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形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36,37,38],"高清","国画","书画","水墨","皴法","三远法","山水","山石","树木","流水","瀑布","云雾","山峦","苔点","溪流","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分","宋画精选",[42,44,45],"山水画精选","水墨画精选",2376,17,"795548",{"id":50,"slug":51,"title":52,"dynasty":18,"author":53,"museum":20,"description":54,"tags":55,"thumbUrl":62,"material":63,"size":64,"collection":42,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":68},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,56,24,25,57,26,27,29,30,31,58,32,59,60,61,34,37,7],"名画","长卷","小桥","孤舟","飞鸟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[42,44,45],1772,19,"BDBDBD",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":84,"material":85,"size":86,"collection":44,"collections":87,"showCount":89,"zanCount":90,"manualWeight":11,"mainColor":48},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","元","商琦","北京故宫博物院","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,24,56,25,57,78,27,29,79,80,31,34,7,81,82,83],"设色","山","水","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","绢本，设色","纵39.6厘米，横214.5厘米",[44,88],"设色画精选",1751,16,{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":103,"material":104,"size":104,"collection":44,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":68},237922,"shen-zhou-shan-shui-zhou-shen-zhou-237922","沈周山水轴","明","沈周","藏地不详","疏树数株，笔法中锋劲挺。后两峰并列，中有一坞系黏，左侧後方又延一峰，不施皴擦只以墨染，远峰亦以墨略勾勒淡烘染。通幅皴山画树，用笔疏朗，与黄公望名迹「富春山居」图卷有若干契合处；而大片水墨烘染山石则似又自米芾（1501-1107）出。自题云“米不米，黄不黄，淋漓水墨馀清苍。”落笔布墨间，盖心有所寄故能从腕底陶融调匀，蜕化而成。 年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[24,26,100,29,27,59,101,31,35,32,7,102],"立轴","蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg","",[44,45],1229,4,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":125,"material":126,"size":104,"collection":104,"collections":127,"showCount":128,"zanCount":129,"manualWeight":11,"mainColor":68},214740,"hua-hui-ce-3-yun-shou-ping-214740","花卉册-3","清","恽寿平","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,117,118,78,119,120,7,121,122,123,124],"册","没骨","花鸟","牡丹","腊梅","山茶","松枝","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c927f31d42dd0d26109d43256054d1e.jpg","纸本,设色",[],1110,3,{"id":131,"slug":132,"title":133,"dynasty":73,"author":134,"museum":20,"description":135,"tags":136,"thumbUrl":139,"material":140,"size":141,"collection":44,"collections":142,"showCount":143,"zanCount":107,"manualWeight":11,"mainColor":68},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,24,25,26,29,27,33,32,7,137,138],"松树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","纸本,水墨","本幅 119.9x56.1公分、全幅 58公分",[44,45],972,{"id":145,"slug":146,"title":147,"dynasty":18,"author":148,"museum":20,"description":149,"tags":150,"thumbUrl":151,"material":152,"size":153,"collection":42,"collections":154,"showCount":155,"zanCount":156,"manualWeight":11,"mainColor":48},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","李唐","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[56,24,25,100,27,26,78,29,137,30,33,31,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","绢本","188.7×139.8公分",[42,44,45],912,10,{"id":158,"slug":159,"title":160,"dynasty":73,"author":134,"museum":161,"description":162,"tags":163,"thumbUrl":167,"material":168,"size":169,"collection":170,"collections":171,"showCount":172,"zanCount":156,"manualWeight":11,"mainColor":68},219165,"yu-zhuang-qiu-ji-tu-ni-zan-219165","渔庄秋霁图","上海博物馆","此图近景陂陀一片，五六株杂树如文士君子一般屹立其间，高洁清旷。中景湖水淡荡，空明澄净。远处几层矮坡，起伏有致，淡墨轻岚，没有一丝人迹，没有一声鸟语。该图静与道契，寂如枯禅，意境荒疏简远",[56,24,25,100,26,27,29,164,138,165,166,7],"枯树","远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470f625eec64440664af4e12339303f9.jpg","纸本","纵96厘米，横47厘米","花鸟画精选",[170],888,{"id":174,"slug":175,"title":176,"dynasty":177,"author":178,"museum":20,"description":179,"tags":180,"thumbUrl":182,"material":152,"size":183,"collection":104,"collections":184,"showCount":185,"zanCount":107,"manualWeight":11,"mainColor":48},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","五代十国","荆浩","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,25,100,29,26,27,35,33,31,7,34,37,181],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米",[],621,{"id":187,"slug":188,"title":189,"dynasty":95,"author":190,"museum":75,"description":191,"tags":192,"thumbUrl":194,"material":195,"size":196,"collection":44,"collections":197,"showCount":198,"zanCount":199,"manualWeight":11,"mainColor":68},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,25,56,100,78,29,27,193,79,80,137,58,37,7,31,165,34],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纸本，墨笔","纵101.7厘米，横46.7厘米。",[44,88],549,1,{"id":201,"slug":202,"title":203,"dynasty":95,"author":204,"museum":205,"description":206,"tags":207,"thumbUrl":211,"material":212,"size":213,"collection":44,"collections":214,"showCount":216,"zanCount":199,"manualWeight":11,"mainColor":48},218370,"shan-shui-tu-chou-ying-218370","山水图","仇英","大英博物馆","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,24,56,208,78,27,29,31,7,209,32,210],"工笔","人物","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","绢本,设色","138.8x72.5",[44,215,88],"人物画精选",548,{"id":218,"slug":219,"title":220,"dynasty":18,"author":221,"museum":20,"description":222,"tags":223,"thumbUrl":227,"material":212,"size":228,"collection":215,"collections":229,"showCount":230,"zanCount":107,"manualWeight":11,"mainColor":48},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图","佚名",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[56,24,25,100,78,208,209,224,225,226,138,7],"美人","鹿","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[215],533,{"id":232,"slug":233,"title":234,"dynasty":95,"author":235,"museum":20,"description":236,"tags":237,"thumbUrl":240,"material":140,"size":241,"collection":44,"collections":242,"showCount":243,"zanCount":107,"manualWeight":11,"mainColor":68},214297,"kan-shu-tu-wang-fu-214297","勘书图","王绂","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[23,24,100,29,26,27,79,80,238,7,58,239],"树","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[44],468,{"id":245,"slug":246,"title":247,"dynasty":73,"author":248,"museum":75,"description":249,"tags":250,"thumbUrl":255,"material":256,"size":257,"collection":44,"collections":258,"showCount":259,"zanCount":260,"manualWeight":11,"mainColor":68},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","王蒙","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,56,24,25,100,78,27,29,209,251,252,58,32,137,7,253,239,254],"马","牛","山路","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纸本，设色","纵139厘米，横58厘米",[44,88],385,2,{"id":262,"slug":263,"title":264,"dynasty":112,"author":265,"museum":20,"description":266,"tags":267,"thumbUrl":272,"material":212,"size":273,"collection":44,"collections":274,"showCount":275,"zanCount":199,"manualWeight":11,"mainColor":68},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[56,24,25,100,78,29,27,268,254,269,34,31,137,7,270,35,271],"临摹","山峰","亭子","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[44],371,{"id":277,"slug":278,"title":279,"dynasty":177,"author":280,"museum":281,"description":282,"tags":283,"thumbUrl":287,"material":152,"size":288,"collection":44,"collections":289,"showCount":290,"zanCount":199,"manualWeight":11,"mainColor":48},221159,"xi-an-tu-dong-yuan-221159","溪岸图","董源","美国大都会艺术博物馆","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,25,29,27,284,26,78,7,31,32,33,61,165,285,37,35,271,286],"披麻皴","近树","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[44,45],366,{"id":292,"slug":293,"title":294,"dynasty":18,"author":295,"museum":20,"description":296,"tags":297,"thumbUrl":303,"material":212,"size":304,"collection":170,"collections":305,"showCount":306,"zanCount":129,"manualWeight":11,"mainColor":48},219395,"hua-niao-zhou-xiao-rong-219395","花鸟轴","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,56,24,119,100,78,298,32,7,60,299,300,124,301,302],"竹","山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[170],350,{"id":308,"slug":309,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":310,"thumbUrl":311,"material":312,"size":41,"collection":104,"collections":313,"showCount":314,"zanCount":199,"manualWeight":11,"mainColor":48},231408,"zao-chun-tu-guo-xi-231408",[23,24,56,25,100,26,78,27,29,35,7,31,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":316,"slug":317,"title":318,"dynasty":112,"author":319,"museum":281,"description":320,"tags":321,"thumbUrl":324,"material":104,"size":104,"collection":44,"collections":325,"showCount":326,"zanCount":199,"manualWeight":11,"mainColor":68},222627,"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[23,56,24,25,26,29,322,35,31,61,7,323],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[44,45],335,{"id":328,"slug":329,"title":330,"dynasty":18,"author":331,"museum":332,"description":333,"tags":334,"thumbUrl":337,"material":168,"size":338,"collection":42,"collections":339,"showCount":340,"zanCount":129,"manualWeight":11,"mainColor":48},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","马远","美国纳尔逊阿特金斯艺术博物馆","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,25,26,78,57,27,29,209,59,298,251,32,335,7,31,336],"河岸","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[42,44,88],334,{"id":342,"slug":343,"title":344,"dynasty":18,"author":345,"museum":20,"description":346,"tags":347,"thumbUrl":351,"material":140,"size":352,"collection":44,"collections":353,"showCount":354,"zanCount":199,"manualWeight":11,"mainColor":68},214572,"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","李公麟","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[23,24,56,57,348,208,26,29,30,31,33,209,349,58,32,350,37,7],"白描","洞穴","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg","28.9x364.6",[44],318,{"id":356,"slug":357,"title":358,"dynasty":18,"author":359,"museum":20,"description":360,"tags":361,"thumbUrl":362,"material":168,"size":363,"collection":42,"collections":364,"showCount":365,"zanCount":199,"manualWeight":11,"mainColor":48},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","范宽","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[23,24,25,56,100,29,32,209,31,7,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[42,45],303,{"id":367,"slug":368,"title":369,"dynasty":18,"author":331,"museum":20,"description":370,"tags":371,"thumbUrl":377,"material":140,"size":104,"collection":42,"collections":378,"showCount":379,"zanCount":260,"manualWeight":11,"mainColor":48},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,56,24,25,26,372,27,373,374,375,79,61,81,80,376,31,37,7],"山水画","边角构图","松","溪","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[42,44],302,{"id":381,"slug":382,"title":383,"dynasty":18,"author":384,"museum":20,"description":385,"tags":386,"thumbUrl":390,"material":212,"size":391,"collection":42,"collections":392,"showCount":393,"zanCount":11,"manualWeight":11,"mainColor":68},218931,"shan-ju-tu-yan-su-218931","山居图","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[23,24,25,78,27,29,387,30,31,32,388,7,389,271],"山居","小径","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[42,44],282,{"id":395,"slug":396,"title":397,"dynasty":112,"author":398,"museum":20,"description":399,"tags":400,"thumbUrl":401,"material":402,"size":104,"collection":44,"collections":403,"showCount":404,"zanCount":199,"manualWeight":11,"mainColor":68},220968,"shan-shui-tu-ce-dai-xi-220968","山水图册","戴熙","戴熙山水木石，所作笔调清雅，墨色腴润，颇得江浙山川韵致。虽然也是从王翚一路入手，却能别出心裁。加上清末考据与金石学的兴盛，戴熙也融入了倡导碑学的潮流，在绘画中吸取了书法篆刻的长处，以金石入画，形成了一种极其微妙的、富有创造性的绘画风格。他的山水画用笔扎实，笔笔有入木三分之感，山岚河川也由于厚重的墨笔而罩上了老成的色调，形成了画面空旷的意境。",[23,24,26,27,117,25,29,79,80,31,239,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f484b706b2fa645c1a92dd87054aad.jpg","水墨纸本",[44,45],276,{"id":406,"slug":407,"title":408,"dynasty":112,"author":409,"museum":410,"description":411,"tags":412,"thumbUrl":417,"material":212,"size":418,"collection":170,"collections":419,"showCount":420,"zanCount":129,"manualWeight":11,"mainColor":68},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","蒋廷锡","日本大阪市立美术馆","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,24,25,100,208,78,119,413,414,60,138,31,415,37,7,416],"藤花","山雀","兰花","蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[170,88],270,{"id":422,"slug":423,"title":424,"dynasty":95,"author":425,"museum":114,"description":426,"tags":427,"thumbUrl":428,"material":126,"size":429,"collection":44,"collections":430,"showCount":431,"zanCount":260,"manualWeight":11,"mainColor":48},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[24,100,29,78,27,79,238,61,33,32,7,137,83,388,389],"htt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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》。",[23,24,25,57,26,29,27,439,254,79,440,164,7,441,388,442],"书法","雪","小屋","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纵29.7厘米，横104.6厘米",[44,45],250,{"id":448,"slug":449,"title":450,"dynasty":95,"author":190,"museum":75,"description":451,"tags":452,"thumbUrl":454,"material":455,"size":456,"collection":44,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":68},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,56,24,25,117,26,27,29,79,238,34,7,453],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[44,45],248,{"id":460,"slug":461,"title":462,"dynasty":18,"author":19,"museum":161,"description":463,"tags":464,"thumbUrl":466,"material":467,"size":468,"collection":44,"collections":469,"showCount":470,"zanCount":260,"manualWeight":11,"mainColor":48},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[23,56,24,25,100,26,27,29,7,31,165,465],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","绢本,水墨","纵167.7cm， 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幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[23,24,56,100,26,27,29,31,164,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[44],201,{"id":567,"slug":568,"title":569,"dynasty":95,"author":96,"museum":570,"description":571,"tags":572,"thumbUrl":575,"material":152,"size":576,"collection":44,"collections":577,"showCount":578,"zanCount":129,"manualWeight":11,"mainColor":48},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","天津博物馆","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[23,24,25,100,78,27,29,209,238,573,574,58,32,7],"青山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","65x147.2cm",[44,88],200,{"id":580,"slug":581,"title":582,"dynasty":18,"author":19,"museum":20,"description":583,"tags":584,"thumbUrl":585,"material":212,"size":586,"collection":42,"collections":587,"showCount":588,"zanCount":199,"manualWeight":11,"mainColor":48},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","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。",[23,24,372,27,26,79,440,31,286,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[42,44],198,{"id":590,"slug":591,"title":592,"dynasty":112,"author":319,"museum":161,"description":593,"tags":594,"thumbUrl":596,"material":168,"size":597,"collection":44,"collections":598,"showCount":599,"zanCount":199,"manualWeight":11,"mainColor":68},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,56,25,26,27,29,58,32,61,137,595,7,33,31],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[44],191,{"id":601,"slug":602,"title":603,"dynasty":177,"author":604,"museum":20,"description":605,"tags":606,"thumbUrl":609,"material":126,"size":610,"collection":44,"collections":611,"showCount":612,"zanCount":107,"manualWeight":11,"mainColor":48},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","关仝","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[23,24,56,29,100,27,78,7,31,607,59,551,61,608,32],"河流","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[44],183,{"id":614,"slug":615,"title":616,"dynasty":112,"author":319,"museum":617,"description":618,"tags":619,"thumbUrl":621,"material":168,"size":622,"collection":44,"collections":623,"showCount":624,"zanCount":199,"manualWeight":11,"mainColor":48},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","南京博物院","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,56,57,26,27,29,35,7,31,33,34,59,620,239],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[44,45],179,{"id":626,"slug":627,"title":628,"dynasty":73,"author":248,"museum":114,"description":629,"tags":630,"thumbUrl":632,"material":126,"size":633,"collection":44,"collections":634,"showCount":624,"zanCount":11,"manualWeight":11,"mainColor":48},218024,"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[24,25,372,100,78,27,29,209,251,31,7,239,631,254],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[44],{"id":636,"slug":637,"title":638,"dynasty":177,"author":178,"museum":332,"description":639,"tags":640,"thumbUrl":642,"material":212,"size":643,"collection":44,"collections":644,"showCount":645,"zanCount":199,"manualWeight":11,"mainColor":48},218624,"xue-jing-shan-shui-tu-jing-hao-218624","雪景山水图","荆浩专注于真山真水，善于画北方的雄伟山河，在艺术上有所创造和突破。他曾说：吴道子有笔无墨，向荣有墨无笔，我应取二子之长，成一家之体。同时，荆浩也很好地运用了章法，在为自己的画作营造意境方面有独特的天赋。这幅画是一个站立的山形构图，以游动的人物为点缀，山形弯曲，色彩浓重，画上刻有小字 红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[24,29,27,26,641,79,7,164,31],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[44],169,{"id":647,"slug":648,"title":649,"dynasty":650,"author":651,"museum":97,"description":652,"tags":653,"thumbUrl":667,"material":668,"size":669,"collection":670,"collections":671,"showCount":672,"zanCount":199,"manualWeight":11,"mainColor":68},225895,"antibes-afternoon-effect-1888-mo-nai-225895","Antibes, Afternoon Effect, 1888","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[654,655,656,657,658,659,165,660,661,662,663,664,665,7,666],"印象派","油画","光影","色彩明快","笔触细碎","海面","雪山","建筑群","城堡","船只","天空","云朵","午后","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa941d4cf8ef5e9c54d2075b9540d6dd3.jpg","未知","Xcm*Xcm","油画精选",[670],167,{"id":674,"slug":675,"title":676,"dynasty":177,"author":604,"museum":20,"description":677,"tags":678,"thumbUrl":680,"material":40,"size":681,"collection":44,"collections":682,"showCount":672,"zanCount":199,"manualWeight":11,"mainColor":683},221158,"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[23,24,25,100,29,27,78,31,7,33,679],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[44,45],"37474F",{"id":685,"slug":686,"title":687,"dynasty":112,"author":319,"museum":688,"description":689,"tags":690,"thumbUrl":692,"material":140,"size":693,"collection":45,"collections":694,"showCount":672,"zanCount":199,"manualWeight":11,"mainColor":695},220419,"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[23,24,25,100,26,27,29,238,7,441,691],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[45],"F48FB1",{"id":697,"slug":698,"title":699,"dynasty":112,"author":500,"museum":114,"description":700,"tags":701,"thumbUrl":709,"material":710,"size":711,"collection":170,"collections":712,"showCount":713,"zanCount":11,"manualWeight":11,"mainColor":48},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,56,24,25,57,208,78,60,119,31,30,702,504,703,124,704,137,705,37,7,706,707,708],"荷花","禽鸟","柳树","草地","孔雀","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","绢本设色","45cm*1600cm",[170,88],166,{"id":715,"slug":716,"title":717,"dynasty":112,"author":718,"museum":97,"description":719,"tags":720,"thumbUrl":721,"material":722,"size":723,"collection":45,"collections":724,"showCount":725,"zanCount":129,"manualWeight":11,"mainColor":68},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","石涛","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,24,57,26,29,27,439,254,31,7,607,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纸本，水墨","纵20厘米，横762厘米",[45],161,{"id":727,"slug":728,"title":729,"dynasty":112,"author":500,"museum":501,"description":730,"tags":731,"thumbUrl":733,"material":212,"size":734,"collection":170,"collections":735,"showCount":736,"zanCount":260,"manualWeight":11,"mainColor":48},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,24,56,208,78,226,225,29,31,732,33,7],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[170],160,{"id":738,"slug":739,"title":740,"dynasty":95,"author":96,"museum":741,"description":742,"tags":743,"thumbUrl":744,"material":168,"size":745,"collection":104,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":695},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,24,25,117,26,27,29,209,61,608,7,58,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg","31.1×40.2cmx12",[],157,{"id":749,"slug":750,"title":751,"dynasty":18,"author":221,"museum":20,"description":752,"tags":753,"thumbUrl":755,"material":467,"size":756,"collection":42,"collections":757,"showCount":758,"zanCount":260,"manualWeight":11,"mainColor":68},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[23,24,26,27,29,79,754,31,60,7,37],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[42,44],155,{"id":760,"slug":761,"title":762,"dynasty":112,"author":763,"museum":114,"description":764,"tags":765,"thumbUrl":767,"material":126,"size":104,"collection":44,"collections":768,"showCount":758,"zanCount":11,"manualWeight":11,"mainColor":48},214603,"fang-gu-shan-shui-ce-wang-hui-214603","仿古山水册","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。",[24,26,27,193,29,79,80,238,164,37,33,7,766,117],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[44],{"id":770,"slug":771,"title":772,"dynasty":773,"author":774,"museum":775,"description":776,"tags":777,"thumbUrl":779,"material":780,"size":104,"collection":104,"collections":781,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":68},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","民国","潘天寿","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,24,25,100,78,26,27,29,7,32,778,31,138],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg","纸本设色",[],153,{"id":784,"slug":785,"title":786,"dynasty":18,"author":359,"museum":161,"description":787,"tags":788,"thumbUrl":789,"material":140,"size":104,"collection":42,"collections":790,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":683},219928,"wan-jing-tu-fan-kuan-219928","晚景图","此图山峦圆浑高峻，水边巨石垒垒，用密集的小斧劈皴和雨点皴皴染，山顶密植树木。山形和技法的确出于范宽，但是山峦间充满虚渺云雾、远山淡墨一抹以及笔法短促简率等画法，都带有南宋李唐画派的技法因子，画面缺乏范宽那种雄伟森严的气势，应是出于南宋早期继承范宽画风的画家之手。可惜作者姓名佚失，然亦是了解由范宽画风向南宋院体画风递变时期艺术面貌的重要实迹。",[23,24,27,26,29,79,31,7,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d38b2ea5d8305bc68e3d6e69a76fe72.jpg",[42],{"id":792,"slug":793,"title":203,"dynasty":95,"author":794,"museum":20,"description":795,"tags":796,"thumbUrl":797,"material":126,"size":798,"collection":44,"collections":799,"showCount":782,"zanCount":199,"manualWeight":11,"mainColor":68},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[24,25,100,26,27,254,29,7,31,32,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[44],{"id":801,"slug":802,"title":803,"dynasty":18,"author":53,"museum":97,"description":804,"tags":805,"thumbUrl":807,"material":212,"size":808,"collection":44,"collections":809,"showCount":810,"zanCount":11,"manualWeight":11,"mainColor":48},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[56,24,25,100,26,27,29,33,137,209,806,7,32],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 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止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[899,24,56,25,78,208,209,29,251,900,226,137,164,7,253],"清代","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[44,88],131,{"id":906,"slug":907,"title":908,"dynasty":177,"author":178,"museum":20,"description":909,"tags":910,"thumbUrl":911,"material":152,"size":104,"collection":104,"collections":912,"showCount":904,"zanCount":199,"manualWeight":11,"mainColor":48},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[56,24,25,100,26,27,29,35,33,31,37,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],{"id":914,"slug":915,"title":916,"dynasty":177,"author":917,"museum":97,"description":918,"tags":919,"thumbUrl":921,"material":668,"size":669,"collection":104,"collections":922,"showCount":923,"zanCount":11,"manualWeight":11,"mainColor":48},288521,"gao-shi-tu-wei-xian-288521","高士图","卫贤","该画作是五代画家卫贤的代表作品，此图原著收录于《宣和画谱》中，名为“梁伯鸾图一”，为卫贤所作《高士图》组画之一, 原图共六幅，画有黔娄先生、楚狂接舆、老莱子、王仲孺、于陵子和梁伯鸾，但前五幅已佚失，仅剩下描绘梁鸿与孟光的这幅。该画作集山水、人物、建筑画为一体，手法准确精细。",[23,56,24,25,100,818,26,209,29,766,7,31,920],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f627c639ff7d85295cabc0114452119.jpg",[],130,{"id":925,"slug":926,"title":927,"dynasty":95,"author":235,"museum":20,"description":928,"tags":929,"thumbUrl":930,"material":140,"size":931,"collection":44,"collections":932,"showCount":933,"zanCount":199,"manualWeight":11,"mainColor":48},214822,"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[24,25,26,29,27,439,254,61,59,31,7,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[44],124,{"id":935,"slug":936,"title":937,"dynasty":112,"author":938,"museum":570,"description":939,"tags":940,"thumbUrl":941,"material":126,"size":942,"collection":44,"collections":943,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":68},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,56,29,26,27,79,137,31,239,7,34,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg","22.5x27.5",[44],123,{"id":946,"slug":947,"title":294,"dynasty":95,"author":948,"museum":20,"description":949,"tags":950,"thumbUrl":952,"material":212,"size":953,"collection":88,"collections":954,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":48},219418,"hua-niao-zhou-bian-wen-jin-219418","边文进","此图绘竹、梅、雀，经营位置错落有致，鸟之姿态生动富情趣；用笔学宋朝院体勾勒填彩，设色妍丽生动。以梅竹、百雀为主题，象征吉祥瑞应。",[24,25,100,208,78,119,298,60,608,7,951],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4928cc9b3bf2e52344cbbd9dc5bf5f65.jpg","160.1x74.2公分",[88],{"id":956,"slug":957,"title":958,"dynasty":95,"author":948,"museum":20,"description":959,"tags":960,"thumbUrl":963,"material":212,"size":964,"collection":170,"collections":965,"showCount":966,"zanCount":260,"manualWeight":11,"mainColor":48},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,24,208,78,100,119,374,298,961,962,60,138,951,7],"梅","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[170,88],121,{"id":968,"slug":969,"title":970,"dynasty":95,"author":190,"museum":20,"description":971,"tags":972,"thumbUrl":974,"material":152,"size":104,"collection":44,"collections":975,"showCount":966,"zanCount":11,"manualWeight":11,"mainColor":48},220919,"shan-shui-li-zhou-dong-qi-chang-220919","山水立轴","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,24,25,100,26,27,29,79,80,238,374,7,61,973],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[44,45],{"id":977,"slug":978,"title":979,"dynasty":95,"author":794,"museum":20,"description":980,"tags":981,"thumbUrl":982,"material":212,"size":983,"collection":44,"collections":984,"showCount":966,"zanCount":199,"manualWeight":11,"mainColor":48},214739,"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[24,25,100,26,27,29,61,31,58,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[44],{"id":986,"slug":987,"title":988,"dynasty":73,"author":827,"museum":75,"description":989,"tags":990,"thumbUrl":992,"material":85,"size":993,"collection":170,"collections":994,"showCount":995,"zanCount":199,"manualWeight":11,"mainColor":48},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,73,24,25,100,208,78,119,991,298,138,60,778,7,31],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[170,88],120,{"id":997,"slug":998,"title":999,"dynasty":95,"author":204,"museum":161,"description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南朝梁陈间官员、文字训诂学家、史学家。\n\n因仰慕西汉冯野王，更名为顾野王，希望自己取得冯野王一样在文学方面取得成绩。人称顾亭林。历梁武帝大同四年太学博士、陈国子博士、黄门侍郎、光禄大夫，博通经史，擅长丹青，著有《玉篇》",[24,25,372,78,27,79,1189,238,7,81,854],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5ccca982ec419a5b2128d3f72740fd.jpg",[],101,{"id":1194,"slug":1195,"title":1196,"dynasty":18,"author":1197,"museum":20,"description":1198,"tags":1199,"thumbUrl":1209,"material":212,"size":1210,"collection":170,"collections":1211,"showCount":1212,"zanCount":199,"manualWeight":11,"mainColor":68},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[23,24,1200,78,208,226,1201,225,7,31,30,1202,1203,1204,1205,1206,1207,1208],"扇面","猿","宋代绘画","花鸟兽类","细腻笔触","自然景物","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[170,42],100,{"id":1214,"slug":1215,"title":514,"dynasty":95,"author":425,"museum":20,"description":1216,"tags":1217,"thumbUrl":1219,"material":152,"size":1220,"collection":44,"collections":1221,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":48},219972,"hua-xi-yu-yin-tu-tang-yin-219972","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,24,25,26,78,27,29,137,7,32,59,209,31,1218,254],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[44],98,{"id":1224,"slug":1225,"title":1226,"dynasty":95,"author":1227,"museum":20,"description":1228,"tags":1229,"thumbUrl":1230,"material":126,"size":1231,"collection":44,"collections":1232,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":68},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[24,100,78,27,254,29,79,80,238,7,33,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[44],{"id":1234,"slug":1235,"title":1236,"dynasty":112,"author":1020,"museum":281,"description":1237,"tags":1238,"thumbUrl":1240,"material":126,"size":1024,"collection":104,"collections":1241,"showCount":1222,"zanCount":199,"manualWeight":11,"mainColor":68},216245,"jing-fu-si-qi-dong-jing-tu-12-qian-wei-cheng-216245","景敷四气冬景图-12","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n朵开月月映阶唇，带雪披风更可人。须识此花深易理，四时一气贯长春。甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆",[24,372,26,78,27,660,1239,239,7,1148,30],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc995690cd5b9f284ba9e2c0b83cd22.jpg",[],{"id":1243,"slug":1244,"title":1245,"dynasty":112,"author":896,"museum":75,"description":1246,"tags":1247,"thumbUrl":1250,"material":85,"size":1251,"collection":170,"collections":1252,"showCount":1253,"zanCount":260,"manualWeight":11,"mainColor":68},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,56,25,100,208,78,1248,209,251,60,29,164,7,705,607,1249],"中西合璧","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[170,44,215,88],97,{"id":1255,"slug":1256,"title":1257,"dynasty":112,"author":1258,"museum":570,"description":1259,"tags":1260,"thumbUrl":1264,"material":152,"size":1265,"collection":104,"collections":1266,"showCount":1267,"zanCount":199,"manualWeight":11,"mainColor":68},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7","陈枚","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[23,24,78,208,119,961,1261,962,1262,7,210,1263],"菊花","树枝","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg","139X41CM",[],96,{"id":1269,"slug":1270,"title":1271,"dynasty":18,"author":331,"museum":114,"description":1272,"tags":1273,"thumbUrl":1274,"material":212,"size":104,"collection":44,"collections":1275,"showCount":1267,"zanCount":199,"manualWeight":11,"mainColor":48},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","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",[23,56,24,25,100,78,208,27,29,61,238,440,209,7,973],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[44],{"id":1277,"slug":1278,"title":1279,"dynasty":73,"author":1280,"museum":75,"description":1281,"tags":1282,"thumbUrl":1283,"material":140,"size":1284,"collection":44,"collections":1285,"showCount":1286,"zanCount":260,"manualWeight":11,"mainColor":68},218254,"ge-an-wang-shan-tu-zhao-zhong-218254","隔岸望山图","赵衷","此图为《张观等五家集绘卷》之一。近岸画坡石高树，参差错落，一人坐平坡上隔江遥望烟云笼罩的远山。坡前湖面宽阔浩渺，意境清幽。近树用笔精工细致，生动写实。对岸远山以简率的笔墨轻勾淡染，远树点笔为形，概括取象，给人以旷远迷离之感。人物形象虽小，造型却生动准确。全图用笔秀润，墨色淡雅。",[24,26,29,25,79,80,238,209,7,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[44],95,{"id":1288,"slug":1289,"title":1290,"dynasty":112,"author":718,"museum":75,"description":1291,"tags":1292,"thumbUrl":1294,"material":168,"size":1295,"collection":104,"collections":1296,"showCount":1297,"zanCount":199,"manualWeight":11,"mainColor":68},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,1293,26,27,29,7,31,32,59,209,33,137,30],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],94,{"id":1299,"slug":1300,"title":1301,"dynasty":112,"author":763,"museum":501,"description":1302,"tags":1303,"thumbUrl":1305,"material":1306,"size":1307,"collection":104,"collections":1308,"showCount":1297,"zanCount":199,"manualWeight":11,"mainColor":48},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,25,29,193,27,78,100,35,31,58,32,34,181,1304,209,7],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","纸本 设色","82.5x51.2",[],{"id":1310,"slug":1311,"title":1312,"dynasty":95,"author":1313,"museum":1314,"description":1315,"tags":1316,"thumbUrl":1317,"material":710,"size":1318,"collection":104,"collections":1319,"showCount":1320,"zanCount":260,"manualWeight":11,"mainColor":48},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬","吕纪","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,56,100,208,78,119,961,298,7,164,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg","176.0×100.8",[],93,{"id":1322,"slug":1323,"title":1324,"dynasty":18,"author":148,"museum":570,"description":1325,"tags":1326,"thumbUrl":1327,"material":152,"size":1328,"collection":42,"collections":1329,"showCount":1320,"zanCount":199,"manualWeight":11,"mainColor":48},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[23,24,25,57,29,26,27,209,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[42,44,88],{"id":1331,"slug":1332,"title":1333,"dynasty":73,"author":1334,"museum":75,"description":1335,"tags":1336,"thumbUrl":1338,"material":140,"size":1339,"collection":44,"collections":1340,"showCount":1341,"zanCount":129,"manualWeight":11,"mainColor":695},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。",[24,56,25,26,27,372,79,440,238,59,1337,7,641,164],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[44],92,{"id":1343,"slug":1344,"title":1345,"dynasty":112,"author":763,"museum":97,"description":1346,"tags":1347,"thumbUrl":1348,"material":104,"size":104,"collection":44,"collections":1349,"showCount":1350,"zanCount":11,"manualWeight":11,"mainColor":68},235778,"ming-xian-ji-jin-ce-fang-guan-tong-shan-shui-ye-wang-hui-235778","名贤集锦册-仿关仝山水页","此作用笔追摹北派山水意趣，危峰崚嶒拔地而起，以硬朗繁复的皴法刻画岩壁肌理，将山石的苍劲厚重尽数铺展。山间古木虬曲错落，枝叶攒簇尽显苍郁生机。山坳处山居隐现，为雄奇冷峭的山水晕开一缕悠然烟火气，留白的溪山道途让画面疏密有致，暗合虚实相生之理。\n\n画作师法关仝却自存灵秀，把北宗山水的雄浑刚劲与南宗笔墨的秀润雅致相融，笔力苍劲不失隽秀，整幅画面静穆悠远，尽显林泉高致的文人雅趣，是师古而化的精妙之作。",[24,26,27,268,117,29,79,238,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4175456b66ebb696d2bb21cd59305c.jpg",[44],91,{"id":1352,"slug":1353,"title":1354,"dynasty":73,"author":248,"museum":20,"description":1355,"tags":1356,"thumbUrl":1358,"material":126,"size":1359,"collection":44,"collections":1360,"showCount":1361,"zanCount":199,"manualWeight":11,"mainColor":48},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,56,24,372,1357,78,27,29,7,31,210,239,766,37],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 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42.5cm",[44,88],90,{"id":1363,"slug":1364,"title":1365,"dynasty":95,"author":96,"museum":75,"description":1366,"tags":1367,"thumbUrl":1369,"material":256,"size":1370,"collection":44,"collections":1371,"showCount":1372,"zanCount":260,"manualWeight":11,"mainColor":68},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,24,26,27,78,29,31,732,1368,441,32,7,209,439,254],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[44,45],89,{"id":1374,"slug":1375,"title":1376,"dynasty":95,"author":425,"museum":20,"description":1377,"tags":1378,"thumbUrl":1380,"material":212,"size":1381,"collection":44,"collections":1382,"showCount":1372,"zanCount":199,"manualWeight":11,"mainColor":48},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","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。",[24,25,29,26,27,440,79,31,164,239,1379,251,7,254,631,607,78],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[44],{"id":1384,"slug":1385,"title":1386,"dynasty":95,"author":425,"museum":20,"description":1387,"tags":1388,"thumbUrl":1389,"material":63,"size":1390,"collection":104,"collections":1391,"showCount":1392,"zanCount":260,"manualWeight":11,"mainColor":48},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,372,78,27,79,80,137,33,32,58,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],88,{"id":1394,"slug":1395,"title":1396,"dynasty":73,"author":1397,"museum":114,"description":1398,"tags":1399,"thumbUrl":1400,"material":126,"size":104,"collection":44,"collections":1401,"showCount":1392,"zanCount":129,"manualWeight":11,"mainColor":48},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[24,26,27,439,254,1060,29,298,79,33,441,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[44],{"id":1403,"slug":1404,"title":1405,"dynasty":650,"author":1406,"museum":97,"description":1407,"tags":1408,"thumbUrl":1411,"material":668,"size":669,"collection":104,"collections":1412,"showCount":1413,"zanCount":199,"manualWeight":11,"mainColor":48},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,1409,119,208,78,374,120,1410,1091,1177,706,60,29,7,778],"屏风","芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":1415,"slug":1416,"title":1417,"dynasty":95,"author":1313,"museum":1418,"description":1419,"tags":1420,"thumbUrl":1423,"material":710,"size":1424,"collection":170,"collections":1425,"showCount":1413,"zanCount":199,"manualWeight":11,"mainColor":48},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","浙江省博物馆","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[23,24,25,100,78,208,119,961,122,1421,1422,608,7],"雉鸡","鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[170,88],{"id":1427,"slug":1428,"title":1429,"dynasty":112,"author":1430,"museum":75,"description":1431,"tags":1432,"thumbUrl":1433,"material":1434,"size":104,"collection":44,"collections":1435,"showCount":1436,"zanCount":11,"manualWeight":11,"mainColor":68},236909,"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[56,24,25,100,26,27,268,29,35,31,137,7,239,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg","纸本水墨",[44,45],86,{"id":1438,"slug":1439,"title":1440,"dynasty":112,"author":1441,"museum":75,"description":1442,"tags":1443,"thumbUrl":1444,"material":212,"size":1445,"collection":44,"collections":1446,"showCount":1436,"zanCount":11,"manualWeight":11,"mainColor":48},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,24,100,26,27,29,79,80,31,239,58,7,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[44],{"id":1448,"slug":1449,"title":203,"dynasty":18,"author":1450,"museum":1451,"description":1452,"tags":1453,"thumbUrl":1454,"material":26,"size":1455,"collection":42,"collections":1456,"showCount":1457,"zanCount":11,"manualWeight":11,"mainColor":48},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","美国弗瑞尔美术馆","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,56,25,78,27,29,30,31,34,7,58,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[42,44,45],84,{"id":1459,"slug":1460,"title":1461,"dynasty":95,"author":1462,"museum":75,"description":1463,"tags":1464,"thumbUrl":1466,"material":212,"size":1467,"collection":44,"collections":1468,"showCount":1457,"zanCount":260,"manualWeight":11,"mainColor":48},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","朱端","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,24,26,78,100,29,27,59,31,7,165,663,209,1465,254],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[44],{"id":1470,"slug":1471,"title":1472,"dynasty":18,"author":221,"museum":20,"description":1473,"tags":1474,"thumbUrl":1475,"material":152,"size":1476,"collection":42,"collections":1477,"showCount":1478,"zanCount":11,"manualWeight":11,"mainColor":48},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","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。",[23,24,25,100,78,29,27,79,440,375,60,31,61,239,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,44,45],83,{"id":1480,"slug":1481,"title":1482,"dynasty":546,"author":1483,"museum":20,"description":1484,"tags":1485,"thumbUrl":1488,"material":40,"size":1489,"collection":88,"collections":1490,"showCount":1492,"zanCount":199,"manualWeight":11,"mainColor":48},221076,"yuan-ma-tu-han-gan-221076","猿马图","韩干","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,56,24,25,100,1486,78,208,1487,251,238,7,732,226],"唐代","猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[88,1491],"竹石精选",82,{"id":1494,"slug":1495,"title":203,"dynasty":18,"author":53,"museum":97,"description":1496,"tags":1497,"thumbUrl":1498,"material":467,"size":1499,"collection":44,"collections":1500,"showCount":1492,"zanCount":260,"manualWeight":11,"mainColor":48},218915,"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[23,56,24,25,26,78,27,29,138,608,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[44],{"id":1502,"slug":1503,"title":1504,"dynasty":95,"author":886,"museum":75,"description":1505,"tags":1506,"thumbUrl":1507,"material":140,"size":1508,"collection":44,"collections":1509,"showCount":1492,"zanCount":11,"manualWeight":11,"mainColor":68},218341,"shan-shui-ce-wen-zheng-ming-218341","山水册","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,56,117,26,29,31,239,7,32,439,1060,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[44],{"id":1511,"slug":1512,"title":1513,"dynasty":112,"author":763,"museum":97,"description":1514,"tags":1515,"thumbUrl":1516,"material":104,"size":104,"collection":44,"collections":1517,"showCount":1518,"zanCount":11,"manualWeight":11,"mainColor":68},238076,"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,830,100,27,268,29,1146,59,60,7,31,607,209,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[44],81,{"id":1520,"slug":1521,"title":1522,"dynasty":112,"author":718,"museum":97,"description":1523,"tags":1524,"thumbUrl":1525,"material":104,"size":104,"collection":104,"collections":1526,"showCount":1518,"zanCount":199,"manualWeight":11,"mainColor":48},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,25,57,78,29,27,439,1060,254,79,80,58,766,31,7,1304,349,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":1528,"slug":1529,"title":1530,"dynasty":112,"author":1531,"museum":548,"description":1532,"tags":1533,"thumbUrl":1536,"material":126,"size":104,"collection":88,"collections":1537,"showCount":1518,"zanCount":260,"manualWeight":11,"mainColor":48},219257,"cao-chong-tu-shang-rui-219257","草虫图","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,24,25,208,78,119,138,60,1534,7,1535],"百合","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[88],{"id":1539,"slug":1540,"title":1541,"dynasty":112,"author":938,"museum":617,"description":1542,"tags":1543,"thumbUrl":1544,"material":140,"size":1545,"collection":44,"collections":1546,"showCount":1518,"zanCount":11,"manualWeight":11,"mainColor":68},217885,"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。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”。",[24,25,100,26,27,29,79,33,37,31,389,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[44],{"id":1548,"slug":1549,"title":1550,"dynasty":95,"author":221,"museum":1451,"description":1551,"tags":1552,"thumbUrl":1557,"material":780,"size":1558,"collection":104,"collections":1559,"showCount":1560,"zanCount":199,"manualWeight":11,"mainColor":48},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,57,78,208,27,29,226,900,251,1553,225,1554,1555,1487,31,7,37,732,1556],"象","山羊","狮子","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],80,{"id":1562,"slug":1563,"title":1564,"dynasty":95,"author":1565,"museum":161,"description":1566,"tags":1567,"thumbUrl":1573,"material":212,"size":1574,"collection":215,"collections":1575,"showCount":1560,"zanCount":11,"manualWeight":11,"mainColor":48},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,56,25,100,26,1568,78,29,209,59,60,32,1569,608,1570,101,138,1571,1218,7,1572],"写意","枯藤","渔翁","芦苇","秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[215],{"id":1577,"slug":1578,"title":1579,"dynasty":18,"author":221,"museum":20,"description":1580,"tags":1581,"thumbUrl":1584,"material":212,"size":1585,"collection":44,"collections":1586,"showCount":1560,"zanCount":260,"manualWeight":11,"mainColor":48},215137,"yuan-shui-yang-fan-tu-yi-ming-215137","远水扬帆图","这幅画描绘了远处漂浮的几座青山。烟雾弥漫的河面上一阵强风将河边岩石上枝繁叶茂的树木吹弯，并将三艘客船直推到河中央。河岸上一位白袍隐士，带着他的钢琴手，正准备漫步到岩石阴凉处的茅草亭。明亮的风景透露出几分悠然自得的动感。",[23,24,25,78,29,27,31,7,209,59,1582,1583,61],"帆船","远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ba8f66e5fe5ffdbb57aa8db2c36a45.jpg","21.6x52.4cm",[44],{"id":1588,"slug":1589,"title":1590,"dynasty":18,"author":331,"museum":548,"description":1591,"tags":1592,"thumbUrl":1594,"material":212,"size":104,"collection":44,"collections":1595,"showCount":1596,"zanCount":199,"manualWeight":11,"mainColor":48},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,25,57,26,78,27,29,79,80,31,766,61,59,60,165,1593,7],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[44],79,{"id":1598,"slug":1599,"title":1600,"dynasty":112,"author":1009,"museum":97,"description":1601,"tags":1602,"thumbUrl":1603,"material":195,"size":1604,"collection":44,"collections":1605,"showCount":1606,"zanCount":11,"manualWeight":11,"mainColor":68},224390,"shan-shui-zhou-wang-yuan-qi-224390","山水轴","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,24,26,100,29,27,30,31,37,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[44],78,{"id":1608,"slug":1609,"title":1610,"dynasty":112,"author":1611,"museum":1612,"description":1613,"tags":1614,"thumbUrl":1615,"material":1616,"size":1617,"collection":44,"collections":1618,"showCount":1606,"zanCount":199,"manualWeight":11,"mainColor":48},223283,"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","安徽省博物馆","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[23,24,26,100,29,27,79,33,238,754,7,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[44,45],{"id":1620,"slug":1621,"title":1622,"dynasty":95,"author":425,"museum":281,"description":1623,"tags":1624,"thumbUrl":1625,"material":212,"size":104,"collection":44,"collections":1626,"showCount":1606,"zanCount":129,"manualWeight":11,"mainColor":48},219717,"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[24,100,78,27,29,59,31,7,209,32,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[44],{"id":1628,"slug":1629,"title":1630,"dynasty":112,"author":1631,"museum":205,"description":1632,"tags":1633,"thumbUrl":1634,"material":212,"size":1635,"collection":170,"collections":1636,"showCount":1606,"zanCount":260,"manualWeight":11,"mainColor":48},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,56,24,25,100,208,78,1177,7,31,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[170],{"id":1638,"slug":1639,"title":1640,"dynasty":73,"author":1641,"museum":114,"description":1642,"tags":1643,"thumbUrl":1644,"material":140,"size":1645,"collection":44,"collections":1646,"showCount":1606,"zanCount":11,"manualWeight":11,"mainColor":68},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","高克恭","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[23,24,25,100,26,27,29,608,33,60,1263,7,754,439,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[44],{"id":1648,"slug":1649,"title":1650,"dynasty":95,"author":190,"museum":20,"description":1651,"tags":1652,"thumbUrl":1653,"material":1654,"size":104,"collection":44,"collections":1655,"showCount":1656,"zanCount":11,"manualWeight":11,"mainColor":48},220935,"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[24,25,29,268,27,26,78,30,35,31,631,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg","绢本与纸本",[44,45],75,{"id":1658,"slug":1659,"title":1660,"dynasty":95,"author":1661,"museum":75,"description":1662,"tags":1663,"thumbUrl":1665,"material":212,"size":1666,"collection":44,"collections":1667,"showCount":1656,"zanCount":199,"manualWeight":11,"mainColor":48},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,25,57,26,78,29,27,79,7,31,34,32,1304,1664],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[44,88],{"id":1669,"slug":1670,"title":1671,"dynasty":73,"author":248,"museum":20,"description":1672,"tags":1673,"thumbUrl":1674,"material":168,"size":1675,"collection":44,"collections":1676,"showCount":1677,"zanCount":199,"manualWeight":11,"mainColor":48},220814,"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,56,29,26,100,27,79,80,31,33,595,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[44,45],74,{"id":1679,"slug":1680,"title":1681,"dynasty":112,"author":1682,"museum":161,"description":1683,"tags":1684,"thumbUrl":1688,"material":126,"size":1689,"collection":215,"collections":1690,"showCount":1677,"zanCount":11,"manualWeight":11,"mainColor":68},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[56,24,25,100,78,208,209,29,31,7,137,1685,1686,1687],"桌案","茶具","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[215],{"id":1692,"slug":1693,"title":1694,"dynasty":18,"author":1695,"museum":20,"description":1696,"tags":1697,"thumbUrl":1698,"material":212,"size":1699,"collection":170,"collections":1700,"showCount":1677,"zanCount":199,"manualWeight":11,"mainColor":683},218928,"ying-tu-wang-shen-218928","鹰图","王诜","秃鹰和狗争夺野鸡的画作",[23,24,56,100,208,78,119,1177,703,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[170],{"id":1702,"slug":1703,"title":1704,"dynasty":112,"author":1705,"museum":97,"description":1706,"tags":1707,"thumbUrl":1708,"material":104,"size":104,"collection":104,"collections":1709,"showCount":1710,"zanCount":199,"manualWeight":11,"mainColor":68},230132,"zhang-lin-xiao-yao-tu-hong-ren-230132","长林逍遥图","弘仁","此作用笔清劲方折，危崖如刀削斧拔般峭然耸立，留白晕染出山水疏旷空寂。近岸寒林虬枝孑立，木叶尽脱，尽显荒萧寒逸。平湖浅滩无波，远汀渔隐藏于空茫间，崖侧飞瀑隐于山石，幽淡含蓄。\n\n整幅以干笔淡墨写就，删繁去奢，将孤高冷寂的意趣寄于山水，脱尽烟火之气，静穆清逸间带着禅意，宛如遗世独立的幽境，观之涤荡心尘，尽显山水的雅净超然。",[23,56,24,25,100,26,27,29,164,7,33,32,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b461f26c82fb4c0466a95df1af5d932.jpg",[],73,{"id":1712,"slug":1713,"title":1714,"dynasty":112,"author":1705,"museum":75,"description":1715,"tags":1716,"thumbUrl":1717,"material":85,"size":1718,"collection":170,"collections":1719,"showCount":1720,"zanCount":260,"manualWeight":11,"mainColor":68},236353,"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[112,26,29,100,27,374,298,30,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[170,88],72,{"id":1722,"slug":1723,"title":1724,"dynasty":177,"author":525,"museum":97,"description":1725,"tags":1726,"thumbUrl":1727,"material":104,"size":104,"collection":104,"collections":1728,"showCount":1720,"zanCount":11,"manualWeight":11,"mainColor":48},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,56,24,25,100,26,78,27,284,29,79,80,34,7,137,31,37,389,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":1730,"slug":1731,"title":1732,"dynasty":112,"author":1430,"museum":161,"description":1733,"tags":1734,"thumbUrl":1735,"material":212,"size":104,"collection":44,"collections":1736,"showCount":1720,"zanCount":199,"manualWeight":11,"mainColor":68},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,25,100,78,27,439,254,29,79,80,31,7,37,388,878,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[44],{"id":1738,"slug":1739,"title":1740,"dynasty":95,"author":1741,"museum":20,"description":1742,"tags":1743,"thumbUrl":1747,"material":212,"size":1748,"collection":170,"collections":1749,"showCount":1720,"zanCount":11,"manualWeight":11,"mainColor":48},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","朱瞻基","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[56,24,25,100,78,208,209,1744,238,7,1745,226,1746],"羊","山坡","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[170],{"id":1751,"slug":1752,"title":1600,"dynasty":95,"author":221,"museum":20,"description":1753,"tags":1754,"thumbUrl":1755,"material":26,"size":104,"collection":45,"collections":1756,"showCount":1757,"zanCount":11,"manualWeight":11,"mainColor":48},219345,"shan-shui-zhou-yi-ming-219345","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[24,25,100,26,27,29,79,137,239,58,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[45],71,{"id":1759,"slug":1760,"title":1761,"dynasty":177,"author":525,"museum":1762,"description":1763,"tags":1764,"thumbUrl":1765,"material":104,"size":104,"collection":104,"collections":1766,"showCount":1767,"zanCount":11,"manualWeight":11,"mainColor":48},227598,"xi-shan-lan-re-tu-ju-ran-227598","溪山兰若图","美国克利夫兰艺术博物馆","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,24,26,29,100,27,79,80,238,286,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],70,{"id":1769,"slug":1770,"title":1771,"dynasty":18,"author":1772,"museum":97,"description":1773,"tags":1774,"thumbUrl":1776,"material":1777,"size":1778,"collection":42,"collections":1779,"showCount":1767,"zanCount":199,"manualWeight":11,"mainColor":48},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,56,24,25,100,1103,208,78,209,7,137,32,1775],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[42,215,88],{"id":1781,"slug":1782,"title":1783,"dynasty":18,"author":331,"museum":20,"description":1784,"tags":1785,"thumbUrl":1789,"material":152,"size":1790,"collection":42,"collections":1791,"showCount":1767,"zanCount":11,"manualWeight":11,"mainColor":48},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","雪滩双鹭图","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,24,25,56,26,27,1786,641,1787,1788,164,7],"留白","滩涂","鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg","纵60厘米，横38厘米",[42,170,88],{"id":1793,"slug":1794,"title":1504,"dynasty":112,"author":1795,"museum":161,"description":1796,"tags":1797,"thumbUrl":1798,"material":140,"size":1799,"collection":44,"collections":1800,"showCount":1767,"zanCount":11,"manualWeight":11,"mainColor":68},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[56,24,25,117,26,27,29,31,30,34,165,285,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 厘米",[44],{"id":1802,"slug":1803,"title":1804,"dynasty":18,"author":384,"museum":20,"description":1805,"tags":1806,"thumbUrl":1808,"material":126,"size":1809,"collection":44,"collections":1810,"showCount":1811,"zanCount":199,"manualWeight":11,"mainColor":68},216081,"sui-gu-xian-chou-tu-yan-su-216081","邃谷仙俦图","圆幅之内，邃谷幽深如藏太古。松枝盘虬探向涧水，垂瀑溅起的碎玉似携泠泠清响；山石皴染得苍劲见骨，云气轻笼远岫，把虚实边界晕成了仙意。林下幽处，或有对坐的身影，或有倚石的闲态，不沾尘俗的自在漫在空气里。笔墨精细却不刻板，宋画的沉静韵致裹着仙气——没有喧闹，只有丘壑间的清旷，风过松梢时，仿佛能听见仙俦的谈笑声随谷风散开，勾着人想踏入这片无拘天地，把心神安放在这太古般的宁静里。",[23,24,26,78,27,29,31,7,209,1807],"深谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ca0b247e5fd62845b263e8d81f1433.jpg","23.9x24.4cm",[44],69,{"id":1813,"slug":1814,"title":1815,"dynasty":112,"author":1009,"museum":501,"description":1816,"tags":1817,"thumbUrl":1818,"material":780,"size":1819,"collection":44,"collections":1820,"showCount":1821,"zanCount":199,"manualWeight":11,"mainColor":68},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[23,24,372,78,27,79,80,31,137,7,286,37,165,854],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纵100cm，横44.7cm",[44],68,{"id":1823,"slug":1824,"title":1825,"dynasty":650,"author":1826,"museum":97,"description":1827,"tags":1828,"thumbUrl":1835,"material":668,"size":669,"collection":670,"collections":1836,"showCount":1837,"zanCount":11,"manualWeight":11,"mainColor":48},225700,"sha-mo-zhong-de-sheng-fang-ji-ge-qiao-fan-ni-bei-li-ni-225700","沙漠中的圣方济各","乔凡尼·贝利尼","乔凡尼·贝利尼，（Giovanni Bellini， 1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[655,1103,1829,78,209,7,31,286,252,664,349,1830,705,165,1831,1832,1833,1834,662],"写实","围栏","峭壁","枯木","绿植","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg",[670],67,{"id":1839,"slug":1840,"title":1841,"dynasty":95,"author":190,"museum":114,"description":1842,"tags":1843,"thumbUrl":1847,"material":126,"size":1848,"collection":44,"collections":1849,"showCount":1850,"zanCount":11,"manualWeight":11,"mainColor":48},220069,"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","此图写茂林烟树，平坡浅屿之间，有村舍水榭隐现于崖边江尾。村后危峰矗起，高耸入云。山谷中飞泉奔突，大江远处，烟云弥漫，青山如黛，若在有无之间。画用巨然长披麻湿笔晕染。林际崖上，一片郁葱，仿佛被宿雨洗净，朝霞染过。崇祯元年戊辰，董其昌闲居江南，悠游湖山，耽于书画，正是艺术大成之时。此图画得轻松恬静，浑沦一体，右上所题自作诗，亦写出他功成名就乐于安闲自适的心态。读之令人入静。",[23,24,26,27,100,1844,29,374,1845,58,32,7,31,1846,389],"文人画","杉","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[44],66,{"id":1852,"slug":1853,"title":1854,"dynasty":112,"author":1855,"museum":205,"description":1856,"tags":1857,"thumbUrl":1858,"material":140,"size":1859,"collection":44,"collections":1860,"showCount":1850,"zanCount":199,"manualWeight":11,"mainColor":48},219762,"jiu-long-tan-jia-chao-tu-huang-shen-219762","九龙滩驾潮图","黄慎","一位纤夫露出正脸，虽然他的眉眼五官刻画十分简单，却依然可以感受到他使出浑身力气，坚定不移的神情和姿态，似乎在这险滩之上，能清楚听到他一边喊着船工号子，一边吆喝着同行的伙计，凭借多年经验征服这险境，自信满满。\n都说眼睛是心灵的窗口，古人写意传神，正是这眼眸眉目最为关键画龙点睛的道理妇孺皆知，古画中每个人物的一个眼神，一颦一笑，都饱含着他们最为真实的情愫",[23,24,26,27,29,59,32,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad659f0445c5015ff40352ba6ebce03a.jpg","纵90横119.8",[44],{"id":1862,"slug":1863,"title":1864,"dynasty":112,"author":763,"museum":97,"description":1514,"tags":1865,"thumbUrl":1866,"material":104,"size":104,"collection":44,"collections":1867,"showCount":1868,"zanCount":11,"manualWeight":11,"mainColor":68},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581","王翚仿古山水册",[24,25,56,26,193,27,29,35,37,59,31,58,1570,7,34,83,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[44,45],65,{"id":1870,"slug":1871,"title":1872,"dynasty":73,"author":1641,"museum":20,"description":1873,"tags":1874,"thumbUrl":1875,"material":1153,"size":1876,"collection":44,"collections":1877,"showCount":1868,"zanCount":11,"manualWeight":11,"mainColor":48},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[23,24,100,26,78,27,29,79,754,238,137,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 x 99.7cm.",[44,45],{"id":1879,"slug":1880,"title":1881,"dynasty":73,"author":134,"museum":20,"description":1882,"tags":1883,"thumbUrl":1890,"material":168,"size":1891,"collection":104,"collections":1892,"showCount":1893,"zanCount":199,"manualWeight":11,"mainColor":68},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[24,26,29,27,1060,254,79,238,732,239,138,1884,1885,1886,1887,1888,1889,37,7],"平远构图","题款","枯笔","淡墨","疏林","草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 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x274.0厘米",[44,45],60,{"id":1982,"slug":1983,"title":1984,"dynasty":95,"author":1985,"museum":75,"description":1986,"tags":1987,"thumbUrl":1988,"material":195,"size":1989,"collection":44,"collections":1990,"showCount":1980,"zanCount":11,"manualWeight":11,"mainColor":68},222674,"ting-song-tu-zhou-xiang-sheng-mo-222674","听松图轴","项圣谟","本幅自题：“偶寻鹿迹来游此，坐听松风亦爽然。庚寅登高日寓江城西郊，喜此二言，骤笔补图。项圣谟。”钤“胥山樵项伯子”等印3方。“庚寅”乃清顺治七年（1650年），项氏54岁。“登高”为重阳节之古俗。据题可知此图系项氏于顺治七年重阳节与友人登高时为吟得佳句而绘。\n作品画云崖雾涌，长松虬枝，高士临流吟赏。