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卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,54,55,25,27,26,30,31,82,115,59,34,32,7],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","纸本,设色","17.4x76cm",[68,89],460,{"id":122,"slug":123,"title":124,"dynasty":48,"author":49,"museum":125,"description":126,"tags":127,"thumbUrl":129,"material":130,"size":131,"collection":87,"collections":132,"showCount":133,"zanCount":134,"manualWeight":11,"mainColor":72},220778,"yu-fu-tu-wu-zhen-220778","渔父图","北京故宫博物院","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[23,24,54,56,27,26,30,58,128,34,32,7],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","绢本，墨笔","纵84.7厘米，横29.7厘米",[87,105],434,3,{"id":136,"slug":137,"title":138,"dynasty":139,"author":140,"museum":78,"description":141,"tags":142,"thumbUrl":145,"material":146,"size":147,"collection":68,"collections":148,"showCount":149,"zanCount":150,"manualWeight":11,"mainColor":92},214668,"shan-shui-tu-guo-zhong-shu-214668","山水图","宋","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[24,53,26,143,30,7,28,29,34,60,144,25],"飞鸟","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","绢本,设色","53x72.2",[68],412,2,{"id":152,"slug":153,"title":154,"dynasty":18,"author":155,"museum":78,"description":156,"tags":157,"thumbUrl":163,"material":164,"size":165,"collection":68,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":92},222033,"chun-han-tu-dai-jin-222033","春酣图","戴进","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,53,26,25,27,31,158,159,34,30,29,160,32,161,162,7],"松树","小桥","春景","云雾","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","绢本","纵291.3cm，横171.5cm",[68,89],340,{"id":169,"slug":170,"title":171,"dynasty":139,"author":172,"museum":173,"description":174,"tags":175,"thumbUrl":180,"material":181,"size":182,"collection":183,"collections":184,"showCount":185,"zanCount":134,"manualWeight":11,"mainColor":92},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",[23,24,54,56,25,55,27,26,31,30,176,177,34,178,179,59,7],"竹","马","河岸","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","纸本","29.5×302.3厘米","宋画精选",[183,68,89],334,{"id":187,"slug":188,"title":189,"dynasty":18,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":198,"material":37,"size":199,"collection":68,"collections":200,"showCount":201,"zanCount":134,"manualWeight":11,"mainColor":72},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","仇英","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,24,194,25,27,195,26,196,61,30,31,32,7,59,197],"工笔","立轴","枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[68,89],267,{"id":203,"slug":204,"title":205,"dynasty":18,"author":206,"museum":50,"description":207,"tags":208,"thumbUrl":213,"material":117,"size":214,"collection":68,"collections":215,"showCount":216,"zanCount":150,"manualWeight":11,"mainColor":72},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,54,25,56,26,31,158,209,210,7,211,212],"草","石头","远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 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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。",[23,24,56,27,26,30,7,143,361,29,277,252],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[183],137,{"id":366,"slug":367,"title":368,"dynasty":139,"author":273,"museum":50,"description":369,"tags":370,"thumbUrl":371,"material":226,"size":372,"collection":87,"collections":373,"showCount":374,"zanCount":107,"manualWeight":11,"mainColor":92},219960,"yu-cun-gui-diao-tu-xia-gui-219960","渔村归钓图","这幅画作以边角截景取景，空灵留白间晕开幽寂江村暮色。古松虬曲倒挂，浓淡墨色区分枯荣枝叶，苍劲中带着柔姿，斜斜探向崖下茅舍，隐见烟火野趣。下方板桥横于浅渚，孤渔垂竿徐行，晚归的闲散诗意随晚风漫开。山石以斧劈皴利落皴擦，硬朗线条衬出水畔崖岸的清峭冷寂。整幅落笔极简，以少胜多，将江南渔村的宁谧晚景藏在简淡笔墨中，寥寥数笔便勾勒出悠远清寂的意境，把山水雅趣融在边角留白里，清淡悠远，余韵悠长。",[23,24,53,54,350,56,27,26,7,159,34,30,58,31,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa21f05a4516126b98b351e062b2bf0.jpg","23×22.3cm",[87],131,{"id":376,"slug":377,"title":378,"dynasty":18,"author":190,"museum":379,"description":380,"tags":381,"thumbUrl":383,"material":146,"size":384,"collection":87,"collections":385,"showCount":374,"zanCount":107,"manualWeight":11,"mainColor":92},219528,"yu-yin-tu-chou-ying-219528","渔隐图","大英博物馆","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,54,53,194,25,316,26,59,382,34,35,7,195],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[87,89],{"id":387,"slug":388,"title":389,"dynasty":139,"author":390,"museum":391,"description":392,"tags":393,"thumbUrl":395,"material":146,"size":396,"collection":183,"collections":397,"showCount":398,"zanCount":107,"manualWeight":11,"mainColor":72},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰","耶鲁大学艺术博物馆","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[24,25,26,27,28,143,159,34,394,7],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[183],126,{"id":400,"slug":401,"title":402,"dynasty":139,"author":337,"museum":78,"description":403,"tags":404,"thumbUrl":407,"material":146,"size":408,"collection":183,"collections":409,"showCount":410,"zanCount":107,"manualWeight":11,"mainColor":92},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,54,26,25,56,27,405,406,159,34,30,58,7,81],"柳","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[183,68],125,{"id":412,"slug":413,"title":414,"dynasty":18,"author":97,"museum":274,"description":415,"tags":416,"thumbUrl":418,"material":39,"size":39,"collection":39,"collections":419,"showCount":420,"zanCount":134,"manualWeight":11,"mainColor":72},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,53,24,55,56,25,26,7,159,34,30,58,417,59,83,63,64],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],120,{"id":422,"slug":423,"title":389,"dynasty":139,"author":424,"museum":391,"description":425,"tags":426,"thumbUrl":427,"material":146,"size":428,"collection":183,"collections":429,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":72},218643,"yue-xia-yu-she-tu-gu-liang-218643","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,53,54,26,25,394,7,30,29,32,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[183],{"id":431,"slug":432,"title":433,"dynasty":139,"author":273,"museum":262,"description":434,"tags":435,"thumbUrl":436,"material":437,"size":438,"collection":183,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":92},221659,"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。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，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,54,56,26,34,30,58,7,29,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","绢本水墨","23.2x23.8厘米",[183,68,89],100,{"id":442,"slug":443,"title":444,"dynasty":48,"author":49,"museum":78,"description":445,"tags":446,"thumbUrl":447,"material":66,"size":448,"collection":39,"collections":449,"showCount":450,"zanCount":134,"manualWeight":11,"mainColor":92},287604,"dong-ting-yu-yin-tu-wu-zhen-287604","洞庭渔隐图","该画作采用“一河两岸”式的构图。近景画双松挺立，枯树横斜，隔岸则是迤逦的山坡，与水边荡桨的渔舟，十分忠实地呈现出江南水乡泽国的景象。虽然布局简略，但添加边角的签名，以及上方的题词之後，别具一番宁静典雅的情调。",[53,24,54,195,56,26,34,30,29,64,83,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7237860d8699cbcf4faf880b8386aa52.jpg","146.4x58.6",[],99,{"id":452,"slug":453,"title":454,"dynasty":18,"author":155,"museum":455,"description":456,"tags":457,"thumbUrl":459,"material":117,"size":460,"collection":68,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":72},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","美国弗利尔美术馆","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,54,55,56,25,26,27,7,30,143,29,34,32,458,58,81,59],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[68,89],97,{"id":464,"slug":465,"title":466,"dynasty":48,"author":467,"museum":274,"description":468,"tags":469,"thumbUrl":472,"material":473,"size":474,"collection":39,"collections":475,"showCount":476,"zanCount":107,"manualWeight":11,"mainColor":72},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,54,55,56,27,63,64,83,26,470,471,30,31,59,34,35,81,7],"松","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg","未知","Xcm*Xcm",[],91,{"id":478,"slug":479,"title":480,"dynasty":139,"author":313,"museum":78,"description":481,"tags":482,"thumbUrl":484,"material":25,"size":39,"collection":183,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":72},220337,"song-ren-yuan-hua-ce-2-sheng-mao-220337","宋人院画册-2","此作绘秋江渔隐之境，近岸林木枯柔相生，苍枝虬曲间柔柳垂拂，刚柔相衬愈见山野意趣。滩头渔舟静泊，舟中二人对坐晤谈，将江湖闲散的逸致娓娓铺展。平湖澹澹，水鸟掠波惊起细碎涟漪，远山如黛晕染天际，留白晕出水天寥廓空濛。