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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。",[52,23,25,26,78,79,31,80,81,7,82,83,84,85,86,87],"工笔","界画","楼阁","庭院","松树","梅","雪景","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg","未知","Xcm*Xcm",[],171,2,{"id":95,"slug":96,"title":97,"dynasty":98,"author":99,"museum":75,"description":100,"tags":101,"thumbUrl":116,"material":89,"size":90,"collection":117,"collections":118,"showCount":119,"zanCount":67,"manualWeight":11,"mainColor":68},225895,"antibes-afternoon-effect-1888-mo-nai-225895","Antibes, Afternoon Effect, 1888","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。",[102,103,104,105,106,107,108,7,109,110,111,112,113,114,115],"印象派","油画","光影","色彩明快","笔触细碎","海面","远山","建筑群","城堡","船只","天空","云朵","岩石","午后","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa941d4cf8ef5e9c54d2075b9540d6dd3.jpg","油画精选",[117],167,{"id":121,"slug":122,"title":123,"dynasty":124,"author":125,"museum":75,"description":126,"tags":127,"thumbUrl":134,"material":135,"size":90,"collection":64,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":138},287541,"xue-jing-han-lin-tu-fan-kuan-287541","雪景寒林图","宋","范宽","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。",[53,23,128,55,56,84,7,129,80,130,131,132,133],"山水画","寒林","河流","积雪","萧寒","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a0f8e8b9289ba14fc9ba90349f1b9a.jpg","绢本",[],118,"37474F",{"id":140,"slug":141,"title":142,"dynasty":124,"author":143,"museum":20,"description":144,"tags":145,"thumbUrl":148,"material":149,"size":150,"collection":151,"collections":152,"showCount":137,"zanCount":93,"manualWeight":11,"mainColor":42},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","马远","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。",[52,23,53,24,55,26,56,31,146,7,58,32,147,84],"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","宋画精选",[151,153,154],"山水画精选","水墨画精选",{"id":156,"slug":157,"title":158,"dynasty":124,"author":159,"museum":160,"description":161,"tags":162,"thumbUrl":163,"material":35,"size":164,"collection":153,"collections":165,"showCount":166,"zanCount":93,"manualWeight":11,"mainColor":68},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","梁楷","美国弗利尔美术馆","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[53,23,24,55,56,26,27,7,31,30,58,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[153],116,{"id":168,"slug":169,"title":158,"dynasty":124,"author":170,"museum":171,"description":172,"tags":173,"thumbUrl":176,"material":177,"size":178,"collection":151,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":42},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","刘松年","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[52,23,53,24,25,55,26,27,7,32,58,29,174,175,56,78,31],"流水","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","绢本设色","纵160厘米，横99.5厘米",[151,153],106,{"id":182,"slug":183,"title":184,"dynasty":73,"author":185,"museum":186,"description":187,"tags":188,"thumbUrl":190,"material":191,"size":192,"collection":64,"collections":193,"showCount":194,"zanCount":67,"manualWeight":11,"mainColor":68},216245,"jing-fu-si-qi-dong-jing-tu-12-qian-wei-cheng-216245","景敷四气冬景图-12","钱维城","美国大都会艺术博物馆","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n朵开月月映阶唇，带雪披风更可人。须识此花深易理，四时一气贯长春。甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆",[23,128,55,26,56,7,129,189,114,131,32],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc995690cd5b9f284ba9e2c0b83cd22.jpg","纸本,设色","21.9 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但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[52,23,128,257,56,55,26,7,32,58,258,25,84],"临摹","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 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。\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。",[52,23,128,56,7,58,32,84,288],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],47,{"id":293,"slug":294,"title":274,"dynasty":73,"author":295,"museum":296,"description":297,"tags":298,"thumbUrl":300,"material":35,"size":301,"collection":153,"collections":302,"showCount":303,"zanCount":67,"manualWeight":11,"mainColor":42},219907,"xue-shan-tu-yuan-jiang-219907","袁江","费城艺术博物馆","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[23,128,26,56,7,33,189,299,31,30],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[153],44,{"id":305,"slug":306,"title":307,"dynasty":308,"author":309,"museum":310,"description":311,"tags":312,"thumbUrl":317,"material":64,"size":64,"collection":64,"collections":318,"showCount":319,"zanCount":11,"manualWeight":11,"mainColor":68},220546,"xi-ma-la-ya-shan-zhi-yi-xu-bei-hong-220546","喜马拉雅山之一","民国","徐悲鸿","中央美术学院美术馆","以泼墨晕染翻涌的云海林雾，苍茫混沌间烘托出主峰的高绝伟岸。下半重墨铺就深幽林海云烟，裹挟着湿润朦胧的山野之气，而上半处以留白糅合淡粉提亮雪峰，将积雪覆峰的冷冽圣洁具象化。\n突破传统山水程式，融西画光影写实于水墨写意中，把雪域高原雄浑辽远的气魄尽显笔下，既有东方水墨的氤氲空灵，又兼具写实的巍峨质感，让观者恍若立于云海之上，仰望这方冷峻壮美的神山胜景，尽展创作者开阔的襟怀与独特的山水表达。",[23,55,26,313,27,7,314,315,316],"渲染","云雾","山峦","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec56556922f3bab21e0c7a8fd702ad1e.jpg",[],42,{"id":321,"slug":322,"title":158,"dynasty":323,"author":324,"museum":186,"description":325,"tags":326,"thumbUrl":329,"material":330,"size":331,"collection":153,"collections":332,"showCount":333,"zanCount":67,"manualWeight":11,"mainColor":42},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","元","姚廷美","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[52,23,128,56,26,7,32,58,60,29,327,33,328,189],"行旅","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","纸本，水墨","98.1× 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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。",[52,503,54,257,504,53,24,30,548,7,549,550,551],"兔","天山","征战","将军","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ccec36f7144f94b8f77de5415ac21c.jpg",[],{"id":555,"slug":556,"title":557,"dynasty":124,"author":170,"museum":186,"description":558,"tags":559,"thumbUrl":560,"material":62,"size":561,"collection":64,"collections":562,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":42},232773,"xue-shan-tu-juan-liu-song-nian-232773","雪山图卷","刘松年，约生于1155年，卒于1218年，钱塘（今浙江杭州）人，南宋著名画家，与南宋画家李唐、马远、夏圭合称为“南宋四大家”。\n刘松年有暗门刘的称号，暗门就是清波门，所以刘又号刘清波。他先为画院学生，光宗时期担任画院待诏。在画院工作期间，因成绩斐然，宁宗皇帝还曾给刘松年丰厚的物质奖励。他在画院体系地位也很尊崇，人们以绝品来对待刘松年及其绘画。\n刘松年绘画上，初学李唐、张敦礼，又继承了董源、巨然的部分艺术特征，严谨，典雅，清丽。他的题材多为江浙地区的风貌，西湖，茂林，修竹等。刘松年为人称道的地方，是发展了李唐大笔挥洒的斧劈皴，衍生出刮铁皴。这种皴法基本以小笔触为主，更加细腻。刘松年多园林小景，人称“小景山水”。\n刘松年除了山水之外，同时在人物画、界画、花鸟上，也水平甚高。据传，北京故宫博物院现藏《中兴四将图》，便是他的作品。这幅画人物生动，描绘精到，是宋代写实人物画的佳作。此外，他的《便桥会盟图》、《风雪运粮图》等人物故事画，也在中国绘画史上赫赫有名。此外，他的宗教画，罗汉等形象，则建立了中国佛画的一派典范。\n历史上流传下来的刘松年作品，大约有九十幅左右。这些作品真伪难辨。