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字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[24,26,79,56,29,30,31,117,101,32,35,147,7,148,149,150],"枯树","水面","岸","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[41,90],31,{"id":155,"slug":156,"title":157,"dynasty":75,"author":158,"museum":113,"description":159,"tags":160,"thumbUrl":164,"material":56,"size":165,"collection":41,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":168},222140,"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,24,27,56,29,30,31,117,161,34,162,7,163],"房屋","村落","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[41,90],27,"F48FB1",{"id":170,"slug":171,"title":172,"dynasty":75,"author":173,"museum":113,"description":174,"tags":175,"thumbUrl":176,"material":66,"size":66,"collection":66,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":168},228755,"shan-shui-tu-juan-wen-jia-228755","山水图卷","文嘉","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,26,27,56,29,30,33,103,34,61,132,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],21,{"id":180,"slug":181,"title":182,"dynasty":75,"author":183,"museum":113,"description":184,"tags":185,"thumbUrl":188,"material":66,"size":20,"collection":41,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":92},236603,"shan-shui-ce-ye-xiang-rong-236603","山水册","叶向荣","此作用一角取景，主峰高拔奇崛，干笔皴擦勾勒山石肌理，苍朴厚重的质感尽显。山间苍木错落遒劲，茅舍隐于林麓之间，暗合幽居寄怀的雅趣。近岸汀渚星罗，浅波澹澹，留白铺就清远空寂的余韵。\n笔墨简淡松秀，以水墨晕染出山峦氤氲之态，将文人林泉高致寄于尺幅间，尽显平淡天真的意趣，晕开静谧清旷的隐逸氛围，藏着独属于传统山水的悠然禅意。",[186,24,26,56,29,187,30,31,117,62,7],"明代","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee02916708781e551032b579ae9e6eae.jpg",[41,90],12,{"id":192,"slug":193,"title":194,"dynasty":143,"author":195,"museum":113,"description":196,"tags":197,"thumbUrl":203,"material":66,"size":66,"collection":66,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":92},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3","佚名","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。",[23,24,26,187,56,28,29,30,198,63,101,33,199,200,118,161,132,131,201,7,202,162],"山岩","亭阁","远山","近树","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],10,{"id":207,"slug":208,"title":209,"dynasty":143,"author":210,"museum":113,"description":211,"tags":212,"thumbUrl":215,"material":66,"size":66,"collection":66,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":92},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","山水图轴","方士庶","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,26,79,56,28,30,31,32,33,161,131,213,7,118,100,214,29],"路径","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],9,{"id":219,"slug":220,"title":221,"dynasty":75,"author":222,"museum":223,"description":224,"tags":225,"thumbUrl":227,"material":228,"size":66,"collection":66,"collections":229,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":92},219071,"xiao-xiang-ba-jing-ce-2-zhang-fu-219071","潇湘八景册-2","张复","天津博物馆","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,56,28,187,29,30,101,33,161,7,148,226,130],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac73debdcee6c35a13a33c73a553724.jpg","纸本,设色",[],{"id":231,"slug":232,"title":182,"dynasty":143,"author":233,"museum":113,"description":234,"tags":235,"thumbUrl":237,"material":66,"size":66,"collection":66,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":92},237982,"shan-shui-ce-zhang-geng-237982","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,56,29,82,30,31,100,236,34,33,7],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0661c14b15c4358c732e089e57b0a05a.jpg",[],4,{"id":241,"slug":242,"title":182,"dynasty":75,"author":243,"museum":20,"description":244,"tags":245,"thumbUrl":247,"material":248,"size":249,"collection":66,"collections":250,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":92},236902,"shan-shui-ce-song-xu-236902","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,26,56,29,187,30,101,246,33,7],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57846266aeca8a1bf2590b28560221d.jpg","纸本 ，设色","纵31cm，横42cm",[],{"id":252,"slug":253,"title":254,"dynasty":75,"author":255,"museum":113,"description":256,"tags":257,"thumbUrl":270,"material":66,"size":66,"collection":66,"collections":271,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":92},235628,"fang-gu-shan-shui-ce-shen-hao-235628","仿古山水册","沈颢","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[24,26,187,56,29,80,82,30,103,33,258,61,83,259,260,261,262,263,264,265,266,267,7,268,269],"飞鸟","仿古","山水景物","传统技法","文人画风格","写意","淡墨渲染","山峦","岩壁","荒草","小径","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0a65ae56.jpg",[],{"id":273,"slug":274,"title":275,"dynasty":143,"author":276,"museum":113,"description":277,"tags":278,"thumbUrl":279,"material":66,"size":66,"collection":66,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":92},238251,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238251","燕山八景图册","张若澄","淡墨晕开远近层叠的山峦，烟岚轻笼林麓村居，田埂蜿蜒铺展在浅淡春色里，平远山水的空濛写意尽显无余。简淡清润的笔墨，未作繁复皴擦，却将郊野朝暮的闲逸野趣勾勒入微，仿佛晨雾漫过松梢，裹着浅淡烟火漫溢故城荒台。\n\n右侧题诗与画作相映成趣，诗画合璧间，把此间的幽远清旷藏在留白之中，观之便好似身临其间，静赏烟霭浮沉，漫品古意澹泊的悠然况味。",[24,26,187,56,81,29,28,30,31,33,161,268,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c560aa45220e40da3bd29e71e8298a.jpg",[],3,{"id":283,"slug":284,"title":182,"dynasty":143,"author":285,"museum":113,"description":286,"tags":287,"thumbUrl":288,"material":66,"size":66,"collection":66,"collections":289,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":92},238199,"shan-shui-ce-tang-dai-238199","唐岱","浅绛皴擦出岩壑肌理，重林沉凝在清霭之间，风神疏旷悠然。飞瀑高悬如匹练垂空，将春山的生机揉进空蒙雾气中。浓荫深掩孤村柴扉，静锁山居闲逸意趣。峰腰苔痕青润，危崖草亭孑立，似候访客寻幽踏春，探问山灵私语。\n\n诗画相映成趣，笔致苍秀兼备，淡设晕染出春日山乡的清和幽寂，将林泉高致藏于尺幅间，观之恍若步入云深之处，揽烟霞、听流泉，尽得林泉雅韵。",[24,26,28,29,187,30,31,62,33,161,131,132,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dcc4abf16f05eceec82252ed998da1.jpg",[],{"id":291,"slug":292,"title":182,"dynasty":143,"author":293,"museum":113,"description":294,"tags":295,"thumbUrl":296,"material":135,"size":136,"collection":66,"collections":297,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":46},237522,"shan-shui-ce-chen-zi-237522","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,26,25,187,28,81,30,31,117,161,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc2d8d9a7d3a1eeb8fc1c642e189f60.jpg",[],{"id":299,"slug":300,"title":182,"dynasty":143,"author":301,"museum":113,"description":302,"tags":303,"thumbUrl":304,"material":66,"size":66,"collection":66,"collections":305,"showCount":306,"zanCount":11,"manualWeight":11,"mainColor":92},239045,"shan-shui-ce-wu-lin-239045","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,56,29,187,30,101,33,103,7,36,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09bb44a1cf5ddd5fc94f33206248b59.jpg",[],1,{"id":308,"slug":309,"title":182,"dynasty":143,"author":310,"museum":53,"description":311,"tags":312,"thumbUrl":319,"material":28,"size":320,"collection":66,"collections":321,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":92},238267,"shan-shui-ce-zhang-yan-238267","张演","此作取边角之景入画，左畔危岩嶙峋，古松蟠曲苍劲，近处长林掩映茅庐，幽人徐行篱边，似正沉醉林泉意趣。\n开面湖水空阔澄澈，汀渚错落，远岸松列如黛。层叠山峦浮沉在烟岚薄雾间，暮光轻抹远山天际，晕开一抹暖红，糅合了冷寂山光与温柔暮色。\n笔墨温润雅致，以浅绛设色晕染山石，细劲皴笔写出岩体质感，淡墨烘染烟霭，将江南水山的空濛静穆尽数铺展，尽显林泉高隐的悠然澹泊之境，藏着传统文人寄情丘壑的隐逸襟怀。",[24,28,29,187,313,30,100,103,34,102,33,84,200,314,148,118,7,315,316,317,318],"工笔","小筑","植被","人物活动","层峦","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F531c43ef944af0c19c1b03b7a21cf4bc.jpg","37.1x31.7",[],{"id":323,"slug":324,"title":182,"dynasty":143,"author":310,"museum":53,"description":325,"tags":326,"thumbUrl":331,"material":28,"size":320,"collection":66,"collections":332,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":92},238264,"shan-shui-ce-zhang-yan-238264","此作用浅绛设色晕染出幽寂山居。近隅茅舍错落，屋中二人对坐晤谈，周遭嘉木扶苏，枝叶皴染细致，翠色鲜活生机暗涌。中景崖壁逶迤，山道萦回，林木错落嵌于岩隙间。远景危崖以淡墨浅赭晕出肌理，留白处尽显空濛悠远。\n\n构图疏密得宜，笔墨秀润清逸，将林下幽居的雅趣融于尺幅之中，静穆萧散的文人意韵浸透纸面，引观者踏入尘嚣之外的林泉佳处，尽显澹泊出尘的襟怀。",[24,28,187,30,29,103,265,33,161,102,268,100,35,327,315,328,7,329,263,330],"坡地","居所","近景","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223801e336f2d1e91f94eb0c474355a2.jpg",[],1777535719110]