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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。",[288,289,290,291,7,292,293],"油画","后印象派","麦田","柏树","云彩","田园风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c94f8d9359ec8f553e4e94c2c9c138.jpg","未知","Xcm*Xcm","油画精选",[297],279,{"id":301,"slug":302,"title":303,"dynasty":96,"author":304,"museum":77,"description":305,"tags":306,"thumbUrl":310,"material":250,"size":311,"collection":35,"collections":312,"showCount":313,"zanCount":187,"manualWeight":11,"mainColor":39},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。",[23,24,52,25,28,60,156,307,308,309,7,31],"草","石头","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[35],254,{"id":315,"slug":316,"title":317,"dynasty":96,"author":150,"museum":169,"description":318,"tags":319,"thumbUrl":320,"material":321,"size":322,"collection":35,"collections":323,"showCount":324,"zanCount":110,"manualWeight":11,"mainColor":39},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[49,80,23,24,81,25,26,51,215,28,55,30,59,121,7,120,82,156,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 x 44.8cm",[35,108],246,{"id":326,"slug":327,"title":328,"dynasty":115,"author":168,"museum":77,"description":329,"tags":330,"thumbUrl":332,"material":333,"size":334,"collection":35,"collections":335,"showCount":336,"zanCount":187,"manualWeight":11,"mainColor":133},220326,"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[49,80,23,24,81,25,26,28,84,55,7,331],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","绢本,水墨","纵167.7cm， 横53.6cm",[35,130],243,{"id":338,"slug":339,"title":340,"dynasty":18,"author":76,"museum":169,"description":341,"tags":342,"thumbUrl":344,"material":25,"size":34,"collection":35,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":39},218823,"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[49,23,24,25,26,28,193,343,7,83],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[35],239,{"id":348,"slug":349,"title":350,"dynasty":115,"author":168,"museum":351,"description":352,"tags":353,"thumbUrl":354,"material":141,"size":355,"collection":35,"collections":356,"showCount":5,"zanCount":163,"manualWeight":11,"mainColor":133},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[49,23,24,28,25,26,81,30,55,59,56,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[35],{"id":358,"slug":359,"title":360,"dynasty":44,"author":361,"museum":169,"description":362,"tags":363,"thumbUrl":364,"material":33,"size":34,"collection":108,"collections":365,"showCount":366,"zanCount":163,"manualWeight":11,"mainColor":39},219381,"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。",[23,24,81,25,51,126,26,28,82,83,31,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4001801727356342fc3315fc815e7f6e.jpg",[108],233,{"id":368,"slug":369,"title":370,"dynasty":115,"author":371,"museum":169,"description":372,"tags":373,"thumbUrl":376,"material":237,"size":377,"collection":130,"collections":378,"showCount":379,"zanCount":187,"manualWeight":11,"mainColor":133},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","李唐","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[49,23,80,50,28,26,52,30,55,374,56,103,375,7,104,234],"渔船","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[130,35,108],232,{"id":381,"slug":382,"title":383,"dynasty":96,"author":384,"museum":117,"description":385,"tags":386,"thumbUrl":388,"material":389,"size":34,"collection":34,"collections":390,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":133},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[23,24,50,51,52,25,26,28,55,30,57,56,101,58,60,63,7,104,62,234,387],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg","纸本，设色",[],230,{"id":393,"slug":394,"title":395,"dynasty":115,"author":371,"museum":169,"description":396,"tags":397,"thumbUrl":400,"material":250,"size":401,"collection":35,"collections":402,"showCount":403,"zanCount":187,"manualWeight":11,"mainColor":133},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[23,24,81,28,25,26,52,398,101,399,7,60,126,63],"江水","枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[35],223,{"id":405,"slug":406,"title":407,"dynasty":115,"author":201,"museum":169,"description":408,"tags":409,"thumbUrl":421,"material":422,"size":423,"collection":130,"collections":424,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":133},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[49,23,24,410,25,411,412,54,126,413,261,414,30,60,415,416,7,417,418,419,420],"工笔","浅设色","边角构图","册页","竹子","酒具","桌子","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","绢本设色","纵25.5厘米，横25.7厘米",[130,35,108],220,{"id":427,"slug":428,"title":429,"dynasty":115,"author":430,"museum":117,"description":431,"tags":432,"thumbUrl":434,"material":141,"size":435,"collection":35,"collections":436,"showCount":437,"zanCount":187,"manualWeight":11,"mainColor":133},218591,"yu-fu-tu-xia-gui-218591","渔父图","夏圭","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[80,23,24,81,25,52,26,28,29,101,433,7,309],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[35],201,{"id":439,"slug":440,"title":441,"dynasty":96,"author":150,"museum":169,"description":442,"tags":443,"thumbUrl":444,"material":445,"size":34,"collection":35,"collections":446,"showCount":447,"zanCount":11,"manualWeight":11,"mainColor":39},220936,"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[23,24,28,51,26,25,27,30,55,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[35,108],187,{"id":449,"slug":450,"title":451,"dynasty":96,"author":452,"museum":169,"description":453,"tags":454,"thumbUrl":458,"material":459,"size":460,"collection":34,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":133},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","仇英","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[49,23,80,24,50,455,52,410,28,60,176,156,260,30,55,7,456,457,56],"青绿","近山","庭院","https:\u002F\u002Foss.chuangqi.store\u002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Afternoon Effect, 1888","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[531,288,532,533,534,535,7,536,537,538,387,539,540,84,541],"印象派","光影","色彩明快","笔触细碎","海面","雪山","建筑群","城堡","天空","云朵","午后","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa941d4cf8ef5e9c54d2075b9540d6dd3.jpg",[297],167,{"id":546,"slug":547,"title":548,"dynasty":115,"author":201,"museum":230,"description":549,"tags":550,"thumbUrl":551,"material":333,"size":34,"collection":35,"collections":552,"showCount":553,"zanCount":187,"manualWeight":11,"mainColor":133},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[49,23,80,81,25,26,28,58,156,60,30,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[35],159,{"id":555,"slug":556,"title":557,"dynasty":96,"author":97,"museum":46,"description":558,"tags":559,"thumbUrl":560,"material":250,"size":561,"collection":35,"collections":562,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":564},219865,"yun-shan-tu-shen-zhou-219865","云山图","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[49,23,25,28,26,81,55,102,30,121,58,7,120,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[35],154,"F48FB1",{"id":566,"slug":567,"title":568,"dynasty":115,"author":569,"museum":169,"description":570,"tags":571,"thumbUrl":573,"material":459,"size":574,"collection":130,"collections":575,"showCount":576,"zanCount":163,"manualWeight":11,"mainColor":133},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[49,80,23,24,27,25,52,26,28,58,55,101,572,7,31],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[130,35],152,{"id":578,"slug":579,"title":580,"dynasty":44,"author":581,"museum":117,"description":582,"tags":583,"thumbUrl":584,"material":295,"size":296,"collection":34,"collections":585,"showCount":586,"zanCount":163,"manualWeight":11,"mainColor":39},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[80,23,81,25,28,82,58,56,30,7,51,126,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],150,{"id":588,"slug":589,"title":590,"dynasty":115,"author":489,"museum":591,"description":592,"tags":593,"thumbUrl":595,"material":141,"size":596,"collection":35,"collections":597,"showCount":598,"zanCount":187,"manualWeight":11,"mainColor":133},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[23,24,81,204,25,52,28,176,101,193,84,594,7],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[35],147,{"id":600,"slug":601,"title":602,"dynasty":96,"author":603,"museum":46,"description":604,"tags":605,"thumbUrl":610,"material":422,"size":611,"collection":482,"collections":612,"showCount":613,"zanCount":187,"manualWeight":11,"mainColor":133},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[49,80,23,24,410,52,60,606,607,29,608,7,609],"武将","兵器","石阶","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[482,161],145,{"id":615,"slug":616,"title":617,"dynasty":115,"author":618,"museum":98,"description":619,"tags":620,"thumbUrl":625,"material":626,"size":627,"collection":130,"collections":628,"showCount":629,"zanCount":11,"manualWeight":11,"mainColor":133},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","李成","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[49,23,80,24,50,28,26,52,621,7,55,30,102,622,237,623,624,61,123],"茂林","淡墨","层峦","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米",[130,35,108],144,{"id":631,"slug":632,"title":633,"dynasty":44,"author":634,"museum":46,"description":635,"tags":636,"thumbUrl":639,"material":158,"size":640,"collection":35,"collections":641,"showCount":642,"zanCount":163,"manualWeight":11,"mainColor":39},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","朱耷","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[23,81,25,637,26,28,82,121,30,101,638,7,31],"写意","钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纵197.5厘米，横57.3厘米",[35],143,{"id":644,"slug":645,"title":646,"dynasty":115,"author":430,"museum":20,"description":647,"tags":648,"thumbUrl":651,"material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219.1厘米",[35],132,{"id":781,"slug":782,"title":783,"dynasty":44,"author":784,"museum":169,"description":785,"tags":786,"thumbUrl":788,"material":389,"size":789,"collection":35,"collections":790,"showCount":791,"zanCount":163,"manualWeight":11,"mainColor":39},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡残","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[49,23,50,25,52,26,28,103,787,58,57,56,7,102,55,30,53,126,54],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[35,161],131,{"id":793,"slug":794,"title":795,"dynasty":115,"author":201,"museum":169,"description":796,"tags":797,"thumbUrl":803,"material":422,"size":804,"collection":130,"collections":805,"showCount":806,"zanCount":163,"manualWeight":11,"mainColor":39},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[49,80,23,172,25,52,412,798,26,28,60,726,260,64,799,55,61,7,800,801,802],"兼工带写","春景","童子","文人","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[130,35,482,108],129,{"id":808,"slug":809,"title":810,"dynasty":96,"author":97,"museum":117,"description":811,"tags":812,"thumbUrl":815,"material":295,"size":296,"collection":34,"collections":816,"showCount":817,"zanCount":187,"manualWeight":11,"mainColor":39},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[49,80,23,813,50,28,215,26,53,54,126,30,55,59,56,101,58,7,493,814,260,57,343,193],"水墨画","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":819,"slug":820,"title":821,"dynasty":44,"author":822,"museum":751,"description":823,"tags":824,"thumbUrl":825,"material":250,"size":826,"collection":35,"collections":827,"showCount":828,"zanCount":11,"manualWeight":11,"mainColor":39},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","王翚","此册王翚仿古十二开",[23,24,27,25,26,153,28,55,30,56,7,63,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[35],123,{"id":830,"slug":831,"title":832,"dynasty":44,"author":750,"museum":46,"description":833,"tags":834,"thumbUrl":835,"material":389,"size":836,"collection":35,"collections":837,"showCount":838,"zanCount":11,"manualWeight":11,"mainColor":39},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[80,23,24,27,52,25,26,28,29,60,59,7,493,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg","纵33.2cm，横22.8cm",[35,161],121,{"id":840,"slug":841,"title":842,"dynasty":96,"author":97,"museum":46,"description":843,"tags":844,"thumbUrl":846,"material":158,"size":847,"collection":35,"collections":848,"showCount":838,"zanCount":163,"manualWeight":11,"mainColor":39},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[49,23,24,50,25,28,26,53,126,102,55,7,120,845],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[35,108],{"id":850,"slug":851,"title":852,"dynasty":44,"author":489,"museum":46,"description":853,"tags":854,"thumbUrl":858,"material":698,"size":859,"collection":34,"collections":860,"showCount":861,"zanCount":11,"manualWeight":11,"mainColor":133},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[80,23,24,81,410,52,204,28,176,58,855,56,856,857,55,60,457,7,493],"廊","湖石","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg","纵188.2厘米，横102.2厘米",[],119,{"id":863,"slug":864,"title":865,"dynasty":115,"author":866,"museum":738,"description":867,"tags":868,"thumbUrl":872,"material":33,"size":873,"collection":35,"collections":874,"showCount":861,"zanCount":163,"manualWeight":11,"mainColor":39},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","赵佶","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[49,23,24,81,25,26,28,30,102,82,7,518,869,870,622,871],"峰峦","雾气","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[35,130],{"id":876,"slug":877,"title":878,"dynasty":18,"author":76,"museum":169,"description":879,"tags":880,"thumbUrl":883,"material":333,"size":884,"collection":35,"collections":885,"showCount":886,"zanCount":11,"manualWeight":11,"mainColor":39},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[49,23,24,81,25,26,28,156,881,414,7,882,308,55],"亭子","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[35],118,{"id":888,"slug":889,"title":890,"dynasty":115,"author":891,"museum":892,"description":893,"tags":894,"thumbUrl":895,"material":33,"size":896,"collection":34,"collections":897,"showCount":886,"zanCount":11,"manualWeight":11,"mainColor":39},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","牧溪","德川美术馆","薄雾似纱轻笼水面，远山隐于烟霭，如黛色剪影浮在天际。一叶扁舟孑然，渔翁身影模糊在夜色里，船尾涟漪搅碎秋月清辉。近岸树影婆娑，墨色淡染，似与雾气相融。天地静得只剩呼吸，秋夜凉意随淡墨游走，每一笔都透着禅意空灵。简淡笔触里藏着洞庭秋夜的幽远，观者仿佛听见水波轻响，看见月光洒在船舷，心沉入静谧烟波深处，触到自然最本真的呼吸。",[49,23,24,172,25,637,871,28,261,101,102,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":899,"slug":900,"title":901,"dynasty":18,"author":902,"museum":169,"description":903,"tags":904,"thumbUrl":906,"material":459,"size":907,"collection":35,"collections":908,"showCount":909,"zanCount":163,"manualWeight":11,"mainColor":39},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","盛懋","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[49,23,25,26,81,53,28,55,30,101,260,31,7,905,723,126],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[35,108],114,{"id":911,"slug":912,"title":913,"dynasty":18,"author":902,"museum":169,"description":914,"tags":915,"thumbUrl":918,"material":141,"size":919,"collection":35,"collections":920,"showCount":909,"zanCount":163,"manualWeight":11,"mainColor":39},218388,"song-ren-yuan-hua-ce-shan-shui-sheng-mao-218388","宋人院画册-山水","近处林木扶疏，枝干盘曲间，新绿与苍劲交织，生机隐现。水面平展如镜，一叶扁舟轻泊岸畔，船中人似伴流云静水，独享片刻悠然。远山如黛，以淡墨晕染出朦胧层次，云雾轻缠峰峦，将视野引向天际的悠远。笔墨兼具工致与写意，绢本的温润质感，更衬出画面的古雅韵致。整体意境清旷淡远，如一首静默的山水短章，藏着文人对自然的眷恋，于静谧中流淌着岁月的安然与从容。",[23,916,52,28,101,917,260,193,7,31],"扇面","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58769b723ca1095e59ebae7b52a1713d.jpg","35.2x63.4",[35],{"id":922,"slug":923,"title":924,"dynasty":96,"author":925,"museum":169,"description":926,"tags":927,"thumbUrl":928,"material":33,"size":929,"collection":35,"collections":930,"showCount":931,"zanCount":163,"manualWeight":11,"mainColor":39},220364,"shu-shan-tu-xu-ben-220364","蜀山图","徐贲","此图的蜀山非四川蜀山，而是指在江苏省宜兴东南的蜀山，苏轼爱其风景似蜀，故名。元末徐贲隐居于此。此图是徐贲居住山中时所作。画幅上方，徐贲以小楷长题，其中交代了作此画的原委：“吕山人自吴来访。余蜀山中登临燕赏，遂留数日。孤琴野艇，倏然告归。因画一纸以赠，并诗以道山居之乐，盖将以邀吾山人卜邻尔。噫!余今因画赋诗，君归而观此，必旋能因诗而念我山居也。栖霞憩月当翘首以待”。可见，此图的表现主题为山居归隐。在画面处理上，此图构图平稳，布局充实、满当而不拥堵；在表现技法上，山石作披麻皴，树木则勾点结合。全图用笔萧散、灵活自然，墨色干湿结合，雅淡透润，正好表现出蜀山灵秀之气。《蜀山图》是他的代表作。",[49,23,24,25,26,28,30,55,64,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a18ec46e445f532bd8e15851f452eb0.jpg","纵127．3厘米，横66．3厘米",[35,108],111,{"id":933,"slug":934,"title":935,"dynasty":115,"author":201,"museum":20,"description":936,"tags":937,"thumbUrl":940,"material":141,"size":941,"collection":35,"collections":942,"showCount":943,"zanCount":110,"manualWeight":11,"mainColor":133},218579,"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[80,23,24,25,52,26,938,28,121,60,101,55,7,84,939,905],"边角山水","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa886c296b26cb11f3bfc2ae180ea3d33.jpg","27x94.5cm",[35],110,{"id":945,"slug":946,"title":947,"dynasty":96,"author":150,"museum":117,"description":948,"tags":949,"thumbUrl":950,"material":34,"size":34,"collection":35,"collections":951,"showCount":952,"zanCount":187,"manualWeight":11,"mainColor":39},234974,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234974","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[23,25,28,55,102,7,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e702ea296c830fd9f358026fa00831e.jpg",[35],109,{"id":954,"slug":955,"title":956,"dynasty":44,"author":750,"museum":117,"description":957,"tags":958,"thumbUrl":960,"material":295,"size":296,"collection":34,"collections":961,"showCount":962,"zanCount":163,"manualWeight":11,"mainColor":39},290459,"shan-shui-qing-ya-tu-ce-shi-tao-290459","山水清雅图册","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。",[80,23,24,27,28,52,26,30,517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据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[49,23,24,81,25,172,26,82,193,83,28,7,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[35,108],103,{"id":995,"slug":996,"title":997,"dynasty":18,"author":998,"museum":46,"description":999,"tags":1000,"thumbUrl":1002,"material":33,"size":1003,"collection":35,"collections":1004,"showCount":1005,"zanCount":110,"manualWeight":11,"mainColor":39},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[23,24,25,26,28,7,1001,193,30,56,64,126],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[35],102,{"id":1007,"slug":1008,"title":1009,"dynasty":115,"author":688,"museum":169,"description":1010,"tags":1011,"thumbUrl":1014,"material":141,"size":1015,"collection":130,"collections":1016,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":133},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[49,23,24,916,25,28,410,1012,1013,58,494,155,7,433,29,60],"淡设色","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[130,35],100,{"id":1019,"slug":1020,"title":1021,"dynasty":44,"author":581,"museum":1022,"description":1023,"tags":1024,"thumbUrl":1025,"material":33,"size":1026,"collection":35,"collections":1027,"showCount":1028,"zanCount":11,"manualWeight":11,"mainColor":39},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","香港中文大学文物馆","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[23,24,27,25,26,28,154,247,55,7,102,83,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[35],99,{"id":1030,"slug":1031,"title":1032,"dynasty":44,"author":763,"museum":764,"description":765,"tags":1033,"thumbUrl":1034,"material":86,"size":768,"collection":34,"collections":1035,"showCount":1036,"zanCount":163,"manualWeight":11,"mainColor":133},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[49,23,25,52,27,26,28,83,55,60,7,882,857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],96,{"id":1038,"slug":1039,"title":1040,"dynasty":115,"author":1041,"museum":230,"description":1042,"tags":1043,"thumbUrl":1045,"material":52,"size":1046,"collection":130,"collections":1047,"showCount":1048,"zanCount":11,"manualWeight":11,"mainColor":133},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[49,23,80,50,52,26,28,156,58,1044,60,7,102,103],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[130,35,108],95,{"id":1050,"slug":1051,"title":1052,"dynasty":96,"author":150,"museum":46,"description":1053,"tags":1054,"thumbUrl":1055,"material":389,"size":1056,"collection":35,"collections":1057,"showCount":1058,"zanCount":11,"manualWeight":11,"mainColor":39},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[49,23,24,27,25,52,28,30,55,58,121,7,725,102,54,126,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg","纵26.3厘米，横25.5厘米",[35,161],94,{"id":1060,"slug":1061,"title":1062,"dynasty":96,"author":1063,"museum":169,"description":1064,"tags":1065,"thumbUrl":1068,"material":141,"size":1069,"collection":35,"collections":1070,"showCount":1071,"zanCount":163,"manualWeight":11,"mainColor":133},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","赵左","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[23,172,25,26,81,126,1066,1067,55,30,56,7,260],"秋林","书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[35],93,{"id":1073,"slug":1074,"title":1075,"dynasty":115,"author":1076,"museum":169,"description":1077,"tags":1078,"thumbUrl":1080,"material":86,"size":1081,"collection":34,"collections":1082,"showCount":1083,"zanCount":187,"manualWeight":11,"mainColor":39},232841,"chi-bi-tu-wu-yuan-zhi-232841","赤壁图","武元直","此图描绘了《赤壁赋》中苏轼与客泛舟的情景。大江两岸，石壁陡峭，主山连嶂如屏，江岸古松林立。江水波浪激涌处，一小舟顺流飘然而下，徜徉其中，苏子与二客泰然而坐，谈笑风生，似在吟诗作赋，指点江山。而船夫撑篙，顺流而下，泛舟荡漾于江水之上。长江远去，江面渐渐宽阔，烟波浩荡，而在高耸险峻的山壁之下，小舟及其载客，却是显得那么的渺小\n作者采用开阔的长卷形式，描绘了赤壁的山光水色。画中烟波浩森，巨峰矗立，山石嶙峋、草木葱郁，风声、松声、水声、鸟声在这萧瑟的人迹罕至的地方显得更为凄楚，似乎展现出当年军队悲壮厮杀的场面。近景左右两岸呈开合之势，冈坡崖石起伏，许多松树在这险绝之处更加盘桓突兀、傲立不屈，使人肃然起敬。中景江水湍急，拍岸有声，巨石横江。瞪目而视，中部危峰矗立，断岸千尺。仰首而观，山顶上郁郁葱葱的树木错落有致。远处峰峦起伏，烟雨溟濛。江心一叶小舟逆流而上，舟中是苏轼等四人，怀古寄情，饮酒赋诗，尽情地感受江山变幻无穷的魅力。\n此图无款印，卷后有金代赵秉文行书和苏轼《赤壁词》一阕，前隔水上明代大鉴藏家项元汴题曰：“北宋朱锐画赤壁图。赵闲闲追和坡仙词真迹。李天籁珍秘”。\n赵秉文大行书全文：追和坡仙赤壁词韵。清光一片，问苍苍桂影，其中何物。一叶扁舟波万倾，四顾粘天无壁。叩枻长歌，姮娥欲下，万里挥冰雪。京尘千丈，可能容此人杰。回首赤壁矶边，骑鲸人去，几度山花发。淡淡长空今古梦，只有归鸿明灭。我欲乘云，从公归去，散此麒麟发。三山安在，玉箫吹断明月。正大五年重九前一日，书于玉堂之署。秉文。\n在黄州时，苏轼曾邀友人坐着小船泛游于赤壁之下，凭吊三国时代周瑜与诸葛亮共同击败曹操的地方，写下了《赤壁怀古》、《赤壁赋》等名作，以抒发对古今兴亡的感慨和对大自然雄伟、壮阔的赞美。在这之后，赤壁就成为文人画家作画的常见素材。而武元直所画的《赤壁图》正是以苏轼的《赤壁赋》为题材，表达了苏轼诗文中所描写的境界。\n金灭北宋，南宋偏安江南，政治上宋金对立，然而，文化上金呈现汉化倾向。从北宋掠夺来的书画，成为金代画家学习研究的主要依据，他们的绘画技法日趋成熟，涌现出一批卓有成就的画家，武元直就是其中的一位，而他的《赤壁图》就是在这样的背景下诞生的。\n该画几百年来一直被认为北宋朱锐所作。但是近人感觉此图的笔墨，多类似“斧劈皴”，似乎不是北宋画家所为，加上金代元好问所著《遗山集》中，有“题赵闲闲书赤壁词”一条，末云：“《赤壁图》，武元直所画”，于是马衡著文将此图归于武元直名下。\n《赤壁赋》创作于苏轼被贬黄州的困难时期，画面形象地再现了苏轼携友乘舟夜游赤壁的情景，表现了苏轼受诬遭贬黄州后的清闲生活和豁达胸怀，抒发了苏轼《赤壁赋》从怀古伤今升华到人生超脱的豪放胸臆。\n画中人物虽小，其精神面貌却可得其大略；扁舟虽小，但以小点连缀成形，似音符叮当有声。画家细致地描绘出风动松折，动态逼真，山石笔意健劲，质感坚硬；远山空朦悠然；松杉苍郁，层次分明。\n此图画法，直接以北宋北方画派的传统，用笔比较湿润，江水用流畅曲线，两出波纹，愈远愈细淡。近山用浓墨的斧劈皴，再加淡墨直皴，竖斜交织，表现了山石的质感。远山远树用淡墨画出，不点苔，略加皴染山石和树木，刚柔适中，立体感强，产生浓淡墨色的渗化现象。这种注重空气透视变化的画法，造就一卷颇具特色的作品。\n面的选景在长江的一个弯道处，观者的位置刚好可以看到左右两侧越来越远的景致，而中间部分的高山是它们的分界，体现了画面左右的水平空间感。\n此图采用横卷形式，以便于展开长江两岸的景物，画山穷其凹凸，写水状其盘涡。画中左、右下角各有一组陡峭的山壁，让出屹立于江面的赤壁矶头。从左面到画面二分之一的地方都是连绵不断的临江峭壁，远处山壁以淡墨勾皴，山巅略点重墨，画而中心的赤壁矶头十分突出，赤壁矶后是大片江岸，便左边拥塞的江面至此顿时开阔起来。\n此外，此图采用了全景式的构图方式，使画面整体看起来较为雄伟、壮观。\n中国画家林树中：这是一幅十分成功的杰作。特别是在少数民族统治的金国，画家画出这样高水平的山水画尤为难能可贵，可以认为是今存金国最有代表性的山水面作品。",[49,23,24,50,25,26,28,101,1079,55,398,7,248,125,102,62],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],92,{"id":1085,"slug":1086,"title":1087,"dynasty":44,"author":1088,"museum":77,"description":1089,"tags":1090,"thumbUrl":1092,"material":1093,"size":1094,"collection":35,"collections":1095,"showCount":1083,"zanCount":163,"manualWeight":11,"mainColor":39},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[49,23,25,26,27,28,82,63,102,1091,7,126],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纸","纵24.4 厘米 横49.7 厘米",[35,108],{"id":1097,"slug":1098,"title":677,"dynasty":44,"author":1099,"museum":98,"description":1100,"tags":1101,"thumbUrl":1102,"material":250,"size":1103,"collection":35,"collections":1104,"showCount":1083,"zanCount":163,"manualWeight":11,"mainColor":39},214692,"shan-shui-tu-cha-shi-biao-214692","查士标","这是查士标罕见的无骨山水之一，远处的云和山融合在一起，近处的几个泥滩，阴影中的柳树和丝带垂下；两个人和一头驴为这一场景增色不少。查士标，字尔瞻，清初画家，与孙逸、汪无端、僧弘仁等书画家一起被称为“新安四家”。",[49,23,28,25,26,54,726,121,494,60,216,55,101,7,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc953330b3b38786d8ac4d32756933080.jpg","90.1x36.7",[35],{"id":1106,"slug":1107,"title":1108,"dynasty":115,"author":168,"museum":117,"description":1109,"tags":1110,"thumbUrl":1111,"material":295,"size":296,"collection":34,"collections":1112,"showCount":1113,"zanCount":163,"manualWeight":11,"mainColor":133},287574,"qiao-song-ping-yuan-tu-guo-xi-287574","乔松平远图","此图绘近处陂陀之上苍松二株，主干遒劲，枝丫奇出。树下坡岩交叠．石间山泉流缓，似有潺潺而动的音韵之声，远山连绵起伏，幻于迷蒙之中。",[23,80,25,28,787,30,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9775c3c716c1040beb11e08a7bdc34.jpg",[],91,{"id":1115,"slug":1116,"title":1117,"dynasty":44,"author":750,"museum":117,"description":1118,"tags":1119,"thumbUrl":1120,"material":250,"size":1121,"collection":35,"collections":1122,"showCount":1113,"zanCount":187,"manualWeight":11,"mainColor":39},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[49,23,24,81,25,52,28,83,156,1079,102,7,58,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纵46.5cm，横30.7cm",[35],{"id":1124,"slug":1125,"title":429,"dynasty":18,"author":1126,"museum":117,"description":1127,"tags":1128,"thumbUrl":1131,"material":34,"size":34,"collection":34,"collections":1132,"showCount":1133,"zanCount":11,"manualWeight":11,"mainColor":133},228011,"yu-fu-tu-wu-zhen-228011","吴镇","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n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。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n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。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[49,23,25,26,81,28,101,1129,82,193,30,7,31,55,1130],"渔父","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg",[],90,{"id":1135,"slug":1136,"title":1137,"dynasty":115,"author":1138,"museum":1139,"description":1140,"tags":1141,"thumbUrl":1142,"material":333,"size":1143,"collection":130,"collections":1144,"showCount":1133,"zanCount":11,"manualWeight":11,"mainColor":133},220312,"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","马麟","根津美术馆","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[23,28,52,26,722,7,55,260,31,814],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[130,108],{"id":1146,"slug":1147,"title":1148,"dynasty":96,"author":150,"museum":46,"description":1149,"tags":1150,"thumbUrl":1154,"material":1155,"size":1156,"collection":35,"collections":1157,"showCount":1158,"zanCount":163,"manualWeight":11,"mainColor":39},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[49,23,24,81,25,28,55,30,26,54,1151,7,1152,82,1153,125,53],"题跋","近坡","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[35,108],88,{"id":1160,"slug":1161,"title":1162,"dynasty":115,"author":201,"museum":117,"description":1163,"tags":1164,"thumbUrl":1166,"material":34,"size":34,"collection":34,"collections":1167,"showCount":1168,"zanCount":163,"manualWeight":11,"mainColor":133},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[49,80,23,24,28,25,52,1165,156,176,7,261,30,55,126],"斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],87,{"id":1170,"slug":1171,"title":1172,"dynasty":115,"author":737,"museum":46,"description":1173,"tags":1174,"thumbUrl":1176,"material":158,"size":1177,"collection":130,"collections":1178,"showCount":1168,"zanCount":163,"manualWeight":11,"mainColor":39},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[49,23,24,50,25,172,26,742,54,126,741,154,55,7,120,1175],"水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[130,35,108],{"id":1180,"slug":1181,"title":1182,"dynasty":18,"author":902,"museum":169,"description":1183,"tags":1184,"thumbUrl":1188,"material":141,"size":1189,"collection":35,"collections":1190,"showCount":1168,"zanCount":110,"manualWeight":11,"mainColor":39},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[49,23,25,28,26,56,101,917,58,193,57,814,1185,7,1186,1187],"岸树","溪面","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[35],{"id":1192,"slug":1193,"title":1194,"dynasty":96,"author":1195,"museum":477,"description":1196,"tags":1197,"thumbUrl":1198,"material":141,"size":1199,"collection":35,"collections":1200,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":133},218261,"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","吴伟","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[49,23,25,52,26,60,156,101,30,31,7,260],"https:\u002F\u002F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墨笔","123.7cmx46cm",[35,108],{"id":1237,"slug":1238,"title":1239,"dynasty":115,"author":902,"museum":169,"description":1240,"tags":1241,"thumbUrl":918,"material":52,"size":34,"collection":130,"collections":1242,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[49,23,24,27,52,28,101,917,260,55,56,309,7,120,494],[130],{"id":1244,"slug":1245,"title":1246,"dynasty":18,"author":902,"museum":20,"description":1247,"tags":1248,"thumbUrl":1251,"material":141,"size":1252,"collection":35,"collections":1253,"showCount":1222,"zanCount":11,"manualWeight":11,"mainColor":133},217866,"chun-shan-you-qi-tu-sheng-mao-217866","春山游骑图","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[23,28,52,26,60,1044,57,176,58,55,30,1218,7,120,235,1249,1250,61],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[35],{"id":1255,"slug":1256,"title":1257,"dynasty":115,"author":430,"museum":117,"description":1258,"tags":1259,"thumbUrl":1264,"material":295,"size":296,"collection":34,"collections":1265,"showCount":1266,"zanCount":187,"manualWeight":11,"mainColor":133},289131,"hu-pan-you-ju-tu-xia-gui-289131","湖畔幽居图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，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。",[916,23,80,28,25,26,57,56,58,55,66,7,1260,1261,60,1262,1263],"湖畔","幽居","清幽","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c2afeea3f577fe63a183d96a3c4ef6.jpg",[],85,{"id":1268,"slug":1269,"title":1270,"dynasty":44,"author":822,"museum":98,"description":1271,"tags":1272,"thumbUrl":1275,"material":729,"size":1276,"collection":34,"collections":1277,"showCount":1278,"zanCount":11,"manualWeight":11,"mainColor":133},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[49,23,153,52,26,28,82,1273,1274,216,101,59,7,56,64],"平林","牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg","82.5x51.2",[],84,{"id":1280,"slug":1281,"title":1282,"dynasty":96,"author":1283,"museum":46,"description":1284,"tags":1285,"thumbUrl":1287,"material":141,"size":1288,"collection":35,"collections":1289,"showCount":1278,"zanCount":187,"manualWeight":11,"mainColor":133},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","朱端","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[49,23,25,52,81,28,26,101,55,84,7,387,60,1286,126],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[35],{"id":1291,"slug":1292,"title":1293,"dynasty":96,"author":1294,"museum":20,"description":1295,"tags":1296,"thumbUrl":1297,"material":33,"size":1298,"collection":35,"collections":1299,"showCount":1300,"zanCount":163,"manualWeight":11,"mainColor":133},217064,"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[23,24,25,28,26,102,176,58,101,59,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[35],83,{"id":1302,"slug":1303,"title":1304,"dynasty":18,"author":1126,"museum":20,"description":1305,"tags":1306,"thumbUrl":1308,"material":33,"size":1309,"collection":35,"collections":1310,"showCount":1311,"zanCount":187,"manualWeight":11,"mainColor":39},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[49,23,24,50,25,28,26,53,54,126,154,155,29,57,101,259,723,7,102,1307],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[35],82,{"id":1313,"slug":1314,"title":1315,"dynasty":18,"author":1316,"museum":169,"description":1317,"tags":1318,"thumbUrl":1321,"material":250,"size":1322,"collection":35,"collections":1323,"showCount":1324,"zanCount":187,"manualWeight":11,"mainColor":39},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[49,23,50,25,26,28,7,456,55,121,1319,724,1320,126],"湖泊","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[35],81,{"id":1326,"slug":1327,"title":1328,"dynasty":115,"author":201,"museum":764,"description":1329,"tags":1330,"thumbUrl":1331,"material":141,"size":34,"collection":35,"collections":1332,"showCount":1333,"zanCount":163,"manualWeight":11,"mainColor":133},219916,"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","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”。",[49,23,24,50,25,52,26,28,154,155,55,176,58,101,260,7,456,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[35],79,{"id":1335,"slug":1336,"title":1337,"dynasty":18,"author":76,"museum":46,"description":1338,"tags":1339,"thumbUrl":1340,"material":1341,"size":1342,"collection":35,"collections":1343,"showCount":1344,"zanCount":11,"manualWeight":11,"mainColor":133},220796,"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[49,23,25,28,82,58,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[35,108],78,{"id":1346,"slug":1347,"title":1348,"dynasty":115,"author":1349,"museum":20,"description":1350,"tags":1351,"thumbUrl":1353,"material":141,"size":1354,"collection":35,"collections":1355,"showCount":1344,"zanCount":187,"manualWeight":11,"mainColor":133},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[23,25,172,26,637,28,156,30,7,55,1307,62,1218,102,1352],"深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[35],{"id":1357,"slug":1358,"title":1359,"dynasty":44,"author":750,"museum":751,"description":752,"tags":1360,"thumbUrl":1361,"material":250,"size":756,"collection":34,"collections":1362,"showCount":1344,"zanCount":11,"manualWeight":11,"mainColor":39},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[49,80,23,24,27,25,52,28,83,55,7,102,26,126,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":1364,"slug":1365,"title":1366,"dynasty":96,"author":1367,"museum":117,"description":1368,"tags":1369,"thumbUrl":1370,"material":34,"size":34,"collection":161,"collections":1371,"showCount":1372,"zanCount":163,"manualWeight":11,"mainColor":39},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","仙山楼阁图","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[23,24,81,52,28,26,53,176,156,30,7,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[161],77,{"id":1374,"slug":1375,"title":1376,"dynasty":18,"author":1377,"museum":46,"description":1378,"tags":1379,"thumbUrl":1380,"material":389,"size":1381,"collection":35,"collections":1382,"showCount":1383,"zanCount":163,"manualWeight":11,"mainColor":133},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","钱选","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[49,80,23,24,50,52,410,53,126,28,55,59,494,30,156,7,493,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[35,161],76,{"id":1385,"slug":1386,"title":1387,"dynasty":96,"author":150,"museum":169,"description":1388,"tags":1389,"thumbUrl":1392,"material":86,"size":1393,"collection":35,"collections":1394,"showCount":1395,"zanCount":11,"manualWeight":11,"mainColor":39},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[49,23,24,81,25,26,53,126,28,1390,1391,55,59,30,121,102,7],"奇峰","白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[35,108],75,{"id":1397,"slug":1398,"title":1399,"dynasty":18,"author":902,"museum":1400,"description":1401,"tags":1402,"thumbUrl":1403,"material":141,"size":1404,"collection":88,"collections":1405,"showCount":1395,"zanCount":11,"manualWeight":11,"mainColor":133},218239,"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","南京博物院","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[23,81,52,28,60,29,260,262,398,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米",[88,35],{"id":1407,"slug":1408,"title":1409,"dynasty":96,"author":150,"museum":98,"description":1410,"tags":1411,"thumbUrl":1412,"material":1413,"size":1414,"collection":35,"collections":1415,"showCount":1416,"zanCount":11,"manualWeight":11,"mainColor":39},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[49,23,24,50,25,54,26,154,741,55,59,124,61,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[35,108],74,{"id":1418,"slug":1419,"title":1420,"dynasty":96,"author":97,"museum":46,"description":1421,"tags":1422,"thumbUrl":1424,"material":34,"size":34,"collection":34,"collections":1425,"showCount":1426,"zanCount":163,"manualWeight":11,"mainColor":39},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[23,813,52,215,26,81,28,29,1423,1067,60,56,308,457,7,64],"桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],73,{"id":1428,"slug":1429,"title":1430,"dynasty":115,"author":1431,"museum":117,"description":1432,"tags":1433,"thumbUrl":1436,"material":1437,"size":1438,"collection":130,"collections":1439,"showCount":1440,"zanCount":11,"manualWeight":11,"mainColor":133},221224,"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[49,80,23,24,27,25,26,28,55,1434,7,1435,101],"江面","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","绢本墨笔","纵24.9厘米、横26.3厘米",[130,35,108],72,{"id":1442,"slug":1443,"title":1444,"dynasty":18,"author":1445,"museum":1022,"description":1446,"tags":1447,"thumbUrl":1448,"material":33,"size":1449,"collection":35,"collections":1450,"showCount":1440,"zanCount":187,"manualWeight":11,"mainColor":39},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[23,24,25,81,28,26,58,7,29,259,30,56,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[35,108],{"id":1452,"slug":1453,"title":1454,"dynasty":44,"author":822,"museum":117,"description":1455,"tags":1456,"thumbUrl":1457,"material":295,"size":296,"collection":35,"collections":1458,"showCount":1459,"zanCount":11,"manualWeight":11,"mainColor":39},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚仿古山水册","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。”",[23,24,27,52,26,51,28,193,30,102,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[35,161],71,{"id":1461,"slug":1462,"title":1463,"dynasty":18,"author":1464,"museum":169,"description":1465,"tags":1466,"thumbUrl":1468,"material":25,"size":1469,"collection":108,"collections":1470,"showCount":1471,"zanCount":11,"manualWeight":11,"mainColor":39},219354,"song-lin-ping-yuan-zhou-cao-zhi-bai-219354","松林平远轴","曹知白","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[23,24,81,25,172,1467,26,82,30,7,126],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[108],70,{"id":1473,"slug":1474,"title":17,"dynasty":44,"author":1475,"museum":77,"description":1476,"tags":1477,"thumbUrl":1478,"material":33,"size":1479,"collection":35,"collections":1480,"showCount":1471,"zanCount":11,"manualWeight":11,"mainColor":39},214718,"shan-shui-ce-gao-xiang-214718","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[80,23,24,27,25,26,28,55,30,102,7,120,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 