树石用笔浑厚沉着，人物线条圆秀朴拙，意境清旷高古，具项圣谟山水人物画的典型风貌。",[23,24,26,100,29,137,209,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76a9e06e51c1074aa07a48f7d377c6c.jpg","纵138.5厘米，横60厘米",[44,45],{"id":1992,"slug":1993,"title":1994,"dynasty":18,"author":221,"museum":332,"description":1995,"tags":1996,"thumbUrl":1998,"material":168,"size":1999,"collection":42,"collections":2000,"showCount":1980,"zanCount":11,"manualWeight":11,"mainColor":48},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,25,57,26,27,29,31,7,34,1997,79,80,138,631,61,60,1569,608],"行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,44,45],{"id":2002,"slug":2003,"title":2004,"dynasty":112,"author":718,"museum":75,"description":1933,"tags":2005,"thumbUrl":2007,"material":168,"size":104,"collection":44,"collections":2008,"showCount":2009,"zanCount":11,"manualWeight":11,"mainColor":68},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235","原济山水图轴",[24,26,100,25,56,29,2006,31,33,7,441,32,254,439,27],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[44],59,{"id":2011,"slug":2012,"title":2013,"dynasty":95,"author":2014,"museum":97,"description":2015,"tags":2016,"thumbUrl":2017,"material":104,"size":104,"collection":104,"collections":2018,"showCount":2009,"zanCount":129,"manualWeight":11,"mainColor":68},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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八六边寿民芦帷册 八七张庚仿北苑夏山图幅 八八李鱓芍药图轴 八九李鱓风雨芭蕉图轴 九○李鱓、陈撰等（六人合作）花果扇页 九一金农香林扫塔图轴 九二黄慎群盲聚讼人物轴 九三黄慎八仙 九四高翔临倪瓒竹树小山图扇页 九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,24,25,56,100,78,208,27,29,209,251,61,1569,608,374,440,79,7,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":112,"author":938,"museum":20,"description":2023,"tags":2024,"thumbUrl":2025,"material":63,"size":2026,"collection":44,"collections":2027,"showCount":2009,"zanCount":260,"manualWeight":11,"mainColor":68},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[24,78,29,268,27,100,254,79,440,238,58,32,239,7,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[44],{"id":2029,"slug":2030,"title":1440,"dynasty":112,"author":2031,"museum":97,"description":2032,"tags":2033,"thumbUrl":2034,"material":104,"size":104,"collection":44,"collections":2035,"showCount":2037,"zanCount":11,"manualWeight":11,"mainColor":68},237873,"shan-shui-tu-zhou-kun-can-237873","髡残","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,26,27,100,25,1060,254,29,35,31,33,181,37,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[44,2036],"书法精选",58,{"id":2039,"slug":2040,"title":2041,"dynasty":112,"author":2042,"museum":1612,"description":2043,"tags":2044,"thumbUrl":2047,"material":710,"size":2048,"collection":170,"collections":2049,"showCount":2037,"zanCount":199,"manualWeight":11,"mainColor":48},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,56,24,25,100,208,78,119,2045,2046,7,124],"梧桐","白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[170,88],{"id":2051,"slug":2052,"title":2053,"dynasty":95,"author":190,"museum":570,"description":2054,"tags":2055,"thumbUrl":2057,"material":2058,"size":2059,"collection":44,"collections":2060,"showCount":2037,"zanCount":11,"manualWeight":11,"mainColor":68},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","疏林远岫图","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,24,25,100,26,27,29,1888,2056,7,31],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纸本墨笔","纵98.7厘米，横38.6厘米",[44,45],{"id":2062,"slug":2063,"title":2064,"dynasty":73,"author":436,"museum":97,"description":2065,"tags":2066,"thumbUrl":2068,"material":668,"size":669,"collection":104,"collections":2069,"showCount":2070,"zanCount":11,"manualWeight":11,"mainColor":68},290433,"ceng-yan-qu-jian-tu-huang-gong-wang-290433","层岩曲涧图","黄公望（1269年9月12日—1354年11月10日） ，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[56,24,25,100,26,29,7,32,58,2067,254,27],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":2072,"slug":2073,"title":2074,"dynasty":18,"author":2075,"museum":410,"description":2076,"tags":2077,"thumbUrl":2078,"material":467,"size":2079,"collection":42,"collections":2080,"showCount":2070,"zanCount":199,"manualWeight":11,"mainColor":48},219168,"ju-yuan-tu-yi-yuan-ji-219168","聚猿图","易元吉","此卷绘秋冬之季群猿攀援、饮涧、嬉戏之情形。所绘大小、老幼、黑白群猿三十余只，亦是一数量不菲的群猿聚居图。岩壑间群猿或坐或走、或仰或卧，或倒挂或直立，作者将群猿日常习居的情形淋漓尽致地表现出来。该图笔力富有弹性，突出其运动感。",[23,876,24,25,57,26,29,226,1487,27,208,31,7,37,349,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b78cc151c53a8bbbe047d09cfe527b.jpg","纵41.3厘米，横146厘米",[42,45],{"id":2082,"slug":2083,"title":2084,"dynasty":73,"author":221,"museum":617,"description":2085,"tags":2086,"thumbUrl":2087,"material":140,"size":2088,"collection":44,"collections":2089,"showCount":2070,"zanCount":11,"manualWeight":11,"mainColor":48},218215,"xi-shan-gui-zhou-tu-yi-ming-218215","溪山归舟图","溪山归舟图被认为是元朝时期图画艺术的代表作之一，其中蕴含着浓厚的儒家思想。儒家认为，人生最大的幸福就是能够返璞归真，回归自然界的本真状态。这幅图画描绘的少年漂流在溪水中，似乎也在暗示人应该摆脱尘世的束缚，回归自然界的真理。\n\n溪山归舟图的风格独特，它采用了轻巧的线条和柔和的色彩，呈现出一种清新、自然的感觉。这种艺术风格与元朝时期的文人墨客们崇尚的“写意”艺术风格相似，都强调自然、随意、自由。\n\n总的来说，溪山归舟图是元朝时期著名的图画作品，其中蕴含着浓厚的儒家思想，艺术风格独特，值得我们细细品味。",[24,26,27,29,59,238,7,165,620,1975],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9c60f7dd5a55cb83dd74a5fbeefb3.jpg","168x103cm",[44],{"id":2091,"slug":2092,"title":2093,"dynasty":18,"author":2094,"museum":2095,"description":2096,"tags":2097,"thumbUrl":2100,"material":212,"size":2101,"collection":104,"collections":2102,"showCount":2070,"zanCount":199,"manualWeight":11,"mainColor":683},217002,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217002","五百罗汉之观舍利光图","周季常","波士顿美术馆","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,56,24,25,100,1103,208,78,209,137,7,2098,2099],"袈裟","舍利","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d808b00c043beec536d0cda92fa28f.jpg","111.5x53.1",[],{"id":2104,"slug":2105,"title":2106,"dynasty":95,"author":2107,"museum":75,"description":2108,"tags":2109,"thumbUrl":2110,"material":2111,"size":2112,"collection":44,"collections":2113,"showCount":2114,"zanCount":199,"manualWeight":11,"mainColor":48},236933,"qian-yan-wan-he-tu-zhou-wu-bin-236933","千岩万壑图轴","吴彬","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。\n《画史会要》称吴彬：“善山水，布置绝不摹古，皆对真景描写。”实际上，吴彬画中的山水仍受古画的影响，但其境界主要来自其云游各地之奇景，加之想象而得。作者的绘画能从古人窠臼中脱迈而出，又深受自然界山水之熏陶，因而在明末的山水画坛迥异时流，独树一帜。",[24,100,26,27,29,269,7,31,181,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e68b23f635d47b17a1c9a8d30178a5e.jpg","绫本，设色","纵170.5厘米，横46.7厘米",[44,45],56,{"id":2116,"slug":2117,"title":2118,"dynasty":112,"author":896,"museum":75,"description":2119,"tags":2120,"thumbUrl":2122,"material":85,"size":2123,"collection":170,"collections":2124,"showCount":2114,"zanCount":11,"manualWeight":11,"mainColor":48},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[23,208,78,251,704,209,705,7,31,210,2121],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg","纵51.2厘米，横166厘米",[170,88],{"id":2126,"slug":2127,"title":2128,"dynasty":18,"author":2129,"museum":97,"description":2130,"tags":2131,"thumbUrl":2132,"material":78,"size":2133,"collection":42,"collections":2134,"showCount":2114,"zanCount":11,"manualWeight":11,"mainColor":48},221424,"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,56,24,25,117,78,27,29,31,286,663,165,1975,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[42,44,45],{"id":2136,"slug":2137,"title":2138,"dynasty":95,"author":221,"museum":2139,"description":2140,"tags":2141,"thumbUrl":2142,"material":212,"size":2143,"collection":215,"collections":2144,"showCount":2114,"zanCount":11,"manualWeight":11,"mainColor":48},215036,"yu-fu-tu-yi-ming-215036","渔父图","费城艺术博物馆","渔父图是明朝时期的一幅杂技图画。该图画描绘了一位渔夫和他的儿子在渔池里捕鱼的情景。这幅图画的画风简洁流畅，构图巧妙，笔触简练而富有力量。\n\n杂技图画是明朝时期流行的一种艺术形式，通常由多幅图画组成，每幅图画都描绘了一个故事或场景。杂技图画的特点是通过精细的线条和色彩描绘人物形象，并使用富有表现力的肢体语言和动作来讲述故事。\n\n渔父图是明朝时期著名的杂技图画之一，其中渔夫和他的儿子的形象鲜活生动，描绘了渔民勤劳的生活方式。这幅图画的画风鲜明独特，对后世产生了深远的影响。",[24,78,208,209,29,60,31,7,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f55a0d1c2d8e2093168ae785f5d24f.jpg","23x25.8cm",[215],{"id":2146,"slug":2147,"title":2148,"dynasty":18,"author":148,"museum":97,"description":2149,"tags":2150,"thumbUrl":2152,"material":668,"size":669,"collection":104,"collections":2153,"showCount":2154,"zanCount":11,"manualWeight":11,"mainColor":48},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","江山小景图","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[23,56,24,25,57,26,78,27,29,59,61,491,33,2151,7,766],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":2156,"slug":2157,"title":2158,"dynasty":18,"author":221,"museum":75,"description":2159,"tags":2160,"thumbUrl":2162,"material":152,"size":2163,"collection":42,"collections":2164,"showCount":2154,"zanCount":11,"manualWeight":11,"mainColor":683},223603,"qiu-shan-hong-shu-tu-zhou-yi-ming-223603","秋山红树图轴","绘千岩万壑，飞瀑流泉，红树满山。山下水榭楼台隐现苍松林木间，意境深邃幽远。人物众多，神态各异，形象生动。山石多大斧劈皴描绘，具峭劲挺拔质感。经霜红叶点缀丛树间，增添秋景萧瑟气氛。风格与李唐相近，技艺稍逊，当为传人画作。",[23,24,56,25,100,78,29,574,679,33,58,32,270,7,31,269,2161,27],"雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6349a3c7dd2d9bcdb8c6e7b79d431705.jpg","197.8x111.8",[42,44,45],{"id":2166,"slug":2167,"title":2168,"dynasty":18,"author":2169,"museum":97,"description":2170,"tags":2171,"thumbUrl":2174,"material":668,"size":669,"collection":104,"collections":2175,"showCount":2176,"zanCount":199,"manualWeight":11,"mainColor":48},288733,"xiao-xiang-ba-jing-tu-juan-si-wang-hong-288733","潇湘八景图卷四","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[56,24,57,26,372,608,2172,35,166,7,2173],"亭阁","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034d632a84422ddb4076996f3fafebb4.jpg",[],54,{"id":2178,"slug":2179,"title":2180,"dynasty":112,"author":2181,"museum":97,"description":2182,"tags":2183,"thumbUrl":2186,"material":668,"size":669,"collection":104,"collections":2187,"showCount":2176,"zanCount":260,"manualWeight":11,"mainColor":695},239079,"hua-niao-ping-liao-yun-jin-239079","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[24,208,78,119,138,962,2184,2185,7,1535],"花","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957fa757ccae928e12a60604cca10b13.jpg",[],{"id":2189,"slug":2190,"title":2191,"dynasty":112,"author":221,"museum":97,"description":2192,"tags":2193,"thumbUrl":2194,"material":104,"size":104,"collection":104,"collections":2195,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":68},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。",[24,100,26,29,27,374,440,7,79,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],{"id":2197,"slug":2198,"title":2199,"dynasty":95,"author":2200,"museum":501,"description":2201,"tags":2202,"thumbUrl":2204,"material":168,"size":2205,"collection":44,"collections":2206,"showCount":2176,"zanCount":199,"manualWeight":11,"mainColor":68},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,24,25,100,78,27,208,29,298,238,239,32,209,7,2203,388,83],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[44,88],{"id":2208,"slug":2209,"title":2210,"dynasty":73,"author":2211,"museum":20,"description":2212,"tags":2213,"thumbUrl":2215,"material":168,"size":2216,"collection":44,"collections":2217,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":68},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","赵孟頫","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[24,25,57,26,27,29,2214,269,7,31,165,854,620],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[44,45],{"id":2219,"slug":2220,"title":2221,"dynasty":18,"author":2222,"museum":20,"description":2223,"tags":2224,"thumbUrl":2226,"material":212,"size":2227,"collection":42,"collections":2228,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":48},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","马和之","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,24,56,78,208,29,766,31,60,2225,7,166],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[42],{"id":2230,"slug":2231,"title":2232,"dynasty":18,"author":221,"museum":20,"description":2233,"tags":2234,"thumbUrl":2235,"material":140,"size":2236,"collection":42,"collections":2237,"showCount":2176,"zanCount":11,"manualWeight":11,"mainColor":48},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[23,56,24,25,26,27,29,79,38,31,7,165,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[42],{"id":2239,"slug":2240,"title":2241,"dynasty":95,"author":204,"museum":20,"description":2242,"tags":2243,"thumbUrl":2244,"material":212,"size":2245,"collection":44,"collections":2246,"showCount":2247,"zanCount":199,"manualWeight":11,"mainColor":48},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[56,24,100,78,208,29,61,137,209,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[44],53,{"id":2249,"slug":2250,"title":2251,"dynasty":73,"author":221,"museum":1451,"description":2252,"tags":2253,"thumbUrl":2254,"material":168,"size":104,"collection":104,"collections":2255,"showCount":2247,"zanCount":11,"manualWeight":11,"mainColor":48},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,24,26,78,27,268,29,137,33,32,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],{"id":2257,"slug":2258,"title":2259,"dynasty":18,"author":148,"museum":75,"description":2260,"tags":2261,"thumbUrl":2262,"material":2263,"size":2264,"collection":104,"collections":2265,"showCount":2247,"zanCount":11,"manualWeight":11,"mainColor":68},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[23,24,57,26,78,209,29,31,7,27,1263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],{"id":2267,"slug":2268,"title":2269,"dynasty":18,"author":221,"museum":548,"description":2270,"tags":2271,"thumbUrl":2272,"material":212,"size":2273,"collection":44,"collections":2274,"showCount":2247,"zanCount":199,"manualWeight":11,"mainColor":48},214830,"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[23,24,25,100,26,27,29,35,31,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[44],{"id":2276,"slug":2277,"title":2278,"dynasty":95,"author":204,"museum":2279,"description":2280,"tags":2281,"thumbUrl":2283,"material":722,"size":2284,"collection":44,"collections":2285,"showCount":2286,"zanCount":11,"manualWeight":11,"mainColor":695},222198,"ting-qin-ting-ruan-tu-chou-ying-222198","停琴听阮图","广州艺术博物院","图绘远处水天一色，一股瀑布倾泻而下，悬崖绝壁，山崖上绿树苍翠，岸边两位高士相向而坐，一人似弹琵巴，一人手抚古筝，认真倾听，如此在一起弹拉切磋乐艺，不亦悦乎。",[23,24,25,56,100,208,78,26,29,209,2282,33,31,7,32,27],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d40b986cea8d2b9814bc4a65151a05.jpg","纵112.2，横42cm",[44,45],52,{"id":2288,"slug":2289,"title":2290,"dynasty":177,"author":2291,"museum":20,"description":2292,"tags":2293,"thumbUrl":2296,"material":104,"size":104,"collection":104,"collections":2297,"showCount":2298,"zanCount":199,"manualWeight":11,"mainColor":48},227260,"shan-zhe-ji-que-tu-huang-ju-cai-227260","山鹧棘雀图","黄居寀","《山鹧棘雀图》是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,208,78,119,60,138,732,7,962,2294,2295],"枯枝","荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],51,{"id":2300,"slug":2301,"title":2302,"dynasty":95,"author":2303,"museum":20,"description":2304,"tags":2305,"thumbUrl":2306,"material":126,"size":2307,"collection":44,"collections":2308,"showCount":2298,"zanCount":11,"manualWeight":11,"mainColor":68},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[24,25,100,26,78,29,30,164,209,239,253,7,37,27,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[44,88],{"id":2310,"slug":2311,"title":2312,"dynasty":95,"author":2313,"museum":114,"description":2314,"tags":2315,"thumbUrl":2316,"material":126,"size":2317,"collection":44,"collections":2318,"showCount":2298,"zanCount":11,"manualWeight":11,"mainColor":48},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,24,26,78,208,27,29,209,33,58,31,7,61,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[44],{"id":2320,"slug":2321,"title":2322,"dynasty":112,"author":2323,"museum":97,"description":2324,"tags":2325,"thumbUrl":2326,"material":104,"size":104,"collection":104,"collections":2327,"showCount":2328,"zanCount":11,"manualWeight":11,"mainColor":48},238227,"qian-long-huang-di-song-yin-hui-bi-heng-zhou-zhang-zong-cang-238227","乾隆皇帝松荫挥笔横轴","张宗苍","《张宗苍等乾隆皇帝松荫挥笔横轴》是清乾隆时期 等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[56,24,25,1293,26,78,27,137,209,29,7,33,37,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],50,{"id":2330,"slug":2331,"title":2332,"dynasty":112,"author":221,"museum":97,"description":2333,"tags":2334,"thumbUrl":2336,"material":104,"size":104,"collection":104,"collections":2337,"showCount":2328,"zanCount":11,"manualWeight":11,"mainColor":48},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[24,818,78,208,29,766,59,7,31,2335,34,165,854,663],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":2339,"slug":2340,"title":603,"dynasty":18,"author":19,"museum":97,"description":2341,"tags":2342,"thumbUrl":2346,"material":104,"size":104,"collection":104,"collections":2347,"showCount":2328,"zanCount":199,"manualWeight":11,"mainColor":48},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,876,24,25,57,29,78,27,35,7,551,31,239,2343,209,2344,37,2345,1304,439,254],"桥梁","马匹","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":2349,"slug":2350,"title":2351,"dynasty":18,"author":221,"museum":20,"description":2352,"tags":2353,"thumbUrl":2355,"material":212,"size":2356,"collection":170,"collections":2357,"showCount":2328,"zanCount":199,"manualWeight":11,"mainColor":48},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[23,24,25,78,208,60,31,778,7,2354],"鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 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。一行人策蹇徐行，骑牛者衣袂舒展，神色悠然，随行众人或持物或顾盼，情态松弛怡然，将举家迁居的奔波，化为踏山寻幽的雅事。\n\n设色古淡沉着，绢面的岁月斑驳，更添沉静古意。山石以粗劲斧劈皴写就，古松笔墨苍劲老辣，人物线条细劲灵动，动静相映间，把隐世迁居的从容散淡尽数铺展，尽显寄情林泉的隐逸意趣，晕开东方古典人文的温雅余韵。",[23,24,25,78,208,27,29,209,252,31,7,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff184a8f18e6d13ec3a08cbd9aea9857b.jpg",[215],{"id":2429,"slug":2430,"title":2431,"dynasty":18,"author":2094,"museum":548,"description":2432,"tags":2433,"thumbUrl":2435,"material":212,"size":104,"collection":104,"collections":2436,"showCount":2407,"zanCount":199,"manualWeight":11,"mainColor":48},214869,"wu-bai-luo-han-zhi-tian-tai-shi-qiao-tu-zhou-ji-chang-214869","五百罗汉之天台石桥图","五百罗汉之天台石桥图是一幅中国古代图画，出现在宋朝时期。这幅图画由周季常创作，被认为是宋朝时期艺术史上的里程碑。\n\n五百罗汉之天台石桥图描绘了一座天台山上的石桥。石桥上站着五百个罗汉（佛教中的圣者），他们身着鲜艳的衣服，戴着华丽的首饰，手执莲花，肩挎佛像。每个罗汉都有自己独特的特征和表情，表现出不同的心态和境界。图中还有云朵、山峦、树木等元素，构成了一幅美丽的图画。\n\n五百罗汉之天台石桥图被认为是宋朝艺术史上的里程碑，因为它标志着中国传统绘画艺术走向成熟和完善。这幅图画的细腻和逼真的写实，以及对人物特征和心理描写的深刻，让人们对宋朝艺术有了更加深入的了解和认识。",[23,24,25,100,1103,78,208,209,29,7,33,34,2434],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce180fb2ebcd4c0fe8a67a27cc9478a.jpg",[],{"id":2438,"slug":2439,"title":2440,"dynasty":112,"author":763,"museum":570,"description":2441,"tags":2442,"thumbUrl":2444,"material":2445,"size":2446,"collection":44,"collections":2447,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":68},224463,"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[23,24,29,27,26,78,2443,79,238,32,33,7,137,388,37],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[44,45],47,{"id":2450,"slug":2451,"title":2452,"dynasty":112,"author":938,"museum":97,"description":2453,"tags":2454,"thumbUrl":2455,"material":2456,"size":2457,"collection":44,"collections":2458,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":48},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,117,78,27,29,269,33,37,31,239,663,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[44,2036,88],{"id":2460,"slug":2461,"title":2462,"dynasty":18,"author":331,"museum":2463,"description":2464,"tags":2465,"thumbUrl":2466,"material":126,"size":2467,"collection":42,"collections":2468,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":68},219697,"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","辛辛那提艺术博物馆","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[23,24,25,876,208,78,209,29,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[42,215],{"id":2470,"slug":2471,"title":2472,"dynasty":18,"author":221,"museum":20,"description":2473,"tags":2474,"thumbUrl":2475,"material":212,"size":2476,"collection":42,"collections":2477,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":68},218852,"kong-shan-guan-pu-tu-yi-ming-218852","空山观瀑图","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[23,24,25,56,26,27,29,33,137,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[42],{"id":2479,"slug":2480,"title":2481,"dynasty":177,"author":525,"museum":20,"description":2482,"tags":2483,"thumbUrl":2484,"material":467,"size":2485,"collection":44,"collections":2486,"showCount":2448,"zanCount":11,"manualWeight":11,"mainColor":68},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,26,78,29,61,79,31,7,34,27,284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[44],{"id":2488,"slug":2489,"title":2490,"dynasty":95,"author":2491,"museum":114,"description":2492,"tags":2493,"thumbUrl":2494,"material":212,"size":2495,"collection":44,"collections":2496,"showCount":2448,"zanCount":199,"manualWeight":11,"mainColor":48},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","仿黄公望山水图","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[56,24,25,29,268,78,27,26,79,31,239,32,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[44],{"id":2498,"slug":2499,"title":2500,"dynasty":95,"author":2401,"museum":501,"description":2501,"tags":2502,"thumbUrl":2504,"material":780,"size":2505,"collection":44,"collections":2506,"showCount":2507,"zanCount":11,"manualWeight":11,"mainColor":68},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,57,78,29,27,26,35,7,31,37,34,58,2503,138,60],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[44,88],46,{"id":2509,"slug":2510,"title":2511,"dynasty":95,"author":2512,"museum":75,"description":2513,"tags":2514,"thumbUrl":2515,"material":2516,"size":2517,"collection":44,"collections":2518,"showCount":2507,"zanCount":11,"manualWeight":11,"mainColor":48},222418,"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","蒋嵩","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[23,24,25,100,26,78,29,59,209,31,7,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[44,45],{"id":2520,"slug":2521,"title":2522,"dynasty":95,"author":2523,"museum":20,"description":2524,"tags":2525,"thumbUrl":2542,"material":467,"size":2543,"collection":104,"collections":2544,"showCount":2507,"zanCount":11,"manualWeight":11,"mainColor":48},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","戴进","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,24,372,2526,26,2527,27,2528,2529,2530,1945,2531,31,2532,1571,164,2533,2534,350,165,7,2535,2536,2537,2538,2539,2540,2541],"兼工带写","浅设色","大斧劈皴","夹叶法","点叶法","归舟","山崖","溪桥","村舍","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 厘米",[],{"id":2546,"slug":2547,"title":2548,"dynasty":112,"author":763,"museum":281,"description":2549,"tags":2550,"thumbUrl":2551,"material":140,"size":2552,"collection":44,"collections":2553,"showCount":2507,"zanCount":11,"manualWeight":11,"mainColor":68},220415,"qiu-jing-shan-shui-tu-wang-hui-220415","秋景山水图","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,26,78,27,29,30,31,32,61,878,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[44],{"id":2555,"slug":2556,"title":203,"dynasty":95,"author":2303,"museum":688,"description":2557,"tags":2558,"thumbUrl":2559,"material":2560,"size":104,"collection":44,"collections":2561,"showCount":2507,"zanCount":11,"manualWeight":11,"mainColor":68},219099,"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,56,24,25,100,26,27,29,79,80,31,239,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[44],{"id":2563,"slug":2564,"title":2565,"dynasty":18,"author":148,"museum":20,"description":2566,"tags":2567,"thumbUrl":2568,"material":212,"size":2569,"collection":44,"collections":2570,"showCount":2507,"zanCount":11,"manualWeight":11,"mainColor":68},218822,"guan-shan-xing-lv-tu-li-tang-218822","关山行旅图","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,56,24,25,117,29,32,59,766,7,137,1060,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[44],{"id":2572,"slug":2573,"title":2574,"dynasty":112,"author":319,"museum":570,"description":2575,"tags":2576,"thumbUrl":2578,"material":104,"size":104,"collection":104,"collections":2579,"showCount":2580,"zanCount":199,"manualWeight":11,"mainColor":48},229009,"gao-gang-mao-wu-tu-zhou-gong-xian-229009","高岗茅屋图轴","《历代名画宣纸高清大图:龚贤高岗茅屋图》采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图描绘了江南山水，其笔墨劲利而苍厚潮润，苍翠欲滴。\n山石高悬，山随画活；湖水尽白，形成墨白对比，虚实相生。\n《历代名画宣纸高清大图:龚贤高岗茅屋图》由 出版。",[23,24,25,100,26,27,29,2577,595,31,7,164],"山岗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c33871e5f3f8e6492d8428c33b2d3a.jpg",[],45,{"id":2582,"slug":2583,"title":2584,"dynasty":95,"author":2585,"museum":97,"description":2586,"tags":2587,"thumbUrl":2588,"material":104,"size":104,"collection":104,"collections":2589,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":48},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","香山九老图","周臣","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,78,208,27,209,29,137,31,7,2282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":2591,"slug":2592,"title":2593,"dynasty":73,"author":2594,"museum":75,"description":2595,"tags":2596,"thumbUrl":2597,"material":722,"size":2598,"collection":44,"collections":2599,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":68},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","方从义","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[23,24,26,27,100,254,439,1060,29,59,32,31,7,34,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[44,45],{"id":2601,"slug":2602,"title":2603,"dynasty":95,"author":190,"museum":75,"description":2604,"tags":2605,"thumbUrl":2606,"material":85,"size":2607,"collection":44,"collections":2608,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":48},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,25,100,26,78,27,1060,254,29,30,31,239,165,285,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[44,45],{"id":2610,"slug":2611,"title":2612,"dynasty":95,"author":2613,"museum":161,"description":2614,"tags":2615,"thumbUrl":2617,"material":140,"size":2618,"collection":44,"collections":2619,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":48},220351,"shan-shui-he-juan-du-qiong-220351","山水合卷","杜琼","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[23,24,25,57,26,27,29,79,80,238,61,58,32,34,7,2616,209,254],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[44],{"id":2621,"slug":2622,"title":2623,"dynasty":112,"author":763,"museum":75,"description":2549,"tags":2624,"thumbUrl":2625,"material":126,"size":2626,"collection":44,"collections":2627,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":68},218367,"teng-bi-qiao-song-tu-wang-hui-218367","藤薜乔松图",[23,24,100,78,29,137,7,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4939b85389cc00563a2e6e13f75696e.jpg","45.4x20.5cm",[44],{"id":2629,"slug":2630,"title":2631,"dynasty":73,"author":221,"museum":20,"description":2632,"tags":2633,"thumbUrl":2635,"material":212,"size":2636,"collection":44,"collections":2637,"showCount":2580,"zanCount":11,"manualWeight":11,"mainColor":48},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[23,24,830,57,27,78,29,1569,608,61,165,32,878,2634,59,31,7],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[44],{"id":2639,"slug":2640,"title":2641,"dynasty":112,"author":718,"museum":97,"description":1933,"tags":2642,"thumbUrl":2643,"material":668,"size":669,"collection":104,"collections":2644,"showCount":2645,"zanCount":11,"manualWeight":11,"mainColor":68},289930,"dan-ya-ju-he-tu-zhou-shi-tao-289930","丹崖巨壑图轴",[24,25,26,27,29,7,137,37,209,439,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff090c35d7e1dcc8c4a08bd16d3b69000.jpg",[],44,{"id":2647,"slug":2648,"title":2649,"dynasty":18,"author":2650,"museum":97,"description":2651,"tags":2652,"thumbUrl":2657,"material":668,"size":669,"collection":104,"collections":2658,"showCount":2645,"zanCount":11,"manualWeight":11,"mainColor":48},288954,"xuan-cao-you-gou-tu-mao-yi-288954","萱草游狗图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[24,208,78,2653,2654,2655,7,226,2656],"花鸟画","狗","萱草","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4451ba617deffe2f59651d8c89fc4ce.jpg",[],{"id":2660,"slug":2661,"title":2662,"dynasty":112,"author":2663,"museum":97,"description":2664,"tags":2665,"thumbUrl":2666,"material":104,"size":104,"collection":44,"collections":2667,"showCount":2645,"zanCount":11,"manualWeight":11,"mainColor":48},237464,"xi-yuan-ya-ji-tu-zhou-zhang-ling-237464","西园雅集图轴","张翎","这幅全景式园林雅集图，以山石林木划分出数处雅聚小境。苍松虬劲、蕉竹扶苏，池苑溪桥蜿蜒其中。文人们三两成群，或围案观摩友人挥毫落墨，或凭栏远眺私语清谈，或坐卧林泉观鱼赏景，动静之间尽显林下风流。淡墨勾勒山石肌理，晕染出温润质感，枝叶点染细致秀逸，淡设色衬出雅致恬淡的氛围，将文人雅聚的闲散意趣与从容气度尽皆铺展于绢素之上，尽显古典文人群聚的清隽韵味。",[24,26,78,208,27,209,29,58,137,732,30,1687,31,7,1134,1685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[44,215],{"id":2669,"slug":2670,"title":2671,"dynasty":95,"author":1952,"museum":97,"description":2672,"tags":2673,"thumbUrl":2674,"material":2675,"size":2676,"collection":44,"collections":2677,"showCount":2645,"zanCount":11,"manualWeight":11,"mainColor":48},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,100,26,78,27,29,61,238,164,137,7,32,165,138,388,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[44,88],{"id":2679,"slug":2680,"title":2681,"dynasty":95,"author":1952,"museum":75,"description":2682,"tags":2683,"thumbUrl":2684,"material":168,"size":104,"collection":104,"collections":2685,"showCount":2686,"zanCount":199,"manualWeight":11,"mainColor":68},234107,"wen-dao-tu-juan-chen-hong-shou-234107","问道图卷","陈洪绶字章侯，号老莲，浙江诸暨人，明末清初画坛奇才。他的画既继承传统，又自辟乾坤，富有革新精神和独创风格，与当时居于北京的崔子忠齐名，有“南陈北崔”之称。他的人物画创作，上承六朝、盛唐的优良传统，又不为传统所囿，大胆创新，使衰微了近六百年的中国人物画再度复兴，打破了明末清初以山水花鸟画为主的格局，不仅在当时画坛独放异彩，其画风还深刻影响了此后近三百年的中国绘画。又以绣像人物插图闻名于世，所作《水浒叶子》《博古叶子》等酒牌，在民间广为流传，是古代版画史上的传世名作。",[24,56,25,57,208,348,209,29,31,7,732,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0aead138bc40c60ea9bc5ee98fc06ec.jpg",[],43,{"id":2688,"slug":2689,"title":2690,"dynasty":18,"author":331,"museum":20,"description":2691,"tags":2692,"thumbUrl":2693,"material":152,"size":2694,"collection":104,"collections":2695,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":68},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,25,372,208,27,78,766,31,269,7,439,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg","纵125.6厘米，横46.7厘米",[],{"id":2697,"slug":2698,"title":2699,"dynasty":95,"author":2700,"museum":570,"description":2701,"tags":2702,"thumbUrl":2703,"material":256,"size":2704,"collection":44,"collections":2705,"showCount":2686,"zanCount":260,"manualWeight":11,"mainColor":48},222386,"shi-jia-mu-ni-tu-zhou-ding-yun-peng-222386","释迦牟尼图轴","丁云鹏","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,24,56,100,1103,208,78,209,29,137,7,2225,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cc841ece026ee2bfb0bfd92cfa7b8b.jpg","140.7×58cm",[44,88],{"id":2707,"slug":2708,"title":2709,"dynasty":95,"author":425,"museum":75,"description":2710,"tags":2711,"thumbUrl":2713,"material":722,"size":2714,"collection":104,"collections":2715,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":68},222345,"tong-yin-qing-meng-tu-zhou-tang-yin-222345","桐荫清梦图轴","本幅行书自题七绝诗一首：“十里桐阴覆紫苔，先生闲试醉眠来；此生已谢功名念，清梦应无到古槐。唐寅画。”钤“吴趋”朱文圆印、“唐寅私印”白文方印、“唐阿大”朱文方印。鉴藏印有“松莲鑑定”白文方印、“东吴王莲泾藏书画记”朱文长方印等。\n《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。