刘松年及其作品研究，是学术界以后仍然要力度加强的部分之一。",[52,53,23,24,54,55,27,56,7,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae02117c5bf69987bd9f56214a0e41ac.jpg","21.6×142.6厘米",[],17,{"id":565,"slug":566,"title":567,"dynasty":369,"author":568,"museum":75,"description":569,"tags":570,"thumbUrl":572,"material":573,"size":574,"collection":64,"collections":575,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":68},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","文徴明","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[52,23,55,56,25,27,7,58,82,361,32,267,571],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","纸本墨笔","167×60cm",[],{"id":577,"slug":578,"title":579,"dynasty":73,"author":295,"museum":75,"description":580,"tags":581,"thumbUrl":582,"material":89,"size":90,"collection":64,"collections":583,"showCount":584,"zanCount":11,"manualWeight":11,"mainColor":42},235665,"shan-shui-ping-yuan-jiang-235665","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[23,25,26,79,78,56,27,7,33,29,189,299,174,314,32,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],16,{"id":586,"slug":587,"title":588,"dynasty":73,"author":589,"museum":389,"description":590,"tags":591,"thumbUrl":593,"material":594,"size":595,"collection":64,"collections":596,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":42},233718,"tian-shan-ji-xue-tu-hua-yan-233718","天山积雪图","华嵒","华嵒的人物画造型极具特色，以表现人物鲜明的个性和内在的神韵取胜。《天山积雪图》是其晚年的代表作品。\n边塞行旅是华嵒经常表现的题材之一。本图画唐人远行边塞诗意。图中，天山脚下，一个身披大红斗篷、藏掖宝剑的单身旅客，牵一匹双峰老驼，艰难地缓行于冰雪之中。天色灰暗，四野空旷，道路漫漫，白雪皑皑。一只孤雁横掠空中，旅者和老驼举首仰望，此情此景似引起了游子的万千思绪。画中情景交融，意境含蓄。画面构图狭长，造成天高地迥的视觉效果，以衬托人物孤寂的内心世界。设色雅致，色彩之间的搭配，冷暖色调的对比，都十分考究。人物、老驼的形象塑造在写实的基础上恰当地运用夸张手法，人物前倾的动势，老驼富于人情味的表情，都使得主题更为突出。作品展现了画家独特的艺术构思和出众的绘画才能。",[23,24,25,26,31,592,7,131,59,503,223],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c8b21a5c0ed7a5463b2bc0eedb1ac28.jpg","纸本，设色","纵159.1厘米，横52.8厘米",[],15,{"id":599,"slug":600,"title":158,"dynasty":124,"author":231,"museum":75,"description":601,"tags":602,"thumbUrl":604,"material":89,"size":90,"collection":64,"collections":605,"showCount":606,"zanCount":11,"manualWeight":11,"mainColor":42},289961,"xue-shan-xing-lv-tu-yi-ming-289961","此作用高远之法铺展冬日丘壑，主峰雄峙苍莽，积雪覆裹山峦，淡墨晕染出萧寒空濛的雪意。山石勾勒皴擦兼具骨力与浑润，枯木虬枝劲挺，尽显冬山荒寒之态。河谷间板桥茅舍错落，行旅驮队徐行于冰岸，为寂廖雪景晕开一缕人间烟火气。以水墨铺陈，借留白晕染烘托雪后山川的清寂辽远，将北国冬山的沉雄冷寂，与行旅浮生的意趣相融，于绢素间铺展出冬日山水的苍莽生机，尽显山水笔墨的意韵与造境匠心。",[52,23,53,128,55,25,56,7,84,327,32,58,29,80,175,603],"人马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007534380f02353665a1374e0d8404f1.jpg",[],13,{"id":608,"slug":609,"title":158,"dynasty":124,"author":231,"museum":20,"description":610,"tags":611,"thumbUrl":613,"material":35,"size":614,"collection":153,"collections":615,"showCount":616,"zanCount":11,"manualWeight":11,"mainColor":68},218721,"xue-shan-xing-lv-tu-yi-ming-218721","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[52,23,24,277,27,31,327,7,32,299,33,189,55,56,612],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[153],12,{"id":618,"slug":619,"title":418,"dynasty":369,"author":620,"museum":20,"description":621,"tags":622,"thumbUrl":627,"material":506,"size":628,"collection":154,"collections":629,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":68},290945,"xue-shan-xing-lv-tu-zhou-qian-gu-290945","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。",[23,25,128,55,56,84,7,29,174,58,623,624,30,625,258,626],"苍松","行旅人物","山谷","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c0d9a198fbba7297e3d5b3a912b68.jpg","288.2x56.1",[154],11,{"id":632,"slug":633,"title":