厘米",[35],{"id":1482,"slug":1483,"title":1484,"dynasty":18,"author":76,"museum":1485,"description":1486,"tags":1487,"thumbUrl":1489,"material":250,"size":1490,"collection":108,"collections":1491,"showCount":1493,"zanCount":11,"manualWeight":11,"mainColor":39},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[49,23,25,172,26,54,53,126,1488,637,155,259,29,30,7,121],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[108,1492],"竹石精选",69,{"id":1495,"slug":1496,"title":1497,"dynasty":115,"author":201,"museum":117,"description":1498,"tags":1499,"thumbUrl":1503,"material":34,"size":34,"collection":34,"collections":1504,"showCount":1505,"zanCount":163,"manualWeight":11,"mainColor":133},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[49,80,23,24,172,204,58,156,30,7,25,52,26,1500,1501,1502,126],"边角取景","静谧","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],68,{"id":1507,"slug":1508,"title":1509,"dynasty":44,"author":1510,"museum":98,"description":1511,"tags":1512,"thumbUrl":1513,"material":1514,"size":1515,"collection":35,"collections":1516,"showCount":1505,"zanCount":163,"manualWeight":11,"mainColor":39},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","王原祁","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[49,23,172,52,26,154,155,55,156,84,235,61,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纸本设色","纵100cm，横44.7cm",[35],{"id":1518,"slug":1519,"title":1520,"dynasty":44,"author":1521,"museum":169,"description":1522,"tags":1523,"thumbUrl":1526,"material":422,"size":1527,"collection":35,"collections":1528,"showCount":1505,"zanCount":163,"manualWeight":11,"mainColor":1529},222766,"shi-er-yue-ling-tu-7-yue-lang-shi-ning-222766","十二月令图（7月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[49,410,52,204,60,176,28,55,58,457,1524,1525,7,102],"平台","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425083d660510da46b778f7c49814e14.jpg","188.2*102.2cm",[35,161],"FF9800",{"id":1531,"slug":1532,"title":1533,"dynasty":18,"author":489,"museum":169,"description":1534,"tags":1535,"thumbUrl":1536,"material":183,"size":34,"collection":35,"collections":1537,"showCount":1505,"zanCount":11,"manualWeight":11,"mainColor":1538},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[49,23,172,51,26,52,173,30,82,56,59,7,120,156,61,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg",[35],"37474F",{"id":1540,"slug":1541,"title":1542,"dynasty":115,"author":371,"museum":20,"description":1543,"tags":1544,"thumbUrl":1546,"material":141,"size":1547,"collection":88,"collections":1548,"showCount":1505,"zanCount":163,"manualWeight":11,"mainColor":133},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[23,24,28,26,25,52,216,156,260,30,55,193,7,1545],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[88],{"id":1550,"slug":1551,"title":1552,"dynasty":44,"author":763,"museum":764,"description":765,"tags":1553,"thumbUrl":1554,"material":86,"size":768,"collection":34,"collections":1555,"showCount":1505,"zanCount":11,"manualWeight":11,"mainColor":133},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[49,23,24,27,25,52,28,82,30,60,917,7,493,101,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":1557,"slug":1558,"title":1559,"dynasty":115,"author":430,"museum":117,"description":1258,"tags":1560,"thumbUrl":1561,"material":295,"size":296,"collection":34,"collections":1562,"showCount":1563,"zanCount":11,"manualWeight":11,"mainColor":133},289973,"xi-kou-chui-diao-tu-xia-gui-289973","溪口垂钓图",[49,80,23,172,25,26,193,7,101,56,1187,309,1501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],67,{"id":1565,"slug":1566,"title":1567,"dynasty":284,"author":1568,"museum":117,"description":1569,"tags":1570,"thumbUrl":1577,"material":295,"size":296,"collection":2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Bellini， 1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[288,1571,1572,52,60,84,55,235,216,539,1573,1574,1545,7,62,1575,1576,1320,538],"宗教","写实","洞穴","围栏","枯木","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg",[297],{"id":1580,"slug":1581,"title":677,"dynasty":18,"author":1582,"museum":169,"description":1583,"tags":1584,"thumbUrl":1585,"material":33,"size":1586,"collection":35,"collections":1587,"showCount":1563,"zanCount":187,"manualWeight":11,"mainColor":133},218166,"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[49,23,24,81,25,26,28,30,55,56,57,59,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[35],{"id":1589,"slug":1590,"title":1591,"dynasty":44,"author":784,"museum":46,"description":1592,"tags":1593,"thumbUrl":1596,"material":389,"size":1597,"collection":34,"collections":1598,"showCount":1599,"zanCount":11,"manualWeight":11,"mainColor":39},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[23,24,81,28,25,26,52,519,1594,103,57,56,7,1595,55,30,176,1218,58],"叠壑","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纵169厘米，横41.5厘米",[],66,{"id":1601,"slug":1602,"title":1603,"dynasty":115,"author":201,"museum":169,"description":1604,"tags":1605,"thumbUrl":1606,"material":141,"size":1607,"collection":34,"collections":1608,"showCount":1599,"zanCount":11,"manualWeight":11,"mainColor":39},218574,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218574","花鸟山水小品册-松阁远眺","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[49,80,23,24,27,204,1165,52,156,176,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35074db5951596b169a46678d71c13fd.jpg","33*19",[],{"id":1610,"slug":1611,"title":1612,"dynasty":18,"author":1613,"museum":1227,"description":1614,"tags":1615,"thumbUrl":1616,"material":33,"size":1617,"collection":35,"collections":1618,"showCount":1619,"zanCount":163,"manualWeight":11,"mainColor":133},218328,"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[49,23,172,25,26,81,53,126,28,30,55,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[35],65,{"id":1621,"slug":1622,"title":1623,"dynasty":18,"author":998,"museum":46,"description":1624,"tags":1625,"thumbUrl":1626,"material":33,"size":1627,"collection":35,"collections":1628,"showCount":1619,"zanCount":11,"manualWeight":11,"mainColor":39},218305,"ping-lin-yuan-shan-tu-shen-xuan-218305","平林远山图","此图为《张观等五家集绘卷》之一。画丛林远岫，平溪小桥。远山平缓，意境幽静冷寂。无款识，",[23,25,28,26,193,343,7,57,56,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc305432fdd2052683afa0a54e0506946.jpg","30x40.9cm",[35],{"id":1630,"slug":1631,"title":1632,"dynasty":115,"author":430,"museum":169,"description":1633,"tags":1634,"thumbUrl":1636,"material":1637,"size":1638,"collection":34,"collections":1639,"showCount":1640,"zanCount":11,"manualWeight":11,"mainColor":133},288371,"chang-jiang-wan-li-tu-hou-juan-xia-gui-288371","长江万里图后卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[49,23,50,25,172,26,125,1635,101,123,156,102,516,7],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","绢","该幅26.8x1115.3公分；隔水一 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万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[49,80,23,24,916,52,25,26,28,101,260,55,63,414,7,121,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":1804,"slug":1805,"title":1806,"dynasty":18,"author":1807,"museum":46,"description":1808,"tags":1809,"thumbUrl":1810,"material":33,"size":1811,"collection":35,"collections":1812,"showCount":1794,"zanCount":187,"manualWeight":11,"mainColor":39},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","吴瑾","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[23,24,172,25,26,637,126,53,55,30,56,217,61,82,787,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[35],{"id":1814,"slug":1815,"title":1816,"dynasty":44,"author":1817,"museum":117,"description":1818,"tags":1819,"thumbUrl":1820,"material":34,"size":34,"collection":35,"collections":1821,"showCount":1822,"zanCount":11,"manualWeight":11,"mainColor":39},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[23,24,50,25,51,26,28,57,56,101,58,193,30,60,156,726,59,494,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[35],58,{"id":1824,"slug":1825,"title":1826,"dynasty":44,"author":1827,"museum":169,"description":1828,"tags":1829,"thumbUrl":1830,"material":86,"size":1831,"collection":34,"collections":1832,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":39},231958,"song-shu-ren-wu-tu-zhou-pu-ru-231958","松树人物图轴","溥儒","松树画的苍劲有力。不过，要说到画松树的高手，还是要提到明代的听松老人过仪，他画的松树是最值得称道的。\n溥心畬[yú]（1896年9月2日—1963年11月18日），满族，原名爱新觉罗·溥儒，初字仲衡，改字心畬，自号羲皇上人、西山逸士，北京人，著名书画家、收藏家。为清恭亲王奕訢之孙。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[49,23,25,26,81,156,60,28,83,102,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],57,{"id":1835,"slug":1836,"title":1837,"dynasty":115,"author":1838,"museum":719,"description":1839,"tags":1840,"thumbUrl":1841,"material":86,"size":1842,"collection":34,"collections":1843,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":39},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","李公麟","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[49,23,24,50,25,28,26,53,54,126,7,493,55,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":1845,"slug":1846,"title":1847,"dynasty":18,"author":1126,"museum":169,"description":1848,"tags":1849,"thumbUrl":1861,"material":1862,"size":1863,"collection":35,"collections":1864,"showCount":1833,"zanCount":163,"manualWeight":11,"mainColor":133},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","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。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[23,172,25,1850,637,204,26,1735,7,103,1851,1852,1853,1854,1855,1856,156,624,1857,1858,60,1859,1860],"渴笔皴法","山泉","亭台楼阁","房舍","木桥","清江","扁舟","山谷","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[35],{"id":1866,"slug":1867,"title":1868,"dynasty":44,"author":1869,"museum":117,"description":1870,"tags":1871,"thumbUrl":1872,"material":34,"size":34,"collection":34,"collections":1873,"showCount":1833,"zanCount":163,"manualWeight":11,"mainColor":39},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","陈枚","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[23,204,52,410,27,126,28,176,57,55,30,235,457,102,7,82,608,1525],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":1875,"slug":1876,"title":1877,"dynasty":44,"author":750,"museum":117,"description":1878,"tags":1879,"thumbUrl":1881,"material":34,"size":34,"collection":34,"collections":1882,"showCount":1833,"zanCount":163,"manualWeight":11,"mainColor":39},228983,"tao-yuan-tu-shi-tao-228983","桃源图","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[23,24,50,52,28,25,26,125,102,124,59,55,260,56,64,1880,857,1129,61,7,725,60],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":1884,"slug":1885,"title":677,"dynasty":115,"author":201,"museum":1886,"description":1887,"tags":1888,"thumbUrl":1889,"material":1890,"size":1891,"collection":130,"collections":1892,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":39},221666,"shan-shui-tu-ma-yuan-221666","维多利亚和阿尔伯特博物馆","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。",[49,80,23,25,916,26,1165,28,82,30,7,493,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7",[130,35,108],{"id":1894,"slug":1895,"title":1409,"dynasty":96,"author":150,"museum":98,"description":1410,"tags":1896,"thumbUrl":1897,"material":1898,"size":1899,"collection":35,"collections":1900,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":39},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[49,23,24,50,25,26,54,53,126,28,741,55,59,7,456,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","纸本水墨","卷纵29.3厘米横340.8厘米",[35,108],{"id":1902,"slug":1903,"title":1904,"dynasty":18,"author":489,"museum":1400,"description":1905,"tags":1906,"thumbUrl":1907,"material":33,"size":1908,"collection":35,"collections":1909,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":133},218215,"xi-shan-gui-zhou-tu-yi-ming-218215","溪山归舟图","溪山归舟图被认为是元朝时期图画艺术的代表作之一，其中蕴含着浓厚的儒家思想。儒家认为，人生最大的幸福就是能够返璞归真，回归自然界的本真状态。这幅图画描绘的少年漂流在溪水中，似乎也在暗示人应该摆脱尘世的束缚，回归自然界的真理。\n\n溪山归舟图的风格独特，它采用了轻巧的线条和柔和的色彩，呈现出一种清新、自然的感觉。这种艺术风格与元朝时期的文人墨客们崇尚的“写意”艺术风格相似，都强调自然、随意、自由。\n\n总的来说，溪山归舟图是元朝时期著名的图画作品，其中蕴含着浓厚的儒家思想，艺术风格独特，值得我们细细品味。",[23,25,26,28,101,29,84,7,882,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9c60f7dd5a55cb83dd74a5fbeefb3.jpg","168x103cm",[35],{"id":1911,"slug":1912,"title":1913,"dynasty":96,"author":1914,"museum":46,"description":1915,"tags":1916,"thumbUrl":1918,"material":1898,"size":1919,"collection":34,"collections":1920,"showCount":1921,"zanCount":163,"manualWeight":11,"mainColor":39},234121,"fang-mi-shan-shui-tu-juan-chen-chun-234121","仿米山水图卷","陈淳","图中山峦隐现起伏不断，雾气弥漫，杂树成林，山涧泉 水激流入江，屋舍茅亭、渔翁小舟、板桥雅士点缀其间。画面上云烟飘渺，草木华滋，笔法纵肆，神变万状，墨沈淋漓，苍茫浓郁，气韵生动。虽为仿米之作，却自具风貌。",[23,24,50,25,28,51,742,102,55,30,103,58,56,7,120,1917],"苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],56,{"id":1923,"slug":1924,"title":1925,"dynasty":115,"author":1926,"museum":117,"description":1927,"tags":1928,"thumbUrl":1929,"material":52,"size":1930,"collection":130,"collections":1931,"showCount":1921,"zanCount":11,"manualWeight":11,"mainColor":133},221424,"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[49,80,23,24,27,52,26,28,55,235,387,7,104,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[130,35,108],{"id":1933,"slug":1934,"title":1935,"dynasty":44,"author":1936,"museum":1937,"description":1938,"tags":1939,"thumbUrl":1941,"material":33,"size":1942,"collection":108,"collections":1943,"showCount":1921,"zanCount":11,"manualWeight":11,"mainColor":39},220360,"fang-ni-yun-lin-gu-mu-yuan-shan-tu-zhou-zhu-chang-220360","仿倪云林古木远山图轴","祝昌","安徽省博物馆","图以水墨描绘江南水乡泽国景色。层岗丘阜，错落起伏，溪涧潆洄，林木蓊郁，有茅屋数间依偎于山麓，扁舟数个荡漾于水面，景色旷远，意境清幽。画面主要用墨笔干皴，得倪瓒三昧。",[49,23,24,81,25,26,51,28,1940,7,193,56,83],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11257d3e5577a6cd1823f109ea6a2bdb.jpg","53.5x177.6",[108],{"id":1945,"slug":1946,"title":1947,"dynasty":44,"author":1948,"museum":169,"description":1949,"tags":1950,"thumbUrl":1951,"material":33,"size":1952,"collection":35,"collections":1953,"showCount":1921,"zanCount":11,"manualWeight":11,"mainColor":39},218319,"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[23,25,172,26,51,30,55,59,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[35],{"id":1955,"slug":1956,"title":1957,"dynasty":115,"author":201,"museum":20,"description":202,"tags":1958,"thumbUrl":1959,"material":141,"size":206,"collection":34,"collections":1960,"showCount":1921,"zanCount":11,"manualWeight":11,"mainColor":39},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[49,23,24,27,52,28,26,156,1307,173,7,102,126,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":1962,"slug":1963,"title":1964,"dynasty":115,"author":430,"museum":117,"description":1258,"tags":1965,"thumbUrl":1967,"material":295,"size":296,"collection":34,"collections":1968,"showCount":1969,"zanCount":11,"manualWeight":11,"mainColor":39},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图",[916,23,25,172,204,26,156,176,28,60,1966,882,7],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg",[],55,{"id":1971,"slug":1972,"title":1973,"dynasty":96,"author":1974,"museum":117,"description":1975,"tags":1976,"thumbUrl":1982,"material":86,"size":34,"collection":35,"collections":1983,"showCount":1969,"zanCount":11,"manualWeight":11,"mainColor":39},222422,"lian-peng-tu-song-yin-tu-zhu-zhan-ji-222422","莲蓬图松荫图","朱瞻基","画卷破裂为两段，一段为莲蒲段，一段为松荫段。此画为莲蒲段画面。画面绘荷叶、莲蓬、小鸟、湖石、水草。极少勾勒，类似没骨画法，用浓淡墨色晕染，格调简逸质朴。封面为铜版纸印刷，作品为宣纸印刷。",[49,23,24,52,410,1977,1978,1979,156,308,1980,1981,7,540,126],"花鸟","莲蓬","鸟","枯荷","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a1522d7865cbf91ab2342631f19567.jpg",[35,108],{"id":1985,"slug":1986,"title":1987,"dynasty":96,"author":1988,"museum":20,"description":1989,"tags":1990,"thumbUrl":1991,"material":33,"size":1992,"collection":35,"collections":1993,"showCount":1969,"zanCount":11,"manualWeight":11,"mainColor":564},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[49,23,25,81,26,28,101,917,60,156,1079,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[35],{"id":1995,"slug":1996,"title":1997,"dynasty":44,"author":1099,"museum":230,"description":1998,"tags":1999,"thumbUrl":2000,"material":33,"size":34,"collection":35,"collections":2001,"showCount":1969,"zanCount":11,"manualWeight":11,"mainColor":39},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[23,25,28,101,917,29,7,31,433,637,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[35],{"id":2003,"slug":2004,"title":2005,"dynasty":115,"author":489,"museum":169,"description":2006,"tags":2007,"thumbUrl":2008,"material":141,"size":2009,"collection":130,"collections":2010,"showCount":1969,"zanCount":11,"manualWeight":11,"mainColor":39},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[49,23,916,52,28,410,722,216,29,7,1231,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[130,35],{"id":2012,"slug":2013,"title":2014,"dynasty":115,"author":201,"museum":117,"description":2015,"tags":2016,"thumbUrl":2017,"material":34,"size":34,"collection":34,"collections":2018,"showCount":2019,"zanCount":11,"manualWeight":11,"mainColor":133},227640,"song-ge-guan-chao-tu-ma-yuan-227640","松阁观潮图","绢本，设色，190.9×94.5ＣＭ，美国弗利尔美术馆藏。绘山峰奇险，一轮明月与绝壁相对，山脚下古松苍劲笔直，树下凉中一人凭栏眺望，不远处应有潮水奔腾，水面上避风处二船停泊，一小童在船上正伏桌打盹，看来夜已深了。此图原题：马远松阁观潮图。然则细观之下，与王谔的风格很相似，当是明代宫廷画家之作品。",[49,23,24,80,81,25,52,26,28,193,176,60,101,30,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42a106aaf591df8e3bae9f9e22cb844.jpg",[],54,{"id":2021,"slug":2022,"title":2023,"dynasty":96,"author":2024,"museum":1937,"description":2025,"tags":2026,"thumbUrl":2028,"material":86,"size":2029,"collection":35,"collections":2030,"showCount":2019,"zanCount":163,"manualWeight":11,"mainColor":39},222323,"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[49,23,25,26,81,2027,28,83,58,1079,30,55,7],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[35,108],{"id":2032,"slug":2033,"title":2034,"dynasty":18,"author":2035,"museum":169,"description":2036,"tags":2037,"thumbUrl":2039,"material":86,"size":2040,"collection":35,"collections":2041,"showCount":2019,"zanCount":11,"manualWeight":11,"mainColor":39},220889,"zhong-jiang-die-zhang-juan-zhao-meng-fu-220889","重江叠嶂卷","赵孟頫","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。卷首仅存“嶂图”二字，余字残缺。",[23,24,50,25,26,28,2038,572,84,55,7,248,882],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f892218196d47fd9afe5964f960f54.jpg","该幅28.4x176.4公分；隔水一 11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[35,108],{"id":2043,"slug":2044,"title":2045,"dynasty":115,"author":489,"museum":169,"description":2046,"tags":2047,"thumbUrl":2048,"material":33,"size":2049,"collection":130,"collections":2050,"showCount":2019,"zanCount":11,"manualWeight":11,"mainColor":133},218836,"shan-shui-xiao-jing-yi-ming-218836","山水小景","这幅画与米氏的《云雾山》不尽相同，因为它的裂纹较少，茄子状的点也少。这幅画并不完全相同，可能是来自大风堂张大千捐赠给台北故宫的一幅立轴画的上部。",[49,80,23,24,25,26,28,154,869,55,84,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125522e300339c83e5781612e33c5b72.jpg","13.2x26.2",[130],{"id":2052,"slug":2053,"title":557,"dynasty":115,"author":737,"museum":477,"description":2054,"tags":2055,"thumbUrl":2056,"material":33,"size":2057,"collection":35,"collections":2058,"showCount":2019,"zanCount":11,"manualWeight":11,"mainColor":39},218638,"yun-shan-tu-mi-you-ren-218638","画面以淡墨晕染出空濛烟霭，山峦在云雾间若隐若现，如幻如真。米点皴错落铺陈，墨色浓淡相间，既显山石肌理，又衬云气轻盈流动。近景树木简笔勾勒，与远处朦胧峰峦形成虚实对比，平远构图延展空间悠远感。水面留白与墨色交融，似有波光粼粼，更添清寂之韵。整幅画不重细节描摹，而以气韵生动取胜，将江南山水的湿润灵秀与文人闲适心境融为一体，尽显“米家山水”空灵淡远之美。",[23,24,25,28,26,102,572,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[35],{"id":2060,"slug":2061,"title":2062,"dynasty":44,"author":1948,"museum":169,"description":2063,"tags":2064,"thumbUrl":2065,"material":33,"size":2066,"collection":35,"collections":2067,"showCount":2019,"zanCount":11,"manualWeight":11,"mainColor":39},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[23,24,80,81,25,26,28,57,56,58,60,216,29,259,59,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[35],{"id":2069,"slug":2070,"title":2071,"dynasty":96,"author":2072,"museum":169,"description":811,"tags":2073,"thumbUrl":2074,"material":422,"size":2075,"collection":161,"collections":2076,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":39},222595,"xi-shan-qiu-se-tu-quan-juan-lan-ying-222595","溪山秋色图全卷","蓝瑛",[49,23,24,50,52,28,26,54,126,55,7,121,814],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0d35e8af764e515efb05842ae219d1.jpg","27×183cm",[161],53,{"id":2079,"slug":2080,"title":2081,"dynasty":44,"author":2082,"museum":2083,"description":2084,"tags":2085,"thumbUrl":2086,"material":33,"size":2087,"collection":108,"collections":2088,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":39},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","昆仑堂美术馆","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[49,23,25,26,24,28,58,55,156,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[108,35],{"id":2090,"slug":2091,"title":2092,"dynasty":18,"author":76,"museum":169,"description":2093,"tags":2094,"thumbUrl":2095,"material":86,"size":2096,"collection":34,"collections":2097,"showCount":2098,"zanCount":11,"manualWeight":11,"mainColor":39},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[80,23,24,50,25,28,26,54,126,7,692,82,1307,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 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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。",[49,23,24,25,52,28,101,56,309,193,26,433,7,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[130,35],{"id":2109,"slug":2110,"title":2111,"dynasty":96,"author":97,"museum":1400,"description":2112,"tags":2113,"thumbUrl":2116,"material":250,"size":2117,"collection":34,"collections":2118,"showCount":2119,"zanCount":11,"manualWeight":11,"mainColor":39},220018,"dong-zhuang-tu-ce-zhi-zhu-tian-shen-zhou-220018","东庄图册之竹田","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[49,23,25,28,259,27,26,2114,59,64,7,493,2115],"田地","农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e87a0381a50c5450296ebf70e92533.jpg","纵28.6厘米，横33厘米",[],51,{"id":2121,"slug":2122,"title":2123,"dynasty":284,"author":2124,"museum":2125,"description":2126,"tags":2127,"thumbUrl":2128,"material":237,"size":34,"collection":35,"collections":2129,"showCount":2119,"zanCount":11,"manualWeight":11,"mainColor":133},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","朝鲜·佚名","美国克利夫兰艺术博物馆","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[49,23,172,26,52,28,176,57,56,101,30,55,58,7,102,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[35],{"id":2131,"slug":2132,"title":2133,"dynasty":44,"author":489,"museum":117,"description":2134,"tags":2135,"thumbUrl":2137,"material":34,"size":34,"collection":34,"collections":2138,"showCount":2139,"zanCount":11,"manualWeight":11,"mainColor":133},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[23,204,52,410,28,176,101,84,55,2136,102,7,248,387],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],50,{"id":2141,"slug":2142,"title":2143,"dynasty":284,"author":285,"museum":117,"description":286,"tags":2144,"thumbUrl":2154,"material":295,"size":296,"collection":297,"collections":2155,"showCount":2139,"zanCount":163,"manualWeight":11,"mainColor":133},225844,"the-harvest-june-fan-gao-225844","The harvest (June - 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(1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[49,23,24,50,25,26,28,154,155,55,59,124,609,7,725,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[35,108],{"id":2200,"slug":2201,"title":2202,"dynasty":96,"author":150,"museum":169,"description":2203,"tags":2204,"thumbUrl":2205,"material":33,"size":2206,"collection":35,"collections":2207,"showCount":2187,"zanCount":11,"manualWeight":11,"mainColor":39},220938,"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[49,23,80,24,81,25,26,28,55,30,61,7,120,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[35,108],{"id":2209,"slug":2210,"title":2211,"dynasty":18,"author":2212,"museum":230,"description":2213,"tags":2214,"thumbUrl":2215,"material":333,"size":2216,"collection":35,"collections":2217,"showCount":2187,"zanCount":11,"manualWeight":11,"mainColor":133},220425,"shi-shang-song-hua-tu-zhang-xun-220425","石上松花图","张逊","元代张逊书画世所罕见，故宫博物院藏有其白描双勾竹一卷，足见风采。此山水一幅是王季迁旧物，1997年捐给大都会艺术博物馆。用笔学董、巨，山中静日长，只见松花开又落。落款自题：“石上松花落又开，山樗无用亦成材，蒲轮不到樵人径，白发徒过五十来。张逊。”另有倪瓒、李瓒题诗。",[49,23,172,81,25,52,30,55,155,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[35,108],{"id":2219,"slug":2220,"title":677,"dynasty":44,"author":2221,"museum":169,"description":2222,"tags":2223,"thumbUrl":2224,"material":25,"size":34,"collection":108,"collections":2225,"showCount":2187,"zanCount":11,"manualWeight":11,"mainColor":39},219380,"shan-shui-tu-wang-duo-219380","王铎","虬枝盘曲，墨色浓淡交织，似在风中低语。苍劲笔触勾勒树的骨节，枯笔皴擦间尽显老辣之态。背景山峦以淡墨晕染，层叠隐现于烟水之间，远处汀渚点点，归帆依稀。近树与远岫形成疏密对比，留白处见空灵，墨色浓处显沉厚。写意之笔将山水荒寒与悠远融于一纸，笔墨干湿变化中藏着对自然的静观哲思，简淡里见深致，苍莽中显清逸，仿佛能听见风穿枝桠的轻响，望见烟霭中山峦的呼吸，于方寸间铺展无尽悠远之境。",[23,24,81,25,28,82,7,59,882,83,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e112d70ced0d8f4884a6ea2eccbb27.jpg",[108],{"id":2227,"slug":2228,"title":2229,"dynasty":44,"author":2230,"museum":230,"description":2231,"tags":2232,"thumbUrl":2233,"material":2234,"size":2235,"collection":35,"collections":2236,"showCount":2237,"zanCount":11,"manualWeight":11,"mainColor":133},222631,"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[49,23,24,27,25,26,28,57,56,787,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[35,108],48,{"id":2239,"slug":2240,"title":476,"dynasty":96,"author":2241,"museum":169,"description":2242,"tags":2243,"thumbUrl":2253,"material":1637,"size":2254,"collection":35,"collections":2255,"showCount":2237,"zanCount":163,"manualWeight":11,"mainColor":133},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。",[49,23,52,28,410,101,309,259,2244,7,102,56,433,29,307,723,494,2245,82,2246,2247,375,727,2248,2249,104,2250,2251,882,217,694,1595,1187,2252],"渔夫","岸石","汀渚","渔人","浅滩","丛竹","远岫","霭气","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[35,108],{"id":2257,"slug":2258,"title":2259,"dynasty":96,"author":1988,"museum":169,"description":2260,"tags":2261,"thumbUrl":2262,"material":141,"size":2263,"collection":35,"collections":2264,"showCount":2237,"zanCount":11,"manualWeight":11,"mainColor":133},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[49,23,24,80,52,26,28,60,56,193,83,7,905,55,1187,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[35,161],{"id":2266,"slug":2267,"title":2268,"dynasty":115,"author":489,"museum":77,"description":2269,"tags":2270,"thumbUrl":2272,"material":141,"size":2273,"collection":35,"collections":2274,"showCount":2237,"zanCount":163,"manualWeight":11,"mainColor":1538},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[49,23,24,50,28,25,26,52,154,55,121,494,235,2271,102,7],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[35],{"id":2276,"slug":2277,"title":677,"dynasty":44,"author":361,"museum":46,"description":2278,"tags":2279,"thumbUrl":2280,"material":33,"size":2281,"collection":35,"collections":2282,"showCount":2237,"zanCount":11,"manualWeight":11,"mainColor":39},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[49,23,24,28,25,26,81,156,30,121,57,59,55,7,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[35],{"id":2284,"slug":2285,"title":2286,"dynasty":284,"author":528,"museum":117,"description":529,"tags":2287,"thumbUrl":2294,"material":295,"size":296,"collection":297,"collections":2295,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":39},225939,"haystack-in-the-morning-snow-effect-1891-mo-nai-225939","Haystack in the Morning, Snow Effect, 1891",[531,2288,2289,2290,2147,2291,7,55,2292,2293,2151],"光影捕捉","色彩晕染","笔触松散","雪地","影子","晨光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4539166ce37bcb465cc86f5f40d77df7.jpg",[297],47,{"id":2298,"slug":2299,"title":2300,"dynasty":96,"author":2301,"museum":751,"description":2302,"tags":2303,"thumbUrl":2305,"material":33,"size":2306,"collection":35,"collections":2307,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":39},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","唐寅","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[23,50,25,52,28,2304,55,59,494,7,26,54,126],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[35],{"id":2309,"slug":2310,"title":2311,"dynasty":18,"author":2312,"museum":2313,"description":2314,"tags":2315,"thumbUrl":2317,"material":141,"size":2318,"collection":88,"collections":2319,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":133},218742,"xue-ting-you-qin-tu-luo-zhi-chuan-218742","雪汀游禽图","罗稚川","日本东京国立博物馆","罗稚川，元代前期的文人画家。临川新喻（江西省清江）人。在中国的画史等文献中并无其相关记录，其详细经历不明，但因与同乡元代范德机（－1330）等人交友，故人们将其活跃期推定在至正年以前至后至元（1335－1340）年间。\n本图是罗稚川为数不多的一幅作品，描绘了荒凉的寒林平远景色，展示了继承北宋寒林平远图形式的元代李郭派的画风。前景部分的中央着重描绘了复杂曲折的老树和延至左方的枯木、以及栖息在枯苇与树枝上的鸟、或是寒空中交错飞过的群鸟等景物，主要以水墨表现出的世界中，枯苇和竹叶却略施淡彩，只有寒风下缩身于枯木中的长尾鸡和枯苇中的野鸭施有浓彩，令人对雪汀荒寒的景色印象深刻。图中有“罗氏稚川” 之印（白文方印）。",[49,80,23,24,25,26,28,260,82,2291,2316,7],"汀岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79112c7b3314cbaa0d7594df0ebd6017.jpg","52x77cm",[88],{"id":2321,"slug":2322,"title":2323,"dynasty":115,"author":168,"museum":169,"description":2324,"tags":2325,"thumbUrl":2329,"material":141,"size":2330,"collection":35,"collections":2331,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":39},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[23,24,25,52,26,28,2326,2327,101,30,55,102,398,7,120,2328],"烟雨","江帆","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[35],{"id":2333,"slug":2334,"title":2335,"dynasty":115,"author":168,"museum":46,"description":2336,"tags":2337,"thumbUrl":2340,"material":2341,"size":2342,"collection":34,"collections":2343,"showCount":2344,"zanCount":163,"manualWeight":11,"mainColor":39},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[23,24,27,28,25,26,101,193,30,56,55,2338,1714,7,2339],"帆船","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","绢本水墨","纵26.2厘米，横27厘米",[],46,{"id":2346,"slug":2347,"title":2348,"dynasty":44,"author":2349,"museum":77,"description":2350,"tags":2351,"thumbUrl":2352,"material":237,"size":2353,"collection":34,"collections":2354,"showCount":2344,"zanCount":11,"manualWeight":11,"mainColor":133},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","袁江","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[49,204,410,52,28,176,58,55,30,882,57,457,235,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":2356,"slug":2357,"title":2358,"dynasty":18,"author":902,"museum":169,"description":2359,"tags":2360,"thumbUrl":2361,"material":237,"size":2362,"collection":34,"collections":2363,"showCount":2344,"zanCount":163,"manualWeight":11,"mainColor":133},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[23,24,81,52,26,28,176,55,30,61,63,7,493,234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":2365,"slug":2366,"title":2367,"dynasty":96,"author":2368,"museum":1227,"description":2369,"tags":2370,"thumbUrl":2375,"material":729,"size":2376,"collection":35,"collections":2377,"showCount":2344,"zanCount":11,"manualWeight":11,"mainColor":39},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","萧云从","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[49,23,50,52,26,28,30,55,176,58,57,56,102,7,725,178,2371,1218,517,61,869,1917,2372,2373,2374],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[35,161],{"id":2379,"slug":2380,"title":2381,"dynasty":96,"author":1988,"museum":169,"description":2382,"tags":2383,"thumbUrl":2397,"material":333,"size":2398,"collection":34,"collections":2399,"showCount":2344,"zanCount":11,"manualWeight":11,"mainColor":133},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[49,23,172,798,25,411,26,2384,2385,2386,1735,2387,55,2388,723,82,175,2389,66,7,84,2390,2391,2392,2393,2394,2395,2396],"大斧劈皴","夹叶法","点叶法","归舟","山崖","村舍","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","纵143 厘米，横81.8 厘米",[],{"id":2401,"slug":2402,"title":2403,"dynasty":44,"author":2404,"museum":46,"description":2405,"tags":2406,"thumbUrl":2407,"material":250,"size":2408,"collection":35,"collections":2409,"showCount":2344,"zanCount":11,"manualWeight":11,"mainColor":39},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","吴历","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[49,80,23,24,50,25,26,28,55,102,121,101,7,456,234,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[35,161],{"id":2411,"slug":2412,"title":997,"dynasty":18,"author":1126,"museum":169,"description":2413,"tags":2414,"thumbUrl":2415,"material":33,"size":2416,"collection":35,"collections":2417,"showCount":2344,"zanCount":163,"manualWeight":11,"mainColor":39},219964,"shu-lin-yuan-shan-tu-wu-zhen-219964","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[49,23,80,24,28,25,26,7,1001,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[35],{"id":2419,"slug":2420,"title":2421,"dynasty":96,"author":150,"museum":46,"description":2422,"tags":2423,"thumbUrl":2426,"material":2427,"size":2428,"collection":34,"collections":2429,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":133},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[49,23,24,50,25,28,26,53,126,2424,55,1320,57,56,7,2425,59,156],"白描","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],45,{"id":2432,"slug":2433,"title":2434,"dynasty":115,"author":168,"museum":117,"description":2435,"tags":2436,"thumbUrl":2437,"material":34,"size":34,"collection":34,"collections":2438,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":133},228914,"dai-du-tu-guo-xi-228914","待渡图","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[49,80,23,24,50,28,26,52,57,56,101,58,55,30,60,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":2440,"slug":2441,"title":2442,"dynasty":18,"author":2443,"museum":46,"description":2444,"tags":2445,"thumbUrl":2446,"material":68,"size":2447,"collection":35,"collections":2448,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":39},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","方从义","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[49,23,25,26,81,126,53,54,28,101,56,55,84,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[35,108],{"id":2450,"slug":2451,"title":2452,"dynasty":96,"author":150,"museum":46,"description":2453,"tags":2454,"thumbUrl":2455,"material":698,"size":2456,"collection":35,"collections":2457,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":133},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[49,23,24,81,25,52,26,54,126,28,30,55,59,7,120,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[35,108],{"id":2459,"slug":2460,"title":2461,"dynasty":44,"author":581,"museum":1937,"description":2462,"tags":2463,"thumbUrl":2464,"material":250,"size":2465,"collection":35,"collections":2466,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":39},219953,"xiao-jiang-feng-bian-tu-hong-ren-219953","晓江风便图","图绘自新安至扬州，由浦口练江入新安江壹线实景。