225440","浮世绘198","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。",[1940,1941,53,183,917,7,2470,56],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf0d221a3b9b7b0aff602b828a639a0.jpg",[],{"id":2474,"slug":2475,"title":2476,"dynasty":163,"author":2477,"museum":228,"description":2478,"tags":2479,"thumbUrl":2481,"material":62,"size":62,"collection":39,"collections":2482,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":2483},203050,"hua-niao-zou-shou-tu-ce-shen-quan-203050","花鸟走兽图册","沈铨","寒林雪霁，枯木虬枝覆雪，苍劲中透着疏朗；青柏翠叶点缀其间，为素净冬日晕开一抹生机。岩畔溪流潺潺，水纹细腻如织，似携泠泠清音。几只小兽（兔与狸）或卧雪小憩，或探头觅食，兽毛晕染层次分明，姿态憨态可掬又灵动鲜活。画作工笔精谨，线条勾勒精准流畅，设色淡雅温润，雪景留白与墨皴山石、染叶树木相映成趣，将冬日山林的静谧与生命的意趣完美相融，尽显自然之美与笔墨匠心。",[149,53,7,433,2480,2060,272,30,270,23],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc54864e26cf2b0420329f42874c07.jpg",[39],"b3a07f",{"id":2485,"slug":2486,"title":2487,"dynasty":70,"author":131,"museum":49,"description":2488,"tags":2489,"thumbUrl":2493,"material":191,"size":192,"collection":62,"collections":2494,"showCount":2495,"zanCount":11,"manualWeight":11,"mainColor":140},289942,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-289942","仿郭忠恕雪霁江行图",",画雪江上大船两只,船之结构及船夫劳作之状被刻画得精妙入微,此图已经裁割.画面已不完整,",[23,24,26,182,25,1251,2490,2491,7,103,78,274,2492],"舟船","雪霁","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdce44be3bb9a4fc815fe20943e725c8.jpg",[],12,{"id":2497,"slug":2498,"title":2499,"dynasty":334,"author":659,"museum":49,"description":2192,"tags":2500,"thumbUrl":2502,"material":191,"size":192,"collection":62,"collections":2503,"showCount":2495,"zanCount":11,"manualWeight":11,"mainColor":42},288149,"xue-jing-shan-shui-tu-li-zhou-lan-ying-288149","雪景山水图立轴",[23,24,181,29,7,55,2501,57,205,30,28,53,541],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d29f7d59862ce63fecb4304eeb3687.jpg",[],{"id":2505,"slug":2506,"title":2507,"dynasty":334,"author":131,"museum":49,"description":2508,"tags":2509,"thumbUrl":2510,"material":62,"size":62,"collection":37,"collections":2511,"showCount":2495,"zanCount":11,"manualWeight":11,"mainColor":140},236428,"shu-zhi-shan-shui-ce-yi-ming-236428","殳执山水册","此作以淡墨晕染萧寒冬日，留白铺陈天地素雪，远山如裹素衾，棱线隐在氤氲灰雾中，愈显清寂辽远。近岸双松孑然挺立，虬枝错落，虽针叶落尽，仍带着苍劲意气。溪石隐于薄雪之下，寒水曲折蜿蜒，牵起林麓间山居茅舍。屋舍隐在枯木之后，淡笔勾出檐角，似有幽居之人避世于此。左侧题字朱印点缀，添就文人情致。\n\n整幅用墨清润简淡，以虚带实，将冬日山野的空静萧疏尽数铺展，素白清冷间藏着淡远悠长的隐逸之趣，尽显传统山水的空灵意境。",[52,24,25,270,27,28,29,120,169,30,7,272],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe695c61998a56f0f49ab8e14dab8f8f.jpg",[37,251],{"id":2513,"slug":2514,"title":2515,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":2516,"thumbUrl":2519,"material":191,"size":192,"collection":1039,"collections":2520,"showCount":2495,"zanCount":11,"manualWeight":11,"mainColor":140},225970,"lavacourt-under-snow-1879-mo-nai-225970","Lavacourt under Snow, 1879",[1031,1032,1393,2517,7,169,55,58,2518,83],"色彩晕染","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151957d2f99c73ba27a5386c24def036.jpg",[1039],{"id":2522,"slug":2523,"title":1881,"dynasty":334,"author":131,"museum":49,"description":2524,"tags":2525,"thumbUrl":2526,"material":62,"size":62,"collection":62,"collections":2527,"showCount":2495,"zanCount":11,"manualWeight":11,"mainColor":42},223669,"xue-jing-shan-shui-tu-ye-yi-ming-223669","此作铺展寒山素裹之境，层峦覆雪，山石棱线硬朗留白缀霜，似凝住凛冬清寒。虬曲枯木错落林间，枝桠积雪斑驳，萧疏间尽显苍劲古拙。山坳里山居隐现，木构廊轩错落排布，窗畔似含淡淡暖意，于冰寒天地晕开一隅烟火温情，静穆底色里暗蕴生机。\n\n画师以干笔皴擦勾勒山石肌理，淡墨晕染铺就雪地留白，虚实相生间尽显冬山空蒙清寂。