418,"dynasty":124,"author":231,"museum":20,"description":634,"tags":635,"thumbUrl":636,"material":394,"size":637,"collection":64,"collections":638,"showCount":630,"zanCount":11,"manualWeight":11,"mainColor":42},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","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。",[23,128,25,55,56,7,327,114,58,299,174,31,147,33,315,361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":640,"slug":641,"title":642,"dynasty":73,"author":254,"museum":20,"description":643,"tags":644,"thumbUrl":645,"material":646,"size":647,"collection":64,"collections":648,"showCount":649,"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。",[53,23,24,257,56,55,26,27,7,32,33,60,84,58,315],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","白纸本","187.7x115.5厘米",[],9,{"id":651,"slug":652,"title":653,"dynasty":73,"author":254,"museum":75,"description":654,"tags":655,"thumbUrl":656,"material":64,"size":64,"collection":64,"collections":657,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":42},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[52,23,55,27,56,25,7,114,58,189,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":659,"slug":660,"title":158,"dynasty":124,"author":231,"museum":661,"description":662,"tags":663,"thumbUrl":664,"material":35,"size":665,"collection":64,"collections":666,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":42},223665,"xue-shan-xing-lv-tu-yi-ming-223665","\u0010台北故宫博物院","以高远笔法铺陈层叠雪山，硬峭苍劲的线条勾勒山石骨骼，留白晕染尽显积雪厚重萧寒。谷间云气翻涌，将山体切割出虚实层次，令画面深邃辽远。山脚寒林枯槎萧索，冰河之上板桥隐现，山坳茅舍藏于雪峦间，行旅之人踏雪赶路，为荒寂冬景晕开一缕人间烟火气。\n\n画家以浓淡墨色区分雪色与岩体，皴笔硬朗尽显山石嶙峋质感，将隆冬山野的空寂清寒尽数铺展，于冷寂萧寒的天地间，藏着羁旅暖意，尽显山水写实造境的精妙风骨。",[52,23,24,27,25,56,7,32,58,29,327,361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e4f11b5e11ba642e4054f5428918dd.jpg","170.7x99.7",[],{"id":668,"slug":669,"title":670,"dynasty":124,"author":231,"museum":75,"description":634,"tags":671,"thumbUrl":673,"material":89,"size":90,"collection":64,"collections":674,"showCount":675,"zanCount":11,"manualWeight":11,"mainColor":42},290993,"xue-shan-xing-lv-zhou-yi-ming-290993","雪山行旅轴",[53,23,24,25,27,55,56,7,29,174,31,80,672,33,175,503,504,223],"民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a1a1c8ecfaace4914cb159de8cc047a.jpg",[],7,{"id":677,"slug":678,"title":418,"dynasty":323,"author":231,"museum":20,"description":634,"tags":679,"thumbUrl":680,"material":394,"size":637,"collection":64,"collections":681,"showCount":675,"zanCount":11,"manualWeight":11,"mainColor":42},233131,"xue-shan-xing-lv-tu-zhou-yi-ming-233131",[23,24,25,55,56,27,7,58,267,174,327,84,340,129,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec435ee8ae34d835aa5872355d8cde09.jpg",[],{"id":683,"slug":684,"title":685,"dynasty":98,"author":231,"museum":75,"description":686,"tags":687,"thumbUrl":697,"material":64,"size":64,"collection":64,"collections":698,"showCount":675,"zanCount":67,"manualWeight":11,"mainColor":68},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。",[688,84,210,7,689,690,691,692,693,26,694,695,696],"浮世绘","长桥","茅庐","矮松","旅人","驮马","寂寥","羁愁","安闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d4011825735bf1683cf234cac3a9ed.jpg",[],{"id":700,"slug":701,"title":702,"dynasty":124,"author":231,"museum":20,"description":703,"tags":704,"thumbUrl":706,"material":707,"size":708,"collection":64,"collections":709,"