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该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[23,53,24,25,29,27,28,26,115,7,59,128,31],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","绢本","纵182.4cm，横108cm",[38,40,41],259,{"id":135,"slug":136,"title":137,"dynasty":138,"author":139,"museum":140,"description":141,"tags":142,"thumbUrl":149,"material":150,"size":151,"collection":40,"collections":152,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":154},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","快雪时晴图","元","黄公望","北京故宫博物院","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[23,24,25,78,28,26,27,143,144,115,7,59,145,146,147,148],"书法","印章","岩石","小屋","小径","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纸本","纵29.7厘米，横104.6厘米",[40,41],250,"BDBDBD",{"id":156,"slug":157,"title":158,"dynasty":18,"author":159,"museum":160,"description":161,"tags":162,"thumbUrl":169,"material":63,"size":170,"collection":65,"collections":171,"showCount":173,"zanCount":121,"manualWeight":11,"mainColor":44},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","马麟","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,24,53,54,55,163,164,165,100,166,7,167,168,79],"花鸟","鸳鸯","梅","鸟","岸","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[65,172,38],"设色画精选",226,{"id":175,"slug":176,"title":177,"dynasty":73,"author":74,"museum":178,"description":179,"tags":180,"thumbUrl":182,"material":63,"size":183,"collection":40,"collections":184,"showCount":185,"zanCount":186,"manualWeight":11,"mainColor":44},220072,"jian-ge-xue-zhan-tu-wang-wei-220072","剑阁雪栈图","美国弗利尔美术馆","此图栈道着墨不多，主要是表现剑阁山川，雪景布置，积雪盈道。倘若鉴定无误的话，此图应属现存最早的一幅反映古栈道题材的山水画了。当然，它也就是最早的一幅蜀山栈道图。",[23,24,25,26,29,55,27,115,145,100,7,181],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f73cf8b8868701ceb5e30b67a1f890.jpg","187.0X96.2",[40],215,2,{"id":188,"slug":189,"title":190,"dynasty":18,"author":191,"museum":50,"description":192,"tags":193,"thumbUrl":197,"material":63,"size":198,"collection":38,"collections":199,"showCount":200,"zanCount":121,"manualWeight":11,"mainColor":44},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","郭熙","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[23,24,194,27,28,115,7,32,195,196,145],"山水画","建筑","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[38,40],198,{"id":202,"slug":203,"title":82,"dynasty":18,"author":204,"museum":50,"description":205,"tags":206,"thumbUrl":210,"material":63,"size":211,"collection":40,"collections":212,"showCount":213,"zanCount":121,"manualWeight":11,"mainColor":44},218867,"xue-jing-ma-yuan-218867","马远","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 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金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,28,56,7,60,143,144,29,274,25],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg","未知","Xcm*Xcm",[],161,{"id":281,"slug":282,"title":283,"dynasty":18,"author":284,"museum":140,"description":285,"tags":286,"thumbUrl":288,"material":289,"size":290,"collection":38,"collections":291,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":44},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","夏圭","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,25,28,55,27,26,7,287,80,59,31,81,32],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纸本设色","纵28.2厘米，横29.5厘米",[38,40,41],160,{"id":294,"slug":295,"title":296,"dynasty":138,"author":139,"museum":140,"description":297,"tags":298,"thumbUrl":301,"material":302,"size":303,"collection":40,"collections":304,"showCount":305,"zanCount":121,"manualWeight":11,"mainColor":44},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。",[23,24,26,28,27,29,299,7,81,145,59,300,82],"山峰","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纸本，墨笔","纵117厘米，横55.5厘米",[40,41],143,{"id":307,"slug":308,"title":309,"dynasty":18,"author":191,"museum":50,"description":192,"tags":310,"thumbUrl":311,"material":312,"size":313,"collection":38,"collections":314,"showCount":315,"zanCount":11,"manualWeight":11,"mainColor":44},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴",[23,24,194,29,27,28,26,7,80,248,59,222,31,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","绢","194.3×111.1",[38,40,41],135,{"id":317,"slug":318,"title":319,"dynasty":18,"author":320,"museum":75,"description":321,"tags":322,"thumbUrl":328,"material":329,"size":330,"collection":85,"collections":331,"showCount":332,"zanCount":121,"manualWeight":11,"mainColor":154},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪","牧溪","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,53,24,25,323,28,274,324,194,115,33,32,7,325,326,327],"宋画","禅画","云雾","淡墨","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","纸本,水墨","29.5X94.4厘米",[],123,{"id":334,"slug":335,"title":336,"dynasty":18,"author":191,"museum":337,"description":338,"tags":339,"thumbUrl":342,"material":63,"size":343,"collection":40,"collections":344,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":44},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,53,29,27,28,55,26,115,7,59,146,80,207,261,99,100,340,196,341],"船","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[40],121,{"id":347,"slug":348,"title":349,"dynasty":18,"author":204,"museum":350,"description":351,"tags":352,"thumbUrl":353,"material":63,"size":85,"collection":40,"collections":354,"showCount":355,"zanCount":121,"manualWeight":11,"mainColor":44},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","私人收藏","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,53,24,25,29,55,54,27,26,34,100,7,207,145,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[40],96,{"id":357,"slug":358,"title":359,"dynasty":138,"author":360,"museum":140,"description":361,"tags":362,"thumbUrl":364,"material":329,"size":365,"collection":40,"collections":366,"showCount":367,"zanCount":106,"manualWeight":11,"mainColor":368},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","江山雪霁图","吴瑾","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[24,53,25,28,27,194,115,7,100,80,363,145,82,59],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[40],92,"F48FB1",{"id":370,"slug":371,"title":372,"dynasty":73,"author":258,"museum":140,"description":373,"tags":374,"thumbUrl":376,"material":130,"size":377,"collection":40,"collections":378,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":44},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,25,375,55,54,26,128,248,100,7,207,33],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[40,172],91,{"id":381,"slug":382,"title":383,"dynasty":270,"author":384,"museum":50,"description":385,"tags":386,"thumbUrl":389,"material":63,"size":390,"collection":40,"collections":391,"showCount":392,"zanCount":121,"manualWeight":11,"mainColor":44},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","唐寅","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,25,26,28,27,7,115,32,59,222,387,261,145,144,388,81,55],"车","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[40],89,{"id":394,"slug":395,"title":396,"dynasty":18,"author":204,"museum":50,"description":397,"tags":398,"thumbUrl":399,"material":400,"size":401,"collection":38,"collections":402,"showCount":403,"zanCount":11,"manualWeight":11,"mainColor":44},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","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。",[23,24,25,194,29,28,27,55,115,99,100,248,207,261,388,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","绢本，设色","纵99cm，横59.1cm",[38,40,41],86,{"id":405,"slug":406,"title":359,"dynasty":18,"author":407,"museum":50,"description":408,"tags":409,"thumbUrl":412,"material":63,"size":413,"collection":38,"collections":414,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":107},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,53,24,194,410,55,27,115,7,363,222,32,30,31,128,411,82],"宋代","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[38,40],84,{"id":417,"slug":418,"title":419,"dynasty":18,"author":420,"museum":50,"description":421,"tags":422,"thumbUrl":424,"material":130,"size":425,"collection":38,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":44},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","佚名","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,25,29,55,26,27,115,7,423,79,32,34,222,145,249],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[38,40,41],83,{"id":429,"slug":430,"title":431,"dynasty":270,"author":432,"museum":50,"description":433,"tags":434,"thumbUrl":439,"material":329,"size":440,"collection":441,"collections":442,"showCount":443,"zanCount":121,"manualWeight":11,"mainColor":44},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文徵明","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,25,143,29,247,28,144,7,115,100,435,436,437,438],"野水","茅屋","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2","书法精选",[441],81,{"id":445,"slug":446,"title":447,"dynasty":18,"author":204,"museum":50,"description":448,"tags":449,"thumbUrl":452,"material":63