\n未见著录。",[23,24,25,100,26,1568,209,2712,138,2225,7],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f74a6824f94c71cbee55f1249e612.jpg","纵62厘米，横30.9厘米",[],{"id":2717,"slug":2718,"title":2719,"dynasty":773,"author":2720,"museum":2721,"description":2722,"tags":2723,"thumbUrl":2725,"material":104,"size":104,"collection":104,"collections":2726,"showCount":2686,"zanCount":260,"manualWeight":11,"mainColor":68},220551,"xi-shan-gu-song-bai-xu-bei-hong-220551","西山古松柏","徐悲鸿","中央美术学院美术馆","以苍劲笔触绘就古松柏，皴擦出躯干上的斑驳纹路，枯洞褶皱尽展百年风霜。虬枝探向长空，松针攒簇如墨团，尽显沉浑古拙的嶙峋意气。远景山峦以淡墨晕染，空濛如云烟，衬出古木的挺拔雄浑。山涧清溪穿石而过，水纹灵动柔婉，石畔点缀细草闲花，为森然古意添入秀润生机。将写实技法融入传统山水意境里，刚劲古木和灵秀溪山相生相融，铺展出幽寂苍莽的山林意趣，尽显古林历经岁月沉淀的沉静风骨。",[23,24,78,26,29,608,374,2724,32,7,27],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb974502207d48b0cf1049a77a0cd67.jpg",[],{"id":2728,"slug":2729,"title":2730,"dynasty":112,"author":1611,"museum":281,"description":2731,"tags":2732,"thumbUrl":2733,"material":140,"size":2734,"collection":44,"collections":2735,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":48},219710,"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","《天台异松图》清 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此图意写天台山水，山岩相叠，石桥飞架，怪松参差其间，飞泉直下，一老者隐居于此。巨壑皴写不繁，枯笔勾廓，以渴墨稍事皴擦，意境荒寒幽僻，深得元人气韵。\n图中左上角作者题款：天台异松，前人尝为之图，陆龟蒙记而赞之。曩从好事家见有摹本，未善也，因追以意图之。近闻异松已多归于冥漠。盖天地山川之奇，一经为尘眼所狎，自不能久。如此不觉兴慨也。鹰阿山天根樵夫本孝似君老道兄粲鉴，时丁卯长至。",[24,25,26,27,29,374,33,7,37,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c55221cddc6bd4a49aac3df454856d0.jpg","169.9×76.2cm",[44],{"id":2737,"slug":2738,"title":2739,"dynasty":95,"author":2740,"museum":205,"description":2741,"tags":2742,"thumbUrl":2743,"material":126,"size":2744,"collection":44,"collections":2745,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":68},217878,"zhou-li-yuan-shang-kuan-shen-ce-hu-yu-kun-217878","周栎园上款什册","胡玉昆","层岩叠嶂以劲挺线条勾勒，皴擦间显山石嶙峋之态；山间林木疏朗，掩映幽径，远处峰岫隐现，留白处生悠远之境。左侧题跋笔意洒脱，文句含蕴哲思，诗画交融间，墨色与心境共生。山石的刚健与林木的清逸相映，题跋的禅意与山水的空灵相契，尽显传统文人画诗书画印一体的雅韵，传递出静观自然、叩问本心的清雅情怀。笔锋流转处，既有山水的雄浑气象，又藏文人的细腻思致，于尺幅间铺展一幅融视觉与心境于一体的雅致画卷。",[56,24,25,26,27,1060,439,29,269,7,31,286,1746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e4408ed38bf72fc6032dc84cddd4e5.jpg","24.7x32.3cm",[44],{"id":2747,"slug":2748,"title":203,"dynasty":95,"author":221,"museum":205,"description":2749,"tags":2750,"thumbUrl":2751,"material":467,"size":2752,"collection":44,"collections":2753,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":48},214694,"shan-shui-tu-yi-ming-214694","这幅画描绘的是江村的一座古庙，深藏在一个大峡谷中，远处是风帆和山脉。这幅画没有标记，但仔细观察，其风格接近于浙江画派的蒋宋。",[23,24,26,27,29,59,137,7,166,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5ab4f76c39dddea71108f0742f713f.jpg","161.5x100",[44],{"id":2755,"slug":2756,"title":2757,"dynasty":112,"author":763,"museum":97,"description":2758,"tags":2759,"thumbUrl":2760,"material":668,"size":669,"collection":104,"collections":2761,"showCount":2762,"zanCount":11,"manualWeight":11,"mainColor":68},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,372,100,26,27,268,79,7,137,31,33,37,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],42,{"id":2764,"slug":2765,"title":2766,"dynasty":18,"author":2767,"museum":97,"description":2768,"tags":2769,"thumbUrl":2771,"material":104,"size":104,"collection":104,"collections":2772,"showCount":2762,"zanCount":199,"manualWeight":11,"mainColor":48},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","许道宁","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,56,24,25,100,78,29,209,251,1379,2770,31,7,631,766,27],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":2774,"slug":2775,"title":1600,"dynasty":73,"author":2776,"museum":20,"description":2777,"tags":2778,"thumbUrl":2779,"material":26,"size":2780,"collection":44,"collections":2781,"showCount":2762,"zanCount":11,"manualWeight":11,"mainColor":68},221789,"shan-shui-zhou-cao-zhi-bai-221789","曹知白","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[23,24,25,100,26,27,29,164,732,30,31,165,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 80x27.8公分、全幅 52.2公分",[44,45],{"id":2783,"slug":2784,"title":2785,"dynasty":18,"author":2786,"museum":20,"description":2787,"tags":2788,"thumbUrl":2790,"material":2791,"size":2792,"collection":42,"collections":2793,"showCount":2762,"zanCount":11,"manualWeight":11,"mainColor":68},221259,"yan-guan-gu-si-jia-shi-gu-221259","岩关古寺","贾师古","圖中夜幕將降，夕輝猶存，上半部完全空白，構圖學馬遠“一角”的形式。山石皴法，雜用短釘頭，長括鐵、小斧劈諸皴法，由於夕照偏西，山體黝黑，石塊畫得岐蹭堅凝。山端聳有幾棵羅漢青松和一批古杉，石骨披滿勁硬的山草，通幅上色，染以汁綠，山石的中央一段用赫石水亮出，遂覺森嚴氣氛中有了點媚柔態，這是作者創作部署獨具匠心處。",[23,56,24,25,117,208,78,27,29,7,137,2789,35,165],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd4bd45db684e8e12f58b035f0a870.jpg","絹本，設色","縱40.0×橫40.0公分",[42,44,45],{"id":2795,"slug":2796,"title":2797,"dynasty":95,"author":2798,"museum":205,"description":2799,"tags":2800,"thumbUrl":2801,"material":212,"size":104,"collection":215,"collections":2802,"showCount":2762,"zanCount":199,"manualWeight":11,"mainColor":48},219520,"pin-pang-tu-ni-duan-219520","聘庞图","倪端","此作以层叠山水铺就幽寂天地，远山含烟，峦峰隐现于苍莽雾气之中，将山野空阔清远之境晕染开来。近景虬木盘绕，怪石嶙峋，衬出山居的清僻冷寂。林间小径之上，聘者躬身示礼，姿态恭谨，高士神态澹然自若，将出世隐逸与入世招贤的意涵悄然对照。\n\n笔墨苍劲古雅，斧劈皴利落刻画山石肌理，枯木枝桠以折芦描写就，尽显萧寒苍劲。沉雅的设色晕开幽古氛围，以山川林泉烘托出林下高风，将先贤不慕荣利的襟怀藏于烟霞丘壑之间，院体画的精工与文人意趣相融，悠悠古意漫溢满幅。",[23,24,25,100,78,29,209,31,7,33,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50f6ffda585eb0f4926c5cca0a3fb74.jpg",[215,44],{"id":2804,"slug":2805,"title":2806,"dynasty":95,"author":2585,"museum":97,"description":2807,"tags":2808,"thumbUrl":2809,"material":104,"size":104,"collection":104,"collections":2810,"showCount":2811,"zanCount":199,"manualWeight":11,"mainColor":48},228364,"pi-lu-tu-zhou-chen-228364","辟纑图","此作取景分野有致，左幅铺陈烟水浩渺，林石隐现，漾出清旷空寂之境；右隅收拢于山居幽地，古松蟠虬，草堂依林而筑。\n笔墨承浙派风骨，山石斧劈皴利落苍硬，林木勾勒精细入微，敷色浅淡清和，衬出山林沉静底色。堂内主客对坐晤谈，侍女侧立随侍，将林下雅集的闲逸自适藏于方寸之间，山涧激流的动势与堂中悠然静气相融相生，尽显文人幽居林泉、寄情丘壑的雅致襟怀。",[23,24,78,208,27,29,209,31,7,32,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],41,{"id":2813,"slug":2814,"title":2815,"dynasty":95,"author":1661,"museum":75,"description":2816,"tags":2817,"thumbUrl":2818,"material":2111,"size":2819,"collection":44,"collections":2820,"showCount":2821,"zanCount":11,"manualWeight":11,"mainColor":695},239516,"shan-shui-ren-wu-juan-ye-cheng-239516","山水人物卷","图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[56,24,25,57,78,27,29,209,58,61,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7881e7ced23cbff7521abe14b902b9f.jpg","纵35cm，横290.3cm",[44],40,{"id":2823,"slug":2824,"title":2825,"dynasty":112,"author":1009,"museum":97,"description":2826,"tags":2827,"thumbUrl":2831,"material":168,"size":104,"collection":44,"collections":2832,"showCount":2821,"zanCount":11,"manualWeight":11,"mainColor":68},238970,"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[24,25,100,26,27,268,29,31,7,37,165,2828,2829,2830],"近景","中景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[44,45],{"id":2834,"slug":2835,"title":2836,"dynasty":95,"author":2837,"museum":97,"description":2838,"tags":2839,"thumbUrl":2840,"material":104,"size":104,"collection":170,"collections":2841,"showCount":2821,"zanCount":11,"manualWeight":11,"mainColor":48},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[24,25,100,78,208,119,1177,478,60,1535,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[170,88],{"id":2843,"slug":2844,"title":2845,"dynasty":112,"author":718,"museum":97,"description":2846,"tags":2847,"thumbUrl":2848,"material":104,"size":104,"collection":45,"collections":2849,"showCount":2821,"zanCount":11,"manualWeight":11,"mainColor":68},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[23,24,25,57,26,27,1060,439,29,269,7,31,165,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[45],{"id":2851,"slug":2852,"title":2853,"dynasty":112,"author":718,"museum":97,"description":2854,"tags":2855,"thumbUrl":2857,"material":104,"size":104,"collection":104,"collections":2858,"showCount":2859,"zanCount":199,"manualWeight":11,"mainColor":68},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[56,24,25,117,26,27,439,254,29,58,32,59,7,31,2856],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],39,{"id":2861,"slug":2862,"title":2863,"dynasty":95,"author":1952,"museum":570,"description":2864,"tags":2865,"thumbUrl":2868,"material":104,"size":104,"collection":104,"collections":2869,"showCount":2859,"zanCount":199,"manualWeight":11,"mainColor":48},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,25,100,208,78,348,209,920,2866,164,138,2867,30,31,7],"侍从","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":2871,"slug":2872,"title":2873,"dynasty":112,"author":500,"museum":75,"description":2874,"tags":2875,"thumbUrl":2877,"material":2878,"size":2879,"collection":170,"collections":2880,"showCount":2859,"zanCount":11,"manualWeight":11,"mainColor":48},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,25,100,208,78,29,1487,226,2876,33,32,7,31,732,1218],"蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 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色，其中包括了群山、河流、村庄以及各种植物。图中的人物也描绘得非常生动，展现了宋朝时期民间生活的细节。\n\n东山图被认为是宋朝时期艺术发展的里程碑之一，因为它展示了当时艺术家们对自然和人物的再现能力的提高。此外，这幅图画还被认为是中国古代图画艺术中的杰作，因为它将自然与人文相结合，展现了宋朝时期的文化和历史。",[23,24,100,208,78,27,29,209,608,1569,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87cef9696f4bfa990213eda1583a2f2e.jpg","175.2x88.2cm",[44],{"id":2956,"slug":2957,"title":2958,"dynasty":95,"author":221,"museum":114,"description":2959,"tags":2960,"thumbUrl":2963,"material":212,"size":2964,"collection":170,"collections":2965,"showCount":2907,"zanCount":11,"manualWeight":11,"mainColor":48},216672,"han-ting-yan-zhu-tu-yi-ming-216672","寒汀雁渚图","画面上画着泥滩，雪白的树枝，上面有三只鸟攥着树枝，摆动着，张着嘴，似乎在一起聊天。下面的两只鸭子似乎对这热闹的场面很着迷，一只鸭子歪着头往上看。",[23,24,25,119,78,208,60,2961,2962,164,641,7],"雁","寒滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d985ffc7d1d78047821ba4d079dffd9.jpg","152x65cm",[170],{"id":2967,"slug":2968,"title":2969,"dynasty":95,"author":2970,"museum":75,"description":2971,"tags":2972,"thumbUrl":2973,"material":2974,"size":2975,"collection":170,"collections":2976,"showCount":2977,"zanCount":11,"manualWeight":11,"mainColor":48},238080,"kong-que-tu-zhou-lin-liang-238080","孔雀图轴","林良","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[24,100,1746,1568,78,119,706,732,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe590349717b59f807870a3352f8323cd.jpg","绢本，墨笔","纵155.3厘米，横78厘米",[170,88],37,{"id":2979,"slug":2980,"title":2981,"dynasty":112,"author":896,"museum":20,"description":2982,"tags":2983,"thumbUrl":2984,"material":168,"size":2985,"collection":104,"collections":2986,"showCount":2977,"zanCount":11,"manualWeight":11,"mainColor":68},231527,"shi-jun-quan-jin-chi-xian-lang-shi-ning-231527","十骏犬金翅猃","郎世宁生于意大利，清康熙末年进入宫廷，郎世宁的《十犬图》轴十幅，每幅纵246.6厘米，横163.9厘米，由台北故宫博物院藏。画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[24,208,78,1829,226,374,778,7,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],{"id":2988,"slug":2989,"title":2990,"dynasty":95,"author":204,"museum":332,"description":2991,"tags":2992,"thumbUrl":2995,"material":2996,"size":2997,"collection":104,"collections":2998,"showCount":2977,"zanCount":11,"manualWeight":11,"mainColor":48},222212,"yu-di-tu-chou-ying-222212","渔笛图","图上一处波澜不惊的水域，四周群山环抱的幽静之地，有凉厅依山而建，一长者很随意坐于矮桌上，桌上有二本书，神态中若有所思； 远处一位头戴竹笠，吹着笛子悠闲的人坐于船头钓着鱼儿，享受着安然、静谧、自由自在的桃源生活。\n此图为细笔水墨画，近景树丛有四种央叶，和三种不同的点叶法，画面整饬而工细，山石主要以小斧劈皴来表现，用笔尖锐细劲，落笔重而收笔轻，笔致顿挫明显而富有节奏感，是一幅仇英仿制“院体”风格的山水画。仇英的画风，祖述南宋院体的李唐与刘松年，以善偏锋刷掠、勾写精工见长，此作便充分地体现了这一特色。",[23,24,208,78,29,31,239,59,336,32,209,7,2993,27,165,2994],"小船","岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":3000,"slug":3001,"title":3002,"dynasty":177,"author":3003,"museum":75,"description":3004,"tags":3005,"thumbUrl":3006,"material":3007,"size":3008,"collection":104,"collections":3009,"showCount":2977,"zanCount":11,"manualWeight":11,"mainColor":48},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,56,24,25,100,78,1103,209,226,238,119,225,962,7,1535,208,1775,1368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":3011,"slug":3012,"title":3013,"dynasty":112,"author":1441,"museum":75,"description":3014,"tags":3015,"thumbUrl":3016,"material":140,"size":3017,"collection":44,"collections":3018,"showCount":2977,"zanCount":11,"manualWeight":11,"mainColor":68},220138,"quan-sheng-song-se-tu-wu-li-220138","泉声松色图","整幅构图分远、中、近铺设，层次分明。山峦层层叠嶂;溪水，曲行贯穿;树木，更加苍劲。整个画面，以凝练的笔法，展现出山水间、自然界的浑重拙朴、深醇沉郁的气韵。皴法繁密，明暗分明。较之前面两幅，笔力显得更加雄浑，墨色更加酣畅，色彩对比更加强烈。整个画面，上上下下，有众多房屋，而不见人影;有桥梁，却无人来渡;除水声外，不见人声，不闻鸟鸣，一切处在自然界的凝静之中;远山近壑之上，铺设着一层雪的白色，虽有苍劲的“松色”似有增色，但同时告知我们，此时节尚处在寒冷之中。",[23,24,26,27,29,32,137,79,58,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 横38厘米",[44],{"id":3020,"slug":3021,"title":3022,"dynasty":18,"author":221,"museum":75,"description":3023,"tags":3024,"thumbUrl":3028,"material":710,"size":3029,"collection":104,"collections":3030,"showCount":3031,"zanCount":11,"manualWeight":11,"mainColor":48},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","摹顾恺之洛神赋图","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[56,24,25,57,268,348,78,208,209,3025,29,766,60,819,3026,3027,31,7,32,254,439],"龙","神仙","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],36,{"id":3033,"slug":3034,"title":3035,"dynasty":18,"author":359,"museum":20,"description":3036,"tags":3037,"thumbUrl":3045,"material":152,"size":3046,"collection":104,"collections":3047,"showCount":3031,"zanCount":11,"manualWeight":11,"mainColor":68},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,24,25,3038,117,26,27,29,608,30,138,61,35,164,7,1205,3039,318,3040,3041,3042,3043,1206,3044],"古画","传统绘画","山间景物","山水景观","石质山体","树木景观","皴笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg","30.2x31.8",[],{"id":3049,"slug":3050,"title":3051,"dynasty":95,"author":221,"museum":548,"description":3052,"tags":3053,"thumbUrl":3054,"material":212,"size":3055,"collection":170,"collections":3056,"showCount":3031,"zanCount":199,"manualWeight":11,"mainColor":48},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,25,26,78,208,27,1177,164,1569,79,7,33,32,1262,138,703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[170],{"id":3058,"slug":3059,"title":3060,"dynasty":112,"author":3061,"museum":75,"description":3062,"tags":3063,"thumbUrl":3065,"material":722,"size":3066,"collection":44,"collections":3067,"showCount":3068,"zanCount":11,"manualWeight":11,"mainColor":68},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","董邦达","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[24,26,78,27,29,374,79,376,61,31,209,286,388,7,3064],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[44,88],35,{"id":3070,"slug":3071,"title":3072,"dynasty":18,"author":53,"museum":97,"description":3073,"tags":3074,"thumbUrl":3076,"material":104,"size":104,"collection":104,"collections":3077,"showCount":3068,"zanCount":199,"manualWeight":11,"mainColor":48},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[56,24,25,57,26,27,29,269,607,31,59,2993,3075,7,271],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],{"id":3079,"slug":3080,"title":3081,"dynasty":112,"author":2412,"museum":20,"description":2413,"tags":3082,"thumbUrl":3083,"material":710,"size":3084,"collection":44,"collections":3085,"showCount":3068,"zanCount":260,"manualWeight":11,"mainColor":48},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[23,24,25,100,78,29,35,34,31,7,607,59,766,58,32,1834,27,631,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[44,88],{"id":3087,"slug":3088,"title":3089,"dynasty":95,"author":2700,"museum":570,"description":2701,"tags":3090,"thumbUrl":3091,"material":256,"size":2704,"collection":44,"collections":3092,"showCount":3068,"zanCount":11,"manualWeight":11,"mainColor":48},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,56,24,25,100,1103,208,78,209,29,137,7,705,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[44,88],{"id":3094,"slug":3095,"title":3096,"dynasty":112,"author":1009,"museum":20,"description":3097,"tags":3098,"thumbUrl":3099,"material":140,"size":3100,"collection":44,"collections":3101,"showCount":3068,"zanCount":11,"manualWeight":11,"mainColor":68},219892,"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[24,26,29,268,27,79,80,238,298,61,7,164,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[44],{"id":3103,"slug":3104,"title":203,"dynasty":112,"author":3105,"museum":97,"description":3106,"tags":3107,"thumbUrl":3109,"material":78,"size":104,"collection":44,"collections":3110,"showCount":3068,"zanCount":199,"manualWeight":11,"mainColor":48},219836,"shan-shui-tu-ren-xiong-219836","任熊","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[23,24,78,3108,27,29,269,31,37,7],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[44],{"id":3112,"slug":3113,"title":3114,"dynasty":73,"author":2594,"museum":2139,"description":3115,"tags":3116,"thumbUrl":3119,"material":140,"size":3120,"collection":44,"collections":3121,"showCount":3068,"zanCount":199,"manualWeight":11,"mainColor":68},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,25,57,26,27,439,1060,29,35,34,31,607,58,181,7,271,37,165,2828,1786,1568,3117,3118,254],"笔墨","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[44],{"id":3123,"slug":3124,"title":3125,"dynasty":95,"author":3126,"museum":114,"description":3127,"tags":3128,"thumbUrl":3129,"material":212,"size":104,"collection":170,"collections":3130,"showCount":3068,"zanCount":199,"manualWeight":11,"mainColor":48},216727,"lu-tu-zhou-yuan-216727","鹿图","周渊","周渊（1352年－1419年）是明朝时期的一位学者，他在明朝时期撰写了一本名为《鹿图》的书。这本书的主要内容是关于中国历史的，其中包括有关周渊所生存的时代的历史事件和人物的记录。周渊还编写了许多其他的书籍，其中包括《古今图书集成》、《汉学义谈》和《顺治图书》。周渊是明朝时期著名的历史学家和文学家，他在当时期对中国历史的研究和记录有着很大的贡献。",[24,100,78,208,226,225,238,778,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20428cbe62ec60d3b6feb86ebda3315c.jpg",[170],{"id":3132,"slug":3133,"title":3134,"dynasty":112,"author":1430,"museum":75,"description":3135,"tags":3136,"thumbUrl":3137,"material":195,"size":3138,"collection":44,"collections":3139,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":68},236364,"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[24,372,26,100,27,79,80,31,7,286,34,181,37,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[44,45,2036],34,{"id":3142,"slug":3143,"title":3144,"dynasty":73,"author":3145,"museum":75,"description":3146,"tags":3147,"thumbUrl":3148,"material":195,"size":3149,"collection":104,"collections":3150,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":68},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","秋江待渡图轴","盛懋","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[24,25,100,26,78,27,208,29,31,59,32,165,7,60,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg","纵112.5厘米，横46.3厘米",[],{"id":3152,"slug":3153,"title":3154,"dynasty":95,"author":2523,"museum":1762,"description":3155,"tags":3156,"thumbUrl":3157,"material":152,"size":3158,"collection":104,"collections":3159,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":48},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,25,100,26,78,29,209,137,32,7,27,608,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":3161,"slug":3162,"title":3163,"dynasty":73,"author":2211,"museum":97,"description":3164,"tags":3165,"thumbUrl":3166,"material":152,"size":3167,"collection":104,"collections":3168,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":48},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,56,24,57,78,27,29,79,31,209,251,226,60,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":3170,"slug":3171,"title":3172,"dynasty":73,"author":2594,"museum":20,"description":3173,"tags":3174,"thumbUrl":3175,"material":126,"size":3176,"collection":104,"collections":3177,"showCount":3140,"zanCount":199,"manualWeight":11,"mainColor":68},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[24,25,100,26,29,269,31,58,32,7,37,253,27,254,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":3179,"slug":3180,"title":3181,"dynasty":18,"author":148,"museum":97,"description":3182,"tags":3183,"thumbUrl":3184,"material":104,"size":104,"collection":104,"collections":3185,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":48},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,56,24,25,117,26,78,29,59,137,7,32,209,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":3187,"slug":3188,"title":3189,"dynasty":650,"author":221,"museum":97,"description":3190,"tags":3191,"thumbUrl":3194,"material":104,"size":104,"collection":104,"collections":3195,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":68},225299,"fu-shi-hui-20-yi-ming-225299","浮世绘20","以平远视角铺展幽谧山水，青绿与浅赭晕染层叠丘峦，远景丹峰隐现薄雾间。苍松错落点缀崖岸水畔，清劲枝条勾勒古拙苍劲的意态。蜿蜒水泽以留白代雾霭，将远近景致朦胧晕开，崖间飞瀑垂落，松林深处掩映山居小屋，暗合隐逸幽居的雅趣。\n\n敷色淡雅柔和，线条清简雅致，将山居逸趣融于山水之间，带着恬淡禅意，把林泉山水的空灵悠远定格于纸面，尽显东方山水美学里悠然出世的诗意。",[3192,78,3193,29,33,137,37,34,165,239,7,31,664,620],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":3197,"slug":3198,"title":3199,"dynasty":112,"author":1430,"museum":501,"description":3200,"tags":3201,"thumbUrl":3202,"material":3203,"size":3204,"collection":44,"collections":3205,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":48},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,78,27,29,35,31,137,595,37,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[44],{"id":3207,"slug":3208,"title":3209,"dynasty":112,"author":763,"museum":97,"description":3210,"tags":3211,"thumbUrl":3212,"material":104,"size":104,"collection":104,"collections":3213,"showCount":3140,"zanCount":260,"manualWeight":11,"mainColor":68},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,24,25,100,26,27,268,29,79,375,31,34,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":3215,"slug":3216,"title":3217,"dynasty":112,"author":265,"museum":20,"description":3218,"tags":3219,"thumbUrl":3220,"material":78,"size":3221,"collection":104,"collections":3222,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":68},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","仿王蒙山水轴","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,29,100,268,27,78,79,80,137,286,58,7,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":3224,"slug":3225,"title":3226,"dynasty":18,"author":148,"museum":20,"description":3227,"tags":3228,"thumbUrl":3229,"material":152,"size":3230,"collection":88,"collections":3231,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":48},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[23,24,56,25,100,208,78,252,226,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[88],{"id":3233,"slug":3234,"title":3235,"dynasty":112,"author":3236,"museum":20,"description":3237,"tags":3238,"thumbUrl":3243,"material":3244,"size":3245,"collection":88,"collections":3246,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":68},219439,"zhang-zhi-tian-xian-zhou-jin-ting-biao-219439","长至添线轴","金廷标","三仕女或立或蹲，围聚一处，纤指捻线穿针，神态专注。古松虬枝盘结，怪石嶙峋错落，梅梢疏影横斜，几点红萼点缀其间，清寂中透着雅致。笔触细劲流畅，衣袂飘举若流云，设色温润淡雅，将冬至添线的闺阁雅事凝为静谧时光片段。山石苍朴与仕女柔婉相映，草木疏朗与神情专注相衬，尽显传统生活里的闲情与温情，似能闻得针线轻捻的细碎声响，漫溢出岁月的静好。",[24,100,78,208,209,7,778,2867,3239,3240,1032,3241,3242,83,30],"古代服饰","庭院景致","细笔勾勒","设色淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ded8ec5791225f131ba582f53901274.jpg","设色,绢本","144.5x55.1",[88],{"id":3248,"slug":3249,"title":3250,"dynasty":95,"author":190,"museum":114,"description":3251,"tags":3252,"thumbUrl":3253,"material":126,"size":104,"collection":104,"collections":3254,"showCount":3140,"zanCount":11,"manualWeight":11,"mainColor":68},217032,"fang-gu-shan-shui-ce-liu-kai-3-dong-qi-chang-217032","仿古山水册六开-3","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,117,26,27,1060,439,254,29,238,7,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe610f6ed407a4bd2308e029df1f6c21f.jpg",[],{"id":3256,"slug":3257,"title":3258,"dynasty":177,"author":3259,"museum":97,"description":3260,"tags":3261,"thumbUrl":3263,"material":668,"size":669,"collection":104,"collections":3264,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":48},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,56,24,25,57,208,78,119,3262,707,60,298,124,7,479,439,254],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],33,{"id":3267,"slug":3268,"title":3269,"dynasty":95,"author":3270,"museum":75,"description":3271,"tags":3272,"thumbUrl":3273,"material":2058,"size":3274,"collection":44,"collections":3275,"showCount":3265,"zanCount":199,"manualWeight":11,"mainColor":68},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","王铎","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,25,100,26,27,29,269,31,37,34,7,271,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纵95厘米，横36.4厘米",[44,2036],{"id":3277,"slug":3278,"title":3279,"dynasty":112,"author":763,"museum":75,"description":2549,"tags":3280,"thumbUrl":3281,"material":3282,"size":3283,"collection":44,"collections":3284,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":68},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴",[24,100,26,27,29,79,33,31,239,37,7,271,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[44,45],{"id":3286,"slug":3287,"title":3288,"dynasty":73,"author":2894,"museum":1762,"description":3289,"tags":3290,"thumbUrl":3291,"material":152,"size":3292,"collection":44,"collections":3293,"showCount":3265,"zanCount":199,"manualWeight":11,"mainColor":68},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,25,26,27,100,79,33,37,7,31,32,30,35,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[44,45],{"id":3295,"slug":3296,"title":3297,"dynasty":112,"author":3298,"museum":20,"description":3299,"tags":3300,"thumbUrl":3302,"material":3303,"size":3304,"collection":215,"collections":3305,"showCount":3265,"zanCount":11,"manualWeight":11,"mainColor":68},219527,"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","丁观鹏","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[24,25,208,78,348,268,209,251,3301,29,238,61,631,7,254],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","设色,纸本","94.5X54.7cm",[215],{"id":3307,"slug":3308,"title":3309,"dynasty":650,"author":3310,"museum":97,"description":3311,"tags":3312,"thumbUrl":3313,"material":668,"size":669,"collection":104,"collections":3314,"showCount":3315,"zanCount":11,"manualWeight":11,"mainColor":68},287663,"kong-que-shan-niao-tu-an-dai-287663","孔雀山鸟图","岸岱","江户时代甲在画家的后半部分江户时期，天生的长子岸科马，他继承和发展了它作为第二代的岸信介派，清水，Dokokan等。",[23,24,119,208,78,706,60,7,124,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bf50ebc0c55ab4ee3830b455709460.jpg",[],32,{"id":3317,"slug":3318,"title":3319,"dynasty":112,"author":3320,"museum":97,"description":3321,"tags":3322,"thumbUrl":3323,"material":104,"size":104,"collection":104,"collections":3324,"showCount":3315,"zanCount":199,"manualWeight":11,"mainColor":68},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","蒋溥","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,25,57,29,26,78,79,754,137,7,439,1060,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":3326,"slug":3327,"title":3328,"dynasty":73,"author":221,"museum":75,"description":3329,"tags":3330,"thumbUrl":3331,"material":3332,"size":3333,"collection":104,"collections":3334,"showCount":3315,"zanCount":199,"manualWeight":11,"mainColor":48},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,25,100,29,268,27,26,78,35,31,1569,608,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","绢本墨笔","纵164厘米横105.3厘米",[],{"id":3336,"slug":3337,"title":3338,"dynasty":18,"author":221,"museum":75,"description":3339,"tags":3340,"thumbUrl":3341,"material":85,"size":3342,"collection":104,"collections":3343,"showCount":3315,"zanCount":11,"manualWeight":11,"mainColor":48},232880,"sou-shan-tu-yi-ming-232880","搜山图","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,56,24,57,208,78,209,226,900,29,31,7,60,3025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg","纵53.3厘米，横533厘米",[],{"id":3345,"slug":3346,"title":3347,"dynasty":95,"author":2970,"museum":97,"description":3348,"tags":3349,"thumbUrl":3352,"material":104,"size":104,"collection":104,"collections":3353,"showCount":3315,"zanCount":11,"manualWeight":11,"mainColor":48},228486,"shuang-ying-tu-lin-liang-228486","双鹰图","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,25,100,1746,26,1568,119,3350,1177,3351,732,1262,1218,7],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":3355,"slug":3356,"title":3357,"dynasty":112,"author":3358,"museum":20,"description":3359,"tags":3360,"thumbUrl":3363,"material":168,"size":3364,"collection":44,"collections":3365,"showCount":3315,"zanCount":3366,"manualWeight":11,"mainColor":48},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[56,24,25,100,26,27,29,3361,641,37,7,164,34,3362],"群峰","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[44],7,{"id":3368,"slug":3369,"title":3370,"dynasty":112,"author":1430,"museum":20,"description":3371,"tags":3372,"thumbUrl":3374,"material":168,"size":104,"collection":44,"collections":3375,"showCount":3376,"zanCount":199,"manualWeight":11,"mainColor":68},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,25,56,100,78,27,29,35,37,31,137,732,7,3373],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[44],31,{"id":3378,"slug":3379,"title":3380,"dynasty":112,"author":3381,"museum":97,"description":3382,"tags":3383,"thumbUrl":3384,"material":104,"size":104,"collection":44,"collections":3385,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":68},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,25,100,26,27,29,79,238,59,80,7,164,81,166,973,819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[44,45],{"id":3387,"slug":3388,"title":3389,"dynasty":112,"author":3390,"museum":75,"description":3391,"tags":3392,"thumbUrl":3393,"material":104,"size":104,"collection":44,"collections":3394,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":68},236184,"shan-shui-shan-mian-dong-gao-236184","山水扇面","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,1200,29,78,27,26,79,80,31,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[44],{"id":3396,"slug":3397,"title":3398,"dynasty":112,"author":3399,"museum":97,"description":3400,"tags":3401,"thumbUrl":3402,"material":104,"size":104,"collection":104,"collections":3403,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":68},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[24,25,1200,26,78,27,29,79,238,7,254,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":3405,"slug":3406,"title":3407,"dynasty":95,"author":3408,"museum":97,"description":3409,"tags":3410,"thumbUrl":3412,"material":104,"size":104,"collection":104,"collections":3413,"showCount":3376,"zanCount":129,"manualWeight":11,"mainColor":48},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,78,29,27,79,238,608,1569,80,59,7,2534,3411,2214,819,239],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":3415,"slug":3416,"title":3417,"dynasty":112,"author":938,"museum":75,"description":3418,"tags":3419,"thumbUrl":3420,"material":195,"size":3421,"collection":44,"collections":3422,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":68},224430,"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[23,24,25,100,26,27,29,79,80,31,7,58,32,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg","纵135厘米，横63厘米",[44],{"id":3424,"slug":3425,"title":3426,"dynasty":95,"author":425,"museum":75,"description":3427,"tags":3428,"thumbUrl":3429,"material":126,"size":3430,"collection":44,"collections":3431,"showCount":3376,"zanCount":11,"manualWeight":11,"mainColor":68},218333,"tong-shan-tu-tang-yin-218333","桐山图","图绘峭壁间长出桐树数株，其中一株横垂探水；石罅间有泉水汩汩流出，汇入平湖。