showCount":41,"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",[23,53,128,55,56,7,705,129,84,315],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6d65a573c337ed5135a38e662fa81b7.jpg","绢","115.1x100.7cm",[],{"id":711,"slug":712,"title":713,"dynasty":369,"author":231,"museum":75,"description":714,"tags":715,"thumbUrl":717,"material":89,"size":90,"collection":64,"collections":718,"showCount":41,"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。",[52,23,54,128,26,56,7,716,58,315,84,504,503],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78467a17b700a6e662dc585beb8c8f43.jpg",[],{"id":720,"slug":721,"title":722,"dynasty":98,"author":723,"museum":75,"description":724,"tags":725,"thumbUrl":729,"material":89,"size":90,"collection":64,"collections":730,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":68},231660,"ri-da-zheng-nian-jin-jiang-ba-jing-jin-cun-zi-hong-231660","日大正年 近江八景","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[52,26,56,23,27,7,314,726,33,59,727,728],"湖泊","动物","木栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F084e35ef2972f17e1b2ae1b40e797869.jpg",[],{"id":732,"slug":733,"title":207,"dynasty":369,"author":231,"museum":75,"description":734,"tags":735,"thumbUrl":738,"material":135,"size":739,"collection":64,"collections":740,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":68},231547,"dong-xue-shan-jing-tu-yi-ming-231547","它的白雪皑皑不是冰冷峻峭，却是高雅与逍遥。",[52,23,55,27,84,7,82,32,31,736,737,25],"高雅","逍遥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfb2c05c90dc6fbecb022d86227e2b9.jpg","63x160厘米",[],{"id":742,"slug":743,"title":468,"dynasty":323,"author":231,"museum":75,"description":744,"tags":745,"thumbUrl":753,"material":64,"size":64,"collection":64,"collections":754,"showCount":41,"zanCount":67,"manualWeight":11,"mainColor":42},228236,"xue-shan-yun-lv-tu-yi-ming-228236","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[52,23,128,746,55,7,747,748,146,626,749,750,751,752],"小品画","枯木","坡石","荒寒","清寂","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],{"id":756,"slug":757,"title":758,"dynasty":73,"author":231,"museum":389,"description":759,"tags":760,"thumbUrl":763,"material":62,"size":764,"collection":64,"collections":765,"showCount":766,"zanCount":11,"manualWeight":11,"mainColor":68},233062,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233062","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[23,24,234,78,26,31,30,592,7,761,762],"旗帜","军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a49c885727c2c9cf97dce68919e65d3.jpg","纵55.3cm，横90.3cm",[],5,{"id":768,"slug":769,"title":770,"dynasty":98,"author":231,"museum":75,"description":771,"tags":772,"thumbUrl":776,"material":64,"size":64,"collection":64,"collections":777,"showCount":766,"zanCount":11,"manualWeight":11,"mainColor":68},225319,"fu-shi-hui-60-yi-ming-225319","浮世绘60","高拱木桥横跨水泽，桥上行人摩肩接踵，铺陈开江户市井的鲜活烟火。浅青长天晕开柔淡底色，远处富士山覆着素白雪顶，为热闹市景晕开一抹清寂闲雅。桥下滩湾错落，茶摊凉伞散落其间，黛瓦屋舍依水而建，晕染出水乡的温婉日常。\n\n构图舒展雅致，明快柔和的配色将俗世喧嚣与远山静穆相融，把江户浮生的鲜活日常同东瀛山水意趣揉为一体，尽显浮世绘独有的市井诗意，让观者窥见旧日东瀛鲜活的人间暖意，于烟火中静赏山水闲情。",[688,773,26,774,130,501,7,33,189,31,113,775,112],"木刻","桥","伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d8cdb469b69f6af8a32c5f6cd26751.jpg",[],{"id":779,"slug":780,"title":781,"dynasty":323,"author":782,"museum":783,"description":784,"tags":785,"thumbUrl":789,"material":790,"size":791,"collection":64,"collections":792,"showCount":766,"zanCount":11,"manualWeight":11,"mainColor":64},220718,"xing-shu-shi-wen-he-juan-7-zhang-yu-yang-wei-zhen-wen-xin-220718","行書詩文合卷7","張雨, 楊維楨, 文信","香港中文大学文物馆","此卷书法为张雨、杨维桢、文信三件书迹合卷，均曾经清代海山仙馆主人潘仕成收藏，并收刻于海山仙馆丛帖，此卷后附装的三张墨拓即从此出。