,"size":453,"collection":40,"collections":454,"showCount":455,"zanCount":121,"manualWeight":11,"mainColor":154},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","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。",[23,53,24,25,29,28,55,26,59,31,7,450,451,60],"滩","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[40],77,{"id":457,"slug":458,"title":459,"dynasty":18,"author":460,"museum":140,"description":461,"tags":462,"thumbUrl":463,"material":464,"size":465,"collection":38,"collections":466,"showCount":467,"zanCount":11,"manualWeight":11,"mainColor":44},221617,"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","梁楷","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,24,28,375,27,53,26,7,59,261,207,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","绢本，水墨","纵23.5、横24.2厘米",[38,40,172],76,{"id":469,"slug":470,"title":471,"dynasty":138,"author":472,"museum":50,"description":473,"tags":474,"thumbUrl":476,"material":329,"size":477,"collection":40,"collections":478,"showCount":467,"zanCount":186,"manualWeight":11,"mainColor":154},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,25,29,28,27,144,143,247,26,115,475,7,100,196,31,325],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[40],{"id":480,"slug":481,"title":111,"dynasty":482,"author":483,"museum":484,"description":485,"tags":486,"thumbUrl":488,"material":63,"size":489,"collection":40,"collections":490,"showCount":491,"zanCount":11,"manualWeight":11,"mainColor":44},219240,"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","不详","朝鲜·佚名","美国克利夫兰艺术博物馆","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[23,24,29,28,27,26,7,115,33,32,222,80,58,487,248],"溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[40],75,{"id":493,"slug":494,"title":495,"dynasty":496,"author":497,"museum":95,"description":498,"tags":499,"thumbUrl":502,"material":63,"size":85,"collection":503,"collections":504,"showCount":491,"zanCount":11,"manualWeight":11,"mainColor":154},218481,"ying-xi-tu-hua-nie-218481","婴戏图","清","华喦","冬日雪后，稚童们围聚戏雪。有的掬雪塑形，指尖翻飞间雪团渐成朦胧佛影；有的俯身拾趣，眉眼间满是专注与欢喜。人物勾勒简括灵动，衣纹线条流转自然，雪地以淡墨晕染留白相映，清逸中透着融融暖意。旁题“儿童亦爱西成佛”，将童真嬉戏与禅意悄然融合，雅趣横生。笔墨兼工带写，既捕捉孩童憨态可掬的神情，又融入文人闲情逸致，画面鲜活而富有韵致，似能听见雪地里清脆的笑语，尽显生活之趣与艺术之美。",[23,24,25,28,55,207,500,501,7,144,247],"儿童","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c292e75fb05f70d009d0f38e72f3e82.jpg","人物画精选",[503],{"id":506,"slug":507,"title":508,"dynasty":18,"author":509,"museum":75,"description":510,"tags":511,"thumbUrl":522,"material":523,"size":524,"collection":441,"collections":525,"showCount":526,"zanCount":186,"manualWeight":11,"mainColor":154},221275,"li-hua-shi-huang-ting-jian-221275","梨花诗","黄庭坚","原诗共20首诗，本帖缺失。题头序：梨花诗，外甥孙莘老以梨花唱和诗寄余索和，夫诗生于情，不情而何以诗？余自黔还戎多日，苦思情由何生？虽然，抚景伤时，不能已也，遂步韵如左。 山谷道人黄庭坚。",[23,25,143,78,247,512,513,514,7,515,516,517,34,518,33,519,520,521],"梨花","蜂","庭院","月","春","花","燕","风","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm",[441],74,{"id":528,"slug":529,"title":530,"dynasty":18,"author":531,"museum":75,"description":532,"tags":533,"thumbUrl":537,"material":276,"size":277,"collection":85,"collections":538,"showCount":539,"zanCount":11,"manualWeight":11,"mainColor":154},290990,"shan-cha-ji-xue-lin-chun-290990","山茶霁雪","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[534,24,25,163,54,55,535,7,143,536,144],"扇面","山茶","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9157821f4daf1c48cd5c87e009440d.jpg",[],65,{"id":541,"slug":542,"title":111,"dynasty":496,"author":543,"museum":350,"description":544,"tags":545,"thumbUrl":547,"material":63,"size":548,"collection":40,"collections":549,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[24,25,26,55,27,82,115,7,248,59,546],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[40],62,{"id":552,"slug":553,"title":554,"dynasty":18,"author":420,"museum":50,"description":555,"tags":556,"thumbUrl":558,"material":55,"size":559,"collection":38,"collections":560,"showCount":561,"zanCount":11,"manualWeight":11,"mainColor":44},223566,"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,53,29,26,27,28,115,7,32,487,557,80,146],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[38,40,41],60,{"id":563,"slug":564,"title":565,"dynasty":270,"author":566,"museum":75,"description":567,"tags":568,"thumbUrl":571,"material":85,"size":85,"collection":85,"collections":572,"showCount":573,"zanCount":106,"manualWeight":11,"mainColor":154},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 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金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 渔夫晚归图",[23,24,53,25,29,55,28,54,207,603,115,7,79,604],"骆驼","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d7fd76d8b44ae76dbc675b8ffbd77.jpg",[],55,{"id":609,"slug":610,"title":611,"dynasty":18,"author":612,"museum":140,"description":613,"tags":614,"thumbUrl":618,"material":400,"size":619,"collection":38,"collections":620,"showCount":607,"zanCount":11,"manualWeight":11,"mainColor":44},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,78,54,55,615,7,80,79,616,617,26,144,247,143],"芦苇","寒沙","江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[38,40,41],{"id":622,"slug":623,"title":624,"dynasty":496,"author":420,"museum":75,"description":625,"tags":626,"thumbUrl":627,"material":85,"size":85,"collection":85,"collections":628,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":154},235610,"hong-ren-xi-yan-song-xue-tu-zhou-yi-ming-235610","弘仁西岩松雪图轴","以淡墨勾勒皴擦，笔致清劲洗练，将冬日萧寒山境铺陈眼前。危崖层叠凌然耸立，石壁方折硬挺如刀削斧劈，尽显山石孤高嶙峋之态。留白晕染出漫山积雪，素净莹洁，与虬曲枯松相映，愈添荒寒清寂之意。\n\n山间石阶、崖顶幽居藏于苍茫雪景中，似隔绝尘寰烟火，恍若世外幽境。画作以极简笔墨营造出空灵淡远的禅意，清冷孤高的意境直透纸背，尽显静穆萧散的山水逸趣，将冬日山居的幽寂出尘之美尽数铺陈开来。",[24,29,28,26,27,570,7,145,115,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],54,{"id":631,"slug":632,"title":633,"dynasty":270,"author":634,"museum":112,"description":635,"tags":636,"thumbUrl":638,"material":63,"size":639,"collection":40,"collections":640,"showCount":641,"zanCount":11,"manualWeight":11,"mainColor":44},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛","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",[23,24,25,26,55,27,7,487,80,637,32,31,436,82,117],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[40],53,{"id":643,"slug":644,"title":645,"dynasty":18,"author":284,"museum":140,"description":285,"tags":646,"thumbUrl":647,"material":289,"size":290,"collection":85,"collections":648,"showCount":649,"zanCount":11,"manualWeight":11,"mainColor":44},234069,"xue-tang-ke-hua-tu-ye-xia-gui-234069","雪堂客话图页",[53,24,28,27,375,26,7,287,80,59,31,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e55a19b946913db261fab13dbdda68c.jpg",[],52,{"id":651,"slug":652,"title":653,"dynasty":73,"author":654,"museum":75,"description":655,"tags":656,"thumbUrl":659,"material":85,"size":85,"collection":85,"collections":660,"showCount":649,"zanCount":121,"manualWeight":11,"mainColor":44},231009,"ta-xue-xun-mei-tu-li-zhou-han-huang-231009","踏雪寻梅图立轴","韩滉","淡墨晕开萧寒天地，残雪覆住荒寂山径，老梅枯桠横斜枝头，暗吐细蕊晕开浅淡生机。\n策驴人身裹绯色锦袍，在灰冷雪景中撞出融融暖意，宽斗笠掩去眉眼，只余垂敛悠然的姿态，似正循着暗香缓行。以枯淡墨色皴出山岩残雪，驴蹄轻踏积雪，寥寥数笔便勾勒出冬日清寂意趣，简淡笔触藏着雅逸文思。\n水墨铺就荒寒底色，一点艳红点亮画面，冷暖对冲间，将踏雪探春的幽居雅兴融在萧寒景致中，淡远空灵，尽显文人冬日寻幽的诗意闲情。",[23,657,24,25,29,55,207,658,165,7,223,26],"古画","驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38b2ea6613a1a34c5f1e5c9936e5a58.jpg",[],{"id":662,"slug":663,"title":664,"dynasty":138,"author":420,"museum":95,"description":665,"tags":666,"thumbUrl":669,"material":63,"size":670,"collection":40,"collections":671,"showCount":672,"zanCount":11,"manualWeight":11,"mainColor":44},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","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。",[24,25,534,28,55,26,32,222,207,667,7,249,668,27],"鱼","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[40],47,{"id":674,"slug":675,"title":92,"dynasty":138,"author":676,"museum":75,"description":677,"tags":678,"thumbUrl":679,"material":276,"size":277,"collection":85,"collections":680,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":44},290138,"xue-zhu-tu-tan-zhi-rui-290138","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[23,53,24,25,28,56,60,7,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19287786270e4376bfc16080de26ef0.jpg",[],46,{"id":683,"slug":684,"title":685,"dynasty":18,"author":19,"museum":75,"description":686,"tags":687,"thumbUrl":688,"material":85,"size":85,"collection":85,"collections":689,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":44},227578,"xue-shan-lou-ge-tu-fan-kuan-227578","雪山楼阁图","北宋，范宽作, 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厘米，横103厘米。\n\n此画结构严谨，气势雄伟。画面左下角有渔夫正卖鱼于顾客，山间小路上的行人冒匆匆赶路，形态生动，比例自然，形象与《溪山行旅图》中的商旅有异曲同工之妙。\n\n现藏美国波士顿美术博物馆。\n\n范宽（生卒不详）：本名中正，字中立（又作仲立，因性情宽和，不拘成礼，时人呼之为“宽”，遂以范宽自名。华原（今陕西耀县）人。据《宣和画谱》记载，他“风仪峭古，进止疏野，性嗜酒，落魄不拘世故”。山水初学李成，继法荆浩，后感“与其师人，不若师诸造化”，因移居终南山、太华山，对景造意，不取繁饰，自成一家。宋人将其与关仝、李成并列，誉为“三家鼎峙，百代标程”。