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整个画卷空无一人，山水则似真非真有恬淡、简远、空灵寂静之意境，表达了画家寄情山水，抒胸中逸趣之理想审美境界。",[24,25,26,47,28,48,49,50,64,65,66,67,68,7,30,53],"流水","亭","楼阁","树木","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bba6c7101630ccfecf55d8000d2bed.jpg",[],31,{"id":73,"slug":74,"title":75,"dynasty":43,"author":76,"museum":20,"description":77,"tags":78,"thumbUrl":81,"material":33,"size":34,"collection":35,"collections":82,"showCount":83,"zanCount":84,"manualWeight":11,"mainColor":57},291031,"yu-shan-xuan-pu-zhou-zhu-de-run-291031","雨山喧瀑轴","朱德润","这一幅描绘两名士人带着一名童子，在松林漫步悠游。远方是重叠的山峦，山谷中有楼阁隐约可见。一道山泉从山峰高处顺流而下，且穿通松林，使整幅画能上下一气相连急。用笔稳重沉着，山石，丛林的写形和用墨有圆浑厚重的惑觉。",[24,25,26,48,47,28,49,79,67,80,7],"山","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F383c7c073b810b6b165400aa7faf0336.jpg",[],19,1,{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":20,"description":91,"tags":92,"thumbUrl":97,"material":33,"size":34,"collection":35,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":38},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴","清","改琦","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[23,25,47,28,26,24,93,94,95,96,7,30,53],"人物","芭蕉","孤石","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],18,{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":20,"description":21,"tags":104,"thumbUrl":105,"material":33,"size":34,"collection":35,"collections":106,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":57},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[23,24,25,26,27,28,48,29,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":108,"slug":109,"title":110,"dynasty":43,"author":111,"museum":20,"description":112,"tags":113,"thumbUrl":117,"material":33,"size":34,"collection":35,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":57},290894,"xia-shan-gan-yu-zhou-yi-ming-290894","夏山甘雨轴","佚名","以半边奇崛崖壁开篇，苍林垂挂于危岩，浓墨晕染尽夏雨濡湿的沉厚质感。另一侧淡墨轻铺远山平水，烟岚隐现，晕开空濛的天色。滩渚错落间，渔舟横斜，渔人撑篙摇橹、偎舟闲憩，坡岸水牛散漫食草，野趣自生。\n\n画作以干湿墨色交织，浓墨点苔醒透草木生机，淡墨晕染铺就空寂雨意，将夏雨初歇的江南野色，揉进悠远恬和的意境里，把江村闲逸日常与山野润泽生机，晕作一卷淡远的水墨诗意。",[25,47,28,114,49,48,64,115,116,67,7],"山水画","孤舟","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4297de6e0e5c2eef90220565b7ea348.jpg",[],17,{"id":121,"slug":122,"title":123,"dynasty":43,"author":124,"museum":125,"description":126,"tags":127,"thumbUrl":131,"material":132,"size":133,"collection":35,"collections":134,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":38},290345,"yu-shan-tu-zhou-gao-ke-gong-290345","雨山图轴","高克恭","台北故宫博物院","此幅远山近石上，皆以米家点为之，画树叶亦不勾勒，率以浓淡不等之墨直接画出，水份用得特别饱满，加以所用纸张为不吸水性，犹觉水份流动於纸上。自题此图完成时云雨正来，空气湿润，更加倍促使本图能表现雨之濛濛情调。",[25,24,47,28,48,49,7,128,129,67,130,30,53],"山峦","云雾","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ebd812cba6a2a20d43eb8516e168d.jpg","纸本,水墨","122.1x81.1",[],16,{"id":137,"slug":138,"title":139,"dynasty":89,"author":140,"museum":20,"description":141,"tags":142,"thumbUrl":145,"material":33,"size":34,"collection":35,"collections":146,"showCount":147,"zanCount":84,"manualWeight":11,"mainColor":38},290559,"yu-jing-zhou-xu-yang-290559","雨景轴","徐扬","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[25,26,24,47,28,143,48,93,50,64,66,67,68,7,53,144],"设色","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],13,{"id":149,"slug":150,"title":151,"dynasty":89,"author":152,"museum":20,"description":153,"tags":154,"thumbUrl":157,"material":33,"size":34,"collection":35,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":38},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图","王原祁","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[25,26,47,28,48,49,155,7,50,64,128,67,130,156,30,53],"山村","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],12,{"id":161,"slug":162,"title":163,"dynasty":43,"author":111,"museum":20,"description":164,"tags":165,"thumbUrl":168,"material":33,"size":34,"collection":35,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":57},290153,"xia-shan-gan-yu-tu-yi-ming-290153","夏山甘雨图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[25,48,28,47,64,115,116,7,166,68,167,49],"林木","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d181d3e90b756e1e1d386df91fa2fa8.jpg",[],9,{"id":172,"slug":173,"title":174,"dynasty":89,"author":175,"museum":176,"description":177,"tags":178,"thumbUrl":189,"material":35,"size":190,"collection":35,"collections":191,"showCount":192,"zanCount":11,"manualWeight":11,"mainColor":38},223178,"geng-zhi-tu-ce-jiao-bing-zhen-223178","耕织图册","焦秉贞","北京故宫博物院","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[25,179,143,144,180,181,182,93,7,183,67,184,185,30,186,187,188],"册页","焦点透视","农耕","农田","农舍","河流","农具","七言诗","农作","农村生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9713b706bc255ed12e1e7e3295878625.jpg","34.7cm×27.7cm",[],3,{"id":194,"slug":195,"title":196,"dynasty":89,"author":197,"museum":20,"description":198,"tags":199,"thumbUrl":202,"material":35,"size":35,"collection":35,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":38},234339,"shan-shui-ce-jin-ting-biao-234339","山水册","金廷标","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。",[25,28,48,200,50,64,201,93,30,7],"册","民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7297a0aee7987d8b37b4b29da02d73e3.jpg",[],2,{"id":206,"slug":207,"title":208,"dynasty":89,"author":111,"museum":20,"description":209,"tags":210,"thumbUrl":215,"material":33,"size":34,"collection":35,"collections":216,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":57},270609,"wang-jin-sheng-wang-chuan-tu-mo-gong-huai-mo-mo-yi-ming-270609","汪近圣辋川图墨-宫槐陌墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[211,30,212,213,214,7],"墨","楷书","宫槐","山僧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a22dbc16e783c9ce6b21b9f7e509f2.jpg",[],{"id":218,"slug":219,"title":220,"dynasty":221,"author":222,"museum":20,"description":223,"tags":224,"thumbUrl":234,"material":33,"size":34,"collection":35,"collections":235,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":57},231318,"su-miao-572-xi-fang-231318","素描572","不详","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[225,226,227,228,229,230,231,7,232,233],"素描","黑白","眼睛","睫毛","眼泪","小巷","行人","水滴","地面反射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd387434792b8f8fa77dc08e83cb878d8.jpg",[],1777535725131]