湖面演漾，浩淼无边；远山逶迤而去。构图有南宋院体影响，皴染则化刚为柔，苍润而醇厚。\n自题：“吾闻淮水出桐山，古来贤哲产其间。君今自称亦私淑，渔钩须当借一湾。吴门唐寅作桐山图。”钤：“吴趋”朱文印、“唐伯虎”朱文印、“南京解元”朱文印。引首王鏊题“清樾吟窝”，拖尾有文徵明、袁袠、蔡羽、王宠、王穉登等十四家题跋。",[23,24,25,57,26,27,1060,29,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ee14b34e9f652e8869f5cb917cf77c.jpg","纵31.2厘米 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主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,24,78,27,29,209,1569,608,7,32,286,1746,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[44,88],{"id":3474,"slug":3475,"title":3476,"dynasty":18,"author":3477,"museum":97,"description":3478,"tags":3479,"thumbUrl":3482,"material":78,"size":3483,"collection":42,"collections":3484,"showCount":3444,"zanCount":11,"manualWeight":11,"mainColor":68},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,56,24,25,3480,372,78,27,29,31,210,209,37,7,165,3481],"宋代","林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[42,44,88],{"id":3486,"slug":3487,"title":3488,"dynasty":112,"author":319,"museum":161,"description":593,"tags":3489,"thumbUrl":3490,"material":168,"size":597,"collection":104,"collections":3491,"showCount":3444,"zanCount":199,"manualWeight":11,"mainColor":68},219852,"ba-jing-shan-shui-tu-5-gong-xian-219852","八景山水图-5",[24,26,27,29,7,31,60,61,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbddfe1b7d43fd1d3f803160a4402416a.jpg",[],{"id":3493,"slug":3494,"title":3495,"dynasty":112,"author":3496,"museum":20,"description":3497,"tags":3498,"thumbUrl":3500,"material":212,"size":3501,"collection":170,"collections":3502,"showCount":3444,"zanCount":11,"manualWeight":11,"mainColor":68},219389,"bai-ying-zhou-ai-qi-meng-219389","白鹰轴","艾启蒙","白鹰昂首立于岩巅，翎羽皎洁若初雪，纹理细密如织，双目炯炯透着凛凛锐气。旁侧红叶灼灼似燃，与苍劲山石相映，添几分艳色却不掩清旷。山石皴法古拙，枯枝虬劲，而白鹰造型写实入微，翎羽的轻盈与岩石的厚重形成张力。中西技法相融，既得禽鸟生动之态，又存传统山水的古雅意境。淡远的背景晕染出空濛，更衬出主体的傲然独立，整幅画气韵生动，尽显自然灵趣与生命的雄健风骨。",[24,100,78,208,3499,138,210,7,137,951,254],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11345bfb0ef7050087f410e403155550.jpg","179.2x95",[170],{"id":3504,"slug":3505,"title":3506,"dynasty":112,"author":1430,"museum":75,"description":3507,"tags":3508,"thumbUrl":3509,"material":104,"size":104,"collection":44,"collections":3510,"showCount":3511,"zanCount":11,"manualWeight":11,"mainColor":68},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[24,25,100,26,27,268,29,238,7,33,269,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[44,45],29,{"id":3513,"slug":3514,"title":3515,"dynasty":112,"author":718,"museum":75,"description":1291,"tags":3516,"thumbUrl":3517,"material":3518,"size":3519,"collection":104,"collections":3520,"showCount":3511,"zanCount":11,"manualWeight":11,"mainColor":68},233423,"yuan-ji-shan-shui-ce-shi-tao-233423","原济山水册",[24,25,117,26,27,29,138,608,137,239,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg","纸本 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ion":1514,"tags":3801,"thumbUrl":3803,"material":104,"size":104,"collection":104,"collections":3804,"showCount":3805,"zanCount":11,"manualWeight":11,"mainColor":68},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[24,25,117,26,27,268,29,164,608,138,7,3802,31,2067,254],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],24,{"id":3807,"slug":3808,"title":1600,"dynasty":112,"author":3809,"museum":75,"description":3810,"tags":3811,"thumbUrl":3812,"material":195,"size":3813,"collection":44,"collections":3814,"showCount":3805,"zanCount":11,"manualWeight":11,"mainColor":68},237121,"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[24,25,29,26,27,100,79,31,239,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[44],{"id":3816,"slug":3817,"title":3818,"dynasty":18,"author":331,"museum":97,"description":3819,"tags":3820,"thumbUrl":3822,"material":668,"size":669,"collection":104,"collections":3823,"showCount":3824,"zanCount":11,"manualWeight":11,"mainColor":48},289797,"yuan-yang-tu-ye-ma-yuan-289797","鸳鸯图页","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,119,298,32,7,3821,26,78,100],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F082b48348fe18d95b38f3aac9561cb8d.jpg",[],23,{"id":3826,"slug":3827,"title":3828,"dynasty":112,"author":3744,"museum":75,"description":3829,"tags":3830,"thumbUrl":3831,"material":168,"size":104,"collection":44,"collections":3832,"showCount":3824,"zanCount":11,"manualWeight":11,"mainColor":68},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,117,26,29,1060,27,31,239,7,254,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[44,88],{"id":3834,"slug":3835,"title":1600,"dynasty":112,"author":938,"museum":75,"description":3418,"tags":3836,"thumbUrl":3837,"material":195,"size":3421,"collection":104,"collections":3838,"showCount":3824,"zanCount":11,"manualWeight":11,"mainColor":68},234845,"shan-shui-zhou-wang-shi-min-234845",[56,24,26,100,29,27,79,238,137,239,37,7,33,35,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg",[],{"id":3840,"slug":3841,"title":3842,"dynasty":112,"author":1430,"museum":97,"description":3843,"tags":3844,"thumbUrl":3845,"material":104,"size":104,"collection":104,"collections":3846,"showCount":3824,"zanCount":11,"manualWeight":11,"mainColor":68},230194,"yun-he-song-yin-tu-wang-jian-230194","云壑松阴图","清王鉴云壑松荫图轴是清代时期的文物，现收藏于上海博物馆。\n王鉴（1598-1677），字元照，号湘碧、染香庵主，有“王廉州”之称，太仓（今江苏）人。\n山水以元四家为宗，用墨浓润，风格沉雄，“清初六家”之一。\n此图作于康熙乙卯(1675)，时年七十八岁。\n布局转折多姿，笔法细密灵活，画面显得滋润、整洁而明净。",[23,24,25,100,26,29,27,137,32,7,31,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7dcd1f06106fa7ea0da3e5cfff9089.jpg",[],{"id":3848,"slug":3849,"title":3850,"dynasty":18,"author":221,"museum":75,"description":3851,"tags":3852,"thumbUrl":3853,"material":168,"size":3854,"collection":44,"collections":3855,"showCount":3824,"zanCount":11,"manualWeight":11,"mainColor":48},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,24,25,57,268,26,27,29,238,33,7,61,32,209,138,58,164,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[44,45],{"id":3857,"slug":3858,"title":3859,"dynasty":18,"author":221,"museum":20,"description":3860,"tags":3861,"thumbUrl":3869,"material":467,"size":3870,"collection":104,"collections":3871,"showCount":3824,"zanCount":11,"manualWeight":11,"mainColor":48},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,25,100,78,208,252,226,164,3862,3863,7,83,3864,3865,3866,951,3867,2225,3868,1829],"杂草","平野","田野","水牛","犊牛","土坡","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":3873,"slug":3874,"title":3875,"dynasty":95,"author":190,"museum":3876,"description":3877,"tags":3878,"thumbUrl":3879,"material":117,"size":3880,"collection":104,"collections":3881,"showCount":3824,"zanCount":11,"manualWeight":11,"mainColor":104},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","香港中文大学文物馆","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,24,25,26,27,268,29,79,238,61,7,254,439,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg","30.5 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× 38.5 cm",[44],{"id":3902,"slug":3903,"title":3904,"dynasty":95,"author":3905,"museum":97,"description":3906,"tags":3907,"thumbUrl":3909,"material":668,"size":669,"collection":104,"collections":3910,"showCount":3911,"zanCount":199,"manualWeight":11,"mainColor":48},287943,"shan-que-shuang-tu-tu-li-yong-287943","山鹊双兔图","李鄘","李鄘（yōng）（？－820年9月14日 ），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[23,24,208,78,3908,60,608,7,2653,254],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],22,{"id":3913,"slug":3914,"title":3915,"dynasty":112,"author":3381,"museum":97,"description":3916,"tags":3917,"thumbUrl":3918,"material":668,"size":669,"collection":44,"collections":3919,"showCount":3911,"zanCount":11,"manualWeight":11,"mainColor":68},235092,"zheng-min-shan-shui-ce-zheng-min-235092","郑旼山水册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[24,25,117,26,27,1060,29,79,238,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[44,45],{"id":3921,"slug":3922,"title":3923,"dynasty":18,"author":148,"museum":75,"description":2260,"tags":3924,"thumbUrl":3925,"material":2263,"size":2264,"collection":104,"collections":3926,"showCount":3911,"zanCount":11,"manualWeight":11,"mainColor":68},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷",[23,24,25,57,26,78,208,27,209,29,31,7,1535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg",[],{"id":3928,"slug":3929,"title":3930,"dynasty":95,"author":204,"museum":20,"description":3931,"tags":3932,"thumbUrl":3935,"material":168,"size":3936,"collection":104,"collections":3937,"showCount":3911,"zanCount":11,"manualWeight":11,"mainColor":68},231376,"jiao-yin-jie-xia-chou-ying-231376","蕉阴结夏","此为一幅煌煌巨作，此图为仇英画粗笔之杰作：表现的是炎暑时节，士人于庭院内弹琴拨阮的闲情雅兴。图中画庭院中蕉石耸峙，后有苍筠数竿，清劲飘洒、远处的左侧画有巨块的岩石，岩石的右方画有几棵芭蕉树，树下偶有数块小石块，石块和树根部长满了杂草。画面的下部有二位长者席地而坐，左侧一长者在一旁专心致志地抚琴，右侧一位长者在洗耳恭听，神注专一。右画面的右上角有一女童正在扭首倾听琴声，弯着腰，双手持盏，旁侍后侧，被琴声吸引呆立不动。在长方的矮桌上，摆放一叠书卷，一篡一尊。从画面女童的姿态和神情看，似乎正在为两位长者作斟酒前的准备。\n此画构图简明开朗，只取近景，而将远景略省。人物居中主景位置，其后有竹、芭蕉及奇石穿插托衬。画面上的人物，须眉毕肖，神情各异，栩栩如生，其中尤以拨阮者之右手拨弦手式之描写，最能表现出力与美的感觉。故有别于一般山水中点景人物的遣貌取神。所画的人物，符合当时士大夫“优游林下”的生活情趣，主题极为鲜明。画笔沉着而活泼。构图疏密得当，色调柔和，远处的山石和芭蕉树采用写实手法，画笔疏放酣畅，格调闲适。画芭蕉，先以墨笔中锋勾勒，再赋染淡绿、淡青，蕉侧山石用侧势中锋，稍浓墨笔勾画轮廓，趁将干之际再迅以淡墨皴擦，并和水卧笔化染开，行笔疾速，充满水墨交融，淋漓畅快之感：画竹叶则于立竿之后，以浓淡墨和汁绿层层罩上，草以淡墨、淡绿画成，笔极挺拔。",[24,25,100,208,78,209,3933,732,7,2282,3934,1687],"芭蕉","石桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248b2bea1b45945cfa44c7abdd287616.jpg","纵279.1厘米，横99厘米",[],{"id":3939,"slug":3940,"title":3941,"dynasty":95,"author":425,"museum":548,"description":3942,"tags":3943,"thumbUrl":3945,"material":104,"size":104,"collection":104,"collections":3946,"showCount":3911,"zanCount":11,"manualWeight":11,"mainColor":68},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,25,57,29,78,26,1060,3944,254,27,79,80,61,238,7,754],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":3948,"slug":3949,"title":1067,"dynasty":112,"author":763,"museum":97,"description":3950,"tags":3951,"thumbUrl":3952,"material":104,"size":104,"collection":104,"collections":3953,"showCount":3911,"zanCount":11,"manualWeight":11,"mainColor":68},224453,"fu-chun-da-ling-tu-wang-hui-224453","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,24,25,100,78,29,27,269,34,31,37,7,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":3955,"slug":3956,"title":3957,"dynasty":18,"author":221,"museum":20,"description":3958,"tags":3959,"thumbUrl":3961,"material":3962,"size":3963,"collection":104,"collections":3964,"showCount":3911,"zanCount":11,"manualWeight":11,"mainColor":68},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,24,100,26,27,29,35,7,31,34,37,388,181,3960],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","纸本 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横29.2厘米",[],21,{"id":4015,"slug":4016,"title":4017,"dynasty":73,"author":221,"museum":97,"description":4018,"tags":4019,"thumbUrl":4021,"material":104,"size":104,"collection":104,"collections":4022,"showCount":4013,"zanCount":11,"manualWeight":11,"mainColor":48},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[23,24,25,100,26,27,29,209,374,33,7,32,4020],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],{"id":4024,"slug":4025,"title":4026,"dynasty":650,"author":221,"museum":97,"description":4027,"tags":4028,"thumbUrl":4031,"material":668,"size":669,"collection":104,"collections":4032,"showCount":4013,"zanCount":11,"manualWeight":11,"mainColor":48},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 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（1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[24,78,27,100,29,31,7,33,239,1304,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[44,45],{"id":4079,"slug":4080,"title":4081,"dynasty":112,"author":221,"museum":97,"description":4082,"tags":4083,"thumbUrl":4084,"material":104,"size":104,"collection":104,"collections":4085,"showCount":4062,"zanCount":11,"manualWeight":11,"mainColor":68},235159,"hong-ren-shan-shui-ce-yi-ming-235159","弘仁山水册","此作诗书合璧，意韵清寂淡远。画面中山石以淡墨轻勾慢皴，简劲利落，危崖垂瀑，涧水泠泠仿佛可闻，旁侧古木疏朗，枝叶简净，留白铺就出悠远天地，尽显萧疏空灵。\n\n题笔书法清隽挺秀，与山水意趣相融，暗合林泉幽怀。整幅以极简笔墨写尽山川风骨，冷静出尘的禅意溢满尺幅，将山野间苍岩古渡的幽寂之境凝于纸面，尽显文人山水寄情丘壑的雅逸，藏着独与天地精神往来的林下襟怀。",[24,25,117,26,27,439,254,29,33,31,7,32,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e7428e9559f5e031d87ab5bba48b8a.jpg",[],{"id":4087,"slug":4088,"title":4089,"dynasty":112,"author":4090,"museum":75,"description":4091,"tags":4092,"thumbUrl":4093,"material":256,"size":4094,"collection":44,"collections":4095,"showCount":4062,"zanCount":11,"manualWeight":11,"mainColor":68},233918,"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,26,27,117,29,61,31,7,209,254,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[44,170],{"id":4097,"slug":4098,"title":4099,"dynasty":18,"author":1772,"museum":1451,"description":4100,"tags":4101,"thumbUrl":4102,"material":710,"size":4103,"collection":104,"collections":4104,"showCount":4062,"zanCount":199,"manualWeight":11,"mainColor":48},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,56,24,25,100,1103,78,208,209,164,32,7,1249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":4106,"slug":4107,"title":4108,"dynasty":112,"author":4109,"museum":97,"description":4110,"tags":4111,"thumbUrl":4112,"material":104,"size":104,"collection":104,"collections":4113,"showCount":4062,"zanCount":11,"manualWeight":11,"mainColor":68},226633,"si-shi-shan-shui-06-pu-ru-226633","四时山水06","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,25,117,26,27,29,269,31,7,32,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a07a1da90f3721a821c6ce420630cd0.jpg",[],{"id":4115,"slug":4116,"title":4117,"dynasty":18,"author":4118,"museum":20,"description":4119,"tags":4120,"thumbUrl":4121,"material":63,"size":4122,"collection":2036,"collections":4123,"showCount":4062,"zanCount":11,"manualWeight":11,"mainColor":68},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","武元直","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀。",[23,24,25,57,29,26,27,439,1060,269,2151,59,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg","纵50.8厘米，横136.4厘米",[2036],{"id":4125,"slug":4126,"title":4127,"dynasty":112,"author":1430,"museum":161,"description":4128,"tags":4129,"thumbUrl":4130,"material":140,"size":4131,"collection":104,"collections":4132,"showCount":4062,"zanCount":11,"manualWeight":11,"mainColor":68},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[56,24,25,29,268,27,26,641,79,238,137,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg","纵55.4厘米，横36.0厘米",[],{"id":4134,"slug":4135,"title":2603,"dynasty":95,"author":190,"museum":75,"description":4136,"tags":4137,"thumbUrl":4138,"material":85,"size":2607,"collection":44,"collections":4139,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[24,25,100,29,27,26,35,31,137,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg",[44],{"id":4141,"slug":4142,"title":1600,"dynasty":112,"author":4143,"museum":75,"description":4144,"tags":4145,"thumbUrl":4146,"material":104,"size":104,"collection":44,"collections":4147,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":48},236413,"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[24,25,100,26,27,29,269,33,31,239,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[44,45],{"id":4149,"slug":4150,"title":4151,"dynasty":112,"author":4152,"museum":97,"description":4153,"tags":4154,"thumbUrl":4155,"material":104,"size":104,"collection":104,"collections":4156,"showCount":67,"zanCount":199,"manualWeight":11,"mainColor":68},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","奚冈","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[24,100,26,27,29,7,31,239,37,165,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":4158,"slug":4159,"title":1440,"dynasty":112,"author":4160,"museum":75,"description":4161,"tags":4162,"thumbUrl":4164,"material":195,"size":4165,"collection":104,"collections":4166,"showCount":67,"zanCount":199,"manualWeight":11,"mainColor":68},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","程正揆","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,25,100,26,27,78,29,31,33,30,239,37,7,61,254,4163],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":4168,"slug":4169,"title":4170,"dynasty":73,"author":221,"museum":20,"description":4171,"tags":4172,"thumbUrl":4173,"material":4174,"size":4175,"collection":104,"collections":4176,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":48},231399,"qiu-shan-tu-yi-ming-231399","秋山图","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[24,25,29,27,26,78,79,238,32,30,878,7,491,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 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× 550.4厘米",[],{"id":4224,"slug":4225,"title":4226,"dynasty":18,"author":4227,"museum":548,"description":4228,"tags":4229,"thumbUrl":4230,"material":212,"size":4231,"collection":104,"collections":4232,"showCount":67,"zanCount":199,"manualWeight":11,"mainColor":68},216915,"xiang-shan-jiu-lao-tu-7-ma-xing-zu-216915","香山九老图-7","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,25,208,78,209,29,298,608,32,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996c941b8274f0bb1a5f2f589e1f3156.jpg","27.1x217.2",[],{"id":4234,"slug":4235,"title":294,"dynasty":95,"author":948,"museum":97,"description":4236,"tags":4237,"thumbUrl":4238,"material":668,"size":669,"collection":104,"collections":4239,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":48},290357,"hua-niao-zhou-bian-wen-jin-290357","边文进，字景昭，福建沙县人。诸画史皆谓为陇西（今甘肃）人。盖边姓旧出陇西，题款或署其故郡，遂至传讹。与吕纪齐名。\n永乐（一四○三至一四二四）间召至京师授武英殿待诏。至宣德（一四二六至一四三五）间仍供事内殿。为人夷旷洒落，善绘事，尤精于花鸟。花之娇藉，不但钩勒有笔，其用墨无不合宜。宋、元之后殆其人矣。有三友百泰图见故宫名画集。《图绘宝鉴续纂、沙县志、延平县志、明画录、无声诗史、四友斋丛说》。所画的翎毛与蒋子诚的人物、赵廉的虎，曾被称为“禁中三绝”。",[56,24,100,78,208,119,60,961,298,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a3ee1072252e0d382d34781d0c558d.jpg",[],18,{"id":4242,"slug":4243,"title":1600,"dynasty":112,"author":4244,"museum":75,"description":4245,"tags":4246,"thumbUrl":4248,"material":2058,"size":4249,"collection":44,"collections":4250,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":68},236309,"shan-shui-zhou-weng-song-nian-236309","翁嵩年","翁嵩年（1648—1730年），字康饴，号萝轩,钱塘（今浙江杭州）人。清康熙年间进士，官户部主事，善画山水，气质古雅疏拙。著有《天香书屋稿》、《白云山房集》、《友石居集》。",[56,24,25,100,26,27,29,30,32,164,31,7,4247],"河道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[44,45,2036],{"id":4252,"slug":4253,"title":4254,"dynasty":95,"author":221,"museum":97,"description":4255,"tags":4256,"thumbUrl":4257,"material":668,"size":669,"collection":104,"collections":4258,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":68},234970,"qian-gu-hou-chi-bi-tu-shan-ye-yi-ming-234970","钱穀后赤壁图扇页","此作用泥金扇面为底，左畔危岩崚嶒，以硬朗线条勾勒山石轮廓，淡墨皴擦出嶙峋肌理，枯木虬枝错杂，苍劲尽显萧索秋意。右方留白作平湖，汀渚隐现，淡墨晕染远山，空濛悠远，暗合赤壁夜游的清旷之境。边角小字题款，书画相映，笔墨简澹却意韵悠长，将初冬泛舟的幽寂旷达，凝缩在咫尺扇面间，尽显文人山水的隐逸意趣，古雅沉静，余味悠然。",[1200,24,25,26,27,29,164,7,607,270,439,1060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc72bfe96b7ed4a3d63fff780dbb8b03a.jpg",[],{"id":4260,"slug":4261,"title":4262,"dynasty":73,"author":4263,"museum":75,"description":4264,"tags":4265,"thumbUrl":4267,"material":2974,"size":4268,"collection":104,"collections":4269,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":683},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”。",[24,372,100,27,26,440,79,2006,31,137,30,4266,1304,7,641],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","纵：125.4厘米，横：57.2厘米",[],{"id":4271,"slug":4272,"title":4273,"dynasty":650,"author":651,"museum":97,"description":652,"tags":4274,"thumbUrl":4283,"material":668,"size":669,"collection":670,"collections":4284,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":695},226083,"the-manneporte-1883-mo-nai-226083","The Manneporte, 1883",[654,655,4275,4276,4277,4278,4279,4280,7,664,4281,4282],"光影捕捉","色彩交融","笔触松散","悬崖拱门","海浪","海水","浪花","海岸地貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1a7b738441d77bb6c0745fc57aa1b1.jpg",[670],{"id":4286,"slug":4287,"title":4288,"dynasty":650,"author":651,"museum":97,"description":652,"tags":4289,"thumbUrl":4293,"material":668,"size":669,"collection":670,"collections":4294,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":68},225979,"low-tide-at-varengeville-02-1882-mo-nai-225979","Low Tide at Varengeville 02, 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钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[56,24,25,100,372,78,27,268,79,165,877,137,704,33,32,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":4304,"slug":4305,"title":4306,"dynasty":112,"author":763,"museum":20,"description":4307,"tags":4308,"thumbUrl":4309,"material":63,"size":104,"collection":104,"collections":4310,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":695},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,25,372,78,27,254,439,1060,29,31,210,766,33,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":4312,"slug":4313,"title":4314,"dynasty":112,"author":4315,"museum":97,"description":4316,"tags":4317,"thumbUrl":4318,"material":104,"size":104,"collection":44,"collections":4319,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":68},223248,"shan-shui-1-pu-hua-223248","山水1","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,25,100,26,78,27,29,79,238,137,7,34,209,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[44,45],{"id":4321,"slug":4322,"title":4323,"dynasty":95,"author":221,"museum":4324,"description":4325,"tags":4326,"thumbUrl":4328,"material":4327,"size":104,"collection":104,"collections":4329,"showCount":4240,"zanCount":199,"manualWeight":11,"mainColor":48},222150,"fu-hui-dong-yi-ming-222150","赴会东","法海寺","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,4327,1103,78,208,209,754,2184,29,31,607,7],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedf582a554b3556230ac7d6e2ef4fa2.jpg",[],{"id":4331,"slug":4332,"title":4333,"dynasty":73,"author":4334,"museum":281,"description":4335,"tags":4336,"thumbUrl":4337,"material":710,"size":4338,"collection":44,"collections":4339,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":48},221864,"gu-hu-heng-jiang-tu-zhao-yong-221864","孤隺横江图","赵雍","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,24,26,78,1200,27,29,59,608,209,1337,165,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa61b15cb42e538616214b20fadc245b.jpg","26x25cm",[44,88],{"id":4341,"slug":4342,"title":4343,"dynasty":112,"author":1705,"museum":75,"description":4344,"tags":4345,"thumbUrl":4346,"material":168,"size":4347,"collection":104,"collections":4348,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":68},220324,"huang-shan-tu-ce-6-hong-ren-220324","黄山图册-6","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,26,29,117,27,269,137,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444eb2f5d664d438978d3574031f3a9d.jpg","21.5x18.3厘米",[],{"id":4350,"slug":4351,"title":203,"dynasty":112,"author":4352,"museum":114,"description":4353,"tags":4354,"thumbUrl":4355,"material":467,"size":4356,"collection":44,"collections":4357,"showCount":4240,"zanCount":11,"manualWeight":11,"mainColor":48},220066,"shan-shui-tu-zha-shi-biao-220066","査士标","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[24,25,100,26,27,29,58,32,61,60,31,7,374,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[44],{"id":4359,"slug":4360,"title":4361,"dynasty":18,"author":4362,"museum":20,"description":4363,"tags":4364,"thumbUrl":4366,"material":212,"size":4367,"collection":104,"collections":4368,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},290324,"shi-quan-bao-xi-zhou-lin-chun-290324","十全报喜轴","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。",[24,56,100,119,208,78,60,374,298,7,778,4365],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e4eb9e64c0112fda03b22f51f0d9e8.jpg","173.2x97.6",[],{"id":4370,"slug":4371,"title":4372,"dynasty":18,"author":221,"museum":97,"description":4373,"tags":4374,"thumbUrl":4375,"material":104,"size":104,"collection":104,"collections":4376,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},238128,"luo-shen-tu-juan-yi-ming-238128","洛神图卷","此作用苍古笔墨铺展川山林壑，晨日悬于崖巅，凌波洛神在水一方，衣袂翩跹回望，对岸侍从簇拥车驾，尽是怅然伫立的惘然。\n\n整卷将辞赋里的缱绻离思融于山水之间，人物意态传神，布景疏密相宜，山石皴擦朴拙苍劲，林木蓊郁幽深，把洛水之别欲留不得的哀婉，晕染在荒寂的川泽烟岚中，尽显古风雅韵，将文辞里的缥缈深情化为可视的丹青愁绪。",[24,25,57,78,208,27,254,1060,209,29,31,7,607,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2387f98ad2c240c9075e91a659cd6878.jpg",[],{"id":4378,"slug":4379,"title":4380,"dynasty":95,"author":4381,"museum":97,"description":4382,"tags":4383,"thumbUrl":4385,"material":668,"size":669,"collection":104,"collections":4386,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},237798,"qiu-xi-you-ting-tu-shan-wang-cheng-237798","秋溪游艇图扇","汪澄","[明]字潜然，徽州（今安徽歙县）人，工画。《画史会要》",[24,1200,26,78,27,29,4384,37,59,209,7,165,166,31,819],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321caa0ed147ef8daab802eb0b0aea1.jpg",[],{"id":4388,"slug":4389,"title":4081,"dynasty":112,"author":1705,"museum":97,"description":4390,"tags":4391,"thumbUrl":4392,"material":668,"size":669,"collection":104,"collections":4393,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":68},235618,"hong-ren-shan-shui-ce-hong-ren-235618","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[24,25,26,27,29,79,31,7,165,37,117,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021ea63838bc3efca94154ace5f3e90a.jpg",[],{"id":4395,"slug":4396,"title":4397,"dynasty":112,"author":4398,"museum":97,"description":4399,"tags":4400,"thumbUrl":4402,"material":668,"size":669,"collection":104,"collections":4403,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":68},235528,"cai-sang-tu-zhou-min-zhen-235528","采桑图轴","闵贞","闵贞（1730--1788年）字正斋，湖北武穴人，扬州八怪之一。其画学明代吴伟，善画山水、人物、花鸟，多作写意，笔墨奇纵，偶有工笔之作。人物画最具特色，线条简练自然，形神逼肖。传世作品有《蕉石图》《花卉图》等。",[24,100,26,348,209,238,7,4401],"桑叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6824a5da2c4646ec33ce68ffdaee5241.jpg",[],{"id":4405,"slug":4406,"title":4407,"dynasty":95,"author":221,"museum":97,"description":4408,"tags":4409,"thumbUrl":4410,"material":104,"size":104,"collection":104,"collections":4411,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,24,57,268,27,78,29,238,7,32,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":4413,"slug":4414,"title":4415,"dynasty":73,"author":221,"museum":97,"description":4416,"tags":4417,"thumbUrl":4418,"material":104,"size":104,"collection":104,"collections":4419,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},228190,"jin-bi-shan-shui-ye-yi-ming-228190","金碧山水页","此作以青绿晕染崖壁，石面肌理苍然古朴，崖巅古木虬曲横斜，丹红叶色点破秋日山岑的清寂。左侧林木扶苏，深浅墨色糅合淡青，尽显层叠苍润之意。\n\n溪山之间，策蹇行者徐行山道，林畔立者似在问询，山野幽居的闲适意趣随画面铺展。构图疏密有致，空阔留白予人遐想余地，设色古雅沉静，将秋日山林的萧散淡远晕染尽致，以小景见丘壑深致，尽显寄情林泉的元人山水意韵。",[24,25,117,78,3108,29,31,251,209,7,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cb32e3f645aa67e7806a281a54bc9d.jpg",[],{"id":4421,"slug":4422,"title":4423,"dynasty":650,"author":221,"museum":97,"description":4424,"tags":4425,"thumbUrl":4428,"material":104,"size":104,"collection":104,"collections":4429,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":68},225305,"fu-shi-hui-32-yi-ming-225305","浮世绘32","这幅山水绘以平远视角铺展幽寂景致，澄澈湖水切割出错落洲渚，岩崖间白练飞瀑垂落，晕开一汪幽潭清涟。苍劲虬曲的古松或孤植洲头，或茂生崖畔，隐在云霭间的山居添了悠然野趣。\n\n远景淡青山峦托着朱色浅丘，与靛蓝湖水相映，留白如轻烟岚雾层层推开空间，糅合装饰性与写意感。明快柔和的石青、草绿晕染出温润生机，凝练利落的线条勾勒林泉肌理，将幽寂禅意融于湖光山色，尽显日式山水绘的空灵悠远，复刻出侘寂闲静的自然之趣。",[3192,3193,78,29,32,137,33,34,239,4426,7,4427],"湖泊","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc601009e26987e67a465c679f8627.jpg",[],{"id":4431,"slug":4432,"title":2490,"dynasty":112,"author":763,"museum":97,"description":4433,"tags":4434,"thumbUrl":4435,"material":104,"size":104,"collection":104,"collections":4436,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":68},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,24,25,100,78,27,29,31,7,37,165,34,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":4438,"slug":4439,"title":4440,"dynasty":18,"author":221,"museum":20,"description":4441,"tags":4442,"thumbUrl":4443,"material":212,"size":104,"collection":44,"collections":4444,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":68},218716,"song-yan-fan-yu-tu-yi-ming-218716","松岩梵宇图","松枝盘曲如老龙，皴石嶙峋见骨力，梵宇藏于岩岫间，云霭轻笼似纱。墨色浓淡相宜，远山含黛隐于雾，近树苍劲立崖边，虚实相生间禅意漫溢。左幅题字笔力沉雄，与山水清旷相映，文墨丘壑共生，尽显宋画雅致深邃。山间静谧似闻松风与梵呗相和，引人入悠远之境，品宋人的山水情怀与禅心。