后人将之与李成、董源二人合称“宋三家”，之后的“元四家”、明朝的唐寅，以至清朝的“金陵画派”和现代的黄宾虹等大师，都受到范宽画风的影响。",[23,53,24,25,29,27,28,26,115,7,128,32,31,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa375bbe146b99d0065149a804c5dc346.jpg",[],{"id":691,"slug":692,"title":693,"dynasty":18,"author":694,"museum":160,"description":695,"tags":696,"thumbUrl":698,"material":63,"size":699,"collection":65,"collections":700,"showCount":681,"zanCount":11,"manualWeight":11,"mainColor":154},219088,"xue-qin-tu-cui-bai-219088","雪禽图","崔白","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[24,25,534,163,54,55,166,697,7,144],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[65],{"id":702,"slug":703,"title":704,"dynasty":138,"author":705,"museum":140,"description":706,"tags":707,"thumbUrl":722,"material":150,"size":723,"collection":441,"collections":724,"showCount":725,"zanCount":11,"manualWeight":11,"mainColor":154},220799,"jing-ji-xuan-shi-wen-zhou-ni-zan-220799","静寄轩诗文轴","倪瓒","《静寄轩诗文》是倪瓒自作并书写的。此轴所书共三部分，内容包括《邾伯盛氏小像赞》、《刻古印文诗四韵》五律1首、《静寄轩诗》七绝3首。\n此帖上方篆书“静寄轩”和帖首篆书“静寄轩诗文”为张绅所书。“静寄轩”是邾伯盛的斋名，其人名珪，字伯盛，苏州人。师濮阳吴睿，习大小篆书，喜为人治印。\n此诗文是倪瓒71岁时所作，虽已至古稀之年，但笔力精致，毫无滞涩之处，结字略扁，内紧外舒，收笔时顿笔稳重，圭角突出，于质朴遒劲中带有很重的隶书笔意。",[23,29,143,247,708,144,709,710,711,712,713,714,60,715,716,717,475,718,115,7,719,720,637,721],"篆刻","孤鹤","瘦骨","苍林","荷","芙蓉","桃花","轩","僧","茶烟","柳","门","馆","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd648c8e27c6ab1979999ef58ef0056a.jpg","纵62.9cm，横23.3cm",[441],43,{"id":727,"slug":728,"title":729,"dynasty":496,"author":578,"museum":50,"description":730,"tags":731,"thumbUrl":732,"material":733,"size":584,"collection":85,"collections":734,"showCount":735,"zanCount":11,"manualWeight":11,"mainColor":154},288285,"fang-wang-wei-jiang-shan-xue-ji-tu-wang-shi-min-288285","仿王维江山雪霁图","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[53,24,194,29,55,27,581,7,31,32,128,249,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a350d41c4997b3ce106edd3a6b3b931.jpg","纸本,设色",[],42,{"id":737,"slug":738,"title":739,"dynasty":18,"author":420,"museum":50,"description":740,"tags":741,"thumbUrl":742,"material":63,"size":743,"collection":40,"collections":744,"showCount":735,"zanCount":11,"manualWeight":11,"mainColor":44},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,25,53,29,28,27,26,7,116,248,604,31,32,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[40],{"id":746,"slug":747,"title":748,"dynasty":270,"author":749,"museum":140,"description":750,"tags":751,"thumbUrl":766,"material":329,"size":767,"collection":441,"collections":768,"showCount":735,"zanCount":11,"manualWeight":11,"mainColor":154},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","胡俨","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[23,247,143,752,753,754,755,756,56,515,100,637,757,758,7,423,759,760,475,761,519,762,763,764,765],"题诗","笔墨","章法","结体","山房","藤萝","苍松","舟","田舍","烟","雨","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纵27.3厘米，横45.5厘米",[441],{"id":770,"slug":771,"title":772,"dynasty":270,"author":773,"museum":160,"description":774,"tags":775,"thumbUrl":776,"material":329,"size":777,"collection":40,"collections":778,"showCount":779,"zanCount":121,"manualWeight":11,"mainColor":107},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[24,28,27,29,26,7,115,100,59,248,249,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[40],41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。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[24,25,54,55,822,165,7,248,60,209,144],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],36,{"id":827,"slug":828,"title":829,"dynasty":18,"author":460,"museum":830,"description":831,"tags":832,"thumbUrl":835,"material":130,"size":836,"collection":85,"collections":837,"showCount":825,"zanCount":11,"manualWeight":11,"mainColor":44},221614,"xue-shan-xing-lv-tuan-shan-liang-kai-221614","雪山行旅团扇","日本京都国立博物馆","画面以大雪覆盖的高山为背景，绘有一位在酷冬严寒之中骑驴的旅人，与南宋马远、夏珪风大量使用留白、仅表现出自然一角的山水画不同，这幅画出色地表现出大自然的博大精深。画面中相对于大雪山显得细微渺小的骑驴人物的精细表现、以及雁群飞过山等画面的各个角落都展现了梁楷的精妙笔法，如实地体现了梁楷作为山水画家的不凡功力。",[23,53,24,534,28,26,7,261,31,59,207,833,32,82,834,27],"行旅","简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6642a6a7959b2fdb36f7e5b0ea9b676.jpg","24.3x25.7厘米",[],{"id":839,"slug":840,"title":841,"dynasty":270,"author":420,"museum":842,"description":843,"tags":844,"thumbUrl":845,"material":63,"size":846,"collection":40,"collections":847,"showCount":825,"zanCount":11,"manualWeight":11,"mainColor":44},217945,"xue-yu-tu-yi-ming-217945","雪渔图","费城艺术博物馆","雪渔图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘的是冬天的江南景色，画面中的渔夫正在雪中捕鱼。图中的景色十分冷清，可以感受到寒冬的气息。不过，画中的渔夫似乎并没有被寒冷所影响，他们依然在坚守着自己的岗位，展现出人类顽强的生存欲望。\n\n雪渔图的艺术价值颇高，它描绘的冬季景色给人们带来了视觉冲击，同时，图中的人物形象也非常生动，给人们留下了深刻的印象。此外，雪渔图的画风也非常优秀，采用了许多细腻的线条和柔和的色彩，使得整幅画面显得十分精致。\n\n雪渔图是明朝时期的杰作，它的出现标志着中国画的又一次发展。作为一幅优秀的艺术品，雪渔图不仅为当时的观众带来了视觉享受，同时也为后人留下了宝贵的文化遗产。",[24,194,29,28,55,27,7,31,59,80,249,668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b782eb11fe10146b4d0bac0e946b2f9.jpg","185x73.4cm",[40],{"id":849,"slug":850,"title":851,"dynasty":138,"author":852,"museum":140,"description":853,"tags":854,"thumbUrl":856,"material":150,"size":857,"collection":85,"collections":858,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":44},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","姚廷美","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,28,78,26,569,209,80,668,144,27,855,7,34],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],34,{"id":861,"slug":862,"title":92,"dynasty":18,"author":420,"museum":75,"description":863,"tags":864,"thumbUrl":865,"material":85,"size":85,"collection":85,"collections":866,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":44},223672,"xue-zhu-tu-yi-ming-223672","画面以巨石为骨，古松蟠曲依偎身侧，修竹高低错落、劲挺而立。作者以浓淡墨色晕染出雪意，枝桠竹叶覆雪的沉凝质感呼之欲出，留白暗合积雪清寒，将冬日萧索尽数铺陈。\n笔触苍劲老辣，写形亦写意，将雪后竹林幽寂清旷的氛围烘托到极致，草木于冷冽之中舒展不屈生机，尽显工致写实与文人意趣的交融，勾勒出古朴清寒的林下况味，晕开冬日静谧雅致的深幽意境。",[53,24,25,54,27,56,99,7,100,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ab1508510dd441b1656cf2e9ed8949.jpg",[],{"id":868,"slug":869,"title":870,"dynasty":18,"author":871,"museum":140,"description":872,"tags":873,"thumbUrl":874,"material":130,"size":875,"collection":38,"collections":876,"showCount":859,"zanCount":121,"manualWeight":11,"mainColor":154},221467,"xue-mei-tu-juan-quan-juan-yang-wu-jiu-221467","雪梅图卷全卷","扬无咎","《雪梅图》是宋代扬无咎创作的绢本水墨画，现为 收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,53,24,25,78,28,247,165,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[38,65],{"id":878,"slug":879,"title":880,"dynasty":270,"author":881,"museum":50,"description":882,"tags":883,"thumbUrl":885,"material":63,"size":886,"collection":172,"collections":887,"showCount":859,"zanCount":121,"manualWeight":11,"mainColor":154},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,25,26,54,55,27,144,115,7,116,59,222,81,248,884],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[172],{"id":889,"slug":890,"title":891,"dynasty":496,"author":892,"museum":140,"description":893,"tags":894,"thumbUrl":898,"material":899,"size":900,"collection":85,"collections":901,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":154},233739,"xue-zhong-song-tan-tu-zhou-ren-yi-233739","雪中送炭图轴","任颐","任颐（1840—1895，或1896），原名润，字小楼；更名颐，字伯年，生于山阴（今浙江绍兴），卒于上海。其父鹤声（字淞云），是民间肖像画工。任颐天资聪颖，幼时随父学画肖像，在人物的传神写照和默写方面打下了扎实的基础；后又受任熊的影响，学宋人的双勾花鸟画和陈洪绶一路的人物画。他还到宁波随任薰学过画，后来，又离开宁波到苏州、上海，并寓居上海近30年，成为“海上画派”的代表。\n任颐的绘画题材全面，人物、花鸟、走兽、山水无所不精。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品。他善于写实，能够捕捉人物瞬间的神情动态进行描绘，被誉为“曾波臣后第一手”。",[24,29,55,28,274,207,7,895,896,897],"炭","篮子","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a8064378a94b762d15e9c365d0daf9.jpg","纸本 设色","80.8cm×36.8cm",[],33,{"id":904,"slug":905,"title":906,"dynasty":270,"author":907,"museum":75,"description":908,"tags":909,"thumbUrl":910,"material":85,"size":85,"collection":85,"collections":911,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":154},228309,"xi-hu-xue-jing-tu-ye-xiang-sheng-mo-228309","西湖雪景图页","项圣谟","此作用平远视角铺展冬湖雪景，以留白衬出天地间皑皑素色，淡墨晕染远山，如笼薄纱，隐于空濛水雾之中。湖面浩渺空寂，偶有汀岸错落，几株枯木虬枝遒劲，疏朗挺立，暗合冬日萧寒之气，岸边渔村屋舍星点，愈显荒寒清寂。\n\n笔墨简澹克制，以淡墨轻皴轻染，将雪意融于留白与浅墨之间，意境幽远孤清。