将荒寒丘壑与幽居雅趣相融，绘就冬日山居的静惬之美，仿若可踏雪穿林，坐看林峦雪色，于冷寂山景中体味悠然避世的澹泊意韵。",[23,24,25,148,27,53,28,29,7,78,55,30,362,297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0d320b8b831560b39f3f2cf7b4c401.jpg",[],{"id":2529,"slug":2530,"title":2531,"dynasty":163,"author":2532,"museum":20,"description":2533,"tags":2534,"thumbUrl":2535,"material":61,"size":2536,"collection":62,"collections":2537,"showCount":2495,"zanCount":11,"manualWeight":11,"mainColor":42},219141,"yang-zhou-si-jing-tu-ping-gang-yan-xue-yuan-yao-219141","扬州四景图-平岗艳雪","袁耀","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[52,24,29,182,53,78,168,271,183,30,31,7,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39289767d24a1f12e61192f187a0e686.jpg","纵57厘米，横66.1厘米",[],{"id":2539,"slug":2540,"title":1170,"dynasty":334,"author":2541,"museum":228,"description":2542,"tags":2543,"thumbUrl":2544,"material":62,"size":62,"collection":37,"collections":2545,"showCount":2495,"zanCount":11,"manualWeight":11,"mainColor":2546},201958,"xue-jing-shan-shui-zhou-li-shi-da-201958","李士达","山峦覆雪如堆玉，皴擦间显肌理之沉；枯木枝桠披银，笔意清劲藏苍古。水墨晕染处，积雪与山石相映，留白见雪之蓬松，淡墨衬山之嶙峋。林间楼阁隐于雪色，屋宇错落，静谧中含隐逸之趣。整幅画以简洁笔触勾勒冬日山林，清寂中透出雅致，尽显水墨山水之韵致。",[27,29,7,28,78,2060,30,573,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf90aedc763c549c82619d3702a1e5c.jpg",[37],"b29f89",{"id":2548,"slug":2549,"title":2550,"dynasty":334,"author":2551,"museum":72,"description":2552,"tags":2553,"thumbUrl":2556,"material":340,"size":2557,"collection":251,"collections":2558,"showCount":2559,"zanCount":11,"manualWeight":11,"mainColor":140},290945,"xue-shan-xing-lv-tu-zhou-qian-gu-290945","雪山行旅图轴","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,181,75,27,28,7,185,271,272,55,233,2554,361,2555,203,809],"行旅人物","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c0d9a198fbba7297e3d5b3a912b68.jpg","288.2x56.1",[251],11,{"id":2561,"slug":2562,"title":1416,"dynasty":18,"author":1435,"museum":72,"description":2563,"tags":2564,"thumbUrl":2565,"material":340,"size":2566,"collection":62,"collections":2567,"showCount":2559,"zanCount":11,"manualWeight":11,"mainColor":140},287667,"qun-feng-xue-ji-zhou-cao-zhi-bai-287667","在技法上已经达到了融会贯通的境界。画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。",[24,52,25,181,27,29,7,55,78,33,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdb36f8d09020fa4bdeace6158c6cc98.jpg","129.7x56.4",[],{"id":2569,"slug":2570,"title":2571,"dynasty":18,"author":131,"museum":49,"description":2572,"tags":2573,"thumbUrl":2575,"material":191,"size":192,"collection":62,"collections":2576,"showCount":2559,"zanCount":11,"manualWeight":11,"mainColor":42},287549,"xue-jian-pan-che-tu-yi-ming-287549","雪涧盘车图","千里征途的艰辛景色。全图结构谨严，右侧的雪景疏松，左侧的山石树木紧凑，其间旅队蜿蜒而上。造型写实功力深厚，是南宋院画中的杰出小品。",[24,52,75,7,122,2574,708,2002,697,361,183,31,28],"山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e76546a20a81c1e59800f3c51b0eb56.jpg",[],{"id":2578,"slug":2579,"title":2580,"dynasty":18,"author":131,"museum":72,"description":2129,"tags":2581,"thumbUrl":2582,"material":350,"size":2132,"collection":62,"collections":2583,"showCount":2559,"zanCount":11,"manualWeight":11,"mainColor":42},223407,"tai-xing-xue-ji-tu-zhou-yi-ming-223407","太行雪霁图轴",[23,24,181,53,28,29,7,30,55,362,183,205,272,218,2459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe095a1bc944a9d299c160ca73f1ffd9a.jpg",[],{"id":2585,"slug":2586,"title":2587,"dynasty