前段写练江沿岸将军山诸山嵌岩峭峙，林木萧瑟之景。后段写新安江对岸晓雾迷蒙烟峦重叠，轻舟挂帆乘风的情景。笔墨线条遒缓，意境荒僻，不染尘垢。\n图尾自题“辛丑十壹月，伯炎居士将广陵之装，学人写晓江风便图以送，揆有数月之间，蹊桃初绽，瞻望旋旌。弘仁”。钤“弘仁”、“渐江”印。\n图后附吴羲行书、程守行书、许楚草书、石涛楷书跋各壹段。辛丑为清顺治十八年，公元1661年，作者时年52岁。款署“辛丑十一月”，另纸有渐江的好友吴羲、程宁、许楚跋语。吴、许二跋署年癸卯(康熙二年，公元1663年)，皆在渐江卒前数月。还有石涛丙子年(1696年)题跋，皆为研究渐江生平及其艺术的重要资料。",[49,23,50,25,28,26,101,58,82,29,56,2038,7,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6a2a3eed5925dfa7655939a663e8c.jpg","纵28.5横43厘米",[35],{"id":2468,"slug":2469,"title":2470,"dynasty":18,"author":489,"museum":169,"description":2471,"tags":2472,"thumbUrl":2473,"material":141,"size":2474,"collection":35,"collections":2475,"showCount":2430,"zanCount":11,"manualWeight":11,"mainColor":133},218164,"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[49,23,813,50,26,52,28,343,193,58,7,56,814,217,101,55,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[35],{"id":2477,"slug":2478,"title":2479,"dynasty":18,"author":2480,"museum":169,"description":2481,"tags":2482,"thumbUrl":2483,"material":141,"size":2484,"collection":34,"collections":2485,"showCount":2486,"zanCount":11,"manualWeight":11,"mainColor":133},231404,"jun-ma-tu-zhao-yong-231404","骏马图","赵雍","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,80,24,81,410,52,1044,29,30,1545,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],44,{"id":2488,"slug":2489,"title":2490,"dynasty":96,"author":2491,"museum":117,"description":2492,"tags":2493,"thumbUrl":2494,"material":2495,"size":2496,"collection":35,"collections":2497,"showCount":2486,"zanCount":11,"manualWeight":11,"mainColor":133},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","陈洪绶","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[49,23,81,25,52,26,28,58,29,82,156,84,56,7,83,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[35,161],{"id":2499,"slug":2500,"title":2501,"dynasty":44,"author":2404,"museum":46,"description":2502,"tags":2503,"thumbUrl":2505,"material":250,"size":2506,"collection":35,"collections":2507,"showCount":2486,"zanCount":11,"manualWeight":11,"mainColor":39},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[49,23,24,28,173,82,59,2504,56,7,58,25,52,26,81,126],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[35],{"id":2509,"slug":2510,"title":2511,"dynasty":96,"author":2512,"museum":46,"description":2513,"tags":2514,"thumbUrl":2515,"material":86,"size":2516,"collection":161,"collections":2517,"showCount":2486,"zanCount":163,"manualWeight":11,"mainColor":39},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","项圣谟","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[49,23,81,52,193,60,28,83,7,1657,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[161],{"id":2519,"slug":2520,"title":2521,"dynasty":18,"author":2443,"museum":20,"description":2522,"tags":2523,"thumbUrl":2524,"material":33,"size":2525,"collection":35,"collections":2526,"showCount":2486,"zanCount":163,"manualWeight":11,"mainColor":39},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[49,80,23,24,50,25,28,26,126,54,125,102,55,123,61,7,493,62,234,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[35],{"id":2528,"slug":2529,"title":2530,"dynasty":115,"author":2531,"museum":117,"description":2532,"tags":2533,"thumbUrl":2534,"material":295,"size":296,"collection":34,"collections":2535,"showCount":2536,"zanCount":11,"manualWeight":11,"mainColor":133},289331,"xi-shan-shui-ge-tu-li-song-289331","溪山水阁图","李嵩","此幅绘溪水寒林，峭壁危岩，远山空蒙，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[49,80,23,916,25,28,176,57,82,7,56,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36a877faf9267ef285cfa4fa0ac8188a.jpg",[],43,{"id":2538,"slug":2539,"title":2540,"dynasty":44,"author":2541,"museum":46,"description":2542,"tags":2543,"thumbUrl":2544,"material":158,"size":2545,"collection":34,"collections":2546,"showCount":2536,"zanCount":11,"manualWeight":11,"mainColor":39},233402,"xian-shan-lou-ge-tu-zhou-wang-shi-min-233402","仙山楼阁图轴","王时敏","上诗堂有清初吴伟业题云：“陈子静孚母夫人方太君七十，王烟客奉常、王湘碧郡伯绘仙山楼阁图以为祝。郡伯所制可以颉昂松雪，若太常此帧苍深高远，尺幅之中恍见仙真楼上，出入于烟云缥缈间，笔墨之奇非仅得子久三昧也。太夫人女箴妇德可镌琬琰，余将托诸诗歌，得两公妙染，真所谓画中有诗，不待九如之颂，可效凹觥之祝矣。吴伟业题。”\n此图是王时敏为友人陈静孚之母七十寿辰而作。画面上峰峦叠嶂，林木葱郁，流泉曲绕，长松挺立。山谷中点缀着茅亭草舍，环境清幽。在构图和笔墨方面都具备典型的中国画特征。首先，构图方面采用全景式构图，以散点透视的方法描绘景物，近景双松清晰挺拔，远景高山连绵巍峨，所画内容具有美好的象征意义，十分契合祝寿的主题。其次，在笔墨表现方面，继承董巨（董源、巨然）、元人的笔墨传统，尤其是黄公望的画法，以仿古见长，具有程式化的特点。笔法精绝老到，为王氏晚年佳作。",[23,24,81,28,176,55,572,61,59,25,26,30,7,120,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1c5058cf54925d7fcced41900d4ce1.jpg","纵133厘米，横63.3厘米",[],{"id":2548,"slug":2549,"title":2550,"dynasty":18,"author":2551,"museum":117,"description":2552,"tags":2553,"thumbUrl":2555,"material":34,"size":34,"collection":34,"collections":2556,"showCount":2536,"zanCount":187,"manualWeight":11,"mainColor":39},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","朱德润","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[49,23,80,50,25,26,28,55,59,2554,7,493,54,126],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":2558,"slug":2559,"title":2560,"dynasty":284,"author":285,"museum":117,"description":286,"tags":2561,"thumbUrl":2568,"material":295,"size":296,"collection":297,"collections":2569,"showCount":2536,"zanCount":11,"manualWeight":11,"mainColor":133},225776,"les-vessenots-in-auvers-1890-fan-gao-225776","Les Vessenots in Auvers 1890",[288,289,2562,2563,2564,2565,2151,2566,59,1320,55,7,539,61,1545,2567,2115,1576,292],"笔触粗犷","色彩鲜艳","设色明快","厚涂法","花田","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d96b48c7f50705bc820c7d8d46b723.jpg",[297],{"id":2571,"slug":2572,"title":2573,"dynasty":115,"author":201,"museum":169,"description":2574,"tags":2575,"thumbUrl":2576,"material":141,"size":2577,"collection":34,"collections":2578,"showCount":2536,"zanCount":11,"manualWeight":11,"mainColor":133},221524,"yue-ye-bo-ruan-zhou-ma-yuan-221524","月夜拨阮轴","画中采用了大量留白，近处只刻画一角。画中人物独坐，如痴如醉的弹奏阮琴，只有一只仙鹤为伴。远处层峦山脉，马远只用寥寥几笔带出，在无尽的留白中，一轮满月轻悬于空。\n马远的画作以小见大，“一沙一世界，一树一菩提”，马远所画一角，便能呈现出广袤无际的天地。",[49,23,80,24,81,25,26,28,259,261,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa301730172f5443a0e5a99c9f55ffb2b.jpg","111.5x53.1",[],{"id":2580,"slug":2581,"title":2582,"dynasty":44,"author":2368,"museum":2583,"description":2584,"tags":2585,"thumbUrl":2587,"material":33,"size":2588,"collection":35,"collections":2589,"showCount":2536,"zanCount":163,"manualWeight":11,"mainColor":39},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[49,23,24,50,25,26,28,30,55,59,387,7,493,156,2371,102,2586,235,60],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[35],{"id":2591,"slug":2592,"title":677,"dynasty":18,"author":2443,"museum":764,"description":2593,"tags":2594,"thumbUrl":2595,"material":33,"size":2596,"collection":35,"collections":2597,"showCount":2536,"zanCount":11,"manualWeight":11,"mainColor":133},219729,"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[49,23,24,81,25,26,28,154,247,55,61,59,7,102,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[35],{"id":2599,"slug":2600,"title":677,"dynasty":96,"author":489,"museum":751,"description":2601,"tags":2602,"thumbUrl":2603,"material":333,"size":2604,"collection":35,"collections":2605,"showCount":2536,"zanCount":11,"manualWeight":11,"mainColor":133},214694,"shan-shui-tu-yi-ming-214694","这幅画描绘的是江村的一座古庙，深藏在一个大峡谷中，远处是风帆和山脉。这幅画没有标记，但仔细观察，其风格接近于浙江画派的蒋宋。",[49,23,25,26,28,101,156,84,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5ab4f76c39dddea71108f0742f713f.jpg","161.5x100",[35],{"id":2607,"slug":2608,"title":2609,"dynasty":96,"author":97,"museum":46,"description":2610,"tags":2611,"thumbUrl":2612,"material":86,"size":2613,"collection":34,"collections":2614,"showCount":2615,"zanCount":163,"manualWeight":11,"mainColor":39},234084,"wu-zhong-shan-shui-ce-shen-zhou-234084","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 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横38.3厘米",[],{"id":2702,"slug":2703,"title":2704,"dynasty":44,"author":750,"museum":117,"description":2705,"tags":2706,"thumbUrl":2707,"material":34,"size":34,"collection":108,"collections":2708,"showCount":2690,"zanCount":11,"manualWeight":11,"mainColor":39},224531,"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[49,23,24,50,25,26,54,53,28,572,84,55,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[108],{"id":2710,"slug":2711,"title":2712,"dynasty":44,"author":2713,"museum":2125,"description":2714,"tags":2715,"thumbUrl":2716,"material":33,"size":2717,"collection":35,"collections":2718,"showCount":2690,"zanCount":11,"manualWeight":11,"mainColor":39},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[49,23,25,50,53,126,26,28,30,55,103,123,7,102,61,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[35],{"id":2720,"slug":2721,"title":2722,"dynasty":115,"author":2723,"museum":117,"description":2724,"tags":2725,"thumbUrl":2728,"material":295,"size":296,"collection":34,"collections":2729,"showCount":2730,"zanCount":11,"manualWeight":11,"mainColor":133},287314,"han-gong-guan-chao-tu-juan-zhao-bo-ju-287314","汉宫观潮图卷","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[49,80,23,50,204,455,52,28,176,57,2726,7,123,2727,1635],"古树","佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b19f8ced72c7f99b773244aa679fcfb.jpg",[],39,{"id":2732,"slug":2733,"title":2628,"dynasty":44,"author":784,"museum":117,"description":2734,"tags":2735,"thumbUrl":2736,"material":34,"size":34,"collection":35,"collections":2737,"showCount":2730,"zanCount":11,"manualWeight":11,"mainColor":39},236915,"shan-shui-zhou-kun-can-236915","髡 残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[23,25,26,81,53,126,28,176,30,55,64,63,7,102,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[35,108,700],{"id":2739,"slug":2740,"title":2741,"dynasty":115,"author":2742,"museum":117,"description":2743,"tags":2744,"thumbUrl":2745,"material":34,"size":34,"collection":34,"collections":2746,"showCount":2730,"zanCount":11,"manualWeight":11,"mainColor":133},227536,"wan-ai-tu-wen-tong-227536","晚霭图","文同","明代画评家汪砢玉曰：壬戌之秋，程季白飞霞舫成，招李君实及珂雪与余集舫中，看新得汉玉图书约三百方，因示文同画卷，曰《晚霭横看》，君实题其后，用东坡思无邪斋章钤记。余共珂雪各印诸玉作谱。娄东朱锦春拨阮，夺落叶响，吾辈无暇听也。归而思此图，树瘦于竹，艇小于叶，遥山远水，层出林端，暮烟凝霭，掩映亭阁，画中人应尔横看无尽，意跃跃焉。东坡尝称与可下笔兼众妙，而不言其善山水。乃山谷于吴君惠处见文湖州《晚霭横看卷》，兼有王摩诘、关仝笔力，而世以洋州一派竹称之，何足以尽石室?",[49,23,24,50,25,26,28,572,55,63,121,101,260,82,7,120,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c4ec329a197b3748eae01a2384a486.jpg",[],{"id":2748,"slug":2749,"title":2750,"dynasty":96,"author":2751,"museum":169,"description":2752,"tags":2753,"thumbUrl":2754,"material":422,"size":2755,"collection":482,"collections":2756,"showCount":2730,"zanCount":11,"manualWeight":11,"mainColor":133},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[49,23,50,410,52,60,28,176,156,30,102,7,204,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[482,161],{"id":2758,"slug":2759,"title":2760,"dynasty":96,"author":2761,"museum":117,"description":2762,"tags":2763,"thumbUrl":2764,"material":34,"size":2765,"collection":35,"collections":2766,"showCount":2767,"zanCount":11,"manualWeight":11,"mainColor":133},237638,"shan-shui-juan-li-shi-da-237638","山水卷","李士达","李士达（1550-1620），字通甫，号仰槐，江苏苏州人。万历二年（1574）进士，工画人物、山水。曾经论述画有五美：“苍、逸、奇、远、韵。”又有五恶：“嫩、板、刻、生、痴。”传世作品有《浔阳琵琶图》、《三驼图》、《西园雅集图》等。",[23,25,50,28,26,57,56,101,58,55,84,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[35,108],38,{"id":2769,"slug":2770,"title":2771,"dynasty":44,"author":2541,"museum":46,"description":2772,"tags":2773,"thumbUrl":2775,"material":389,"size":2776,"collection":34,"collections":2777,"showCount":2767,"zanCount":11,"manualWeight":11,"mainColor":39},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[23,24,81,25,52,28,26,2774,1391,55,30,61,63,7,624,248],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纵96.7厘米，横41厘米",[],{"id":2779,"slug":2780,"title":2781,"dynasty":44,"author":2782,"museum":2125,"description":2783,"tags":2784,"thumbUrl":2786,"material":729,"size":2787,"collection":35,"collections":2788,"showCount":2767,"zanCount":11,"manualWeight":11,"mainColor":39},222798,"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[49,23,50,25,26,172,2785,55,30,121,59,64,60,102,7,120,217],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[35,108],{"id":2790,"slug":2791,"title":2792,"dynasty":44,"author":634,"museum":117,"description":2793,"tags":2794,"thumbUrl":2795,"material":295,"size":296,"collection":34,"collections":2796,"showCount":2797,"zanCount":11,"manualWeight":11,"mainColor":39},230276,"shan-shui-tu-ce-zhu-da-230276","山水图册","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。",[23,25,26,27,126,28,193,30,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],37,{"id":2799,"slug":2800,"title":2801,"dynasty":115,"author":2802,"museum":117,"description":2803,"tags":2804,"thumbUrl":2805,"material":34,"size":34,"collection":34,"collections":2806,"showCount":2797,"zanCount":11,"manualWeight":11,"mainColor":133},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","刘松年","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[49,80,23,24,52,28,410,26,55,30,176,7,102,103,60,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":2808,"slug":2809,"title":2810,"dynasty":284,"author":528,"museum":117,"description":529,"tags":2811,"thumbUrl":2821,"material":295,"size":296,"collection":297,"collections":2822,"showCount":2797,"zanCount":11,"manualWeight":11,"mainColor":39},225905,"blue-house-in-the-outskirts-of-giverny-mo-nai-225905","Blue House in the Outskirts of Giverny",[531,2812,2813,2289,2814,2151,55,7,121,539,1545,2815,2816,2817,2818,2819,2820],"点彩","外光写生","蓝色房屋","乡村","枯枝","弯曲河流","朦胧山峦","绿色田野","淡色天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3294145284cb1d8c7332d4ea315245.jpg",[297],{"id":2824,"slug":2825,"title":2826,"dynasty":96,"author":452,"museum":2827,"description":2828,"tags":2829,"thumbUrl":2831,"material":2832,"size":2833,"collection":34,"collections":2834,"showCount":2797,"zanCount":11,"manualWeight":11,"mainColor":133},222212,"yu-di-tu-chou-ying-222212","渔笛图","美国纳尔逊阿特金斯艺术博物馆","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。",[49,23,410,52,28,55,59,101,309,56,60,84,494,26,7,2830],"岸边草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81d3432e13e0794a6517f755ac0779.jpg","绢布","113x60cm",[],{"id":2836,"slug":2837,"title":2838,"dynasty":18,"author":1700,"museum":169,"description":2839,"tags":2840,"thumbUrl":2841,"material":141,"size":2842,"collection":35,"collections":2843,"showCount":2797,"zanCount":11,"manualWeight":11,"mainColor":39},219087,"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣（1296-1364)，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)。",[49,23,24,28,25,52,26,101,176,55,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[35],{"id":2845,"slug":2846,"title":2847,"dynasty":115,"author":271,"museum":117,"description":2848,"tags":2849,"thumbUrl":2851,"material":295,"size":296,"collection":34,"collections":2852,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":133},288735,"xiao-xiang-ba-jing-tu-juan-wu-wang-hong-288735","潇湘八景图卷五","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[80,23,24,50,25,26,28,121,30,55,103,2850,7,102,60],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],36,{"id":2855,"slug":2856,"title":2857,"dynasty":44,"author":2858,"museum":117,"description":2859,"tags":2860,"thumbUrl":2861,"material":34,"size":34,"collection":88,"collections":2862,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":133},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[23,24,81,52,410,60,1044,260,28,29,61,1545,1231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[88,482,161],{"id":2864,"slug":2865,"title":1454,"dynasty":44,"author":822,"museum":117,"description":2866,"tags":2867,"thumbUrl":2868,"material":34,"size":34,"collection":34,"collections":2869,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":39},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，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》。",[80,23,24,27,25,52,26,153,28,55,30,56,58,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":2871,"slug":2872,"title":2873,"dynasty":44,"author":822,"museum":46,"description":2866,"tags":2874,"thumbUrl":2876,"material":158,"size":2877,"collection":35,"collections":2878,"showCount":2853,"zanCount":163,"manualWeight":11,"mainColor":39},236769,"zhu-qu-zhou-wang-hui-236769","竹趣轴",[23,81,25,26,28,259,61,30,55,1307,7,725,2875,694],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a53edaed5daacf78869c55444abcab9.jpg","纵138.8厘米，横29.9厘米",[35,108],{"id":2880,"slug":2881,"title":1172,"dynasty":115,"author":737,"museum":46,"description":2882,"tags":2883,"thumbUrl":2890,"material":158,"size":1177,"collection":34,"collections":2891,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":39},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[23,24,50,25,28,741,55,126,53,26,637,2884,7,120,102,125,2885,2886,215,2887,2888,2889],"点染","题字","墨笔","水墨山水","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":2893,"slug":2894,"title":2895,"dynasty":96,"author":2896,"museum":117,"description":2897,"tags":2898,"thumbUrl":2914,"material":34,"size":34,"collection":34,"collections":2915,"showCount":2853,"zanCount":163,"manualWeight":11,"mainColor":133},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","黄向坚","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[49,23,50,1514,172,2899,26,2900,2901,2902,2903,2904,2905,2906,124,2907,2908,1657,1391,2909,7,2910,2911,2912,2913,624,572],"纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","飞瀑","山溪","屋宇","危桥","松杉","城镇","船舶","万里寻亲","忠孝情怀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],{"id":2917,"slug":2918,"title":2919,"dynasty":44,"author":1099,"museum":1937,"description":2920,"tags":2921,"thumbUrl":2922,"material":68,"size":2923,"collection":35,"collections":2924,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":39},224253,"gu-mu-yuan-shan-tu-cha-shi-biao-224253","古木远山图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[49,23,25,28,81,1940,7,83,26,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7dbbb93b849c20f73993df993353af8.jpg","47.7x108.8cm",[35],{"id":2926,"slug":2927,"title":2928,"dynasty":44,"author":2929,"museum":117,"description":2930,"tags":2931,"thumbUrl":2940,"material":34,"size":34,"collection":34,"collections":2941,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":133},224111,"yi-jian-shuang-lu-tu-qian-long-224111","一箭双鹿图","乾隆","画面中纵马弯弓的骑手利落射出箭矢，双鹿中箭颓然仆地，骏马昂首扬蹄，骑手身姿果决干练，将骑射的飒爽力道尽显无余。背景里苍松虬劲、层林尽染秋意，远山澹澹铺展，把围猎的迅疾动感揉入山野林泉的静穆悠远间。\n\n右上角题诗以笔墨追怀射猎快意，诗画相映，将驰骋校猎的豪情与秋日林野的清旷融为一体。写实笔触细致勾勒出鞍马、人物的衣饰肌理，既带着纪实性的鲜活，又晕染出诗意闲情，把骑射勇武和林下逸趣完美糅合，是兼具叙事感与审美性的精妙之作。",[49,23,52,410,60,1044,2932,2933,28,2934,1066,7,2935,2936,126,2937,2938,2939],"鹿","兽","苍松","骑射","围猎","题诗","豪情","诗意闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d24e76a0609e08c272f52e9f257d0a4.jpg",[],{"id":2943,"slug":2944,"title":2945,"dynasty":115,"author":489,"museum":117,"description":2946,"tags":2947,"thumbUrl":2948,"material":141,"size":2949,"collection":35,"collections":2950,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":133},218650,"qiu-jiang-fan-zhou-tu-yi-ming-218650","秋江泛舟图","绢本纹理间晕开宋时秋意。江畔疏林枯槎，枝干如铁线勾勒萧瑟之态，墨色浓淡藏叶落余韵。江面澄明似镜，一叶扁舟轻泛，舟子隐于烟波，与秋水山色相融。远山层叠，烟霭朦胧，淡墨晕染出悠远天际，将视线引向空濛深处。\n\n整幅画以简洁笔触铺陈清寂秋江，无繁复色彩，却在水墨虚实间传递宋人对自然的敬畏与隐逸情怀。每处留白皆诉时光静美，心境淡然，似能听见江风掠过枯枝的轻响，看见舟楫划过水面的微澜，于无声处藏着宋画独有的淡远与深邃。",[80,23,24,25,26,28,101,82,398,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe52302eecccd7943c473db2995800.jpg","25.5x25.5",[35],{"id":2952,"slug":2953,"title":2954,"dynasty":96,"author":150,"museum":77,"description":245,"tags":2955,"thumbUrl":2956,"material":250,"size":34,"collection":34,"collections":2957,"showCount":2853,"zanCount":11,"manualWeight":11,"mainColor":39},214650,"qiu-xing-ba-jing-tu-ce-7-dong-qi-chang-214650","秋兴八景图册-7",[23,24,27,52,25,28,156,30,56,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9268879396f8710f133d9d82f4354.jpg",[],{"id":2959,"slug":2960,"title":2961,"dynasty":44,"author":2962,"museum":117,"description":2963,"tags":2964,"thumbUrl":2972,"material":34,"size":34,"collection":34,"collections":2973,"showCount":2974,"zanCount":163,"manualWeight":11,"mainColor":39},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","徐扬","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[49,23,24,50,204,52,410,60,176,28,55,2965,2966,2967,2968,2969,2970,2971,457,7],"市井","春日","城郭","街巷","宫殿","塔","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],35,{"id":2976,"slug":2977,"title":2978,"dynasty":115,"author":1672,"museum":117,"description":2979,"tags":2980,"thumbUrl":2981,"material":34,"size":34,"collection":34,"collections":2982,"showCount":2974,"zanCount":11,"manualWeight":11,"mainColor":39},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[49,23,24,25,52,26,28,7,120,59,83,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":2984,"slug":2985,"title":2986,"dynasty":18,"author":1464,"museum":764,"description":2987,"tags":2988,"thumbUrl":2989,"material":33,"size":34,"collection":35,"collections":2990,"showCount":2974,"zanCount":11,"manualWeight":11,"mainColor":39},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[49,23,24,50,25,28,26,55,58,121,7,59,126,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[35],{"id":2992,"slug":2993,"title":2994,"dynasty":96,"author":2512,"museum":169,"description":2995,"tags":2996,"thumbUrl":3005,"material":33,"size":3006,"collection":35,"collections":3007,"showCount":2974,"zanCount":11,"manualWeight":11,"mainColor":39},219467,"shan-shui-tu-tian-xiang-shu-wu-xiang-sheng-mo-219467","山水图-天香书屋","此作用笔清简淡逸，近景茅庐临于水岸，屋中文士凭窗凝思，耽于林泉清寂。两株高木挺秀疏朗，枝桠间细叶轻展，旁侧垂柳柔丝拂水，石矶错落浅滩之上。远景江天空蒙，远山以淡墨轻扫，留白尽显寥廓幽远。\n\n画面虚实相生，水墨清润素雅，将幽居林下的闲淡雅趣晕染开来，尽显文人遁迹丘山、寄情林泉的隐逸襟怀，淡远静穆的意境里，藏着独有的萧散简远之美。",[23,25,28,2997,2998,2999,1217,3000,7,3001,1261,3002,3003,3004],"茅庐","水岸","文士","石矶","隐逸","清简淡逸","萧散简远","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee538d72e1ee98a98295250c90f3f28f.jpg","74.1x31.7厘米",[35],{"id":3009,"slug":3010,"title":2521,"dynasty":18,"author":2443,"museum":490,"description":3011,"tags":3012,"thumbUrl":3015,"material":33,"size":3016,"collection":35,"collections":3017,"showCount":2974,"zanCount":163,"manualWeight":11,"mainColor":39},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[23,24,50,25,26,53,54,28,125,102,55,121,57,123,84,234,61,7,725,3013,637,3014,1151,126],"留白","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[35],{"id":3019,"slug":3020,"title":2760,"dynasty":96,"author":3021,"museum":117,"description":3022,"tags":3023,"thumbUrl":3024,"material":34,"size":34,"collection":35,"collections":3025,"showCount":3026,"zanCount":11,"manualWeight":11,"mainColor":133},238078,"shan-shui-juan-ye-cheng-238078","叶澄","叶澄[明]字原静（无声诗史作元静，明画录遂以叶澄为叶元静，疑误）。其先吴（今江苏苏州）人。画山水仿董源，为戴进之师。",[49,23,50,52,26,28,30,55,7,218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e87689d8a91e2721e35664da5c862c.jpg",[35],34,{"id":3028,"slug":3029,"title":901,"dynasty":18,"author":902,"museum":46,"description":3030,"tags":3031,"thumbUrl":3032,"material":158,"size":907,"collection":34,"collections":3033,"showCount":3026,"zanCount":11,"manualWeight":11,"mainColor":39},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[23,24,81,25,52,26,410,28,55,101,56,7,84,260,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":3035,"slug":3036,"title":3037,"dynasty":18,"author":3038,"museum":169,"description":3039,"tags":3040,"thumbUrl":3041,"material":86,"size":3042,"collection":34,"collections":3043,"showCount":3026,"zanCount":163,"manualWeight":11,"mainColor":39},232253,"zhu-xi-lan-sheng-tu-guan-dao-sheng-232253","竹溪揽胜图","管道升","此幅旧传为管氏所作，画山峦起伏，缘溪瓦屋数椽，丛竹错落其间，溪边泊舟，桥上行人，以水墨细致之笔调，写宁静之村景，真得小桥、流水、人家之诗意\n管道升（1262－1319年），吴兴人。字仲姬，赵孟頫妻。（1317年延祐四年）封魏国夫人。翰墨辞章不学而能，笃信佛法，书牍行楷与乃夫赵孟頫几不可辨异同，为中国书画史上著名女性作家之一。",[23,25,28,259,61,101,63,7,248,55,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72880b50c05fbf5396230366c11651d.jpg","此幅 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62公分",[],{"id":3045,"slug":3046,"title":3047,"dynasty":284,"author":489,"museum":117,"description":3048,"tags":3049,"thumbUrl":3052,"material":34,"size":34,"collection":34,"collections":3053,"showCount":3026,"zanCount":11,"manualWeight":11,"mainColor":39},225299,"fu-shi-hui-20-yi-ming-225299","浮世绘20","以平远视角铺展幽谧山水，青绿与浅赭晕染层叠丘峦，远景丹峰隐现薄雾间。苍松错落点缀崖岸水畔，清劲枝条勾勒古拙苍劲的意态。蜿蜒水泽以留白代雾霭，将远近景致朦胧晕开，崖间飞瀑垂落，松林深处掩映山居小屋，暗合隐逸幽居的雅趣。\n\n敷色淡雅柔和，线条清简雅致，将山居逸趣融于山水之间，带着恬淡禅意，把林泉山水的空灵悠远定格于纸面，尽显东方山水美学里悠然出世的诗意。",[3050,52,3051,28,103,156,61,102,7,59,84,55,539,882],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":3055,"slug":3056,"title":3057,"dynasty":44,"author":361,"museum":98,"description":3058,"tags":3059,"thumbUrl":3060,"material":3061,"size":3062,"collection":35,"collections":3063,"showCount":3026,"zanCount":11,"manualWeight":11,"mainColor":133},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[49,23,52,26,28,125,55,156,63,61,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[35],{"id":3065,"slug":3066,"title":3067,"dynasty":115,"author":489,"museum":117,"description":3068,"tags":3069,"thumbUrl":3070,"material":698,"size":3071,"collection":130,"collections":3072,"showCount":3026,"zanCount":11,"manualWeight":11,"mainColor":133},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[49,23,24,172,52,410,26,787,176,30,55,56,7,102,235,62,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[130,35,108],{"id":3074,"slug":3075,"title":3076,"dynasty":96,"author":2368,"museum":230,"description":3077,"tags":3078,"thumbUrl":3079,"material":3080,"size":3081,"collection":35,"collections":3082,"showCount":3026,"zanCount":11,"manualWeight":11,"mainColor":39},222835,"shan-shui-tu-zhou-xiao-yun-cong-222835","山水图轴","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[49,23,25,26,81,28,30,55,56,58,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[35,161],{"id":3084,"slug":3085,"title":3086,"dynasty":44,"author":822,"museum":20,"description":3087,"tags":3088,"thumbUrl":3089,"material":250,"size":34,"collection":34,"collections":3090,"showCount":3026,"zanCount":11,"manualWeight":11,"mainColor":39},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[23,24,27,25,26,153,28,55,63,308,121,7,725,82,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],{"id":3092,"slug":3093,"title":3094,"dynasty":115,"author":3095,"museum":117,"description":3096,"tags":3097,"thumbUrl":3099,"material":295,"size":296,"collection":34,"collections":3100,"showCount":3101,"zanCount":163,"manualWeight":11,"mainColor":564},289929,"qiu-lin-he-yi-tu-wang-shen-289929","秋林鹤逸图","王诜","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[916,23,172,52,156,1066,3098,7,260,176,692,3001],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623db88646b4856450cfc34a8a105256.jpg",[],33,{"id":3103,"slug":3104,"title":3105,"dynasty":96,"author":150,"museum":117,"description":3106,"tags":3107,"thumbUrl":3108,"material":295,"size":296,"collection":34,"collections":3109,"showCount":3101,"zanCount":11,"manualWeight":11,"mainColor":133},283756,"yao-cen-po-mo-tu-zhou-dong-qi-chang-283756","遥岑泼墨图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[80,23,24,81,25,28,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50409061721d8c2cbf948c0a5a0e7f86.jpg",[],{"id":3111,"slug":3112,"title":3113,"dynasty":115,"author":371,"museum":117,"description":3114,"tags":3115,"thumbUrl":3116,"material":34,"size":34,"collection":34,"collections":3117,"showCount":3101,"zanCount":11,"manualWeight":11,"mainColor":133},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[49,23,25,52,26,413,28,103,30,55,58,121,7,104,494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],{"id":3119,"slug":3120,"title":3121,"dynasty":44,"author":45,"museum":46,"description":3122,"tags":3123,"thumbUrl":3124,"material":158,"size":3125,"collection":108,"collections":3126,"showCount":3101,"zanCount":11,"manualWeight":11,"mainColor":133},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[49,23,24,50,25,28,26,30,55,121,57,59,7,493,103,375,125,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[108],{"id":3128,"slug":3129,"title":3130,"dynasty":96,"author":489,"museum":751,"description":3131,"tags":3132,"thumbUrl":3133,"material":250,"size":34,"collection":34,"collections":3134,"showCount":3101,"zanCount":11,"manualWeight":11,"mainColor":39},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[49,23,25,26,27,28,29,30,56,7,120,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],{"id":3136,"slug":3137,"title":3138,"dynasty":115,"author":201,"museum":117,"description":1887,"tags":3139,"thumbUrl":3141,"material":295,"size":296,"collection":34,"collections":3142,"showCount":3143,"zanCount":163,"manualWeight":11,"mainColor":133},289379,"diao-tai-wang-yun-tu-ma-yuan-289379","雕台望云图",[23,172,204,25,26,176,3140,7,102,55,126],"高台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c98950ab3cd210300a80beee13ca05.jpg",[],32,{"id":3145,"slug":3146,"title":3147,"dynasty":44,"author":750,"museum":117,"description":957,"tags":3148,"thumbUrl":3149,"material":295,"size":296,"collection":34,"collections":3150,"showCount":3143,"zanCount":11,"manualWeight":11,"mainColor":39},287351,"hui-yi-qin-huai-he-shan-shui-tu-zhou-shi-tao-287351","回忆秦淮河山水图轴",[49,23,172,25,52,26,83,7,31,259,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2bd565a5fe40e54bbc59f4ec18b424c.jpg",[],{"id":3152,"slug":3153,"title":3154,"dynasty":44,"author":581,"museum":117,"description":3155,"tags":3156,"thumbUrl":3157,"material":34,"size":3158,"collection":34,"collections":3159,"showCount":3143,"zanCount":11,"manualWeight":11,"mainColor":39},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[23,25,26,27,28,55,59,7,83,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg","50×36",[],{"id":3161,"slug":3162,"title":3163,"dynasty":96,"author":3164,"museum":46,"description":3165,"tags":3166,"thumbUrl":3167,"material":86,"size":3168,"collection":35,"collections":3169,"showCount":3143,"zanCount":11,"manualWeight":11,"mainColor":133},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[23,24,81,25,26,215,28,55,58,2339,30,82,7,120,1524,156,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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cm",[35],{"id":3171,"slug":3172,"title":3173,"dynasty":44,"author":3174,"museum":98,"description":3175,"tags":3176,"thumbUrl":3177,"material":237,"size":3178,"collection":35,"collections":3179,"showCount":3143,"zanCount":11,"manualWeight":11,"mainColor":133},224334,"tang-jie-yuan-shi-yi-tu-yang-jin-224334","唐解元诗意图","杨晋","本幅平远构图，描绘了一幅江南山水的诗意画。画中农村景物写意，人物写真，花鸟草虫，夕阳芳草意境深远，远山起伏，湖光粼粼；山坡下竹篱茅舍；柳岸边微风摇曳，小舟上渔民捕鱼，乐而忘返；用笔以淡笔渴墨勾轮廓，稍作皴染；树叶以夹叶法绘制，虚实相间，自然天成。\n纵观全画是一幅恬静雅致、祥和安乐的江南水乡生活的再现，此为其难得佳作。",[49,23,50,52,410,26,28,121,494,55,59,57,7,102,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","35X195厘米",[35,161],{"id":3181,"slug":3182,"title":3183,"dynasty":96,"author":1988,"museum":169,"description":3184,"tags":3185,"thumbUrl":3186,"material":237,"size":3187,"collection":35,"collections":3188,"showCount":3143,"zanCount":11,"manualWeight":11,"mainColor":133},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[49,23,52,28,410,726,57,56,176,58,60,7,102,2245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[35],{"id":3190,"slug":3191,"title":3192,"dynasty":44,"author":1088,"museum":77,"description":3193,"tags":3194,"thumbUrl":3195,"material":86,"size":3196,"collection":34,"collections":3197,"showCount":3143,"zanCount":163,"manualWeight":11,"mainColor":39},219848,"ba-jing-shan-shui-tu-8-gong-xian-219848","八景山水图-8","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[23,25,26,28,30,55,63,882,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e6802b3a7a668616a8dfc5d77189f.jpg","24.4x49.7厘米",[],{"id":3199,"slug":3200,"title":3201,"dynasty":44,"author":634,"museum":117,"description":2793,"tags":3202,"thumbUrl":3203,"material":295,"size":296,"collection":34,"collections":3204,"showCount":3205,"zanCount":11,"manualWeight":11,"mainColor":39},288451,"shui-tun-tu-zhu-da-288451","水屯图",[49,23,25,172,7,31,193,723,101,126,26,53,1716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b9cc6b0b8316ab2fb517885000a51ce.jpg",[],31,{"id":3207,"slug":3208,"title":3209,"dynasty":44,"author":3210,"museum":46,"description":3211,"tags":3212,"thumbUrl":3213,"material":34,"size":34,"collection":35,"collections":3214,"showCount":3205,"zanCount":11,"manualWeight":11,"mainColor":39},236184,"shan-shui-shan-mian-dong-gao-236184","山水扇面","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[23,916,28,52,26,25,154,155,55,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[35],{"id":3216,"slug":3217,"title":17,"dynasty":96,"author":3218,"museum":117,"description":3219,"tags":3220,"thumbUrl":3224,"material":295,"size":296,"collection":35,"collections":3225,"showCount":3205,"zanCount":187,"manualWeight":11,"mainColor":39},235285,"shan-shui-ce-shen-hao-235285","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[23,24,27,52,28,193,176,7,126,3221,3222,1218,55,125,3223],"淡彩山水","古建","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[35,88],{"id":3227,"slug":3228,"title":3229,"dynasty":96,"author":150,"museum":169,"description":3230,"tags":3231,"thumbUrl":3232,"material":86,"size":34,"collection":34,"collections":3233,"showCount":3205,"zanCount":163,"manualWeight":11,"mainColor":39},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[23,24,27,51,26,52,28,82,156,30,56,126,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":3235,"slug":3236,"title":3237,"dynasty":18,"author":3238,"museum":169,"description":3239,"tags":3240,"thumbUrl":3241,"material":3242,"size":3243,"collection":34,"collections":3244,"showCount":3205,"zanCount":187,"manualWeight":11,"mainColor":39},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[23,25,172,50,24,26,28,83,181,55,494,7,104,102,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":3246,"slug":324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居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[23,80,81,204,410,52,176,60,28,1044,594,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[161],{"id":3303,"slug":3304,"title":3305,"dynasty":115,"author":489,"museum":20,"description":3306,"tags":3307,"thumbUrl":3308,"material":333,"size":34,"collection":35,"collections":3309,"showCount":3205,"zanCount":163,"manualWeight":11,"mainColor":133},218601,"qing-hua-tu-yi-ming-218601","清话图","沉墨绘就的林麓间，古树虬枝盘结于岩畔，繁叶如盖，墨色浓淡交织出层次。