四周题跋环绕，诗画相生，文人雅趣盎然，将冬雪西湖的静穆萧疏尽数铺陈，尽显幽澹雅致的画中深意，寄寓着画者清雅出尘的襟怀。",[24,28,26,375,27,115,33,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd439ec8a7babbccd8ad0d1aaed0089f3.jpg",[],{"id":913,"slug":914,"title":915,"dynasty":270,"author":916,"museum":50,"description":917,"tags":918,"thumbUrl":920,"material":63,"size":921,"collection":40,"collections":922,"showCount":902,"zanCount":11,"manualWeight":11,"mainColor":44},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","王谔","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,24,194,55,54,919,115,7,32,128,81,207],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[40],{"id":924,"slug":925,"title":926,"dynasty":496,"author":809,"museum":50,"description":927,"tags":928,"thumbUrl":929,"material":150,"size":930,"collection":40,"collections":931,"showCount":932,"zanCount":11,"manualWeight":11,"mainColor":154},222692,"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,25,29,28,26,27,115,7,59,248,249,79,222,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[40,41],32,{"id":934,"slug":935,"title":936,"dynasty":496,"author":937,"museum":938,"description":939,"tags":940,"thumbUrl":944,"material":130,"size":945,"collection":85,"collections":946,"showCount":947,"zanCount":11,"manualWeight":11,"mainColor":44},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54","孙温","旅顺博物馆","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",[23,54,55,919,207,128,248,56,165,34,7,941,942,943],"栏杆","伞","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg","纵43.3厘米、横76.5厘米",[],31,{"id":949,"slug":950,"title":951,"dynasty":270,"author":952,"museum":75,"description":953,"tags":954,"thumbUrl":955,"material":85,"size":85,"collection":85,"collections":956,"showCount":957,"zanCount":11,"manualWeight":11,"mainColor":154},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","周臣","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[24,25,29,28,27,26,7,115,100,207,146,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],30,{"id":959,"slug":960,"title":961,"dynasty":138,"author":962,"museum":963,"description":964,"tags":965,"thumbUrl":968,"material":150,"size":969,"collection":85,"collections":970,"showCount":957,"zanCount":11,"manualWeight":11,"mainColor":44},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","周渊","美国弗瑞尔美术馆","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[24,25,53,29,55,604,966,7,100,967,31],"鹿","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":972,"slug":973,"title":974,"dynasty":270,"author":975,"museum":140,"description":976,"tags":977,"thumbUrl":978,"material":979,"size":980,"collection":40,"collections":981,"showCount":957,"zanCount":121,"manualWeight":11,"mainColor":154},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","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》。",[23,24,25,29,28,26,570,31,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纸本墨笔","纵136.3厘米，横43.3厘米",[40,41],{"id":983,"slug":984,"title":985,"dynasty":270,"author":986,"museum":75,"description":987,"tags":988,"thumbUrl":990,"material":276,"size":277,"collection":85,"collections":991,"showCount":992,"zanCount":121,"manualWeight":11,"mainColor":44},230955,"xue-jiao-tu-ye-chen-hong-shou-230955","雪蕉图页","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[53,24,25,375,54,55,989,60,7,517,144],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874e621d854c924252505ec09a442862.jpg",[],29,{"id":994,"slug":995,"title":996,"dynasty":270,"author":384,"museum":140,"description":997,"tags":998,"thumbUrl":1010,"material":1011,"size":1012,"collection":441,"collections":1013,"showCount":1014,"zanCount":11,"manualWeight":11,"mainColor":154},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,999,143,247,78,28,144,1000,148,26,80,248,249,34,79,569,209,165,1001,56,1002,712,1003,714,1004,667,519,762,7,475,1005,1006,516,1007,1008,1009],"明代","明月","兰","菊","牡丹","水仙","日","夜","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[441],28,{"id":1016,"slug":1017,"title":1018,"dynasty":18,"author":19,"museum":50,"description":1019,"tags":1020,"thumbUrl":1021,"material":1022,"size":1023,"collection":85,"collections":1024,"showCount":1014,"zanCount":11,"manualWeight":11,"mainColor":154},221385,"ming-hui-ji-zhen-ce-han-jiang-diao-xue-fan-kuan-221385","名绘集珍册－寒江钓雪","本幅选自《名绘集珍》册第十一幅。画幅意境，取自唐代诗人柳宗元（773-819）的五言绝句〈江雪〉：「千山鸟飞绝，万径人踪灭；孤舟蓑笠翁，独钓寒江雪。」 幅左方裱绢的签题作「范宽寒江钓雪」，但在纨扇画面的左缘，隐约可见「李东」（13世纪）二字名款，由于被墨色掩盖，又因画史载范宽（约950-1031间）以画雪景著称，故被归入范宽名下。实则本幅「一角式」的构图，以及侧锋砍斫的笔触，均与范宽不似，应属于南宋时期才会出现的风格。",[23,24,53,25,375,26,27,28,207,80,223,209,249,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a8a8fd79c1b43910e82ba556c7435fc.jpg","立轴，绢本","38.9x80.6;",[],{"id":1026,"slug":1027,"title":1028,"dynasty":270,"author":634,"museum":50,"description":1029,"tags":1030,"thumbUrl":1034,"material":130,"size":1035,"collection":40,"collections":1036,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[23,24,55,27,29,26,7,32,487,196,145,146,207,59,116,31,82,1031,30,1032,1033],"水榭","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg","纵82.3厘米，横28.9厘米",[40,172],27,{"id":1039,"slug":1040,"title":1041,"dynasty":270,"author":420,"museum":160,"description":1042,"tags":1043,"thumbUrl":1044,"material":63,"size":1045,"collection":40,"collections":1046,"showCount":1037,"zanCount":11,"manualWeight":11,"mainColor":44},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[24,28,55,534,26,787,167,7,668,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[40],{"id":1048,"slug":1049,"title":1050,"dynasty":270,"author":1051,"museum":140,"description":1052,"tags":1053,"thumbUrl":1055,"material":1056,"size":1057,"collection":85,"collections":1058,"showCount":1059,"zanCount":11,"manualWeight":11,"mainColor":44},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","刘俊","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[270,54,55,919,207,128,59,7,514,31,26,1054],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","绢本，淡设色","纵143.2厘米，横75厘米",[],26,{"id":1061,"slug":1062,"title":1063,"dynasty":18,"author":159,"museum":75,"description":1064,"tags":1065,"thumbUrl":1066,"material":85,"size":85,"collection":85,"collections":1067,"showCount":1059,"zanCount":11,"manualWeight":11,"mainColor":44},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[53,24,25,54,55,28,163,569,209,236,79,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":1069,"slug":1070,"title":1071,"dynasty":496,"author":937,"museum":938,"description":939,"tags":1072,"thumbUrl":1073,"material":130,"size":945,"collection":85,"collections":1074,"showCount":1059,"zanCount":11,"manualWeight":11,"mainColor":44},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,24,54,55,26,207,128,248,34,249,99,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":270,"author":420,"museum":112,"description":1079,"tags":1080,"thumbUrl":1081,"material":733,"size":85,"collection":85,"collections":1082,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":154},217947,"ming-ren-shan-shui-hua-ce-ba-yi-ming-217947","明人山水画册(八)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,28,26,27,375,115,7,100,145,248,249,34,59,570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2356510e2a70855153eec32a2869937b.jpg",[],25,{"id":1085,"slug":1086,"title":1087,"dynasty":496,"author":1088,"museum":75,"description":1089,"tags":1090,"thumbUrl":1097,"material":276,"size":277,"collection":85,"collections":1098,"showCount":1099,"zanCount":11,"manualWeight":11,"mainColor":44},239875,"wang-duo-wu-lv-shi-zhou-wang-duo-239875","王铎五律诗轴","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。",[143,29,247,1091,144,761,855,1092,7,1093,1094,1095,1096],"墨","枫","鸥鹭","南","客","乡音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059b7c2ff452e2bcd629055f590f95a5.jpg",[],24,{"id":1101,"slug":1102,"title":1103,"dynasty":18,"author":191,"museum":75,"description":1104,"tags":1105,"thumbUrl":1106,"material":85,"size":85,"collection":85,"collections":1107,"showCount":1108,"zanCount":11,"manualWeight":11,"mainColor":44},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,24,25,375,27,55,26,261,207,388,59,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],23,{"id":1110,"slug":1111,"title":1112,"dynasty":270,"author":1113,"museum":75,"description":1114,"tags":1115,"thumbUrl":1118,"material":276,"size":277,"collection":85,"collections":1119,"showCount":1120,"zanCount":11,"manualWeight":11,"mainColor":44},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[24,25,29,28,27,26,7,32,128,31,1116,1117,34],"文人","读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],22,{"id":1122,"slug":1123,"title":1124,"dynasty":270,"author":1125,"museum":1126,"description":1127,"tags":1128,"thumbUrl":1130,"material":979,"size":1131,"collection":85,"collections":1132,"showCount":1120,"zanCount":11,"manualWeight":11,"mainColor":154},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。",[23,24,194,53,25,29,28,27,54,115,7,32,81,145,34,59,82,1129],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d845e881e9f41b343dbe1507be0f0ca.jpg","48X123cm",[],{"id":1134,"slug":1135,"title":1136,"dynasty":270,"author":420,"museum":842,"description":1137,"tags":1138,"thumbUrl":1139,"material":63,"size":85,"collection":40,"collections":1140,"showCount":1120,"zanCount":11,"manualWeight":11,"mainColor":44},219917,"xue-xi-gui-yu-tu-yi-ming-219917","雪溪归渔图","整幅画作浸在清寂冬意里，巨崖以淡墨皴擦，留白覆雪，棱线苍劲冷峻，带着寒山凝冻的硬挺质感，山间林梢缀着碎雪，萧疏冷冽。\n\n溪岸茅舍被厚雪压着檐角，屋中隐约可见围坐的暖融融烟火气，溪上渔舟系于岸边，归人正踏着板桥慢行，将荒寒雪景和俗世温情相融。