\n\n笔墨工秀兼带写意松灵，设色浅淡清润，将江南水畔的清寂淡远揉入尺幅之中，把渔樵寄情山水的隐逸诗意藏进边角细节，尽显宋人平淡天真的美学意趣，是宋式山水小品里野逸闲情的绝佳写照。",[23,24,54,100,25,26,30,58,143,59,34,7,211,483,62],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg",[183],86,{"id":488,"slug":489,"title":490,"dynasty":139,"author":172,"museum":455,"description":491,"tags":492,"thumbUrl":493,"material":66,"size":494,"collection":68,"collections":495,"showCount":496,"zanCount":107,"manualWeight":11,"mainColor":92},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,54,26,195,25,27,30,81,31,34,29,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[68],85,{"id":498,"slug":499,"title":500,"dynasty":296,"author":501,"museum":274,"description":502,"tags":503,"thumbUrl":505,"material":473,"size":474,"collection":39,"collections":506,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":92},288460,"yu-le-tu-jing-hao-288460","渔乐图","荆浩","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[53,24,54,55,56,57,159,34,504,32,327,31,7,197],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg",[],83,{"id":509,"slug":510,"title":511,"dynasty":48,"author":49,"museum":78,"description":512,"tags":513,"thumbUrl":514,"material":226,"size":515,"collection":39,"collections":516,"showCount":517,"zanCount":11,"manualWeight":11,"mainColor":92},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[53,24,56,26,195,30,7,34,35,158,83,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":519,"slug":520,"title":521,"dynasty":48,"author":337,"museum":522,"description":523,"tags":524,"thumbUrl":525,"material":146,"size":526,"collection":68,"collections":527,"showCount":528,"zanCount":107,"manualWeight":11,"mainColor":92},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","私人收藏","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[24,56,25,26,34,30,58,29,35,7,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[68],80,{"id":530,"slug":531,"title":454,"dynasty":139,"author":337,"museum":532,"description":533,"tags":534,"thumbUrl":535,"material":146,"size":536,"collection":68,"collections":537,"showCount":538,"zanCount":107,"manualWeight":11,"mainColor":269},219034,"qiu-jiang-yu-ting-tu-yi-ming-219034","日本大阪市立美术馆","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[23,24,57,195,56,27,26,30,159,34,7,59,32,61,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[68],79,{"id":540,"slug":541,"title":124,"dynasty":139,"author":221,"museum":274,"description":542,"tags":543,"thumbUrl":544,"material":473,"size":474,"collection":39,"collections":545,"showCount":546,"zanCount":11,"manualWeight":11,"mainColor":92},290086,"yu-fu-tu-li-tang-290086","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,53,24,56,26,195,27,30,58,34,29,35,7,83,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":548,"slug":549,"title":550,"dynasty":18,"author":77,"museum":262,"description":551,"tags":552,"thumbUrl":553,"material":146,"size":39,"collection":68,"collections":554,"showCount":546,"zanCount":134,"manualWeight":11,"mainColor":92},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。",[24,195,25,27,26,30,59,179,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[68],{"id":556,"slug":557,"title":558,"dynasty":18,"author":97,"museum":274,"description":559,"tags":560,"thumbUrl":561,"material":39,"size":39,"collection":39,"collections":562,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":72},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,54,55,25,27,26,59,30,31,82,34,32,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],76,{"id":565,"slug":566,"title":567,"dynasty":296,"author":501,"museum":78,"description":502,"tags":568,"thumbUrl":569,"material":226,"size":570,"collection":39,"collections":571,"showCount":572,"zanCount":107,"manualWeight":11,"mainColor":92},289925,"yu-le-tu-zhou-jing-hao-289925","渔乐图轴",[24,195,56,27,26,7,28,35,34,29,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda905b5bc4e53571550e7355ed79a2b.jpg","189.4x125.9",[],75,{"id":574,"slug":575,"title":576,"dynasty":296,"author":577,"museum":274,"description":578,"tags":579,"thumbUrl":580,"material":473,"size":474,"collection":39,"collections":581,"showCount":572,"zanCount":11,"manualWeight":11,"mainColor":92},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","董源","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[23,53,24,54,55,56,26,34,30,7,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":583,"slug":584,"title":585,"dynasty":18,"author":586,"museum":274,"description":587,"tags":588,"thumbUrl":591,"material":39,"size":39,"collection":39,"collections":592,"showCount":572,"zanCount":134,"manualWeight":11,"mainColor":72},228912,"tao-hua-yuan-tu-qian-gu-228912","桃花源图","钱毂","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,54,55,56,25,27,194,26,31,589,34,30,7,143,159,81,590],"桃花","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":594,"slug":595,"title":596,"dynasty":285,"author":597,"museum":274,"description":598,"tags":599,"thumbUrl":600,"material":473,"size":474,"collection":39,"collections":601,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":72},287691,"yu-shi-tu-juan-zhu-da-287691","鱼石图卷","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,53,24,55,56,590,35,83,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],73,{"id":604,"slug":605,"title":606,"dynasty":139,"author":273,"museum":274,"description":607,"tags":608,"thumbUrl":609,"material":39,"size":39,"collection":39,"collections":610,"showCount":602,"zanCount":11,"manualWeight":11,"mainColor":92},227765,"mu-se-yu-cun-tu-ye-xia-gui-227765","暮色渔村图页","宋代绘画是中国绘画艺术发展的高峰。南宋退至杭州以后，宗室子弟也随之退至杭州，宗室子弟多具艺术兴趣、禀赋、修养。南宋虽偏安江南，但在绘画上却依然取得了瞩目的成就。宫廷绘画仍是当时绘画发展的主流，江南的自然和人文环境，使南宋绘画别具自己的特色。山水画从北宋全景式的大山大水及松石，变成了用笔简括、章法谨严、高度剪裁的边角特写。人物画着重挖掘人物的精神状貌及动人的情节，注重塑造性格鲜明的艺术形象。花鸟画努力进行形象提炼，有着高度的写实能力。而千姿百态的西湖画更显示了南宋画的特色。此时的文人士夫画在主观的表达和笔墨效果的探索上亦有较大的贡献。夏圭、马远、李唐和刘鹤年并称南宋四大画家。这里介绍四大画家之一夏圭绘画赏析，他的主要作品有《溪山清远图》《临流赋琴图》《雪堂客话图》《烟岫林居图》《西湖柳艇图》《洞庭秋月图》《梧竹溪堂图》《山水十二景图》《雪溪放牧图页》《风雨行舟图》《山腰楼观图页》《泽畔疾风图》《钱塘秋潮图》《松溪泛月图》《寒林对雪图》《山市晴岚图》《松崖客话图》《遥岑烟霭图》《灞桥风雪图》《观瀑图》《坐看云起图》《长江万里图》《捕鱼图团扇》等。",[24,56,27,100,26,143,30,29,361,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fd431501dd6f7cc9573e2445db7b27.jpg",[],{"id":612,"slug":613,"title":614,"dynasty":18,"author":615,"museum":616,"description":617,"tags":618,"thumbUrl":631,"material":146,"size":632,"collection":68,"collections":633,"showCount":634,"zanCount":150,"manualWeight":11,"mainColor":72},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","费城艺术博物馆","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,54,55,25,26,27,83,63,30,34,81,143,361,394,7,159,619,620,621,622,623,624,625,626,627,628,629,630],"远浦","归帆","山市","晴岚","江天","暮雪","洞庭","夜雨","烟寺","晚钟","渔村","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[68],70,{"id":636,"slug":637,"title":638,"dynasty":139,"author":639,"museum":78,"description":640,"tags":641,"thumbUrl":642,"material":164,"size":39,"collection":183,"collections":643,"showCount":644,"zanCount":11,"manualWeight":11,"mainColor":72},219951,"xi-shan-wan-diao-tu-zhao-ji-219951","溪山晚钓图","赵佶","此作用平远之法铺展暮色溪山，淡墨晕染出山峦氤氲的烟霭，将黄昏的温润沉凝揉进层叠丘壑，山林在暮色里晕成朦胧黛色，漫出浑然的静谧。前景虬曲枯木苍劲古拙，疏枝横斜，暗合深秋荒寒意趣。右下角一叶扁舟随波轻漾，独钓渔翁静卧舟中，把幽寂闲适的隐逸之思铺陈开来。设色沉雅古穆，赭石淡晕铺就黄昏底色，将晚归溪山的空寂淡远尽数勾勒，将宋人寄情山水的澹泊襟怀藏在朦胧暮色之中，尽显清远萧散的文人意韵。",[23,53,24,54,100,25,27,26,30,58,28,32,34,361,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63514bbaa1ed78f805a168466c561b14.jpg",[183],68,{"id":646,"slug":647,"title":648,"dynasty":18,"author":649,"museum":522,"description":650,"tags":651,"thumbUrl":653,"material":146,"size":654,"collection":68,"collections":655,"showCount":644,"zanCount":11,"manualWeight":11,"mainColor":92},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","文徵明","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,54,195,25,26,158,30,58,32,34,652,7,27,194,59],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[68],{"id":657,"slug":658,"title":659,"dynasty":296,"author":501,"museum":274,"description":502,"tags":660,"thumbUrl":661,"material":473,"size":474,"collection":39,"collections":662,"showCount":663,"zanCount":11,"manualWeight":11,"mainColor":92},290415,"wu-dai-liang-yu-le-tu-zhou-jing-hao-290415","五代梁渔乐图轴",[53,24,195,26,56,27,32,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c6cdb23ba7361b98c8e5b41081a410.jpg",[],67,{"id":665,"slug":666,"title":433,"dynasty":139,"author":273,"museum":274,"description":359,"tags":667,"thumbUrl":669,"material":473,"size":474,"collection":39,"collections":670,"showCount":663,"zanCount":11,"manualWeight":11,"mainColor":92},289973,"xi-kou-chui-diao-tu-xia-gui-289973",[23,53,24,57,56,27,29,211,30,34,197,7,668],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],{"id":672,"slug":673,"title":674,"dynasty":48,"author":313,"museum":262,"description":675,"tags":676,"thumbUrl":679,"material":437,"size":680,"collection":68,"collections":681,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":92},221757,"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,53,55,56,27,26,159,34,30,59,677,7,143,678],"建筑","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[68,105],66,{"id":684,"slug":685,"title":500,"dynasty":139,"author":172,"museum":391,"description":686,"tags":687,"thumbUrl":688,"material":146,"size":39,"collection":87,"collections":689,"showCount":682,"zanCount":107,"manualWeight":11,"mainColor":92},219863,"yu-le-tu-ma-yuan-219863","画面截取边角山水景致，峭壁斜出，虬松探枝舒展，笔墨刚劲爽利，斧劈皴利落勾勒山石棱角，尽显苍劲雄浑。\n\n水岸平滩处，二渔人相对促膝，姿态松弛随意，似正畅谈渔间趣事，简笔淡墨便将隐逸闲适的情态尽数铺陈。远景山峦含混于烟霭间，水色空蒙辽远，留白虚实相生，将江天寥廓的空寂意境晕染开来，把江湖渔隐的悠然意趣藏于尺幅之间，观之令人忘却尘嚣。",[24,53,54,26,31,30,29,32,212,27,56,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg",[87],{"id":691,"slug":692,"title":693,"dynasty":296,"author":694,"museum":274,"description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北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[24,57,56,27,697,26,28,302,382,727,35,7,728],"溪岸","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7037404c7f9e8aaac7306673c66fb64.jpg","169x110",[183],57,{"id":734,"slug":735,"title":500,"dynasty":18,"author":736,"museum":125,"description":737,"tags":738,"thumbUrl":740,"material":117,"size":741,"collection":87,"collections":742,"showCount":743,"zanCount":107,"manualWeight":11,"mainColor":72},219059,"yu-le-tu-zhou-chen-219059","周臣","周臣（生卒年不详），字舜卿，号东村，吴县（今江苏苏州）人。画山水师陈暹（1405－1496年），摹古于宋人李成、郭熙、马远、夏圭，用笔纯熟，所谓“行家”意胜耳。何良俊以为，与戴进（1388－1462年）并驱，则互有所长，亦是院体中一高手。兼工人物，古貌奇姿，绵细萧散，各极意能。 　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[23,24,55,56,194,31,30,128,61,301,7,27,678,739],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[87],56,{"id":745,"slug":746,"title":124,"dynasty":18,"author":337,"museum":616,"description":747,"tags":748,"thumbUrl":749,"material":146,"size":750,"collection":87,"collections":751,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":92},215036,"yu-fu-tu-yi-ming-215036","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。",[24,25,194,31,26,143,59,179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f55a0d1c2d8e2093168ae785f5d24f.jpg","23x25.8cm",[87],{"id":753,"slug":754,"title":347,"dynasty":139,"author":235,"museum":78,"description":755,"tags":756,"thumbUrl":757,"material":146,"size":758,"collection":183,"collections":759,"showCount":760,"zanCount":107,"manualWeight":11,"mainColor":72},218933,"bu-yu-tu-li-cheng-218933","这幅画描绘了一条雪白的河流，岸边有古老的松树，一棵松树迎风而立，河里的渔民在放鱼网。