":334,"author":2588,"museum":49,"description":2589,"tags":2590,"thumbUrl":2591,"material":191,"size":192,"collection":62,"collections":2592,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":140},290931,"bao-shan-shi-jing-ce-zhang-hong-290931","包山十景册","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,270,29,7,80,348,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e629974fe896b8b1acd8fb8c21f64ae.jpg",[],10,{"id":2595,"slug":2596,"title":2597,"dynasty":70,"author":131,"museum":49,"description":2598,"tags":2599,"thumbUrl":2600,"material":191,"size":192,"collection":62,"collections":2601,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":42},288345,"xue-qiao-mai-yu-tu-yi-ming-288345","雪桥买鱼图","以淡墨晕染铺就天地一色的雪意，崖壁枯木虬枝斜出，残叶凝着薄雪，兀自点缀着萧寒。水岸渔舍错落低矮，板桥凌于寒波之上，渔舟系在岸边，好似刚收网归来，鲜鱼担于桥畔，静候买客。\n\n整幅画作以极简笔触勾勒出冬日水乡的清寂，留白处尽是冷冽空濛的雪色，不见喧嚣，只剩静谧。带着宋人独有的雅致意趣，将寻常乡野雪景绘成清冷孤高的诗意画卷，藏着冬日水乡的烟火闲淡，又晕染出荒寒出尘的山水意境。",[148,24,52,75,27,7,271,169,55,30,1438,57,1782,1384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d0642e132ec6cd5664c979b5161599d.jpg",[],{"id":2603,"slug":2604,"title":2605,"dynasty":334,"author":2277,"museum":49,"description":2606,"tags":2607,"thumbUrl":2608,"material":191,"size":192,"collection":62,"collections":2609,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":140},287783,"xue-ying-yu-ren-tu-xiang-sheng-mo-287783","雪影渔人图","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[23,52,24,25,181,27,29,100,57,102,272,33,687,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2180dbe5f9cb3d7d66cc8995b1afa3ba.jpg",[],{"id":2611,"slug":2612,"title":1332,"dynasty":163,"author":2613,"museum":49,"description":2614,"tags":2615,"thumbUrl":2616,"material":62,"size":62,"collection":62,"collections":2617,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":140},238144,"shan-shui-ce-yun-xi-238144","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,53,27,28,270,118,136,821,169,31,338,204,502,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f3ef880ac7f04f143208f381793708.jpg",[],{"id":2619,"slug":2620,"title":1332,"dynasty":163,"author":2621,"museum":20,"description":2622,"tags":2623,"thumbUrl":2625,"material":526,"size":62,"collection":62,"collections":2626,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":140},237188,"shan-shui-ce-sun-yi-237188","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,25,270,27,53,28,29,7,30,55,169,2624,204,102],"雪峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6324878be9cb5df7ff8c9067c7b79125.jpg",[],{"id":2628,"slug":2629,"title":2630,"dynasty":163,"author":2631,"museum":49,"description":2632,"tags":2633,"thumbUrl":2634,"material":62,"size":62,"collection":62,"collections":2635,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":140},236952,"ye-xue-wan-shan-lu-hui-236952","夜雪纨扇","陆恢","此作以淡墨晕染出萧寒雪夜，圆幅间铺展出清旷冬景。远山素雪覆顶，借留白晕染出积雪蓬松质感，隐于烟霭间尽显苍茫空寂。近岸枯木虬曲疏朗，枝桠劲瘦如铁，与远处墨色沉凝的松丛相映，于素净里生出层次变化。浅滩寒水缓流，雪覆岸渚，冷寂里藏着幽微生机。