淡晕的墨色晕染出空蒙的寒雾，虚实相生里，把冬日山野的清寂和渔居的安然揉为一体，于冷寂间藏着脉脉暖意，尽显冬日溪山的幽远意趣。",[24,26,55,54,27,7,31,32,222,207,668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b3d2dba826278128c9a9bbaa02d226.jpg",[40],{"id":1142,"slug":1143,"title":1144,"dynasty":270,"author":1145,"museum":219,"description":1146,"tags":1147,"thumbUrl":1149,"material":1150,"size":1151,"collection":441,"collections":1152,"showCount":1153,"zanCount":11,"manualWeight":11,"mainColor":44},220900,"shu-xie-hui-lian-xue-fu-dong-qi-chang-220900","书谢惠连雪赋","董其昌","致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡",[23,143,247,78,7,1148],"墨迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c263ae74a3e6eb56063e481f589130c.jpg","行草","26.7 x 183.7 cm",[441],21,{"id":1155,"slug":1156,"title":1157,"dynasty":18,"author":420,"museum":50,"description":1158,"tags":1159,"thumbUrl":1161,"material":63,"size":1162,"collection":40,"collections":1163,"showCount":1153,"zanCount":11,"manualWeight":11,"mainColor":154},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。",[23,24,25,28,27,26,7,1160,31,32,487,195,82],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b70cfa37a2e0c165015de0b7e5d2a2.jpg","24.5x25",[40],{"id":1165,"slug":1166,"title":1167,"dynasty":270,"author":420,"museum":140,"description":1168,"tags":1169,"thumbUrl":1171,"material":302,"size":1172,"collection":85,"collections":1173,"showCount":1174,"zanCount":11,"manualWeight":11,"mainColor":44},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,29,55,26,207,7,165,31,59,80,27,34,1170,32,195,1054,274],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg","纵83.5厘米，横47.2厘米",[],20,{"id":1176,"slug":1177,"title":1178,"dynasty":270,"author":420,"museum":75,"description":1179,"tags":1180,"thumbUrl":1182,"material":85,"size":85,"collection":85,"collections":1183,"showCount":1184,"zanCount":11,"manualWeight":11,"mainColor":44},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,24,53,25,55,54,27,1181,604,570,7,145,32],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],19,{"id":1186,"slug":1187,"title":1188,"dynasty":496,"author":1189,"museum":140,"description":1190,"tags":1191,"thumbUrl":1192,"material":400,"size":1193,"collection":85,"collections":1194,"showCount":1184,"zanCount":11,"manualWeight":11,"mainColor":44},223286,"shan-shui-si-tiao-ping-yang-zhou-si-jing-ping-gang-yan-xue-yuan-yao-223286","山水四条屏-扬州四景-平岗艳雪","袁耀","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，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，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“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，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,25,55,54,919,26,34,248,165,7,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909e836a0258d68f302808fe9b398499.jpg","纵57cm，横66.1cm",[],{"id":1196,"slug":1197,"title":1112,"dynasty":270,"author":1113,"museum":140,"description":1198,"tags":1199,"thumbUrl":1200,"material":1201,"size":1202,"collection":85,"collections":1203,"showCount":1184,"zanCount":11,"manualWeight":11,"mainColor":44},222840,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-222840","萧云从的山水画风格多样，但贯穿其中的基本风貌是笔墨多方折而枯瘦，且在方折的骨体中加入一些皴擦，略有渲染，显得笔墨丰富而灵活。当时，松江派绘画风靡画坛，其画多柔曲的线条、秀润的笔墨，萧氏则改用直折的线条、枯瘦爽利的墨色，可谓别具一格。《国朝画征录》评论萧云从的画称：“不专宗法，自成一家，笔亦清快可喜。”道出了萧云从绘画风格的关键所在。他的画并非具体地宗法某一家，但可看出是从宋元画法中演变而来，不宋不元，即宋即元，又明确地表现出萧氏自身的艺术特色。此图虽是描绘雪景，表现手法与平时稍异，但仍可看出萧氏画作的典型特征。\n画面采用高远法构图描绘层岩绝巘。布局丰满，但山间茂密树丛的蓬松枝杈使画面气脉贯通，虽满却不迫塞。山石形廓较为方硬，凹陷处的皴擦笔笔精到；树木刻画亦极工致，用笔细劲清快，描绘树干纹理、树叶形状一丝不苟。地子则巧妙地留白，用以表现大面积山石及树木枝干上的积雪。皑皑白雪在以淡墨晕染的阴郁天空的衬托下愈发显得清寂萧索。但近景的树脚、石隙间偶尔显露出数竿篠竹，树木枝干染以藤黄，树叶则分别施以朱红、汁绿，这一切都使观者在寒冬的肃杀气氛中隐隐感受到蕴藏着的盎然生机，在历代雪景作品中可谓别开生面。这一方面是由于作者有着对自然界的独特感受，同时也昭示着萧云从内心涌动的希望。\n其时，明宗室诸王流亡各地，除弘光、隆武、永历等主要政权外，臣民奉宗室起兵抗清者所在尚多，且颇具声势。萧氏作为明朝遗民，无时无刻不关注着这些复国大事。题识中的“时得三秦好音”似即指此类事件。\n萧云从曾精研杜诗，著有《杜律细》一卷。其诗亦继承杜诗传统，多即事忧时之作，如此画题诗便是一例。诗中“皇旅云腾度渭河”、“将军高唱大风歌”等句更是雄浑奔放，音韵铿锵，与画面相互映照，真切地表现出萧云从作为明代遗民的思想感情。",[23,24,29,28,54,27,26,7,207,34,128,100,31,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d303d9b585f987c4fc189dc35570.jpg","纸本，设色","纵125.3厘米，横47.7厘米",[],{"id":1205,"slug":1206,"title":1207,"dynasty":270,"author":1208,"museum":75,"description":1209,"tags":1210,"thumbUrl":1211,"material":276,"size":277,"collection":85,"collections":1212,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":154},235368,"xue-mei-yuan-yang-tu-zhou-wang-li-235368","雪梅鴛鴦图軸","王醴","图绘雪景寒江，两只鸳鸯站岸边梳理羽毛。一株老梅，枝条繁茂，花开带雪，分外妖娆。雪竹挺立，小雀瑟栖于上。鸳鸯造型优美，色墨交融；梅树用笔老辣，用墨焦重，梅花清新淡雅，整个背景以淡墨渲染，留白以表雪意。",[24,25,29,55,163,54,7,165,164,166,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ea2b246537e2b6d8f057e80a51eba4.jpg",[],18,{"id":1215,"slug":1216,"title":1217,"dynasty":138,"author":1218,"museum":140,"description":1219,"tags":1220,"thumbUrl":1223,"material":1224,"size":1225,"collection":85,"collections":1226,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":107},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”。",[24,194,29,27,28,7,115,1221,32,116,31,1222,1170,145,82],"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":1228,"slug":1229,"title":1230,"dynasty":496,"author":1231,"museum":75,"description":1232,"tags":1233,"thumbUrl":1235,"material":85,"size":85,"collection":85,"collections":1236,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":154},231365,"xue-ji-tu-fan-qi-231365","雪霁图","樊圻","樊圻（公元1616—1694尚在），字会公，更字洽公，江宁（今江苏南京人）。清代画家，\n江苏南京人，他与其兄樊沂均以画出名。与龚贤、高岑、吴宏、叶欣、胡慥、谢荪、邹喆等人并称为“金陵八家”。山水师赵令穰，刘松年、赵孟孚等而能自成风貌，王铎尝题其小景云：“洽公吾不知为谁，此幅全摹赵松雪、赵大年，穆然恬静，若厚德醇儒，敦庞湛凝，无忒无（兆） 。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,53,24,25,55,54,7,570,56,166,1234,31,163,144],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":1238,"slug":1239,"title":1240,"dynasty":18,"author":1241,"museum":140,"description":1242,"tags":1243,"thumbUrl":1247,"material":150,"size":1248,"collection":441,"collections":1249,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":154},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,247,143,78,1148,144,115,33,475,7,515,34,99,1244,1002,1001,1245,855,1008,1009,713,759,570,519,1246,423,56,165],"林","桂","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[441],{"id":1251,"slug":1252,"title":1253,"dynasty":18,"author":420,"museum":50,"description":1254,"tags":1255,"thumbUrl":1256,"material":63,"size":1257,"collection":40,"collections":1258,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":154},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[23,24,25,375,28,55,54,27,7,26,59,80,223,207,789,115,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[40],{"id":1260,"slug":1261,"title":1262,"dynasty":270,"author":1263,"museum":1264,"description":1265,"tags":1266,"thumbUrl":1267,"material":150,"size":85,"collection":441,"collections":1268,"showCount":1269,"zanCount":11,"manualWeight":11,"mainColor":154},240050,"shi-gao-ce-cheng-jia-sui-240050","诗稿册","程嘉燧","湖南省博物馆","程嘉燧（1565～1643）明代書畫家、詩人。字孟陽，號松圓、偈庵，又號松圓老人、松圓道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，釋名海能。南直隸徽州府休寧縣（今安徽休寧）人，應試無所得，僑居嘉定，折節讀書，工詩善畫，通曉音律，與同裏婁堅、唐時升，並稱“練川三老”。謝三賓合三人及李流芳詩文，刻為《嘉定四先生集》，有《浪淘集》。",[25,375,247,144,165,637,115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c210a8ad98f709920c7948536772e2.jpg",[441],17,{"id":1271,"slug":1272,"title":1273,"dynasty":270,"author":907,"museum":140,"description":1274,"tags":1275,"thumbUrl":1278,"material":1201,"size":1279,"collection":85,"collections":1280,"showCount":1269,"zanCount":11,"manualWeight":11,"mainColor":154},233914,"xue-ying-yu-ren-tu-zhou-xiang-sheng-mo-233914","雪影渔人图轴","图中皑皑白雪覆盖下的四株老树粗壮挺拔，叉枒错落，树叶落尽，说明时当严冬。树下水边，一渔舟泊岸，渔夫身披簔衣，头戴斗笠，持桨立船头。远处云山一抹，一望无垠。画中自题：“漫漫雪影耀江光，一棹渔人十指僵。欲泊林皋何处稳，宜随风浪酒为乡。崇祯十四年（1641）入夏大旱，忆春雪连绵，写此小景就题见志。无边居士项圣谟。”钤“项氏孔彰”、“写我心曲”等印。项圣谟时年45岁。",[24,29,28,26,668,80,209,7,1276,27,1277],"枯枝","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed770fc8b0049f5d24acfc953374461.jpg","纵74.8厘米，横30.4厘米",[],{"id":1282,"slug":1283,"title":1284,"dynasty":138,"author":1285,"museum":50,"description":1286,"tags":1287,"thumbUrl":1294,"material":583,"size":1295,"collection":85,"collections":1296,"showCount":1269,"zanCount":11,"manualWeight":11,"mainColor":154},221808,"shu-wu-yan-gu-shi-ou-yang-xuan-221808","书五言古诗","欧阳玄","振衣逢野泉。渐见栖寒所。坎坎山下声。幽幽林中语。仙卿何代隐。卿复言亦楚。开冰洗药苗。扫雪候山侣。零叶聚疎篱。幽花积寒诸。冥冥孤鹤性。天外时轻举。欧阳玄书",[25,247,1288,28,144,1289,1290,115,1244,1291,7,1292,1293,709],"元代","野泉","霜","冰","孤馆","寒渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbfdc78de585b386b066c2f39a1794b.jpg","纵25.1厘米，横35.3厘米",[],{"id":1298,"slug":1299,"title":1300,"dynasty":138,"author":420,"museum":842,"description":1301,"tags":1302,"thumbUrl":1303,"material":63,"size":1304,"collection":65,"collections":1305,"showCount":1269,"zanCount":11,"manualWeight":11,"mainColor":44},219100,"xue-xi-ju-qin-tu-yi-ming-219100","雪溪聚禽图","绢素之上，雪意轻笼溪山。枯树老枝虬曲如篆，枝间似凝薄雪，墨线劲挺却藏温润。坡岸间数羽禽鸟相嬉：或敛翅梳翎，或振翼掠地，墨色点染的羽翮与淡扫的雪痕相映，生机暗蕴于萧寒。远处山影朦胧，溪流隐于雪下，留白处尽是清旷之气。