远处峰峦隐在淡霭里，留白处烟岚轻绕，拓出悠远天地。山石勾勒简练，皴擦见骨，尽显宋画山水的写实韵致。虽无人物，却似有清雅气息漫溢：松风穿叶的簌簌声，石畔流水的泠泠音，隐者清谈的低语仿佛在林间流转。笔墨苍劲中藏细腻，构图疏密得宜，将自然静谧与文人雅趣揉合，尽展宋代山水的空灵意境与人文深味。",[23,172,25,26,28,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51ba424b20e90531e1d091751b278de.jpg",[35],{"id":3311,"slug":3312,"title":3313,"dynasty":96,"author":1063,"museum":117,"description":3314,"tags":3315,"thumbUrl":3319,"material":34,"size":34,"collection":34,"collections":3320,"showCount":3321,"zanCount":11,"manualWeight":11,"mainColor":39},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[23,81,172,52,25,233,410,637,101,1187,2304,55,723,30,692,7,801,3316,3317,3318],"读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],30,{"id":3323,"slug":3324,"title":3325,"dynasty":18,"author":1316,"museum":46,"description":3326,"tags":3327,"thumbUrl":3328,"material":3329,"size":3330,"collection":34,"collections":3331,"showCount":3321,"zanCount":163,"manualWeight":11,"mainColor":133},233844,"hua-shan-shui-zhou-li-shi-xing-233844","画山水轴","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[23,24,81,25,52,28,55,30,56,7,26,61,120,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca3bbb245b9e71fbb9e96e768f35a36.jpg","绢本，墨笔","纵：106.2厘米，横：52.7厘米",[],{"id":3333,"slug":3334,"title":3335,"dynasty":18,"author":902,"museum":46,"description":3336,"tags":3337,"thumbUrl":3338,"material":237,"size":3339,"collection":34,"collections":3340,"showCount":3321,"zanCount":11,"manualWeight":11,"mainColor":39},233203,"zuo-kan-yun-qi-tu-ye-sheng-mao-233203","坐看云起图页","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,916,25,52,26,28,741,193,260,60,30,7,102,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 横28cm.",[],{"id":3342,"slug":3343,"title":3344,"dynasty":96,"author":3345,"museum":764,"description":3346,"tags":3347,"thumbUrl":3348,"material":34,"size":34,"collection":34,"collections":3349,"showCount":3321,"zanCount":11,"manualWeight":11,"mainColor":39},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","陆治","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[49,23,24,50,52,26,54,126,28,55,121,101,7,724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":3351,"slug":3352,"title":3353,"dynasty":115,"author":3354,"museum":117,"description":3355,"tags":3356,"thumbUrl":3359,"material":52,"size":3360,"collection":130,"collections":3361,"showCount":3321,"zanCount":11,"manualWeight":11,"mainColor":39},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[49,80,23,24,3357,172,52,26,28,55,218,60,61,84,7,3358],"宋代","林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[130,35,161],{"id":3363,"slug":3364,"title":3365,"dynasty":976,"author":2160,"museum":978,"description":3366,"tags":3367,"thumbUrl":3369,"material":34,"size":34,"collection":34,"collections":3370,"showCount":3321,"zanCount":11,"manualWeight":11,"mainColor":39},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[23,25,52,637,1977,260,1575,3368,7],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":3372,"slug":3373,"title":3374,"dynasty":18,"author":489,"museum":46,"description":3375,"tags":3376,"thumbUrl":3377,"material":141,"size":3378,"collection":35,"collections":3379,"showCount":3321,"zanCount":11,"manualWeight":11,"mainColor":133},218213,"shui-ge-dui-hua-tu-yi-ming-218213","水阁对话图","水阁对话图是一种流行于元朝时期的文学体裁，通常用来记录人们在水上建筑物（如水上别墅、水上庭院或水上茶室）中的对话。这种体裁的名字来源于“水阁”这个词，指的是在水上建造的别墅或其他建筑物。\n\n元朝时期，由于水上建筑物在当时是很流行的，因此水阁对话图也非常受欢迎。这种体裁通常记录了人们在水上建筑物中的日常对话，以及他们对当时社会、政治、文化等诸多话题的看法。",[23,916,25,28,60,176,193,343,7,83,56,26,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[35],{"id":3381,"slug":3382,"title":3383,"dynasty":115,"author":430,"museum":117,"description":1258,"tags":3384,"thumbUrl":3387,"material":295,"size":296,"collection":34,"collections":3388,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":133},289874,"liu-xi-fang-you-tu-xia-gui-289874","柳溪访友图",[49,23,172,81,25,26,259,1013,57,56,7,60,3385,3386],"访友","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777befa1eac54675a38881e0f1287846.jpg",[],29,{"id":3391,"slug":3392,"title":3393,"dynasty":18,"author":2312,"museum":117,"description":3394,"tags":3395,"thumbUrl":3396,"material":295,"size":296,"collection":34,"collections":3397,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":133},287595,"xue-jiang-tu-luo-zhi-chuan-287595","雪江图","罗稚川 江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[49,23,28,25,82,260,173,7,398,193,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34f49c6e94f47e131b9e2f7bbb1c31cc.jpg",[],{"id":3399,"slug":3400,"title":3401,"dynasty":44,"author":3174,"museum":117,"description":3402,"tags":3403,"thumbUrl":3404,"material":34,"size":34,"collection":34,"collections":3405,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":39},239053,"shan-shui-hua-niao-ce-yang-jin-239053","山水花鸟册","杨晋 ，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。",[23,24,27,25,28,259,29,83,174,7,26,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],{"id":3407,"slug":3408,"title":3409,"dynasty":44,"author":822,"museum":46,"description":3410,"tags":3411,"thumbUrl":3412,"material":86,"size":34,"collection":35,"collections":3413,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":133},236985,"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，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，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,81,25,26,28,63,82,260,30,2291,7,120,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[35,108],{"id":3415,"slug":3416,"title":3417,"dynasty":115,"author":371,"museum":117,"description":3114,"tags":3418,"thumbUrl":3419,"material":34,"size":34,"collection":34,"collections":3420,"showCount":3389,"zanCount":163,"manualWeight":11,"mainColor":133},227768,"shan-shui-ye-li-tang-227768","山水页",[49,23,24,80,25,26,413,28,176,101,55,30,882,387,235,7,725,2687,82,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":3422,"slug":3423,"title":3424,"dynasty":284,"author":285,"museum":117,"description":286,"tags":3425,"thumbUrl":3429,"material":295,"size":296,"collection":297,"collections":3430,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":133},225874,"wheat-field-with-cypresses-1889-fan-gao-225874","Wheat Field with Cypresses 1889",[80,288,289,2145,290,291,539,540,7,2151,3426,3427,3428],"花卉","植物","色彩浓烈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1a2ba98df646a99e7b0f8e7364e4c2.jpg",[297],{"id":3432,"slug":3433,"title":3434,"dynasty":44,"author":750,"museum":117,"description":3435,"tags":3436,"thumbUrl":3438,"material":34,"size":34,"collection":34,"collections":3439,"showCount":3389,"zanCount":163,"manualWeight":11,"mainColor":39},224511,"shan-shui-tu-ce-8-kai-2-shi-tao-224511","山水图册8开-2","此作用淡墨轻岚晕染远山，虚实相生间漾开空濛雾气，将山峦融在朦胧烟霭里，褪去峻拔锋芒只剩柔润余韵。近景村居错落，茅舍柴篱隐在林木苇草间，朴拙野趣扑面而来。枯笔焦墨点染丛树苔痕，淡赭轻敷屋舍坡岸，设色浅淡柔和，笔致松秀灵动。留白恰到好处，水汽氤氲的溪面与烟岚呼应，营造出静谧清寂的乡野氛围，似能将观者带入幽远山居闲境。笔墨藏着随性自在的画中真意，淡而有味，简中生趣，尽显文人山水的雅逸禅意。",[49,23,24,27,25,52,26,28,59,55,30,3437,7,493,723],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f2a9746cd204e4d9f37a292700b3b8.jpg",[],{"id":3441,"slug":3442,"title":3443,"dynasty":96,"author":3444,"museum":764,"description":3445,"tags":3446,"thumbUrl":3448,"material":250,"size":3449,"collection":35,"collections":3450,"showCount":3389,"zanCount":163,"manualWeight":11,"mainColor":39},220416,"qiu-jing-shan-shui-tu-sun-zhi-220416","秋景山水图","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[49,23,50,25,52,28,82,260,63,7,64,83,410,26,55,3447],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[35],{"id":3452,"slug":3453,"title":3454,"dynasty":96,"author":150,"museum":169,"description":3455,"tags":3456,"thumbUrl":3457,"material":333,"size":3458,"collection":35,"collections":3459,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":133},220371,"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[49,23,25,172,81,26,742,154,155,55,102,7,120,696,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","123.2x51.9",[35],{"id":3461,"slug":3462,"title":3463,"dynasty":96,"author":150,"museum":230,"description":3464,"tags":3465,"thumbUrl":3466,"material":86,"size":34,"collection":34,"collections":3467,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":39},220345,"fang-mi-fei-shan-shui-tu-juan-2-wen-dong-qi-chang-220345","仿米芾山水图卷-2文","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[23,24,50,25,51,26,28,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca2b8e1d8c5f8ab047812b476da7701.jpg",[],{"id":3469,"slug":3470,"title":3471,"dynasty":44,"author":822,"museum":117,"description":3472,"tags":3473,"thumbUrl":3475,"material":250,"size":3476,"collection":34,"collections":3477,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":39},220133,"mo-gu-shan-shui-hua-3-wang-hui-220133","摹古山水画3","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[49,23,24,3474,52,26,28,156,30,102,59,60,61,55,7,64],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95d2ba722189a59771f6f1eb36950e.jpg","30.5×21.5",[],{"id":3479,"slug":3480,"title":3481,"dynasty":96,"author":3482,"museum":169,"description":3483,"tags":3484,"thumbUrl":3487,"material":141,"size":34,"collection":35,"collections":3488,"showCount":3389,"zanCount":11,"manualWeight":11,"mainColor":39},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱谷","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[23,24,27,25,52,57,56,101,59,55,28,126,124,235,3485,494,7,3486],"河岸","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[35],{"id":3490,"slug":3491,"title":3492,"dynasty":18,"author":1464,"museum":117,"description":3493,"tags":3494,"thumbUrl":3495,"material":295,"size":296,"collection":34,"collections":3496,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[23,24,25,81,28,156,7,248,53,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220744a1d28d0000d5efd43b1543c4f4.jpg",[],28,{"id":3499,"slug":3500,"title":17,"dynasty":96,"author":3501,"museum":117,"description":3502,"tags":3503,"thumbUrl":3504,"material":34,"size":34,"collection":35,"collections":3505,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},234865,"shan-shui-ce-zhao-pu-234865","赵璞","此作为诗画合璧，淡墨绘就平远江景。近岸松石苍润，林木错落成荫，水波澹澹延展，远山以淡墨晕染，虚茫空濛，尽显江乡日暮的清寂悠远。行书题诗笔致清劲雅致，诗文将羁旅幽思寄寓山水，与画面相映成趣。笔墨简淡松灵，不事雕琢，把江畔闲望的怅惘安闲藏在疏朗构图之中，萧散闲适的文人意趣溢于纸面，淡而不薄，简中见雅，尽显林下澹泊清远的古韵。",[23,24,27,25,26,54,28,55,84,7,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38743b87d4722c9ed73f5e1e990d74b2.jpg",[35],{"id":3507,"slug":3508,"title":172,"dynasty":44,"author":3509,"museum":46,"description":3510,"tags":3511,"thumbUrl":3513,"material":86,"size":34,"collection":34,"collections":3514,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[23,24,50,52,26,25,28,102,30,55,3512,101,176,7,493,124,57],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":3516,"slug":3517,"title":3518,"dynasty":96,"author":2301,"museum":117,"description":3519,"tags":3520,"thumbUrl":3521,"material":34,"size":34,"collection":34,"collections":3522,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[49,23,24,50,52,410,26,54,53,126,28,55,60,57,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":3524,"slug":3525,"title":3526,"dynasty":44,"author":3527,"museum":117,"description":3528,"tags":3529,"thumbUrl":3530,"material":34,"size":34,"collection":34,"collections":3531,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[49,23,24,50,25,52,26,51,126,53,28,176,55,156,82,56,101,58,124,2970,7,493,235,57,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":3533,"slug":3534,"title":3535,"dynasty":44,"author":3536,"museum":230,"description":3537,"tags":3538,"thumbUrl":3539,"material":1898,"size":34,"collection":35,"collections":3540,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},222721,"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼","郑旼 1632-1683年 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（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）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。著有《拜经斋集》《致道堂集》《正己居集》等。",[49,23,24,27,25,28,83,26,53,126,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[35,700],{"id":3542,"slug":3543,"title":28,"dynasty":976,"author":3544,"museum":3545,"description":3546,"tags":3547,"thumbUrl":981,"material":34,"size":34,"collection":34,"collections":3548,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},220513,"shan-shui-pu-xin-she-220513","溥心畬","龙美术馆西岸馆","此作以高远、平远之法铺展秋山江居之景。远景峰峦含烟，青嶂间朱檐古阁半隐雾霭，恍若仙乡。中景汀渚蜿蜒，苍松挺秀，丹枫点染秋光，村居藏于林麓，野趣悠然。近境临水高轩敞亮，二人凭栏对晤，秋水潺湲，石矶错落，霜叶漫山晕开暖红。\n笔墨兼融北宗苍劲与南宗秀润，浅赭花青晕染出明净秋意，题诗与画境相融，尽显清寂萧散的隐逸诗意，晕染出文人幽淡出尘的襟怀。",[23,24,52,26,28,176,55,7,120,59,30],[],{"id":3550,"slug":3551,"title":3552,"dynasty":96,"author":3553,"museum":3554,"description":3555,"tags":3556,"thumbUrl":3557,"material":33,"size":3558,"collection":35,"collections":3559,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":564},220030,"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","沈士充","旅顺博物馆","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[49,23,172,51,25,26,30,55,123,59,102,101,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[35],{"id":3561,"slug":3562,"title":3563,"dynasty":228,"author":3564,"museum":169,"description":3565,"tags":3566,"thumbUrl":3569,"material":237,"size":3570,"collection":482,"collections":3571,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},219643,"zhang-li-qiu-shuang-tu-ju-ran-219643","杖藜秋爽图","巨然","以淡墨晕染出空蒙远山，烟岚轻笼，将秋意的清寂铺陈开来。近岸老木虬枝枯槎，劲挺中带着萧疏况味，苔点依稀，暗合秋深之态。秋水如镜，不着波澜，将天地的静穆悉数收纳。\n\n独行杖藜之人，彳亍坡岸，似在骋目遥天，与冷寂秋光相融。全幅以水墨写意，笔意松秀苍润，淡墨轻岚间，把秋爽疏阔的林下幽致尽显，带着悠悠山野闲情，观之如身临清秋郊野，沁得满身秋凉清逸。",[80,23,24,27,25,28,60,82,3567,7,217,814,3568],"秋水","闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fbd8054be9c23123eb7c6689396b7.jpg","23.3x22.7厘米",[482],{"id":3573,"slug":3574,"title":3575,"dynasty":115,"author":201,"museum":169,"description":3576,"tags":3577,"thumbUrl":3578,"material":141,"size":3579,"collection":35,"collections":3580,"showCount":3497,"zanCount":11,"manualWeight":11,"mainColor":39},218978,"han-xiang-shi-si-tu-ma-yuan-218978","寒香诗思图","图中是两株老梅在寒冷的山沟里的栅栏外散发出香味。寒冷的月亮照耀着远处的雪山，鸟儿们迅速回到了自己的家。这幅画上有马远的签名，他不一定是他真正的笔者，但他也是马、夏画派的学生，有自己的风格和规则。",[49,23,25,52,26,412,28,260,82,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1a5aed98f76264eff7c54b963801ba.jpg","25.6x25.8",[35],{"id":3582,"slug":3583,"title":3584,"dynasty":44,"author":3585,"museum":117,"description":3586,"tags":3587,"thumbUrl":3588,"material":295,"size":296,"collection":34,"collections":3589,"showCount":3590,"zanCount":163,"manualWeight":11,"mainColor":39},289887,"xiu-huang-shu-wu-tu-dai-xi-289887","修篁书屋图","戴熙","戴熙（公元1801—1860年），清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘（今杭州）人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》《题画偶录》等。画作有《云岚烟翠图》《忆松图》《满门风华》等。",[23,80,24,81,52,172,259,82,30,56,1067,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc77b483372d1953c6b8b568e436085b.jpg",[],27,{"id":3592,"slug":3593,"title":3594,"dynasty":115,"author":201,"museum":117,"description":1887,"tags":3595,"thumbUrl":3596,"material":295,"size":296,"collection":34,"collections":3597,"showCount":3590,"zanCount":11,"manualWeight":11,"mainColor":133},288357,"song-yin-wan-yue-tu-ma-yuan-288357","松荫玩月图",[23,80,172,25,26,156,30,56,7,261,60,1966],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b9dc13d47c8a3cbf2cc568c8a58485.jpg",[],{"id":3599,"slug":3600,"title":3601,"dynasty":96,"author":3164,"museum":117,"description":3602,"tags":3603,"thumbUrl":3605,"material":86,"size":34,"collection":700,"collections":3606,"showCount":3590,"zanCount":11,"manualWeight":11,"mainColor":39},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[23,24,81,25,28,26,53,126,54,29,30,101,56,7,3604],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[700],{"id":3608,"slug":3609,"title":3610,"dynasty":44,"author":718,"museum":98,"description":3611,"tags":3612,"thumbUrl":3613,"material":3614,"size":3615,"collection":35,"collections":3616,"showCount":3590,"zanCount":11,"manualWeight":11,"mainColor":133},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[49,23,24,81,52,26,204,28,176,55,82,30,56,7,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[35,161],{"id":3618,"slug":3619,"title":3620,"dynasty":115,"author":3621,"museum":117,"description":3622,"tags":3623,"thumbUrl":3626,"material":295,"size":296,"collection":34,"collections":3627,"showCount":3628,"zanCount":11,"manualWeight":11,"mainColor":133},283685,"dong-jing-shan-shui-tu-zhou-li-gong-nian-283685","冬景山水图轴","李公年","李公年，男，画家，[宋]尝为提点江浙刑狱公事。善画山水，运笔立意，风格不下前辈。写四时之图，甚有水云余思，至于写朝暮景趣，作长江日出，疎林晚照，真若物像出没于空旷有无之间。作有《宣和画谱》.",[23,80,81,25,28,82,343,3624,7,26,3625],"寒水","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0868985d55d143b02ffd63031643b81a.jpg",[],26,{"id":3630,"slug":3631,"title":3632,"dynasty":115,"author":3633,"museum":117,"description":3634,"tags":3635,"thumbUrl":3638,"material":34,"size":34,"collection":34,"collections":3639,"showCount":3628,"zanCount":11,"manualWeight":11,"mainColor":133},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","李安忠","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[49,80,23,24,81,25,28,26,101,82,7,30,31,55,180,905,518,882,120,3636,2887,3637],"山石皴染","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":3641,"slug":3642,"title":3643,"dynasty":115,"author":1672,"museum":117,"description":3644,"tags":3645,"thumbUrl":3646,"material":34,"size":34,"collection":34,"collections":3647,"showCount":3628,"zanCount":11,"manualWeight":11,"mainColor":39},226545,"yu-le-tu-juan-jing-hao-226545","渔乐图卷","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[49,23,24,50,25,26,28,55,84,121,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg",[],{"id":3649,"slug":3650,"title":3651,"dynasty":44,"author":361,"museum":169,"description":3652,"tags":3653,"thumbUrl":3655,"material":459,"size":3656,"collection":34,"collections":3657,"showCount":3628,"zanCount":163,"manualWeight":11,"mainColor":39},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[49,80,23,172,52,26,3654,51,1066,2271,57,56,30,55,176,58,61,7],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 52.5x27.4公分、全幅 59.2x82公分",[],{"id":3659,"slug":3660,"title":3661,"dynasty":44,"author":1948,"museum":169,"description":3662,"tags":3663,"thumbUrl":3666,"material":459,"size":3667,"collection":35,"collections":3668,"showCount":3628,"zanCount":11,"manualWeight":11,"mainColor":39},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[49,23,28,25,52,26,81,125,55,103,58,61,102,59,84,624,3664,64,1917,7,725,3013,637,3665],"谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[35,108],{"id":3670,"slug":3671,"title":3672,"dynasty":44,"author":3673,"museum":3554,"description":3674,"tags":3675,"thumbUrl":3676,"material":237,"size":3677,"collection":34,"collections":3678,"showCount":3628,"zanCount":11,"manualWeight":11,"mainColor":39},222970,"hong-lou-meng-95-sun-wen-222970","红楼梦95","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[49,23,410,52,60,176,28,55,457,7,741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c0f8a526064311858b402e15a02cdd.jpg","纵43.3厘米、横76.5厘米",[],{"id":3680,"slug":3681,"title":3682,"dynasty":44,"author":3673,"museum":3554,"description":3674,"tags":3683,"thumbUrl":3689,"material":237,"size":3677,"collection":34,"collections":3690,"showCount":3628,"zanCount":11,"manualWeight":11,"mainColor":39},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[49,80,23,24,410,52,123,176,60,155,3684,3685,3686,55,1525,7,235,457,3687,726,30,1574,1524,3688],"荷花","荷叶","湖面","水榭","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":3692,"slug":3693,"title":3694,"dynasty":96,"author":2072,"museum":1227,"description":3695,"tags":3696,"thumbUrl":3697,"material":422,"size":3698,"collection":34,"collections":3699,"showCount":3628,"zanCount":163,"manualWeight":11,"mainColor":133},222594,"jiang-gao-fei-xue-tu-li-zhou-lan-ying-222594","江皋飞雪图立轴","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。",[49,23,24,81,28,52,26,156,82,30,1307,60,173,7,518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6635bdf6b12960c4fed02b92366856.jpg","148cmx46cm",[],{"id":3701,"slug":3702,"title":677,"dynasty":96,"author":3703,"museum":169,"description":3704,"tags":3705,"thumbUrl":3707,"material":250,"size":3708,"collection":35,"collections":3709,"showCount":3628,"zanCount":163,"manualWeight":11,"mainColor":39},219470,"shan-shui-tu-gu-ning-yuan-21947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明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[49,23,24,60,52,410,156,28,7,1545,55,3834,3835],"长袍","持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[482],{"id":3840,"slug":3841,"title":3842,"dynasty":18,"author":489,"museum":169,"description":3843,"tags":3844,"thumbUrl":3845,"material":141,"size":3846,"collection":35,"collections":3847,"showCount":3744,"zanCount":11,"manualWeight":11,"mainColor":39},219055,"yan-shui-gu-zhou-yi-ming-219055","烟水孤舟","淡墨晕染的烟水间，一叶孤舟轻漾，似与天地相融。岸边老树枝干虬曲，松针疏朗，墨色浓淡间见苍劲之姿；远处峰峦隐于烟霭，虚实相生，恰是元人山水的空灵之境。水色空濛，舟影孑然，没有喧嚣，只有天地间的静默与清寂——仿佛能听见水波轻拍船舷的微响，或是林间风过的疏声。线条简淡却含力道，墨色层次丰富，从近树的浓墨到远山的淡染，过渡自然，将烟水的缥缈与孤舟的寂寥刻画得入木三分。这般景致，是文人心中的避世之境，也是自然与心境的交融，寥寥数笔，道尽元人山水的含蓄与深远。",[49,23,916,25,26,28,101,193,7,31,1435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd088de0b4b41a57a3d089f8b935ea627.jpg","23.4x24.7",[35],{"id":3849,"slug":3850,"title":3851,"dynasty":115,"author":489,"museum":20,"description":3852,"tags":3853,"thumbUrl":3854,"material":141,"size":34,"collection":35,"collections":3855,"showCount":3744,"zanCount":11,"manualWeight":11,"mainColor":133},218577,"jiang-shang-guan-chao-tu-yi-ming-218577","江上观潮图","远处的山峰被画在了一起，连绵不断地蜿蜒着。在画面中间，潮水上涨，白色的波浪呈直线运行。在近景中，画了一个宫廷船的桅杆，船上有一群人。宫室半隐在蜿蜒的岩石中，周围是树木。",[49,23,916,52,28,101,55,58,7,2136,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7805309f6a61fe6741cdc38d4d0a8a4.jpg",[35],{"id":3857,"slug":3858,"title":3859,"dynasty":96,"author":304,"museum":77,"description":305,"tags":3860,"thumbUrl":3862,"material":250,"size":311,"collection":34,"collections":3863,"showCount":3744,"zanCount":163,"manualWeight":11,"mainColor":39},214671,"san-jue-tu-4-yao-shou-214671","三绝图-4",[23,25,28,26,101,917,82,156,723,7,248,692,3861,126],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41a69055627a18111545189016a9a46.jpg",[],{"id":3865,"slug":3866,"title":3867,"dynasty":115,"author":371,"museum":117,"description":3868,"tags":3869,"thumbUrl":3871,"material":295,"size":296,"collection":34,"collections":3872,"showCount":3873,"zanCount":11,"manualWeight":11,"mainColor":133},290336,"qiu-jiang-dai-du-zhou-li-tang-290336","秋江待渡轴","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， 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23.8厘米",[],{"id":3937,"slug":3938,"title":677,"dynasty":115,"author":489,"museum":117,"description":3939,"tags":3940,"thumbUrl":3941,"material":141,"size":3942,"collection":35,"collections":3943,"showCount":3873,"zanCount":11,"manualWeight":11,"mainColor":133},218655,"shan-shui-tu-yi-ming-218655","烟岚轻笼的山水间，墨色晕染出远近层叠的丘峦。近处岸石嶙峋，几丛翠竹婆娑，掩映着茅舍一角，似有隐者栖居。开阔的水面如镜，载着天光云影，与远山淡赭相融。远处峰峦起伏，线条柔和却见骨力，林间墨点攒簇，透着生机。整幅画以平远之景铺展，虚实相生间，静谧气息漫溢——无喧嚣，有风过竹梢的轻响、水波微动的涟漪，及远山与云雾私语的温柔。笔墨细腻处见匠心，淡远中藏宋代山水特有的空灵悠远，仿佛能让人步入画中，暂忘尘嚣，独享自然安闲。",[49,23,52,26,916,28,414,30,55,121,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc73cb7bf3381c45ad02cdf01a36547.jpg","24.5x24.5",[35],{"id":3945,"slug":3946,"title":3947,"dynasty":44,"author":822,"museum":751,"description":823,"tags":3948,"thumbUrl":3949,"material":250,"size":826,"collection":34,"collections":3950,"showCount":3873,"zanCount":11,"manualWeight":11,"mainColor":39},217211,"fang-gu-shan-shui-shi-er-kai-qi-wang-hui-217211","仿古山水十二开(七)",[23,25,52,26,27,156,30,7,1307,414,56,55,3437,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c32ce4200c41428eb08270af482d9f5.jpg",[],{"id":3952,"slug":3953,"title":17,"dynasty":44,"author":3174,"museum":117,"description":3954,"tags":3955,"thumbUrl":3956,"material":34,"size":34,"collection":35,"collections":3957,"showCount":3958,"zanCount":11,"manualWeight":11,"mainColor":39},238987,"shan-shui-ce-yang-jin-238987","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。",[23,24,27,52,28,26,55,1307,101,56,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[35,161],23,{"id":3960,"slug":3961,"title":3962,"dynasty":284,"author":3963,"museum":117,"description":3964,"tags":3965,"thumbUrl":3966,"material":34,"size":34,"collection":34,"collections":3967,"showCount":3958,"zanCount":11,"manualWeight":11,"mainColor":133},226651,"qiu-dong-shan-shui-tu-yi-dong-jing-xue-zhou-226651","秋冬山水图一（冬景）","雪舟","这两幅雪舟所作的《秋景山水图》与《冬景山水图》，原来被视为「夏冬山水」而收藏于京都曼殊院。\n也有学者认为，这原是四幅一组的四季山水图其中之两件。\n《秋景山水图》中，画家自画面左下角画出沿着水流向画面中心弯曲延伸的小径，在路中并安置了正在交谈的两名人物作为点睛之用，接着画了楼阁与远山，表现出着实而明确的空间深度。\n将所有景物集中于画面下方，而上方则是一片广阔的空间。\n这种构图手法，恰与《冬景山水图》形成对称。\n《冬景山水图》中，被白雪覆盖的断崖矗立于画面中央，画中人物在下了小舟后朝楼阁方向走去。\n彷佛倒挂悬垂的断崖强而有力的轮廓线，以及冬天枯干的树木等描写，使人生起一种严寒之感。\n自画面左下角，将岩石、山块等以反时钟之方向配置成螺旋状的构图，让人强烈感觉到一种人为性安排。\n画家有意地利用这种空间架构手法与强烈的笔墨表现相互搭配，营造出画面空间深度。",[49,80,23,813,81,28,173,176,82,30,64,7,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61584f354c65070a66b76131d9a88d55.jpg",[],{"id":3969,"slug":3970,"title":3971,"dynasty":96,"author":489,"museum":3972,"description":3973,"tags":3974,"thumbUrl":3975,"material":141,"size":34,"collection":35,"collections":3976,"showCount":3958,"zanCount":11,"manualWeight":11,"mainColor":39},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[23,25,52,28,56,58,82,83,260,26,814,7,622,637,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[35],{"id":3978,"slug":3979,"title":3980,"dynasty":44,"author":822,"museum":751,"description":823,"tags":3981,"thumbUrl":3982,"material":250,"size":826,"collection":34,"collections":3983,"showCount":3958,"zanCount":11,"manualWeight":11,"mainColor":39},217210,"fang-gu-shan-shui-shi-er-kai-ba-wang-hui-217210","仿古山水十二开(八)",[23,52,27,26,28,57,56,59,55,30,7,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399ceb4a1b0e5b5fd39e5b685e40b3e9.jpg",[],{"id":3985,"slug":3986,"title":3987,"dynasty":44,"author":361,"museum":117,"description":3988,"tags":3989,"thumbUrl":3990,"material":295,"size":296,"collection":34,"collections":3991,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},287766,"lin-ni-yun-lin-shan-shui-wang-jian-287766","临倪云林山水","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[49,80,23,25,28,81,51,82,1307,7,2998,126,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6176eb91d0b5026fde9245d39c7a0089.jpg",[],22,{"id":3994,"slug":3995,"title":3996,"dynasty":44,"author":2230,"museum":117,"description":3997,"tags":3998,"thumbUrl":4000,"material":295,"size":296,"collection":34,"collections":4001,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},237809,"lin-fu-chun-shan-tu-shan-gao-cen-237809","临富春山图扇","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,916,25,26,51,28,82,30,7,3999,126],"近草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264978b278a35530837adab05b20abab.jpg",[],{"id":4003,"slug":4004,"title":4005,"dynasty":44,"author":822,"museum":117,"description":3410,"tags":4006,"thumbUrl":4008,"material":34,"size":34,"collection":88,"collections":4009,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},236882,"yang-liu-xiao-yue-zhou-wang-hui-236882","杨柳晓月轴",[23,24,81,25,52,26,28,4007,261,260,82,61,7,126],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff957e7b95f4b3c3cb57f8c7616ebfbf9.jpg",[88],{"id":4011,"slug":4012,"title":4013,"dynasty":44,"author":4014,"museum":46,"description":4015,"tags":4016,"thumbUrl":4019,"material":389,"size":34,"collection":35,"collections":4020,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},236819,"fang-gu-shan-shui-ce-zhao-cheng-236819","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[23,24,27,52,28,153,55,59,7,60,64,4017,4018,30],"红树","绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ebc5ce7d4cd925819659780280bf13.jpg",[35,161],{"id":4022,"slug":4023,"title":4024,"dynasty":44,"author":750,"museum":46,"description":4025,"tags":4026,"thumbUrl":4027,"material":389,"size":34,"collection":34,"collections":4028,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页","石涛（1642年－1708年）清代著名画家，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“清初四僧”。\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。",[23,24,25,52,54,26,27,28,7,55,882,53,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":4030,"slug":4031,"title":4032,"dynasty":96,"author":4033,"museum":46,"description":4034,"tags":4035,"thumbUrl":4036,"material":4037,"size":4038,"collection":34,"collections":4039,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","崔子忠","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[23,24,916,52,410,60,193,30,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","金笺，设色","纵20.8厘米，横60.2厘米",[],{"id":4041,"slug":4042,"title":4043,"dynasty":96,"author":3345,"museum":117,"description":4044,"tags":4045,"thumbUrl":4047,"material":34,"size":34,"collection":34,"collections":4048,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[23,24,27,52,60,193,83,4046,1979,307,7,882],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":4050,"slug":4051,"title":4052,"dynasty":115,"author":4053,"museum":117,"description":4054,"tags":4055,"thumbUrl":4057,"material":34,"size":34,"collection":34,"collections":4058,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","宋人","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[80,23,24,50,25,26,28,2327,4056,387,124,7,493,126],"山市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":4060,"slug":4061,"title":4062,"dynasty":115,"author":2637,"museum":117,"description":4063,"tags":4064,"thumbUrl":4065,"material":295,"size":296,"collection":34,"collections":4066,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},227329,"yan-guan-gu-si-tu-ye-jia-shi-gu-227329","严关古寺图页","贾师古，生卒年不详，南宋画家。汴（今河南开封）人，善画道释人物，师法李公麟。高宗绍兴时为画院祗候。白描人物，颇得闲逸自在之状。尝作《归去来图》，有所谓“一笔法”，甚古雅。梁楷为其高足，名过其师。传世作品有《岩关古寺图》、《大士像》等。",[49,23,24,27,52,26,126,28,156,30,2640,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f001dee4f7caf5c80f9cbb0734173ec.jpg",[],{"id":4068,"slug":4069,"title":4070,"dynasty":44,"author":3673,"museum":3554,"description":3674,"tags":4071,"thumbUrl":4073,"material":237,"size":3677,"collection":34,"collections":4074,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[49,23,410,52,455,28,176,57,56,60,58,55,30,457,1218,1525,537,7,493,234,4072],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg",[],{"id":4076,"slug":4077,"title":4078,"dynasty":976,"author":3544,"museum":4079,"description":4080,"tags":4081,"thumbUrl":4082,"material":34,"size":34,"collection":34,"collections":4083,"showCount":3992,"zanCount":11,"manualWeight":11,"mainColor":39},220514,"chuan-yue-jiang-shan-de-ju-li-pu-xin-she-220514","穿越江山的距离","Indianapolis Museum of Art at 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变万化不可名神奇之趣。”",[49,23,25,26,28,101,56,414,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b90154e546073fde551209019683cef.jpg",[],{"id":4154,"slug":4155,"title":4156,"dynasty":44,"author":361,"museum":117,"description":1799,"tags":4157,"thumbUrl":4158,"material":295,"size":296,"collection":34,"collections":4159,"showCount":4109,"zanCount":11,"manualWeight":11,"mainColor":39},224482,"shan-shui-tu-shan-mian-wang-jian-224482","山水图扇面",[49,23,24,916,28,52,26,30,55,7,58,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":4161,"slug":4162,"title":4163,"dynasty":44,"author":4164,"museum":117,"description":4165,"tags":4166,"thumbUrl":4168,"material":34,"size":34,"collection":34,"collections":4169,"showCount":4109,"zanCount":11,"manualWeight":11,"mainColor":133},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","吴昌硕","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[49,80,23,24,50,25,28,26,29,82,247,494,56,7,414,4167],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":4171,"slug":4172,"title":4173,"dynasty":44,"author":489,"museum":4174,"description":4175,"tags":4176,"thumbUrl":4179,"material":237,"size":4180,"collection":34,"collections":4181,"showCount":4109,"zanCount":11,"manualWeight":11,"mainColor":133},223467,"guang-zhou-cheng-zhu-jiang-tan-jing-tu-1-yi-ming-223467","广州城珠江滩景图1","大英图书馆","广州珠江江滩水运及岸边建筑之景",[49,50,52,410,56,387,235,4177,4178,7,60],"旗帜","码头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f82929b09229b6b39367371aa46380.jpg","75×800厘米",[],{"id":4183,"slug":4184,"title":4185,"dynasty":44,"author":1205,"museum":169,"description":4186,"tags":4187,"thumbUrl":4188,"material":1514,"size":4189,"collection":35,"collections":4190,"showCount":4109,"zanCount":11,"manualWeight":11,"mainColor":39},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[49,23,24,81,28,26,52,154,155,55,59,61,7,126,30,609],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg","63.7x31.8",[35,161],{"id":4192,"slug":4193,"title":677,"dynasty":96,"author":4194,"museum":77,"description":4195,"tags":4196,"thumbUrl":4197,"material":1514,"size":4198,"collection":34,"collections":4199,"showCount":4109,"zanCount":11,"manualWeight":11,"mainColor":39},222377,"shan-shui-tu-bian-wen-yu-222377","卞文瑜","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[49,23,916,28,26,25,52,30,55,235,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd45f49317fea0c08e05b689921eab9.jpg","纵23.7厘米横29.3厘米",[],{"id":4201,"slug":4202,"title":4203,"dynasty":18,"author":902,"museum":46,"description":4204,"tags":4205,"thumbUrl":4206,"material":86,"size":4207,"collection":34,"collections":4208,"showCount":4109,"zanCount":11,"manualWeight":11,"mainColor":133},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[49,23,24,27,28,25,52,101,1079,55,30,102,7,121,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":4210,"slug":4211,"title":4212,"dynasty":44,"author":489,"museum":117,"description":4213,"tags":4214,"thumbUrl":4215,"material":295,"size":296,"collection":34,"collections":4216,"showCount":4217,"zanCount":11,"manualWeight":11,"mainColor":133},288296,"fang-xia-gui-jiang-shan-qing-yuan-tu-juan-yi-ming-288296","仿夏圭江山清远图卷","此作用夏圭一角半边取景意趣，长卷铺展江天胜景。崖岸之上虬松古拙苍劲，盘根错节间尽显老辣笔力，斧劈皴利落勾出山岩棱线，墨色干湿层叠，晕染出山石的厚重质感。江上古桥连亭，汀洲幽寂，远山澹濛隐现，天际江帆点点，将江南水岸的寥廓清寂徐徐铺陈。\n\n全画简淡空灵，复刻出南宋院体山水的清远意韵。