其中张雨、杨维桢墨拓分别出自《海山仙馆藏真》卷七和卷九，文信墨拓则出自《海山仙馆藏真三刻》卷二。三幅书法合为一卷，盖自海山仙馆散出以后事。",[24,54,504,503,223,786,7,787,788],"泼墨","石","轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcabd9cdd9c1f8c9e052332c9d57b4368.jpg","水墨,紙本,手卷","30.5 × 77.5 厘米 30.5 × 53 厘米 30.5 × 44.5 厘米",[],{"id":794,"slug":795,"title":796,"dynasty":73,"author":797,"museum":75,"description":798,"tags":799,"thumbUrl":800,"material":89,"size":90,"collection":64,"collections":801,"showCount":802,"zanCount":11,"manualWeight":11,"mainColor":68},235580,"xue-shan-xing-lv-tu-shan-ye-liu-du-235580","雪山行旅图扇页","刘度","刘度，字叔宪，一字叔献，钱塘（今杭州）人。山水为蓝田叔（瑛）弟子，深得画理。后师大、小李将军（思训、昭道），工界画楼台，所画人物，细入毛发。十洲（仇英）之后，道屈一指。崇祯五年（一六三二）作看枫图，现藏日本。康熙十年（一六七一）作寒林话旧图。",[23,24,277,27,7,31,56,26,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07981d6f1e2553896e7911c8e3be1e7a.jpg",[],4,{"id":804,"slug":805,"title":806,"dynasty":323,"author":231,"museum":75,"description":807,"tags":808,"thumbUrl":810,"material":64,"size":64,"collection":64,"collections":811,"showCount":812,"zanCount":11,"manualWeight":11,"mainColor":42},228237,"xue-shan-lv-yun-tu-yi-ming-228237","雪山驴运图","此作用淡墨晕染铺就寒林雪色，留白摹写寒江远汀，营造出清寂辽远的冬日荒寒。枯木虬曲苍劲，枝桠间尽是萧寒之气，山石以干笔皴擦，棱角硬朗，带着冬日的冷峭坚硬。\n画面一隅的驴队缓行于雪原，为空寂的天地添上一抹人间烟火气，动静之间，将冬日行旅的艰辛苦寒烘托尽致。\n整幅笔墨简淡苍疏，以极简的布局勾勒出萧索荒寒的意境，尽显散淡清寂的气质，把冬日山乡的萧寒况味藏进每一处笔墨细节之中。",[52,23,24,27,55,26,56,7,146,58,32,809,33,31],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F325fdb2e4e5adf4d6327348c425ab759.jpg",[],3,{"id":814,"slug":815,"title":816,"dynasty":98,"author":231,"museum":75,"description":817,"tags":818,"thumbUrl":821,"material":64,"size":64,"collection":64,"collections":822,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":68},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[52,23,24,54,55,819,56,27,349,340,82,7,235,314,32,174,820],"仿古","渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":824,"slug":825,"title":418,"dynasty":73,"author":826,"museum":513,"description":827,"tags":828,"thumbUrl":831,"material":64,"size":64,"collection":64,"collections":832,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":833},202567,"xue-shan-xing-lv-tu-zhou-zhang-sheng-202567","章声","画面以淡赭设色晕染雪山，峰崖陡峭，线条勾勒出岩石肌理，皴擦间见苍劲质感。山间楼阁隐于崖畔，小桥横跨飞瀑，行旅之人或策杖山道，或聚于桥边，动态与静穆雪景相映。树木枝干覆雪，疏朗有致，瀑布潺潺而下，添了几分灵动。整体意境清寂悠远，既显自然山川之壮美，又含旅途行役之况味，笔墨简练却意蕴深厚。",[23,25,26,56,27,7,327,29,80,829,33,830],"山道","瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e69d93b6534461180b42705ffd45eea.jpg",[],"b28f62",{"id":835,"slug":836,"title":837,"dynasty":73,"author":838,"museum":513,"description":839,"tags":840,"thumbUrl":843,"material":64,"size":64,"collection":37,"collections":844,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":845},201691,"tian-shan-ji-xue-tu-zhou-luo-pin-201691","天山积雪图轴","罗聘","画面以淡墨晕染出天山积雪的苍茫寒意，远山如黛隐于云雾，一只飞鸟掠过天际更添空寂。红衣旅人裹紧斗篷仰头望山，神情若有所思；身旁骆驼昂首伫立，驼峰与厚毛的质感以浓淡墨色层次呈现，线条简练却形神兼备。红衣明艳与背景素净形成强烈对比，既突出人物孤旅之态，又暗含边塞荒寒与坚韧。笔法兼具写意与工致，人物衣纹流畅，骆驼造型写实，雪景朦胧与山石硬朗相映成趣，传递出悠远丝路情怀与文人对边塞生活的想象。",[23,25,26,841,842,31,592,7,59,52],"写意","工致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b10d9617f46a2bf8e3fe52bd5e26e55.jpg",[37],"7a6445",1777535706640]