整幅画以简驭繁，墨色浓淡相宜，将冬日聚禽的闲趣与溪山的冷寂融于一体，尽显山水花鸟合一的空灵意境，冷寂中藏着鲜活的生趣，如同一首无声的冬日短歌。",[24,55,54,7,423,57,59,31,79,26,163,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560750d4ca79c942cea94696d542cf1b.jpg","纵24.5横21.8厘米",[65],{"id":1307,"slug":1308,"title":1309,"dynasty":496,"author":1310,"museum":350,"description":1311,"tags":1312,"thumbUrl":1314,"material":733,"size":85,"collection":85,"collections":1315,"showCount":1269,"zanCount":11,"manualWeight":11,"mainColor":44},214598,"fang-gu-shan-shui-ce-6-wang-hui-214598","仿古山水册-6","王翚","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,25,375,28,55,26,7,80,248,59,209,31,1313,27],"湖面","https:\u002F\u002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，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。”",[24,28,27,375,26,7,115,100,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b80b1025f221dde693c4dd8c35221.jpg",[40],16,{"id":1326,"slug":1327,"title":1328,"dynasty":496,"author":1329,"museum":75,"description":1330,"tags":1331,"thumbUrl":1333,"material":276,"size":277,"collection":40,"collections":1334,"showCount":1335,"zanCount":11,"manualWeight":11,"mainColor":154},235741,"fang-gu-shan-shui-ce-xue-xuan-235741","仿古山水册","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,28,375,27,1332,26,115,100,7,145],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc8aa37cb09e67e01143752c61481.jpg",[40],15,{"id":1337,"slug":1338,"title":1339,"dynasty":482,"author":420,"museum":75,"description":1340,"tags":1341,"thumbUrl":1349,"material":85,"size":85,"collection":85,"collections":1350,"showCount":1335,"zanCount":11,"manualWeight":11,"mainColor":154},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。",[1342,1343,1344,55,1345,261,207,7,115,33,222,116,788,81,1054,1346,1347,1129,32,146,82,1348],"浮世绘","木刻","版画","桥","行人","骑马","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],{"id":1352,"slug":1353,"title":1354,"dynasty":18,"author":420,"museum":75,"description":1355,"tags":1356,"thumbUrl":1357,"material":85,"size":85,"collection":85,"collections":1358,"showCount":1335,"zanCount":11,"manualWeight":11,"mainColor":44},223671,"xue-xi-fang-mu-tu-ye-yi-ming-223671","雪溪放牧图页","萧寒冬日的溪岸，淡墨晕染出铺陈的积雪，留白尽显空寂清寒。几株古木依偎而生，虬枝带着残叶，苍劲古朴的身姿在素净雪色间愈显沉郁，将冬日荒郊的萧索尽数铺展。\n\n溪滩处，小童策杖引牛踏水而行，憨态的水牛缓涉浅流，细碎的动态打破了天地的岑寂，为这片清冷雪景晕开一缕烟火暖意。\n\n整幅小品以极简的笔墨勾勒意境，淡墨扫雪、枯笔写树，于留白中烘托出深静的冬日氛围，萧寒里带着鲜活的生趣，尽显以小见大的雅致意趣，将冬日郊野的清寂与悠然牧歌融为一卷，淡远悠长。",[23,24,55,534,26,7,592,100,487,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a98cdb3acb6a785bb5f2a05d96d3bfe.jpg",[],{"id":1360,"slug":1361,"title":1362,"dynasty":496,"author":1363,"museum":75,"description":1364,"tags":1365,"thumbUrl":1367,"material":302,"size":1368,"collection":85,"collections":1369,"showCount":1370,"zanCount":11,"manualWeight":11,"mainColor":154},233688,"yuan-ji-lan-zhu-ce-xue-zhong-mei-zhu-shi-tao-233688","原济兰竹册－雪中梅竹","石涛","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[24,25,375,28,274,7,721,236,1366],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d98440534b36c7c573bc21674f6b05.jpg","纵43.2cm，横30.2cm",[],14,{"id":1372,"slug":1373,"title":1374,"dynasty":18,"author":1375,"museum":75,"description":1376,"tags":1377,"thumbUrl":1378,"material":85,"size":85,"collection":85,"collections":1379,"showCount":1370,"zanCount":11,"manualWeight":11,"mainColor":44},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","李东","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,25,375,28,26,7,855,59,146,80,668,27,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":1381,"slug":1382,"title":1383,"dynasty":18,"author":871,"museum":75,"description":1384,"tags":1385,"thumbUrl":1386,"material":276,"size":277,"collection":85,"collections":1387,"showCount":1388,"zanCount":11,"manualWeight":11,"mainColor":154},288456,"xue-mei-tu-yang-wu-jiu-288456","雪梅图","此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。",[23,24,53,78,25,28,163,165,7,143,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7380b5642da48bacdff84a57a04aa1.jpg",[],13,{"id":1390,"slug":1391,"title":1392,"dynasty":482,"author":1393,"museum":75,"description":1394,"tags":1395,"thumbUrl":1405,"material":276,"size":277,"collection":1406,"collections":1407,"showCount":1388,"zanCount":11,"manualWeight":11,"mainColor":44},226138,"train-in-the-snow-the-locomotive-1875-mo-nai-226138","Train in the Snow, the Locomotive, 1875","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。",[53,1396,1397,1398,7,1399,1276,1400,1401,1346,1054,1402,1403,1404],"油画","印象派","火车","铁轨","栅栏","烟雾","光影","色彩","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1167a04b69ca418c712593b0c4755b0a.jpg","油画精选",[1406],{"id":1409,"slug":1410,"title":1411,"dynasty":18,"author":420,"museum":75,"description":1412,"tags":1413,"thumbUrl":1414,"material":150,"size":1415,"collection":85,"collections":1416,"showCount":1388,"zanCount":11,"manualWeight":11,"mainColor":44},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,53,29,55,27,26,115,7,196,32,248,249,128,207,261,145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":1418,"slug":1419,"title":1420,"dynasty":270,"author":1421,"museum":20,"description":1422,"tags":1423,"thumbUrl":1424,"material":150,"size":1425,"collection":85,"collections":1426,"showCount":1388,"zanCount":11,"manualWeight":11,"mainColor":154},222181,"xue-hou-fang-mei-tu-zhou-lu-zhi-222181","雪后访梅图轴","陆治","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,25,53,29,28,27,26,7,165,128,80,31,249,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaf80233eb812f5038cd4b1c54a09f2.jpg","76x40cm",[],{"id":1428,"slug":1429,"title":1430,"dynasty":138,"author":1431,"museum":140,"description":1432,"tags":1433,"thumbUrl":1434,"material":150,"size":1435,"collection":441,"collections":1436,"showCount":1437,"zanCount":121,"manualWeight":11,"mainColor":154},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","赵雍","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[23,78,25,143,247,28,144,165,7,115,33,1000,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[441],12,{"id":1439,"slug":1440,"title":1441,"dynasty":496,"author":1442,"museum":75,"description":1443,"tags":1444,"thumbUrl":1445,"material":85,"size":85,"collection":85,"collections":1446,"showCount":1437,"zanCount":11,"manualWeight":11,"mainColor":154},239337,"xue-jing-shan-shui-zhou-tang-dai-239337","雪景山水轴","唐岱","整幅画作以淡墨晕染铺就天地寒寂，细劲线条勾勒出山石苍硬肌理。积雪覆裹峰峦，以留白晕染出雪色蓬松清冽，将隆冬山野的素净空濛尽显。枯木虬曲错落，萧瑟枝桠衬出山境荒寒，山坳隐见山居，为冷寂添了一缕烟火暖意。\n\n作画兼具苍劲与秀润，勾勒皴擦间刻画出山石的嶙峋质感，以空白代雪，虚实相生间烘托出冬日山林的静谧萧寒，借景抒怀，尽显文人山水的澹远雅逸意境。",[24,25,29,28,55,27,26,115,33,7,59,222,145,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57adb7a240be0b5f75cfe5857e8c0fde.jpg",[],{"id":1448,"slug":1449,"title":1374,"dynasty":18,"author":1375,"museum":140,"description":1450,"tags":1451,"thumbUrl":1453,"material":1454,"size":1455,"collection":85,"collections":1456,"showCount":1437,"zanCount":11,"manualWeight":11,"mainColor":44},234010,"xue-jiang-mai-yu-ye-li-dong-234010","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[24,25,1452,28,55,27,26,249,80,668,209,569,7,60],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","绢本墨笔","纵23.6厘米,横25.2厘米",[],{"id":1458,"slug":1459,"title":1460,"dynasty":18,"author":420,"museum":75,"description":1461,"tags":1462,"thumbUrl":1465,"material":85,"size":85,"collection":85,"collections":1466,"showCount":1437,"zanCount":11,"manualWeight":11,"mainColor":44},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,25,78,53,55,54,27,7,668,26,80,223,248,249,209,207,79,60,1463,1464],"岸滩","渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":1468,"slug":1469,"title":1470,"dynasty":270,"author":420,"museum":160,"description":1471,"tags":1472,"thumbUrl":1474,"material":63,"size":85,"collection":65,"collections":1475,"showCount":1437,"zanCount":11,"manualWeight":11,"mainColor":107},219269,"xue-shu-shuang-jiu-tu-yi-ming-219269","雪树双鸠图","绢本的古雅色泽里，冬日的清寂缓缓铺展。虬枝盘曲如铁铸，枝桠间薄雪若碎玉，清冷中透着岁月的苍劲。双鸠相偎于枝头，羽色与雪、树相融，姿态安闲，似在低语，为寂静雪林添了脉脉温情。雪坡简洁，几茎细草隐于雪下，更显天地空阔。画中无喧嚣，唯有雪的静穆、树的古拙、鸟的柔暖，将冬日的冷寂与生命的暖意悄然交织，让观者于冷冽中触到一丝安宁与慰藉，仿佛时光在此凝驻，只剩自然的恬淡与生机。",[23,24,25,55,54,163,100,7,166,61,1473],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e2794ea016ae3eaf5316c3ed2a9cf.jpg",[65],{"id":1477,"slug":1478,"title":1479,"dynasty":270,"author":1480,"museum":140,"description":1481,"tags":1482,"thumbUrl":1483,"material":85,"size":85,"collection":85,"collections":1484,"showCount":1485,"zanCount":121,"manualWeight":11,"mainColor":154},234200,"xue-ting-tu-juan-zhao-han-234200","雪亭图卷","赵汉","此作以淡墨晕染出群峰雪意，素净浑茫间，山坳雪亭幽然独立，枯木覆雪点染出清寂萧寒的冬日意境。整卷书画合璧，数段题书风格各异，行书秀逸苍劲，草书纵逸跌宕，擘窠大字雄健厚重。题诗文笔清隽，尽数铺展出林泉高致，将冬日幽居的清冷旷达与归隐忘俗的雅趣相融，笔墨间呼应画中逸韵，尽显诗画同源、以书入画的文人审美意趣。",[23,24,25,78,28,26,247,27,34,115,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc873cb1136ddbd79b8abebe8260093.jpg",[],10,{"id":1487,"slug":1488,"title":1489,"dynasty":18,"author":1490,"museum":50,"description":1491,"tags":1492,"thumbUrl":1493,"material":130,"size":85,"collection":85,"collections":1494,"showCount":1485,"zanCount":11,"manualWeight":11,"mainColor":44},218674,"xi-hu-shi-jing-tu-duan-qiao-can-xue-ye-xiao-yan-218674","西湖十景图-断桥残雪","叶肖岩","雪落断桥，淡墨晕开湖山的朦胧。枯枝疏朗，似凝住冬日清寒；远山如黛，薄雪轮廓在烟霭中隐现。水墨笔触轻缓，将雪的柔、山的静、桥的孤融于一纸。断桥卧于雪色间，像守着时光的老者，静看湖山更迭；岸边松竹墨线简练，道尽寒冬里的坚韧疏朗。淡墨远山与近景残雪相映，铺展“断桥残雪”的清冷诗意，仿佛能嗅到雪中梅香清冽，触到湖面微风微凉。静谧中藏着江南冬日婉约，残雪未消处，似有游人踏雪屐痕轻浅，引人欲赴一场雪中湖山之约。",[23,24,25,375,55,26,27,115,100,248,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2cae48ac35dd4101f07a41be498b1dd.jpg",[],{"id":1496,"slug":1497,"title":1498,"dynasty":496,"author":497,"museum":95,"description":1499,"tags":1500,"thumbUrl":1503,"material":85,"size":85,"collection":503,"collections":1504,"showCount":1485,"zanCount":11,"manualWeight":11,"mainColor":1505},203212,"ying-xi-tu-ce-hua-nie-203212","婴戏图册","稚童嬉戏的鲜活场景跃然纸上：或围雪塑型，小手翻飞间雪人渐成；或树下捉迷藏，身影攒动藏于枝叶后；或旷野放风筝，线轴轮转伴笑声飞扬。