画面以简驭繁，留白处藏无限意蕴，山石勾勒见笔意，云雾晕染显空灵，将自然之幽与禅院之静融于尺幅，是宋画中以景寄情、以境传心的典型之作。",[23,56,24,25,26,27,818,78,29,137,7,766,35,31,3897,1103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbba243fe3e1bbc45815b76974c6d5b3.jpg",[44],{"id":4446,"slug":4447,"title":4448,"dynasty":95,"author":2700,"museum":97,"description":4449,"tags":4450,"thumbUrl":4451,"material":104,"size":104,"collection":44,"collections":4452,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},237548,"han-yan-fei-pu-zhou-ding-yun-peng-237548","寒岩飞瀑轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,100,26,29,1147,1164,164,137,7,32,1148,27,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfb54d7727b890b82438801fe3408aa.jpg",[44],{"id":4454,"slug":4455,"title":4456,"dynasty":112,"author":763,"museum":75,"description":2549,"tags":4457,"thumbUrl":4458,"material":2058,"size":4459,"collection":44,"collections":4460,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},236392,"shuang-ke-yuan-xiu-zhou-wang-hui-236392","霜柯远岫轴",[24,100,26,27,29,137,732,7,165,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfe4fa93bccb217c8fe4cc2f1d15155.jpg","纵74.3cm，横30.6cm",[44,45],{"id":4462,"slug":4463,"title":1504,"dynasty":95,"author":4464,"museum":75,"description":4465,"tags":4466,"thumbUrl":4467,"material":3282,"size":4468,"collection":104,"collections":4469,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},236328,"shan-shui-ce-song-xu-236328","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,26,27,117,29,32,138,608,209,7,165,1593,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e79ad6a3590e82867bbf6b58c0e8bd1.jpg","纵31cm，横42cm",[],{"id":4471,"slug":4472,"title":1504,"dynasty":112,"author":4473,"museum":97,"description":4474,"tags":4475,"thumbUrl":4478,"material":104,"size":104,"collection":104,"collections":4479,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},235166,"shan-shui-ce-zhu-da-235166","朱耷","此作以极简笔墨营构幽寂天地，左侧危崖突兀，枯松虬曲苍劲，崖石以淡墨勾勒皴擦，笔意老辣疏简。山坳间几椽茅舍错落隐现，淡写山乡野逸之态。\n画面大半留白，以虚代实，将江天寥廓空茫尽数铺展，留白处的题款与朱红印章冷暖相映，让素净画面多了一丝沉凝意蕴。\n笔底无多，却以疏淡荒寒之境藏尽孤高萧索的心境，把文人沉郁风骨融于山川丘壑，淡远空灵间，尽显水墨造境的悠长余韵。",[24,25,56,26,4476,27,4477,29,31,239,7,165,254],"简笔","册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a3803585d8cad8fc59bea54486cdb2.jpg",[],{"id":4481,"slug":4482,"title":4483,"dynasty":112,"author":4160,"museum":75,"description":4484,"tags":4485,"thumbUrl":4486,"material":256,"size":4487,"collection":104,"collections":4488,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},234139,"wo-you-tu-juan-cheng-zheng-kui-234139","卧游图卷","“卧游”一语出自南朝刘宋时期（420—479年）的画家宗炳，他平生喜好出游，后因病而隐居，于是他将自己游历过的地方画成图画，悬于室内观赏，自谓“卧以游之”。1642年， 39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[23,24,25,57,26,29,27,439,1060,254,79,80,31,61,58,32,59,7,239,1304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":4490,"slug":4491,"title":4492,"dynasty":112,"author":3744,"museum":75,"description":4493,"tags":4494,"thumbUrl":4495,"material":195,"size":4496,"collection":104,"collections":4497,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},233871,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233871","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,26,372,117,27,79,80,61,137,164,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445edf7b1c27c418f24ac44e35eb046f.jpg","纵32.8cm，横52.8cm",[],{"id":4499,"slug":4500,"title":4501,"dynasty":95,"author":425,"museum":75,"description":4502,"tags":4503,"thumbUrl":4504,"material":1616,"size":4505,"collection":104,"collections":4506,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,25,117,26,78,29,31,766,7,1134,58,439,1060,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg","纵26.2厘米，横23.9厘米",[],{"id":4508,"slug":4509,"title":4510,"dynasty":95,"author":4511,"museum":1762,"description":4512,"tags":4513,"thumbUrl":4514,"material":168,"size":4515,"collection":104,"collections":4516,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},231943,"fang-ni-yun-lin-qiu-xia-tu-lu-zhi-231943","仿倪云林秋霞图","陆治","秋色画阔，长堤深幽，幽幽幽幽，寂静无声。 晚年山水杰作。",[23,24,830,100,27,29,35,37,164,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99a4c833b694c49f7fa5fbf3c4a1a23d.jpg","109.1x45.8厘米",[],{"id":4518,"slug":4519,"title":4520,"dynasty":650,"author":4521,"museum":97,"description":4522,"tags":4523,"thumbUrl":4526,"material":668,"size":669,"collection":104,"collections":4527,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},230646,"you-hua-titian-landscape-with-st-theodore-overcoming-the-dragon-google-art-project-ti-xiang-230646","油画-Titian---Landscape-with-St.-Theodore-Overcoming-the-Dragon---Google-Art-Project","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[655,4524,1103,209,3025,226,29,662,31,665,7,4525],"素描","风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cb8dcd1c64b95edbfe31e5fad71dc4.jpg",[],{"id":4529,"slug":4530,"title":762,"dynasty":112,"author":763,"museum":97,"description":4531,"tags":4532,"thumbUrl":4533,"material":104,"size":104,"collection":104,"collections":4534,"showCount":90,"zanCount":199,"manualWeight":11,"mainColor":68},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。",[24,25,117,29,78,27,79,80,61,59,31,7,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0e0cce94c65cffbabf3b95f530cab5.jpg",[],{"id":4536,"slug":4537,"title":4538,"dynasty":18,"author":221,"museum":97,"description":4539,"tags":4540,"thumbUrl":4542,"material":104,"size":104,"collection":104,"collections":4543,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[23,24,25,117,26,78,29,27,1060,254,79,7,31,286,4541],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":4545,"slug":4546,"title":4547,"dynasty":18,"author":221,"museum":97,"description":4548,"tags":4549,"thumbUrl":4550,"material":104,"size":104,"collection":104,"collections":4551,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":48},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,56,24,25,4477,78,29,27,209,33,31,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":4553,"slug":4554,"title":4555,"dynasty":112,"author":4556,"museum":3703,"description":4557,"tags":4558,"thumbUrl":4561,"material":152,"size":4562,"collection":104,"collections":4563,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},222894,"hong-lou-meng-19-sun-wen-222894","红楼梦19","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,208,78,818,209,224,30,704,4559,58,32,766,1134,1368,31,4560,7],"栏杆","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2c4e660b88590e6eefe8db1f011b8b.jpg","纵43.3厘米、横76.5厘米",[],{"id":4565,"slug":4566,"title":4567,"dynasty":95,"author":4568,"museum":75,"description":4569,"tags":4570,"thumbUrl":4571,"material":4572,"size":4573,"collection":104,"collections":4574,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},222429,"shan-shui-tu-li-zhou-li-yong-chang-222429","山水图立轴","李永昌","李永昌（生卒年不详），主要活动于明崇祯元年戊辰(公元1628年)至清顺治元年甲申(公元1644年)之司。字周生，号黄海。休宁皂荚树下村人。家境殷实，多藏古物；游历甚广，善于书画。诗亦超迈，著有《画响姜绍书》、《无声诗史》赞其音调清越，阐扬画理与董其昌齐名，是新安四家汪之瑞的老师。画近宗黄子久，远追董巨、二米等南宋诸家，善用董巨山势结构结合米点铺染，并能将沈周的雄浑劲厚和倪瓒的逸笔草草演绎为墨法沉重、生气勃勃的特质。",[23,24,26,27,100,29,79,80,238,61,7,165],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714cf7213aa4d3425ff5eb21e577c96b.jpg","纸本设色画","101x 46.3",[],{"id":4576,"slug":4577,"title":4578,"dynasty":18,"author":4579,"museum":75,"description":4580,"tags":4581,"thumbUrl":4583,"material":85,"size":4584,"collection":104,"collections":4585,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":68},221600,"san-gao-you-shang-tu-ye-liang-kai-221600","三高游赏图页","梁楷","此图原载《宋人名流集藻册》。画上题云：御前图画梁楷笔。这幅画可以代表他的人物画的风格。人物面部表情很细致，而衣履则以寥寥数笔成之，更显得迅捷有力。后来的许多画家都从他这里得到了启发。",[23,3480,24,25,1844,830,348,4582,4477,209,29,31,7,439,254],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc58b4c1c2fc63890cffa78db35ae7.jpg","纵25.3厘米，横26厘米",[],{"id":4587,"slug":4588,"title":4589,"dynasty":112,"author":4590,"museum":161,"description":4591,"tags":4592,"thumbUrl":10,"material":104,"size":104,"collection":44,"collections":4593,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":4594},203431,"shan-jing-ri-zhang-tu-zhou-huang-ying-zhan-203431","山静日长图轴","黄应湛","层岩叠壑间，松荫覆屋，文人围坐清谈，一派悠然。远处峰峦隐现，楼阁错落林麓，山泉潺潺，飞鸟掠空，尽显山林静穆。笔墨苍润，皴法细腻，山石轮廓以墨线勾勒，复加皴擦点染，树木枝叶繁密，层次分明。设色古朴淡雅，褐赭基调衬出山林幽寂，意境清旷，恰合“山静日长”之闲适，映现文人向往的林泉之趣。",[23,24,25,100,78,27,29,79,80,31,137,61,766,7,37,33],[44],"84765e",{"id":4596,"slug":4597,"title":4598,"dynasty":95,"author":2392,"museum":97,"description":4599,"tags":4600,"thumbUrl":4601,"material":668,"size":669,"collection":104,"collections":4602,"showCount":4603,"zanCount":11,"manualWeight":11,"mainColor":68},288041,"bei-yuan-shan-shui-song-shan-wen-dao-tu-li-zhou-lan-ying-288041","北苑山水松山问道图立轴","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。",[23,24,100,29,78,209,608,32,7,374,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3fa328298498dc290bc922f3fbf306.jpg",[],15,{"id":4605,"slug":4606,"title":762,"dynasty":112,"author":4607,"museum":97,"description":4608,"tags":4609,"thumbUrl":4610,"material":668,"size":669,"collection":44,"collections":4611,"showCount":4603,"zanCount":11,"manualWeight":11,"mainColor":68},235741,"fang-gu-shan-shui-ce-xue-xuan-235741","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。",[24,26,117,27,193,29,79,238,440,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc8aa37cb09e67e01143752c61481.jpg",[44],{"id":4613,"slug":4614,"title":3506,"dynasty":112,"author":763,"museum":97,"description":4615,"tags":4616,"thumbUrl":4617,"material":104,"size":104,"collection":104,"collections":4618,"showCount":4603,"zanCount":199,"manualWeight":11,"mainColor":68},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,25,100,26,78,27,29,31,30,32,34,181,7,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":4620,"slug":4621,"title":4622,"dynasty":112,"author":718,"museum":97,"description":4623,"tags":4624,"thumbUrl":4625,"material":168,"size":4626,"collection":104,"collections":4627,"showCount":4603,"zanCount":11,"manualWeight":11,"mainColor":68},233385,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233385","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,26,27,117,254,29,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16bc5ac03306415ab3da3f1c18c313e.jpg","纵24.6cm横17.6cm",[],{"id":4629,"slug":4630,"title":4631,"dynasty":95,"author":4464,"museum":97,"description":4632,"tags":4633,"thumbUrl":4635,"material":104,"size":104,"collection":104,"collections":4636,"showCount":4603,"zanCount":11,"manualWeight":11,"mainColor":68},228351,"shi-ba-jing-tu-ce-22-zhen-song-xu-228351","十八景图册22帧","此作以半边崖岸半边水泽铺展画面，左侧危崖层叠，苍松山居错落，曲径蜿蜒伴行旅人，山石皴笔朴拙苍劲，带着沉厚古意。右侧水网交织，田畴铺陈，远岸村舍隐现，江帆点点悠游烟波间，浅淡设色晕染出江南水泽的温润空濛。笔墨简淡清逸，将林泉野趣与水乡旷远融于一帧，淡远空寂里晕开江南村居的闲静诗意，尽显寄情丘壑的文人意趣，勾勒出独属于晚明的清雅山居图景。",[23,24,25,117,78,27,29,31,607,2993,181,60,4634,7],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774acef0daf4b9d1744d2d7de32dfd1f.jpg",[],{"id":4638,"slug":4639,"title":203,"dynasty":95,"author":2401,"museum":97,"description":4640,"tags":4641,"thumbUrl":4642,"material":104,"size":104,"collection":104,"collections":4643,"showCount":4603,"zanCount":11,"manualWeight":11,"mainColor":68},228328,"shan-shui-tu-xiao-yun-cong-228328","此作用高远糅合平远之法铺陈景致。上层危崖崚嶒，枯木虬枝斜出崖畔，笔致瘦硬清脱，寥寥皴擦便勾勒出山石嶙峋骨相，淡墨晕染晕出山峦明暗，尽显皖山清奇之姿。\n下层平坡疏林环伺茅舍，幽人策杖徐行，野意悠然。全图线条爽利挺劲，删繁就简，脱尽尘俗烟火气，题画诗与笔墨融为一体，文气氤氲。整体意境清寂淡远，以简驭繁，将林泉幽栖的文人意趣凝于尺幅，淡而弥远，简中藏雅韵。",[23,24,26,29,27,31,7,239,209,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f2553bde5ec73b58e4b08cf41f51f.jpg",[],{"id":4645,"slug":4646,"title":4647,"dynasty":112,"author":763,"museum":97,"description":4648,"tags":4649,"thumbUrl":4650,"material":104,"size":104,"collection":104,"collections":4651,"showCount":4603,"zanCount":11,"manualWeight":11,"mainColor":68},224459,"hua-hui-shan-shui-he-ce-1-7-wang-hui-224459","花卉山水合册1-7","此作用水墨写就冬日林泉之景，枯木虬曲苍劲，扎根嶙峋岩岸，间有翠松点染，于萧寒里暗蕴生机。山岩以干笔皴擦勾勒，朴拙厚重的棱角间，溪涧萦回、细瀑垂落，静景暗藏动势。远景以淡墨晕染烟霭，水天相融朦胧悠远，归雁掠过长空，更衬荒寒清寂。\n\n左侧题款朱印点缀，文气与画意浑然相融。全作用枯淡笔触铺陈萧疏之境，于极简中晕染出澹泊诗意，将冬日林泉的幽寂清远刻画尽致，笔意苍秀兼具，尽显文人山水雅逸格调，是以简驭繁的水墨佳作。",[23,24,56,25,117,26,27,29,164,7,60,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0081d806b4ce52c4d8230dfefa4b761b.jpg",[],{"id":4653,"slug":4654,"title":4655,"dynasty":112,"author":1009,"museum":97,"description":4656,"tags":4657,"thumbUrl":4658,"material":104,"size":104,"collection":104,"collections":4659,"showCount":4603,"zanCount":11,"manualWeight":11,"mainColor":68},224383,"fang-ni-zan-she-se-shan-shui-tu-wang-yuan-qi-224383","仿倪瓚設色山水圖","此作用倪瓒平远章法却自出机杼，远景山峦以干笔皴擦，披麻皴混以苔皴写尽山石嶙峋，浑厚苍劲间不失幽淡意趣。近渚林木清劲错落，屋舍隐于洲渚林泉，脱尽尘俗烟火气。\n设色浅淡温婉，赭石花青轻晕纸面，中和倪氏水墨冷寂，添几分温润柔和。师法云林萧疏意境，落笔却沉雄老辣，将南宗秀雅与北派苍厚相融。题诗与画境呼应，诗画合璧，师古不泥，尽显文人山水的雅逸风骨。",[23,56,24,100,78,29,268,27,254,79,80,238,239,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4338b8ae58b1ccd0bd17f1149f8ace0c.jpg",[],{"id":4661,"slug":4662,"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paper",[],{"id":4748,"slug":4749,"title":4750,"dynasty":18,"author":4751,"museum":4752,"description":4753,"tags":4754,"thumbUrl":4755,"material":212,"size":4756,"collection":104,"collections":4757,"showCount":4698,"zanCount":199,"manualWeight":11,"mainColor":48},220117,"shi-liu-luo-han-tu-di-liu-zun-zhe-jin-da-shou-220117","十六罗汉图-第六尊者","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,24,25,208,78,1103,209,226,238,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c1868aa60b9e727ed886750beeeefb.jpg","118.8×51.7cm",[],{"id":4759,"slug":4760,"title":4761,"dynasty":95,"author":4762,"museum":4752,"description":4763,"tags":4764,"thumbUrl":4765,"material":168,"size":4766,"collection":104,"collections":4767,"showCount":4698,"zanCount":11,"manualWeight":11,"mainColor":48},216745,"ri-ben-zu-shi-tu-4-shou-ye-yuan-xin-216745","日本· 祖师图-4","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,24,1103,78,209,29,27,137,7,32,754,4634,1263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec277c4b4c7f9b087d5e51db3709512.jpg","176.0x91.8",[],{"id":4769,"slug":4770,"title":4771,"dynasty":112,"author":4772,"museum":97,"description":4773,"tags":4774,"thumbUrl":4775,"material":104,"size":104,"collection":104,"collections":4776,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":68},239417,"feng-a-shan-fang-tu-zhou-qin-zu-yong-239417","凤阿山房图轴","秦祖永","此作用干笔淡墨铺陈丘壑，危崖巨嶂以皴擦点苔写就，苍莽厚重的山石占据画幅上半，尽显沉浑气象。山坳间林木错落，墨色浓淡层叠，掩映出三两村居草堂，堂内二人对坐晤谈，似在叙旧清谈，溪石隐于浅流，萦回环绕，衬出山居幽寂。\n画面上方题跋洋洋洒洒，诗书画融为一体，尽显文人雅致。画作以元人枯淡笔法写胸中丘壑，温婉秀雅，将江南山居的闲逸沉静诉诸笔端，淡墨轻岚间勾勒出世外林泉的栖居之境，尽显传统文人画的林下风流。",[24,25,100,26,27,29,30,31,239,32,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1474facd73ef704a532461aa1352ab92.jpg",[],13,{"id":4779,"slug":4780,"title":1504,"dynasty":112,"author":4781,"museum":75,"description":4782,"tags":4783,"thumbUrl":4784,"material":256,"size":104,"collection":104,"collections":4785,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":68},237187,"shan-shui-ce-sun-yi-237187","孙逸","孙逸(1604—约1658) 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厘米",[],{"id":4848,"slug":4849,"title":4850,"dynasty":112,"author":4851,"museum":97,"description":4852,"tags":4853,"thumbUrl":4854,"material":104,"size":104,"collection":104,"collections":4855,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":68},228484,"mu-niu-tu-zhang-mu-228484","牧牛图","张穆","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[23,24,26,57,27,252,29,608,32,33,7,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":4857,"slug":4858,"title":4859,"dynasty":95,"author":4464,"museum":97,"description":4860,"tags":4861,"thumbUrl":4862,"material":104,"size":104,"collection":104,"collections":4863,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":68},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,24,26,78,29,766,59,60,7,31,27,818,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":4865,"slug":4866,"title":4867,"dynasty":650,"author":651,"museum":97,"description":652,"tags":4868,"thumbUrl":4879,"material":668,"size":669,"collection":670,"collections":4880,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":68},226069,"the-este-rel-mountains-1888-mo-nai-226069","The Estérel Mountains, 1888",[56,654,655,4869,4870,4871,4872,137,4873,4874,664,7,4875,3542,4876,620,4877,4878],"短笔触","色彩并置","光影表现","户外写生","大海","山脉","海滨","倾斜树木","远景山峦","近景植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2160bf2a3c563db827f5041d183d582.jpg",[670],{"id":4882,"slug":4883,"title":4884,"dynasty":650,"author":651,"museum":97,"description":652,"tags":4885,"thumbUrl":4889,"material":668,"size":669,"collection":670,"collections":4890,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":68},225922,"etretat-cliff-of-aval-1885-mo-nai-225922","Etretat, Cliff of Aval, 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Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[655,4898,78,7,31,705,664,1745,3542,4899,657],"厚涂","笔触奔放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79cffec417f3bb76b470a36fbff7867a.jpg",[670],{"id":4903,"slug":4904,"title":4905,"dynasty":18,"author":221,"museum":97,"description":4906,"tags":4907,"thumbUrl":4908,"material":168,"size":4909,"collection":104,"collections":4910,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":48},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； 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238415,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238415","董诰蓬壶荟胜图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,117,78,27,29,31,32,33,209,7,1218,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58ceac15855ab05632228fe81ee6374.jpg",[],{"id":4998,"slug":4999,"title":5000,"dynasty":112,"author":1009,"museum":75,"description":5001,"tags":5002,"thumbUrl":5003,"material":780,"size":5004,"collection":44,"collections":5005,"showCount":4959,"zanCount":11,"manualWeight":11,"mainColor":68},236745,"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","山水册装轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,117,26,78,27,29,31,607,165,285,2503,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[44,45,2036],{"id":5007,"slug":5008,"title":5009,"dynasty":112,"author":221,"museum":75,"description":5010,"tags":5011,"thumbUrl":5017,"material":256,"size":5018,"collection":104,"collections":5019,"showCount":4959,"zanCount":11,"manualWeight":11,"mainColor":68},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[56,24,25,117,78,208,209,29,5012,2770,5013,286,31,7,5014,5015,5016],"战马","兵器","丘陵","军队","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":5021,"slug":5022,"title":5023,"dynasty":112,"author":1430,"museum":114,"description":5024,"tags":5025,"thumbUrl":5026,"material":168,"size":5027,"collection":104,"collections":5028,"showCount":4959,"zanCount":11,"manualWeight":11,"mainColor":48},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,24,25,100,29,78,27,268,79,238,607,7,1304,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":5030,"slug":5031,"title":5032,"dynasty":95,"author":5033,"museum":97,"description":5034,"tags":5035,"thumbUrl":5036,"material":104,"size":104,"collection":104,"collections":5037,"showCount":4959,"zanCount":199,"manualWeight":11,"mainColor":68},228329,"lan-ting-shi-xu-tu-juan-qian-gong-228329","兰亭诗序图卷","钱贡","此作以长卷铺展，左幅行书长题呼应雅集意韵，卷中山水苍润清雅，茂林修竹环绕曲溪，将雅集盛景尽藏其间。画中雅士或临流待觞，或围坐清谈，或凭栏观山，人物意态从容散逸，尽显林下风流。\n\n笔墨以淡墨皴染山峦林泉，勾勒松筠奇石尽显苍秀灵润，把诗文意境融入山水人物，以静雅水墨晕染出雅集的清旷高致，让千年前的文会雅韵宛在眼前，尽显追慕古贤的文人意趣。",[23,24,25,57,26,208,1060,29,209,61,58,32,31,7,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fce7c7c1d0fbf13a0cc677d54615b4.jpg",[],{"id":5039,"slug":5040,"title":5041,"dynasty":650,"author":651,"museum":97,"description":652,"tags":5042,"thumbUrl":5048,"material":668,"size":669,"collection":670,"collections":5049,"showCount":4959,"zanCount":11,"manualWeight":11,"mainColor":48},226063,"the-cote-sauvage-1886-mo-nai-226063","The Cote sauvage, 1886",[654,655,656,4290,5043,5044,4279,7,664,5045,5046,4281,5047],"色彩","海","海岸","礁石","云层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d68da57080758f348440d29658c7c4.jpg",[670],{"id":5051,"slug":5052,"title":5053,"dynasty":112,"author":2932,"museum":97,"description":5054,"tags":5055,"thumbUrl":5056,"material":104,"size":104,"collection":104,"collections":5057,"showCount":4959,"zanCount":11,"manualWeight":11,"mainColor":48},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[23,24,25,57,78,27,29,1163,37,7,209,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":5059,"slug":5060,"title":5061,"dynasty":112,"author":221,"museum":114,"description":5062,"tags":5063,"thumbUrl":5064,"material":212,"size":104,"collection":104,"collections":5065,"showCount":4959,"zanCount":11,"manualWeight":11,"mainColor":48},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[24,25,100,26,208,27,29,1487,32,33,7,137,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":5067,"slug":5068,"title":5069,"dynasty":112,"author":3381,"museum":114,"description":5070,"tags":5071,"thumbUrl":5072,"material":140,"size":104,"collection":104,"collections":5073,"showCount":4959,"zanCount":11,"manualWeight":11,"mainColor":68},214496,"shui-mo-tu-ce-7-zheng-min-214496","水墨图册-7","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[23,24,26,117,1060,439,27,59,29,31,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b1bc4021653f8b46f160971f4c0fc4.jpg",[],{"id":5075,"slug":5076,"title":5077,"dynasty":95,"author":5078,"museum":97,"description":5079,"tags":5080,"thumbUrl":5081,"material":668,"size":669,"collection":104,"collections":5082,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":68},237079,"shan-shui-shan-ye-zhang-chong-237079","山水扇页","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[1746,24,25,1200,26,27,29,31,7,2225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e935d7997268e9c28e22ec5686dd6fa.jpg",[],11,{"id":5085,"slug":5086,"title":5087,"dynasty":112,"author":5088,"museum":97,"description":5089,"tags":5090,"thumbUrl":5091,"material":104,"size":104,"collection":104,"collections":5092,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":48},235815,"bian-di-chun-se-zhou-fu-shan-235815","汴堤春色轴","傅山","此作用笔简率纵逸，枯淡萧疏间晕染早春意趣。近岸奇石嶙峋，寒枝虬曲错落，淡彩轻点枝梢，暗透初萌春色；中景水榭孤舟静泊，山寺隐于林间，愈显清寂安闲。远景峰峦以枯笔皴擦，简淡空灵，不着浓墨便将山石苍莽质感晕开。\n\n整幅画作脱略形似，以意驭笔，将早春料峭荒寒里的疏朗生机藏于淡墨轻岚间，借林泉丘壑寄寓幽远襟怀，简而不寡淡而有味，尽显文人画重意趣的特质，藏着画者寄情山水的雅致心性。",[24,100,26,27,29,269,7,608,2294,766,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba132a5e459634108c4ac7de4013e2e.jpg",[],{"id":5094,"slug":5095,"title":5096,"dynasty":112,"author":5097,"museum":97,"description":5098,"tags":5099,"thumbUrl":5100,"material":104,"size":104,"collection":104,"collections":5101,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":68},235309,"shan-shui-ping-chun-shan-xiao-xiu-tu-wang-yu-235309","山水屏-春山晓秀图","王昱","此作用笔恪守正统山水法度，以干笔皴擦结合湿墨晕染，山峦以披麻皴反复积叠，赭石花青轻敷，色调沉静雅致。远景危崖拔地而起，云气萦回山坳，晕出空濛虚灵之意；中景山坞村居错落，茂林环合，溪泉穿谷潺潺有声，尽显山居安谧；近岸老松虬曲苍劲，苔点繁缀尽显古拙生机。\n\n整卷虚实相生，既铺陈出山川雄浑厚重的体量感，又揉入春日烟岚的清润秀雅，将林泉雅趣与江南春山的明秀融于一处，尽显静穆淡远的文人山水意境。",[24,29,100,78,27,79,80,137,766,7,31,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff592334970ffc38183d50b48aab8d876.jpg",[],{"id":5103,"slug":5104,"title":5105,"dynasty":18,"author":221,"museum":20,"description":5106,"tags":5107,"thumbUrl":5108,"material":3332,"size":5109,"collection":104,"collections":5110,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":48},234065,"xue-shan-xing-lv-tu-zhou-yi-ming-234065","雪山行旅图轴","寒山雪积，村肆沿溪而设，长桥跨岸，旅人、牛、马络绎於途，木筏顺流结集，一派赶集景致。远景幽壑，楼台掩映，寒鸦成阵，匝绕盤旋，通幅於热闹中不失雪天阴寒之气息。屋宇、舟车、拱桥，俱以界笔出之，线条略呈钉头鼠尾，有别於传统界画。近景人物，五官、表情历历可辨，愈远则愈简，屋宇、林木亦然，深合近大远小之理。",[24,372,100,26,27,660,1997,7,164,1304,32,209,253,31,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d1451346fc5558d13e36afaebb3e3b.jpg","纵106厘米，横51.5厘米",[],{"id":5112,"slug":5113,"title":5114,"dynasty":112,"author":4090,"museum":75,"description":5115,"tags":5116,"thumbUrl":5117,"material":168,"size":5118,"collection":104,"collections":5119,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":68},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","访古纪游图册","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[24,25,117,26,27,254,439,1060,29,138,61,31,7,1304],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":5121,"slug":5122,"title":1504,"dynasty":73,"author":2776,"museum":75,"description":5123,"tags":5124,"thumbUrl":5125,"material":256,"size":5126,"collection":104,"collections":5127,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":48},233174,"shan-shui-ce-cao-zhi-bai-233174","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[24,26,27,117,439,1060,29,79,80,31,58,239,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36164595fe8368b20261ba6fa14b9e1.jpg","纵33.1cm，横27.4cm",[],{"id":5129,"slug":5130,"title":5131,"dynasty":112,"author":3496,"museum":97,"description":5132,"tags":5133,"thumbUrl":5134,"material":104,"size":104,"collection":104,"collections":5135,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":68},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[24,25,117,208,78,226,29,608,298,7,439,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":5137,"slug":5138,"title":5139,"dynasty":18,"author":345,"museum":97,"description":5140,"tags":5141,"thumbUrl":5142,"material":104,"size":104,"collection":104,"collections":5143,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":48},227603,"wo-long-shan-tu-san-li-gong-lin-227603","卧龙山图三","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,56,24,25,348,78,27,29,33,209,7,31,37,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86cf7dfa3ac26e73c0d8e4ff415bef90.jpg",[],{"id":5145,"slug":5146,"title":5147,"dynasty":650,"author":651,"museum":97,"description":652,"tags":5148,"thumbUrl":5155,"material":668,"size":669,"collection":670,"collections":5156,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":68},225980,"low-tide-at-varengeville-1882-mo-nai-225980","Low Tide at Varengeville, 1882",[654,4275,5149,5150,5151,5152,2006,5046,5153,5154,664,5047,5045,4887,7],"色彩晕染","松散笔触","自然光影","低潮海滩","水洼","海藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6bc6aa78bc45b497092506718c580a7.jpg",[670],{"id":5158,"slug":5159,"title":5160,"dynasty":73,"author":221,"museum":20,"description":5161,"tags":5162,"thumbUrl":5163,"material":467,"size":5164,"collection":104,"collections":5165,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":48},223407,"tai-xing-xue-ji-tu-zhou-yi-ming-223407","太行雪霁图轴","一群行旅或骑驴或牵骡、骆驼，在险峻的太行山径赶路，饶有北国风情。路旁枯树，山石上的白雪都令人想起冬日的严寒。缩颈弯腰及以袖口掩鼻的人物，更以生动的表情形容出隆冬的凄苦。\n该幅的山石构景雄奇，用笔劲利。前者承继北宋范宽一派的遗绪；后者则有南宋马夏的影响。",[23,24,100,78,27,29,641,30,164,33,209,1239,32,7,4874],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe095a1bc944a9d299c160ca73f1ffd9a.jpg","156x103",[],{"id":5167,"slug":5168,"title":5169,"dynasty":18,"author":384,"museum":20,"description":5170,"tags":5171,"thumbUrl":5173,"material":5174,"size":5175,"collection":104,"collections":5176,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":68},221427,"sui-gu-xian-chou-yan-su-221427","邃谷仙俦","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,24,25,117,26,78,29,30,31,37,27,2067,5172,7],"溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a40a76ca3da825b71a02dad0c2b328c.jpg","扇","40.2x66.3",[],{"id":5178,"slug":5179,"title":5180,"dynasty":112,"author":1430,"museum":161,"description":4128,"tags":5181,"thumbUrl":5182,"material":126,"size":4131,"collection":104,"collections":5183,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":68},216982,"fang-song-yuan-shan-shui-ce-5-wang-jian-216982","仿宋元山水册-5",[23,24,372,4477,78,27,26,79,80,58,31,137,239,1304,33,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869a411b8f05c5295dbd50546c1ce7f4.jpg",[],{"id":5185,"slug":5186,"title":5187,"dynasty":95,"author":4762,"museum":4752,"description":4763,"tags":5188,"thumbUrl":5189,"material":168,"size":4766,"collection":104,"collections":5190,"showCount":5083,"zanCount":11,"manualWeight":11,"mainColor":48},216743,"ri-ben-zu-shi-tu-2-shou-ye-yuan-xin-216743","日本· 祖师图-2",[23,56,24,25,100,1103,78,208,27,209,29,31,34,7,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035108d652e982407e2fc25ccbd7c36f.jpg",[],{"id":5192,"slug":5193,"title":5194,"dynasty":112,"author":5195,"museum":97,"description":5196,"tags":5197,"thumbUrl":5198,"material":104,"size":104,"collection":44,"collections":5199,"showCount":156,"zanCount":199,"manualWeight":11,"mainColor":68},239274,"qing-luan-nuan-cui-tu-zhou-qin-bing-wen-239274","晴峦暖翠图轴","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[24,100,78,27,29,35,34,31,58,32,61,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7590cf853fd8a92277c9d92aa1e34b94.jpg",[44,88],{"id":5201,"slug":5202,"title":5203,"dynasty":112,"author":1631,"museum":97,"description":5204,"tags":5205,"thumbUrl":5206,"material":104,"size":104,"collection":104,"collections":5207,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},238235,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238235","山静日长图册","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,78,27,117,29,61,298,32,209,238,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb87917cc8e4bd3c1e2cc295c8f548a.jpg",[],{"id":5209,"slug":5210,"title":1504,"dynasty":112,"author":4781,"museum":75,"description":4782,"tags":5211,"thumbUrl":5212,"material":256,"size":104,"collection":104,"collections":5213,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},237195,"shan-shui-ce-sun-yi-237195",[56,24,25,117,26,27,29,30,34,31,239,166,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7f7c1bcfc75673c455c5ff7155dff4.jpg",[],{"id":5215,"slug":5216,"title":5217,"dynasty":95,"author":5218,"museum":97,"description":5219,"tags":5220,"thumbUrl":5222,"material":104,"size":104,"collection":104,"collections":5223,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","杨文骢","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[24,25,100,26,27,29,31,7,349,441,165,5221,732,1304],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":5225,"slug":5226,"title":1504,"dynasty":95,"author":190,"museum":75,"description":5227,"tags":5228,"thumbUrl":5230,"material":256,"size":456,"collection":104,"collections":5231,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},233803,"shan-shui-ce-dong-qi-chang-233803","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[24,26,27,117,254,29,31,30,607,388,7,37,491,165,285,2634,5229],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75710c5e147415e81d5f1e9b06ef7dca.jpg",[],{"id":5233,"slug":5234,"title":5235,"dynasty":112,"author":5236,"museum":97,"description":5237,"tags":5238,"thumbUrl":5239,"material":104,"size":104,"collection":104,"collections":5240,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},224535,"fang-ni-qu-lin-shan-shui-zhu-chang-224535","仿倪去林山水","祝昌","此作用笔简净松灵，取法倪氏平远意趣，绘就萧疏清旷的深秋丘壑。