\n\n画家以枯笔写枯枝，淡墨铺雪色，虚实相生间将冬夜山野的静谧冷冽尽数铺陈，搭配题识笔墨，融文思与画意于一体，尽显冲淡安闲的文人意趣，把雪后孤清远寂的冬日意境刻画得淋漓尽致。",[24,148,53,29,7,55,204,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac96ed8d9a3ac72dd1831b4ba0c9ffa.jpg",[],{"id":2637,"slug":2638,"title":1464,"dynasty":163,"author":1465,"museum":20,"description":2639,"tags":2640,"thumbUrl":2641,"material":2642,"size":2643,"collection":62,"collections":2644,"showCount":2593,"zanCount":11,"manualWeight":11,"mainColor":140},234921,"xue-jing-gu-shi-ce-sun-hu-234921","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,25,270,53,149,7,29,78,169,30,31,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ba6b5b5d446cd11a4073a42a45b840.jpg","绢本 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,27,2689,29,186,183,338,7,33,103,28],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43c8d9b4924edeba2e2c0e38e0cdc66.jpg",[],{"id":2693,"slug":2694,"title":2695,"dynasty":163,"author":1707,"museum":72,"description":1708,"tags":2696,"thumbUrl":2697,"material":340,"size":2698,"collection":62,"collections":2699,"showCount":2668,"zanCount":11,"manualWeight":11,"mainColor":42},290590,"xue-jing-ren-wu-shi-ji-zhou-zhang-ruo-ai-290590","雪景人物事迹轴",[24,181,27,7,183,29,102,55,541,103,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc49d8d50a6d1af675ef6a22f8fed32.jpg","112.5x28.7",[],{"id":2701,"slug":2702,"title":2146,"dynasty":70,"author":2147,"museum":49,"description":2148,"tags":2703,"thumbUrl":2705,"material":191,"size":192,"collection":62,"collections":2706,"showCount":2668,"zanCount":11,"manualWeight":11,"mainColor":42},289130,"xue-an-han-ya-tu-li-an-zhong-289130",[23,52,24,181,149,150,56,55,7,101,2704,538],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac83e55ae0a4db7c4acc2daacf9038dd.jpg",[],{"id":2708,"slug":2709,"title":2710,"dynasty":163,"author":131,"museum":49,"description":2711,"tags":2712,"thumbUrl":2714,"material":62,"size":62,"collection":62,"collections":2715,"showCount":2668,"zanCount":11,"manualWeight":11,"mainColor":42},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,25,181,53,29,7,118,136,121,652,169,183,58,286,55,218,2713,28],"冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":2717,"slug":2718,"title":2719,"dynasty":163,"author":267,"museum":72,"description":2720,"tags":2721,"thumbUrl":2722,"material":564,"size":2723,"collection":62,"collections":2724,"showCount":2668,"zanCount":11,"manualWeight":11,"mainColor":42},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[52,24,25,274,28,27,53,29,185,30,31,325,7,55,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":2726,"slug":2727,"title":2728,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":2729,"thumbUrl":2735,"material":191,"size":192,"collection":1039,"collections":2736,"showCount":2668,"zanCount":11,"manualWeight":11,"mainColor":42},226140,"vetheuil-in-winter-1878-79-mo-nai-226140","Vetheuil in Winter, 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],{"id":2826,"slug":2827,"title":2828,"dynasty":334,"author":2829,"museum":20,"description":2830,"tags":2831,"thumbUrl":2832,"material":958,"size":2833,"collection":62,"collections":2834,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":140},236494,"shan-shui-ren-wu-ce-guo-fen-ya-236494","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,25,270,27,53,29,183,7,55,30,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f9203896a1b64f9b9ef4aa06722fd9.jpg","纵38.8厘米，横60.4厘米",[],{"id":2836,"slug":2837,"title":1464,"dynasty":163,"author":1465,"museum":20,"description":2639,"tags":2838,"thumbUrl":2839,"material":2642,"size":2643,"collection":62,"collections":2840,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":140},234913,"xue-jing-gu-shi-ce-sun-hu-234913",[24,25,270,53,182,29,183,78,184,55,30,7,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c4f3c3632f5bc300112775b84978ed.jpg",[],{"id":2842,"slug":2843,"title":2844,"dynasty":70,"author":131,"museum":49,"description":2845,"tags":2846,"thumbUrl":2848,"material":62,"size":62,"collection":62,"collections":2849,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":42},227932,"xue-ting-shui-qin-tu-yi-ming-227932","雪汀水禽图","此作以淡墨晕染萧寒冬境，水岸枯木虬曲苍劲，瘦削枝桠凌冽舒展，数只禽鸟缩羽栖息枝头，将冬日瑟缩畏寒之态尽显。