[{"data":1,"prerenderedAt":328},["ShallowReactive",2],{"subject-yan-yu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},104,"yan-yu","烟雨","烟雨画高清赏析","精选中国历代烟雨题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1cf24e9af771b795e1c6b961d904f97.jpg",0,20,[14,43,60,76,100,120,132,147,162,177,192,203,225,240,251,264,274,290,304,315],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","清","查士标","北京故宫博物院","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。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。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35],"高清","国画","书画","立轴","水墨","皴法","山水","云雾","松树","山峰","茅屋","山石","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","纸本,水墨","159.5x53.3cm","山水画精选",[39],82,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":55,"material":56,"size":57,"collection":39,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":42},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","明","董其昌","台北故宫博物院","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[24,25,52,27,28,29,7,53,54,30,34],"册","山","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","纸本,设色","31.9x17.5cm",[39],67,{"id":61,"slug":62,"title":63,"dynasty":64,"author":65,"museum":49,"description":66,"tags":67,"thumbUrl":71,"material":27,"size":72,"collection":39,"collections":73,"showCount":74,"zanCount":75,"manualWeight":11,"mainColor":42},219004,"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","元","高克恭","烟岚轻笼层岫，云气漫洇溪谷，远山如黛隐现于濛濛雾色，近树似簇点染于湿润墨痕。淡墨晕染出空濛之境，浓墨点苔显苍劲之姿，米家云山的氤氲与董巨山水的浑厚相融，笔意松秀却不失沉雄。山水间无喧嚣，唯有烟霭流动的静谧，仿佛能闻涧水潺潺，听松风低语，尽显元人寄情林泉的隐逸之思。墨色的浓淡干湿交织出自然生机，虚实之间见真意，将烟雨溪山的空灵悠远凝于尺幅，耐人细细品咂。",[23,24,25,27,28,29,35,30,7,68,34,69,70],"流水","植被","朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg","",[39],66,1,{"id":77,"slug":78,"title":79,"dynasty":47,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":94,"material":95,"size":96,"collection":39,"collections":97,"showCount":99,"zanCount":75,"manualWeight":11,"mainColor":42},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,27,26,29,84,7,68,85,86,28,47,87,88,89,90,91,92,93],"竹","石块","草丛","传统","水墨山水","植物","自然景观","写意","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","纸本墨笔","48X123cm",[39,98],"水墨画精选",54,{"id":101,"slug":102,"title":103,"dynasty":104,"author":105,"museum":49,"description":106,"tags":107,"thumbUrl":115,"material":116,"size":117,"collection":39,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":42},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","宋","郭熙","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,25,27,108,28,29,7,109,110,34,35,30,111,112,113,114],"设色","江帆","孤舟","江水","远山","近树","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","绢本,设色","28.1x27.7cm",[39],47,{"id":121,"slug":122,"title":123,"dynasty":104,"author":124,"museum":49,"description":125,"tags":126,"thumbUrl":127,"material":37,"size":128,"collection":39,"collections":129,"showCount":130,"zanCount":131,"manualWeight":11,"mainColor":42},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[23,24,25,27,28,29,35,30,34,68,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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”。",[24,26,27,29,170,35,171,7,172,157],"楼阁","河流","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae96fa2834c3c09ba001a9aaec286bb.jpg",[98,175],"书法精选",24,{"id":178,"slug":179,"title":180,"dynasty":104,"author":181,"museum":167,"description":182,"tags":183,"thumbUrl":186,"material":187,"size":188,"collection":72,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":191},289588,"yan-jiang-yu-yu-tu-pu-an-289588","烟江欲雨图","朴庵","全图用笔简放雄劲，具有水墨多彩，淋漓尽致的效果。树干树枝随手点画，人物、小舟更信手勾画，画法生动活泼。是南宋马夏一派的佳作。",[24,27,184,7,185,35,110],"山水画","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dc6f53335e9ffa22bf95943de7b1f.jpg","未知","Xcm*Xcm",[],22,"795548",{"id":193,"slug":194,"title":63,"dynasty":18,"author":195,"museum":167,"description":196,"tags":197,"thumbUrl":199,"material":143,"size":200,"collection":39,"collections":201,"showCount":202,"zanCount":11,"manualWeight":11,"mainColor":42},220251,"xi-shan-yan-yu-tu-hu-gong-shou-220251","胡公寿","胡公寿（1823年—1886年），初名远，号瘦鹤、小樵，别号横云山民，华亭（今上海松江）人，清末书画家。