卷后题跋笔墨苍秀，字画合璧，摹古之中自有沉静雅致，把江天浩渺、林泉幽寂的诗意缓缓晕开，尽显水墨山水的简远之美。",[49,23,50,25,172,26,156,30,57,58,101,7,56,53,54,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e74ac76f0fa05870332bd8feadb13.jpg",[],20,{"id":4219,"slug":4220,"title":947,"dynasty":96,"author":150,"museum":117,"description":948,"tags":4221,"thumbUrl":4222,"material":34,"size":34,"collection":34,"collections":4223,"showCount":4217,"zanCount":11,"manualWeight":11,"mainColor":39},234977,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234977",[23,25,26,27,28,29,57,56,30,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eaf428da4b947634930dd08ae3803a.jpg",[],{"id":4225,"slug":4226,"title":4227,"dynasty":44,"author":4228,"museum":117,"description":4229,"tags":4230,"thumbUrl":4231,"material":34,"size":34,"collection":34,"collections":4232,"showCount":4217,"zanCount":11,"manualWeight":11,"mainColor":39},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[80,23,24,916,25,26,51,28,156,60,30,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":4234,"slug":4235,"title":4236,"dynasty":44,"author":750,"museum":46,"description":4237,"tags":4238,"thumbUrl":4239,"material":86,"size":836,"collection":34,"collections":4240,"showCount":4217,"zanCount":11,"manualWeight":11,"mainColor":39},233129,"yuan-ji-shan-shui-ce-shi-tao-233129","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,27,25,52,28,235,55,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ea36ca025104421f82367b525e57ec.jpg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ight":11,"mainColor":39},214485,"he-yi-shan-shui-tu-ce-2-he-yi-214485","赫奕山水图册-2","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[49,23,27,25,52,26,28,55,59,56,101,30,7,57,120,1635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4892d0aedc2558783662d11734848d.jpg","34x25cm",[],{"id":4329,"slug":4330,"title":4331,"dynasty":96,"author":4332,"museum":117,"description":4333,"tags":4334,"thumbUrl":4339,"material":295,"size":296,"collection":34,"collections":4340,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":133},290981,"liu-tang-qin-ji-tu-zhou-lv-ji-290981","柳塘禽集图轴","吕纪","吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。",[23,81,4335,172,410,52,1217,30,4336,260,4337,4338,178,7],"花鸟画","池塘","白鹅","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe936e3fc90e57a92a37ae1980b1caf.jpg",[],19,{"id":4343,"slug":4344,"title":4345,"dynasty":44,"author":1205,"museum":117,"description":4346,"tags":4347,"thumbUrl":4348,"material":295,"size":296,"collection":35,"collections":4349,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":133},238536,"chun-jing-shan-shui-ce-qian-wei-cheng-238536","春景山水册","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,24,27,25,54,28,156,59,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6372a28c538b6e9ca7385ebf67324e3.jpg",[35],{"id":4351,"slug":4352,"title":4353,"dynasty":96,"author":4354,"museum":117,"description":4355,"tags":4356,"thumbUrl":4357,"material":86,"size":34,"collection":35,"collections":4358,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},237649,"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[23,25,28,81,26,53,126,30,56,55,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[35,108,700],{"id":4360,"slug":4361,"title":4362,"dynasty":44,"author":2082,"museum":117,"description":4363,"tags":4364,"thumbUrl":4365,"material":34,"size":34,"collection":34,"collections":4366,"showCount":4341,"zanCount":163,"manualWeight":11,"mainColor":39},235672,"yan-ju-qiu-shuang-tu-zhou-xi-gang-235672","岩居秋爽图轴","《奚冈岩居秋爽图轴》是清代奚冈创作的一幅画。\n图绘峰峦高耸、庭轩虚敞的江南秋景。\n奚冈的山水画在宗法元四家的基础上又上溯五代董源、巨然，下逮明人董其昌及清人王原祁诸公，萃其逸韵而自成一格。\n此图是他法黄公望（号井西道人）笔意所作，笔法清秀，润色淡雅，意境深远，颇得黄氏画作中雅洁淡逸之趣。\n款署：“仿井西老人岩居秋爽图。\n嘉庆丙辰小春。\n蒙泉外史奚冈。\n”钤“奚冈之印”阴阳文印、“蒙泉外史”白文印。\n“丙辰”为清嘉庆元年（1796年），作者时年51岁。",[23,81,25,26,28,84,55,59,61,7,814],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bc6a03c56962e7bf9eca5520ceefbc.jpg",[],{"id":4368,"slug":4369,"title":1454,"dynasty":44,"author":822,"museum":117,"description":1455,"tags":4370,"thumbUrl":4371,"material":295,"size":296,"collection":34,"collections":4372,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},234958,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234958",[23,24,27,52,26,28,57,56,55,30,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351d3095c2e469174b51b3d50246961.jpg",[],{"id":4374,"slug":4375,"title":17,"dynasty":96,"author":150,"museum":46,"description":4376,"tags":4377,"thumbUrl":4378,"material":220,"size":1056,"collection":34,"collections":4379,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},234055,"shan-shui-ce-dong-qi-chang-234055","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[80,23,24,27,25,26,28,55,30,59,7,102,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c284092d9c32f1c2b5519282e29198.jpg",[],{"id":4381,"slug":4382,"title":2442,"dynasty":18,"author":2443,"museum":46,"description":2444,"tags":4383,"thumbUrl":4384,"material":68,"size":2447,"collection":34,"collections":4385,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},233220,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-233220",[23,24,81,25,26,28,101,62,55,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce68dbca86ab65c25a6f0e74749f9db.jpg",[],{"id":4387,"slug":4388,"title":4389,"dynasty":96,"author":2072,"museum":3554,"description":4390,"tags":4391,"thumbUrl":4392,"material":698,"size":4393,"collection":34,"collections":4394,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[23,25,26,81,24,28,1940,193,156,30,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":4396,"slug":4397,"title":4398,"dynasty":44,"author":4399,"museum":117,"description":4400,"tags":4401,"thumbUrl":4402,"material":34,"size":34,"collection":34,"collections":4403,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[23,25,27,26,153,28,101,56,83,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],{"id":4405,"slug":4406,"title":4407,"dynasty":44,"author":822,"museum":117,"description":4408,"tags":4409,"thumbUrl":4410,"material":34,"size":34,"collection":34,"collections":4411,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},229020,"song-qiao-tang-tu-juan-wang-hui-229020","松乔堂图卷","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[49,23,24,50,52,28,26,156,30,59,7,55,58,56,126,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":4413,"slug":4414,"title":4415,"dynasty":96,"author":4416,"museum":117,"description":4417,"tags":4418,"thumbUrl":4419,"material":295,"size":296,"collection":34,"collections":4420,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":133},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[49,80,23,24,81,172,25,52,26,787,30,56,123,60,55,7,102,1067],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":4422,"slug":4423,"title":4424,"dynasty":115,"author":3354,"museum":117,"description":4425,"tags":4426,"thumbUrl":4427,"material":34,"size":34,"collection":34,"collections":4428,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":133},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[49,80,23,24,172,204,26,52,30,55,3512,101,103,62,176,7,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":4430,"slug":4431,"title":4432,"dynasty":115,"author":168,"museum":169,"description":4433,"tags":4434,"thumbUrl":4436,"material":34,"size":34,"collection":34,"collections":4437,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},227292,"shu-se-ping-yuan-tu-guo-xi-227292","树色平远图","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[49,23,24,50,172,25,26,28,55,7,4435,193,343,83],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],{"id":4439,"slug":4440,"title":1644,"dynasty":96,"author":1645,"museum":169,"description":1646,"tags":4441,"thumbUrl":4443,"material":52,"size":1649,"collection":34,"collections":4444,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":39},222453,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222453",[23,24,50,4442,52,28,26,156,59,30,55,457,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcab0898e7d65be553a4c97defc3988.jpg",[],{"id":4446,"slug":4447,"title":4448,"dynasty":96,"author":150,"museum":1022,"description":4449,"tags":4450,"thumbUrl":4451,"material":27,"size":3934,"collection":34,"collections":4452,"showCount":4341,"zanCount":11,"manualWeight":11,"mainColor":34},220752,"fang-ge-jia-shan-shui-4-dong-qi-chang-220752","仿各家山水-4","此作用笔松秀空灵，以干笔淡墨铺展秋山幽居之境。近坡枯木疏林姿态萧散，村居隐于林木间，坡岸错落尽显野逸之趣。中远景山峦层叠，主峰奇崛高耸，以淡墨皴擦轻勾山石肌理，留白晕出水色烟岚的空濛悠远。\n\n全画以书入画，线条温润秀雅，不执着实景摹写，重在以笔墨传递清旷简远之意，寥寥数笔便将深秋林泉的幽寂淡远铺陈开来。以简驭繁，虚实相生间尽显文人画尚意重韵的特质，观之如临静谧山林，涤荡尘心。",[49,23,24,25,51,26,27,28,193,83,56,30,55,7,120,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a359e05e61b220785e0e20211602f.jpg",[],{"id":4454,"slug":4455,"title":4456,"dynasty":44,"author":2896,"museum":1022,"description":4457,"tags":4458,"thumbUrl":4460,"material":4461,"size":4462,"collection":34,"collections":4463,"showCount":4341,"zanCount":11,"man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× 550.4厘米",[],{"id":4465,"slug":4466,"title":4467,"dynasty":44,"author":361,"museum":20,"description":4468,"tags":4469,"thumbUrl":4470,"material":250,"size":34,"collection":34,"collections":4471,"showCount":4341,"zanCount":163,"manualWeight":11,"mainColor":39},215029,"fang-gu-shan-shui-ce-2-wang-jian-215029","仿古山水册-2","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[23,24,25,27,26,28,57,56,55,30,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fe7bd5b581ad26988b86ab76e700f4.jpg",[],{"id":4473,"slug":4474,"title":4475,"dynasty":115,"author":4476,"museum":117,"description":4477,"tags":4478,"thumbUrl":4480,"material":295,"size":296,"collection":34,"collections":4481,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":133},288347,"feng-yu-wei-zhou-tu-yan-ci-yu-288347","风雨维舟图","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[916,23,80,28,101,58,55,30,7,4479,26,52,31,1714],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa671c596f3518c9f5d1279fe7c89a10.jpg",[],18,{"id":4484,"slug":4485,"title":17,"dynasty":44,"author":1948,"museum":117,"description":4486,"tags":4487,"thumbUrl":4488,"material":295,"size":296,"collection":35,"collections":4489,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},238669,"shan-shui-ce-dong-bang-da-238669","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[23,24,27,25,52,26,28,30,55,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc15d3c92b2ab8760893ac4ead1ee3663.jpg",[35],{"id":4491,"slug":4492,"title":17,"dynasty":44,"author":4493,"museum":46,"description":4494,"tags":4495,"thumbUrl":4496,"material":389,"size":34,"collection":34,"collections":4497,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},237193,"shan-shui-ce-sun-yi-237193","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[23,24,27,455,52,26,28,101,60,156,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61beef2d3bca364fe13fe9aad3fb728c.jpg",[],{"id":4499,"slug":4500,"title":4501,"dynasty":44,"author":2404,"museum":117,"description":4502,"tags":4503,"thumbUrl":4504,"material":295,"size":296,"collection":34,"collections":4505,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},235636,"fang-gu-shan-shui-ping-wu-li-235636","仿古山水屏","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,81,52,26,153,28,7,55,193,30,235,59,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81881262d4f524260026edc90e0d8ec5.jpg",[],{"id":4507,"slug":4508,"title":17,"dynasty":44,"author":634,"museum":117,"description":4509,"tags":4510,"thumbUrl":4511,"material":34,"size":34,"collection":34,"collections":4512,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},235171,"shan-shui-ce-zhu-da-235171","此作用笔简逸疏淡，以淡墨晕染山川林舍。枯笔轻擦山峦，略去繁复勾勒，留白处如清岚漫卷，虚实相生间晕开幽寂萧疏之致。近林木枝错落，寥寥数笔便写尽枯荣之态，溪桥茅舍隐于林麓，暗合隐逸幽思。\n\n画面删繁就简，以少胜多，淡墨氤氲间流淌着清冷荒疏的意趣，极简构图藏尽天地简寂之美。笔墨省净却意蕴悠长，将孤高淡远的文人襟怀融于尺幅之中，观之如临空山幽境，漫溢着清寂澹泊的悠悠诗意。",[23,25,26,27,28,82,59,7,64,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb2b0a291c767c8af5f2b34d2e4db7b.jpg",[],{"id":4514,"slug":4515,"title":832,"dynasty":44,"author":750,"museum":46,"description":833,"tags":4516,"thumbUrl":4517,"material":4518,"size":836,"collection":34,"collections":4519,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},235003,"yuan-ji-shan-shui-tu-ce-shi-tao-235003",[23,24,27,25,52,28,101,726,7,31,60,126,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098b21ce73fa0300f031aec7f760b977.jpg","纸本 ，设色",[],{"id":4521,"slug":4522,"title":832,"dynasty":44,"author":750,"museum":46,"description":833,"tags":4523,"thumbUrl":4524,"material":4518,"size":836,"collection":34,"collections":4525,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},234999,"yuan-ji-shan-shui-tu-ce-shi-tao-234999",[80,23,24,27,25,52,28,82,30,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4125a44cb17a489613587b83a15c7d5a.jpg",[],{"id":4527,"slug":4528,"title":4529,"dynasty":96,"author":150,"museum":46,"description":4530,"tags":4531,"thumbUrl":4532,"material":158,"size":4533,"collection":34,"collections":4534,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},234996,"she-shan-you-jing-tu-zhou-dong-qi-chang-234996","佘山游境图轴","这一年，董其昌辞官告归，乘船畅游江南，寄情于山水书画。据自题可知，四月之时，正值其舟行至龙华镇。此镇位于今上海西南，镇中有龙华寺，周围遍植桃花，每遇桃花盛开之际，便有大批游人至此赏花。此图为董其昌行至龙华时，回想起前一日所历之湖山佳境，兴之所至，诉诸笔墨，以资玩味。其所写佘山位于今江苏青浦县境内，有东西两峰，风景秀丽。相传古有佘姓者曾隐居于此，故而得名。自题中提到的“顽仙庐”为董其昌密友、书画名家陈继儒所筑，位于东佘山下。\n此图以行书笔法入画，笔势秀逸简淡，笔力纯正浑穆，画面形象地展现了佘山境内湖光山色的疏淡幽静之美，抒发并寄托了董氏厌恶党派纷争、向往幽居山野的心曲。",[23,24,81,25,26,28,55,30,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d1e894b806c8ed09aa5fb4e28d1029d.jpg","纵98.4厘米，横41厘米",[],{"id":4536,"slug":4537,"title":2434,"dynasty":115,"author":489,"museum":117,"description":4538,"tags":4539,"thumbUrl":4546,"material":34,"size":34,"collection":34,"collections":4547,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":133},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[49,80,23,4540,916,52,25,28,60,176,56,101,726,7,4541,4542,83,4543,4544,1501,4545],"山水小品","烟岚","山居","闲寂悠然","怅惘","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":4549,"slug":4550,"title":4551,"dynasty":284,"author":528,"museum":117,"description":529,"tags":4552,"thumbUrl":4557,"material":295,"size":296,"collection":297,"collections":4558,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":133},225941,"haystacks-at-the-end-of-the-summer-morning-effect-1890-mo-nai-225941","Haystacks at the End of the Summer, Morning Effect, 1890",[288,531,4553,4554,4555,2812,2147,2151,55,7,2293,1545,4556],"外光","光影变化","色彩层次","阴影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c08853c311e2c54278ddd3e0b835759.jpg",[297],{"id":4560,"slug":4561,"title":4562,"dynasty":284,"author":489,"museum":117,"description":4563,"tags":4564,"thumbUrl":4565,"material":34,"size":34,"collection":34,"collections":4566,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},225303,"fu-shi-hui-28-yi-ming-225303","浮世绘28","这是一幅氤氲着水汽的郊野水乡图景。低缓柔媚的远山晕开暖粉霞光，将清浅暮色揉进青绿坡峦。黛色屋舍错落栖于洲渚，屋畔林木蓊郁苍润，漾开的水波里，一棹扁舟静浮，渔翁独守着满水闲寂。\n\n画面用色清和雅致，平涂晕染间带着侘寂诗意，将郊野日常的闲逸铺陈开来。疏朗的构图里藏着温润安宁，仿佛能漫出水汽与草木清香，把自然村居的禅意融在方寸画间，尽显和风的幽玄雅致。",[3050,3051,52,28,59,121,101,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07c8c4f0c1a7aba20e07bf3f989d0e3.jpg",[],{"id":4568,"slug":4569,"title":4570,"dynasty":44,"author":361,"museum":117,"description":4571,"tags":4572,"thumbUrl":4573,"material":34,"size":34,"collection":34,"collections":4574,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[80,23,24,81,172,52,26,51,154,7,1435,156,726,103,56,59,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":4576,"slug":4577,"title":4578,"dynasty":18,"author":2480,"museum":230,"description":4579,"tags":4580,"thumbUrl":4581,"material":422,"size":4582,"collection":35,"collections":4583,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":133},221864,"gu-hu-heng-jiang-tu-zhao-yong-221864","孤隺横江图","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[49,23,25,52,916,26,28,101,193,60,398,7,84,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa61b15cb42e538616214b20fadc245b.jpg","26x25cm",[35,161],{"id":4585,"slug":4586,"title":4587,"dynasty":96,"author":150,"museum":1022,"description":4588,"tags":4589,"thumbUrl":4590,"material":27,"size":3934,"collection":34,"collections":4591,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":34},220750,"fang-ge-jia-shan-shui-6-dong-qi-chang-220750","仿各家山水-6","此作用笔松秀虚和，以干笔淡墨勾勒皴擦。近岸老木虬曲偃蹇，枝叶苍郁间伴以修松清挺，林侧茅舍隐现，浅草萦回于水畔。中远景平坡澹荡，遥岫浮空，寥寥数笔便晕染出空濛淡远的平野之境。\n整体取平远章法，墨色清润淡雅，萧散简淡，将江南水畔清寂幽远的诗意尽数铺陈，尽显文人画空灵悠远的雅逸格调，寄寓着林泉高致的幽怀。",[49,23,24,25,28,51,26,27,55,30,59,723,7,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d42de66c74884278b37e641dfc193bc.jpg",[],{"id":4593,"slug":4594,"title":4595,"dynasty":44,"author":581,"museum":46,"description":4596,"tags":4597,"thumbUrl":4598,"material":86,"size":4599,"collection":34,"collections":4600,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},220317,"huang-shan-tu-ce-12-hong-ren-220317","黄山图册-12","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[49,23,24,80,27,25,52,26,28,572,156,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b54d3c4af734c0a0632bca860be3cf.jpg","21.5x18.3厘米",[],{"id":4602,"slug":4603,"title":677,"dynasty":115,"author":489,"museum":169,"description":4604,"tags":4605,"thumbUrl":4606,"material":141,"size":34,"collection":35,"collections":4607,"showCount":4482,"zanCount":163,"manualWeight":11,"mainColor":39},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[49,23,80,25,52,28,26,101,917,193,7,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[35],{"id":4609,"slug":4610,"title":4611,"dynasty":44,"author":4612,"museum":20,"description":4613,"tags":4614,"thumbUrl":4615,"material":250,"size":4616,"collection":35,"collections":4617,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":133},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[23,24,81,52,28,204,261,101,176,57,56,55,59,387,3486,7,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[35],{"id":4619,"slug":4620,"title":4621,"dynasty":44,"author":822,"museum":751,"description":823,"tags":4622,"thumbUrl":4625,"material":250,"size":826,"collection":34,"collections":4626,"showCount":4482,"zanCount":11,"manualWeight":11,"mainColor":39},217206,"fang-gu-shan-shui-shi-er-kai-shi-er-wang-hui-217206","仿古山水十二开(十二)",[23,25,26,27,28,59,55,2504,1044,60,82,58,64,125,4623,2726,7,1218,4624],"民居","骑乘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a21745ec4cca633de1562020ea6baee.jpg",[],{"id":4628,"slug":4629,"title":4630,"dynasty":115,"author":737,"museum":117,"description":4631,"tags":4632,"thumbUrl":4633,"material":295,"size":296,"collection":34,"collections":4634,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},289591,"si-ma-huai-shan-shui-he-juan-mi-you-ren-289591","司马槐山水合卷","米友仁（1074-1153），一名尹仁，字元晖，小名寅哥、鳌儿，晚号懒拙老人，山西太原人，定居润州（今江苏镇江）。宋朝画家，系北宋画家米芾长子，世称“小米”。",[49,80,23,24,50,25,28,82,7,56,518,53,54,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32de782556d72120e65730b14284cc93.jpg",[],17,{"id":4637,"slug":4638,"title":4639,"dynasty":18,"author":4640,"museum":117,"description":4641,"tags":4642,"thumbUrl":4643,"material":295,"size":296,"collection":34,"collections":4644,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":133},289566,"qiu-jiang-chui-diao-tu-sheng-zhu-289566","秋江垂钓图","盛著","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。",[23,80,916,28,193,398,7,260,25,26,309,1187,1501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32f3efec9d5e9f87a3efcba9b14fd8.jpg",[],{"id":4646,"slug":4647,"title":4648,"dynasty":115,"author":271,"museum":117,"description":2848,"tags":4649,"thumbUrl":4650,"material":295,"si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明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[49,23,81,25,28,4658,83,59,7,126,53,26,4659],"寒树","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":4663,"slug":4664,"title":17,"dynasty":44,"author":4665,"museum":117,"description":4666,"tags":4667,"thumbUrl":4668,"material":34,"size":34,"collection":35,"collections":4669,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},237973,"shan-shui-ce-zhang-geng-237973","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。",[23,25,26,27,28,7,456,55,59,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acb599bd7ac62d645f8a8d69aa34971.jpg",[35],{"id":4671,"slug":4672,"title":4673,"dynasty":44,"author":3174,"museum":117,"description":3954,"tags":4674,"thumbUrl":4675,"material":34,"size":34,"collection":34,"collections":4676,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},237879,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237879","杨晋仿古山水册",[23,52,28,153,26,27,101,260,56,7,2245,55,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d62a312a70c8a4d5387a7961afd06.jpg",[],{"id":4678,"slug":4679,"title":4680,"dynasty":96,"author":4681,"museum":117,"description":4682,"tags":4683,"thumbUrl":4684,"material":295,"size":296,"collection":34,"collections":4685,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":133},237798,"qiu-xi-you-ting-tu-shan-wang-cheng-237798","秋溪游艇图扇","汪澄","[明]字潜然，徽州（今安徽歙县）人，工画。《画史会要》",[23,916,25,52,26,28,65,61,101,60,84,7,31,55,594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff321caa0ed147ef8daab802eb0b0aea1.jpg",[],{"id":4687,"slug":4688,"title":1454,"dynasty":44,"author":822,"museum":117,"description":2866,"tags":4689,"thumbUrl":4690,"material":34,"size":34,"collection":34,"collections":4691,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},237586,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237586",[23,25,26,51,27,28,154,155,29,259,7,120,845,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45599eac91929665304e792add47aaa3.jpg",[],{"id":4693,"slug":4694,"title":3209,"dynasty":96,"author":4695,"museum":117,"description":4696,"tags":4697,"thumbUrl":4698,"material":295,"size":296,"collection":34,"collections":4699,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},237400,"shan-shui-shan-mian-xie-dao-ling-237400","谢道龄","字邢台，一作彬台，吴（今江苏苏州）人。移寓江宁（今南京）。与周亮工望衡而居。善花鸟，尤工折枝，兼善山水，类赵伯驹、赵孟頫。崇祯元年（一六二八）尝作山水扇",[23,916,28,25,26,260,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5582f9fe454ac3f2d4b16e06fe5aefe9.jpg",[],{"id":4701,"slug":4702,"title":4703,"dynasty":44,"author":822,"museum":169,"description":4704,"tags":4705,"thumbUrl":4706,"material":86,"size":34,"collection":35,"collections":4707,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","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王翚 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。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[23,24,27,25,51,26,126,28,58,29,82,7,493,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[35],{"id":4709,"slug":4710,"title":17,"dynasty":96,"author":4711,"museum":117,"description":4712,"tags":4713,"thumbUrl":4714,"material":34,"size":34,"collection":35,"collections":4715,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},236924,"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[23,24,27,25,52,28,58,193,57,56,83,7,55,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[35],{"id":4717,"slug":4718,"title":4719,"dynasty":44,"author":4720,"museum":117,"description":4721,"tags":4722,"thumbUrl":4723,"material":34,"size":34,"collection":34,"collections":4724,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},235857,"qiu-shan-tu-ye-fan-qi-235857","秋山图页","樊圻","此作用笔简秀清雅，以淡墨晕染出空濛烟霭，远山隐没在寒雾之中，只留浅淡轮廓，尽显秋日山空的疏寂。近景枯木虬枝错落，苍劲古拙，板桥横跨浅溪，石畔秋意萧索，寥寥数笔便勾勒出深秋山林的清冷之态。\n\n对页题诗与画意呼应，书画合璧，将荒寒淡远的林泉逸趣烘托尽致。淡彩轻敷，留白写意，铺陈出澹泊宁和的山水诗意，仿佛将人带入清寂幽远的秋日丘壑，沉浸式感受这份沉静内敛的古韵幽情，尽显文人山水的清雅意致。",[23,24,27,25,28,82,83,7,1657,54,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673113de5c7f14f0084268c94e28ccf.jpg",[],{"id":4726,"slug":4727,"title":4728,"dynasty":44,"author":2349,"museum":117,"description":4729,"tags":4730,"thumbUrl":4731,"material":295,"size":296,"collection":34,"collections":4732,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},235661,"shan-shui-ping-yuan-jiang-235661","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[23,204,410,52,28,176,55,121,494,60,58,726,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a984a5ebee0ef4d208db621d44f4f0.jpg",[],{"id":4734,"slug":4735,"title":4736,"dynasty":44,"author":581,"museum":117,"description":582,"tags":4737,"thumbUrl":4738,"material":295,"size":296,"collection":34,"collections":4739,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},235618,"hong-ren-shan-shui-ce-hong-ren-235618","弘仁山水册",[23,24,25,26,28,154,55,84,7,61,27,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021ea63838bc3efca94154ace5f3e90a.jpg",[],{"id":4741,"slug":4742,"title":4743,"dynasty":96,"author":4744,"museum":117,"description":4745,"tags":4746,"thumbUrl":4747,"material":389,"size":34,"collection":34,"collections":4748,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷","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。",[49,23,50,25,26,51,126,28,55,59,101,57,260,7,102,787],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":4750,"slug":4751,"title":17,"dynasty":96,"author":150,"museum":46,"description":4376,"tags":4752,"thumbUrl":4753,"material":220,"size":1056,"collection":34,"collections":4754,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},234057,"shan-shui-ce-dong-qi-chang-234057",[23,25,26,27,637,28,7,193,30,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318bf462de0567dc82594086471e48bb.jpg",[],{"id":4756,"slug":4757,"title":4758,"dynasty":115,"author":4759,"museum":117,"description":4760,"tags":4761,"thumbUrl":4762,"material":86,"size":4763,"collection":34,"collections":4764,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":133},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。",[49,80,23,24,81,25,26,28,101,309,55,7,31,2244,121,125,494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763ad8aae0080dc493a95d5237f9554.jpg","97x53 厘米",[],{"id":4766,"slug":4767,"title":4768,"dynasty":115,"author":489,"museum":169,"description":4769,"tags":4770,"thumbUrl":4771,"material":86,"size":4772,"collection":34,"collections":4773,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[23,25,26,50,28,2338,176,59,30,55,121,7,102,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":4775,"slug":4776,"title":821,"dynasty":44,"author":3174,"museum":117,"description":4777,"tags":4778,"thumbUrl":4779,"material":34,"size":34,"collection":34,"collections":4780,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":133},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[23,52,28,27,26,153,126,60,260,216,1657,58,56,7,55,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":4782,"slug":4783,"title":4784,"dynasty":44,"author":2349,"museum":117,"description":4785,"tags":4786,"thumbUrl":4787,"material":34,"size":34,"collection":34,"collections":4788,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":133},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[49,23,24,50,204,52,410,28,176,58,55,30,235,60,1044,155,7,457,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":4790,"slug":4791,"title":4792,"dynasty":96,"author":4793,"museum":117,"description":4794,"tags":4795,"thumbUrl":4796,"material":34,"size":34,"collection":34,"collections":4797,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","文伯仁","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[49,23,25,81,28,101,260,29,83,7,31,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":4799,"slug":4800,"title":4801,"dynasty":18,"author":3266,"museum":117,"description":4802,"tags":4803,"thumbUrl":4804,"material":34,"size":34,"collection":34,"collections":4805,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":39},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[49,23,24,27,25,52,28,57,56,101,55,59,102,7,53,54,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":4807,"slug":4808,"title":4809,"dynasty":115,"author":489,"museum":117,"description":4810,"tags":4811,"thumbUrl":4813,"material":34,"size":34,"collection":34,"collections":4814,"showCount":4635,"zanCount":11,"manualWeight":11,"mainColor":133},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 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"yuan-ji-shan-shui-tu-ce-shi-tao-235522","此作用枯笔淡墨绘就山水幽居之境。远山清瘦层叠，烟岚轻笼峰腰，晕染出空濛淡远之致。近处怪石盘迂，苍松杂木错落生姿，茅舍半隐林麓，林下幽人对坐抚琴，尽得林泉高致。\n\n左侧题诗与画面相映成趣，笔致萧散简淡，以诗衬画，将静听松风、默然会意的雅逸心境铺展纸上。整体画风疏秀空灵，脱尽尘俗，以极简笔墨勾勒悠远林下之思，把文人耽爱山水、寄情丝桐的襟怀融于尺幅间，淡而弥永，意韵悠长。",[23,25,27,26,28,83,55,63,7,248,61,1250,457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9ee25418441b56893f0e81e4198921.jpg",[],{"id":4961,"slug":4962,"title":17,"dynasty":44,"author":634,"museum":117,"description":4963,"tags":4964,"thumbUrl":4966,"material":34,"size":34,"collection":34,"collections":4967,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},235166,"shan-shui-ce-zhu-da-235166","此作以极简笔墨营构幽寂天地，左侧危崖突兀，枯松虬曲苍劲，崖石以淡墨勾勒皴擦，笔意老辣疏简。山坳间几椽茅舍错落隐现，淡写山乡野逸之态。\n画面大半留白，以虚代实，将江天寥廓空茫尽数铺展，留白处的题款与朱红印章冷暖相映，让素净画面多了一丝沉凝意蕴。\n笔底无多，却以疏淡荒寒之境藏尽孤高萧索的心境，把文人沉郁风骨融于山川丘壑，淡远空灵间，尽显水墨造境的悠长余韵。",[23,24,80,25,4965,26,413,28,55,59,84,7,126],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a3803585d8cad8fc59bea54486cdb2.jpg",[],{"id":4969,"slug":4970,"title":4971,"dynasty":96,"author":1063,"museum":117,"description":4972,"tags":4973,"thumbUrl":4974,"material":295,"size":296,"collection":34,"collections":4975,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},234842,"she-se-shan-shui-shan-ye-zhao-zuo-234842","设色山水扇页","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,916,52,28,26,193,30,60,7,725,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40447eb24194def73a273649f11f6185.jpg",[],{"id":4977,"slug":4978,"title":4979,"dynasty":96,"author":4980,"museum":117,"description":4981,"tags":4982,"thumbUrl":4983,"material":34,"size":34,"collection":34,"collections":4984,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},234491,"juan-dong-ting-ye-yue-shan-zhu-yin-234491","隽洞庭夜月扇","朱胤","明清时期，每逢中秋佳节，文人墨客们总会创作许多关于中秋赏月的扇面小品，相互赠予，以表思念团聚之情。",[23,24,916,25,26,28,261,55,30,31,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189ad8459fc1b6f9a24ecaf33e0dcfd.jpg",[],{"id":4986,"slug":4987,"title":4988,"dynasty":96,"author":3164,"museum":46,"description":4989,"tags":4990,"thumbUrl":4991,"material":86,"size":34,"collection":34,"collections":4992,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},234123,"shao-xi-chun-se-tu-juan-wen-jia-234123","苕溪春色图卷","本作品体裁是五言律诗，作者是弘历。弘历即爱新觉罗·弘历，清朝的乾隆皇帝。\n吏隐薄青纶（嘉此卷在乌程官舍所作），消闲只合闲。晓岚迷野坞，春色满江关。玉磬参承处，洼尊点缀间。云烟生湿润，活脱米家山。\n爱新觉罗·弘历（1711—1799），清朝乾隆皇帝。乾隆帝是中国历史上实际执掌国家最高权力时间最长的皇帝，在位六十年，期间社会稳定，经济发展，文化繁荣，其文治武功颇为后世称誉。乾隆帝热衷诗词，据说一生作诗4万多首。",[23,24,50,25,28,26,53,126,54,55,57,56,58,260,63,7,104,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":4994,"slug":4995,"title":4996,"dynasty":44,"author":3773,"museum":46,"description":4997,"tags":4998,"thumbUrl":4999,"material":237,"size":34,"collection":34,"collections":5000,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":133},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[80,23,24,50,25,52,28,156,176,57,56,101,58,126,55,59,387,7,493,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":5002,"slug":5003,"title":1741,"dynasty":44,"author":1099,"museum":46,"description":1742,"tags":5004,"thumbUrl":5005,"material":158,"size":1745,"collection":34,"collections":5006,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},233871,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233871",[23,25,172,27,26,154,155,58,156,82,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445edf7b1c27c418f24ac44e35eb046f.jpg",[],{"id":5008,"slug":5009,"title":3417,"dynasty":18,"author":902,"museum":117,"description":5010,"tags":5011,"thumbUrl":5012,"material":34,"size":34,"collection":34,"collections":5013,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},228040,"shan-shui-ye-sheng-mao-228040","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[80,23,24,27,25,52,26,28,29,101,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":5015,"slug":5016,"title":5017,"dynasty":115,"author":489,"museum":117,"description":5018,"tags":5019,"thumbUrl":5020,"material":34,"size":34,"collection":34,"collections":5021,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[49,23,24,413,25,52,28,101,55,235,56,7,917,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":5023,"slug":5024,"title":2335,"dynasty":115,"author":489,"museum":117,"description":5025,"tags":5026,"thumbUrl":5028,"material":34,"size":34,"collection":34,"collections":5029,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[49,23,24,413,25,52,26,28,398,1595,55,30,7,5027,54,126],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":5031,"slug":5032,"title":5033,"dynasty":44,"author":750,"museum":117,"description":5034,"tags":5035,"thumbUrl":5036,"material":34,"size":34,"collection":34,"collections":5037,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},224516,"shan-shui-tu-ce-8-kai-4-zhang-da-qian-jiu-cang-shi-tao-224516","山水图册8开-4-张大千旧藏","此作笔墨纵逸灵秀，近景矶石层叠错落，古松浓荫如盖，半山楼阁隐现其间，扁舟系于石畔，漾出静雅思致。水面留白悠远，远景以淡墨晕染平峦，淡青轻覆山尖，虚实相生间晕开江南水畔的清寂底色。\n\n笔意枯湿浓淡随性自然，将山林幽居的萧散野趣尽显无余，题书朴拙苍劲，与画境浑然相融，藏着寄情林泉的隐逸襟怀，寥寥数笔便勾勒出静穆淡远的诗意山水。",[49,23,25,52,27,26,28,101,58,29,30,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcb11f13f60708864df487319738a70.jpg",[],{"id":5039,"slug":5040,"title":5041,"dynasty":44,"author":750,"museum":117,"description":5042,"tags":5043,"thumbUrl":5044,"material":34,"size":34,"collection":34,"collections":5045,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[49,23,24,27,25,52,26,53,126,28,101,56,59,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":5047,"slug":5048,"title":5049,"dynasty":96,"author":5050,"museum":230,"description":5051,"tags":5052,"thumbUrl":5053,"material":237,"size":5054,"collection":35,"collections":5055,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":133},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[49,23,24,916,52,28,3915,101,156,63,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[35],{"id":5057,"slug":5058,"title":5059,"dynasty":96,"author":5060,"museum":46,"description":5061,"tags":5062,"thumbUrl":5063,"material":5064,"size":5065,"collection":34,"collections":5066,"showCount":4878,"zanCount":11,"manualWeight":11,"mainColor":39},222429,"shan-shui-tu-li-zhou-li-yong-chang-222429","山水图立轴","李永昌","李永昌（生卒年不详），主要活动于明崇祯元年戊辰(公元1628年)至清顺治元年甲申(公元1644年)之司。字周生，号黄海。休宁皂荚树下村人。家境殷实，多藏古物；游历甚广，善于书画。诗亦超迈，著有《画响姜绍书》、《无声诗史》赞其音调清越，阐扬画理与董其昌齐名，是新安四家汪之瑞的老师。画近宗黄子久，远追董巨、二米等南宋诸家，善用董巨山势结构结合米点铺染，并能将沈周的雄浑劲厚和倪瓒的逸笔草草演绎为墨法沉重、生气勃勃的特质。",[49,23,25,26,81,28,154,155,29,58,84,7],"https:\u002F\u002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，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。",[23,24,916,28,25,26,101,30,55,7,248,494,801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c6b2ad4920afc675476c281ad0a6d.jpg",[],{"id":5192,"slug":5193,"title":5194,"dynasty":96,"author":2072,"museum":117,"description":5195,"tags":5196,"thumbUrl":5197,"material":34,"size":34,"collection":34,"collections":5198,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页","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。",[916,25,26,51,28,101,58,82,30,7,60,53,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":5200,"slug":5201,"title":5202,"dynasty":96,"author":5203,"museum":117,"description":5204,"tags":5205,"thumbUrl":5206,"material":34,"size":34,"collection":34,"collections":5207,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":133},234563,"shi-han-shan-shui-shan-shi-han-234563","史汉山水扇","史汉","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[916,23,24,25,28,55,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435a865ef78526e2d875416755554819.jpg",[],{"id":5209,"slug":5210,"title":17,"dynasty":96,"author":150,"museum":46,"description":4376,"tags":5211,"thumbUrl":5213,"material":220,"size":1056,"collection":34,"collections":5214,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},234061,"shan-shui-ce-dong-qi-chang-234061",[23,24,27,25,26,28,56,83,55,5212,58,7],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg",[],{"id":5216,"slug":5217,"title":17,"dynasty":96,"author":150,"museum":46,"description":4376,"tags":5218,"thumbUrl":5219,"material":220,"size":1056,"collection":34,"collections":5220,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},234060,"shan-shui-ce-dong-qi-chang-234060",[23,24,27,25,26,28,156,30,56,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg",[],{"id":5222,"slug":5223,"title":4236,"dynasty":44,"author":750,"museum":46,"description":5224,"tags":5225,"thumbUrl":5226,"material":5227,"size":5228,"collection":34,"collections":5229,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},233418,"yuan-ji-shan-shui-ce-shi-tao-233418","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,25,26,83,28,7,31,27,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92361a4fe6fb74ea4f312c51d24294e9.