右上一双水禽振翅掠空，破静谧成动静相生之趣。\n画家以留白晕染暗喻薄雪覆汀，设色简淡清润，笔触凝练细腻，枯枝的苍古、水禽灵动神态皆跃然绢上。尺幅之间铺陈出荒寒清远的意趣，尽显冬日郊野空寂冷逸，将冬汀荒萧寒疏之美藏于方寸，余韵悠悠。",[23,24,52,148,149,27,53,55,56,539,286,102,2847,538,7],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":2851,"slug":2852,"title":2853,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":2854,"thumbUrl":2858,"material":191,"size":192,"collection":1039,"collections":2859,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":140},226125,"the-thaw-at-vetheuil-1880-mo-nai-226125","The Thaw at Vetheuil, 1880",[1031,1032,1393,2517,2855,58,2732,31,83,1037,2460,7,2856,2150,2857],"笔触短促","冬末","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55195edd30bfd323bf193de1dafa4677.jpg",[1039],{"id":2861,"slug":2862,"title":2863,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":2864,"thumbUrl":2865,"material":191,"size":192,"collection":1039,"collections":2866,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":140},226110,"the-road-to-the-farm-saint-simeon-in-winter-1867-mo-nai-226110","The Road to the Farm Saint-Simeon in Winter, 1867",[1032,1031,286,1033,31,56,2346,513,7,538,1037,2455,2454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72b8829824dbfa4e3c96b6d7c9a370dd.jpg",[1039],{"id":2868,"slug":2869,"title":2870,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":2871,"thumbUrl":2872,"material":191,"size":192,"collection":1039,"collections":2873,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":140},226108,"the-riverbank-at-lavacourt-snow-1879-mo-nai-226108","The Riverbank at Lavacourt, Snow, 1879",[1031,1032,7,2150,55,2346,83,58,1033,325,1037],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c01a42ecdc836eccc81841cf39acb80.jpg",[1039],{"id":2875,"slug":2876,"title":2877,"dynasty":1027,"author":1028,"museum":49,"description":1029,"tags":2878,"thumbUrl":2881,"material":191,"size":192,"collection":1039,"collections":2882,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":42},226059,"the-church-at-ve-theuil-snow-1878-1879-mo-nai-226059","The Church at Vétheuil, Snow, 1878-1879",[1031,1032,2454,2455,7,2733,169,31,286,183,513,325,2879,2880],"自然","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd729d43af55760e2f9727f4c8b9beecb.jpg",[1039],{"id":2884,"slug":2885,"title":2886,"dynasty":18,"author":131,"museum":20,"description":2887,"tags":2888,"thumbUrl":2889,"material":1094,"size":2890,"collection":62,"collections":2891,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":42},223583,"yao-cen-yu-shu-tu-yi-ming-223583","瑶岑玉树图","图为山势险峻，峰高崖壁，飞瀑如画，洁白如画； 附近树木高大翠绿，溪水汇成池，凸显奇石怪状，顺着扶手爬上楼梯，几座临水亭映入眼帘。亭中一人坐在窗前， 写了一部漫画。 此画山石似卷轴，画似鹿角、蟹爪，李成郭熙宗法。",[23,24,27,28,181,29,7,362,675,31,30,272,183,204,205],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009fe5fe9cca646998616ea81e1f75c7.jpg","97.4x41.2厘米",[],{"id":2893,"slug":2894,"title":1706,"dynasty":163,"author":2895,"museum":72,"description":2896,"tags":2897,"thumbUrl":2898,"material":1094,"size":2899,"collection":62,"collections":2900,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":140},223262,"zhen-hai-si-xue-jing-zhou-zhang-ruo-cheng-223262","张若澄","《命张若澄图镇海寺雪景因而有作》是清代诗人弘历创作的一首五言排律。