这幅画以前被冠以李成的作品，但当你仔细观察这幅画的画风和两岸的抒情笔触，它更接近元代朱德润的画风。",[23,24,53,54,100,56,27,26,29,30,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0df2112e287c6b86f47d3abcb4356f99.jpg","23.3x25",[183],55,{"id":762,"slug":763,"title":764,"dynasty":18,"author":77,"museum":274,"description":765,"tags":766,"thumbUrl":768,"material":473,"size":474,"collection":39,"collections":769,"showCount":770,"zanCount":107,"manualWeight":11,"mainColor":72},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,53,56,195,26,30,394,301,7,83,64,767],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],54,{"id":772,"slug":773,"title":774,"dynasty":48,"author":775,"museum":455,"description":776,"tags":777,"thumbUrl":778,"material":117,"size":779,"collection":68,"collections":780,"showCount":770,"zanCount":11,"manualWeight":11,"mainColor":72},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","方从义","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,24,54,195,56,27,26,128,61,31,209,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[68],{"id":782,"slug":783,"title":784,"dynasty":139,"author":221,"museum":785,"description":786,"tags":787,"thumbUrl":788,"material":181,"size":789,"collection":39,"collections":790,"showCount":791,"zanCount":107,"manualWeight":11,"mainColor":92},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,53,24,54,55,25,26,27,194,251,252,30,128,81,143,159,34,7,31,35,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],52,{"id":793,"slug":794,"title":454,"dynasty":139,"author":337,"museum":78,"description":795,"tags":796,"thumbUrl":797,"material":146,"size":798,"collection":183,"collections":799,"showCount":791,"zanCount":11,"manualWeight":11,"mainColor":72},218850,"qiu-jiang-yu-ting-tu-yi-ming-218850","画面上，秋日的两岸，渔舟唱晚，文人待渡，近岸松石，远山隐于云间，野桥飞泉，贵人和僮仆无比准备，可谓是 秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[23,24,54,56,25,26,30,34,7,29,27,277,211,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[183,68],{"id":801,"slug":802,"title":803,"dynasty":48,"author":49,"museum":125,"description":804,"tags":805,"thumbUrl":806,"material":130,"size":131,"collection":39,"collections":807,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":72},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[24,54,195,56,27,63,64,26,30,34,29,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg",[],49,{"id":810,"slug":811,"title":812,"dynasty":139,"author":273,"museum":262,"description":813,"tags":814,"thumbUrl":815,"material":816,"size":817,"collection":39,"collections":818,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":72},221508,"bu-yu-tu-tuan-shan-ye-xia-gui-221508","捕鱼图团扇页","按《捕鱼图》团扇页题签，此画传为南宋画家夏圭所作。有学者认为可能是明代画家的作品。夏珪腕力刚劲，运笔迅速，与此画文静秀逸的笔法不同；《捕鱼图》人物温雅的面容，简洁而细腻的衣纹，也不是夏珪的风格，反而与马远的画风一致。尽管《捕鱼图》可能不是宋代作品，但画得依然很出色，能妙笔入神，情景交融，表现出雅静虚和的韵味。",[23,24,350,56,27,26,30,58,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b90038fa4d4f5868eee3e4e06e13086.jpg","绢本 水墨","23.2x24.1厘米",[],{"id":820,"slug":821,"title":822,"dynasty":18,"author":823,"museum":125,"description":824,"tags":825,"thumbUrl":831,"material":226,"size":832,"collection":68,"collections":833,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":92},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","吴伟","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,24,54,195,826,827,27,26,470,828,30,829,34,251,830,7,59],"水墨画","写意","溪","渔者","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[68,87],{"id":835,"slug":836,"title":837,"dynasty":285,"author":286,"museum":838,"description":839,"tags":840,"thumbUrl":841,"material":117,"size":842,"collection":68,"collections":843,"showCount":808,"zanCount":11,"manualWeight":11,"mainColor":92},219930,"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","香港艺术馆","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[23,24,56,27,195,26,405,30,34,210,59,31,327,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[68],{"id":845,"slug":846,"title":500,"dynasty":18,"author":847,"museum":78,"description":848,"tags":849,"thumbUrl":866,"material":85,"size":867,"collection":68,"collections":868,"showCount":869,"zanCount":107,"manualWeight":11,"mainColor":92},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,25,26,194,30,7,176,850,211,161,34,277,128,209,301,62,851,28,852,853,854,855,856,857,858,859,860,861,862,863,864,197,865],"渔夫","岸石","汀渚","渔人","舟楫","烟波","浅滩","丛竹","近岸","远岫","霭气","水域","坡岸","草木","舟船","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[68,105],48,{"id":871,"slug":872,"title":873,"dynasty":874,"author":875,"museum":876,"description":877,"tags":878,"thumbUrl":880,"material":39,"size":39,"collection":39,"collections":881,"showCount":882,"zanCount":11,"manualWeight":11,"mainColor":72},220581,"shan-hu-shui-qing-qi-huang-bin-hong-220581","山湖水清气","民国","黄宾虹","Hong Kong Museum of Art","此作用笔苍浑华滋，以焦墨积染绘近处茂林，层叠草木间晕开青绿淡赭，将山野蓬勃生机尽数铺展。水畔茅舍静立，泊岸小舟轻倚，行船渔者悠然划破水面，动静相生，把山居渔隐的闲逸揉入湖山之间。\n\n远景山峦以淡墨轻勾，朦胧清浅，与近景的浓郁苍郁形成虚实对照，留白处晕出水气氤氲的浩渺湖面，清润之意扑面而来。笔墨兼具浑厚与灵秀，将江南山湖的清寂温润凝于笔底，仿若踏入这幽宁天地，浸在清润山野气息中，漫品这份静谧悠然的林下意趣。",[23,24,56,25,27,26,59,61,30,879,7],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],47,{"id":884,"slug":885,"title":886,"dynasty":48,"author":337,"museum":50,"description":887,"tags":888,"thumbUrl":890,"material":146,"size":891,"collection":68,"collections":892,"showCount":882,"zanCount":11,"manualWeight":11,"mainColor":92},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,54,350,56,25,26,59,33,31,590,889,34,7,27],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[68],{"id":894,"slug":895,"title":896,"dynasty":48,"author":248,"museum":78,"description":897,"tags":898,"thumbUrl":899,"material":66,"size":255,"collection":39,"collections":900,"showCount":901,"zanCount":11,"manualWeight":11,"mainColor":92},218122,"hua-xi-yu-yin-tu-san-wang-meng-218122","花溪渔隐图(三)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,24,54,56,27,26,30,34,128,32,7,64,82,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f2f4aff7c235556ddedd556c4afb9c.jpg",[],45,{"id":903,"slug":904,"title":138,"dynasty":139,"author":172,"museum":274,"description":905,"tags":906,"thumbUrl":907,"material":473,"size":474,"collection":39,"collections":908,"showCount":909,"zanCount":11,"manualWeight":11,"mainColor":92},289115,"shan-shui-tu-ma-yuan-289115","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。",[24,26,30,7,56,195,34,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8347d201c40b894c64bc9949bd45292d.jpg",[],44,{"id":911,"slug":912,"title":913,"dynasty":18,"author":823,"museum":379,"description":914,"tags":915,"thumbUrl":916,"material":226,"size":917,"collection":87,"collections":918,"showCount":909,"zanCount":11,"manualWeight":11,"mainColor":92},218514,"yu-fu-tu-wu-wei-218514","渔夫图","该图描绘了一个渔夫在溪边的老柳树下捕捉一条新鲜的鱼。人物造型细致，渔夫捕鱼的喜悦之情刻画得淋漓尽致，山水、服饰用笔浑厚，面部和手脚用笔精细，是吴伟人物的典型特征。",[23,24,54,195,56,31,29,209,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e15e29ad6e911cc0f9de6f8bd082ea.jpg","195.8x102",[87],{"id":920,"slug":921,"title":922,"dynasty":48,"author":923,"museum":262,"description":924,"tags":925,"thumbUrl":928,"material":66,"size":929,"collection":105,"collections":930,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":92},220426,"song-xi-gui-yu-tu-tang-di-220426","松溪归渔图","唐棣","唐棣(1287–1355)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文。",[23,54,24,57,27,25,195,470,34,159,32,926,29,927,7],"渔舟","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035ce24fe5889e9c85d096ccf8fbc2fd.jpg","134.3x86cm",[105],43,{"id":933,"slug":934,"title":935,"dynasty":874,"author":936,"museum":937,"description":938,"tags":939,"thumbUrl":941,"material":39,"size":39,"collection":39,"collections":942,"showCount":943,"zanCount":11,"manualWeight":11,"mainColor":72},220568,"li-jiang-chun-yu-xu-bei-hong-220568","漓江春雨","徐悲鸿","中央美术学院美术馆","以淋漓水墨晕染出漓江烟雨空濛之态，层叠峰林隐现于烟岚之中，墨色浓淡铺就山势虚实，尽显丘林隽秀朦胧。水面如镜，将山色树影晕化在柔波里，氤氲出水墨交融的湿润意趣。\n\n扁舟渔翁持篙独行，点活了整幅静美画卷，林麓间错落村舍，晕染出乡野恬淡烟火。画作揉合中西技法，既有传统文人山水留白写意的诗意，又暗含西画光影层次，将春雨漓江的温润柔婉，野渡闲静雅趣尽数铺展，满是东方山水的悠远意境。",[24,56,827,26,60,30,58,59,212,940,7],"倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228f0942de448fbbc8e726550e5df463.jpg",[],42,{"id":945,"slug":946,"title":947,"dynasty":18,"author":948,"museum":379,"description":949,"tags":950,"thumbUrl":954,"material":146,"size":955,"collection":87,"collections":956,"showCount":957,"zanCount":11,"manualWeight":11,"mainColor":92},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,54,56,27,25,26,34,30,951,31,29,7,62,238,952,851,59,854,853,953],"渔父","溪谷","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[87,68],41,{"id":959,"slug":960,"title":961,"dynasty":139,"author":962,"museum":274,"description":963,"tags":964,"thumbUrl":965,"material":146,"size":39,"collection":68,"collections":966,"showCount":957,"zanCount":11,"manualWeight":11,"mainColor":92},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[23,24,53,350,25,26,30,851,60,34,64,81,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[68],{"id":968,"slug":969,"title":970,"dynasty":18,"author":206,"museum":50,"description":207,"tags":971,"thumbUrl":972,"material":117,"size":214,"collection":39,"collections":973,"showCount":957,"zanCount":107,"manualWeight":11,"mainColor":72},214672,"san-jue-tu-3-yao-shou-214672","三绝图-3",[24,54,25,56,27,26,30,31,29,158,301,211,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ad5f71e8a0537085abdb8c153b4b0f.jpg",[],{"id":975,"slug":976,"title":977,"dynasty":296,"author":501,"museum":274,"description":502,"tags":978,"thumbUrl":981,"material":473,"size":474,"collection":39,"collections":982,"showCount":983,"zanCount":11,"manualWeight":11,"mainColor":72},288362,"yu-le-tu-juan-jing-hao-288362","渔乐图卷",[23,53,24,55,56,26,7,159,34,32,59,979,980],"远峰","渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0672ea030382358d7cd79b172143a3.jpg",[],40,{"id":985,"slug":986,"title":987,"dynasty":18,"author":988,"museum":125,"description":989,"tags":990,"thumbUrl":991,"material":992,"size":993,"collection":39,"collections":994,"showCount":983,"zanCount":11,"manualWeight":11,"mainColor":72},233476,"ren-wu-hua-hui-ce-xu-wei-233476","人物花卉册","徐渭","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,56,100,827,31,58,305,211,212,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1538271c2dfd88f0c7cb1a73760be4.