笔墨简洁灵动，人物神态鲜活，衣纹勾勒流畅自然，设色淡雅清新，于方寸册页间铺展童真意趣。画面无繁复布景，却以日常嬉戏细节触动人心，尽显生活之趣与艺术之美。",[24,375,55,28,207,501,100,7,1501,753,1502,23],"风筝","童真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8eda1a6c24bac18c35e7aa7fafd07c3.jpg",[503],"a4a7a5",{"id":1507,"slug":1508,"title":1509,"dynasty":496,"author":1510,"museum":75,"description":1511,"tags":1512,"thumbUrl":1514,"material":276,"size":277,"collection":85,"collections":1515,"showCount":1516,"zanCount":11,"manualWeight":11,"mainColor":44},241315,"wu-lv-zhou-dai-ming-shuo-241315","五律轴","戴明说","戴明说（音yue，通“悦”）(1609——1686)，河北沧州人，字道默，号岩荦，道号定园，晚年自号铁帚，行一。有子戴王纶。 ... 天启丁卯(1627)科举人，崇祯甲戌(1634)科进士。",[25,143,29,247,144,475,7,166,637,1000,1513],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],9,{"id":1518,"slug":1519,"title":1520,"dynasty":270,"author":1521,"museum":75,"description":1522,"tags":1523,"thumbUrl":1526,"material":276,"size":277,"collection":85,"collections":1527,"showCount":1516,"zanCount":11,"manualWeight":11,"mainColor":154},241149,"xin-chun-deng-shi-han-zhu-zhan-ji-241149","新春等诗翰","朱瞻基","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,143,247,78,144,7,515,519,517,115,33,1524,475,1005,1525],"天","地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":1529,"slug":1530,"title":1531,"dynasty":270,"author":420,"museum":75,"description":1532,"tags":1533,"thumbUrl":1534,"material":276,"size":277,"collection":85,"collections":1535,"showCount":1516,"zanCount":11,"manualWeight":11,"mainColor":154},239357,"ming-ren-fang-huang-gong-wang-jiu-feng-xue-ji-tu-juan-yi-ming-239357","明人仿黄公望九峰雪霁图卷","此作以水墨晕开雪后丘壑，留白铺陈皑皑雪意，山峦素裹、枯木错落，村居隐于岩畔，萧寒清寂尽现冬日山林的荒寒淡远。长卷书画合璧，题跋行笔苍劲雅致，文辞与山水意趣相融，托寄文人静穆观照的审美本心。\n\n仿作追摹原作的极简萧寒，以淡墨晕染山石肌理，以空为雪，尽显元人山水萧散简远之致，借古抒怀，以笔墨写胸中丘壑，将群峰雪后岑寂空灵的意境复刻淋漓，尽显文人山水的雅逸风神，是一件颇具意韵的仿古佳制。",[23,24,25,78,28,27,581,143,247,144,26,299,7,32,145,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1ba8894fb65bed006c1b198de90cf2.jpg",[],{"id":1537,"slug":1538,"title":1539,"dynasty":270,"author":1540,"museum":75,"description":1541,"tags":1542,"thumbUrl":1544,"material":85,"size":85,"collection":85,"collections":1545,"showCount":1516,"zanCount":11,"manualWeight":11,"mainColor":154},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,24,25,1452,55,28,247,144,143,26,115,7,100,222,1543,27,789],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":1547,"slug":1548,"title":1549,"dynasty":496,"author":1550,"museum":75,"description":1551,"tags":1552,"thumbUrl":1554,"material":276,"size":277,"collection":85,"collections":1555,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":154},290570,"yu-zhi-xue-shi-peng-yuan-rui-290570","御制雪诗","彭元瑞","彭元瑞（1731—1803），字掌仍，一字辑五，号芸楣（一作云楣），江西南昌人，清代大臣、学者，楹联名家。乾隆二十二年进士，改庶吉士，授编修，官至工部尚书、协办大学士。元瑞博学强记，时有令誉。纪昀为《四库全书》总纂官时，彭元瑞是十个副总裁之一。与蒋士铨合称“江右两名士”。",[143,536,144,7,1553],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb47f0d9b123cc334c368c67f7f8e056.jpg",[],{"id":1557,"slug":1558,"title":1559,"dynasty":270,"author":1560,"museum":75,"description":1561,"tags":1562,"thumbUrl":1566,"material":276,"size":277,"collection":85,"collections":1567,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":154},287526,"qi-yan-lv-shi-song-ke-287526","七言律诗","宋克","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。",[143,1563,144,79,7,1564,475,570,1565],"草书","春风","杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f52c927d1e9856d3dfa22a7602ff34.jpg",[],{"id":1569,"slug":1570,"title":1571,"dynasty":270,"author":1572,"museum":75,"description":1573,"tags":1574,"thumbUrl":1577,"material":276,"size":277,"collection":85,"collections":1578,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":154},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[24,29,28,27,26,7,855,1575,80,223,59,31,128,222,1576],"垂钓","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],{"id":1580,"slug":1581,"title":1582,"dynasty":496,"author":1583,"museum":140,"description":1584,"tags":1585,"thumbUrl":1586,"material":36,"size":1587,"collection":85,"collections":1588,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":154},234920,"xue-jing-gu-shi-ce-sun-hu-234920","雪景故事册","孙祜","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。",[24,55,919,247,375,570,99,195,7,514],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33422e4fdcf258ccf5abd99d41ac2fe6.jpg","纵31．5厘米 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《雪麓早行图》无款，乃属范宽一路。",[24,53,194,29,28,27,7,117,32,128,388,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec087d1ee943bb0b328469b7cf93dc.jpg",[],5,{"id":1686,"slug":1687,"title":1688,"dynasty":496,"author":1689,"museum":75,"description":1690,"tags":1691,"thumbUrl":1695,"material":150,"size":85,"collection":441,"collections":1696,"showCount":1684,"zanCount":11,"manualWeight":11,"mainColor":154},241078,"shi-zhou-fang-xun-241078","诗轴","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[25,29,247,143,144,1692,475,1693,855,1246,1694,7,519,515,517,33,761,99],"寒山","湖山","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[441],{"id":1698,"slug":1699,"title":1700,"dynasty":18,"author":420,"museum":75,"description":1701,"tags":1702,"thumbUrl":1704,"material":85,"size":85,"collection":85,"collections":1705,"showCount":1684,"zanCount":11,"manualWeight":11,"mainColor":44},238129,"liang-shi-min-lu-ting-mi-xue-tu-juan-yi-ming-238129","梁师闵芦汀密雪图卷","以淡墨晕染铺就江天雪景，汀渚芦荻披雪偃卧，寒禽静栖其间，留白拓出江天寥廓空茫。笔意简淡清润，没有繁复皴擦，仅凭水墨晕染便勾勒出雪色裹覆下的冷寂江洲。\n清冷萧寒的氛围漫溢纸面，尽显潇湘冬雪的空濛澄澈，带着宋画独有的雅致静穆。观者仿若踏雪临江，看江天雪意萧索，望外寒沙半落潮，在这份冷逸幽澹的意境里，沉醉于冬日江渚的荒寂之美。",[53,24,25,78,54,28,55,26,615,1703,7,80,79,144,143,247],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016ed5eb355835f8e2c13be7da3c1a67.jpg",[],{"id":1707,"slug":1708,"title":1709,"dynasty":482,"author":420,"museum":75,"description":1710,"tags":1711,"thumbUrl":1713,"material":85,"size":85,"collection":85,"collections":1714,"showCount":1684,"zanCount":11,"manualWeight":11,"mainColor":154},225329,"fu-shi-hui-80-yi-ming-225329","浮世绘80","初雪轻覆隅田湾，澄澈蓝波托着覆雪渔舟，舱顶积雪似凝霜，静泊水面晕开冬日清寂。汀渚林木素白裹着苍绿，柔化了凛冬寒意。远处滩涂农夫负薪徐行，把烟火暖意揉进淡远暮色里。\n\n画作以平远构图铺展近郊冬景，雅致设色晕染出清冷疏朗氛围，将幽寂冬色与俗世温情相融，把寻常冬日常景，绘成诗意栖居的画卷，尽显风景绘的侘寂美学，定格下日常风物里的清宁温柔。",[1342,1343,55,26,80,223,1000,34,249,100,7,1712,668],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d053a755b841d51128d3cdce096bf3c.jpg",[],{"id":1716,"slug":1717,"title":1718,"dynasty":496,"author":543,"museum":75,"description":1719,"tags":1720,"thumbUrl":1722,"material":85,"size":85,"collection":85,"collections":1723,"showCount":1684,"zanCount":11,"manualWeight":11,"mainColor":44},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,53,24,25,29,26,55,27,115,7,387,100,222,145,487,207,603,59,1721],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":1725,"slug":1726,"title":1727,"dynasty":496,"author":1728,"museum":75,"description":1729,"tags":1730,"thumbUrl":1732,"material":150,"size":85,"collection":441,"collections":1733,"showCount":1734,"zanCount":11,"manualWeight":11,"mainColor":154},240112,"shi-ye-wang-shi-zhen-240112","诗页","王士祯","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[247,143,144,28,26,128,475,762,7,967,209,855,1731,33],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[441],4,{"id":1736,"slug":1737,"title":1738,"dynasty":496,"author":1739,"museum":75,"description":1740,"tags":1741,"thumbUrl":1742,"material":85,"size":85,"collection":85,"collections":1743,"showCount":1734,"zanCount":11,"manualWeight":11,"mainColor":154},238247,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238247","燕山八景图册","张若澄","以留白晕出山巅积雪，淡墨轻绘背阴处的沉郁，层峦尽数裹上素皑冬衣，将雪后山林的清寒萧寒铺展眼前。枯木琼枝错落山腰，古寺村居隐于其中，静穆禅意漫溢卷间，似能听见山寺晓钟穿破雪色而来。对页行书题诗笔致秀雅舒展，诗画相映，把雪晴时分的朗润空寂揉为一体，既写尽冬山冷峭，又藏着烟火暖意，将雪霁西山的清灵空远尽数定格。",[24,25,375,55,247,144,27,26,7,59,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f48103f799cddc9965b303f8b837a6.jpg",[],{"id":1745,"slug":1746,"title":1646,"dynasty":496,"author":1442,"museum":75,"description":1747,"tags":1748,"thumbUrl":1749,"material":85,"size":85,"collection":85,"collections":1750,"showCount":1734,"zanCount":11,"manualWeight":11,"mainColor":44},238198,"shan-shui-ce-tang-dai-238198","此作以干笔皴擦写寒林丘壑，嶙峋山石间枯木萧疏，淡墨晕染远山如笼薄烟，与混茫天色相融，将冬日山野的荒寂清冷铺陈开来。边角取景，愈显天地空阔、幽绝尘寰。\n\n左侧题诗与画境相契，山空人绝、孤鸟独飞，把世外幽隐的清苦禅意晕开，朱红古印沉朴雅致，与水墨冷调相映成趣。尺幅之间藏林泉高致，将文人幽居寄情山水的意趣尽显无余，笔底皆是沉静淡远的林下之风。",[24,25,375,28,55,27,143,144,115,7,100,31,248,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d955d2c00347e29d254ec2a2f46329b.jpg",[],{"id":1752,"slug":1753,"title":1754,"dynasty":18,"author":420,"museum":75,"description":1755,"tags":1756,"thumbUrl":1757,"material":85,"size":85,"collection":85,"collections":1758,"showCount":1734,"zanCount":11,"manualWeight":11,"mainColor":44},227835,"yun-guan-xue-zhan-tu-ye-yi-ming-227835","云关雪栈图页","萧寒冬日里，群峰被素雪覆裹，枯松虬曲苍劲，枝桠凝着残雪，皴擦间尽显古拙老辣。山道盘绕于嶙峋山石之间，山坳错落着几间茅舍，板桥静卧寒涧之上，不见人迹，唯有天地间的冷寂漫溢。\n\n笔墨简括利落，斧劈皴勾勒山石棱线，浓墨点染松枝苔痕，淡墨晕染出空濛雪意，虚实相映烘托出冬山萧索冷峭。