其书法出入于平原、北海间，独具体势。诗宗少陵，清健遵练。为海上画派代表画家之一。传世作品有《桂树图》、《香满蒲塘图》等",[23,24,27,26,29,198,35,34,7,28],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee7a7a41050c79328c18df5f5c33a46.jpg","49.54*180",[39],21,{"id":204,"slug":205,"title":206,"dynasty":47,"author":48,"museum":20,"description":207,"tags":208,"thumbUrl":221,"material":222,"size":223,"collection":72,"collections":224,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":42},234056,"shan-shui-ce-dong-qi-chang-234056","山水册","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,25,52,29,108,27,209,210,28,211,212,213,198,155,214,215,7,216,172,157,217,218,219,220],"青绿","临摹","峰峦","秋树","青山","疏林","坡石","松涧","云树","水阁","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],{"id":226,"slug":227,"title":228,"dynasty":229,"author":230,"museum":231,"description":232,"tags":233,"thumbUrl":236,"material":72,"size":72,"collection":39,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":239},202816,"fang-mi-fei-yan-yu-tu-zhou-qi-bai-shi-202816","仿米芾烟雨图轴","近代","齐白石","上海博物馆","水墨晕染间，山峦如黛，烟霭轻笼，尽显米家山水的朦胧意趣。白石老人以大写意笔法破墨点染，浓墨积叠出苍劲树影与屋舍轮廓，淡墨晕化出山巅云雾，虚实相生间，烟雨空濛之态跃然纸上。近景林木葱郁，屋舍隐现；远景峰峦耸峙，层次分明却浑然一体，似将江南烟雨的湿润清旷凝于尺幅，既有古法韵致，又藏独有的朴拙生机。",[24,27,29,210,234,154,35,235,7,23],"大写意","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcece95bf31897daf8e0014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藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,24,25,26,27,108,28,29,53,35,68,270,30,7],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],10,{"id":275,"slug":276,"title":277,"dynasty":18,"author":278,"museum":167,"description":279,"tags":280,"thumbUrl":286,"material":187,"size":188,"collection":72,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":289},272973,"zi-tan-mu-bian-jin-qi-yan-yu-lou-ge-tu-gua-ping-yi-ming-272973","紫檀木边金漆烟雨楼阁图挂屏","佚名","沉黑漆地如暮夜初合，金漆勾描亭台临水而建，汀岸垂柳依依，湖面芙蓉盛放，舒展雅致。红晕山峦层叠卧于烟水尽头，晕染出烟雨江南的朦胧柔婉。\n\n上方金漆题诗与画境呼应，将观莲赏景的文人雅趣凝于屏间。金漆髹饰工细流畅，赤金与朱红、墨色撞色鲜明却和谐，把工笔雅致与漆艺华美相融，将江南烟水诗意定格，尽显精巧造诣，藏着东方古典山水的悠然意韵。",[281,282,283,284,108,170,29,285,172,7],"漆器","木质","挂屏","界画","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20c8e50089885046954c097ae815dc0.jpg",[],8,"37474F",{"id":291,"slug":292,"title":293,"dynasty":229,"author":294,"museum":231,"description":295,"tags":296,"thumbUrl":10,"material":72,"size":72,"collection":39,"collections":301,"showCount":302,"zanCount":11,"manualWeight":11,"mainColor":303},203399,"chun-jiang-yan-yu-tu-zhou-wu-shi-xian-203399","春江烟雨图轴","吴石仙","烟雨笼春江，雾气轻漫四野。远山隐于朦胧间，近树以湿笔晕染，枝叶含烟。江面帆影绰绰，岸边屋舍错落，孤舟蓑笠翁静对烟波，似忘尘嚣。画家以淡墨层层渲染，皴擦结合显山石湿润肌理，色彩素雅却韵致悠长，将江南水乡的温婉朦胧与宁静致远之境凝于尺幅，尽显烟雨山水的独特情韵。",[24,29,27,28,110,297,7,298,235,299,300,68,23],"蓑笠","湿笔","渔乐","春江",[39],7,"917b68",{"id":305,"slug":306,"title":307,"dynasty":18,"author":308,"museum":231,"description":309,"tags":310,"thumbUrl":311,"material":72,"size":72,"collection":72,"collections":312,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":314},202326,"xi-qiao-yan-yu-tu-zhou-wu-qing-yun-202326","溪桥烟雨图轴","吴庆云","画面烟水氤氲，远山隐于薄雾，墨色由淡至浓晕染出层叠朦胧。近岸茅舍临流，木栏疏朗；溪上小桥横卧，行人影绰；水面孤舟轻漾，蓑笠渔者静对烟波。笔墨以水墨为基，兼施淡彩，雨雾用湿墨渲染得湿润欲滴，树木简笔点染见生机，山石凭墨色浓淡显肌理，少皴法却富层次。整体气韵清润雅致，江南烟雨的迷离诗意扑面而来，仿佛能闻雨打枝叶之声，观之如置身烟水空濛的江南一隅。",[24,27,108,29,156,68,110,297,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7cec88730b9daa8dfac53d62dec359.jpg",[],6,"a2988b",{"id":316,"slug":317,"title":318,"dynasty":18,"author":308,"museum":231,"description":319,"tags":320,"thumbUrl":325,"material":72,"size":72,"collection":72,"collections":326,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":327},202345,"yan-yu-gui-cun-tu-zhou-wu-qing-yun-202345","烟雨归村图轴","画面烟雨濛濛，远山隐于淡墨晕染的霭气间，若隐若现。山间屋舍错落，林木以浓淡墨色点染，层次分明。溪面薄雾轻笼，渔舟泛波，舟子身影悠然。近岸古木虬枝，墨色沉郁，桥下行人撑伞徐行，衣袂带露，尽显归程的闲适。笔墨兼融中西，水墨渲染出烟雨的湿润朦胧，皴擦技法勾勒山石林木的质感，动静相宜间，铺展一幅诗意盎然的水乡烟雨图。",[24,27,29,7,321,322,156,323,28,324],"村落","渔舟","行人","渲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F641cff4c4cbdfc044f29da7e762eecc5.jpg",[],"a09588",1777535720421]