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[],{"id":996,"slug":997,"title":998,"dynasty":18,"author":190,"museum":125,"description":999,"tags":1000,"thumbUrl":1003,"material":1004,"size":1005,"collection":39,"collections":1006,"showCount":983,"zanCount":107,"manualWeight":11,"mainColor":43},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[24,54,195,53,25,194,26,7,1001,59,33,861,1002],"荷","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","绢本，设色","纵126.5厘米，横66.3厘米",[],{"id":1008,"slug":1009,"title":1010,"dynasty":48,"author":49,"museum":274,"description":1011,"tags":1012,"thumbUrl":1013,"material":473,"size":474,"collection":39,"collections":1014,"showCount":1015,"zanCount":150,"manualWeight":11,"mainColor":92},290829,"qing-jiang-chun-xiao-zhou-wu-zhen-290829","清江春晓轴","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。",[24,54,195,56,27,26,159,34,30,327,59,32,83,63,64,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9786e996b3ba3ec502dce1a7d92ae95.jpg",[],39,{"id":1017,"slug":1018,"title":1019,"dynasty":18,"author":1020,"museum":78,"description":1021,"tags":1022,"thumbUrl":1025,"material":117,"size":1026,"collection":87,"collections":1027,"showCount":1015,"zanCount":11,"manualWeight":11,"mainColor":92},219392,"cong-di-xian-yu-tu-ye-guang-219392","丛荻闲渔图","叶广","叶广（明代人），字元博，号海渔，巢县人。诗人、画家。擅名丹青，胸藏丘壑，笔洒烟云。作品《渔翁图》远近闻名。叶广是米（芾）派画家，米体山水及大小画，劲骨远神，时流莫及。叶广擅长作诗，饶有高致。其诙谐调笑，雅重一时。四方缙绅名人，与叶广交往甚多，岁时不绝。",[24,53,54,195,56,25,31,252,980,1023,1024,7,64],"篮子","荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71deaee102e50cdb9d0829265b1976a2.jpg","114.3x31",[87],{"id":1029,"slug":1030,"title":1031,"dynasty":18,"author":206,"museum":50,"description":207,"tags":1032,"thumbUrl":1033,"material":117,"size":214,"collection":39,"collections":1034,"showCount":1035,"zanCount":11,"manualWeight":11,"mainColor":72},214664,"san-jue-tu-8-yao-shou-214664","三绝图-8",[24,56,26,30,34,59,301,32,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1110a63dd1853271f2174addcb1c94d.jpg",[],38,{"id":1037,"slug":1038,"title":1039,"dynasty":285,"author":286,"museum":274,"description":1040,"tags":1041,"thumbUrl":1042,"material":473,"size":474,"collection":39,"collections":1043,"showCount":1044,"zanCount":11,"manualWeight":11,"mainColor":72},288834,"xun-xian-ce-ye-8-shi-tao-288834","寻仙册页-8","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,100,56,25,26,31,30,143,35,34,7,64,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43215ec3ec475a27bed140b5da70b60f.jpg",[],37,{"id":1046,"slug":1047,"title":1048,"dynasty":18,"author":190,"museum":173,"description":1049,"tags":1050,"thumbUrl":1052,"material":1053,"size":1054,"collection":39,"collections":1055,"showCount":1044,"zanCount":11,"manualWeight":11,"mainColor":92},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。",[23,24,194,25,26,59,33,30,7,34,31,179,62,27,211,1051],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":1057,"slug":1058,"title":1059,"dynasty":18,"author":77,"museum":274,"description":765,"tags":1060,"thumbUrl":1062,"material":473,"size":474,"collection":39,"collections":1063,"showCount":1064,"zanCount":107,"manualWeight":11,"mainColor":72},290846,"lu-ting-xi-ting-zhou-tang-yin-290846","芦汀系艇轴",[24,56,195,26,30,394,1061,83,64,7],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c599288488feb622be66ad18c6dcc4.jpg",[],36,{"id":1066,"slug":1067,"title":1068,"dynasty":18,"author":337,"museum":616,"description":1069,"tags":1070,"thumbUrl":1071,"material":146,"size":1072,"collection":68,"collections":1073,"showCount":1064,"zanCount":11,"manualWeight":11,"mainColor":92},217945,"xue-yu-tu-yi-ming-217945","雪渔图","雪渔图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘的是冬天的江南景色，画面中的渔夫正在雪中捕鱼。图中的景色十分冷清，可以感受到寒冬的气息。不过，画中的渔夫似乎并没有被寒冷所影响，他们依然在坚守着自己的岗位，展现出人类顽强的生存欲望。\n\n雪渔图的艺术价值颇高，它描绘的冬季景色给人们带来了视觉冲击，同时，图中的人物形象也非常生动，给人们留下了深刻的印象。此外，雪渔图的画风也非常优秀，采用了许多细腻的线条和柔和的色彩，使得整幅画面显得十分精致。\n\n雪渔图是明朝时期的杰作，它的出现标志着中国画的又一次发展。作为一幅优秀的艺术品，雪渔图不仅为当时的观众带来了视觉享受，同时也为后人留下了宝贵的文化遗产。",[24,57,195,56,25,27,889,32,28,30,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b782eb11fe10146b4d0bac0e946b2f9.jpg","185x73.4cm",[68],{"id":1075,"slug":1076,"title":1077,"dynasty":18,"author":19,"museum":274,"description":1078,"tags":1079,"thumbUrl":1080,"material":39,"size":39,"collection":39,"collections":1081,"showCount":1082,"zanCount":107,"manualWeight":11,"mainColor":72},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[24,54,100,25,56,27,26,29,30,58,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],35,{"id":1084,"slug":1085,"title":347,"dynasty":18,"author":1086,"museum":78,"description":1087,"tags":1088,"thumbUrl":1089,"material":25,"size":1090,"collection":89,"collections":1091,"showCount":1082,"zanCount":11,"manualWeight":11,"mainColor":72},219457,"bu-yu-tu-lu-zhi-219457","陆治","芦滩飞雪白茫茫，\n顶寒冒冻捕鱼忙。\n操舟撒网坐渔罾，\n辛勤劳作鱼满舱。",[24,716,56,30,7,34,31,301,590,64,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a1b935711c876124aff6736eb6d7d8.jpg","43.3X34.3cm",[89],{"id":1093,"slug":1094,"title":1095,"dynasty":48,"author":923,"museum":274,"description":1096,"tags":1097,"thumbUrl":1098,"material":473,"size":474,"collection":39,"collections":1099,"showCount":1100,"zanCount":107,"manualWeight":11,"mainColor":92},290130,"xi-shan-yan-ting-tu-tang-di-290130","溪山烟艇图","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[24,54,26,56,27,30,28,35,34,7,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb54d68e70be2e10ae4a88c8cd70dc0.jpg",[],34,{"id":1102,"slug":1103,"title":1104,"dynasty":296,"author":694,"museum":274,"description":695,"tags":1105,"thumbUrl":1107,"material":473,"size":474,"collection":39,"collections":1108,"showCount":1100,"zanCount":11,"manualWeight":11,"mainColor":72},287367,"jiang-xing-chu-xue-tu-yuan-tu-zhao-gan-287367","江行初雪图(原图)",[24,53,54,26,34,30,58,7,697,25,194,27,83,1106,64],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f85e6f1509e6c29923b9c1726de7f4.jpg",[],{"id":1110,"slug":1111,"title":1112,"dynasty":48,"author":1113,"museum":125,"description":1114,"tags":1115,"thumbUrl":1116,"material":181,"size":1117,"collection":39,"collections":1118,"showCount":1100,"zanCount":11,"manualWeight":11,"mainColor":92},233875,"xue-jiang-yu-ting-tu-juan-yao-ting-mei-233875","雪江渔艇图卷","姚廷美","《雪江渔艇图》描绘冬天雪景，寒江两岸的景色，突出了冬天平远雪景。\n整幅画画法宗北宋 而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[24,56,55,26,238,29,30,7,64,27,708,889,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":1120,"slug":1121,"title":1122,"dynasty":285,"author":1123,"museum":125,"description":1124,"tags":1125,"thumbUrl":1126,"material":37,"size":1127,"collection":39,"collections":1128,"showCount":1100,"zanCount":107,"manualWeight":11,"mainColor":72},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","张赐宁","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[24,54,195,56,25,27,26,59,32,31,7,35,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":1130,"slug":1131,"title":1132,"dynasty":48,"author":1133,"museum":274,"description":1134,"tags":1135,"thumbUrl":1137,"material":39,"size":39,"collection":39,"collections":1138,"showCount":1100,"zanCount":11,"manualWeight":11,"mainColor":92},230870,"cang-lang-du-diao-tu-sheng-zhu-230870","沧浪独钓图","盛著","此作用笔清润简淡，近景坡岸虬松偃蹇，苍枝拂向水面，扁舟系于松下，渔翁垂纶独钓，汀渚蒹葭轻摇，漾出幽寂闲淡之味。平湖如镜隔开远近，彼岸林木蔚然成簇，淡墨晕染出远山层叠，云气空濛将天地晕融一处，虚实相生间铺展出萧散淡远的山水格局。\n\n画师以干笔皴擦写山石肌理，湿墨点染苔树烟岚，笔墨间藏着元人山水的林下之致，将沧浪渔隐的出世意趣融于烟水云山，把遁世忘机的雅兴寄在一竿一线之中，尽显文人画崇尚的林泉高致，满幅皆是清远脱尘的幽寂诗意。",[23,24,54,56,26,30,1136,59,34,35,27,7],"独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde68514a3c2323b7552184a3b1e22519.jpg",[],{"id":1140,"slug":1141,"title":1142,"dynasty":139,"author":235,"museum":274,"description":1143,"tags":1144,"thumbUrl":1146,"material":473,"size":474,"collection":39,"collections":1147,"showCount":1148,"zanCount":11,"manualWeight":11,"mainColor":269},290861,"qiu-shan-yu-ting-zhou-li-cheng-290861","秋山渔艇轴","李成（919～967）五代及北宋画家。字咸熙，唐宗室后裔。原籍长安（今陕西西安），先世系唐宗室，祖父李鼎曾任苏州刺史，于五代时避乱迁家营丘（今山东昌乐），故又称李成为李营丘。他博学多才，胸有大志，但不得施展，遂放意诗酒书画，后醉死陈州（今河南淮阳）客舍。擅山水，师承荆浩、关仝，并加以发展，多画郊野平远旷阔之景。