近岸枯木疏槎清瘦劲挺，枝桠寥寥，带着深秋荒寒之气。远山以淡墨轻扫勾勒，轮廓柔和简淡，留白水面悠悠延展，将空寂意境铺陈开来，林麓石畔的隐舍萧然出尘，不见烟火气。全幅笔墨淡逸清润，不作繁复皴染，以极简形制传递静穆萧散的文人雅韵，将倪画天真幽淡的冷寂气质得韵传神，尽写郊野秋意的疏朗空荒，藏着对枯淡美学的精准追摹与悠远体悟。",[23,24,26,27,268,100,29,1569,608,138,32,31,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b10416c0f2ccf154ddc3b890e53df8.jpg",[],{"id":5242,"slug":5243,"title":5244,"dynasty":18,"author":221,"museum":97,"description":5245,"tags":5246,"thumbUrl":5247,"material":104,"size":104,"collection":104,"collections":5248,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":695},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,25,57,348,26,27,1103,209,29,732,137,7,33,181,58,32,251,60,254,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":5250,"slug":5251,"title":5252,"dynasty":112,"author":1430,"museum":161,"description":4128,"tags":5253,"thumbUrl":5254,"material":126,"size":4131,"collection":104,"collections":5255,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},216975,"fang-song-yuan-shan-shui-ce-9-wang-jian-216975","仿宋元山水册-9",[23,56,24,25,26,27,268,117,29,30,37,31,165,2828,164,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd859c8b90e8e3f47472da8cbc74.jpg",[],{"id":5257,"slug":5258,"title":5259,"dynasty":112,"author":1430,"museum":114,"description":5260,"tags":5261,"thumbUrl":5262,"material":126,"size":104,"collection":104,"collections":5263,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},215020,"fang-gu-shan-shui-ce-10-wang-jian-215020","仿古山水册-10","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[56,24,25,26,193,27,117,29,30,31,164,37,239,165,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11919f562afd6a3c89ea0895593cfc50.jpg",[],{"id":5265,"slug":5266,"title":5267,"dynasty":95,"author":886,"museum":75,"description":5268,"tags":5269,"thumbUrl":5270,"material":140,"size":5271,"collection":104,"collections":5272,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":68},214876,"shan-shui-ce-5-wen-zheng-ming-214876","山水册-5","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,24,25,117,26,78,29,32,31,209,7,439,1060,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5384ecf516bd20d8446e1f53633fed62.jpg","28.5x15.7cm",[],{"id":5274,"slug":5275,"title":5276,"dynasty":73,"author":4334,"museum":20,"description":5277,"tags":5278,"thumbUrl":5279,"material":212,"size":5280,"collection":104,"collections":5281,"showCount":5282,"zanCount":11,"manualWeight":11,"mainColor":48},291022,"xiao-chun-xi-jing-tu-zhao-yong-291022","小春熙景图","赵雍（1289年－1369年），字仲穆，吴兴（今浙江湖州）人。元代书画家。赵孟頫之子。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》《溪山渔隐》《饮中八仙图》等。",[56,24,26,100,29,209,608,7,58,32,27,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe280b2a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四季山水图（春）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,25,56,100,27,26,78,29,79,238,7,286,165,1593,388,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":5327,"slug":5328,"title":5329,"dynasty":650,"author":651,"museum":97,"description":652,"tags":5330,"thumbUrl":5336,"material":668,"size":669,"collection":670,"collections":5337,"showCount":5282,"zanCount":11,"manualWeight":11,"mainColor":683},226050,"the-bodmer-oak-1865-mo-nai-226050","The Bodmer Oak, 1865",[654,655,5331,7,705,656,3542,5332,5333,5334,5335],"大树","树干","树叶","户外景物","色彩表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46246f7f03d58d43628f780a2c0ed249.jpg",[670],{"id":5339,"slug":5340,"title":5341,"dynasty":650,"author":651,"museum":97,"description":652,"tags":5342,"thumbUrl":5347,"material":668,"size":669,"collection":670,"collections":5348,"showCount":5282,"zanCount":11,"manualWeight":11,"mainColor":48},226014,"rocks-at-belle-ile-1886-mo-nai-226014","Rocks at Belle-ile, 1886",[654,655,5343,7,2006,4280,4279,5045,271,5344,5345,5346],"点彩","自然风光","海景","岩石地貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c713360af4804f6d4e334dcce4a870.jpg",[670],{"id":5350,"slug":5351,"title":5352,"dynasty":650,"author":651,"museum":97,"description":652,"tags":5353,"thumbUrl":5355,"material":668,"size":669,"collection":670,"collections":5356,"showCount":5282,"zanCount":11,"manualWeight":11,"mainColor":48},226006,"port-domois-1886-mo-nai-226006","Port-Domois, 1886",[56,655,654,656,5354,2006,4280,5046,1745,271,5345,7],"色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ecb494f4f6ecfdf596d79f06f7bee0.jpg",[670],{"id":5358,"slug":5359,"title":5360,"dynasty":112,"author":763,"museum":97,"description":5361,"tags":5362,"thumbUrl":5363,"material":104,"size":104,"collection":104,"collections":5364,"showCount":5282,"zanCount":11,"manualWeight":11,"mainColor":48},224456,"shan-chuang-feng-xue-tu-wang-hui-224456","山窗封雪图","此作用高远、平远之法铺展冬山雪景，上部危崖积雪，枯笔勾勒石骨，以皴擦带出嶙峋肌理，留白晕染厚雪，尽现山巅清寒孤峭。中层林木萧疏，焦墨写出虬曲枝桠，寒意里更见笔力苍劲。下部溪岸错落村居，雪覆茅檐，静卧于素色天地间，冷寂之中暗涌脉脉烟火暖意。\n\n全幅水墨晕染层次雅致，将北派山水的雄浑苍劲与南宗笔墨的秀润柔和相融，把冬雪封山的空寂辽远与村居安谧完美揉合，于尺幅间铺展冬日山野的清寂诗意。",[23,24,26,29,27,100,660,7,164,239,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde7e2bf5fe9351a53cbd0f3cab14c970.jpg",[],{"id":5366,"slug":5367,"title":5368,"dynasty":112,"author":1009,"museum":97,"description":5369,"tags":5370,"thumbUrl":5371,"material":104,"size":104,"collection":104,"collections":5372,"showCount":5282,"zanCount":11,"manualWeight":11,"mainColor":68},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","仿黄子久晴峦霁翠卷","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,57,26,27,29,35,31,239,61,37,58,7,271,286],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":5374,"slug":5375,"title":5376,"dynasty":112,"author":319,"museum":161,"description":5377,"tags":5378,"thumbUrl":5379,"material":5380,"size":5381,"collection":104,"collections":5382,"showCount":5282,"zanCount":11,"manualWeight":11,"mainColor":68},222616,"shan-shui-ba-jing-6-gong-xian-222616","山水八景-6","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[23,24,26,27,29,58,32,61,31,595,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca709e50a46343aff080d2027c3af031.jpg","纸","纵24.4 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1886",[654,655,4871,657,5479,7,4873,4279,5345,5046,664,5480,5481,1205,5482,5483,5484,5485,4872],"笔触灵动","波涛","外光写生","海洋景观","礁石海岸","动态海浪","色彩层次","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a174eff22cfa5885914935b77dadabb.jpg",[670],{"id":5489,"slug":5490,"title":5491,"dynasty":112,"author":5492,"museum":161,"description":5493,"tags":5494,"thumbUrl":5496,"material":212,"size":5497,"collection":104,"collections":5498,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":68},219840,"shan-shui-tu-ce-7-xie-sun-219840","山水图册-7","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,78,117,27,29,7,31,209,5495,620],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237665922e3fdc54ce078db700a98496.jpg","14.2x19.2",[],{"id":5500,"slug":5501,"title":5502,"dynasty":112,"author":1430,"museum":114,"description":5260,"tags":5503,"thumbUrl":5504,"material":126,"size":104,"collection":104,"collections":5505,"showCount":5405,"zanCount":11,"manualWeight":11,"mainColor":68},215013,"fang-gu-shan-shui-ce-16-wang-jian-215013","仿古山水册-16",[23,24,25,117,26,193,27,29,31,30,32,239,165,285,7,37,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3127628e515577f3ff665edc54ac18.jpg",[],{"id":5507,"slug":5508,"title":5509,"dynasty":18,"author":221,"museum":97,"description":5510,"tags":5511,"thumbUrl":5512,"material":668,"size":669,"collection":104,"collections":5513,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},290268,"yan-lan-feng-luan-tu-yi-ming-290268","烟岚峰峦图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[24,56,29,26,27,35,34,31,32,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b2e099f265be7284bfcce10b3bc520.jpg",[],{"id":5515,"slug":5516,"title":5517,"dynasty":112,"author":1009,"museum":97,"description":5518,"tags":5519,"thumbUrl":5520,"material":104,"size":104,"collection":104,"collections":5521,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},239463,"qing-chu-liu-da-jia-ji-ce-xia-shan-tu-ce-ye-wang-yuan-qi-239463","清初六大家集册-夏山图册页","此作用笔苍浑老辣，以干笔积墨反复皴擦，山峦层叠间云气横生，将高远、深远之境相融，衬出山林空阔幽深。坡岸林木错落，或虬劲或葱郁，溪桥村居隐于林泉间，暗合题句里长夏山居的悠然意趣。\n\n画面笔墨沉厚苍秀，于繁密皴法中透出灵透，既得宋元山水的苍茫元气，又自具朴拙静穆的文人雅韵，将夏日山林的清寂悠长晕染开来，尽显静谧澹远的山居之美。",[24,25,117,78,27,29,79,32,58,238,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b08c3e176452e8260dd64640da9e37.jpg",[],{"id":5523,"slug":5524,"title":1504,"dynasty":112,"author":5439,"museum":75,"description":5525,"tags":5526,"thumbUrl":5527,"material":104,"size":104,"collection":104,"collections":5528,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},237561,"shan-shui-ce-wen-dian-237561","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,26,117,27,29,31,209,60,7,439,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9f3dfb9b046f194ca1b09897aaa723.jpg",[],{"id":5530,"slug":5531,"title":1864,"dynasty":112,"author":221,"museum":97,"description":5532,"tags":5533,"thumbUrl":5534,"material":104,"size":104,"collection":104,"collections":5535,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},236070,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236070","此作以淡墨浅绛绘就山居秋景，高远层峦以披麻皴写就，烟岚轻笼远山，虚实相生间拓开幽渺意境。近岸林木枯荣交错，苍松与落叶杂树错落生姿，林麓间茅舍隐现，清溪蜿蜒环合，衬出山野幽寂安闲。右上角题识朱印相映，诗画交融，暗合文人寄兴山水的雅趣。笔墨秀润松灵，勾勒皴擦兼具法度，淡墨晕染出空濛氤氲的清秋氛围，将山居闲逸之态融于山水间。简淡中见苍润，清和悠远，尽显传统山水的抒情意致，藏着林下幽居的恬然诗意。",[24,25,117,26,27,193,29,79,80,238,61,7,165,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2801cbb27b7da50b448aa8767dbe9c.jpg",[],{"id":5537,"slug":5538,"title":5539,"dynasty":112,"author":1430,"museum":97,"description":2362,"tags":5540,"thumbUrl":5541,"material":668,"size":669,"collection":104,"collections":5542,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},235342,"fang-gu-shu-hua-ce-wang-jian-235342","仿古书画册",[24,25,117,78,29,27,30,31,37,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8342c055e93dd7a721d4cb1cb560485.jpg",[],{"id":5544,"slug":5545,"title":5546,"dynasty":112,"author":221,"museum":75,"description":5547,"tags":5548,"thumbUrl":5549,"material":710,"size":5550,"collection":104,"collections":5551,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},234901,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234901","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,117,78,208,439,1060,29,209,766,32,7,31,59,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66df762858172153ef83034707592d9.jpg","25.7×33厘米",[],{"id":5553,"slug":5554,"title":4789,"dynasty":95,"author":4790,"museum":97,"description":5555,"tags":5556,"thumbUrl":5557,"material":668,"size":669,"collection":104,"collections":5558,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},234837,"shan-shui-shan-wei-zhi-huang-234837","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1200,27,26,29,79,80,31,239,7,388,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7cc7f21928c26b8bcab83a21cec25e.jpg",[],{"id":5560,"slug":5561,"title":4789,"dynasty":95,"author":4790,"museum":97,"description":5562,"tags":5563,"thumbUrl":5564,"material":104,"size":104,"collection":104,"collections":5565,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":695},234542,"shan-shui-shan-wei-zhi-huang-234542","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1200,26,27,29,59,31,30,2993,209,7,491,165,2828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14c8d9009f51d706882f0458f6f08902.jpg",[],{"id":5567,"slug":5568,"title":5569,"dynasty":95,"author":204,"museum":75,"description":5570,"tags":5571,"thumbUrl":5572,"material":85,"size":5573,"collection":104,"collections":5574,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},233755,"ren-wu-gu-shi-ce-2-chou-ying-233755","人物故事册2","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[24,25,208,78,3108,29,209,58,32,31,7,4477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01dd36c10a57f67835c6283078bfdad.jpg","纵41.4厘米，横33.8厘米",[],{"id":5576,"slug":5577,"title":4538,"dynasty":18,"author":221,"museum":75,"description":5578,"tags":5579,"thumbUrl":5580,"material":5581,"size":5582,"collection":104,"collections":5583,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},232990,"shan-dian-feng-lian-tu-ye-yi-ming-232990","本画无款，旧题郭忠恕所作。郭忠恕，宋初著名画家，长于界画，所绘亭台楼阁、舟船车舆，冠绝一时为世人所推崇。《宣和画谱》评价其为：“三百年之唐历五代以还，仅得卫贤以画宫室得名。本朝郭忠恕既出，视卫贤辈其余不足数，如忠恕之高者，岂复有斯人之徒欤？”足可见其在当时影响之大。然郭忠恕画作传世稀少，仅以《雪霁江行图》可信为真迹。此图画法明显受到李成影响，山石用卷云皴石如云动，树法为蟹爪、鹿角枝。郭忠恕与李成是同一时期各具风格的大家，画史记载其画师法李思训和王维。这明显都与本画的面貌不符，因此可以断定本画并非郭忠恕所作，故作者改为佚名较为恰当。",[24,26,78,27,29,766,31,7,4541,4477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb80b27f3b5858bf14b3ca2219a3a837.jpg","绢本 设色","24x25.1厘米",[],{"id":5585,"slug":5586,"title":5587,"dynasty":95,"author":5588,"museum":97,"description":5589,"tags":5590,"thumbUrl":5591,"material":104,"size":104,"collection":104,"collections":5592,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},232648,"xu-zheng-yang-ban-jia-tu-cui-zi-zhong-232648","许正阳搬家图","崔子忠","明代画家。初名丹，字开予，更名后，字道田，号北海、青蚓。生卒年不详，活跃于明朝末年。山东莱阳人，居顺天府（今北京）。为顺天府生员。曾投董其昌门下。\n通五经，工诗文，擅人物、仕女、肖像，师法顾恺之、陆探微、阎立本、吴道子等。所画人物面目奇古，用笔颤掣，线条细劲，格调高古，境界奇异。颇为时人所重，与陈洪绶并称“南陈北崔”。有《云中玉女图》、《洗象图》等传世。",[24,208,78,100,29,209,31,33,7,4830,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24e26617a0c9de209bcd379a532bf5b.jpg",[],{"id":5594,"slug":5595,"title":5596,"dynasty":650,"author":5597,"museum":97,"description":5598,"tags":5599,"thumbUrl":5602,"material":668,"size":669,"collection":104,"collections":5603,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},231968,"the-curtain-de-jia-231968","The Curtain","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[654,655,656,4290,209,5331,7,5600,1830,5601],"沙地","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa81b46c94df965779f5e0f770efdd6.jpg",[],{"id":5605,"slug":5606,"title":616,"dynasty":18,"author":221,"museum":20,"description":5607,"tags":5608,"thumbUrl":5609,"material":1434,"size":3963,"collection":104,"collections":5610,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},231346,"qian-yan-wan-he-tu-yi-ming-231346","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[3480,24,25,56,100,26,27,29,7,31,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg",[],{"id":5612,"slug":5613,"title":5614,"dynasty":112,"author":5615,"museum":97,"description":5616,"tags":5617,"thumbUrl":5618,"material":104,"size":104,"collection":104,"collections":5619,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},230230,"yu-he-qian-zhou-tu-feng-shi-230230","玉壑潜舟图","冯湜","以淡墨晕染铺就清寂氛围，嶙峋崖壁皴笔硬朗，留白处似凝着残雪，将山石厚重质感尽数托出。古木虬结于山坳，苍郁枝叶点染出虬劲生机，谷间飞瀑蜿蜒跌落，汇入澄澈寒潭。水畔茅舍扁舟隐于林麓水湄，暗合幽居潜隐之趣。\n\n整幅画虚实相生，笔力苍浑兼具秀润，融北派山水的雄浑厚重与江南山水的灵秀温婉于一体，将幽人避世的山居雅趣藏进层叠丘壑之间，尽显林泉清旷淡远的冬日雅境。",[23,24,78,27,29,79,80,31,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12cb8f5f31241c928127eed512ac175.jpg",[],{"id":5621,"slug":5622,"title":203,"dynasty":112,"author":2932,"museum":97,"description":5623,"tags":5624,"thumbUrl":5625,"material":104,"size":104,"collection":104,"collections":5626,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},230183,"shan-shui-tu-hua-yan-230183","此作笔致秀逸清灵，以淡赭晕染层叠崖壁，勾勒垂落飞泉，孤松虬枝斜倚崖侧，疏朗带风。画中高士凭岩端坐，临流观瀑，尽显林泉高致。远景山峦淡晕朦胧，留白铺就空寂辽远的天地，将山野幽居的萧散之趣尽数铺陈。四周题跋密布，书画交融，更添文雅古意，把文人耽爱林泉、静悟山水的隐逸心境藏入尺幅之间，淡远空灵，尽显幽寂出尘的林下之风，将山水清旷与书卷雅韵相融，尽显高古清幽的隐逸之美。",[23,24,25,78,27,1060,439,29,209,238,33,7,608],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb52b9cce7c0aec2faa81b9a65f6fa2.jpg",[],{"id":5628,"slug":5629,"title":5630,"dynasty":112,"author":5631,"museum":97,"description":5632,"tags":5633,"thumbUrl":5635,"material":668,"size":669,"collection":104,"collections":5636,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},230101,"zheng-xi-tu-hua-xin-guo-chao-zuo-230101","征西图（画芯）","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[23,24,25,57,78,208,29,209,251,2770,35,607,5015,5013,5634,7,31],"骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20e6b15f1e24c8782fd41f118467348.jpg",[],{"id":5638,"slug":5639,"title":1504,"dynasty":112,"author":2412,"museum":97,"description":5640,"tags":5641,"thumbUrl":5642,"material":104,"size":104,"collection":104,"collections":5643,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":68},228926,"shan-shui-ce-gao-qi-pei-228926","以指代笔，水墨写意。淡墨晕染出空濛烟岚，远山隐绰在暮雨薄雾之间，浑茫幽寂。近处以浓墨挥斫危崖，苍劲古木虬曲斜生，枝叶以焦墨点簇，朴拙老辣。临水村居简笔勾廓，素净雅致，静卧于溪岸之侧，流露出山野幽居的闲淡意趣。\n\n题诗与画境呼应，将春日迟暮、静听暮雨的萧散心境融于笔墨。整幅画面虚实相生，简淡空灵，以极简的笔墨勾勒出清远空寂的山居之境，尽显文人画简远疏淡的审美意趣。",[24,26,117,29,239,31,7,34,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0b4398013bfd218a1a58a5ceb209d.jpg",[],{"id":5645,"slug":5646,"title":5647,"dynasty":650,"author":651,"museum":97,"description":652,"tags":5648,"thumbUrl":5651,"material":668,"size":669,"collection":670,"collections":5652,"showCount":3366,"zanCount":11,"manualWeight":11,"mainColor":48},226066,"the-customs-house-1882-mo-nai-226066","The 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太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,56,26,78,117,29,164,34,165,7,1146,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b6cb88617f59c43f749c11bc7316a7.jpg",[],{"id":5738,"slug":5739,"title":1504,"dynasty":112,"author":3061,"museum":97,"description":5740,"tags":5741,"thumbUrl":5742,"material":402,"size":104,"collection":44,"collections":5743,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":68},238301,"shan-shui-ce-dong-bang-da-238301","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”。",[56,24,25,26,27,29,31,732,7,607,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b6973b20a4bceb9c2b98bf95c3010c.jpg",[44,88],{"id":5745,"slug":5746,"title":5747,"dynasty":95,"author":221,"museum":97,"description":5748,"tags":5749,"thumbUrl":5751,"material":668,"size":669,"collection":104,"collections":5752,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":68},237533,"zheng-zhong-xiang-long-luo-han-xiang-shan-ye-yi-ming-237533","郑重降龙罗汉像扇页","金笺底面上，设色古雅沉静。红衣罗汉安坐危崖，手捧灵草，面容恬和淡然，暖调衣袂破开浅赭淡墨的清冷，禅意自生。崖畔草木皴点细腻，隐露生机，左侧云气以晕染绘就，虚渺柔润，衬出崖畔幽寂氛围。\n\n画面疏密得宜，简淡间静穆禅韵尽显。笔致温婉内敛，将世外僧者的幽居之景铺陈开来，既有文人画的清雅意趣，又饱含宗教题材特有的空灵氛围感，观之便如临清寂山境，俗尘尽涤。",[24,1200,78,209,1103,7,31,95,4927,5750,26,208],"降龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a7481e8347c83f9ab8503a4d74d87b8.jpg",[],{"id":5754,"slug":5755,"title":5756,"dynasty":95,"author":221,"museum":97,"description":5757,"tags":5758,"thumbUrl":5760,"material":668,"size":669,"collection":104,"collections":5761,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":68},237531,"zhang-fu-wan-he-song-yin-shan-yi-ming-237531","张復万壑松荫扇","此作截取山坳松林一角，高远、深远之境兼具，层叠崖壁间青松蔚然成林，主干挺拔虬劲，松针攒簇细密，笔墨苍劲古拙，尽显苍郁清隽的松间意态。\n\n栈道隐于松岩缝隙，山居错落崖畔，淡赭晕染山石，墨色干湿相济，勾勒皴擦间尽显山石嶙峋质感。整体意境清寂幽深，笔墨间浸润着文人寄情林泉的雅逸意趣，尽显古雅隽永的山水风韵。",[24,25,1200,29,137,7,5759,31,209,26,78,27],"山壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8af200639c52851f97536a92023368.jpg",[],{"id":5763,"slug":5764,"title":5765,"dynasty":112,"author":5766,"museum":97,"description":5767,"tags":5768,"thumbUrl":5773,"material":168,"size":104,"collection":104,"collections":5774,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":48},237352,"hua-niao-ce-wang-gang-237352","花鸟册","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[24,78,208,117,5769,4040,5770,5771,5772,7,119],"鹅","枯柳","冰雪","寒水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4710e9d68a702e625788a8335f1fc3.jpg",[],{"id":5776,"slug":5777,"title":5778,"dynasty":112,"author":1942,"museum":75,"description":5779,"tags":5780,"thumbUrl":5781,"material":2111,"size":5782,"collection":104,"collections":5783,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":48},236385,"huang-shan-tu-zhou-mei-qing-236385","黄山图轴","此图在布局上打破常规，没有绘出完整的山形地貌，而是通过无形的云霭遮挡住山头、山脚，仅突出了山崖的一角，从而重点表现了画作的主题，即黄山的炼丹台。旧传轩辕黄帝与浮丘公曾在此采朱砂炼丹，此地遂成为黄山上一处重要的道教活动场所。梅清擅长于画黄山的怪石、松、云等景致，但他在此图中并没有以专门的色彩或者线条来特别地表现云，而是巧妙地借助了以虚托实的手法，以不着一笔的留白来表现云的实体所在，并且通过山石的空隙，表现出云飘浮的动感和若有若无的透明空间。",[24,25,100,26,27,29,137,7,269,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e669c24ab5358976f2f1f1915036f.jpg","纵186.5厘米，横56.7厘米",[],{"id":5785,"slug":5786,"title":1504,"dynasty":112,"author":5787,"museum":97,"description":5788,"tags":5789,"thumbUrl":5791,"material":104,"size":104,"collection":104,"collections":5792,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":695},235177,"shan-shui-ce-ye-xin-235177","叶欣","此作用笔松秀温润，浅绛设色晕染出清寂秋意。近景古松虬曲苍劲，与朴拙顽石相伴，侧旁矮木扶疏，点簇出细碎秋华，野趣盎然。中景茅篱村居错落，隐于林畔，篱舍俨然透着幽居闲情。远景以淡墨轻烘浅染，虚化山影，凭立二人又为冷寂添了几分烟火暖意。整幅意境萧散淡远，将江南村居的秋日闲逸铺陈开来，藏着静穆清和的林下意趣，引人沉湎于这避世幽居的松弛意韵之中。",[24,25,117,78,26,29,238,7,61,165,389,5790],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fabbe8f9f9767e04fb87cddb801f23.jpg",[],{"id":5794,"slug":5795,"title":5546,"dynasty":112,"author":221,"museum":75,"description":5547,"tags":5796,"thumbUrl":5797,"material":710,"size":5550,"collection":104,"collections":5798,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":48},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905",[24,25,117,78,29,439,1060,254,27,30,31,181,32,34,1368,388,209,239,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":5800,"slug":5801,"title":5546,"dynasty":112,"author":221,"museum":75,"description":5547,"tags":5802,"thumbUrl":5803,"material":710,"size":5550,"collection":104,"collections":5804,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":48},234899,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234899",[24,25,117,26,78,29,27,1060,59,101,31,7,32,2993,137,254,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ad99601fd92d64dfce53d08f3e5d05.jpg",[],{"id":5806,"slug":5807,"title":5808,"dynasty":18,"author":2222,"mu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。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[56,24,25,348,26,208,27,30,31,60,608,951,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg","60.33x41.04厘米",[],{"id":5815,"slug":5816,"title":1504,"dynasty":73,"author":2776,"museum":75,"description":5123,"tags":5817,"thumbUrl":5818,"material":256,"size":5126,"collection":104,"collections":5819,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":48},233175,"shan-shui-ce-cao-zhi-bai-233175",[24,26,27,117,1060,439,29,79,80,31,7,165,34,620],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":5821,"slug":5822,"title":5823,"dynasty":650,"author":221,"museum":97,"description":5824,"tags":5825,"thumbUrl":5826,"material":104,"size":104,"collection":104,"collections":5827,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":68},225335,"fu-shi-hui-88-yi-ming-225335","浮世绘88","这幅作品以撞色铺陈山林飞瀑之景，冷调瀑水如垂落的素白匹练，自涡旋潭水倾泻而下，衬得两侧暖黄覆绿的崖壁愈显温润厚实。\n\n左侧崖台之上，三位旅人围坐铺陈的席面，就着山音瀑声煮茶闲坐，将幽寂山境晕出悠然雅趣。画作以装饰性的线条勾勒水纹与山形，将自然的雄浑壮阔与市井文人的松弛闲情相融，落笔尽显侘寂悠然的日式美学意韵，定格出深山中治愈松弛的片刻闲景。",[3192,3193,78,29,33,209,31,7,705,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9bc4955b2fb3c24bfab0a38bef4537.jpg",[],{"id":5829,"slug":5830,"title":5831,"dynasty":112,"author":1009,"museum":97,"description":5832,"tags":5833,"thumbUrl":5836,"material":104,"size":104,"collection":104,"collections":5837,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":68},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,25,26,78,27,117,29,79,7,33,32,58,31,5834,5835,254,1304],"林","庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":5839,"slug":5840,"title":5841,"dynasty":95,"author":5842,"museum":548,"description":5843,"tags":5844,"thumbUrl":5845,"material":126,"size":5846,"collection":104,"collections":5847,"showCount":5728,"zanCount":11,"manualWeight":11,"mainColor":68},219676,"fang-gu-shan-shui-ce-2-yun-xiang-219676","仿古山水册-2","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,25,117,26,439,1060,27,29,30,31,37,61,7,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97408f431c0310ed39e2b8c8d19c0a38.jpg","26x15.2",[],{"id":5849,"slug":5850,"title":5851,"dynasty":95,"author":5852,"museum":97,"description":5853,"tags":5854,"thumbUrl":5856,"material":668,"size":669,"collection":104,"collections":5857,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},238939,"dai-zong-chu-xu-tu-shan-song-hong-238939","岱宗初旭图扇","宋鸿","字鸿生，吴郡（今江苏苏州）人，侨居武进。善画山水、花鸟。",[24,25,1200,26,78,27,79,238,209,5855,7],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de98881728700a8b839e65b6f099166.jpg",[],5,{"id":5860,"slug":5861,"title":5862,"dynasty":112,"author":221,"museum":97,"description":5863,"tags":5864,"thumbUrl":5865,"material":668,"size":669,"collection":104,"collections":5866,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},238620,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238620","平定两金川得胜图册","全景式构图铺展山地鏖战的宏阔场面，两侧陡山夹峙河谷，严整列阵的队伍与负隅顽抗的对手在此对垒。画师以细腻线条刻画出人马奔突、箭弩齐发的拼杀细节，将士悍勇姿态历历在目。山野间草木岩峦皴擦写实，烘托出战地荒蛮肃杀的氛围。\n\n整体画风冷峻写实，以纪实性的叙事还原战事的壮烈，将冷兵器时代山地攻防的紧张张力尽数铺陈于纸面，带着厚重的战地纪实感，让观者仿若亲临这硝烟弥漫的古战场。",[24,25,56,208,348,27,209,251,79,238,7,607,5015,5700,5013],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68c81815b4b6fe850b9a446c30fdbd.jpg",[],{"id":5868,"slug":5869,"title":397,"dynasty":112,"author":5870,"museum":97,"description":5871,"tags":5872,"thumbUrl":5873,"material":668,"size":669,"collection":104,"collections":5874,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},237483,"shan-shui-tu-ce-yao-song-237483","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,117,1060,26,27,29,61,31,7,32,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b6253d3ea54303e77adbede4ad2803.jpg",[],{"id":5876,"slug":5877,"title":5878,"dynasty":95,"author":5879,"museum":161,"description":5880,"tags":5881,"thumbUrl":5882,"material":780,"size":5883,"collection":104,"collections":5884,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},237265,"shen-hao-shan-shui-tu-ce-shen-hao-237265","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[24,26,117,27,29,209,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cbdb7ae506993f3876b7ff407754dc.jpg","15.2x23.6厘米",[],{"id":5886,"slug":5887,"title":5888,"dynasty":95,"author":221,"museum":97,"description":5889,"tags":5890,"thumbUrl":5892,"material":668,"size":669,"collection":104,"collections":5893,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},236691,"lu-zhi-yun-yan-qiu-ji-tu-shan-ye-yi-ming-236691","陆治云岩秋霁图扇页","此作用泥金扇面承载笔墨，布景疏密有致，以高远之法绘右侧巉岩叠嶂，山居隐现于林泉之间，左侧则以平远之景铺陈浅汀疏木，淡墨晕染远山，留白托出秋空寥廓清旷。\n笔致简劲老辣，勾勒皴擦写尽山石嶙峋质感，点染林木萧疏之态，兼融元人笔墨简淡与明人小品雅趣，题字古拙朴雅，与画面浑然相融，将秋霁初晴后山居的空明净爽尽数铺展，满溢着文人寄情林泉的澹寂意韵。",[1200,26,78,27,29,7,31,34,878,35,5891,83],"晴霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cffe56cf80379259cdf36c612de53c5.jpg",[],{"id":5895,"slug":5896,"title":4789,"dynasty":95,"author":5897,"museum":97,"description":5898,"tags":5899,"thumbUrl":5900,"material":668,"size":669,"collection":104,"collections":5901,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},236683,"shan-shui-shan-jiang-qian-236683","蒋乾","蒋乾（1525—？）明代画家。字子健，金陵（今江苏南京）人。\n嵩子，隐居吴郡（今江苏苏州）虹桥，困以为号。破屋半间，一介不苟。八十年如一日。江盈科为长洲宰，表其庐曰“东海冥鸿”。善山水，清拔古雅，过於乃父。嘉靖四十二年（1563）仿王蒙山水图。",[24,1200,26,29,27,137,35,31,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4270f9c6e9727197e1dd19da8b813c.jpg",[],{"id":5903,"slug":5904,"title":4789,"dynasty":95,"author":5905,"museum":97,"description":5906,"tags":5907,"thumbUrl":5908,"material":668,"size":669,"collection":104,"collections":5909,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},236395,"shan-shui-shan-li-zhao-heng-236395","李肇亨","字会嘉，号珂雪，又号醉鸥、爽溪钓士，后为僧，法名堂莹，住超果寺，嘉兴（今浙江嘉兴）人。日华子。工书法，摹褚。精画理，善山水，与赵左齐名，气息浑古，风韵静穆。尝以书法写葡萄尤妙。天启元年（一六二一）作研池墨雨册，顺治元年（一六四四）作溪山高隐图。工诗，著写山楼、率圃、梦余诸草。",[24,25,1200,29,27,26,79,80,31,7,286,2993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f2337c833a1d6147a8cea23a1dec28.jpg",[],{"id":5911,"slug":5912,"title":1864,"dynasty":112,"author":221,"museum":97,"description":5913,"tags":5914,"thumbUrl":5915,"material":104,"size":104,"collection":104,"collections":5916,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},236057,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236057","这幅小品以云气为脉络铺陈春山景致，虚实相生，意境空濛。前景苍松虬曲盘桓，老干苍劲带着古拙意趣，与右侧烟霭里的粉艳桃枝相映，刚柔相济。青绿敷色清润雅致，山石晕染柔和无浓艳浮躁之感，浅淡石色晕开山峦肌理，衬得云海愈发舒卷通透。远山隐没在留白云涛之中，尽显天地的空阔幽谧。整作追摹古贤山水的雅逸格调，将春山温润秀灵与云烟清寂融于一处，仿若可踏入烟峦春晓，静赏林泉雅致，尽显传统山水空灵悠远的隽永美感。",[24,25,117,78,29,79,754,238,7,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd09ae05db7b0ad208deb7681ba373b2.jpg",[],{"id":5918,"slug":5919,"title":5920,"dynasty":112,"author":1009,"museum":97,"description":5921,"tags":5922,"thumbUrl":5923,"material":168,"size":5924,"collection":104,"collections":5925,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},234885,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234885","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,117,26,27,29,79,238,7,631,439,254,1060,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9073c04adacda2ea064849fa4a8e4b9d.jpg","纵21厘米，横27厘米",[],{"id":5927,"slug":5928,"title":1504,"dynasty":112,"author":3061,"museum":75,"description":5929,"tags":5930,"thumbUrl":5931,"material":104,"size":104,"collection":104,"collections":5932,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},234792,"shan-shui-ce-dong-bang-da-234792","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,25,117,26,27,29,79,80,31,34,7,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236be7196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像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,25,100,78,208,818,26,209,31,7,1134,286,705,3118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":5943,"slug":5944,"title":5945,"dynasty":112,"author":3236,"museum":75,"description":5946,"tags":5947,"thumbUrl":5955,"material":256,"size":5956,"collection":104,"collections":5957,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},232891,"yan-ju-luo-han-xiang-zhou-jin-ting-biao-232891","岩居罗汉像轴","图中罗汉眉目清秀，披发，戴耳环，臂腕佩钏、镯，着袒右式袈裟，自在坐，手捧如意，系模仿了菩萨的形象。罗汉、童子衣纹分别运用了蚯蚓纹、钉头鼠尾描，造型工整，设色清雅。