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":5231,"slug":5232,"title":4258,"dynasty":115,"author":4259,"museum":117,"description":4260,"tags":5233,"thumbUrl":5234,"material":34,"size":34,"collection":34,"collections":5235,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},227756,"jiang-di-fang-mu-tu-yan-ci-ping-227756",[49,23,80,24,916,52,28,216,55,4262,83,56,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32dad27f36b039d1b36db0db02d9fd.jpg",[],{"id":5237,"slug":5238,"title":677,"dynasty":44,"author":1099,"museum":117,"description":5239,"tags":5240,"thumbUrl":5241,"material":1514,"size":5242,"collection":35,"collections":5243,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},224254,"shan-shui-tu-cha-shi-biao-224254","图中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。 作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。",[49,23,28,25,52,726,31,60,216,7,494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg","纵90.1厘米，横36.7厘米",[35],{"id":5245,"slug":5246,"title":28,"dynasty":44,"author":763,"museum":98,"description":5247,"tags":5248,"thumbUrl":5249,"material":34,"size":34,"collection":34,"collections":5250,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},223243,"shan-shui-hua-yan-223243","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\n华岩一生贫困，金农在《画竹题记》提到：“汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。”乾隆十七年（1752），回到杭州旧居“解弢馆”。乾隆二十一年卒，有《离垢集》5卷。",[49,23,52,25,26,81,28,58,787,259,59,30,60,55,7,741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8812e9c83f76f654f907938a5ca82940.jpg",[],{"id":5252,"slug":5253,"title":5254,"dynasty":96,"author":4744,"museum":169,"description":5255,"tags":5256,"thumbUrl":5257,"material":34,"size":34,"collection":34,"collections":5258,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},222859,"shan-shui-he-ji-juan-song-xu-222859","山水合迹卷","宋旭(1525-1606年后)，字初旸，号石门、石门山人，后为僧，法名祖玄，又号天池发僧、景西居士。浙江嘉兴人，清代《图绘宝鉴续纂》一作湖州(今浙江吴兴)人，居松江。工山水，兼长人物。师法“吴门四家”之一的沈周，画风似沈氏而又独具个性，亦宗法巨然、王蒙。其山水高华苍蔚，笔墨苍劲古朴，意境幽深，所作巨幅大幛，气势磅礴，开“苏松画派”之先声，万历年间名重海内。宋旭曾与“华亭派”画家莫廷韩(1537-1587年)入芟山社绘白雀寺壁，时称妙绝。宋旭遁入佛门以后，隐居佛寺，潜通禅理，一生画笔不辍，八十一岁时尚绘《平沙落雁图》轴，清逸传神，传为美谈。",[49,23,50,25,28,26,101,260,30,7,31,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4617bfcb74ed5bc94d043330825ed7e6.jpg",[],{"id":5260,"slug":5261,"title":5262,"dynasty":115,"author":5263,"museum":169,"description":5264,"tags":5265,"thumbUrl":5267,"material":141,"size":5268,"collection":35,"collections":5269,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},218966,"qiu-shan-yan-ai-tu-lian-fu-218966","秋山烟霭图","廉孚","连福在宋朝时出生于山阴（今浙江绍兴）或山阳（今江苏淮安）。他的父亲连布是一位武术医生，住在绍兴，擅长绘画。莲的画风与他父亲的一样。这幅有框画描绘了山区的秋色，有树木和岩石，还有烟雨蒙蒙的景色。一名男子在一条山路上平静地走着，他的同伴背着一个登山背包跟在后面。这幅画具有马沙尔风格的简单构图，笔触的诗意韵律传达了一个物是人非、天人合一的世界。",[49,23,80,24,26,25,28,2774,1435,193,30,55,7,1012,178,217,102,64,5266],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a043a6d31731e9d74857f9921bcf1c.jpg","21.4x24.7",[35],{"id":5271,"slug":5272,"title":5273,"dynasty":96,"author":5274,"museum":169,"description":5275,"tags":5276,"thumbUrl":5277,"material":141,"size":5278,"collection":35,"collections":5279,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},218646,"shui-xie-guan-chao-tu-shi-rui-218646","水榭观潮图","石锐","崖畔水榭错落，林木轻摇，亭台飞檐隐于枝叶间，透着清雅之致。江面铺展如练，潮势缓缓涌动，似有细微涛声随波漫来。远山含黛，层峦叠嶂隐于云气，将视野引向辽远天际。笔墨兼具精细与疏放：亭台勾勒见匠心，山石皴擦显质感，江潮晕染藏浩渺。动静相衔间，晕开观潮时的旷远心境。凭栏处，水天相接，潮声与山风交织，仿佛能触到古人临榭远眺的闲逸——于静谧里藏着对天地自然的悠然喟叹，于烟波中见出文人雅士的精神栖居。",[49,23,916,52,204,28,176,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f80bce2ed040764c79282c3e63b9cab.jpg","22.1x21.9cm",[35],{"id":5281,"slug":5282,"title":5283,"dynasty":44,"author":750,"museum":764,"description":5284,"tags":5285,"thumbUrl":5286,"material":250,"size":5287,"collection":34,"collections":5288,"showCount":5132,"zanCount":11,"manualWeight":11,"mainColor":39},214522,"yi-jin-ling-ce-12-shi-tao-214522","忆金陵册-12","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[23,24,27,25,52,28,60,55,7,517,126,53,54,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe936edd910ced608e05568f8a4a03582.jpg","纵23.8厘米，横19.2厘米",[],{"id":5290,"slug":5291,"title":5292,"dynasty":44,"author":3210,"museum":117,"description":5293,"tags":5294,"thumbUrl":5295,"material":34,"size":34,"collection":34,"collections":5296,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},238821,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238821","董诰律宣韶景册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[23,52,27,28,857,55,57,176,2932,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a87debf2185f171a6a93ba881a7ef80.jpg",[],14,{"id":5299,"slug":5300,"title":17,"dynasty":44,"author":5301,"museum":117,"description":5302,"tags":5303,"thumbUrl":5304,"material":34,"size":34,"collection":35,"collections":5305,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},238009,"shan-shui-ce-lu-zun-shu-238009","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[23,25,26,27,28,176,30,55,56,7,248,235,102,3485,2816],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F591c692a53110aba3d0f7ed31649a34e.jpg",[35,108],{"id":5307,"slug":5308,"title":5309,"dynasty":96,"author":3164,"museum":117,"description":5310,"tags":5311,"thumbUrl":5313,"material":34,"size":34,"collection":34,"collections":5314,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},235836,"tai-hu-tu-ye-wen-jia-235836","太湖图页","此作淡设色绘就湖山胜景，烟波浩渺间群岛错落如星子散落湖面，近岸山峦清润秀雅，林木轻覆崖畔，湖面舟楫缓行，漾开闲澹悠然的江南意趣。左侧题书隽秀雅致，以文述太湖掌故，书画合璧，晕染出独有的温婉文气。\n画面用笔简淡写意，以清浅设色晕染水汽空濛，将太湖包纳万境的浩渺，化作文人笔下的澹泊空灵，把悠游湖山的隐逸意趣藏在湖光波色之间，尽显山水小品融景抒情的绝佳意韵。",[23,24,27,25,28,101,260,5312,55,7,31,126,54],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4688beca4b60516f1eb021c0a349bb4.jpg",[],{"id":5316,"slug":5317,"title":4736,"dynasty":44,"author":581,"museum":117,"description":582,"tags":5318,"thumbUrl":5319,"material":295,"size":296,"collection":34,"collections":5320,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},235616,"hong-ren-shan-shui-ce-hong-ren-235616",[80,23,24,25,26,413,28,101,58,7,882,494,59,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21bf3c93c3dcba2e1955d6f4a94d4dd.jpg",[],{"id":5322,"slug":5323,"title":5324,"dynasty":96,"author":489,"museum":117,"description":5325,"tags":5326,"thumbUrl":5327,"material":34,"size":34,"collection":34,"collections":5328,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[23,24,81,25,52,26,28,176,55,101,56,126,235,121,82,7,104,387,4623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],{"id":5330,"slug":5331,"title":5332,"dynasty":96,"author":5333,"museum":46,"description":5334,"tags":5335,"thumbUrl":5336,"material":3329,"size":5337,"collection":34,"collections":5338,"showCount":5297,"zanCount":163,"manualWeight":11,"mainColor":133},234875,"yin-bao-jie-shan-tu-zhou-wang-wen-234875","隐宝界山图轴","王问","画中所绘当为宝界山实景。筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。王问之作传世不多，得此盛年鼎绝作品实为不易。\n此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生（1908-1990年）于1949年购于广州。1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。",[23,81,28,25,26,55,176,30,59,7,120,235,624,725,2687],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de3f53df33e51fc5b44308bff63eca.jpg","纵116厘米，横62.5厘米",[],{"id":5340,"slug":5341,"title":3209,"dynasty":44,"author":5342,"museum":117,"description":5343,"tags":5344,"thumbUrl":5345,"material":34,"size":34,"collection":34,"collections":5346,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},234671,"shan-shui-shan-mian-hou-fang-yu-234671","侯方域","侯方域（1618年4月—1655年1月），字朝宗，明朝归德府（今河南商丘）人，明末清初散文家，散文三大家之一、明末“四公子”之一、复社领袖。\n侯方域是明户部尚书侯恂之子，祖父及父辈都是东林党人，均因反对宦官专权而被黜。明朝灭亡后，侯方域流落江南，明亡后参加科举，为时人所讥：“两朝应举侯公子，忍对桃花说李香。”晚年失悔此举。 网上引用清史稿只言片语，说侯方域为做清朝官而献计于清军直隶山东河南三省总督张存仁，镇压榆园军起义。但并非如此，侯方域在清顺治七年春，因张存仁访其父，不得已上泛泛而谈的《上三省督府剿抚议》，且张存仁在顺治八年才水淹榆园军。在35岁时，回想起自己遭遇坎坷，除诗文一无所成，悔恨不已，又因违心参与顺治八年乡试，认为自己失节于明，便将其书房更名为“壮悔堂”，表示其壮年后悔之意。在这里，完成了他的两部文集《壮悔堂文集》10卷、《四忆堂诗集》6卷明志。\n清朝顺治十一年十二月十三日（1655年1月30日），37岁的侯方域因国破家亡，复明无望，壮志难酬，郁闷在怀和思念香君，染病身亡。\n侯方域与冒襄、陈贞慧、方以智，合称明末“四公子”，有代表作《李姬传》。清初作家孔尚任撰《桃花扇》剧本，描写的就是侯方域与秦淮名姬李香君的爱情故事，侧面反映了明亡清兴的历史背景。",[23,24,916,28,25,26,82,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2c3bb17af8e5f52cc5fb44cd14d8c9.jpg",[],{"id":5348,"slug":5349,"title":5350,"dynasty":44,"author":1099,"museum":117,"description":5351,"tags":5352,"thumbUrl":5353,"material":34,"size":34,"collection":34,"collections":5354,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[23,24,81,25,26,28,29,414,30,882,7,248,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":5356,"slug":5357,"title":1741,"dynasty":44,"author":1099,"museum":46,"description":1742,"tags":5358,"thumbUrl":5359,"material":158,"size":1745,"collection":34,"collections":5360,"showCount":5297,"zanCount":163,"manualWeight":11,"mainColor":39},233872,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233872",[23,25,28,27,26,55,7,1307,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dbbcd538bb5fd72d190bc550a1e721a.jpg",[],{"id":5362,"slug":5363,"title":5364,"dynasty":96,"author":5365,"museum":46,"description":5366,"tags":5367,"thumbUrl":5368,"material":3329,"size":5369,"collection":34,"collections":5370,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":133},233458,"shan-cun-tu-zhou-li-zai-233458","山村图轴","李在","图绘山间村落，巨峰如障，溪流坡岸，人物舟船，房屋俨然。作品取全景式山水，构图饱满，气势宏阔，皴笔细密扎实，墨韵浑厚。山石的卷云皴法和树木的“蟹爪枝”画法来自北宋郭熙，而用笔较为粗放率意，兼具南宋马远、夏圭之意，这种融南北宋于一体的画法是李在的本色面貌。画面以雄壮的山川衬托村居生活之平和气息，颇具怡然闲适之意趣。",[23,81,28,26,25,30,82,193,176,59,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5bbda67d2037904f15230fec65c4a8.jpg","纵135厘米，横76厘米",[],{"id":5372,"slug":5373,"title":17,"dynasty":18,"author":1464,"museum":46,"description":5374,"tags":5375,"thumbUrl":5376,"material":389,"size":5377,"collection":34,"collections":5378,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":133},233177,"shan-shui-ce-cao-zhi-bai-233177","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[23,24,27,25,26,28,154,29,235,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c56a42fde601ecf5f7dd11e23e93b3.jpg","纵33.1cm，横27.4cm",[],{"id":5380,"slug":5381,"title":5382,"dynasty":96,"author":4122,"museum":46,"description":5383,"tags":5384,"thumbUrl":5385,"material":86,"size":5386,"collection":34,"collections":5387,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},232966,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232966","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,27,25,2424,54,26,28,55,7,30,58,126,53,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b54e3625b7677c5c8658c24f38a7ee0.jpg","28.5×15.8厘米",[],{"id":5389,"slug":5390,"title":5391,"dynasty":44,"author":5392,"museum":1227,"description":5393,"tags":5394,"thumbUrl":5395,"material":5396,"size":5397,"collection":34,"collections":5398,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},232580,"shan-shui-hua-hui-ce-fu-shan-232580","山水花卉册","傅山","傅山傅眉《山水花卉冊》，该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开，绢本纸本均有，设色水墨俱全。纵25.7厘米，横25.2厘米，现藏于天津博物馆。\n傅山（1607-1684），明末清初思想家、书画家。善诗、书、画、其画山林，气概浩荡，骨格奇峭，丘壑磊落，有奇逸气势；间写竹石，不落恒蹊，超然出尘。因常披朱衣，故号朱衣道人。晚年喜欢苦酒，自称“老蘖禅”。\n傅眉（1628—1683）,傅山之子，字寿髦，一作寿毛，一字竹岭，自号小蘖禅，山西阳曲人。工诗书画，亦能篆刻，山水学父法古朴而有真趣。",[80,23,25,27,26,28,83,82,7,741,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F673a2f02dd0a60f1669bc67d8546001d.jpg","绢本纸本","纵25.7厘米，横25.2厘米",[],{"id":5400,"slug":5401,"title":5402,"dynasty":44,"author":5403,"museum":117,"description":5404,"tags":5405,"thumbUrl":5406,"material":295,"size":296,"collection":34,"collections":5407,"showCount":5297,"zanCount":163,"manualWeight":11,"mainColor":39},230353,"fang-gu-shan-shui-zhou-kun-230353","仿古山水","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》",[23,24,80,28,153,52,30,102,7,58,29,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb26cb02769aeda20dba4113895ea76f.jpg",[],{"id":5409,"slug":5410,"title":5411,"dynasty":96,"author":4744,"museum":117,"description":5412,"tags":5413,"thumbUrl":5414,"material":34,"size":34,"collection":34,"collections":5415,"showCount":5297,"zanCount":11,"manualWeight":11,"mainColor":39},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[49,80,23,24,52,26,126,28,572,193,156,60,64,882,7,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":5417,"slug":5418,"title":5419,"dynasty":115,"author":5420,"museum":117,"description":5421,"tags":5422,"thumbUrl":5423,"material":295,"size":296,"collection":34,"collections":5424,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},289946,"jiang-ting-lan-sheng-tu-zhang-xun-li-289946","江亭揽胜图","张训礼","松下一亭子，\n凭栏观江景。\n江上渔舟荡，\n远方山魅影。",[916,23,80,24,28,25,52,58,101,398,7,156,54,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0181bf5435b11285dd064c91fa37c7f4.jpg",[],{"id":5426,"slug":5427,"title":5428,"dynasty":18,"author":5429,"museum":117,"description":5430,"tags":5431,"thumbUrl":5433,"material":295,"size":296,"collection":34,"collections":5434,"showCount":38,"zanC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工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[23,24,27,25,54,26,28,30,55,7,248,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[35],{"id":5502,"slug":5503,"title":4013,"dynasty":44,"author":822,"museum":117,"description":5504,"tags":5505,"thumbUrl":5506,"material":68,"size":5507,"collection":34,"collections":5508,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},234717,"fang-gu-shan-shui-ce-wang-hui-234717","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[23,24,27,25,26,51,28,193,58,259,7,2816,30,31,2885,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","25.6厘米，横：20.5厘米",[],{"id":5510,"slug":5511,"title":5512,"dynasty":18,"author":2480,"museum":46,"description":5513,"tags":5514,"thumbUrl":5515,"material":237,"size":5516,"collection":34,"collections":5517,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":133},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[23,24,80,413,916,25,52,26,28,343,193,7,83,260,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":5519,"slug":5520,"title":5521,"dynasty":96,"author":5522,"museum":117,"description":5523,"tags":5524,"thumbUrl":5525,"material":86,"size":5526,"collection":34,"collections":5527,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[49,23,24,50,25,2424,26,126,53,54,28,83,55,82,59,494,7,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":5529,"slug":5530,"title":5531,"dynasty":44,"author":1948,"museum":117,"description":5532,"tags":5533,"thumbUrl":5534,"material":34,"size":34,"collection":34,"collections":5535,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":133},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[49,23,24,50,25,28,154,741,29,103,260,61,7,120,30,102,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":5537,"slug":5538,"title":5539,"dynasty":44,"author":5540,"museum":117,"description":5541,"tags":5542,"thumbUrl":5543,"material":34,"size":34,"collection":34,"collections":5544,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},230921,"wei-ying-nian-zuo-shan-shui-tu-gao-jian-230921","为迎年作山水图","高简","层岩峻壑以枯笔皴擦勾勒，尽显山石嶙峋古拙之态，苍劲老辣的笔墨晕染出北派山水的雄浑厚重。近岸枯木虬曲疏朗，枝桠间透着清寂萧寒，侧畔草堂幽居隐于林麓，涧水蜿蜒浅流，野意悠然。远景峰峦以淡墨晕染，虚实相生晕化开朦胧秀逸的南派意趣。右上角题字墨韵雅致，与山水相得益彰。整幅画作苍润笔墨相生相融，将林泉高致的文人雅趣藏于清寂出尘的山居意境里，尽显冲淡幽远的林下之风。",[49,23,24,81,25,26,28,30,82,56,59,7,64,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f7b769732c9efdb2ed772605377ecb.jpg",[],{"id":5546,"slug":5547,"title":5548,"dynasty":18,"author":1464,"museum":117,"description":5549,"tags":5550,"thumbUrl":5551,"material":34,"size":34,"collection":34,"collections":5552,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},228082,"shui-cun-tu-juan-cao-zhi-bai-228082","水村图卷","此作用平远之境铺陈水乡暮色，湖面浩渺空阔，洲渚星罗点缀浅滩，水色澹澹间漾出清寂之意。岸边林木萧疏，枯枝干桠错落伸展，茅舍隐于林间水岸，暗藏三两村意，尽揽江南水村闲淡野趣。\n笔墨以干笔皴擦衬以淡墨晕染，山石苍秀简劲，脱去繁缛刻画，尽显清逸松灵的韵致，以极简笔触勾勒出幽远空寂的林下隐逸之境，暗合文人疏离尘嚣、寄情林泉的雅趣风骨。",[49,80,23,24,50,25,26,28,121,55,881,59,57,7,104,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db4bab9056df9fa5cfdb5f848bd2a54.jpg",[],{"id":5554,"slug":5555,"title":5419,"dynasty":115,"author":5556,"museum":117,"description":5557,"tags":5558,"thumbUrl":5559,"material":34,"size":34,"collection":34,"collections":5560,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[49,23,24,916,52,28,54,398,7,156,881,494,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":5562,"slug":5563,"title":5564,"dynasty":115,"author":489,"museum":117,"description":5565,"tags":5566,"thumbUrl":5567,"material":34,"size":34,"collection":34,"collections":5568,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[80,23,24,52,28,58,156,7,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":5570,"slug":5571,"title":5572,"dynasty":96,"author":97,"museum":77,"description":5573,"tags":5574,"thumbUrl":5575,"material":422,"size":5576,"collection":34,"collections":5577,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},222096,"liang-jiang-ming-sheng-tu-ce-8-shen-zhou-222096","两江名胜图册8","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[49,23,24,27,52,28,53,101,156,176,7,31,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d2195e006435fbb0a25480c8b44d74.jpg","42.2×23.8厘米",[],{"id":5579,"slug":5580,"title":5581,"dynasty":96,"author":97,"museum":77,"description":5573,"tags":5582,"thumbUrl":5583,"material":422,"size":5576,"collection":34,"collections":5584,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},222093,"liang-jiang-ming-sheng-tu-ce-5-shen-zhou-222093","两江名胜图册5",[49,23,24,27,52,28,26,176,55,30,1218,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ed3b156ab6352fef75398d40a0743.jpg",[],{"id":5586,"slug":5587,"title":5588,"dynasty":18,"author":1445,"museum":1022,"description":5589,"tags":5590,"thumbUrl":5591,"material":5592,"size":5593,"collection":34,"collections":5594,"showCount":38,"zanCount":163,"manualWeight":11,"mainColor":34},220658,"you-ting-yuan-xiu-tu-tao-xuan-220658","幽亭远岫图","《幽亭远岫图》为陶铉现存仅知的作品，画幅左上方有陶氏款识，说明是至正五年（1345）为友人王迪简所绘。陶铉生平仅元代夏文彦《图绘宝鉴》中有简短记载，谓陶氏号菊村 ，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[49,23,80,81,25,26,28,58,29,259,308,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","水墨,纸本,立轴","画心：58×31.7厘米 装裱：199.5×50.5厘米",[],{"id":5596,"slug":5597,"title":5598,"dynasty":115,"author":5599,"museum":169,"description":5600,"tags":5601,"thumbUrl":5602,"material":141,"size":5603,"collection":35,"collections":5604,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},218873,"shan-shui-tu-su-di-chun-xiao-ma-yuan-zhong-218873","山水图-苏堤春晓","马元忠","画面中，西湖边的苏澳路景象逼真，断桥和三座鱼舱清晰可见，湖壁上的游客画面虽小，却很生动。马元忠的画史没有记载，他对苏堤在南宋时期的面貌进行了宝贵的描绘。",[49,23,24,27,204,25,52,28,176,57,101,55,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f9048532902657b0f71f4a712b0075.jpg","23.6x25.8",[35],{"id":5606,"slug":5607,"title":5608,"dynasty":44,"author":750,"museum":764,"description":5284,"tags":5609,"thumbUrl":5610,"material":250,"size":5287,"collection":34,"collections":5611,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},214523,"yi-jin-ling-ce-11-shi-tao-214523","忆金陵册-11",[23,25,28,101,55,7,31,53,126,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c9597cb335d0687e04ead266b505f9.jpg",[],{"id":5613,"slug":5614,"title":5615,"dynasty":96,"author":5616,"museum":117,"description":5617,"tags":5618,"thumbUrl":5620,"material":295,"size":296,"collection":34,"collections":5621,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},290930,"zhang-fu-he-hua-shui-cheng-tu-san-ce-qian-gu-290930","张复合画水程图（三）册","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[23,27,25,52,28,56,5619,4623,55,7,176,126],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d26269f7d5d1d5b773a5ebb8b10543.jpg",[],12,{"id":5624,"slug":5625,"title":5626,"dynasty":18,"author":489,"museum":117,"description":5627,"tags":5628,"thumbUrl":5629,"material":295,"size":296,"collection":34,"collections":5630,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":133},290144,"bu-yu-tu-yi-ming-290144","捕鱼图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[49,23,916,25,28,101,55,7,727,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3bc4909b20a98e28d9451ec850ccfe.jpg",[],{"id":5632,"slug":5633,"title":5634,"dynasty":115,"author":3621,"museum":117,"description":3622,"tags":5635,"thumbUrl":5638,"material":295,"size":296,"collection":34,"collections":5639,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":133},288546,"dong-jing-shan-shui-tu-li-gong-nian-288546","冬景山水图",[49,80,23,24,81,25,28,5636,82,518,7,3386,5637,84],"冬景","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73e7ea30fdbb06234008179e1525049.jpg",[],{"id":5641,"slug":5642,"title":5643,"dynasty":44,"author":1099,"museum":117,"description":5644,"tags":5645,"thumbUrl":5648,"material":295,"size":296,"collection":34,"collections":5649,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},288135,"fang-ni-yun-lin-gu-mu-tu-cha-shi-biao-288135","仿倪云林古木图","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[49,23,25,28,81,51,82,30,7,5646,5647,126,53,5637],"平水","孤木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff76a5128c80eb99da06818edf285693f.jpg",[],{"id":5651,"slug":5652,"title":5653,"dynasty":96,"author":150,"museum":117,"description":3106,"tags":5654,"thumbUrl":5656,"material":295,"size":296,"collection":34,"collections":5657,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},283773,"shu-shu-yao-cen-tu-zhou-dong-qi-chang-283773","疏树遥岑图轴",[80,23,24,81,25,28,5655,7,59,57,26,126,53],"疏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc04ef9a52bc3588b9795eae91f67593.jpg",[],{"id":5659,"slug":5660,"title":5661,"dynasty":44,"author":5662,"museum":117,"description":5663,"tags":5664,"thumbUrl":5665,"material":295,"size":296,"collection":34,"collections":5666,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},239422,"fang-nan-tian-shan-shui-zhou-bi-han-239422","仿南田山水轴","毕涵","毕涵，[清]（1732—1807）字有涵，号焦麓，又号止庵道人，晚称篆竹居士，阳湖（今江苏常州）人。",[23,24,81,25,26,51,28,30,55,59,121,7,120,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b1631bfd1fe0fb06f0c5ed8d3eddc.jpg",[],{"id":5668,"slug":5669,"title":17,"dynasty":96,"author":3218,"museum":117,"description":5670,"tags":5671,"thumbUrl":5672,"material":158,"size":34,"collection":35,"collections":5673,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},237628,"shan-shui-ce-shen-hao-237628","沈颢（1586—1680后），字朗倩，号石天、朗道人，吴（今江苏苏州）人。补博士弟子员。沈颢风仪轩举，博雅多闻。\n早年薙发为僧，中年还俗。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著“画尘”，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[23,25,27,26,28,193,83,1657,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20073fbc7840edd200c6a8edfaff6335.jpg",[35],{"id":5675,"slug":5676,"title":17,"dynasty":44,"author":4493,"museum":46,"description":4494,"tags":5677,"thumbUrl":5678,"material":389,"size":34,"collection":34,"collections":5679,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},237191,"shan-shui-ce-sun-yi-237191",[23,28,27,52,26,154,247,787,29,155,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed226bcb7451e0855a0e8ac8e024d137.jpg",[],{"id":5681,"slug":5682,"title":5683,"dynasty":44,"author":1510,"museum":46,"description":5684,"tags":5685,"thumbUrl":5686,"material":1514,"size":5687,"collection":35,"collections":5688,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},236745,"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","山水册装轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[23,24,27,25,52,26,28,55,121,7,120,124,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[35,108,700],{"id":5690,"slug":5691,"title":5692,"dynasty":96,"author":3345,"museum":117,"description":5693,"tags":5694,"thumbUrl":5695,"material":295,"size":296,"collection":34,"collections":5696,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":133},236672,"shan-shui-shan-lu-zhi-236672","山水扇","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[4442,23,24,916,25,26,28,55,59,30,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196bbb134e80b6f36e725053aa201834.jpg",[],{"id":5698,"slug":5699,"title":5700,"dynasty":96,"author":5701,"museum":117,"description":5702,"tags":5703,"thumbUrl":5704,"material":295,"size":296,"collection":34,"collections":5705,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},236292,"fang-dong-ju-shan-shui-shan-zheng-zhong-236292","仿董巨山水扇","郑重","郑重，字千里，号无著，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身。亦画山水小景。摹仿宋、元体均精妍。万历四十年（1612）临王蒙葛仙移居图，顺治五年（1648）作《十月岭梅图》。《无声诗史、歙县志、故宫书画集、风雨楼扇粹》。",[23,24,916,25,26,28,58,55,30,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed8d49fe244e8fef28c5ebf7ff8baf7.jpg",[],{"id":5707,"slug":5708,"title":5709,"dynasty":44,"author":361,"museum":117,"description":3988,"tags":5710,"thumbUrl":5711,"material":295,"size":296,"collection":34,"collections":5712,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},235339,"fang-gu-shu-hua-ce-wang-jian-235339","仿古书画册",[23,24,27,153,52,28,54,126,57,56,55,7,59,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d51a7dc9bebbb0aff7ced8be3699e6.jpg",[],{"id":5714,"slug":5715,"title":17,"dynasty":44,"author":634,"museum":117,"description":5716,"tags":5717,"thumbUrl":5718,"material":34,"size":34,"collection":34,"collections":5719,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},235173,"shan-shui-ce-zhu-da-235173","此作用笔极简枯淡，近景虬松孑立、枝干苍劲，旁侧矮松偃仰自适，坡石茅舍隐于淡墨浅痕之中，不着浓艳皴擦，尽得萧散之致。远景山峦以淡墨轻扫晕染，大片留白铺陈出水天渺茫，将天地空寂之意全然铺开。\n\n画作以虚代实，删繁就简，将满腔孤高幽寂寄寓在荒寒山景之中，淡远冷逸的意境里藏着遗世独立的沉郁心绪，寥寥数笔勾勒出天地间的清寥空阔，尽显空灵冷峭的独特意趣。",[23,25,637,26,27,28,82,83,7,260,4623,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8494e46932a474e8df6edfda1c28c4b4.jpg",[],{"id":5721,"slug":5722,"title":17,"dynasty":44,"author":2404,"museum":46,"description":5723,"tags":5724,"thumbUrl":5725,"material":158,"size":5726,"collection":34,"collections":5727,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},235017,"shan-shui-ce-wu-li-235017","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[23,25,28,27,26,58,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a9bf9b278d1b6f75273acc3fd1ce95.jpg","23.2厘米，横28厘米",[],{"id":5729,"slug":5730,"title":5731,"dynasty":96,"author":2072,"museum":117,"description":5195,"tags":5732,"thumbUrl":5733,"material":34,"size":34,"collection":34,"collections":5734,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},234637,"fang-ni-yun-lin-shan-shui-shan-ye-lan-ying-234637","仿倪云林山水扇页",[23,24,916,25,51,26,28,29,30,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1600bed19ce55d40b46ed0b1d4f262d8.jpg",[],{"id":5736,"slug":5737,"title":5738,"dynasty":44,"author":5739,"museum":117,"description":5740,"tags":5741,"thumbUrl":5742,"material":34,"size":34,"collection":34,"collections":5743,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},234614,"lan-cui-du-shu-wan-shan-yuan-xu-234614","览翠读书纨扇","袁煦","袁煦（约为1764年前后生人），乾隆五十九年（1794年）举人，清代济南府长山县人，礼部尚书、协办大学士纪昀女婿。清朝中期画家，工山水，官至内阁中书、军机章京。注：出生时间参照其中举时间（1794年）与纪昀三子纪汝似（1766年生人）的出生时间。",[23,24,916,52,28,30,56,55,59,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98a43fe28f1dab8cfc0a33bfb1cc98a4.jpg",[],{"id":5745,"slug":5746,"title":5747,"dynasty":96,"author":5748,"museum":117,"description":5749,"tags":5750,"thumbUrl":5751,"material":34,"size":34,"collection":34,"collections":5752,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},234493,"qiu-lin-ya-zhen-shan-ye-wei-xue-lian-234493","秋林鸦阵扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[23,916,25,26,55,260,30,7,414,814],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92dd15adde64d03325d8a441afab8aa.jpg",[],{"id":5754,"slug":5755,"title":5756,"dynasty":44,"author":750,"museum":46,"description":5757,"tags":5758,"thumbUrl":5759,"material":389,"size":5760,"collection":34,"collections":5761,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},233777,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233777","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[23,24,27,25,52,54,26,28,60,59,55,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg","纵27厘米，横21.3厘米",[],{"id":5763,"slug":5764,"title":5765,"dynasty":96,"author":452,"museum":46,"description":5766,"tags":5767,"thumbUrl":5768,"material":698,"size":5769,"collection":34,"collections":5770,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},233234,"gui-fen-tu-juan-chou-ying-233234","归汾图卷","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,50,52,410,26,54,53,126,28,60,176,57,56,58,260,55,63,7,493,124,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5d14ba947ca8d4ea3f712b7d9b9be8.jpg","纵26.9厘米，横124厘米",[],{"id":5772,"slug":5773,"title":17,"dynasty":18,"author":1464,"museum":46,"description":5374,"tags":5774,"thumbUrl":5775,"material":389,"size":5377,"collection":34,"collections":5776,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":133},233176,"shan-shui-ce-cao-zhi-bai-233176",[23,24,25,54,26,27,28,55,121,7,102,57,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17ecbbd4b4d239fdd07a6646c24e93.jpg",[],{"id":5778,"slug":5779,"title":5382,"dynasty":96,"author":4122,"museum":46,"description":5383,"tags":5780,"thumbUrl":5781,"material":86,"size":5386,"collection":34,"collections":5782,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[23,24,27,25,26,53,126,28,259,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":5784,"slug":5785,"title":5786,"dynasty":96,"author":150,"museum":1937,"description":5787,"tags":5788,"thumbUrl":5789,"material":237,"size":5790,"collection":34,"collections":5791,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":133},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[49,23,24,81,25,26,28,30,55,60,156,7,248,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":5793,"slug":5794,"title":5795,"dynasty":18,"author":5796,"museum":117,"description":5797,"tags":5798,"thumbUrl":5799,"material":34,"size":34,"collection":34,"collections":5800,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":133},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","陈汝言","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[49,23,24,81,25,26,28,30,103,55,61,7,248,234,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":5802,"slug":5803,"title":5804,"dynasty":115,"author":489,"museum":117,"description":5805,"tags":5806,"thumbUrl":5807,"material":34,"size":34,"collection":34,"collections":5808,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":133},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[49,23,24,25,52,28,204,27,26,176,55,56,124,7,102,696],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":5810,"slug":5811,"title":5812,"dynasty":284,"author":528,"museum":117,"description":529,"tags":5813,"thumbUrl":5815,"material":295,"size":296,"collection":297,"collections":5816,"showCount":5622,"zanCount":11,"manualWeight":11,"mainColor":39},225970,"lavacourt-under-snow-1879-mo-nai-225970","Lavacourt 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于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[23,916,52,28,26,58,55,7,155,3685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246c0a28a14775872551e950cec067a7.jpg",[],{"id":5952,"slug":5953,"title":5954,"dynasty":44,"author":5955,"museum":46,"description":5956,"tags":5957,"thumbUrl":5958,"material":34,"size":34,"collection":34,"collections":5959,"showCount":5855,"zanCount":163,"manualWeight":11,"mainColor":39},234574,"fang-li-ying-qiu-shan-shui-shan-tang-dai-234574","仿李营丘山水扇","唐岱","清代画家唐岱, 字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[80,23,24,916,25,52,28,30,55,59,7,51,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":5961,"slug":5962,"title":5963,"dynasty":44,"author":2230,"museum":46,"description":5964,"tags":5965,"thumbUrl":5966,"material":34,"size":34,"collection":34,"collections":5967,"showCount":5855,"zanCount":163,"manualWeight":11,"mainColor":39},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[23,25,26,27,28,30,55,156,103,59,1319,7,82,57,56,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":5969,"slug":5970,"title":5971,"dynasty":284,"author":5972,"museum":117,"description":5973,"tags":5974,"thumbUrl":5975,"material":34,"size":34,"collection":34,"collections":5976,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":39},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[49,23,24,27,25,52,26,28,60,176,101,56,30,55,7,104,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":5978,"slug":5979,"title":5980,"dynasty":44,"author":5981,"museum":3554,"description":5982,"tags":5983,"thumbUrl":5984,"material":5985,"size":5986,"collection":34,"collections":5987,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":133},231353,"xi-sai-shan-zhuang-di-er-tu-shen-zong-qian-231353","西塞山庄第二图","沈宗骞","此卷绘西塞山庄之胜景，虽不是张志和诗中之西塞，然长松阔水，溪山静好，亦是人间佳境。此幅全法南宗山水之圭臬，又有黄子久富春山居图笔墨之法，而加“四王”之平实笔意。是沈熙远精心之作。\n沈宗骞（1736—1820）。字熙远，号芥舟，又号研湾老圃，浙江乌程（今湖州）庠生。生平杰作《汉宫春晓》、《万竿烟雨》二图，为赏鉴家所宝，有神品之目。晚年则纯用焦墨。《墨林今话、墨香居画识》。",[49,23,24,50,25,26,28,55,30,121,102,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","纸本 墨笔","27cmx285cm",[],{"id":5989,"slug":5990,"title":5991,"dynasty":115,"author":489,"museum":117,"description":5992,"tags":5993,"thumbUrl":5995,"material":34,"size":34,"collection":34,"collections":5996,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":133},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[49,23,24,413,25,52,28,101,5994,55,61,7,126],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":5998,"slug":5999,"title":6000,"dynasty":284,"author":528,"museum":117,"description":529,"tags":6001,"thumbUrl":6005,"material":295,"size":296,"collection":297,"collections":6006,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":39},226003,"poppy-field-in-giverny-03-1890-v2-mo-nai-226003","Poppy Field in Giverny 03, 1890 v2",[288,531,6002,6003,6004,55,7,539],"风景","罂粟花田","原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabce1683b6c405e21bf83d870ccaec23.jpg",[297],{"id":6008,"slug":6009,"title":6010,"dynasty":284,"author":285,"museum":117,"description":286,"tags":6011,"thumbUrl":6013,"material":295,"size":296,"collection":297,"collections":6014,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":133},225799,"rain-1889-fan-gao-225799","Rain 1889",[80,288,289,6012,2151,2815,7],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e6c6827ec14e6fa868ddfeaecf6b1e.jpg",[297],{"id":6016,"slug":6017,"title":6018,"dynasty":18,"author":489,"museum":2827,"description":6019,"tags":6020,"thumbUrl":6023,"material":86,"size":6024,"collection":34,"collections":6025,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":133},223448,"han-jiang-dai-du-tu-yi-ming-223448","寒江待渡图","这是一幅典型的、表达入仕愿望的待渡图，幅中烟岚中的台阁象征仕途，待渡人仿佛严阵以待般静立江岸，等待一只前来接引的小舟。另一种说法是：山中俨然而立的是寺观，待渡者相反是要表达出世的愿望。