尺幅之中将山野冬日的幽寂清旷尽数铺展，把旅人的孤清、林居的静谧藏于画间，以小见大，尽显山水意境的幽远荒寒。",[23,53,24,25,534,55,27,26,475,7,181,32,117,300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bf93b602ef47ab2c6c225a2b8cc0ab.jpg",[],{"id":1760,"slug":1761,"title":1762,"dynasty":496,"author":1763,"museum":50,"description":1764,"tags":1765,"thumbUrl":1766,"material":55,"size":1767,"collection":85,"collections":1768,"showCount":1734,"zanCount":11,"manualWeight":11,"mainColor":154},222702,"zhong-kui-tan-mei-zhou-jin-ting-biao-222702","锺馗探梅轴","金廷标","该幅画钟馗戴笠，背束梅花一捆，撷衣欲行经雪桥；后一人口衔梅枝，手撑破伞随之。清代，钟馗已晋身为五月花神，但仍有少数画家，钟爱描绘钟馗于雪天探梅的雅兴，聊以“借景抒怀”。金廷标此作，当即欲藉婡冄頭助钟條进士访梅的情境，隐喻画中人孤高不群的内在性格。",[23,24,55,54,29,207,165,7,248,59,31,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e25e9673e9682cbb2e7dc8bb0feca86.jpg","154.6×78.9公分",[],{"id":1770,"slug":1771,"title":1772,"dynasty":496,"author":1773,"museum":75,"description":1774,"tags":1775,"thumbUrl":1777,"material":150,"size":85,"collection":441,"collections":1778,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":154},240707,"shi-juan-zhou-shao-xing-240707","诗卷","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,143,78,247,1563,144,855,515,519,1008,1006,1776,56,570,517,1637,759,115,33,475,762,7,165,1001,1002],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[441],{"id":1780,"slug":1781,"title":1688,"dynasty":496,"author":1782,"museum":75,"description":1783,"tags":1784,"thumbUrl":1788,"material":150,"size":85,"collection":441,"collections":1789,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":154},240622,"shi-zhou-yang-ju-240622","杨桔","此作为行书诗轴，笔墨温润秀雅，承续帖学一脉风雅。笔法灵动婉转，牵丝映带自然妥帖，字间行气贯通舒展，章法疏朗匀净，通篇气息安和恬淡。\n\n点画圆润清劲，粗细提按间尽显细腻变化，转折处或柔或刚，兼具妍雅与疏逸之致。书者以舒展的字形、舒缓的书写节奏，将诗中放舟纳凉、听雨催诗的闲适雅趣和盘托出，笔墨与诗意相融相合，尽显江南文人的审美意趣，是一件文心与笔墨相映成趣的行书佳品。",[29,247,143,144,1785,80,1786,1787,712,475,33,7],"落曰","轻风","浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d46d7cb6dbf489b840742d111fee8ab.jpg",[441],{"id":1791,"slug":1792,"title":1688,"dynasty":496,"author":1793,"museum":75,"description":1794,"tags":1795,"thumbUrl":1805,"material":276,"size":277,"collection":85,"collections":1806,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":154},240185,"shi-zhou-hu-hui-en-240185","胡会恩","胡会恩. 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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,534,143,247,144,79,7,1851,148,56],"小院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2606670b7aaec87aeb524f47605e72.jpg",[],{"id":1855,"slug":1856,"title":1857,"dynasty":496,"author":1858,"museum":75,"description":1859,"tags":1860,"thumbUrl":1871,"material":276,"size":277,"collection":85,"collections":1872,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":154},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[143,29,247,144,33,56,517,515,166,99,1798,1002,115,519,1861,1001,718,1862,1863,1345,855,759,7,148,1864,100,1865,1866,1867,1868,1869,1870],"木","杜","雁","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":1874,"slug":1875,"title":1688,"dynasty":496,"author":1876,"museum":75,"description":1877,"tags":1878,"thumbUrl":1882,"material":150,"size":85,"collection":441,"collections":1883,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":154},240042,"shi-zhou-wang-zhuan-240042","王撰","王撰，出生於1623年，卒於1709年，明末清初詩人、書畫家，婁東十子之一。字異公，一字大年，號隨庵、隨誾、隨老人、揖山居士、隨叟，蘇州府太倉（今屬江蘇）人。",[24,25,143,29,247,28,144,1879,1880,637,7,115,33,1244,1881],"亭台","秋水","野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee940409eea45388ae960c6bc4b1f2f.jpg",[441],{"id":1885,"slug":1886,"title":1319,"dynasty":496,"author":1310,"museum":75,"description":1320,"tags":1887,"thumbUrl":1888,"material":276,"size":277,"collection":85,"collections":1889,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":154},236996,"xue-jing-shan-shui-ce-wang-hui-236996",[24,25,375,28,27,26,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4a858b197e1a9d6c2a073d76f89f76.jpg",[],{"id":1891,"slug":1892,"title":1893,"dynasty":18,"author":420,"museum":140,"description":1894,"tags":1895,"thumbUrl":1896,"material":130,"size":1897,"collection":85,"collections":1898,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":154},234011,"gu-mu-han-qin-ye-yi-ming-234011","古木寒禽页","夜色阴沉，古树寒，雪盖亭竹，野鸭低头睡，乌鸦因寒冷飞到枝头,气氛凝重。 凄凉而寒冷。 笔身工整细腻，形体刻画生动，构图密密麻麻。 没有作者印章。",[53,24,25,28,26,209,79,31,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d7b6766b6945fc33da010b5d83cfc4c.jpg","25.3x26厘米",[],{"id":1900,"slug":1901,"title":1902,"dynasty":482,"author":420,"museum":75,"description":1903,"tags":1904,"thumbUrl":1907,"material":85,"size":85,"collection":85,"collections":1908,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":154},225308,"fu-shi-hui-38-yi-ming-225308","浮世绘38","幽蓝湖面漾着柔波，两艘渔舟悠然泛行。汀渚错落，松枝覆着薄雪，丹红枝桠点缀其间，为萧寒冬日晕开暖意。林峦掩映处隐着屋舍，静锁一湾幽谧湖泽。远景雪色铺陈，淡墨晕开的雪原尽头，富士山素净伫立，似遗世独立的白玉。\n\n画面以平远构景，留白铺就清寂冬韵，蓝白主调糅合暖棕朱红，消融了彻骨寒意，兼具装饰意趣与侘寂之美，将东瀛冬湖的幽玄诗意晕染开来，定格下雪后天地的安恬静美，尽显和风特有的清冷雅致。",[1342,1343,55,26,116,7,1905,1906,115,1611],"水域","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b6529e193e91b830fa1b2ab289206.jpg",[],{"id":1910,"slug":1911,"title":1912,"dynasty":270,"author":1913,"museum":75,"description":1914,"tags":1915,"thumbUrl":1919,"material":85,"size":85,"collection":85,"collections":1920,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":154},224557,"shu-hua-ce-ye-22-xiao-yun-cong-wang-shi-zhen-224557","《书画册页》-22","萧云从 王士祯","此幅行书取韵萧散疏朗，笔锋清逸灵动，起笔舒缓，笔势随诗句渐生幽寂。“簷影依稀遐佛塲”笔致清隽，将禅意悄藏笔底，至“云深处剩清凉追”，笔墨愈见简淡洗练，把山涧空花、林径药香的幽寂禅境尽数铺展。\n\n落款小字清瘦端凝，与正文的萧散雅逸相映成趣。朱印点缀素笺，丹素相生，添就静穆古雅之意，将文人诗意与书法意趣相融，尽显林下清谈的散淡襟怀。",[24,25,1452,143,247,144,1916,1917,7,517,475,521,1918,249],"山月","涧水","佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf07178e94ab741122d0c84ea758a9e.jpg",[],{"id":1922,"slug":1923,"title":1688,"dynasty":496,"author":1924,"museum":75,"description":1925,"tags":1926,"thumbUrl":1928,"material":276,"size":277,"collection":85,"collections":1929,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":154},240328,"shi-zhou-wang-cheng-yao-240328","王承尧","此作用笔舒展灵动，行书书就诗文，结体疏密欹正兼具遒劲秀逸之姿，暗含晋唐行书意韵。墨色浓淡自然过渡，行气贯通流畅，字势顾盼有情，章法错落和谐。\n\n书写提按顿挫富于节律，牵丝映带尽显随性洒脱，无半分雕琢之态。笔墨将冬日山雪奇景与书写者雅逸襟怀相融，把探奇山雪的清冷高旷意境，藏进每一处起收转合，尽显清代文人书法的沉静清远气象。",[143,247,115,1927,7,475,144],"阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50ed9584a2c8f3dba3a4912222fbe144.jpg",[],{"id":1931,"slug":1932,"title":1933,"dynasty":270,"author":1913,"museum":75,"description":1934,"tags":1935,"thumbUrl":1936,"material":85,"size":85,"collection":85,"collections":1937,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":154},224559,"shu-hua-ce-ye-24-xiao-yun-cong-wang-shi-zhen-224559","《书画册页》-24","这幅行书尺牍清隽疏朗，用笔灵动秀逸，起收间暗合魏晋帖学雅韵。字形欹正相生，章法错落自然，字距留白透气，尽显萧散简远的文人意趣。\n\n笔势连贯遒劲，牵丝映带间贴合诗句意境，将蜀道千峰云林的壮怀幽寂寄寓笔墨，文思与笔墨相融。浅淡古旧的笺纸配朱红古雅钤印，墨色与印色相衬，晕开明清之际文人士大夫沉静风雅的审美意趣。",[24,25,375,247,28,143,144,1694,475,1244,388,7,148,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3faaa018bf64f093840ed594760d1a3.jpg",[],{"id":1939,"slug":1940,"title":1941,"dynasty":496,"author":1826,"museum":50,"description":1942,"tags":1943,"thumbUrl":1944,"material":583,"size":85,"collection":85,"collections":1945,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":154},223105,"duan-qiao-can-xue-tu-gao-zong-yu-ti-dong-bang-da-223105","断桥残雪图-高宗御题","此为断桥残雪图高宗御题部分.",[23,53,24,25,26,247,143,248,7,144,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e66f0aab7d9c8b28261b41d1c5ca758.jpg",[],{"id":1947,"slug":1948,"title":1949,"dynasty":496,"author":420,"museum":75,"description":1950,"tags":1951,"thumbUrl":1955,"material":276,"size":277,"collection":85,"collections":1956,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},241609,"wei-shu-qi-yan-shi-ye-yi-ming-241609","囗璹七言诗页","此作用笔灵动婉转，牵丝映带自然圆融，行书章法疏密相宜。行笔间时见顿挫，中锋侧锋交替，墨色浓淡晕染有致，将七言诗中江南烟水之景融于笔底。笔墨尽得文人雅韵，通篇气息闲适萧散，将汀洲水禽、暮秋江景的诗意和书法笔意相衬，秀雅清逸的笔调里，藏着江南烟水的朦胧意蕴。整体书卷气浓厚，将诗歌里幽寂清和的江南暮色意境同书法抒情性融为一体，观之如览烟笼江南，韵致悠长，是行书小品里的佳制。",[143,247,144,80,822,248,1952,1953,7,762,1954],"落花","晚风","江南","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa013a8ccf05354ca843290a029aaa3ee.jpg",[],{"id":1958,"slug":1959,"title":1688,"dynasty":496,"author":1960,"museum":75,"description":1961,"tags":1962,"thumbUrl":1963,"material":276,"size":277,"collection":85,"collections":1964,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},240271,"shi-zhou-wang-qi-wo-240271","王启沃","王启沃（生卒年不详），字心乃，系王士琦之子、王象蒙之曾孙。清康熙十一年壬子（公元1672年）举人，康熙十五年丙辰（公元1676年）进士。官内阁中书舍人。",[143,247,29,115,33,7,99,1244,1005,144],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c59ad37f430b6a7f39a4591906cb7c.jpg",[],{"id":1966,"slug":1967,"title":1646,"dynasty":496,"author":1826,"museum":75,"description":1968,"tags":1969,"thumbUrl":1970,"material":276,"size":277,"collection":85,"collections":1971,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":154},238684,"shan-shui-ce-dong-bang-da-238684","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,28,27,375,26,209,248,222,144,7,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16769bfebaf7289d1181ea668a718994.jpg",[],1777535702028]