\n寺景宜遥看，到寺无多奇。\n却见遥看处，纷然画景披。\n予因是絜矩，万事皆如兹。\n动而世为道，言行法则垂。\n此言往者然，至若生同时。\n远则有望耳，不厌更近之。\n偶此道中庸，释典何即离。\n阇黎粥饭罐，奚足语以斯。\n可惜占福地，尽属黄与缁。\n忆我前度来，回銮驻道陲。\n彼时亦逢雪，瑞叶纷葳蕤。\n翠柏红墙间，寒剽（钟中者谓之剽）送响迟。\n谓是宜图取，若霭属车随。\n粉本为指授，帧端题以诗。\n逮今成旧迹，宝笈藏石渠（叶）。\n六霙仍践盟，旋融春光熙。\n数间精舍中，月户亲凭窥。\n千林复万巘，色相难为辞。\n传语示其弟，坚頫踪可师。\n弘历（1711-1799），即清高宗。\n清代皇帝。\n年号乾隆。\n175-1796年在位。\n爱新觉罗氏。\n满族。\n雍正第四子，名弘历。",[23,24,181,29,53,7,1710,31,30,325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb944f39c020a732f5168b569e8c74372.jpg","103.4×56.9厘米",[],{"id":2902,"slug":2903,"title":2175,"dynasty":163,"author":2904,"museum":228,"description":2905,"tags":2906,"thumbUrl":2911,"material":62,"size":62,"collection":37,"collections":2912,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":2913},203458,"fang-gu-shan-shui-ce-lan-meng-203458","蓝孟","画面以淡墨皴染铺陈冬日山水，山峦覆雪如银，枯树虬枝缀霜，屋舍隐于林麓间，静谧悠然。近景小桥横溪，红衣行人策杖而行，点染出寒冬生机。笔墨苍劲秀润，山石用皴法显肌理，树木枝干中锋勾勒见骨力，留白衬雪意空灵。整体意境清寂悠远，承袭古意又含个人笔墨情致，将冬日山水的幽趣融于册页之中。",[23,270,27,53,274,28,29,271,100,102,7,169,538,30,461,2907,777,2908,2909,2910],"民居","笔墨","点染","仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77df8ec4b2e964f0158c25d8a7390d34.jpg",[37],"9a9887",{"id":2915,"slug":2916,"title":2917,"dynasty":70,"author":131,"museum":49,"description":2918,"tags":2919,"thumbUrl":2920,"material":191,"size":192,"collection":62,"collections":2921,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":42},289597,"xue-zhong-hang-lv-tu-yi-ming-289597","雪中行旅图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[148,24,27,7,29,55,30,708,1353,446,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b1606270dffa4f04850e1d766dc7175.jpg",[],{"id":2923,"slug":2924,"title":1126,"dynasty":18,"author":131,"museum":72,"description":2925,"tags":2926,"thumbUrl":2927,"material":350,"size":2928,"collection":106,"collections":2929,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":42},287347,"gu-mu-han-ya-tu-yi-ming-287347","描绘了在万籁俱寂中生命力仍然强盛的古木寒树和禽鸟。图的近景，布以土坡、岩石，取势由画面左上而右下，呈三角形构图，稳定占据画面的底部。坡石上错落着几棵古树，中间两棵较大的树矗立展开，其茂密的树叶虽已脱尽，但光秃秃的枝丫仍然不屈地伸展着，透着—股孤傲的精神气，这是画面的主景。画的中部右侧，缓坡上较小的树林延伸出画外，林间有几只觅食的寒鸦。这组景物与前景的古木形成对照，间隔出较深远的空间距离。在往后面，是悠远的山峦、树林，更增加了画面空间层次感。深秋抑或是初冬，山林间是那样的寂静，一切似乎都在沉睡，只有一群寒鸦在空中纷飞着。",[24,29,27,55,56,7,205,1019,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06260350e8cf4acb6d309787a66f8343.jpg","203.2x109.2",[106],{"id":2931,"slug":2932,"title":2933,"dynasty":163,"author":131,"museum":49,"description":2934,"tags":2935,"thumbUrl":2940,"material":191,"size":192,"collection":62,"collections":2941,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":140},281533,"hui-di-xue-jing-lu-yan-tu-qi-bao-shao-yuan-pan-yi-ming-281533","灰地雪景芦雁图七宝烧圆盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[2936,2937,2938,149,7,2939,501,513,299,150],"琺瑯器","器","圆盘","芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93b04e5fe37f528bd868e4c1211cd70.jpg",[],{"id":2943,"slug":2944,"title":2945,"dynasty":163,"author":2946,"museum":49,"description":2947,"tags":2948,"thumbUrl":2949,"material":62,"size":62,"collection":62,"collections":2950,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":140},238827,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238827","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,270,27,53,29,7,55,205,30,297,820,204,