多作平远寒林，画法简练，笔势锋利，好用淡墨，有“惜墨如金”之称；画山石好像卷动的云，后人称这种表现技法为“卷云皴”。",[24,195,26,159,34,30,7,81,327,27,1145],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a95e63285ff12ebf6a02129e321d325.jpg",[],33,{"id":1150,"slug":1151,"title":1152,"dynasty":139,"author":273,"museum":274,"description":359,"tags":1153,"thumbUrl":1154,"material":473,"size":474,"collection":39,"collections":1155,"showCount":1148,"zanCount":11,"manualWeight":11,"mainColor":92},290860,"gui-zhao-tu-zhou-xia-gui-290860","归棹图轴",[24,53,195,56,26,27,35,29,34,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00dda2ad562cec97379a61278376bfa6.jpg",[],{"id":1157,"slug":1158,"title":1159,"dynasty":48,"author":1160,"museum":274,"description":1161,"tags":1162,"thumbUrl":1163,"material":473,"size":474,"collection":39,"collections":1164,"showCount":1148,"zanCount":11,"manualWeight":11,"mainColor":72},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）","赵孟頫","赵孟頫[fǔ]（1254年10月20日－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。",[23,53,24,195,25,26,31,238,29,30,34,35,7,83,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":1166,"slug":1167,"title":1168,"dynasty":1169,"author":1170,"museum":274,"description":1171,"tags":1172,"thumbUrl":1178,"material":473,"size":474,"collection":1179,"collections":1180,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":92},225747,"fisherman-and-boats-from-the-pont-de-clichy-fan-gao-225747","Fisherman and boats from the Pont de Clichy","不详","梵高","文森特·威廉·梵高（Vincent Willem van 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。",[53,1173,25,1174,850,678,1175,34,59,1176,7,31,1177],"油画","后印象派","桥","黄叶","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c3f712674167c7884bf0e358d5cee.jpg","油画精选",[1179],32,{"id":1183,"slug":1184,"title":1185,"dynasty":139,"author":1186,"museum":1187,"description":1188,"tags":1189,"thumbUrl":1190,"material":164,"size":1191,"collection":39,"collections":1192,"showCount":1181,"zanCount":11,"manualWeight":11,"mainColor":92},221604,"gui-yu-tu-liang-kai-221604","归渔图","梁楷","美国弗瑞尔美术馆","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,53,24,56,25,26,28,143,7,30,58,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":1194,"slug":1195,"title":1196,"dynasty":18,"author":1197,"museum":78,"description":1198,"tags":1199,"thumbUrl":1201,"material":226,"size":1202,"collection":87,"collections":1203,"showCount":1181,"zanCount":150,"manualWeight":11,"mainColor":92},220446,"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,24,54,195,56,25,26,30,7,1200,855],"枯柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[87],{"id":1205,"slug":1206,"title":1207,"dynasty":18,"author":190,"museum":78,"description":1208,"tags":1209,"thumbUrl":1211,"material":66,"size":1212,"collection":105,"collections":1213,"showCount":1214,"zanCount":11,"manualWeight":11,"mainColor":72},290870,"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,195,56,26,7,30,1210,34,58,143,64,63],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[105],31,{"id":1216,"slug":1217,"title":1218,"dynasty":285,"author":1219,"museum":274,"description":1220,"tags":1221,"thumbUrl":1223,"material":473,"size":474,"collection":39,"collections":1224,"showCount":1214,"zanCount":11,"manualWeight":11,"mainColor":72},290541,"fang-cao-zhi-bai-shui-cun-yu-le-yun-shou-ping-290541","倣曹知白水村渔乐","恽寿平","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[24,100,56,26,7,30,34,1222,59,64,340],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6edccc8494839cb82742043f1a9a07.jpg",[],{"id":1226,"slug":1227,"title":1228,"dynasty":18,"author":1229,"museum":274,"description":1230,"tags":1231,"thumbUrl":1232,"material":39,"size":39,"collection":68,"collections":1233,"showCount":1214,"zanCount":11,"manualWeight":11,"mainColor":92},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[53,24,54,195,56,25,26,31,30,158,32,212,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[68],{"id":1235,"slug":1236,"title":1237,"dynasty":139,"author":1238,"museum":274,"description":1239,"tags":1240,"thumbUrl":1242,"material":39,"size":39,"collection":39,"collections":1243,"showCount":1214,"zanCount":107,"manualWeight":11,"mainColor":92},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","马和之","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[23,24,54,350,25,26,30,31,128,7,1241,58],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":1245,"slug":1246,"title":1247,"dynasty":48,"author":248,"museum":78,"description":897,"tags":1248,"thumbUrl":1249,"material":66,"size":255,"collection":39,"collections":1250,"showCount":1214,"zanCount":11,"manualWeight":11,"mainColor":92},218120,"hua-xi-yu-yin-tu-er-wang-meng-218120","花溪渔隐图(二)",[23,24,53,54,195,56,26,27,30,34,32,59,677,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7477d3604d6b77be3506773dcad374b3.jpg",[],{"id":1252,"slug":1253,"title":1254,"dynasty":48,"author":1255,"museum":274,"description":1256,"tags":1257,"thumbUrl":1259,"material":473,"size":474,"collection":39,"collections":1260,"showCount":1261,"zanCount":11,"manualWeight":11,"mainColor":92},289557,"qiu-lin-chui-diao-tu-zhu-ze-min-289557","秋林垂钓图","朱泽民","此作用边角构图，将虬曲苍劲的秋林置于右畔，枯枝干皴擦点染兼用，残叶附枝尽显清秋萧索，古木盘根错节，苍浑老辣尽显笔墨力道。左侧湖面留白虚旷，一叶扁舟静浮其上，渔人垂竿独钓，身影简淡幽寂。淡墨晕开烟水空蒙，虚实相映间铺展出清远荒寒的意境。\n\n画面题诗与景致互为生发，暗合文人隐逸寄怀的意趣，以简淡笔墨写尽萧散闲远之致，将避世丘壑、寄情烟水的心境藏在荒疏秋景中，尽显元画尚意之风，淡远空灵间余韵悠长。",[24,350,56,26,30,197,1258,28,7,58],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52156813f428828135eb7b9e71828e15.jpg",[],30,{"id":1263,"slug":1264,"title":567,"dynasty":18,"author":1265,"museum":274,"description":1266,"tags":1267,"thumbUrl":1270,"material":39,"size":39,"collection":68,"collections":1271,"showCount":1261,"zanCount":107,"manualWeight":11,"mainColor":92},238275,"yu-le-tu-zhou-zhang-ling-238275","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,54,195,56,27,31,30,34,1268,32,7,26,59,1269,767],"柳树","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[68,105],{"id":1273,"slug":1274,"title":1275,"dynasty":285,"author":286,"museum":274,"description":1276,"tags":1277,"thumbUrl":1278,"material":39,"size":39,"collection":39,"collections":1279,"showCount":1261,"zanCount":107,"manualWeight":11,"mainColor":72},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[23,24,56,25,27,100,64,63,26,30,31,143,35,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":1281,"slug":1282,"title":1283,"dynasty":139,"author":337,"museum":522,"description":1284,"tags":1285,"thumbUrl":1286,"material":146,"size":39,"collection":68,"collections":1287,"showCount":1261,"zanCount":107,"manualWeight":11,"mainColor":92},218595,"ye-zhou-heng-du-tu-yi-ming-218595","野舟横渡图","河道上长满了树木和茅草屋，河中停泊着两艘中型单桅帆船，下层是客舱，上层是货物，这是从南宋到元朝初期江南地区普遍使用的。",[53,24,54,350,25,27,26,30,34,29,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec54b00cf7d69cffe6cbb08e458f926.jpg",[68],{"id":1289,"slug":1290,"title":1291,"dynasty":1292,"author":1293,"museum":50,"description":1294,"tags":1295,"thumbUrl":1296,"material":39,"size":39,"collection":68,"collections":1297,"show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面，烟雾弥漫，寒气逼人。芦苇环绕汀渚，野雁几只点缀其间，另则凌空与游于江上者相呼应，为冷寂的江面凭添生意。",[53,24,195,56,25,26,31,143,34,301,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98865113a54a85a68a35f61ab7db94e.jpg","105.4x53.5",[183],26,{"id":1377,"slug":1378,"title":414,"dynasty":48,"author":1160,"museum":274,"description":1379,"tags":1380,"thumbUrl":1381,"material":39,"size":39,"collection":39,"collections":1382,"showCount":1375,"zanCount":11,"manualWeight":11,"mainColor":72},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,54,350,56,25,26,7,34,30,59,143],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":1384,"slug":1385,"title":1386,"dynasty":18,"author":1387,"museum":50,"description":1388,"tags":1389,"thumbUrl":1390,"material":39,"size":39,"collection":68,"collections":1391,"showCount":1375,"zanCount":11,"manualWeight":11,"mainColor":1392},202173,"wan-xi-diao-yin-tu-juan-chen-he-202173","宛溪钓隐图卷","陈鹤","画面以水墨皴染铺展宛溪山水之姿，峰峦起伏间林木错落，溪流蜿蜒穿绕于丘壑。孤舟泛波，渔翁垂纶，尽显钓隐之趣；山间茅舍亭台或隐于树荫、或傍水而建，偶有行人穿梭，添几分生活意韵。笔墨灵动，山石以皴法勾斫肌理，树木枝干苍劲、叶色浓淡相宜，整体意境清幽淡远，传递出文人向往的闲适山居之乐。",[24,55,26,56,27,34,30,7,81,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f63764c2f6574dd9dbd8ce1ca9f4cee.jpg",[68],"92846d",{"id":1394,"slug":1395,"title":1396,"dynasty":48,"author":313,"museum":274,"description":1397,"tags":1398,"thumbUrl":1399,"material":39,"size":39,"collection":39,"collections":1400,"showCount":1401,"zanCount":11,"manualWeight":11,"mainColor":72},228046,"qiu-xi-diao-ting-tu-sheng-mao-228046","秋溪钓艇图","元盛懋秋溪钓艇图 中国古画、扇面画 私人收藏 宣纸，尺寸：4.×4.cm\u002F 盛懋，元代画家，字子昭，原籍临安（今浙江省杭州市）。\n承袭父业，以精湛的技艺称誉当世，和吴镇的墨竹、岳彦高的草书、章文茂的笔，共被誉为“武塘四绝”。\n他善画山水，兼作人物、花卉。\n详细介绍“盛懋” 《秋溪钓艇图》绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调",[23,24,25,26,30,34,59,7,64,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3c21778a859a2f0bf01a09c1d9a01b.jpg",[],25,{"id":1403,"slug":1404,"title":1405,"dynasty":139,"author":273,"museum":274,"description":1406,"tags":1407,"thumbUrl":1409,"material":39,"size":39,"collection":39,"collections":1410,"showCount":1401,"zanCount":11,"manualWeight":11,"mainColor":92},227983,"ze-pan-ji-feng-tu-xia-gui-227983","泽畔疾风图","取景偏于一隅，以少胜多尽显空灵意蕴。坡岸古松欹斜偃蹇，枝叶被劲风催动翻卷，将无形疾风化作可见的动势。滩头渔人躬身急收渔具，在仓促忙乱间把江上风急的冷寂氛围具象化。对岸远山以淡墨晕染，崖顶隐于朦胧间，不着一笔却见江天辽远。留白化作淼淼烟波与空阔长天，以虚代实，寥寥数笔便将骤风起于泽畔的瞬态凝固，把江野的清寂苍劲藏在简淡水墨中，尽显山水小景的写意妙趣。",[53,24,54,350,56,25,26,29,30,7,27,32,59,850,1408],"疾风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee58dbb89ce2c636b498ecbaa6feb6ca.jpg",[],{"id":1412,"slug":1413,"title":1414,"dynasty":48,"author":313,"museum":522,"description":1415,"tags":1416,"thumbUrl":1417,"material":1418,"size":1419,"collection":39,"collections":1420,"showCount":1401,"zanCount":11,"manualWeight":11,"mainColor":92},221760,"qiu-xi-fang-ting-tu-sheng-mao-221760","秋溪放艇图","《元盛懋秋溪钓艇图》描绘的是一翁乘一叶渔艇在江中垂钓的情景。绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调。",[23,24,54,350,56,25,27,26,30,59,34,31,7,1145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b95ca528463cdf7c6bd6787e8934439.jpg","纸","纵40.0cm，横40.0cm",[],{"id":1422,"slug":1423,"title":138,"dynasty":139,"author":172,"museum":274,"description":905,"tags":1424,"thumbUrl":1426,"material":473,"size":474,"collection":39,"collections":1427,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":92},289882,"shan-shui-tu-ma-yuan-289882",[23,24,26,30,56,195,27,7,60,212,1425],"雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb806c0688b564342fb3084494197250f.jpg",[],24,{"id":1430,"slug":1431,"title":1432,"dynasty":139,"author":221,"museum":274,"description":1433,"tags":1434,"thumbUrl":1435,"material":473,"size":474,"collection":39,"collections":1436,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":72},289589,"song-hu-diao-yin-tu-li-tang-289589","松湖钓隐图","该图运用简单的笔触，浓淡适宜的色彩，为我们刻画出一幅渔翁船头垂钓的画面。画中高山石用小斧劈皴，松树画法显得严密，松针繁茂，充分表现出松树的状态。