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》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,25,62,27,131,29,31,132,133,37,35,39,7,116,41,134,135],"仿古","山峦","溪流","草木","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[97,99],65,{"id":140,"slug":141,"title":142,"dynasty":85,"author":143,"museum":144,"description":145,"tags":146,"thumbUrl":155,"material":119,"size":156,"collection":97,"collections":157,"showCount":158,"zanCount":51,"manualWeight":11,"mainColor":124},218223,"xue-xi-wan-du-tu-yi-ming-218223","雪溪晚渡图","佚名","南京博物院","此幅作品描绘了冬日雪景，高峰竖立，萧然平静。峡谷瀑布，层层寒流。柴门屋舍，截然生机。一位渔翁打着小舟，悄然归来，是为屋内两位高士送酒来了。画家的用墨富有变化，笔力老练，对自然理解渗透，作品意境之浓，感触深刻。",[24,62,147,27,148,149,150,36,151,37,7,152,153,154],"山水画","雪景","高峰","瀑布","屋舍","高士","饮酒","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e719109c9e31dc9233143ca682fb9.jpg","105x60.3cm",[97],48,{"id":160,"slug":161,"title":162,"dynasty":57,"author":163,"museum":20,"description":164,"tags":165,"thumbUrl":167,"material":168,"size":169,"collection":170,"collections":171,"showCount":172,"zanCount":51,"manualWeight":11,"mainColor":52},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","朱耷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,24,25,26,27,43,31,111,7,166,36],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米","书法精选",[170],45,{"id":174,"slug":175,"title":176,"dynasty":57,"author":177,"museum":59,"description":178,"tags":179,"thumbUrl":181,"material":48,"size":48,"collection":48,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":52},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","石涛","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,25,180,27,28,31,37,36,132,35,7,44,29],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],28,{"id":185,"slug":186,"title":187,"dynasty":188,"author":189,"museum":59,"description":190,"tags":191,"thumbUrl":195,"material":48,"size":48,"collection":48,"collections":196,"showCount":197,"zanCount":51,"manualWeight":11,"mainColor":124},226542,"du-diao-tu-jiang-xi-meng-226542","独钓图","不详","姜希孟","纸本，墨笔，56*36cm，东京国立博物馆藏。图绘河边杂草丛生，枯木二棵，枝杆张牙舞爪，沧桑孤傲；河面上一老者船头独自垂钓，静谧详和；远处水面广阔，画面透着冷寂之意境。姜希孟，朝鲜王朝的士大夫画家，宫廷画师。",[23,24,25,27,90,29,31,192,37,38,7,93,193,194],"枯树","岸石","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075096fb767ba143cb1f3c07e1615e40.jpg",[],26,{"id":199,"slug":200,"title":201,"dynasty":106,"author":202,"museum":108,"description":203,"tags":204,"thumbUrl":209,"material":210,"size":211,"collection":48,"collections":212,"showCount":213,"zanCount":51,"manualWeight":11,"mainColor":52},214671,"san-jue-tu-4-yao-shou-214671","三绝图-4","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。",[24,27,31,29,37,38,192,205,91,206,207,208,7,44],"松树","远山","近石","湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41a69055627a18111545189016a9a46.jpg","纸本,设色","纵31.2 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