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d752b98269b50249bb4911e5586c67.jpg",[],{"id":2952,"slug":2953,"title":2954,"dynasty":163,"author":2946,"museum":49,"description":2947,"tags":2955,"thumbUrl":2956,"material":62,"size":62,"collection":62,"collections":2957,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":42},238341,"si-jing-shan-shui-xiao-ce-dong-gao-238341","四景山水小册",[24,25,270,53,29,28,271,272,100,273,122,7,30,31,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aafa6cb457ee62a69390a61343fb58d.jpg",[],{"id":2959,"slug":2960,"title":2961,"dynasty":163,"author":267,"museum":49,"description":2962,"tags":2963,"thumbUrl":2964,"material":191,"size":192,"collection":62,"collections":2965,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":140},234960,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234960","王翚仿古山水册","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,2910,27,29,7,55,56,28,297,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256d2cbdb829c93a6f15ada9a7345502.jpg",[],{"id":2967,"slug":2968,"title":1464,"dynasty":163,"author":1465,"museum":20,"description":2639,"tags":2969,"thumbUrl":2971,"material":2642,"size":2643,"collection":62,"collections":2972,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":140},234919,"xue-jing-gu-shi-ce-sun-hu-234919",[52,24,25,270,53,182,32,33,7,78,2970,184,183,325,54,795],"宫墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71cf8c9099429fce141eb9764cf468e.jpg",[],{"id":2974,"slug":2975,"title":2550,"dynasty":18,"author":131,"museum":72,"description":2976,"tags":2977,"thumbUrl":2978,"material":2979,"size":2980,"collection":62,"collections":2981,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":42},233131,"xue-shan-xing-lv-tu-zhou-yi-ming-233131","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,25,181,27,28,29,185,55,168,272,446,7,362,205,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec435ee8ae34d835aa5872355d8cde09.jpg","绢本墨笔","纵106厘米，横51.5厘米",[],{"id":2983,"slug":2984,"title":2985,"dynasty":1027,"author":2986,"museum":49,"description":2987,"tags":2988,"thumbUrl":2989,"material":191,"size":192,"collection":62,"collections":2990,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":42},231737,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-yi-ping-yang-yue-231737","室町时代 四季山水图屏风-一屏","杨月","此作以淡墨晕染留白绘出覆雪山峦，寒雾将远山晕成虚渺剪影，虬曲枯松倚立危崖，苍劲的松枝带着残绿，破开满山素白的萧寒。山坳间屋舍错落雅致，篱扉前侍者静立，为清寂的山野添上人间暖意。笔意简淡空灵，以无胜有写尽冬雪空蒙，将隆冬山居的安闲清旷揉入尺幅，动静相映，清冷中藏着烟火意韵，尽显东方山水留白写意的悠远意境。",[23,24,25,181,27,53,29,78,121,30,183,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e459481ce37d89e8c4717c187229972.jpg",[],{"id":2992,"slug":2993,"title":2994,"dynasty":1027,"author":131,"museum":49,"description":2995,"tags":2996,"thumbUrl":2998,"material":62,"size":62,"collection":62,"collections":2999,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":140},225419,"fu-shi-hui-177-yi-ming-225419","浮世绘177","青灰调晕染出水天色的冬日清寂，白雪匀覆在屋舍松枝，将暖棕的木构檐角衬得愈发温软。天地水色融成一片朦胧，消弭了边界感。渡头灯柱静立，晕开隐约暖意，与满目的清寒轻轻呼应。水面小舟载着渔人缓行，破开镜面似的水波，为这片静穆添上一缕鲜活烟火气。\n\n简净线条勾勒出村落错落轮廓，留白的积雪将天地铺陈得疏朗开阔。笔触把雪后渔村的安闲清冷揉开，将冬夜初霁的恬然定格，晕开独属水岸的侘寂温柔。",[1940,1941,7,325,1438,2997,183,31],"小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5f934e7e3a2f276cbaddfb8719b9a8.jpg",[],{"id":3001,"slug":3002,"title":3003,"dynasty":1027,"author":131,"museum":49,"description":3004,"tags":3005,"thumbUrl":3013,"material":62,"size":62,"collection":62,"collections":3014,"showCount":1423,"zanCount":127,"manualWeight":11,"mainColor":140},225333,"fu-shi-hui-86-yi-ming-225333","浮世绘86","霜雪覆满天地，寒色里晕开远山暖粉余霞。