整幅画面具有娴静而舒雅的情韵。",[24,54,350,26,83,63,64,30,35,158,56,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3730c80edaffa52d15c03bd52adedf.jpg",[],{"id":1438,"slug":1439,"title":1440,"dynasty":18,"author":337,"museum":274,"description":1441,"tags":1442,"thumbUrl":1443,"material":473,"size":474,"collection":39,"collections":1444,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":72},287977,"fang-xia-gui-qiu-jiang-yu-le-tu-yi-ming-287977","仿夏圭秋江渔乐图","此作用水墨绘秋江胜境，取平远章法。远山以淡墨晕染，虚实相映，尽见烟波浩渺。汀渚之上枯槎老木错落，寒林带雾，群雁振翅掠空，愈发衬出江天寥廓清寂。江心扁舟一叶，渔翁独钓，静中藏动，暗合秋江闲逸之趣。\n\n笔墨追摹南宋院体遗风，简劲苍润，以留白代水，淡墨笼山，将秋空萧寒、野水澹澹的意境铺展，尽显江湖散人寄兴烟水、物我两忘的隐逸襟怀，古意盎然，萧散淡远。",[23,24,55,56,26,30,143,7,27,83,1355,340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da93d2a02928de51d304beba1ee72e2.jpg",[],{"id":1446,"slug":1447,"title":1448,"dynasty":48,"author":1449,"museum":125,"description":1450,"tags":1451,"thumbUrl":1453,"material":37,"size":1454,"collection":39,"collections":1455,"showCount":1428,"zanCount":11,"manualWeight":11,"mainColor":92},233408,"shan-ju-tu-juan-qian-xuan-233408","山居图卷","钱选","作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。",[53,24,54,55,25,26,56,27,83,63,1452,64,159,34,30,81,59,7,31],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987744740f1b031a82f445c16be438f2.jpg","纵26.5厘米，横111.6厘米",[],{"id":1457,"slug":1458,"title":1459,"dynasty":48,"author":923,"museum":78,"description":1460,"tags":1461,"thumbUrl":1462,"material":85,"size":1463,"collection":39,"collections":1464,"showCount":1428,"zanCount":107,"manualWeight":11,"mainColor":92},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,54,53,26,25,27,7,30,58,1318,31,59,32,855,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 横106.2 公分",[],{"id":1466,"slug":1467,"title":1468,"dynasty":18,"author":1469,"museum":274,"description":1470,"tags":1471,"thumbUrl":1473,"material":473,"size":474,"collection":39,"collections":1474,"showCount":1475,"zanCount":11,"manualWeight":11,"mainColor":72},289749,"yue-ming-xing-xi-wu-que-nan-fei-cheng-jia-sui-289749","月明星稀乌鹊南飞","程嘉燧","程嘉燧（1565～1643）明代书画家、诗人。字孟阳，号松圆、偈庵，又号松圆老人、松圆道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，释名海能。",[24,54,56,26,30,143,34,7,64,1472,301],"崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f836bf2e69fec4b97726af8a6dc5d83.jpg",[],23,{"id":1477,"slug":1478,"title":1479,"dynasty":48,"author":313,"museum":262,"description":1480,"tags":1481,"thumbUrl":1482,"material":1483,"size":1484,"collection":39,"collections":1485,"showCount":1475,"zanCount":11,"manualWeight":11,"mainColor":92},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 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龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[23,24,54,195,56,27,26,30,143,29,34,35,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":1658,"slug":1659,"title":1660,"dynasty":18,"author":586,"museum":274,"description":1661,"tags":1662,"thumbUrl":1663,"material":39,"size":39,"collection":39,"collections":1664,"showCount":1647,"zanCount":11,"manualWeight":11,"mainColor":72},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,54,55,56,25,26,405,34,30,143,301,31,7,59,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":1666,"slug":1667,"title":1668,"dynasty":18,"author":19,"museum":78,"description":1669,"tags":1670,"thumbUrl":1671,"material":102,"size":1672,"collection":39,"collections":1673,"showCount":1647,"zanCount":11,"manualWeight":11,"mainColor":72},222590,"shan-xi-chui-diao-lan-ying-222590","山溪垂钓","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。\n蓝瑛 （1585-1664），一作（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蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,56,27,100,26,30,34,32,59,7,58,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1348f20030503526ea86f64463499e.jpg","72.1x44",[],{"id":1675,"slug":1676,"title":1677,"dynasty":18,"author":190,"museum":1678,"description":39,"tags":1679,"thumbUrl":1680,"material":66,"size":39,"collection":68,"collections":1681,"showCount":1647,"zanCount":11,"manualWeight":11,"mainColor":1682},202893,"jiang-nan-chun-chou-ying-202893","江南春","南京博物院",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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,55,56,194,716,64,31,1318,34,59,301,143,7,26,854,197,980,1706,1268,58,30],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":1711,"slug":1712,"title":1713,"dynasty":18,"author":155,"museum":274,"description":1714,"tags":1715,"thumbUrl":1719,"material":39,"size":39,"collection":39,"collections":1720,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":92},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,24,55,56,27,194,26,34,30,58,31,143,59,81,7,301,1716,1717,1318,1718,1222],"岸芷","汀草","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],{"id":1722,"slug":1723,"title":1724,"dynasty":139,"author":337,"museum":274,"description":1725,"tags":1726,"thumbUrl":1729,"material":39,"size":39,"collection":39,"collections":1730,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":92},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[23,24,350,56,25,26,30,1727,31,7,1728,27,64,855],"苍松","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":1732,"slug":1733,"title":1734,"dynasty":285,"author":286,"museum":274,"description":1735,"tags":1736,"thumbUrl":1737,"material":39,"size":39,"collection":39,"collections":1738,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":72},224501,"shan-shui-ce-kai-er-shi-tao-224501","山水冊开(二)","此作以水墨淡彩写就江南水乡之景，构图虚实相生，上部题诗留空疏朗开阔，下部绘景层次分明。近岸坡石上孤屋临水，旁植古松垂柳，枝条轻拂水面，野意悠然。中景水村错落，粉墙黛瓦隐于林木间，渔舟漾波，渔人往来作业，鲜活尽显水乡日常烟火。\n\n笔墨简率松灵，山石林木多以点染而成，不重精描细摹，以写意之趣托出萧散淡远的意境。题画诗与画面浑然相融，诗画映发，尽显文人画清雅逸致，将江南渔隐的闲淡安宁娓娓道来，暗含画者寄情丘壑的隐逸襟怀。",[23,24,54,100,56,25,27,26,30,34,33,59,7,32,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c8d79112bf34afe23e5983c9cb11e3.jpg",[],{"id":1740,"slug":1741,"title":1742,"dynasty":139,"author":1743,"museum":262,"description":1744,"tags":1745,"thumbUrl":1746,"material":1004,"size":1747,"collection":39,"collections":1748,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":1749},221471,"xi-sai-yu-she-tu-juan-li-jie-221471","西塞渔舍图卷","李结","此图为画家李结归隐湖州苕霅西塞山居的理想生活之景。绘丘岭起伏，水碧山青，草木葱茸，沟壑清晰，坡脚石块高低起休，溪水围岸而流。庄园依山傍水，高士放怀得失。李结，字次山，善诗文绘画。",[23,24,54,55,26,7,30,58,34,159,25,27,81,143,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d95a85cebca99604ce1166ce014ea99.jpg","40.2*135.5CM",[],"FDD835",{"id":1751,"slug":1752,"title":1753,"dynasty":48,"author":923,"museum":274,"description":1460,"tags":1754,"thumbUrl":1756,"material":473,"size":474,"collection":39,"collections":1757,"showCount":1758,"zanCount":11,"manualWeight":11,"mainColor":92},290938,"yan-bo-yu-le-tu-zhou-tang-di-290938","烟波渔乐图轴",[24,195,26,30,58,7,34,60,59,31,56,27,1755,64],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858ac81a99306eb333045f1353f5a4ea.jpg",[],17,{"id":1760,"slug":1761,"title":312,"dynasty":48,"author":1133,"museum":274,"description":1762,"tags":1763,"thumbUrl":1764,"material":473,"size":474,"collection":39,"collections":1765,"showCount":1758,"zanCount":11,"manualWeight":11,"mainColor":92},289566,"qiu-jiang-chui-diao-tu-sheng-zhu-289566","画山水高洁秀润，兼工人物、花鸟。能修复古画，补绘处运笔著色，与古不殊。明洪武中(1368—1398)供事内府，得到赏遇，待遇优厚。后画天界寺影壁，以水母乘龙背，不合旨意，被杀。",[24,53,350,26,29,1241,211,143,56,27,7,197,668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32f3efec9d5e9f87a3efcba9b14fd8.jpg",[],{"id":1767,"slug":1768,"title":1769,"dynasty":285,"author":1506,"museum":274,"description":1770,"tags":1771,"thumbUrl":1773,"material":39,"size":39,"collection":39,"collections":1774,"showCount":1758,"zanCount":11,"manualWeight":11,"mainColor":72},237879,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237879","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,26,1772,27,100,30,143,34,211,851,59,7],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d62a312a70c8a4d5387a7961afd06.jpg",[],{"id":1776,"slug":1777,"title":1778,"dynasty":18,"author":1779,"museum":125,"description":1780,"tags":1781,"thumbUrl":1783,"material":37,"size":1784,"collection":39,"collections":1785,"showCount":1758,"zanCount":11,"manualWeight":11,"mainColor":72},233914,"xue-ying-yu-ren-tu-zhou-xiang-sheng-mo-233914","雪影渔人图轴","项圣谟","图中皑皑白雪覆盖下的四株老树粗壮挺拔，叉枒错落，树叶落尽，说明时当严冬。树下水边，一渔舟泊岸，渔夫身披簔衣，头戴斗笠，持桨立船头。远处云山一抹，一望无垠。画中自题：“漫漫雪影耀江光，一棹渔人十指僵。欲泊林皋何处稳，宜随风浪酒为乡。崇祯十四年（1641）入夏大旱，忆春雪连绵，写此小景就题见志。无边居士项圣谟。”钤“项氏孔彰”、“写我心曲”等印。项圣谟时年45岁。",[24,195,56,26,7,30,29,889,1782,27,239],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed770fc8b0049f5d24acfc953374461.jpg","纵74.8厘米，横30.4厘米",[],{"id":1787,"slug":1788,"title":1789,"dynasty":139,"author":1790,"museum":274,"description":1791,"tags":1792,"thumbUrl":1793,"material":181,"size":1794,"collection":39,"collections":1795,"showCount":1758,"zanCount":11,"manualWeight":11,"mainColor":92},232882,"chun-xiao-bu-yu-tu-zhou-zhao-gou-232882","春晓捕鱼图轴","赵构","宋高宗赵构（1107年6月12日－1187年11月9日），字德基，宋朝第十位皇帝、南宋第一代皇帝，在位三十五年。北宋皇帝宋徽宗第九子，宋钦宗之弟；曾获封为“康王”。在位初期因为眼见金朝强势，为了保持江山，起用主战派李纲、岳飞等等。但恐惧将领权力过大，为了强化中央集权，采取求和政策，终于绍兴十一年（1141年）与金朝达成绍兴和议，重用主和派黄潜善、汪伯彦、王伦、秦桧等人，并处死岳飞，罢免李纲、张浚、韩世忠等主战派大臣，对金称臣。从此南宋与金朝形成南北对峙之格局。",[23,53,24,54,195,56,27,26,30,7,59,211,212,850,61,60,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":1797,"slug":1798,"title":1799,"dynasty":139,"author":337,"museum":274,"description":1800,"tags":1801,"thumbUrl":1802,"material":39,"size":39,"collection":39,"collections":1803,"showCount":1758,"zanCount":11,"manualWeight":11,"mainColor":92},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[23,24,54,350,25,26,30,29,34,7,27,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":1805,"slug":1806,"title":1807,"dynasty":1169,"author":337,"museum":274,"description":1808,"tags":1809,"thumbUrl":1812,"material":39,"size":39,"collection":39,"collections":1813,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":72},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,54,55,25,194,1810,26,31,327,30,58,177,128,1582,1811,34,7,159,81],"界画","红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],16,{"id":1816,"slug":1817,"title":1818,"dynasty":18,"author":19,"museum":274,"description":1819,"tags":1820,"thumbUrl":1821,"material":39,"size":39,"collection":39,"collections":1822,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":92},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,24,54,195,56,25,26,238,29,30,34,81,340,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":1824,"slug":1825,"title":1826,"dynasty":139,"author":337,"museum":274,"description":1827,"tags":1828,"thumbUrl":1830,"material":39,"size":39,"collection":39,"collections":1831,"showCount":1814,"zanCount":11,"manualWeight":11,"mainColor":92},227361,"lou-guan-sha-ting-chui-diao-tu-yi-ming-227361","楼观沙汀垂钓图","在文人画里，一切都在情不自禁地轻轻飘动着。