《秘殿珠林三编》著录。",[23,24,78,208,1103,209,29,138,31,7,254,5948,2098,37,5949,2294,5950,5951,5952,5953,5954,100],"侍童","山洞","苔草","腕钏","法器","小和尚","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b7bb574e8613ec65f5335044ec6a.jpg","纵99.5厘米，横53.2厘米",[],{"id":5959,"slug":5960,"title":5961,"dynasty":650,"author":5962,"museum":97,"description":5963,"tags":5964,"thumbUrl":5965,"material":668,"size":669,"collection":104,"collections":5966,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,25,57,78,29,7,31,137,620,3075,663,34,165,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":5968,"slug":5969,"title":5970,"dynasty":650,"author":5962,"museum":97,"description":5963,"tags":5971,"thumbUrl":5973,"material":668,"size":669,"collection":104,"collections":5974,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段",[23,24,78,29,57,5044,3075,7,31,664,663,4887,754,2006,5972,137,271,5470,209,27],"海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":5976,"slug":5977,"title":5978,"dynasty":112,"author":1855,"museum":97,"description":5979,"tags":5980,"thumbUrl":5985,"material":104,"size":104,"collection":104,"collections":5986,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},228973,"niu-jiao-gua-shu-tu-huang-shen-228973","牛角挂书图","此作以枯淡古雅的色调铺陈，老梅盘曲苍劲，枝桠疏朗错杂，荒岩皴笔朴拙，衬出山野清寂之气。骑牛垂读者安然沉湎卷帙，将乱世中偷闲向学的意态藏于松弛悠然的身姿里。\n\n另一侧人物情态各别，执圭者倨傲自得，仆从躬身低眉，虬髯汉抱臂冷眼，似是俗务应酬的世情剪影。雅俗两相对照，暗合安贫乐道与追名逐利的分野，以简练灵动的笔墨勾勒人物形神，把山野幽趣与市侩世情融于一轴，寄寓着对沉潜向学本心的推崇。",[23,24,56,209,252,961,164,7,27,78,5981,5982,5983,5984],"安贫乐道","向学","山野","世情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6e143aa6327450ab8a6b916907ab2.jpg",[],{"id":5988,"slug":5989,"title":5990,"dynasty":18,"author":221,"museum":97,"description":5991,"tags":5992,"thumbUrl":5998,"material":104,"size":104,"collection":104,"collections":5999,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","秋江瞑泊图","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[23,56,24,25,152,26,78,372,27,254,79,80,31,59,5993,5994,5995,7,5996,5997],"停泊","江岸","暮色","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":6001,"slug":6002,"title":6003,"dynasty":18,"author":221,"museum":97,"description":6004,"tags":6005,"thumbUrl":6006,"material":104,"size":104,"collection":104,"collections":6007,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},227373,"xi-shan-cang-cui-tu-ye-yi-ming-227373","溪山苍翠图页","以谨严苍劲的笔墨描绘文人的隐逸生活。画面上高山峻拔，溪流绕岸，松林苍翠。一隐士漫步于溪岸，仰望远山，陶醉于林泉山色中。",[23,24,25,876,26,78,1060,117,29,608,60,7,32,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529b992184b93821d121297b00ee2b7e.jpg",[],{"id":6009,"slug":6010,"title":6011,"dynasty":650,"author":221,"museum":97,"description":6012,"tags":6013,"thumbUrl":6014,"material":104,"size":104,"collection":104,"collections":6015,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},225339,"fu-shi-hui-92-yi-ming-225339","浮世绘92","层叠奔涌的飞瀑是画面的灵魂，蓝白水纹带着磅薄动感顺着赭黄、赤红的山崖倾泻而下，冷暖色调相撞，迸发出强烈的视觉张力。\n\n右上角负鼓攀山的行者，与下方驻足观瀑的旅人，让雄阔山水晕开人间烟火气，动静相映，让幽深山林多了鲜活的意趣。利落刚劲的勾勒线条，明快浓烈的平涂色彩，尽显浮世绘版画的典型风韵，将飞瀑的雄浑奔涌与山林的清幽苍润融为一体，把寄情山水的江户风雅藏在寸尺画幅中，既有着自然造物的震撼冲击力，也传递出松弛闲适的人文意涵。",[3192,3193,78,29,33,31,209,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c62916bb5162e51217d00a2aa5f5f3b.jpg",[],{"id":6017,"slug":6018,"title":6019,"dynasty":650,"author":221,"museum":97,"description":6020,"tags":6021,"thumbUrl":6022,"material":104,"size":104,"collection":104,"collections":6023,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},225334,"fu-shi-hui-87-yi-ming-225334","浮世绘87","飞流直下的瀑布以劲挺利落的蓝白线条铺就，仿佛携着轰然水声自崖头倾泻而下。崖畔朱色小屋静立，暖调破开冷冽水汽，让奔涌的山水多了一丝人间暖意。右下角旅人负具驻足观瀑，衬出飞瀑的宏阔，将人与自然的尺度铺展开来。\n\n设色明丽雅致，青绿山石晕染出山野苍翠，钴蓝飞瀑撞入眼底，暖棕崖壁点缀其间，尽显浮世绘独有的装饰质感。画作揉合幽谷飞瀑的壮阔与山居的幽寂烟火，将日式山水特有的诗意幽玄之美尽显无余。",[3192,3193,78,29,33,766,58,32,209,31,239,34,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd712d7caa336d20298db6aa8156e555f.jpg",[],{"id":6025,"slug":6026,"title":6027,"dynasty":112,"author":6028,"museum":97,"description":6029,"tags":6030,"thumbUrl":6031,"material":104,"size":104,"collection":104,"collections":6032,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},224577,"suan-ni-tu-zhou-qing-ren-224577","狻猊图轴","清人","此作以卧姿神兽为主体，画师跳出写实桎梏，将其塑作威严悍猛之态。阔口獠牙、双目圆睁，夸张的面部更显慑人气势，鬃毛以晕染分层，蓬松如怒涛翻卷。躯体线条柔中带刚，暗合肌肉张力，臀侧旋纹为神兽添了几分神异灵韵。\n\n旁侧古松虬曲苍劲，苔点皴写出老干斑驳质感，坡岸细草轻勾淡描，衬得神兽愈发沉静雄浑。淡墨轻色晕染出古雅绢本氛围，工写兼施，既抓住猛兽的雄健之姿，又赋予瑞兽神性威仪，尽显神异走兽画的精妙意趣。",[24,25,100,899,208,78,226,137,2225,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840689bd9a6229e85d7d08c8826cb047.jpg",[],{"id":6034,"slug":6035,"title":6036,"dynasty":112,"author":6037,"museum":97,"description":6038,"tags":6039,"thumbUrl":6041,"material":104,"size":104,"collection":104,"collections":6042,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","李寅","《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。",[23,56,24,25,100,29,78,27,79,440,1379,238,239,7,37,209,5701,164,6040],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":6044,"slug":6045,"title":6046,"dynasty":112,"author":6047,"museum":97,"description":6048,"tags":6049,"thumbUrl":6050,"material":668,"size":669,"collection":104,"collections":6051,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},224242,"shan-mian-shan-shui-wang-wu-tian-224242","扇面山水","王无忝","清河南孟津人，字夙夜。康熙九年进士，官金华知府。善画山水。词语分解忝的字典解释忝ǎ 辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[23,24,25,1200,29,26,27,79,238,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":6053,"slug":6054,"title":6055,"dynasty":112,"author":6056,"museum":97,"description":6057,"tags":6058,"thumbUrl":6059,"material":668,"size":669,"collection":104,"collections":6060,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":683},224143,"luo-han-pindola-bharadvaja-tang-ka-224143","罗汉Pindola Bharadvaja","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[899,1103,78,208,209,29,31,33,778,7,2866,3039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95871379da0bdda1ebc726dd21f8badd.jpg",[],{"id":6062,"slug":6063,"title":6064,"dynasty":18,"author":221,"museum":97,"description":6065,"tags":6066,"thumbUrl":6067,"material":104,"size":104,"collection":104,"collections":6068,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},223646,"xi-yan-mu-se-tu-ye-yi-ming-223646","西岩暮色图页","此作用墨沉润苍郁，以边角取景铺展暮色空山。近岸孤舟横斜，系着晚归的余绪，坡岸林木蓊翳，松枝偃仰间带着黄昏倦意。崖壁山石以硬朗皴法写就，隐没在渐深的暮色烟霭中，虚实相生间将山野黄昏的幽寂缓缓铺陈。\n\n墨色随着暮色层次晕染，浓淡过渡里晕化出薄暮氤氲的朦胧，不见白日明丽，只留萧疏静谧的山野况味，将暮色西岩时分天地归于岑寂的氛围感藏在水墨晕染间，观之如身临空山向晚，揽尽黄昏里山野沉静的余韵。",[23,56,24,25,117,26,27,29,238,7,59,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5bd45ee326f56e10fc3030c6df6c33.jpg",[],{"id":6070,"slug":6071,"title":6072,"dynasty":112,"author":3105,"museum":75,"description":6073,"tags":6074,"thumbUrl":6077,"material":85,"size":6078,"collection":104,"collections":6079,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":48},223150,"yao-xie-shi-yi-tu-ce-di-wu-kai-bai-yuan-ru-lao-ren-dao-qi-san-zu-gui-ren-xiong-223150","姚燮诗意图册-第五开：白猿如老人，倒騎三足龟","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,56,117,208,78,6075,6076,32,138,31,7,3566,226],"白猿","三足龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25992424e85224bdb7548f3617444b35.jpg","纵27.3厘米，横32.5厘米",[],{"id":6081,"slug":6082,"title":6083,"dynasty":112,"author":1705,"museum":75,"description":4344,"tags":6084,"thumbUrl":6087,"material":168,"size":4347,"collection":104,"collections":6088,"showCount":5858,"zanCount":11,"manualWeight":11,"mainColor":68},220262,"huang-shan-tu-ce-59-hong-ren-220262","黄山图册-59",[23,24,25,117,26,78,29,27,269,137,7,6085,6086],"奇松","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ce1db99177c11d3749756af311a232.jpg",[],{"id":6090,"slug":6091,"title":6092,"dynasty":112,"author":6093,"museum":97,"description":6094,"tags":6095,"thumbUrl":6097,"material":104,"size":104,"collection":104,"collections":6098,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},239210,"za-hua-juan-tang-ying-239210","杂画卷","唐英","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[23,24,25,57,26,78,29,61,59,60,991,251,6096,252,31,7,439,254],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":6100,"slug":6101,"title":1504,"dynasty":112,"author":3061,"museum":97,"description":5740,"tags":6102,"thumbUrl":6103,"material":668,"size":669,"collection":104,"collections":6104,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},238682,"shan-shui-ce-dong-bang-da-238682",[24,26,27,117,29,137,209,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F446e498ed2ca0c06c57ea4d826a33924.jpg",[],{"id":6106,"slug":6107,"title":6108,"dynasty":112,"author":1020,"museum":97,"description":6109,"tags":6110,"thumbUrl":6111,"material":104,"size":104,"collection":104,"collections":6112,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},238518,"shan-shui-xiao-ce-qian-wei-cheng-238518","山水小册","此作以淡墨写就林泉幽境，近岸古木虬枝舒展，新叶点染，清隽雅致。白衣士人凭石临水，静静远眺崖上山居。山峦以细劲线条勾勒皴擦，石质硬朗却不失灵秀，谷间似有岚气浮动，衬出山林空寂。\n\n题字朱印与画面相映成趣，笔墨文气相融。整体笔致秀润简淡，以小见大，将文人林下观物寄怀的雅兴藏于尺幅之中，悠悠禅意漫溢，尽显中式山水的淡远之美。",[24,25,117,26,29,7,31,32,27,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1312356b88086b92249eb679a5731d02.jpg",[],{"id":6114,"slug":6115,"title":1504,"dynasty":112,"author":6116,"museum":97,"description":6117,"tags":6118,"thumbUrl":6119,"material":668,"size":669,"collection":104,"collections":6120,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},238089,"shan-shui-ce-lu-yao-238089","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,26,117,27,29,238,239,165,7,80,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc73e6202d0318b3f676928daf5810cc.jpg",[],{"id":6122,"slug":6123,"title":3915,"dynasty":112,"author":3381,"museum":97,"description":6124,"tags":6125,"thumbUrl":6128,"material":104,"size":104,"collection":104,"collections":6129,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},235095,"zheng-min-shan-shui-ce-zheng-min-235095","此作以淡墨写平林小景，枯木虬劲疏朗，枝桠错落伸展，崖畔茅舍孑然独立，远山以浅墨轻扫晕染，淡远朦胧。画面留白疏朗空寂，尽显萧散冷逸的林下之风。\n笔墨简淡松灵，不事浓艳雕琢，以极简笔意勾勒出荒寒清远的意境，深得倪瓒遗韵，尽显新安画派崇尚疏淡雅逸的意趣。搭配左侧行书题跋，笔致清劲秀雅，书画相得益彰，文气盎然，将山水的清冷澹泊与文人隐逸之思相融，悠悠然见林下高致。",[24,25,117,26,29,1060,27,608,138,61,30,164,6126,3117,1568,31,7,6127,439,1844],"小筑","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550867f3e60c4cab630f75e34d2b8d86.jpg",[],{"id":6131,"slug":6132,"title":6133,"dynasty":18,"author":221,"museum":75,"description":6134,"tags":6135,"thumbUrl":6136,"material":152,"size":6137,"collection":104,"collections":6138,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":48},234012,"shui-mo-gu-ting-ye-yi-ming-234012","水末孤亭页","右方危崖壁立，孤亭凌然栖于崖巅，丹枫点染出秋意暖意，崖畔石阶蜿蜒，策杖二人徐行低语，为冷寂山景添了些许生趣。\n左方以大片留白铺展平远水色，淡墨轻勾汀渚寒林，寥寥数笔便晕染出空阔萧疏的江天暮色。整幅以实衬虚，简淡空灵，不着浓墨重彩，便将秋日郊野的荒远静谧藏于笔墨间，带着雅致禅意，尽显留白造境的精妙，引观者坠入这幽绝尘寰的天地，静赏江天寥廓，坐忘山亭秋晚。",[24,1200,78,29,27,818,61,31,209,7,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3be7e0a2e0986debf75b93272d41c0.jpg","26x27cm",[],{"id":6140,"slug":6141,"title":6142,"dynasty":112,"author":221,"museum":75,"description":6143,"tags":6144,"thumbUrl":6146,"material":168,"size":6147,"collection":104,"collections":6148,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},233064,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233064","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[56,24,25,78,208,27,209,5012,29,35,31,254,5705,5634,5013,34,7,6145,2770],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890375b5c81ed92a214a850894c4ca78.jpg","纵55.4cm，横90.8cm",[],{"id":6150,"slug":6151,"title":6152,"dynasty":650,"author":6153,"museum":97,"description":6154,"tags":6155,"thumbUrl":6164,"material":668,"size":669,"collection":104,"collections":6165,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":48},232585,"wei-lian-a-dao-fu-bu-ge-luo-199-wei-lian-a-dao-fu-bu-ge-luo-232585","威廉·阿道夫·布格罗199","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[655,1829,78,1204,209,6156,4830,6157,705,388,6158,1833,31,7,6159,6160,6161,6162,6163],"女性","裸童","黄花","户外场景","赤脚","衣物褶皱","自然背景","人物刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd1eaa7206ac914ecc37acdc1f81d0e.jpg",[],{"id":6167,"slug":6168,"title":6169,"dynasty":650,"author":6170,"museum":97,"description":6171,"tags":6172,"thumbUrl":6176,"material":668,"size":669,"collection":104,"collections":6177,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":683},232282,"a-er-ma-9-lao-lun-si-a-er-ma-ta-de-ma-232282","阿尔玛9","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[655,78,1829,209,224,32,7,6173,6174,37,31,271,6175,656,3542],"森林","蕨类","古典人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5cf8a0e4a3bd32e7ccfd573b94e151c.jpg",[],{"id":6179,"slug":6180,"title":6181,"dynasty":650,"author":4762,"museum":97,"description":6182,"tags":6183,"thumbUrl":6185,"material":668,"size":669,"collection":104,"collections":6186,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":48},231583,"shi-ting-shi-dai-zhu-mai-chen-tu-ping-feng-shou-ye-yuan-xin-231583","室町时代-朱买臣图-屏风","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,1409,26,27,29,137,7,6184,32,3039],"木桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5725e6322531d4c8eda84b8d3a07c34.jpg",[],{"id":6188,"slug":6189,"title":6190,"dynasty":650,"author":6191,"museum":97,"description":6192,"tags":6193,"thumbUrl":6198,"material":668,"size":669,"collection":104,"collections":6199,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":683},230610,"rembrandt-harmensz-van-rijn-0190-lun-bo-lang-230610","Rembrandt Harmensz.van Rijn - 0190","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[655,1829,6194,209,6195,6196,7,1535,6127,6197,1775,656],"明暗对比","裸体","捆绑","暗背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03554afda93db018cefa92bf8cbc75a2.jpg",[],{"id":6201,"slug":6202,"title":6203,"dynasty":650,"author":651,"museum":97,"description":652,"tags":6204,"thumbUrl":6208,"material":668,"size":669,"collection":670,"collections":6209,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},225991,"on-the-cliff-at-pourville-1882-mo-nai-225991","On the Cliff at Pourville, 1882",[56,654,655,4275,6205,4277,2006,4291,5153,7,6206,664,5972,6207,4280,5047],"色彩融合","苔藓","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd5caab6c9a2e9966804884f6e8426.jpg",[670],{"id":6211,"slug":6212,"title":6213,"dynasty":650,"author":221,"museum":97,"description":6214,"tags":6215,"thumbUrl":6216,"material":668,"size":669,"collection":104,"collections":6217,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":48},225427,"fu-shi-hui-185-yi-ming-225427","浮世绘185","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[3192,3193,78,29,33,209,32,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b05b9faefdc2458824e8ee326cd544.jpg",[],{"id":6219,"slug":6220,"title":6221,"dynasty":95,"author":6222,"museum":97,"description":6223,"tags":6224,"thumbUrl":6225,"material":104,"size":104,"collection":104,"collections":6226,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","萧云从 王士祯","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[24,25,117,26,78,27,439,254,29,209,608,138,2006,7,31,951,754,1263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":6228,"slug":6229,"title":6230,"dynasty":112,"author":6231,"museum":3876,"description":6232,"tags":6233,"thumbUrl":6234,"material":6235,"size":6236,"collection":104,"collections":6237,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":104},220741,"shan-shui-ji-6-wang-shi-min-weng-ling-wu-hong-deng-220741","山水集6","王時敏,翁陵,吳宏等","此作以虚实相生之笔绘就江崖小景。右侧危崖斜出，枯墨皴擦石体，淡晕石面肌理，浓墨点苔缀以古木，苍朴老硬的笔意尽显崖壁嶙峋。留白铺作烟江，一叶扁舟静泊水面，素帆悠然垂落，水色空濛，淡墨晕染出江天相融的悠远。\n\n崖畔古松探向江面，与孤舟遥遥相对，疏密开合间，将寥廓江天的清寂禅意藏于尺幅。笔简而意足，淡墨见空灵，浓墨醒生机，寥寥数笔便勾勒出秋江独往的澹澹闲意，尽显山水写意的悠远情致。",[24,26,27,117,29,59,7,31,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54953b7e58196476470f08eeb101c783.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[],{"id":6239,"slug":6240,"title":6241,"dynasty":112,"author":5492,"museum":161,"description":5493,"tags":6242,"thumbUrl":6243,"material":212,"size":5497,"collection":104,"collections":6244,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},219843,"shan-shui-tu-ce-4-xie-sun-219843","山水图册-4",[24,25,117,78,29,31,7,388,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7663f6e59cb54468593fbd50fe7dc11b.jpg",[],{"id":6246,"slug":6247,"title":6248,"dynasty":112,"author":896,"museum":97,"description":5697,"tags":6249,"thumbUrl":6252,"material":26,"size":104,"collection":104,"collections":6253,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},216837,"zhan-zheng-tong-ban-hua-7-lang-shi-ning-216837","战争铜版画-7",[112,5699,5700,209,251,29,31,7,607,6250,5634,5016,5703,6251,37],"士兵","队列","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209b9b1f02fa02291bae8381a37b9690.jpg",[],{"id":6255,"slug":6256,"title":6257,"dynasty":112,"author":6258,"museum":97,"description":6259,"tags":6260,"thumbUrl":6261,"material":668,"size":669,"collection":104,"collections":6262,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},238542,"hua-shou-pu-ce-yu-sheng-238542","画兽谱册","余省","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,25,117,78,208,226,29,7,32,31,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db720051215257bcef81ae67b3c1c94.jpg",[],{"id":6264,"slug":6265,"title":1504,"dynasty":112,"author":265,"museum":97,"description":6266,"tags":6267,"thumbUrl":6268,"material":104,"size":104,"collection":104,"collections":6269,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},238201,"shan-shui-ce-tang-dai-238201","此帧取晨霁之景，青峰叠翠浸润晓雾，烟岚轻笼溪山，山脚林木蓊郁，水榭藏于幽居，汀洲隐现渡头，一派清润空寂的山居气象。设色雅致柔和，石青石绿晕染山峦，兼青绿之明妍与浅绛之温润，笔墨糅合元人萧散简远与院体精整工致。左侧题诗与画境呼应，将辋川闲意融于笔端，写尽朝露沐山、凉风穿榭的幽居意趣，诗画一体，淡远清和，尽显静穆高逸的林下之风，铺陈出烟雨初歇的溪山雅态。",[24,25,78,29,3944,27,79,80,31,766,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cce957f30ebbf222781052b82b587e1.jpg",[],{"id":6271,"slug":6272,"title":1504,"dynasty":112,"author":265,"museum":97,"description":6273,"tags":6274,"thumbUrl":6275,"material":104,"size":104,"collection":104,"collections":6276,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},238194,"shan-shui-ce-tang-dai-238194","此页诗画合璧，尽显林泉幽致。近处崖石隐现，杂木萧疏挺秀，村居藏于浓荫之间，野水萦回蜿蜒，远山以淡墨晕染，晕开空濛秋容。\n\n笔墨温润秀雅，干笔皴擦写出崖石苍朴质感，林木勾勒简净有致，淡墨轻施铺展悠远平阔的水色天光。一旁楷书诗作与画意呼应，淡扫林橫野水，苔石覆古藓，将幽绝尘喧的山居意趣铺陈开来，笔意清和，意境寂然，尽显幽栖深谷、远避尘嚣的林下高致。",[24,26,27,25,117,29,30,31,164,165,388,239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94898f64c5db988d8c972424e0eae704.jpg",[],{"id":6278,"slug":6279,"title":1504,"dynasty":112,"author":6116,"museum":97,"description":6117,"tags":6280,"thumbUrl":6281,"material":668,"size":669,"collection":104,"collections":6282,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},238085,"shan-shui-ce-lu-yao-238085",[24,25,117,26,27,29,79,238,33,7,60,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97829d1c103e01de892370a3cdff2830.jpg",[],{"id":6284,"slug":6285,"title":1504,"dynasty":112,"author":6286,"museum":97,"description":6287,"tags":6288,"thumbUrl":6289,"material":104,"size":104,"collection":104,"collections":6290,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},237978,"shan-shui-ce-zhang-geng-237978","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,25,117,26,27,29,138,608,1569,165,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fce665a63f8e1dd865596c08a13d029.jpg",[],{"id":6292,"slug":6293,"title":6294,"dynasty":112,"author":6295,"museum":97,"description":6296,"tags":6297,"thumbUrl":6298,"material":668,"size":669,"collection":104,"collections":6299,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},237786,"fang-wang-meng-shan-shui-shan-ye-ding-peng-237786","仿王蒙山水扇页","丁澎","丁澎（1622～1686），字飞涛，号药园，仁和（今浙江省杭州市）人，清初著名回族诗人。\n其祖父丁鹤年是明朝（1368～1644）著名诗人。与同乡吴百朋、陆圻、紫绍炳、陈廷会、孙治、沈谦、毛先舒、虞黄吴、张纲孙合称为“西岸十子”、“西泠十子”。",[24,25,1200,26,27,268,29,79,238,137,7,239,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b4931fc1cd0b981c441ad2c0ae886d.jpg",[],{"id":6301,"slug":6302,"title":6303,"dynasty":95,"author":6304,"museum":97,"description":6305,"tags":6306,"thumbUrl":6307,"material":668,"size":669,"collection":104,"collections":6308,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":48},237514,"shan-shui-hua-hui-ce-jiang-shou-cheng-237514","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,25,117,26,1060,29,209,137,33,7,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b25e6f1c43bcc0904c1442f8a75569.jpg",[],{"id":6310,"slug":6311,"title":6303,"dynasty":95,"author":6304,"museum":97,"description":6305,"tags":6312,"thumbUrl":6314,"material":668,"size":669,"collection":104,"collections":6315,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":48},237502,"shan-shui-hua-hui-ce-jiang-shou-cheng-237502",[24,25,117,6313,26,78,27,29,608,59,641,7],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd5edf755d6a49292155b34023e6ecc.jpg",[],{"id":6317,"slug":6318,"title":1504,"dynasty":112,"author":6319,"museum":97,"description":6320,"tags":6321,"thumbUrl":6322,"material":168,"size":104,"collection":104,"collections":6323,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},237374,"shan-shui-ce-wang-jiu-237374","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,117,26,78,29,32,7,31,33,165,27,1060,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b477a325d3978849e3c7039d5f2d4f.jpg",[],{"id":6325,"slug":6326,"title":6327,"dynasty":95,"author":6328,"museum":97,"description":6329,"tags":6330,"thumbUrl":6331,"material":668,"size":669,"collection":104,"collections":6332,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":48},236699,"hou-chi-bi-shan-chen-huan-236699","后赤璧扇","陈焕","陈焕（公元16-17世纪初），字子文，号尧峰，尧峰山人，吴县（今江苏苏州）人，陈镒后裔。\n陈焕寄情翰墨，工画山水，取法沈周并得宋元气脉，私淑侯懋功，候早卒，焕能继其业。所画山水用笔苍秀茂密，动合法度，展对间清思扑人眉睫，以画著称于万历间。\n陈焕事迹见《吴县志》、《画史会要》、《画引》、《图绘宝鉴续纂》。",[1200,26,27,29,59,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3468c340cf21450407cf24e02baf364.jpg",[],{"id":6334,"slug":6335,"title":6336,"dynasty":112,"author":6337,"museum":97,"description":6338,"tags":6339,"thumbUrl":6340,"material":104,"size":104,"collection":104,"collections":6341,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},236513,"sun-shan-shui-ce-wang-ji-236513","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[24,26,27,117,29,33,31,239,58,165,5221,2006,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc410be49906f71475b7f2831a4d22d.jpg",[],{"id":6343,"slug":6344,"title":6345,"dynasty":95,"author":6346,"museum":97,"description":6347,"tags":6348,"thumbUrl":6349,"material":668,"size":669,"collection":104,"collections":6350,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},235315,"ba-jia-shan-shui-ce-shan-yu-zhong-quan-tu-ce-ye-bian-wen-yu-235315","八家山水册-山雨重泉图册页","卞文瑜","字孟硕，吴江（今江苏吴江）人。工画，见赏于董思白（其昌）、陈眉公（继儒）。明亡佯狂卒，年三十二。",[24,25,117,26,29,79,3794,31,7,439,254,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba90ceeeaf9083886b4041d1961704a1.jpg",[],{"id":6352,"slug":6353,"title":6354,"dynasty":112,"author":6355,"museum":75,"description":6356,"tags":6357,"thumbUrl":6358,"material":256,"size":104,"collection":104,"collections":6359,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},234759,"huang-shan-tu-ce-jiang-zhu-234759","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,117,26,27,29,33,7,31,1060,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08db3b9b29ae7ec6bc94da26f7466f3.jpg",[],{"id":6361,"slug":6362,"title":6363,"dynasty":112,"author":221,"museum":97,"description":6364,"tags":6365,"thumbUrl":6366,"material":104,"size":104,"collection":104,"collections":6367,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},234555,"yu-mu-shang-xin-ce-xia-hong-fan-shan-shui-ce-ye-yi-ming-234555","娱目赏心册-夏洪范山水册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[24,25,117,26,27,29,30,33,61,31,7,1060,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6b6bcf46f1c4983e22eb4e86517e19.jpg",[],{"id":6369,"slug":6370,"title":1504,"dynasty":112,"author":3236,"museum":97,"description":6371,"tags":6372,"thumbUrl":6373,"material":104,"size":104,"collection":104,"collections":6374,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},234344,"shan-shui-ce-jin-ting-biao-234344","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,117,26,78,27,29,30,31,37,7,271,254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e8dd964b884c9dda7d01940026e604.jpg",[],{"id":6376,"slug":6377,"title":4089,"dynasty":112,"author":4090,"museum":75,"description":4091,"tags":6378,"thumbUrl":6379,"material":256,"size":4094,"collection":104,"collections":6380,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},233940,"dai-lu-fang-bei-tu-ce-huang-yi-233940",[24,25,117,26,27,29,79,61,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95191587472e9469146deae864f7234.jpg",[],{"id":6382,"slug":6383,"title":6384,"dynasty":112,"author":221,"museum":75,"description":6385,"tags":6386,"thumbUrl":6388,"material":168,"size":6147,"collection":104,"collections":6389,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},233085,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233085","平定苗疆战图册","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[24,78,208,27,29,209,251,31,2770,6387,5634,7,5016],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1942629a65d1a2e3847e6568374af80b.jpg",[],{"id":6391,"slug":6392,"title":6142,"dynasty":112,"author":221,"museum":75,"description":6143,"tags":6393,"thumbUrl":6394,"material":168,"size":6147,"collection":104,"collections":6395,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},233067,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233067",[24,78,208,27,117,209,251,35,31,607,7,254,5634,2770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936f83f7d178ad4af380ea6fca104210.jpg",[],{"id":6397,"slug":6398,"title":6399,"dynasty":112,"author":221,"museum":75,"description":6400,"tags":6401,"thumbUrl":6406,"material":168,"size":6407,"collection":104,"collections":6408,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},233056,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233056","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[24,25,117,208,78,899,209,251,5701,35,31,6387,5013,7,6402,6403,30,271,5634,6404,2770,6405],"战斗场景","硝烟","步兵","尘土","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64df6dfd321f04704fdaee3f6d80a08.jpg","纵55.3cm，横90.3cm",[],{"id":6410,"slug":6411,"title":6412,"dynasty":650,"author":221,"museum":97,"description":6413,"tags":6414,"thumbUrl":6415,"material":104,"size":104,"collection":104,"collections":6416,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},225341,"fu-shi-hui-94-yi-ming-225341","浮世绘94","这幅作品以飞瀑山林为幕布，青蓝飞瀑裹挟着白浪层叠奔涌，暖赭岩壁与苍翠绿林撞色交织，强烈的色块对比拉开视觉张力。浅滩中两名力士牵引骏马涉水洗濯，飞溅的水花衬得马匹鬃毛油亮顺滑。奔涌的水势与静立的人马形成动静反差，将山野雄奇与日常意趣相融。明艳浓烈的用色带着典型的浮世绘特色，把旅途中洗马的寻常小事，铺陈在幽深山景里，让烟火气裹挟着山林野趣扑面而来，尽显寄情山水的闲适意韵。",[3192,3193,78,29,251,32,7,31,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef0b8116eea9d2a1925f737bd1c84a9.jpg",[],{"id":6418,"slug":6419,"title":6420,"dynasty":73,"author":221,"museum":20,"description":6421,"tags":6422,"thumbUrl":6423,"material":212,"size":104,"collection":104,"collections":6424,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":48},218183,"ying-zhen-xiang-zhou-6-yi-ming-218183","应真像轴-6","古木垂荫，枝叶如墨染丝绦，垂落间笼起一片幽寂。涧水潺潺绕石而过，浪纹轻卷似有无声梵音。画中应真跏趺而坐，衣袂如流云般舒展，粉褐相间的僧袍衬得神态愈发静定。他双目微阖，似在观照内心，双手轻拢于膝前，指尖沾着山涧清润。山石皴法古朴，流水笔触灵动，淡彩晕染出清雅禅意。整体画面静谧悠远，松风与水声仿佛交织耳畔，将观者引入澄明的禅境之中，心绪也随那淡墨轻彩缓缓沉淀。",[24,100,78,209,1103,7,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c43e1f829f49a60469953a8e9aedcfd.jpg",[],{"id":6426,"slug":6427,"title":6428,"dynasty":18,"author":6429,"museum":548,"description":6430,"tags":6431,"thumbUrl":6432,"material":140,"size":6433,"collection":104,"collections":6434,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},217967,"shi-liu-ying-zhen-tu-20-fan-long-217967","十六应真图-20","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,25,348,26,1103,209,900,138,29,7,271],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70102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[1] 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,24,25,1103,78,208,209,30,31,124,286,60,6613,6614,7],"器物","背光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3ff9044a8d766a04e933b1773dd242.jpg",[],{"id":6618,"slug":6619,"title":6620,"dynasty":112,"author":896,"museum":97,"description":5697,"tags":6621,"thumbUrl":6624,"material":26,"size":104,"collection":104,"collections":6625,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":68},216783,"zhan-zheng-tong-ban-hua-62-lang-shi-ning-216783","战争铜版画-62",[5699,1829,5700,29,31,209,251,6454,6622,7,607,35,3692,5015,5012,6623,286],"道路","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24fbbda1901a463b6beb4e00ff37d35a.jpg",[],{"id":6627,"slug":6628,"title":6629,"dynasty":650,"author":221,"museum":97,"description":6630,"tags":6631,"thumbUrl":6637,"material":668,"size":669,"collection":104,"collections":6638,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":68},289513,"bartholomeus-spranger-diana-and-actaeon-yi-ming-289513","Bartholomeus Spranger--Diana and Actaeon","以淡褐与浓墨线条铺陈画面，虚实错落。嶙峋崖壁将场景分层，仙灵与狩猎者错杂其间，众神舒展肢体，或腾跃空中，或纵情歌舞，野性欢愉冲破纸面。\n\n线条狂放又精准，寥寥几笔便勾勒出肌肉张力与衣袂飘动感，未作过多修饰，却将林间狂欢的迷乱氛围尽致挥洒。浅晕色调晕染出朦胧山野底色，让众神的肆意灵动愈发鲜活，潦草笔触里留存即兴创作的鲜活张力，将这场神话邂逅的迷狂瞬间永远定格。",[4524,348,6632,6633,6634,1165,6635,7,6636],"人物画","神话场景","裸女","天使","群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04060903bc6d4b37ff57482a46d02328.jpg",[],{"id":6640,"slug":6641,"title":6642,"dynasty":650,"author":221,"museum":97,"description":6643,"tags":6644,"thumbUrl":6645,"material":668,"size":669,"collection":104,"collections":6646,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":68},289281,"philip-van-den-bossche-rugged-wooded-river-landscape-yi-ming-289281","Philip van den Bossche--Rugged Wooded River Landscape","近景苍劲古木虬曲扎根崖石，三位行人衣袂飘然，驻足低语间衬出林野幽寂。画师以疏密错落的排线铺陈光影，复刻出林木的婆娑层次与山石的粗糙肌理。\n\n中景崖岸蜿蜒衔接着河谷村落，屋舍隐桥错落嵌入氤氲山霭，将深林的荒疏与村居的烟火柔和衔接。淡笔留白晕染出空濛的郊野雾气，让山野层次愈发悠远。\n\n笔致简淡却层次丰盈，将北方乡野的清旷朴拙尽数藏于线条褶皱里，仿佛能让人踏入这幅画，静享漫游林麓的悠然隐逸之趣。",[4524,348,29,1165,5725,7,209,607,2503,4525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff910edd277d9b45df0dad6f89d46302f.jpg",[],{"id":6648,"slug":6649,"title":6650,"dynasty":650,"author":221,"museum":97,"description":6651,"tags":6652,"thumbUrl":6658,"material":668,"size":669,"collection":104,"collections":6659,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":68},289216,"giuseppe-cades-the-virgin-immaculate-with-the-christ-child-yi-ming-289216","Giuseppe Cades--The Virgin Immaculate with the Christ 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