结合它所创作的元代，两种解释似乎都能成立。",[49,23,25,26,52,28,101,56,82,6021,6022,55,7,102,696,3000],"寒江","渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e77f66f7f33d72e246016b5833f6c12.jpg","30x32厘米",[],{"id":6027,"slug":6028,"title":6029,"dynasty":96,"author":97,"museum":77,"description":5573,"tags":6030,"thumbUrl":6032,"material":422,"size":5576,"collection":34,"collections":6033,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":39},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6",[49,23,24,27,52,28,176,6031,594,7,55,261,54,126],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg",[],{"id":6035,"slug":6036,"title":6037,"dynasty":96,"author":2491,"museum":46,"description":6038,"tags":6039,"thumbUrl":6041,"material":6042,"size":6043,"collection":34,"collections":6044,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":133},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[49,23,24,27,52,51,28,2338,56,55,7,723,387,6040,882],"归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":6046,"slug":6047,"title":6048,"dynasty":96,"author":150,"museum":230,"description":3464,"tags":6049,"thumbUrl":6050,"material":86,"size":777,"collection":34,"collections":6051,"showCount":5855,"zanCount":11,"manualWeight":11,"mainColor":39},220343,"fang-mi-fei-shan-shui-tu-juan-tu-juan-bu-fen-2-dong-qi-chang-220343","仿米芾山水图卷-图卷部分2",[80,23,24,50,215,25,742,28,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b72929136a45b72eea08f9e1578616d.jpg",[],{"id":6053,"slug":6054,"title":6055,"dynasty":96,"author":384,"museum":117,"description":1769,"tags":6056,"thumbUrl":6057,"material":295,"size":296,"collection":34,"collections":6058,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},287870,"shan-tang-duan-zhao-tu-li-zhou-zhang-hong-287870","山塘短棹图立轴",[49,23,80,81,25,28,101,193,56,176,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fd3fa884e5a4063287f3ba229506cbd.jpg",[],{"id":6060,"slug":6061,"title":6062,"dynasty":96,"author":150,"museum":117,"description":3106,"tags":6063,"thumbUrl":6065,"material":295,"size":296,"collection":34,"collections":6066,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":133},287405,"dong-xuan-zai-shan-shui-tu-dong-qi-chang-287405","董玄宰山水图",[49,23,172,25,82,6064,7,1715],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf6d43c47d7ac013037de6945b150e1.jpg",[],{"id":6068,"slug":6069,"title":6070,"dynasty":44,"author":6071,"museum":117,"description":6072,"tags":6073,"thumbUrl":6074,"material":34,"size":34,"collection":34,"collections":6075,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},239216,"cheng-bo-wan-qing-tu-zhou-xu-fang-239216","澄波万顷图轴","徐枋","以淡墨晕染江天浩渺，远山轻笼烟霭，如黛痕隐在云水之间，江帆凌波点点，衬得万顷澄波愈见空阔辽远。近景危崖层叠皴擦，枯木疏朗错落，崖畔茅亭山居幽藏林间，山巅楼宇凭崖俯瞰大江，尽得林泉高致。\n\n笔墨简淡清和，以留白衬出水天无际，带着遗世幽居的冷寂萧疏。题诗与笔墨相映，将寄怀林泉、耽恋丘壑的隐逸襟怀融在山光水色之中，淡远里藏着沉郁静气，尽显文人画诗画合一的雅逸格调。",[23,24,81,25,26,28,1079,55,59,1319,7,387],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a04716dd53d779f11804342d6a38b4a.jpg",[],{"id":6077,"slug":6078,"title":6079,"dynasty":44,"author":902,"museum":117,"description":6080,"tags":6081,"thumbUrl":6082,"material":295,"size":296,"collection":34,"collections":6083,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":133},238956,"sheng-mao-san-xia-qu-tang-tu-ye-sheng-mao-238956","盛懋三峡瞿塘图页","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[23,24,916,52,28,62,398,101,55,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef4ede6cc5bdcd57328bb710edec5db.jpg",[],{"id":6085,"slug":6086,"title":6087,"dynasty":44,"author":3210,"museum":117,"description":5293,"tags":6088,"thumbUrl":6089,"material":34,"size":34,"collection":34,"collections":6090,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},238824,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238824","董诰墨庄览胜图册",[80,23,24,27,52,26,28,58,56,726,30,55,7,102,126]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用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[23,24,27,25,28,154,155,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cd3f26706df799876961b0f36ef221.jpg",[],{"id":6133,"slug":6134,"title":5391,"dynasty":96,"author":2512,"museum":117,"description":6135,"tags":6136,"thumbUrl":6137,"material":34,"size":34,"collection":34,"collections":6138,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},235692,"shan-shui-hua-hui-ce-xiang-sheng-mo-235692","此作笔致清隽秀雅，以淡墨取韵。近岸白石棱层，间生细草幽苔，古意盎然。崖顶孤松虬曲斜出，枝叶疏朗尽显风骨。白衣高士席地凭栏，静望远山。远景峰峦以淡墨晕染，朦胧虚和，留白铺陈平沙水色，虚实相映。\n\n整体意境萧散淡远，将幽人林泉寄兴、澄怀观道的雅趣藏于尺幅，笔简而意长，尽显静穆悠然的文人逸韵，禅意漫溢，于极简笔墨中铺展出清远空寂的山水之境。",[23,27,25,26,28,83,193,60,30,7,516,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281a62a3bf0e75586f28c2598162aca0.jpg",[],{"id":6140,"slug":6141,"title":2792,"dynasty":44,"author":2404,"museum":117,"description":6142,"tags":6143,"thumbUrl":6144,"material":34,"size":34,"collection":34,"collections":6145,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},235642,"shan-shui-tu-ce-wu-li-235642","此作用笔苍秀，意境淡远。近岸危石兀立，古木虬枝蟠曲，荫蔽下一扁舟泊停，舟中幽人凭舷远眺。湖面开阔空寂，水鸟三两掠波而过，远山以淡墨晕染，层叠晕幻，晕出温润空濛的暮色诗意。\n题诗与画面浑然相融，暗合日暮归樵的幽隐之趣。干湿浓淡间尽显水墨层次，枯笔写木，湿墨晕山，以简淡之笔勾勒出萧散出尘的林下景致，将文人幽居林泉的隐逸心境铺陈纸上，静穆雅致，余韵悠长。",[23,25,26,27,28,83,193,260,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815175b8d890959771f6894df9caddb9.jpg",[],{"id":6147,"slug":6148,"title":6149,"dynasty":96,"author":6150,"museum":117,"description":6151,"tags":6152,"thumbUrl":6153,"material":34,"size":34,"collection":34,"collections":6154,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","杨文骢","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[23,24,81,25,26,28,55,84,1573,1307,7,493,414,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":6156,"slug":6157,"title":17,"dynasty":44,"author":2404,"museum":46,"description":5723,"tags":6158,"thumbUrl":6159,"material":158,"size":5726,"collection":34,"collections":6160,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},235019,"shan-shui-ce-wu-li-235019",[23,52,26,28,29,30,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe2e9b957ab7cd12fa01a25587da41f.jpg",[],{"id":6162,"slug":6163,"title":3417,"dynasty":44,"author":1510,"museum":117,"description":6164,"tags":6165,"thumbUrl":6166,"material":295,"size":296,"collection":34,"collections":6167,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},234712,"shan-shui-ye-wang-yuan-qi-234712","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[23,25,26,24,27,28,29,59,30,882,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4568b2d6872a4bb289ea167f4b7a84c.jpg",[],{"id":6169,"slug":6170,"title":17,"dynasty":44,"author":1099,"museum":117,"description":6171,"tags":6172,"thumbUrl":6173,"material":34,"size":34,"collection":34,"collections":6174,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},234645,"shan-shui-ce-cha-shi-biao-234645","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[23,24,27,25,54,26,28,58,29,7,493,83,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c45098315924d5068c0fa9dad5a669e.jpg",[],{"id":6176,"slug":6177,"title":5186,"dynasty":96,"author":2072,"museum":117,"description":5195,"tags":6178,"thumbUrl":6179,"material":34,"size":34,"collection":34,"collections":6180,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},234630,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234630",[23,24,916,28,25,26,51,154,29,59,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],{"id":6182,"slug":6183,"title":2229,"dynasty":44,"author":6184,"museum":117,"description":6185,"tags":6186,"thumbUrl":6187,"material":34,"size":34,"collection":34,"collections":6188,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},234483,"shan-shui-ce-ye-wu-ji-shan-234483","吴继善","吴继善，字志衍,明朝官员。南直隶太仓人，中崇祯十年（1637年）进士，崇祯十六年（1643年）任成都知县。",[23,24,27,25,26,28,29,59,7,248,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a40848c5916e5cd036669177fab251.jpg",[],{"id":6190,"slug":6191,"title":17,"dynasty":96,"author":150,"museum":46,"description":1053,"tags":6192,"thumbUrl":6194,"material":389,"size":1056,"collection":34,"collections":6195,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},233803,"shan-shui-ce-dong-qi-chang-233803",[23,25,26,27,126,28,55,30,121,64,84,61,178,7,120,217,6193],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75710c5e147415e81d5f1e9b06ef7dca.jpg",[],{"id":6197,"slug":6198,"title":6199,"dynasty":115,"author":489,"museum":46,"description":6200,"tags":6201,"thumbUrl":6203,"material":6204,"size":6205,"collection":34,"collections":6206,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":133},233019,"song-yin-ce-zhang-tu-ye-yi-ming-233019","松阴策杖图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[23,80,52,410,28,60,787,29,800,7,1545,6202],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","绢本 设色","28x28.6厘米",[],{"id":6208,"slug":6209,"title":6210,"dynasty":44,"author":6211,"museum":117,"description":6212,"tags":6213,"thumbUrl":6214,"material":34,"size":34,"collection":34,"collections":6215,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[49,23,24,80,413,52,26,126,28,57,56,55,59,30,7,61,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":6217,"slug":6218,"title":6219,"dynasty":284,"author":6220,"museum":117,"description":6221,"tags":6222,"thumbUrl":6237,"material":295,"size":296,"collection":34,"collections":6238,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":1538},232581,"wei-lian-a-dao-fu-bu-ge-luo-195-wei-lian-a-dao-fu-bu-ge-luo-232581","威廉·阿道夫·布格罗195","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[288,6223,6224,6225,6226,6227,6228,6229,6230,6231,6232,6233,55,1545,7,3427,6234,6235,6236],"写实主义","新古典主义","光影处理","色彩柔和","细腻笔触","人物写实","设色典雅","女性人物","小天使","翅膀","石凳","蓝色布料","户外场景","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf5b38d6d09cfc2cc0507ac0b77a0cb1.jpg",[],{"id":6240,"slug":6241,"title":6242,"dynasty":284,"author":6243,"museum":117,"description":6244,"tags":6245,"thumbUrl":6246,"material":295,"size":296,"collection":34,"collections":6247,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[49,80,3050,50,52,172,28,156,59,124,882,7,5312,55,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":6249,"slug":6250,"title":6251,"dynasty":44,"author":6252,"museum":117,"description":6253,"tags":6254,"thumbUrl":6255,"material":34,"size":34,"collection":34,"collections":6256,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":133},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","仿董源山水图","祁豸佳","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[49,23,24,80,81,25,26,51,28,156,30,59,55,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":6258,"slug":6259,"title":6260,"dynasty":284,"author":6261,"museum":117,"description":6262,"tags":6263,"thumbUrl":6265,"material":295,"size":296,"collection":34,"collections":6266,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":133},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏","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。",[49,23,24,6264,25,26,28,101,917,58,156,103,7,248,309],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":6268,"slug":6269,"title":6270,"dynasty":44,"author":489,"museum":117,"description":6271,"tags":6272,"thumbUrl":6276,"material":34,"size":34,"collection":34,"collections":6277,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3","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。",[49,23,24,27,25,52,26,28,6273,61,101,55,6274,7,248,59,56,57,120,6275,2248,124],"山岩","亭阁","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":6279,"slug":6280,"title":6281,"dynasty":115,"author":489,"museum":46,"description":6282,"tags":6283,"thumbUrl":6284,"material":698,"size":6285,"collection":34,"collections":6286,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},223509,"liu-xi-diao-ting-tu-yi-ming-223509","柳溪钓艇图","绘江南小景，坡岸垂柳杂树，茅舍隐然，河中渔舟横陈，船头一翁垂钓",[49,23,916,25,28,126,726,101,56,7,905],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40fa66204fb50d3e262d289a18d3643.jpg","23*24.8cm",[],{"id":6288,"slug":6289,"title":6290,"dynasty":96,"author":6291,"museum":169,"description":6292,"tags":6293,"thumbUrl":6294,"material":1898,"size":6295,"collection":34,"collections":6296,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},222455,"song-ren-shi-yi-shan-qian-xian-222455","宋人诗意扇","钱暹","全画墨色恬淡，景物造型简约，随处可见用笔的精到，如莲叶的盛衰枯荣、柳枝的轻盈柔美。",[23,25,916,28,156,30,7,102,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83eb023c5f477bc2367a2db4019520b.jpg","17x52.2厘米",[],{"id":6298,"slug":6299,"title":6300,"dynasty":44,"author":361,"museum":77,"description":6301,"tags":6302,"thumbUrl":6303,"material":250,"size":6304,"collection":34,"collections":6305,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},216975,"fang-song-yuan-shan-shui-ce-9-wang-jian-216975","仿宋元山水册-9","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[49,80,23,24,25,26,51,27,28,30,61,55,7,725,82,84,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd859c8b90e8e3f47472da8cbc74.jpg","纵55.4厘米，横36.0厘米",[],{"id":6307,"slug":6308,"title":6309,"dynasty":96,"author":6310,"museum":20,"description":6311,"tags":6312,"thumbUrl":6319,"material":250,"size":34,"collection":34,"collections":6320,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},216323,"han-xi-meng-xiu-song-yuan-ming-ji-ce-mi-hua-shan-shui-tu-han-xi-meng-216323","韩希孟绣宋元名迹册·米画山水图","韩希孟","绣线作墨，晕染出米家云山的空濛气韵。远山以淡丝叠缀，烟岚似在丝缕间浮动；近树用细针勾枝，苍劲中藏着秀逸之态。孤舟泊于浩渺水面，针脚疏密交织，水的清寂与山的悠远悄然相融。以绣代笔，将宋元山水的笔墨意趣化为丝缕的韵律，每一针都凝着对古画的深悟——既有绘画的空灵气韵，又有丝线特有的温润质感，尽显明代闺阁绣艺的精妙与雅致，让山水的悠远意境在丝帛上静静流淌。",[6313,24,23,413,25,153,51,742,26,6314,6315,28,101,55,7,104,31,102,125,6316,6317,6318,126,53],"刺绣","宋元风格","刺绣技法","小岛","孤帆","岸边树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d87539d4a7a2aa7cc22219189d23a0e.jpg",[],{"id":6322,"slug":6323,"title":5108,"dynasty":44,"author":361,"museum":20,"description":4468,"tags":6324,"thumbUrl":6325,"material":250,"size":34,"collection":34,"collections":6326,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},215020,"fang-gu-shan-shui-ce-10-wang-jian-215020",[80,23,24,25,153,26,27,28,30,55,82,61,59,7,84,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11919f562afd6a3c89ea0895593cfc50.jpg",[],{"id":6328,"slug":6329,"title":6330,"dynasty":44,"author":3536,"museum":20,"description":6331,"tags":6332,"thumbUrl":6333,"material":33,"size":34,"collection":34,"collections":6334,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":39},214495,"shui-mo-tu-ce-8-zheng-min-214495","水墨图册-8","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[49,23,24,27,25,54,26,28,154,55,124,235,121,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7b6c70420fc5555a1206f12d623238.jpg",[],{"id":6336,"slug":6337,"title":6338,"dynasty":96,"author":6339,"museum":77,"description":6340,"tags":6341,"thumbUrl":6342,"material":34,"size":34,"collection":35,"collections":6343,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":6344},203054,"shan-shui-ji-ce-liu-jue-203054","山水集册","刘珏","此图以水墨为基调，山峦轮廓用皴法晕染，墨色层次丰富，尽显苍润之致。近景孤石突兀，附以疏木点缀，笔意朴拙；远景峰峦叠嶂，云雾轻缠，意境空灵悠远。平展的水面与连绵远山相映成趣，静谧中透着文人画特有的清幽雅致。画作融宋元山水意趣，笔法细腻却不失雄浑，简淡间见深致，传递出自然与心境相融的悠然之韵。",[28,25,26,83,7,27,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78fb603d0d3154326e6e2a0336fde23.jpg",[35],"b7aca0",{"id":6346,"slug":6347,"title":6348,"dynasty":96,"author":150,"museum":77,"description":6349,"tags":6350,"thumbUrl":6351,"material":34,"size":34,"collection":35,"collections":6352,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":6353},201599,"qiu-shan-gao-shi-tu-zhou-dong-qi-chang-201599","秋山高士图轴","这幅画作笔墨清润淡远，山峦以披麻皴轻擦，线条疏朗空灵，尽显江南秋山的幽寂之境。近景树木姿态各异，枝干以中锋写出，墨色浓淡相间，蕴含“以书入画”的雅致；林间小屋隐现丘壑间，似藏高士逸趣，秋意悄然弥漫。远景山峦连绵，云雾轻笼水面，留白处尽显空濛之趣。构图虚实相生，气韵生动，笔墨间融注文人禅意，将自然之静与心境之超然融为一体，是文人山水画的典型佳作。",[23,28,25,26,81,55,7,56,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e82b9598823d5e4f1d727bbba4605b.jpg",[35],"a78c52",{"id":6355,"slug":6356,"title":6357,"dynasty":115,"author":489,"museum":117,"description":6358,"tags":6359,"thumbUrl":6361,"material":295,"size":296,"collection":34,"collections":6362,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},289452,"cheng-jiang-bi-xiu-tu-yi-ming-289452","澄江碧岫图","此作为边角取景的山水小品，左实右虚，将江南烟水意蕴纳于尺幅间。峭拔山石以青绿晕染，石色清润雅致，与赭色底色相融，古松苍劲虬曲，栖于岩岸，茅庐隐于林下，野趣悠然。空阔江面之上，数艘扁舟缓行，破开一江澄澈。远景远山以淡墨晕散，隐没于烟霭之中，虚实相映间，江天浩渺的静穆清旷扑面而来。画作简淡清远，以小见大，尽得清隽温润之韵，将寄情山水的幽远意趣藏在每一处晕染勾勒中，尽显江南水色的空灵闲雅。",[916,23,80,455,52,172,3269,398,6360,178,174,7,260,1263],"行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7decbafa7e5bee3ec097a1a143c123e2.jpg",[],9,{"id":6365,"slug":6366,"title":5868,"dynasty":96,"author":4744,"museum":117,"description":6367,"tags":6368,"thumbUrl":6369,"material":34,"size":34,"collection":34,"collections":6370,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},239195,"shan-chuan-ming-sheng-ce-song-xu-239195","这幅小品以淡设色铺展临江胜景，浅赭花青晕染远山，柔润山色裹挟朦胧雾气，黛墨点苔晕出山峦苍润肌理。雄踞矶头的楼阁层叠飞檐，丹楼黛瓦在烟水间格外醒目。江面上扁舟三两悠然泛波，细笔淡描水纹，晕开烟波浩渺之态。近岸村舍旌旗错落，晕开江畔烟火暖意，左侧山巅隐见层林古寺，与主楼遥遥呼应。\n\n画风清润淡雅，以平远构图铺展楚天开阔之境，将楼阁雄姿与烟江叠嶂相融，淡墨轻岚里晕开江汉间的灵动气韵，尽显潇湘烟水的空濛雅致，暗合文人山水的清远意趣。",[23,52,204,27,26,28,176,56,101,55,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2c52a1351ba4ccb07944e50bdeb46.jpg",[],{"id":6372,"slug":6373,"title":6087,"dynasty":44,"author":3210,"museum":117,"description":5293,"tags":6374,"thumbUrl":6375,"material":34,"size":34,"collection":34,"collections":6376,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},238832,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238832",[23,52,28,26,27,30,55,59,7,493,102,457,64,234,123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],{"id":6378,"slug":6379,"title":6380,"dynasty":96,"author":3444,"museum":117,"description":3445,"tags":6381,"thumbUrl":6382,"material":295,"size":296,"collection":34,"collections":6383,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},237967,"shan-shui-shan-ye-sun-zhi-237967","山水扇页",[23,24,916,28,25,26,154,155,29,82,57,101,308,56,235,7,725],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":6385,"slug":6386,"title":6387,"dynasty":96,"author":2512,"museum":117,"description":6388,"tags":6389,"thumbUrl":6390,"material":34,"size":34,"collection":34,"collections":6391,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":133},237705,"shan-shui-hua-guo-ce-xiang-sheng-mo-237705","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[23,24,27,25,26,28,101,193,30,31,7,55,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceba27ea2e170a558cca7e82b35d7d02.jpg",[],{"id":6393,"slug":6394,"title":6395,"dynasty":44,"author":6396,"museum":117,"description":6397,"tags":6398,"thumbUrl":6399,"material":295,"size":296,"collection":34,"collections":6400,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},237071,"duan-qiao-shu-liu-shan-zhang-wei-237071","断桥疏柳扇","张维","字叔维，号西泠寓客，常熟(今属江苏)人，常居杭州西湖，系张季【1570（隆庆四年）-1610（万历三十八年）】弟。",[23,916,25,28,57,726,58,60,55,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d8a6da14d451afa1a391db975c4c33.jpg",[],{"id":6402,"slug":6403,"title":5692,"dynasty":44,"author":2541,"museum":117,"description":6404,"tags":6405,"thumbUrl":6406,"material":295,"size":296,"collection":34,"collections":6407,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":133},236815,"shan-shui-shan-wang-shi-min-236815","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[44,23,916,25,26,28,55,30,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbf9df04594e7bef96bfd038b5c46a7.jpg",[],{"id":6409,"slug":6410,"title":5692,"dynasty":96,"author":6411,"museum":117,"description":6412,"tags":6413,"thumbUrl":6414,"material":295,"size":296,"collection":34,"collections":6415,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":133},236690,"shan-shui-shan-zheng-yuan-xun-236690","郑元勋","郑元勋（1598-1645年），字超宗，号惠东，扬州广陵(今扬州市广陵区)人。明末画家，江左名流。\n崇祯十六年(1643年)，考中进士，官至清吏司主事。工诗善画，善山水，宗于吴镇，尤工山水小景，措笔洒落，士气得韵。\n顺治二年，“因悍镇分地临扬，欲纾难而出语小误，为众击惨死，时论惜之，卒年四十七”。（参见徐沁《明画录》卷五记载）",[23,24,916,25,26,28,29,30,7,60,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F922e65e34deded605e999c2d99c2a359.jpg",[],{"id":6417,"slug":6418,"title":6419,"dynasty":44,"author":489,"museum":117,"description":6420,"tags":6421,"thumbUrl":6422,"material":34,"size":34,"collection":35,"collections":6423,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":133},236553,"fu-rang-shan-shui-tu-shan-yi-ming-236553","傅让山水图扇","此作用笔简淡萧疏，近景寒林枯槎错落，枝桠虬曲苍劲，茅庐隐于林间，暗合幽居野逸之趣。平湖横陈如镜，将远近山岚轻揽入怀，中景山峦以渴笔慢皴，矾头苍润，带着清远的文人意趣。\n\n全幅墨色干湿互济，以枯淡墨色绘尽荒寒之境，右上角题字清隽，与山水意境相融相生。整体章法疏朗简净，暗承元人山水遗风，不见浓墨重彩，只以淡墨轻岚晕染出幽寂的林下之思，静穆之间仿若可听林风穿林、平湖漾波，将文人寄情丘山的闲逸尽藏于尺幅之中。",[23,24,916,25,26,28,58,82,83,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac7ecfd72b7c604eda646d2f6a7b138.jpg",[35],{"id":6425,"slug":6426,"title":6427,"dynasty":44,"author":6428,"museum":117,"description":6429,"tags":6430,"thumbUrl":6431,"material":34,"size":34,"collection":35,"collections":6432,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},236507,"sun-shan-shui-ce-wang-ji-236507","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[80,23,24,27,25,52,28,154,155,55,59,83,7,102,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c33fe3c63a07639da94923c962c0cc.jpg",[35,161],{"id":6434,"slug":6435,"title":832,"dynasty":44,"author":750,"museum":117,"description":6436,"tags":6437,"thumbUrl":6438,"material":34,"size":34,"collection":34,"collections":6439,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":133},235521,"yuan-ji-shan-shui-tu-ce-shi-tao-235521","此作以水墨晕染江南烟岚之景，右侧林木以湿墨点簇，层叠枝叶浑茫蓊郁，林麓深处隐现屋舍，藏山居野逸之趣。远山以淡墨轻笼，化作烟霭中朦胧黛影，与留白水色融成空濛辽远之境。\n\n左侧题诗与画境呼应，笔墨文心相融，虚实相生间铺展出温润朦胧的山水意致。绘者不拘成法，泼染兼施，以萧散简淡的笔致，将天地清逸灵秀与林下幽居的自在襟怀融为一体，尽显文人山水的雅致逸韵。",[23,24,80,27,25,26,2885,126,28,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc13a2871174db5294ca190206f1e548.jpg",[],{"id":6441,"slug":6442,"title":2792,"dynasty":44,"author":763,"museum":117,"description":6443,"tags":6444,"thumbUrl":6445,"material":34,"size":34,"collection":34,"collections":6446,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},235071,"shan-shui-tu-ce-hua-yan-235071","此作用淡墨晕染出江南水乡之景，近岸芦苇轻曳，矮树傍临村居屋舍，江波留白隐现水色空濛，远山层叠以淡墨晕开，氤氲间尽显清寂淡逸。画作线条秀雅灵动，摒弃繁复皴擦，以简淡笔墨勾勒出幽远澹泊的林下栖居之境，将山水野居相融，寄寓林泉高致。左侧题诗与画面相生相合，诗境衬映画中澹然意趣，诗画合璧尽显文人雅致审美，整体意境清和疏旷，尽显传统文人山水画的悠然意韵。",[23,24,27,25,26,28,29,259,59,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c2278aaa9259d175772ba1ab608e8c.jpg",[],{"id":6448,"slug":6449,"title":6450,"dynasty":96,"author":2072,"museum":117,"description":5187,"tags":6451,"thumbUrl":6452,"material":295,"size":296,"collection":34,"collections":6453,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},234840,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234840","仿北苑山水扇页",[916,23,172,26,52,154,2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[1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[4442,25,2424,26,2885,126,28,156,60,30,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":6463,"slug":6464,"title":6465,"dynasty":284,"author":6466,"museum":117,"description":6467,"tags":6468,"thumbUrl":6487,"material":295,"size":296,"collection":34,"collections":6488,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":133},232286,"a-er-ma-13-lao-lun-si-a-er-ma-ta-de-ma-232286","阿尔玛13","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[80,288,52,6469,1572,60,6470,6471,6472,6473,6474,6475,262,6476,6477,6233,6478,6479,6480,6481,6482,6483,6484,539,7,6485,6486],"古典风格","女性","孩童","古典建筑","大理石","玫瑰","花瓣","海景","柱式建筑","地面瓷砖","花环","豹纹装饰","凉鞋","古式服饰","竖琴","手鼓","石质栏杆","兽头装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48071b240f143c3b94cbda6a7eb5ce20.jpg",[],{"id":6490,"slug":6491,"title":6492,"dynasty":284,"author":3963,"museum":117,"description":6493,"tags":6494,"thumbUrl":6495,"material":295,"size":296,"collection":34,"collections":6496,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":133},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[49,23,24,80,81,26,25,52,28,154,29,84,235,7,456,64,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":6498,"slug":6499,"title":28,"dynasty":44,"author":6500,"museum":117,"description":6501,"tags":6502,"thumbUrl":6503,"material":34,"size":34,"collection":34,"collections":6504,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},224435,"shan-shui-wang-yu-224435","王昱","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[49,23,24,28,81,52,25,26,30,55,59,7,493,156,124,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":6506,"slug":6507,"title":6508,"dynasty":44,"author":581,"museum":46,"description":4596,"tags":6509,"thumbUrl":6510,"material":86,"size":4599,"collection":34,"collections":6511,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},220273,"huang-shan-tu-ce-50-hong-ren-220273","黄山图册-50",[49,23,24,80,27,25,26,28,30,156,1573,102,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eb0a71d6aaf60a7e550f6ed7e96459.jpg",[],{"id":6513,"slug":6514,"title":6515,"dynasty":96,"author":2174,"museum":1227,"description":2175,"tags":6516,"thumbUrl":6517,"material":250,"size":2178,"collection":34,"collections":6518,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},219066,"xiao-xiang-ba-jing-ce-5-zhang-fu-219066","潇湘八景册-5",[49,23,25,28,27,1079,156,101,7,26,30,31,102,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c50ead1d3939511b18b28649db1b2d4.jpg",[],{"id":6520,"slug":6521,"title":6522,"dynasty":115,"author":489,"museum":169,"description":6523,"tags":6524,"thumbUrl":6525,"material":25,"size":34,"collection":35,"collections":6526,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},219029,"song-feng-lou-guan-tu-yi-ming-219029","松风楼观图","苍松盘崖而立，虬枝如铁，松针层叠间似有山风穿林，涛声隐隐。山麓楼阁隐于青霭，飞檐轻挑云影，凭栏处烟水横陈，远山如黛，天地间尽是清旷之息。题跋笔墨苍劲，与画面的松风意境相融，仿佛引观者步入林泉深处：听松涛漱石，看云气萦楼，暂别尘事烦扰。构图疏密得宜，近景松石沉厚与远景烟波淡远形成虚实相生，墨色层次细腻，尽显山水楼阁的雅致幽远，让人于尺幅间领略自然与人文交织的静谧之美。",[49,23,24,27,52,204,28,156,176,58,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e60bfe4a7cf9653d7fcbd81b140377d.jpg",[35],{"id":6528,"slug":6529,"title":6530,"dynasty":44,"author":3536,"museum":20,"description":6331,"tags":6531,"thumbUrl":6532,"material":33,"size":34,"collection":34,"collections":6533,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":39},214493,"shui-mo-tu-ce-10-zheng-min-214493","水墨图册-10",[49,23,24,25,27,54,26,28,58,29,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e451a5ca2a21daecedb3a464b69e68.jpg",[],{"id":6535,"slug":6536,"title":4013,"dynasty":44,"author":361,"museum":77,"description":6537,"tags":6538,"thumbUrl":6539,"material":34,"size":34,"collection":35,"collections":6540,"showCount":6363,"zanCount":11,"manualWeight":11,"mainColor":6541},203461,"fang-gu-shan-shui-ce-wang-jian-203461","画面以淡逸笔墨铺展山水清景，左侧峭壁嶙峋，苔点错落间缀以丛树，显古雅苍劲；中景水域空明，坡石旁水草疏疏，漾出悠然之韵；远景山峦层叠，淡墨晕染中云气萦绕，虚实相映成趣。笔墨承宋元传统，皴擦温润细腻，设色雅致清淡，于仿古中融个人情致，尽显文人山水的静谧悠远之境。",[49,23,24,27,52,28,26,51,126,83,56,694,7,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde7f038a2d454f13f4247739e752050.jpg",[35],"cabca2",{"id":6543,"slug":6544,"title":2628,"dynasty":115,"author":489,"museum":117,"description":6545,"tags":6546,"thumbUrl":6548,"material":295,"size":296,"collection":34,"collections":6549,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":133},290757,"shan-shui-zhou-yi-ming-290757","此作用苍古沉厚的笔墨晕染出秋江烟景，崖岸逶迤柳丝拂波，三两渔舟漾于空阔水面，洲渚间村居隐于林木，尽显江湖栖居的安闲意趣。\n\n远山以斧劈皴写就，巉岩浑厚黛色融于暮霭，山寺藏在烟岚深处愈显幽谧。整幅将江湖空阔与林泉秀雅相融，墨色层次氤氲，把五湖秋意与林下恬然合为一处，淡墨轻岚间，漫溢着宋画独有的静穆萧散，尽显天人合一的淡远襟怀。",[80,23,24,81,28,25,56,101,176,55,7,727,309,53,6547],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ecdb2d643274d8a3cc741a292b8bdd.jpg",[],{"id":6551,"slug":6552,"title":6553,"dynasty":115,"author":489,"museum":117,"description":5850,"tags":6554,"thumbUrl":6555,"material":295,"size":296,"collection":34,"collections":6556,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":133},290242,"shan-shui-ren-wu-tu-yi-ming-290242","山水人物图",[49,916,23,28,60,55,517,7,25,1501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f379a24a4e7e5aec6c81489e76ec9a.jpg",[],{"id":6558,"slug":6559,"title":6560,"dynasty":115,"author":489,"museum":117,"description":6561,"tags":6562,"thumbUrl":6564,"material":295,"size":296,"collection":34,"collections":6565,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":564},289568,"jiang-shan-fei-niao-tu-yi-ming-289568","江山飞鸟图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[23,80,172,25,260,193,30,398,7,60,6563],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec350e5d692b211df8cd206de5edc7.jpg",[],{"id":6567,"slug":6568,"title":5868,"dynasty":96,"author":4744,"museum":117,"description":6569,"tags":6570,"thumbUrl":6571,"material":34,"size":34,"collection":34,"collections":6572,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":39},239196,"shan-chuan-ming-sheng-ce-song-xu-239196","此作以平远之法绘就江南水色，开阔湖面铺展画面，汀渚错落浮沉于烟波间，远山以淡墨轻扫，晕染出朦胧悠远的天际。近岸林木蓊郁，古木扶疏间隐现朱檐楼阁与临水廊榭，雅致静谧。水面之上渔舟泛波、飞鸟掠影，灵动点缀间漾开鲜活生机。\n\n笔墨简淡秀润，以赭色轻敷底色，整体设色清雅古朴，将江南水畔的悠然野趣尽数铺陈，笔墨间裹挟着文人心底的闲淡意绪，尽显空灵疏朗的山水意韵。",[23,52,27,28,26,55,176,57,56,101,260,7,120,235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F536f529cbe3ea7f7312d041f06ba0ec3.jpg",[],{"id":6574,"slug":6575,"title":6576,"dynasty":44,"author":6577,"museum":117,"description":6578,"tags":6579,"thumbUrl":6580,"material":295,"size":296,"collection":34,"collections":6581,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":39},237961,"qiu-jing-shan-shui-ye-zhang-ke-237961","秋景山水页","张柯","此作以秋山平湖为景，近岸崖石皴法朴厚，丹红、苍蓝林木错落，点染出深秋斑斓意趣，层岩间垂落的山泉更添灵动。空阔湖面间，几艘帆船静泊浅滩，汀洲村舍隐在烟霭之中，远景峰峦晕染如黛，淡远朦胧。左下角溪桥上的行旅缓步徐行，为清寂秋山增添了烟火暖意。\n\n画作以浅绛设色糅合水墨皴擦，色调清雅温润，笔墨简淡却意境悠长，将秋日山湖的清旷淡远铺陈开来，尽显文人山水的闲澹野逸之美，藏着秋日山林的幽寂萧散况味。",[23,52,28,27,26,30,55,882,494,59,1044,60,7,6031,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f7609a10352d1d52dc64546c286f4b.jpg",[],{"id":6583,"slug":6584,"title":6585,"dynasty":44,"author":3210,"museum":117,"description":6586,"tags":6587,"thumbUrl":6588,"material":295,"size":296,"collection":34,"collections":6589,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":39},237851,"dong-gao-chun-shan-qing-cui-tu-shan-dong-gao-237851","董诰春山晴翠图扇","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[80,23,24,916,52,455,26,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10d3255fc8e605f6f0016b789033f8c.jpg",[],{"id":6591,"slug":6592,"title":6593,"dynasty":44,"author":6594,"museum":117,"description":6595,"tags":6596,"thumbUrl":6597,"material":86,"size":34,"collection":34,"collections":6598,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":39},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","补景古臣松梅观鹤图像并附山水册","徐佐","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[23,24,27,25,52,54,26,28,787,30,55,7,741,64,53,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":6600,"slug":6601,"title":17,"dynasty":96,"author":4711,"museum":117,"description":6602,"tags":6603,"thumbUrl":6604,"material":34,"size":34,"collection":34,"collections":6605,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":39},236929,"shan-shui-ce-qin-mao-de-236929","此作以淡墨写就平远之境，近坡古松虬曲错落，茅庐幽栖于林木间，野意自生。山峦以干笔轻皴，施淡墨晕染肌理，衬出山石朴拙质感。远景以留白衬出烟波浩渺，远山只作淡墨虚写，留白尽得水意空濛。\n\n书画合璧相映成趣，笔墨简淡秀润，摒弃繁复刻画，以极简意趣勾勒林泉幽致，将文人幽栖林下、寄情山水的襟怀融于尺幅之间，尽显静穆淡远的出世雅韵，藏着画者寄情林泉的隐逸心绪。",[23,24,27,25,26,54,28,154,29,59,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6798e239385714ccb8825c45b27d4d05.jpg",[],{"id":6607,"slug":6608,"title":17,"dynasty":44,"author":1510,"museum":117,"description":6609,"tags":6610,"thumbUrl":6611,"material":34,"size":34,"collection":34,"collections":6612,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":39},236870,"shan-shui-ce-wang-yuan-qi-236870","此帧取平远章法，近岸陂陀之上杂木扶苏，茅舍隐于树荫间，漾出幽寂村居之致。水面开阔空明，留白尽现湖光清旷。远山以干笔淡墨皴擦，山峦平缓舒展，苔点疏简萧散。\n\n画作师法元人萧散意趣，以渴笔淡墨层层积染，笔墨苍润松秀，在清空格调中融入浑朴醇厚的质感。题字朱印点缀提亮画面，整幅气息静穆淡远，于简淡中见苍劲，枯涩中含温润，观之如临林泉，尘俗尽涤，尽显文人画以意驭笔的雅致格调。",[23,24,27,25,26,28,259,29,1307,7,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c9c6dc81a288f4e46e612797932fe.jpg",[],{"id":6614,"slug":6615,"title":17,"dynasty":44,"author":1510,"museum":117,"description":6164,"tags":6616,"thumbUrl":6617,"material":295,"size":296,"collection":34,"collections":6618,"showCount":132,"zanCount":11,"manualWeight":11,"mainC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绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[23,916,52,26,28,29,235,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7cd2f464622e9175f7f283010efb0f.jpg",[],{"id":6957,"slug":6958,"title":6959,"dynasty":44,"author":489,"museum":46,"description":6960,"tags":6961,"thumbUrl":6974,"material":86,"size":6975,"collection":34,"collections":6976,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":39},233065,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233065","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[23,52,410,27,60,28,6962,6963,55,121,6964,607,6965,6966,6967,234,6968,7,120,6969,6970,6971,6972,30,694,1572,6973],"战马","骆驼","军队","战场","山脉","帐篷","战斗场景","士兵","将领","驮兽","营帐","精细刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcccc5b4c9f0a016973cfbc4b7dcbef3e.jpg","纵55.4cm，横90.8cm",[],{"id":6978,"slug":6979,"title":6980,"dynasty":284,"author":6220,"museum":117,"description":6221,"tags":6981,"thumbUrl":6986,"material":295,"size":296,"collection":34,"collections":6987,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":39},232583,"wei-lian-a-dao-fu-bu-ge-luo-197-wei-lian-a-dao-fu-bu-ge-luo-232583","威廉·阿道夫·布格罗197",[288,6224,1572,52,60,1571,6982,6470,1545,55,6983,6984,6235,7,535,6985],"儿童","篮子","果实","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7467589f6ff53618818a0f30adf05e.jpg",[],{"id":6989,"slug":6990,"title":6991,"dynasty":44,"author":489,"museum":117,"description":6992,"tags":6993,"thumbUrl":7002,"material":295,"size":296,"collection":34,"collections":7003,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":39},229277,"kang-xi-hu-lu-he-lu-shui-sheng-yi-ming-229277","康熙 葫芦鹤鹿水盛","此器取模制葫芦为材，四方隽秀形制，口沿镶饰深色口边以护器身，柔化硬质磨损。立面浅浮雕仙鹤振翅穿云，羽翼舒展灵动，流云远山衬出空濛雅致意境，暗合吉祥意涵。器身包浆莹润，色如蜜蜡，尽显经年摩挲的温润质感。纹饰浅淡却层次分明，将文房清玩的简雅内敛，与传统福寿绵长的吉庆意趣相融，案头静置便自带悠然古雅的文韵，是藏着巧思的文房雅玩佳器。",[6994,6995,6996,6997,6998,6999,7,7000,7001],"葫芦器","文房用具","水盛","浅浮雕","仙鹤","流云","吉祥纹饰","文房清玩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddcaf2690a178933aaae2b4284fd7e4d.jpg",[],{"id":7005,"slug":7006,"title":7007,"dynasty":115,"author":489,"museum":117,"description":7008,"tags":7009,"thumbUrl":7010,"material":34,"size":34,"collection":34,"collections":7011,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":133},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[49,23,24,80,52,25,410,28,726,4336,1762,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":7013,"slug":7014,"title":7015,"dynasty":284,"author":528,"museum":117,"description":529,"tags":7016,"thumbUrl":7024,"material":295,"size":296,"collection":297,"collections":7025,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":39},226105,"the-railway-station-at-argenteuil-1872-mo-nai-226105","The Railway Station at Argenteuil, 1872",[80,288,531,5814,7017,7018,7019,7020,7021,539,7022,7,7023,235,609],"笔触奔放","火车站","铁轨","火车","蒸汽","云层","电线杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bbb11e8ff3bfdc66da1395ef186d2e.jpg",[297],{"id":7027,"slug":7028,"title":7029,"dynasty":44,"author":5392,"museum":117,"description":7030,"tags":7031,"thumbUrl":7032,"material":34,"size":34,"collection":34,"collections":7033,"showCount":279,"zanCount":163,"manualWeight":11,"mainColor":39},224277,"shan-shui-hua-hui-ce-shi-fu-shan-224277","山水花卉冊(十)","此作用淡墨晕染出春日烟雨郊野，线条温润舒缓，山峦以写意勾勒辅以浅皴，不见凌厉锋芒。平泽两岸烟柳成林，屋舍隐于软枝茂叶间，远山含黛隐没在氤氲雾气里，留白烘托出水墨交融的空濛氛围。