宋画是广阔的，岂止在视觉感受上，从题材、内容到形式都在自由组合中与审美达成了会心一笑似的默契和经典。宋画是现实的，就像刚刚从老庄的思想里走出，又误入了风景或花鸟的旋律。",[23,24,54,195,25,26,31,194,27,30,58,143,32,1829,34,7],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437e8c42c3072d6bf3d4366c3df1f44c.jpg",[],{"id":1833,"slug":1834,"title":1835,"dynasty":139,"author":1836,"museum":78,"description":1837,"tags":1838,"thumbUrl":1841,"material":164,"size":1842,"collection":39,"collections":1843,"showCount":1844,"zanCount":11,"manualWeight":11,"mainColor":92},290988,"han-pu-yu-zeng-zhou-yan-wen-gui-290988","寒浦鱼罾轴","燕文贵","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[53,24,54,195,56,25,26,143,1839,7,59,1840],"寒浦","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4c120e2383661e5ef1fc212341dcb0.jpg","143.1x75.4",[],15,{"id":1846,"slug":1847,"title":1848,"dynasty":18,"author":19,"museum":125,"description":1849,"tags":1850,"thumbUrl":1851,"material":39,"size":39,"collection":39,"collections":1852,"showCount":1844,"zanCount":11,"manualWeight":11,"mainColor":92},234477,"shan-shui-shan-ye-lan-ying-234477","山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。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。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 ，与文征明、沈周并重。",[350,24,26,56,25,27,32,59,34,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5eef4e9e844dc82ec6dd66dffe0f98.jpg",[],{"id":1854,"slug":1855,"title":1856,"dynasty":139,"author":337,"museum":78,"description":1857,"tags":1858,"thumbUrl":1859,"material":146,"size":1860,"collection":68,"collections":1861,"showCount":1844,"zanCount":107,"manualWeight":11,"mainColor":72},218846,"qing-xi-wan-du-tu-yi-ming-218846","清溪晚渡图","这幅画描绘了一个船夫在日落时分回家休息的情景，风景开阔，意境清远。在这幅画中，笔触更加平直，少了些许杂质，这是效仿夏圭的做法。",[23,24,54,100,56,27,25,26,34,30,58,59,361,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba687b7e6c7bcc95dbb8bab0b4918ba.jpg","22.8x23.8",[68],{"id":1863,"slug":1864,"title":1865,"dynasty":139,"author":1866,"museum":78,"description":1867,"tags":1868,"thumbUrl":1870,"material":146,"size":1871,"collection":68,"collections":1872,"showCount":1844,"zanCount":11,"manualWeight":11,"mainColor":72},218697,"han-pu-yu-zeng-tu-yan-su-218697","寒浦渔罾图","燕肃","寒江凝碧，枯柳疏枝斜倚滩头，雪屑轻覆芦荻，晕开一层冷寂。渔罾静悬水面，似在寒雾中守着时光的缓流。旁侧题诗与画面相契，“五枝辛苦生涯”的低语，衬出渔者于风雪里的安然。笔墨简淡却含深意：枯笔勾出柳枝的苍劲，淡墨晕染江天的空濛，雪的留白与芦荻的点染相映，将冬日江浦的清寒与生机揉合。没有繁复铺陈，只以极简意象写尽寒浦孤寂与韧性，读来如临江畔，冷风拂面时，却见渔火隐约的暖意，于清冷中藏着生活的本真。",[23,53,24,54,100,25,26,7,28,29,212,980,1869],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ef4407f2b72d6c52f3f00a910f9574.jpg","25.8x26.3cm",[68],{"id":1874,"slug":1875,"title":1876,"dynasty":18,"author":337,"museum":274,"description":1877,"tags":1878,"thumbUrl":1880,"material":473,"size":474,"collection":39,"collections":1881,"showCount":1882,"zanCount":11,"manualWeight":11,"mainColor":72},290980,"ming-ren-liu-an-cun-she-yi-ming-290980","明人柳岸村舍","薄雾轻笼远山，黛色融在烟岚里，晕作朦胧柔色。近岸柳丝垂曳，枯荣相杂的林木环着村舍，黛瓦矮墙隐在深浅绿意中，藏起乡野人家的日常。\n\n柔波漾着春水，三两渔人泛扁舟，持篙摇橹，把清寂春晨揉出淡淡烟火气。\n\n整幅以青绿设色，绢本底色晕开雅致石青石绿，色调柔和恬淡，无浓烈铺陈，只以浅淡晕染写尽江南水村的春日清宁。笔触秀雅细腻，绘林木错落随性，勾水波轻细灵动，将乡野安然藏在尺幅间，带着温婉闲逸的意趣，把江南水乡的慵懒春日定格于绢素之上，尽显平和悠远的林下清思。",[24,26,100,316,25,1879,1268,34,30,59,7,161],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17be9d15578f72df9e8a41dddd847a5c.jpg",[],14,{"id":1884,"slug":1885,"title":1886,"dynasty":18,"author":337,"museum":274,"description":1887,"tags":1888,"thumbUrl":1889,"material":39,"size":39,"collection":39,"collections":1890,"showCount":1882,"zanCount":11,"manualWeight":11,"mainColor":92},228800,"jiang-shang-du-diao-tu-yi-ming-228800","江上独钓图","烟波江上，渔翁卧于苇席，持杯把盏，斜置钓竿，将垂钓沽酒的闲逸写尽。手边酒坛缀着青芽，野趣横生。汀洲苇草轻摇，仙鹤掠空，水纹层层晕染，晕开一江清寂。\n\n题画诗点出幽居江湖、寄意烟波的襟怀，不求鱼获，只守自在本心。设色古雅温润，线条简淡松弛，将文人遁世忘机的隐逸意趣铺陈开来，无半点尘俗喧嚣，只剩江风裹着酒意漫开，把东方文人的闲旷之思融在尺幅间，淡而有味，静里生情，尽显出世忘机的林下之风。",[23,24,54,25,31,26,34,143,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c530002aa4f2cfc6f7ca3789b17bf70.jpg",[],{"id":1892,"slug":1893,"title":1894,"dynasty":139,"author":1895,"museum":274,"description":1896,"tags":1897,"thumbUrl":1898,"material":39,"size":39,"collection":39,"collections":1899,"showCount":1882,"zanCount":11,"manualWeight":11,"mainColor":92},227962,"xue-jiang-mai-yu-ye-li-dong-227962","雪江卖鱼页","李东","《南宋李东雪江买鱼图》是南宋画家李东的作品。\n该作用笔劲挺，构图玲珑别织，现藏于 。\n《南宋李东雪江买鱼图》绘白雪皑皑的严冬，一渔翁身着蓑衣，一手持桨，一手提鱼出售，真实在反映了渔民生活的艰难气分。\n此作用笔劲挺，构图玲珑别织，不愧是李东的传世佳作。\n《南宋李东雪江买鱼图》为绢本，设色，纵2.6厘米，横25.2厘米。\n该画曾经清内府收藏，《虚齐名画录》著录。\n《雪桥买鱼图》很可能是一幅晚于南宋的作品，但其基本的图像配置依然延续了李东《雪江卖鱼图》的特点。\n时间是在大雪纷飞的寒冬，地点是在远离城市的山野江村。\n人物分主角和配角，主角是买卖鲜鱼的文士和渔夫，配角是一位出现在画面边缘，肩挑两个大罐状物品的人。\n这个人和画中的渔人打扮有些相似，同样都身披蓑衣、头戴斗笠。\n他的身份不太容易确定，他可能是另一位渔人，挑着鱼篓上岸寻找买家，也可能是挑着酒瓮卖酒的人，还可能是挑着东西冒雪归家的村民。\n他的出现让雪江卖鱼的场景显得更有真实感，同时也更加强调了大雪严寒的郊外的静谧与冷清。\n李东，宋理宗赵昀（1225-1264）时期民间风俗画家，生卒年不详。\n《图绘宝鉴》卷四谓“理宗时常于御街鬻其所画《村田乐》《常酣图》之类，仅可娱俗眼耳”。\n所作受院体画影响，师法马远、夏圭，用笔简练遒劲，构图别致，富有浓厚生活气息。",[23,24,54,100,56,26,889,708,28,652,30,7,27,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8071c334500422163e21d52afeb7830e.jpg",[],{"id":1901,"slug":1902,"title":1903,"dynasty":285,"author":1904,"museum":379,"description":1905,"tags":1906,"thumbUrl":1907,"material":117,"size":1908,"collection":39,"collections":1909,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":72},217209,"fang-gu-shan-shui-shi-er-kai-jiu-wang-hui-217209","仿古山水十二开(九)","王翚","此册王翚仿古十二开",[24,100,56,26,27,30,58,81,59,60,34,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a728094980b72bfbfe1b0b26043764.jpg","25x35.4cm",[],{"id":1911,"slug":1912,"title":347,"dynasty":48,"author":337,"museum":274,"description":1913,"tags":1914,"thumbUrl":1915,"material":473,"size":474,"collection":39,"collections":1916,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":92},290144,"bu-yu-tu-yi-ming-290144","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。",[23,24,350,56,26,30,59,211,855,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3bc4909b20a98e28d9451ec850ccfe.jpg",[],12,{"id":1919,"slug":1920,"title":1894,"dynasty":139,"author":1895,"museum":125,"description":1921,"tags":1922,"thumbUrl":1924,"material":1925,"size":1926,"collection":39,"collections":1927,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":92},234010,"xue-jiang-mai-yu-ye-li-dong-234010","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[24,54,1923,56,25,27,26,34,30,7,29,238,889,35],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","绢本墨笔","纵23.6厘米,横25.2厘米",[],{"id":1929,"slug":1930,"title":1724,"dynasty":139,"author":337,"museum":274,"description":1931,"tags":1932,"thumbUrl":1933,"material":39,"size":39,"collection":39,"collections":1934,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":92},233699,"yu-le-tu-ye-yi-ming-233699","绘三只渔船捕鱼归来,泊于古松幽篁掩映下的岸边.舟上人物或正在用餐,或忙于其他事情,充满生活的气息",[24,53,54,350,25,56,27,26,31,30,59,34,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389669d69d09b3873a5a16e2df01015f.jpg",[],{"id":1936,"slug":1937,"title":1938,"dynasty":139,"author":337,"museum":274,"description":1939,"tags":1940,"thumbUrl":1942,"material":39,"size":39,"collection":39,"collections":1943,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":92},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,54,55,53,25,194,27,889,7,26,30,58,159,34,29,31,143,35,1941,1318],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],{"id":1945,"slug":1946,"title":1947,"dynasty":285,"author":337,"museum":274,"description":1948,"tags":1949,"thumbUrl":1950,"material":39,"size":39,"collection":39,"collections":1951,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":72},223530,"wu-yi-shan-shi-ba-jing-tu-5-yi-ming-223530","武夷山十八景图5","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,54,56,25,26,30,34,32,59,81,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c84bfbc9bf9a7a54e09f8f17c57e1.jpg",[],{"id":1953,"slug":1954,"title":1955,"dynasty":1292,"author":1956,"museum":50,"description":1957,"tags":1958,"thumbUrl":10,"material":39,"size":39,"collection":68,"collections":1959,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":1960},202965,"liu-xi-yu-ying-tu-zhou-chen-shu-ren-202965","柳溪渔影图轴","陈树人","柳丝轻拂溪岸，淡绿晕染出春日柔媚。澄澈溪水间，孤舟一叶，渔人持竿静坐，影落清波，尽显悠然之趣。远处矮墙隐现，飞鸟点染天际，添几分空濛。笔墨灵动洒脱，设色清新雅致，融传统水墨意趣与明快格调，于简淡中藏生机，传递渔隐生活的恬淡自在。",[24,25,26,30,7,143,405,34,56,827,23],[68],"c5ad8f",{"id":1962,"slug":1963,"title":1964,"dynasty":285,"author":1965,"museum":50,"description":1966,"tags":1967,"thumbUrl":1970,"material":39,"size":39,"collection":68,"collections":1971,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":1972},201790,"qiu-xi-xiao-ting-tu-zhou-gu-da-shen-201790","秋溪小艇图轴","顾大申","秋溪泛艇，木叶疏朗间浸满清寂秋意。岸边老树盘曲，枝桠以细劲线条勾勒，墨色浓淡相衬显萧瑟之态；山石用淡墨皴擦，纹理自然晕染，兼具苍劲与秀逸。溪水轻漾，一艇悠然泊于岸侧，似载着渔者的归隐之思；远处茅舍隐于林麓，几缕飞鸟点染空濛天际，更添悠远之韵。笔墨简淡却意韵醇厚，线条灵动不失沉稳，设色雅致贴合秋景，整体铺陈出文人画特有的闲适超脱，将秋日溪山的静谧与隐逸情怀融于尺幅之间。",[24,26,195,27,25,30,1968,29,32,1969,143,7,23],"秋溪","茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c5a3d5368ba4f6b6b2307cd04594fe.jpg",[68],"5d401b",{"id":1974,"slug":1975,"title":1976,"dynasty":18,"author":1977,"museum":274,"description":1978,"tags":1979,"thumbUrl":1980,"material":473,"size":474,"collection":39,"collections":1981,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":92},236667,"qiu-jiang-diao-ting-shan-ye-song-jue-236667","秋江钓艇扇页","宋珏","宋珏（1576—1632）明代诗人、书画家。