长桥曲曲折折跨过冬水，蓝波似镜映着冷冽天光。旅人裹紧行囊，驮马踏着残雪桥面缓缓行去，将孤旅的身影揉进清寒暮色里。\n\n茅庐积雪厚重，矮松孑然独立在檐侧，枝桠托着薄雪静看往来行客。冷调与暖柔的色块交织，把冬夜将临的寂寥熨帖成温柔的风物诗。笔底藏着旅人的羁愁，也藏着雪乡的安闲清冷，将冬旅的况味晕染在纸间，冷寂又带着治愈的烟火余温。",[1940,7,513,185,3006,3007,3008,1875,3009,53,3010,3011,3012],"长桥","茅庐","矮松","驮马","寂寥","羁愁","安闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d4011825735bf1683cf234cac3a9ed.jpg",[],{"id":3016,"slug":3017,"title":3018,"dynasty":334,"author":131,"museum":72,"description":3019,"tags":3020,"thumbUrl":3022,"material":1639,"size":3023,"collection":62,"collections":3024,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":140},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[24,148,27,29,7,3021,120,621,25,33],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","38.9x81",[],{"id":3026,"slug":3027,"title":3028,"dynasty":70,"author":131,"museum":72,"description":3029,"tags":3030,"thumbUrl":3032,"material":3033,"size":3034,"collection":62,"collections":3035,"showCount":3036,"zanCount":11,"manualWeight":11,"mainColor":42},290996,"min-shan-qing-xue-tu-yi-ming-290996","岷山晴雪图","画中描绘四川岷山的雪景",[24,52,75,27,28,185,3031,205,7,122],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d65a573c337ed5135a38e662fa81b7.jpg","绢","115.1x100.7cm",[],6,{"id":3038,"slug":3039,"title":3040,"dynasty":70,"author":131,"museum":49,"description":3041,"tags":3042,"thumbUrl":3044,"material":191,"size":192,"collection":62,"collections":3045,"showCount":3036,"zanCount":11,"manualWeight":11,"mainColor":140},290251,"ping-hu-xue-ji-tu-yi-ming-290251","平湖雪霁图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[52,24,25,148,27,29,7,3043,31,203,299],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13613725d654c3c03724561843e7c5ad.jpg",[],{"id":3047,"slug":3048,"title":3049,"dynasty":334,"author":131,"museum":49,"description":3050,"tags":3051,"thumbUrl":3052,"material":191,"size":192,"collection":62,"collections":3053,"showCount":3036,"zanCount":11,"manualWeight":11,"mainColor":42},287975,"yan-wen-gui-kuan-jiang-gan-xue-ji-tu-yi-ming-287975","燕文贵款江干雪霁图","此作用淡赭设色绘就江干雪霁之景，层叠远山以披麻皴写就岩峦肌理，峰棱清劲，寒江空阔如镜，铺展出幽寂辽远的冬日江天。坡岸点缀萧疏枯木，寥寥几笔便衬出雪后清寒荒疏。\n\n整卷笔意苍秀简淡，萧寒之气漫溢卷上，以极简笔墨勾勒出雪霁江天的空寂孤高，自带空灵散逸之韵，将幽栖避世的文人襟怀寄于荒寒山水之间，淡远出尘，意境清绝悠长。",[23,24,26,75,53,28,185,552,55,122,7,32,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78467a17b700a6e662dc585beb8c8f43.jpg",[],{"id":3055,"slug":3056,"title":3057,"dynasty":18,"author":131,"museum":49,"description":2778,"tags":3058,"thumbUrl":3060,"material":191,"size":192,"collection":62,"collections":3061,"showCount":3036,"zanCount":11,"manualWeight":11,"mainColor":42},287550,"han-shan-ya-zhen-tu-yi-ming-287550","寒山鸦阵图",[24,75,55,3059,1299,7,53,385],"鸦群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b8948524f757de8bffce02cf1c0c4ef.jpg",[],{"id":3063,"slug":3064,"title":3065,"dynasty":163,"author":3066,"museum":49,"description":3067,"tags":3068,"thumbUrl":3069,"material":191,"size":192,"collection":62,"collections":3070,"showCount":3036,"zanCount":11,"manualWeight":11,"mainColor":140},287354,"shan-shui-tu-ce-9-wang-gai-287354","山水图册-9","王槩","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,270,29,57,523,55,30,7,27,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