字比玉，号荔支子，浪道人、国子仙，福建莆田人。国子监生。漫游吴越，客死吴地，工书画篆刻。山水学米氏、黄公望、吴镇，用笔苍老秀逸，不拘于法，兼善画松。",[350,56,26,30,1241,143,7,27,83,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa005189c8c25c3552046034c87135ba8.jpg",[],11,{"id":1984,"slug":1985,"title":1986,"dynasty":285,"author":1904,"museum":274,"description":1987,"tags":1988,"thumbUrl":1990,"material":473,"size":474,"collection":39,"collections":1991,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":72},235912,"lu-hua-diao-chuan-ye-wang-hui-235912","芦花钓船页","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。”",[24,54,100,56,1989,30,7,26,64,63],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77779a097697f97d9978945754d71b8d.jpg",[],{"id":1993,"slug":1994,"title":1995,"dynasty":18,"author":337,"museum":274,"description":1996,"tags":1997,"thumbUrl":1998,"material":39,"size":39,"collection":39,"collections":1999,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":72},235321,"shen-shi-chong-han-tang-yu-ting-tu-zhou-yi-ming-235321","沈士充寒塘渔艇图轴","此作用笔清隽雅致，以干湿互济的笔墨勾勒冬江寒林之景。危崖层叠，以短皴复点苔墨，晕出山石厚重肌理，淡墨烘染出空蒙山雾，将远山隐于烟霭之中，平添幽寂荒寒之意。近岸枯木虬曲，木叶尽脱，枝桠苍劲舒展，与滩头乱石相映，尽展冬日元气萧索之态。\n\n溪间扁舟静泊，渔翁拥衣独坐舱头，孤舟暖篷与周遭清寒形成温冷对照，把渔人江渚独守的安闲隐逸，融在冬日水滨的淡远清旷之中，以景寄情，将幽逸况味刻画尽致。",[24,54,195,56,26,30,28,7,35,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891e488a81d900cd51693f501d860966.jpg",[],{"id":2001,"slug":2002,"title":2003,"dynasty":1169,"author":2004,"museum":274,"description":2005,"tags":2006,"thumbUrl":2008,"material":473,"size":474,"collection":39,"collections":2009,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":92},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,25,26,30,58,7,195,27,2007],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],{"id":2011,"slug":2012,"title":2013,"dynasty":1169,"author":2014,"museum":274,"description":2015,"tags":2016,"thumbUrl":2017,"material":39,"size":39,"collection":39,"collections":2018,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":92},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","狩野元信","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,24,54,195,25,27,31,35,176,29,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":285,"author":1904,"museum":274,"description":2023,"tags":2024,"thumbUrl":2025,"material":39,"size":39,"collection":39,"collections":2026,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":92},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,54,55,340,26,59,30,143,7,27,25,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":2028,"slug":2029,"title":2030,"dynasty":139,"author":337,"museum":262,"description":2031,"tags":2032,"thumbUrl":2033,"material":2034,"size":2035,"collection":39,"collections":2036,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":92},223535,"jiang-cun-tu-yi-ming-223535","江村图","图绘江水平缓，江上一叶扁舟，舟子撑杆而行。两岸绿树成林，屋舍隐隐。",[23,53,24,54,26,25,27,34,30,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb83e60ab9c09c2a0483f69fb55353f.jpg","绢本设色","24.1x25.4",[],{"id":2038,"slug":2039,"title":2040,"dynasty":139,"author":337,"museum":125,"description":2041,"tags":2042,"thumbUrl":2043,"material":2034,"size":2044,"collection":39,"collections":2045,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":92},223518,"mei-xi-fang-ting-tu-yi-ming-223518","梅溪放艇图","绘一雅士放艇溪中，回首遥视远方，渔夫于 船尾曲身奋力划桨。两株老梅斜出溪岸，虬曲多姿。山间云雾 缭绕，天水一色。大山巍然横卧，小峰如刀削斧劈，笔立其 侧。作者所绘老梅虬曲多姿，以白粉点梅花，用细笔描水草和 波浪，人物衣纹简劲，工写结合。全图用笔工细劲挺，构图生 动简洁，设色淡雅清丽",[23,24,350,56,25,26,194,30,28,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F727d30aba9a4f0befd1f131f9c55d89f.jpg","纵24.4厘米横24.7厘米",[],{"id":2047,"slug":2048,"title":2049,"dynasty":18,"author":2050,"museum":78,"description":2051,"tags":2052,"thumbUrl":2053,"material":25,"size":2054,"collection":39,"collections":2055,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":72},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[23,24,350,56,25,26,27,470,30,7,32,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":2057,"slug":2058,"title":2059,"dynasty":285,"author":2060,"museum":50,"description":2061,"tags":2062,"thumbUrl":2063,"material":39,"size":39,"collection":68,"collections":2064,"showCount":1982,"zanCount":11,"manualWeight":11,"mainColor":2065},201624,"cai-ling-tu-zhou-wang-hui-201624","采菱图轴","王翬","画面远山层叠，皴笔勾勒峰峦肌理，云雾轻笼山间，添空灵之致。近景柳丝低垂，枝干遒劲与杂树相映；村落隐于树后，小桥跨溪，流水潺潺，透着田园闲逸。水面数叶轻舟，采菱人影隐约，漾起渔乐之韵。笔墨细腻温润，设色淡雅清和，既承传统山水功底，又融生活场景鲜活气息，自然之美与人间烟火悄然融合。",[24,26,27,25,159,34,30,7,59,1222,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe238d4fc5073b499650b68c17355907.jpg",[68],"c4b39e",{"id":2067,"slug":2068,"title":2069,"dynasty":18,"author":1779,"museum":274,"description":2070,"tags":2071,"thumbUrl":2072,"material":473,"size":474,"collection":39,"collections":2073,"showCount":2074,"zanCount":11,"manualWeight":11,"mainColor":72},287783,"xue-ying-yu-ren-tu-xiang-sheng-mo-287783","雪影渔人图","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[23,53,24,54,195,56,26,29,30,35,34,64,7,697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2180dbe5f9cb3d7d66cc8995b1afa3ba.jpg",[],10,{"id":2076,"slug":2077,"title":2078,"dynasty":18,"author":2079,"museum":274,"description":2080,"tags":2081,"thumbUrl":2082,"material":473,"size":474,"collection":39,"collections":2083,"showCount":2074,"zanCount":11,"manualWeight":11,"mainColor":72},239355,"liu-xi-chui-diao-shan-ye-liu-mai-239355","柳溪垂钓扇页","刘迈","字种德，金陵（今南京）人。工花草。《金陵琐事》",[24,350,56,716,1268,34,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45ddeb59e72a81aec32133a05fe8b72.jpg",[],{"id":2085,"slug":2086,"title":2087,"dynasty":1169,"author":2088,"museum":274,"description":2089,"tags":2090,"thumbUrl":2091,"material":473,"size":474,"collection":39,"collections":2092,"showCount":2074,"zanCount":11,"manualWeight":11,"mainColor":92},230584,"si-ji-shan-shui-tu-ping-feng-di-er-ping-zhou-wen-230584","四季山水图屏风第二屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,56,26,7,30,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d492c0b081ab9c93e3ac5769647104.jpg",[],{"id":2094,"slug":2095,"title":2096,"dynasty":1169,"author":2088,"museum":274,"description":2089,"tags":2097,"thumbUrl":2100,"material":473,"size":474,"collection":39,"collections":2101,"showCount":2074,"zanCount":11,"manualWeight":11,"mainColor":92},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏",[23,24,54,2098,56,27,26,30,58,81,158,1584,211,2099,7],"屏风","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":2103,"slug":2104,"title":2105,"dynasty":285,"author":2106,"museum":274,"description":2107,"tags":2108,"thumbUrl":2109,"material":473,"size":474,"collection":39,"collections":2110,"showCount":2074,"zanCount":11,"manualWeight":11,"mainColor":72},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁","周鲲","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[23,24,54,100,25,26,7,34,30,143,361,83,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":2112,"slug":2113,"title":2114,"dynasty":1292,"author":1315,"museum":50,"description":2115,"tags":2116,"thumbUrl":2118,"material":39,"size":39,"collection":68,"collections":2119,"showCount":2074,"zanCount":11,"manualWeight":11,"mainColor":2120},203359,"song-yin-chui-diao-tu-zhou-pu-ru-203359","松荫垂钓图轴","近景苍松虬劲，松针细密如织，石岸间杂草疏朗；中景孤舟一叶，渔者凭舷垂钓，身姿闲静；远景山峦层叠，墨色由浓转淡，云雾氤氲其间。笔墨兼具工写，山石皴擦有致，松枝线条挺健，设色淡雅天成，仅渔者衣袂着淡粉，更衬出山水清寂。画面流溢出超脱尘俗的渔隐之趣，尽显文人画的空灵意韵，仿佛将观者带入林泉高致的悠远境界。",[24,26,30,470,27,25,7,2117,23],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ded3925f052169b1053fd3ba0a85480.jpg",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ualWeight":11,"mainColor":72},260519,"you-li-san-se-bi-tong-yi-ming-260519","釉里三色笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[2575,2414,2792,7,31,26,176,2576,3156,1355],"釉里三色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cf4b0c43825b44302b5566b8b0398df.jpg",[],{"id":3160,"slug":3161,"title":3162,"dynasty":285,"author":337,"museum":274,"description":3163,"tags":3164,"thumbUrl":3166,"material":473,"size":474,"collection":39,"collections":3167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},247024,"qian-long-kuan-ti-hong-shan-shui-ren-wu-guan-yu-tu-bian-yuan-he-yi-ming-247024","乾隆款剔红山水人物观渔图扁圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[285,2684,2418,3165,26,31,159,34,7,327,2414],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c36a975b4e5f6c61a33284b200fe597.jpg",[],{"id":3169,"slug":3170,"title":3171,"dynasty":18,"author":3172,"museum":274,"description":3173,"tags":3174,"thumbUrl":3175,"material":39,"size":39,"collection":39,"collections":3176,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":3177},233580,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233580","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,54,100,2518,25,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa26c76778ffb050da5f48b3a8e1bcf3f.jpg",[],"FFFFFF",{"id":3179,"slug":3180,"title":3181,"dynasty":285,"author":337,"museum":274,"description":3182,"tags":3183,"thumbUrl":3184,"material":146,"size":39,"collection":39,"collections":3185,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},216054,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-25-yi-ming-216054","职贡图巨幅彩绘册页第3册-25","画面分左右两帧，左帧人物赤足而立，衣袂缀蓝边，手中鱼获鳞光隐现，神态憨朴；右帧舟子执桨驾竹筏，筏身纹理分明，水波轻漾间尽显渔猎劳作之态。笔触细腻入微，人物动态鲜活，衣饰、舟楫的细节勾勒逼真，色彩淡雅却富生机。整幅画作以纪实之笔捕捉边地族群风貌，于日常场景中藏生活真趣，既具史料价值，又显艺术匠心，仿佛将彼时边地与中原的交流图景凝于尺幅之间，生动可感。",[23,24,54,1923,25,194,31,590,30,7,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d3cbae44c9ff1f26d00fc30b74e68b.jpg",[],{"id":3187,"slug":3188,"title":3189,"dynasty":285,"author":2662,"museum":50,"description":3190,"tags":3191,"thumbUrl":3192,"material":39,"size":39,"collection":39,"collections":3193,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":31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