\n整体构图开合自然，萧散松弛的文人意趣藏于笔墨间，澹泊清远中带着杨柳柔媚的春日意态，以极简的题字呼应画面的简淡，将林泉隐逸的闲静心境寄于其中，淡而不寡，简中含情，尽显文人画以画抒怀的雅致格调。",[49,23,24,25,26,27,28,55,30,59,7,725],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917e8b136dce45a1cbd12bb86d9a6e2.jpg",[],{"id":7035,"slug":7036,"title":7037,"dynasty":115,"author":489,"museum":117,"description":7038,"tags":7039,"thumbUrl":7040,"material":34,"size":34,"collection":34,"collections":7041,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":133},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[49,80,23,24,172,237,52,798,26,55,726,63,30,31,2338,60,7,723,3512,375,3604,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":7043,"slug":7044,"title":7045,"dynasty":96,"author":2491,"museum":46,"description":6038,"tags":7046,"thumbUrl":7047,"material":6042,"size":6043,"collection":34,"collections":7048,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":133},221887,"za-hua-tu-ce-fang-zhao-qian-li-bi-fa-chen-hong-shou-221887","杂画图册-仿赵千里笔法",[49,23,24,27,51,455,52,28,193,83,1545,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5478b57693b040ba618e4030c80496.jpg",[],{"id":7050,"slug":7051,"title":7052,"dynasty":44,"author":3536,"museum":20,"description":6331,"tags":7053,"thumbUrl":7054,"material":86,"size":34,"collection":34,"collections":7055,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":39},214514,"shui-mo-tu-ce-4-zheng-min-214514","水墨图册-4",[23,24,27,25,28,26,53,54,126,726,7,2151,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6440c794f8ff0b8d74315432cc5900.jpg",[],{"id":7057,"slug":7058,"title":17,"dynasty":44,"author":7059,"museum":77,"description":7060,"tags":7061,"thumbUrl":7062,"material":34,"size":34,"collection":35,"collections":7063,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":7064},203418,"shan-shui-ce-wen-dian-203418","文点","两帧册页各蕴清境，左幅松荫覆地，老松枝干虬劲，松下一人抱膝静坐，笔墨苍润间尽显幽寂；右幅平远水景，烟波浩渺中远山淡抹，近岸疏树旁二人对语，线条简逸里藏着淡远。以水墨为底，皴染结合，于方寸册页间凝文人雅趣，禅意悠然，观之如入林泉之境，心随画境渐远。",[23,25,26,28,156,60,27,2998,7,5655,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040f31f4496aa2260112af0caa45ff39.jpg",[35],"b4aba4",{"id":7066,"slug":7067,"title":7068,"dynasty":7069,"author":7070,"museum":77,"description":7071,"tags":7072,"thumbUrl":7074,"material":34,"size":34,"collection":35,"collections":7075,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":7076},203116,"dong-shan-qi-gui-tu-zhou-lu-xiao-man-203116","东山骑归图轴","近代","陆小曼","笔墨清雅的山水景致中，坡岸逶迤延伸，枯木疏枝点缀其间，几株苍松姿态古拙，扎根于山石之上。山间小径隐约可见人影，似是骑归的行客，传递出悠然闲适的意趣。远山层叠，以淡墨晕染出朦胧质感，留白处尽显空灵；近景山石用简练皴法勾勒，线条温润，与疏朗的树木相映成趣。整体气息恬淡雅致，将自然之静谧与人文之闲情融于一纸，尽显文人画的韵致。",[23,28,52,26,787,7,64,622,7073,49],"雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf882bee33d56695450642b4c1546d4.jpg",[35],"d7cdbb",{"id":7078,"slug":7079,"title":17,"dynasty":44,"author":3509,"museum":117,"description":7080,"tags":7081,"thumbUrl":7082,"material":295,"size":296,"collection":34,"collections":7083,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},239365,"shan-shui-ce-wang-san-xi-239365","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[23,80,25,52,27,28,82,102,7,84,261,126,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b6cb88617f59c43f749c11bc7316a7.jpg",[],{"id":7085,"slug":7086,"title":7087,"dynasty":96,"author":7088,"museum":117,"description":7089,"tags":7090,"thumbUrl":7095,"material":295,"size":296,"collection":34,"collections":7096,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":133},238968,"cheng-shan-shui-shan-jin-si-238968","成山水扇","靳嗣","此作用半边绘苍茂丛林，坡岸间隐见柴扉，野意悠然。另一侧写层叠峰峦，清溪之上渔舟泛波，远山以淡墨晕染，渐次隐入烟岚，尽显秋山萧疏之致。笔墨干淡松秀，皴染相合，以简淡笔触勾勒出林泉幽寂之境，将寄情丘壑的雅趣融于尺幅之间。题款与画面相映成趣，墨色层次温婉柔和，整体意境清远闲静，尽显江南林泉的温润萧散，带着隐逸淡远的文人意韵。",[916,23,25,28,624,217,7091,869,7092,180,7,4541,3001,7093,7094],"柴扉","清溪","林泉","皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ed262024dbf9a4e3b04edc64d2cb82.jpg",[],{"id":7098,"slug":7099,"title":6103,"dynasty":44,"author":6104,"museum":117,"description":7100,"tags":7101,"thumbUrl":7102,"material":34,"size":34,"collection":34,"collections":7103,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},238221,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238221","此作用笔苍浑秀润，以留白晕染摹写雪意，危峰削立，银装覆于巉岩之上，淡墨烘出流岚轻烟，将隆冬溪山的清寒疏旷铺陈开来。滩头枯木虬劲，寒水无波，萧寒之气漫溢画面。\n左侧题咏书法或端雅或清劲，笔致各臻其妙，诗画相映，愈发衬出此幅素雪溪山的幽绝尘寰，尽显冬日山水空寂出尘之美，笔墨间浸透着传统文人画的雅致意趣。",[23,24,25,26,413,153,28,30,55,102,121,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee7d78aaca4be0fc2d96ce97cc3872c.jpg",[],{"id":7105,"slug":7106,"title":17,"dynasty":44,"author":5955,"museum":117,"description":7107,"tags":7108,"thumbUrl":7109,"material":34,"size":34,"collection":34,"collections":7110,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},238207,"shan-shui-ce-tang-dai-238207","此作笔墨清润苍秀，远景峰峦层叠，以淡墨晕染出空蒙烟岚，近处长松老干虬曲，扎根苔石，尽显深秋古拙清刚之态，林麓间隐见山居茅舍，幽寂淡远。左侧题诗与画境相契，将长峰翠色、云鹤幽踪合而为一，把空山岑寂、物我两忘的林下意趣铺展开来。整作兼工带写，糅合了端严与清远，于尺幅之间营造出阔大杳渺的天地，尽显静穆萧散的秋日山居雅韵。",[23,25,26,27,28,30,55,156,881,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F568f093383921e07a28efe0183908c7f.jpg",[],{"id":7112,"slug":7113,"title":17,"dynasty":44,"author":7114,"museum":117,"description":7115,"tags":7116,"thumbUrl":7117,"material":34,"size":34,"collection":35,"collections":7118,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},238176,"shan-shui-ce-song-jun-ye-238176","宋骏业","字声求，号坚甫，江苏常熟人，一作江苏苏州人。累官至兵部右侍郎。善书画，笃好山水，因聘王翚于家而画学大进。",[23,24,80,27,52,26,53,54,28,29,247,57,56,59,7,120,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24387526728024399cb9afeca90edaa9.jpg",[35,161],{"id":7120,"slug":7121,"title":17,"dynasty":44,"author":5460,"museum":117,"description":5461,"tags":7122,"thumbUrl":7123,"material":34,"size":34,"collection":34,"collections":7124,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},238140,"shan-shui-ce-yun-xi-238140",[23,25,26,28,101,917,82,30,56,7,59,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d48b2ed33b731d2b7fc787c0de2a210.jpg",[],{"id":7126,"slug":7127,"title":7128,"dynasty":44,"author":7129,"museum":117,"description":7130,"tags":7131,"thumbUrl":7132,"material":34,"size":34,"collection":34,"collections":7133,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},238102,"hong-wu-shan-shui-ce-hong-wu-238102","弘旿山水册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[23,24,27,52,26,28,29,59,308,56,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ae4ebbb954d15b31de4e3dc84191b9.jpg",[],{"id":7135,"slug":7136,"title":5391,"dynasty":96,"author":7137,"museum":117,"description":7138,"tags":7139,"thumbUrl":7140,"material":295,"size":296,"collection":34,"collections":7141,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},237517,"shan-shui-hua-hui-ce-jiang-shou-cheng-237517","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[23,24,27,52,28,156,60,30,56,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7eef257ec08d282c41cc0d537bdbdc8.jpg",[],{"id":7143,"slug":7144,"title":7145,"dynasty":44,"author":7146,"museum":117,"description":7147,"tags":7148,"thumbUrl":7149,"material":34,"size":34,"collection":34,"collections":7150,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},237135,"shan-shui-ren-wu-ce-7-shang-guan-zhou-237135","山水人物册7","上官周","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[23,24,27,25,54,126,28,101,60,3915,7,56,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9939f8678e0e401c8bc09686555c5070.jpg",[],{"id":7152,"slug":7153,"title":17,"dynasty":44,"author":1099,"museum":117,"description":7154,"tags":7155,"thumbUrl":7156,"material":34,"size":34,"collection":34,"collections":7157,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},237105,"shan-shui-ce-cha-shi-biao-237105","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[23,24,27,25,26,28,29,30,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fb5e9d1890d251b011b4a8fe5e6865.jpg",[],{"id":7159,"slug":7160,"title":17,"dynasty":44,"author":1099,"museum":117,"description":7154,"tags":7161,"thumbUrl":7162,"material":34,"size":34,"collection":34,"collections":7163,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},237104,"shan-shui-ce-cha-shi-biao-237104",[23,24,27,25,26,126,28,193,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8cb579f52b9778f9a2236fb5a437172.jpg",[],{"id":7165,"slug":7166,"title":7167,"dynasty":96,"author":7168,"museum":46,"description":7169,"tags":7170,"thumbUrl":7171,"material":86,"size":34,"collection":34,"collections":7172,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},237014,"xi-zhu-ce-zhu-ying-237014","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[23,25,26,27,28,30,55,7,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ae61ab3f8b1262b6421ade26c0837e.jpg",[],{"id":7174,"slug":7175,"title":6380,"dynasty":96,"author":7176,"museum":117,"description":7177,"tags":7178,"thumbUrl":7179,"material":295,"size":296,"collection":34,"collections":7180,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":133},236953,"shan-shui-shan-ye-zhu-shi-ying-236953","朱士瑛","朱士瑛[清]工细，人物似仇英。",[23,24,916,25,26,28,55,30,31,7,494],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F054be235b44c7350599d4da24ad6adee.jpg",[],{"id":7182,"slug":7183,"title":17,"dynasty":96,"author":4711,"museum":117,"description":7184,"tags":7185,"thumbUrl":7186,"material":34,"size":34,"collection":34,"collections":7187,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},236925,"shan-shui-ce-qin-mao-de-236925","此作用淡墨晕染远山，以轻皴带出朦胧空濛之态，恰似含烟凝黛。近岸垂柳披拂，新色柔曼，枯木抽芽待春，溪石隐现于浅滩，将江南二月清和烟景尽藏尺幅之中。笔墨秀雅温润，设色浅淡明净，把春日柔婉缱绻的意韵铺陈开来。\n\n左侧题诗行书笔意萧散俊朗，与画中景致呼应相合，诗画一体，将江南二月的悠然春意融于纸面，简淡间尽显雅致诗意，勾勒出山水清嘉、诗意栖居的文人雅趣，尽显文人画诗画合一的古典意致。",[23,24,27,52,25,26,28,193,30,7,102,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf3042a4cf9df2d2f24657a68f6731a.jpg",[],{"id":7189,"slug":7190,"title":5692,"dynasty":96,"author":7191,"museum":117,"description":7192,"tags":7193,"thumbUrl":7194,"material":295,"size":296,"collection":34,"collections":7195,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":133},236831,"shan-shui-shan-zhang-fu-236831","张復","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[23,24,916,28,25,52,26,156,30,7,60,55,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd4d3a54d229c1368b1a1d62b26abee.jpg",[],{"id":7197,"slug":7198,"title":6127,"dynasty":44,"author":1099,"museum":117,"description":6128,"tags":7199,"thumbUrl":7200,"material":34,"size":34,"collection":34,"collections":7201,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},236573,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236573",[23,24,27,25,28,54,126,7,248,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c458c28380e3ef9ab913f033b74bd2.jpg",[],{"id":7203,"slug":7204,"title":7205,"dynasty":96,"author":7206,"museum":117,"description":7207,"tags":7208,"thumbUrl":7209,"material":295,"size":296,"collection":34,"collections":7210,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},236293,"you-xi-shen-mei-shan-sheng-mao-jiong-236293","幽溪深梅扇","盛茂熲","此作用笔苍润兼具，以湿墨晕染烟岚空濛，将山林笼在江南烟雨之中。左侧古木虬枝舒展，浓墨点叶尽显苍劲生机，淡墨铺陈林野虚境。山径上策杖的行人缓步徐行，暗合林泉雅游的闲趣。右侧溪桥半隐在烟霭里，远山随墨色淡去，留白处尽显空茫雨意。干湿笔墨互衬，焦墨苔点醒出画面层次，把文人寄情丘壑、耽爱林泉的幽怀，融在朦胧烟色之中，空灵悠远，尽显山水雅韵。",[23,916,25,26,28,29,60,30,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b9a94bd01a08c384b70bd69f97a006.jpg",[],{"id":7212,"slug":7213,"title":1454,"dynasty":44,"author":489,"museum":117,"description":7214,"tags":7215,"thumbUrl":7216,"material":34,"size":34,"collection":34,"collections":7217,"showCount":71,"zanCount":163,"manualWeight":11,"mainColor":39},236058,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236058","此作以青绿设色晕染山峦，石青石绿交相映衬，妍丽却不甜俗。主峰峭拔奇崛，兼具雄浑之态，辅以留白晕染的流云，虚虚实实让层叠峰林愈发悠远深邃。近景虬松扎根崖壁，枝干盘旋苍劲，松叶攒簇苍郁，带着山野古拙之趣。山脚汀洲横陈，水波澹澹，沙岸隐见行人身影，为冷寂山水添上几分烟火意绪。\n\n笔墨兼工带写，勾勒皴擦间糅合了雄奇与秀润，既得山林苍莽之态，又藏文人雅逸之思，整体清旷空灵，仿若将观者带入幽谧林泉，静赏松风与流波，沉浸在古雅悠然的山水意境中。",[23,24,27,153,52,455,26,28,30,55,156,102,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce3e4b9cf9a5530008cd27cfb6b484ce.jpg",[],{"id":7219,"slug":7220,"title":7221,"dynasty":44,"author":489,"museum":117,"description":7222,"tags":7223,"thumbUrl":7224,"material":34,"size":34,"collection":34,"collections":7225,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},235982,"ban-shan-shan-shui-ren-wu-ce-yi-ming-235982","半山山水人物册","此作以淡墨写就山水幽居之景，简淡空灵至极。近处以浓淡墨色分出枯荣之木，伴衬低矮茅舍，笔致清简率意。远处丘峦以淡墨晕染，与留白的空茫水面相融无间，不着皴擦便晕开江南山水的温润空濛。全幅以留白为骨，以水墨为肉，萧散清旷的意境扑面而来，仿佛能让人静听林泉风声，体味幽居于此的澹泊闲情，尽显文人画寄兴林泉、超然世外的雅韵余味。",[23,24,27,25,26,28,193,1307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcdbe6523bcbd14edde999ddfbfbab5.jpg",[],{"id":7227,"slug":7228,"title":7229,"dynasty":44,"author":489,"museum":117,"description":7230,"tags":7231,"thumbUrl":7232,"material":34,"size":34,"collection":34,"collections":7233,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},235784,"zhu-jia-shu-hua-he-bi-ce-xu-qiu-fang-wang-meng-shan-shui-ye-yi-ming-235784","诸家书画合璧册-徐釚仿王蒙山水页","此作用笔简淡清隽，以枯墨勾勒山水层次。远景山峦以淡墨晕染，朦胧间藏起村居茅舍，恍若世外幽乡。中景湖面留白成趣，衬出水天寥空，汀渚杂木萧疏，暗合清秋闲寂意韵。近景怪石虬松笔法苍劲，化用王蒙繁复皴点却删繁就简，只留苍古意态。\n书画合璧，题识笔意潇洒，与山水淡远气质相融。全幅不着艳色，以笔墨骨力撑起身韵，将摹古之工与文人写意之趣相合，淡墨轻岚间尽显林泉高致的隐逸心曲，简雅悠长。",[23,24,27,25,26,28,55,30,7,248,176,193,343,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e8c27d6d6111c0d05e6d997af3f5fc8.jpg",[],{"id":7235,"slug":7236,"title":7237,"dynasty":96,"author":3345,"museum":117,"description":5693,"tags":7238,"thumbUrl":7239,"material":295,"size":296,"collection":34,"collections":7240,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},235770,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-bai-lian-jing-tu-ye-lu-zhi-235770","吴门诸家寿袁方斋三绝册-白莲泾图页",[23,24,27,25,28,56,55,7,104,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2e309fbe02004711f5f56e85083f44.jpg",[],{"id":7242,"slug":7243,"title":2792,"dynasty":44,"author":2404,"museum":117,"description":7244,"tags":7245,"thumbUrl":7246,"material":34,"size":34,"collection":34,"collections":7247,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},235646,"shan-shui-tu-ce-wu-li-235646","此作用笔苍浑秀润，右侧危崖壁立，古松虬曲倒挂，松针劲挺如铁，崖间飞瀑垂落，碎石寒泉隐于其下，尽显清寂萧寒。远景山峦层叠，云气氤氲漫卷，将峰岫半遮半掩，虚实相生，烘托出深山冬日的幽僻荒寒。\n\n右上角题诗呼应画境，干笔皴擦勾画出山石嶙峋肌理，淡墨晕染流云柔态，刚柔并济。整幅以水墨铺陈，摒弃浓艳，以萧疏之景写尽荒寒之美，寄寓静穆淡远的文人意趣，于冷寂之中藏着深挚的山水情怀，尽显水墨山水空灵悠远的意境。",[23,24,80,27,25,26,28,30,156,103,7,102,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":7249,"slug":7250,"title":17,"dynasty":96,"author":3218,"museum":117,"description":3219,"tags":7251,"thumbUrl":7252,"material":295,"size":296,"collection":34,"collections":7253,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},235288,"shan-shui-ce-shen-hao-235288",[23,24,27,25,52,28,83,193,7,1152,26,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c85e276233d6bb58482c6dfade07a2.jpg",[],{"id":7255,"slug":7256,"title":7257,"dynasty":44,"author":822,"museum":117,"description":1455,"tags":7258,"thumbUrl":7259,"material":295,"size":296,"collection":34,"collections":7260,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},235230,"fang-hui-chong-shan-shui-zhou-wang-hui-235230","仿惠崇山水轴",[80,23,24,81,25,26,51,126,28,55,59,121,260,101,433,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29747977d2442e5bcdd0e2cbd270fb52.jpg",[],{"id":7262,"slug":7263,"title":17,"dynasty":44,"author":7264,"museum":117,"description":7265,"tags":7266,"thumbUrl":7268,"material":34,"size":34,"collection":34,"collections":7269,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":564},235177,"shan-shui-ce-ye-xin-235177","叶欣","此作用笔松秀温润，浅绛设色晕染出清寂秋意。近景古松虬曲苍劲，与朴拙顽石相伴，侧旁矮木扶疏，点簇出细碎秋华，野趣盎然。中景茅篱村居错落，隐于林畔，篱舍俨然透着幽居闲情。远景以淡墨轻烘浅染，虚化山影，凭立二人又为冷寂添了几分烟火暖意。整幅意境萧散淡远，将江南村居的秋日闲逸铺陈开来，藏着静穆清和的林下意趣，引人沉湎于这避世幽居的松弛意韵之中。",[23,24,27,52,25,28,29,84,58,7,517,7267],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fabbe8f9f9767e04fb87cddb801f23.jpg",[],{"id":7271,"slug":7272,"title":17,"dynasty":44,"author":2404,"museum":46,"description":5723,"tags":7273,"thumbUrl":7274,"material":158,"size":5726,"collection":34,"collections":7275,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},235022,"shan-shui-ce-wu-li-235022",[23,25,52,27,28,57,56,55,30,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67761f561ff831118fff9cac861234b3.jpg",[],{"id":7277,"slug":7278,"title":7279,"dynasty":96,"author":7280,"museum":46,"description":7281,"tags":7282,"thumbUrl":7285,"material":86,"size":34,"collection":34,"collections":7286,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},233853,"shi-hua-he-bi-ce-zhou-yong-233853","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[23,24,27,25,52,60,193,30,7283,7,126,26,7284],"杂草","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1575daded0dd84731ed33873af0a13d2.jpg",[],{"id":7288,"slug":7289,"title":7290,"dynasty":44,"author":1732,"museum":46,"description":7291,"tags":7292,"thumbUrl":7293,"material":389,"size":7294,"collection":34,"collections":7295,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},233441,"huang-shan-tu-ce-mei-qing-233441","黄山图册","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[23,24,27,25,52,28,30,176,55,7,26,126,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcad87ebd9140b2f96032cf30f420971.jpg","纵26厘米，横33厘米",[],{"id":7297,"slug":7298,"title":17,"dynasty":18,"author":1464,"museum":46,"description":5374,"tags":7299,"thumbUrl":7300,"material":389,"size":5377,"collection":34,"collections":7301,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":133},233175,"shan-shui-ce-cao-zhi-bai-233175",[23,25,26,27,54,53,28,154,155,55,84,7,102,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":7303,"slug":7304,"title":7305,"dynasty":44,"author":4322,"museum":169,"description":7306,"tags":7307,"thumbUrl":7308,"material":237,"size":7309,"collection":34,"collections":7310,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":39},232678,"qiu-shan-ping-yuan-tu-he-yi-232678","秋山平远图","此作用平远之法铺展秋景，近岸苍松虬劲，杂木以丹黄点染，将秋意揉进枝叶肌理，茅庐依水而居，野趣横生。平湖如镜，一舟独泛，载着闲逸随波漫行，汀渚蒹葭苍苍，晕开渺渺秋光。远景山峦轻笼烟霭，墨色澹宕清润，将秋山空寂辽远铺陈开来。\n\n画作以元人笔意写就，浅设色晕染出疏淡秋韵，配上行书题诗，书画相融，尽抒林泉幽栖的隐逸襟怀，把秋日郊野的萧散闲雅，晕成一卷可赏可居的诗意天地。",[23,24,81,52,28,26,54,126,101,58,55,30,7,120,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb042d680982c51c068e54818b5dddb47.jpg","99.4×48.3",[],{"id":7312,"slug":7313,"title":7314,"dynasty":284,"author":489,"museum":117,"description":7315,"tags":7316,"thumbUrl":7317,"material":295,"size":296,"collection":34,"collections":7318,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":133},231711,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-yan-li-si-juan-yi-ming-231711","镰仓时代 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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,916,96,25,26,28,55,30,7,725,60,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd673f3abfb96c6dbc26a9f6cabad93ef.jpg",[],{"id":7532,"slug":7533,"title":7534,"dynasty":44,"author":7535,"museum":117,"description":7536,"tags":7537,"thumbUrl":7539,"material":295,"size":296,"collection":35,"collections":7540,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":133},236203,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236203","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[7538,916,52,28,55,7,53,26,120,1231],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcb86eae09920ccddbb4d293908ebbc.jpg",[35],{"id":7542,"slug":7543,"title":7544,"dynasty":96,"author":7545,"museum":117,"description":7546,"tags":7547,"thumbUrl":7548,"material":34,"size":34,"collection":34,"collections":7549,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","陆师道","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[23,24,27,52,26,54,126,53,28,154,155,55,156,58,7,456,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],{"id":7551,"slug":7552,"title":4013,"dynasty":44,"author":7553,"museum":117,"description":7554,"tags":7555,"thumbUrl":7556,"material":295,"size":296,"collection":34,"collections":7557,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},235748,"fang-gu-shan-shui-ce-xue-xuan-235748","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[23,24,27,25,26,51,28,176,58,55,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5771efbb423ac3c706348959f901f8.jpg",[],{"id":7559,"slug":7560,"title":7561,"dynasty":96,"author":489,"museum":117,"description":7562,"tags":7563,"thumbUrl":7564,"material":295,"size":296,"collection":34,"collections":7565,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},234479,"wu-ling-gu-mu-gao-shi-shan-yi-ming-234479","吴令古木高士扇","泥金扇面设色古雅，危岩虬松错落排布，古木蟠曲苍劲，苔点皴染出山石嶙峋质感，石青晕染湍流激浪，灵动鲜活。溪岸石台上，两位高士相对而坐，或执卷清谈，或凝思远眺，将文人隐逸林下的闲雅意趣融于尺幅之间。构图疏密相宜，简淡清逸的氛围里，尽显林泉高致的出世情怀，把丘壑雅兴刻画得淋漓尽致。",[23,916,52,410,26,1940,661,30,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d51fbf0b6fed9724b479f90c68500b9.jpg",[],{"id":7567,"slug":7568,"title":6380,"dynasty":44,"author":7569,"museum":46,"description":7570,"tags":7571,"thumbUrl":7572,"material":34,"size":34,"collection":34,"collections":7573,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":133},234475,"shan-shui-shan-ye-fa-ruo-zhen-234475","法若真","法若真（1613～1696），字汉儒，号黄山，亦号黄石、黄山衲、小珠山人、黄山真衲、黄山逸史，山东胶州（今胶县）人。顺治二年以五经特赐中式，授中书舍人。顺治三年进士，改庶吉士，官至安徽布政使。康熙十八年举博学鸿词。工诗古文、善书画。画山水有高雅之灵气，偶然涉笔，潇洒拔俗，自成一格。书法魏晋而有士气，精擎窠大书，行草运笔灵动。",[23,916,28,26,30,55,61,7,217,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab51819e1f6bef1b82bccf448947b07.jpg",[],{"id":7575,"slug":7576,"title":7577,"dynasty":284,"author":5972,"museum":117,"description":7578,"tags":7579,"thumbUrl":7580,"material":295,"size":296,"collection":34,"collections":7581,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[49,23,24,50,52,28,84,55,156,882,5312,387,102,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":7583,"slug":7584,"title":7585,"dynasty":44,"author":7586,"museum":117,"description":7587,"tags":7588,"thumbUrl":7589,"material":86,"size":7590,"collection":34,"collections":7591,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},231566,"yu-hu-qiu-fan-tu-fei-dan-xu-231566","玉湖秋泛图","费丹旭","题跋：〈鲍正言〉（词一首，不录）筱溪尊兄先生属题即正。丙午九秋衍香鲍言草稿。\n〈朱紫贵〉（七律一首，不录）道光辛丑孟陬题奉筱溪宗兄雅正。\n斋贵书于西泠学舍。\n〈朱步沆〉（七律二首，雨不录）用初白先生中方舟夹山瀁韵二首题\n应筱溪三兄雅属希政之。时壬寅六月二十五日沁泉沆甫\n稿。\n〈奚疑〉（词一首，不录）丁亥冬余招同人泛舟夹山瀁诗雨生都督\n缋图纪游。筱溪三兄先生属新填蝶恋花词，录请敦正。\n方屏山樵奚疑稿。丙午十月，时年七十有二也。\n〈达受〉（七律二首，不录）咸丰五年乙卯七月二十有二日，小诗\n题奉筱溪先生玉照并祈政句。南屏迟隐憎六舟达受未定稿。",[49,23,24,50,52,25,410,54,53,126,28,60,101,723,2970,692,7,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a59c2367b4d88e6db4c04a1ccd7115.jpg","引首：33.5×110.5cm 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题跋：31×33cm×13",[],{"id":7593,"slug":7594,"title":7595,"dynasty":96,"author":384,"museum":169,"description":7596,"tags":7597,"thumbUrl":7598,"material":86,"size":7599,"collection":34,"collections":7600,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,24,81,52,28,55,58,176,30,102,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":7602,"slug":7603,"title":3076,"dynasty":96,"author":489,"museum":117,"description":7604,"tags":7605,"thumbUrl":7606,"material":34,"size":34,"collection":34,"collections":7607,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":564},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[49,23,25,28,81,26,156,101,58,56,30,7,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":7609,"slug":7610,"title":7611,"dynasty":96,"author":2301,"museum":117,"description":7612,"tags":7613,"thumbUrl":7619,"material":295,"size":296,"collection":34,"collections":7620,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},228474,"sui-bi-01-tang-yin-228474","随笔01","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”。",[80,23,24,27,54,126,53,25,1713,7614,7615,7616,56,7617,722,260,4017,7,7618,1435,101],"芦花","林屋","春云","竹篱","霜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":7622,"slug":7623,"title":7624,"dynasty":18,"author":489,"museum":7625,"description":7626,"tags":7627,"thumbUrl":7632,"material":141,"size":34,"collection":34,"collections":7633,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":1538},218202,"shan-shui-tu-er-yi-ming-218202","山水图(二)","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[80,23,24,81,52,26,28,30,55,101,56,7,120,7628,4309,882,2245,375,7629,7630,3223,3636,7631],"苍劲枝干","自然景致","传统山水画","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe726c81cec33fed8eceda24249fa80ff.jpg",[],{"id":7635,"slug":7636,"title":7637,"dynasty":96,"author":1294,"museum":751,"description":7638,"tags":7639,"thumbUrl":7640,"material":250,"size":7641,"collection":34,"collections":7642,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},217873,"zhou-li-yuan-shang-kuan-shen-ce-wu-hu-yu-kun-217873","周栎园上款什册(五)","山石以斧劈皴出，棱角如削，似经岁月雕琢。松枝虬曲下垂，松针密簇如墨点，藤蔓轻垂若丝绦。树下一人抱膝闲坐，白衣素衫，似与山风对语，又或静听涧泉叮咚。左侧题跋笔墨酣畅，行草间见跌宕之气，与山水意境相契，文画相生。笔墨浓淡相济，留白处云气氤氲，山石的沉雄与草木的清逸相映，隐者的闲静与自然的生机交融，尽展文人山水的清幽淡远之趣，仿佛能闻松风阵阵，见云影悠悠，心境随之沉潜于这份与世无争的恬淡里。",[23,24,25,26,27,28,156,30,60,56,55,62,7,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967f477abd8ecd0dbacfa2700ac1ab98.jpg","24.7x32.3cm",[],{"id":7644,"slug":7645,"title":7646,"dynasty":44,"author":489,"museum":46,"description":7647,"tags":7648,"thumbUrl":7649,"material":52,"size":34,"collection":34,"collections":7650,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},217294,"gu-xiu-wu-shi-san-can-tu-ce-24-yi-ming-217294","顾绣·五十三参图册-24","绣线流转间，铺展一段静谧的参访图景。左页老者衣袂垂落如流云，孩童俯身似与生灵低语；右页长者安坐松石旁，稚童翘首聆听，松针如星点缀枝桠。淡彩晕染的山水间，枯枝与青松相映，浅草覆坡，溪石隐现，处处透着江南绣艺的雅致。顾绣以针代笔，人物服饰的纹理、草木的脉络皆精细入微，连孩童的神态都鲜活灵动。“五十三参”的虔诚与童真相融，绣者将善财童子问道的意趣凝于丝缕，让每一处针脚都藏着对修行与成长的温柔诠释，尽显传统绣艺的含蓄之美。",[6313,52,60,156,30,1545,882,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22e6537ec9fb03e66496040ce71b1b7.jpg",[],{"id":7652,"slug":7653,"title":7654,"dynasty":44,"author":361,"museum":20,"description":4468,"tags":7655,"thumbUrl":7656,"material":250,"size":34,"collection":34,"collections":7657,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":39},215012,"fang-gu-shan-shui-ce-17-wang-jian-215012","仿古山水册-17",[49,23,455,52,26,27,28,30,55,56,57,59,7,248,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1f2b5608e75f73c8e5cce67ae9717b.jpg",[],{"id":7659,"slug":7660,"title":7661,"dynasty":44,"author":7662,"museum":77,"description":7663,"tags":7664,"thumbUrl":7665,"material":34,"size":34,"collection":482,"collections":7666,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":7667},203460,"shan-shui-ren-wu-ce-jin-nong-203460","山水人物册","金农","此作笔墨简淡却意蕴悠长。左帧垂柳如丝，拂过岸畔孤舟，淡墨晕染的水面似含烟霭，清寂中藏着对故人的遥想；右帧松枝盘曲，红栏边雅士对谈、童子侧立，线条稚拙生趣，设色淡雅脱俗。整幅以文人视角入画，笔意古朴，意境空灵，题字与印章相映，尽显超然物外的逸致。",[49,23,24,27,25,52,2424,28,726,101,156,60,1525,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb90f9cdbfa9039c5ef469725e78b78.jpg",[482],"e9dfd9",{"id":7669,"slug":7670,"title":7671,"dynasty":96,"author":7672,"museum":77,"description":7673,"tags":7674,"thumbUrl":7675,"material":34,"size":34,"collection":35,"collections":7676,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":7677},202151,"shu-hua-ping-hu-yong-shun-202151","书画屏","胡永顺","书画相携，意趣相生。行书笔墨灵动，线条流转间透着清雅气韵；山水以水墨皴擦点染，山峦层叠，林木错落，近石苍劲，远岫含烟，水色空濛。笔墨的浓淡干湿，勾勒出静谧悠远的意境，书画互衬，尽显文人笔下的自然之趣与内心的恬淡，仿佛置身于那片清幽山水间，聆听笔墨与自然的对话。",[23,28,54,25,26,53,30,178,7,102,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d3fd06647a30be231ac2cc1d47593f.jpg",[35],"c2a077",{"id":7679,"slug":7680,"title":3076,"dynasty":44,"author":7681,"museum":77,"description":7682,"tags":7683,"thumbUrl":7684,"material":34,"size":34,"collection":35,"collections":7685,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":7686},201834,"shan-shui-tu-zhou-zhang-yun-201834","张芸","淡墨皴染间，山水意趣渐生。近景枯树盘曲，茅舍隐于枝桠下；山间溪流缓淌，石径依稀；中景山峦层叠，林木疏朗有致；远景云雾轻笼峰巅，添几分悠远。笔墨简淡却韵致悠长，萧疏山林间藏着静谧幽境，似能闻得山风轻拂、溪水潺潺。",[25,26,81,28,343,193,174,7,61,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33f5da2b0604236207c72509457c956.jpg",[35],"956c3f",{"id":7688,"slug":7689,"title":7690,"dynasty":44,"author":7691,"museum":77,"description":7692,"tags":7693,"thumbUrl":7694,"material":34,"size":34,"collection":35,"collections":7695,"showCount":7399,"zanCount":11,"manualWeight":11,"mainColor":7696},201723,"fang-ni-zan-shan-shui-juan-di-da-kun-201723","仿倪瓒山水卷","翟大坤","这幅山水取倪瓒笔意，以简约淡远的笔墨铺陈清寂景致。近处坡石用干笔皴擦，线条疏朗有致；几株树木挺拔错落，枝桠简练传神；远处山峦淡墨晕染，层次隐现，留白处烟水浩渺，尽显空灵之趣。题跋与朱印相映成趣，添文人雅韵。整体画面清逸绝尘，传递出超然物外的淡泊心境，宛如流动的诗意画卷，引人入胜。",[23,25,28,26,126,51,55,83,7,622,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27748032ceff446ae69efb08af9cd4c8.jpg",[35],"aea698",{"id":7698,"slug":7699,"title":7700,"dynasty":115,"author":489,"museum":117,"description":7701,"tags":7702,"thumbUrl":7704,"material":295,"size":296,"collection":34,"collections":7705,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":133},290107,"jiang-cun-tu-yi-ming-290107","江村图","此作是典型的江南平远小景，淡墨晕染的远山隐在烟霭中，虚实相生晕开空濛暮色。沙洲之上茂林成荫，枝叶皴擦苍劲朴拙，村居藏在浓荫深处，暗合江村烟火意趣。\n\n水面皴出细碎波纹，渔翁驾扁舟，长篙划破江天寂静，漾开闲淡的生机。右下角岸渚老树盘虬，与左侧沙洲遥相呼应。\n\n整幅以淡赭铺底，墨色层次柔和温婉，摒去繁复勾勒，以极简构图烘托出江村日暮的恬然闲适。将寄情山水的隐逸心境铺陈绢素，淡而愈真，简而意长，仿佛能闻水波轻摇、晚风穿林，尽显江南水乡悠然野趣。",[49,23,28,25,101,55,7,56,7703,1501],"江村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd75706a44553aa4775e782b4a7004a5.jpg",[],{"id":7707,"slug":7708,"title":7709,"dynasty":115,"author":489,"museum":117,"description":7710,"tags":7711,"thumbUrl":7714,"material":295,"size":296,"collection":34,"collections":7715,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":133},290105,"qing-xi-feng-fan-tu-yi-ming-290105","清溪风帆图","淡墨晕染出空濛的江南水色，远山如眉黛轻蹙，晕在烟霭之中，层次渐远渐淡，融在天际虚白里。\n\n汀渚横陈水面，茂林攒聚，墨色苍润，是水色里凝住的深翠。右下角苍松挺劲，清健枝桠破开柔缓水意，添了几分沉凝。\n\n孤舟扬帆破水而行，船尾拖曳纤长缆绳，渔人在空阔水天里成为一抹生动注脚。\n\n整幅以留白衬出水天寥廓，水墨轻施重染，将江南烟雨的空寂温柔揉进绢素，淡远幽微的诗意漫溢，尽显静观山水、天人共生的清雅意趣。",[49,916,23,80,25,28,101,5994,7712,7,7713],"山林","静水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41338053a7c8465b85bbb445ad94e4c4.jpg",[],{"id":7717,"slug":7718,"title":7719,"dynasty":115,"author":489,"museum":117,"description":7720,"tags":7721,"thumbUrl":7723,"material":295,"size":296,"collection":34,"collections":7724,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":133},289786,"song-yan-xian-guan-tu-yi-ming-289786","松严仙馆图","采用全景式山水章法，将高远、平远景致相融。危崖之巅，楼阁隐于青松翠岫间，尽显出尘高逸。水畔台榭依崖而建，烟波浩渺间远山如黛，留白处晕染出空濛悠远的诗意。前景古木虬曲苍劲，坡岸山石皴擦细腻苍润，笔致严谨雅致，绢本晕染的古雅色调沉静悠然。\n整幅画铺展出林泉幽居之景，将仙馆清寂融于烟岚山水之中，尽显可观可游可居的山水意趣，暗合林泉高致的风雅，氤氲出静谧悠远的隐逸之美。",[49,23,28,204,52,26,176,156,30,56,7,101,7722],"亭馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c8cfd725c56d9836e02506697d5c1d.jpg",[],{"id":7726,"slug":7727,"title":17,"dynasty":44,"author":3509,"museum":117,"description":7728,"tags":7729,"thumbUrl":7730,"material":34,"size":34,"collection":34,"collections":7731,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},239363,"shan-shui-ce-wang-san-xi-239363","此帧水墨山水以简驭繁，近岸坡石苔点苍润古拙，几株竹木依偎而生，竹枝清劲挺拔，墨叶浓淡交叠，笔法秀灵兼具，将草木舒展之态尽显。淡墨晕染远山，留白化作浩渺平湖，一叶扁舟随波轻漾，远山以淡笔虚写，虚实相生间晕开空寂悠远的江上秋意。\n\n画面墨色干湿层次分明，简淡萧疏中藏清雅意趣，以寥寥笔墨铺陈出江南水畔的幽寂闲情，尽显文人水墨的写意之妙，观之如临静谧江天，畅怀林下之思。",[23,24,27,25,26,28,29,308,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a8d1fc5f32840958329e9dfcb8df88.jpg",[],{"id":7733,"slug":7734,"title":17,"dynasty":44,"author":1099,"museum":117,"description":5644,"tags":7735,"thumbUrl":7736,"material":295,"size":296,"collection":34,"collections":7737,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},239327,"shan-shui-ce-cha-shi-biao-239327",[23,24,27,25,54,126,26,28,55,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04d216a446ca49c15db08c73d6c236.jpg",[],{"id":7739,"slug":7740,"title":5391,"dynasty":44,"author":7741,"museum":117,"description":7742,"tags":7743,"thumbUrl":7744,"material":34,"size":34,"collection":34,"collections":7745,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},239167,"shan-shui-hua-hui-ce-chen-heng-ke-239167","陈衡恪","这幅小品以淡墨轻岚绘就江南春景，浅赭晕出水汀远岸，水墨点染洲渚林木，晕染出朦胧空濛的烟水之气。右下角以浓淡互破的焦墨写出苇丛杂木，野朴苍润。水面留白宽绰，一叶扁舟静泊波心，愈发衬出水天寥廓。\n\n配文取“春水碧于天，画船听雨眠”的诗意，将江南春日的慵懒闲寂融于尺幅之间，笔简意足，淡宕幽远。观之如浸身烟雨江南，仿佛能听见雨打船篷的轻响，文人画的澹泊隐逸之趣尽数铺陈，清寂温柔的氛围感扑面而来。",[23,24,27,25,52,28,101,31,723,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6953ee909949d974b7afda0477102ab7.jpg",[],{"id":7747,"slug":7748,"title":5391,"dynasty":44,"author":7741,"museum":117,"description":7749,"tags":7750,"thumbUrl":7751,"material":34,"size":34,"collection":34,"collections":7752,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},239159,"shan-shui-hua-hui-ce-chen-heng-ke-239159","陈衡恪(1876-1923) ，中国民国初年天才横溢的画家，美术教育家。字师曾，号槐堂、朽道人，祖籍江西义宁(今修水)，1876年3月12日出生于湖南凤凰县。著名诗人陈三立长子，陈寅恪之兄。曾留学日本，攻读博物学。归国后从事美术教育与研究。擅山水花鸟人物，其花鸟画浑厚绮丽，山水画钩多皴少，人物画带速写情趣。又工篆刻、书法，能诗，出奇造意，矫柔为刚。由于陈师曾的人品、学问及诗、书、画、印“四全”，因此被公认为民国初年北京画坛最有名望的画家。梁启超称他为“现代美术界具有艺术天才、高人恪、不朽价值的第一人”。著有《中国绘画史》、《中国文人画之研究》。",[23,24,27,25,52,26,54,28,30,156,7,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bbaeff17ad321a599c995d572aad2.jpg",[],{"id":7754,"slug":7755,"title":5452,"dynasty":44,"author":3773,"museum":117,"description":7756,"tags":7757,"thumbUrl":7758,"material":34,"size":34,"collection":34,"collections":7759,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},239131,"shan-shui-he-hui-ce-zhang-zong-cang-239131","此作以平远视界铺展江南野趣，水墨轻施，淡岚氤氲。坡岸间松石错落，杂木萧疏清瘦，几杆修竹伴衬茅庐隐于林泉之间，尽得幽居雅意。水面空蒙浩渺，远山层叠晕染如黛，淡而有神，将平野清寂之景晕染雅致。笔墨松秀简淡脱尽繁缛，题款朴拙古雅与画面浑然相融，尽显文人画萧散静穆的林下之风，将林泉高致的隐逸情怀寄寓淡墨浅痕中，整幅清润秀雅，尽显平和悠远的山水逸趣。",[23,24,27,25,26,28,82,83,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff743d229cc696c06725a7445e18885e8.jpg",[],{"id":7761,"slug":7762,"title":5452,"dynasty":44,"author":3773,"museum":117,"description":7763,"tags":7764,"thumbUrl":7765,"material":295,"size":296,"collection":34,"collections":7766,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},239127,"shan-shui-he-hui-ce-zhang-zong-cang-239127","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[23,27,25,26,28,29,259,58,7,248,882,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2093dac5beacc3643d478b8d5b2aca.jpg",[],{"id":7768,"slug":7769,"title":7770,"dynasty":44,"author":7771,"museum":117,"description":7772,"tags":7773,"thumbUrl":7774,"material":295,"size":296,"collection":34,"collections":7775,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238942,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238942","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[23,24,27,52,410,28,60,260,723,7,31,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F624ce11958013751a41324b0385b82a1.jpg",[],{"id":7777,"slug":7778,"title":7779,"dynasty":44,"author":1948,"museum":117,"description":7780,"tags":7781,"thumbUrl":7782,"material":34,"size":34,"collection":34,"collections":7783,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238765,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238765","画弘历拟古诗意图册","此作用淡墨平远取景，远山含烟如黛，溪岸村居隐于茂林，野水萦回漾着清光。林下二人对坐展卷，置茶饮宴，将诗意化为林泉雅集。笔墨松秀简淡，以逸笔点染林木屋舍，淡墨皴写山峦，舍去浓丽敷色，尽得清雅意致。右侧恭书诗文，小楷端雅秀润，与水墨山水相映成趣。\n\n整幅诗画合璧，将御诗中的林泉高致落于纸面，淡岚浅墨间晕开悠然高旷的林下风雅，尽显清和温婉的文人画韵致。",[23,24,27,25,54,26,28,60,59,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14836ed43c794c1d3d606f36ff387fe4.jpg",[],{"id":7785,"slug":7786,"title":17,"dynasty":44,"author":5460,"museum":117,"description":7787,"tags":7788,"thumbUrl":7789,"material":34,"size":34,"collection":34,"collections":7790,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238149,"shan-shui-ce-yun-xi-238149","此作淡墨皴山，笔致苍秀温润，层叠峰崖间飞泉奔涌，林麓隐见山居茅舍，远岫衔着空濛水色，咫尺画幅铺展出清旷灵逸之境。\n题诗与山水相映，把幽栖丘壑的出世意趣藏于笔墨间，无浓丽设色，只以水墨晕染出烟岚空寂，观之便觉尘嚣尽褪，恍如踏入诗里的世外仙壶，尽显文人寄情林泉的萧散襟怀。",[23,24,27,25,26,53,126,28,56,30,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a5a4d9cc71dbbd1bbe8f2a844ee23b.jpg",[],{"id":7792,"slug":7793,"title":17,"dynasty":44,"author":7455,"museum":117,"description":7456,"tags":7794,"thumbUrl":7795,"material":295,"size":296,"collection":34,"collections":7796,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},238089,"shan-shui-ce-lu-yao-238089",[23,25,27,26,28,29,59,7,84,155,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc73e6202d0318b3f676928daf5810cc.jpg",[],{"id":7798,"slug":7799,"title":2792,"dynasty":44,"author":7800,"museum":117,"description":7801,"tags":7802,"thumbUrl":7803,"material":34,"size":34,"collection":34,"collections":7804,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237867,"shan-shui-tu-ce-jin-xue-jian-237867","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[23,24,27,25,52,28,26,57,56,125,55,2151,121,234,7,725,3805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143db4af058fe90f4e3815f655e91d60.jpg",[],{"id":7806,"slug":7807,"title":17,"dynasty":96,"author":3218,"museum":117,"description":3219,"tags":7808,"thumbUrl":7809,"material":295,"size":296,"collection":34,"collections":7810,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237633,"shan-shui-ce-shen-hao-237633",[23,28,25,2424,27,82,30,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5c7bc58e0288500c92a325a68d0562.jpg",[],{"id":7812,"slug":7813,"title":7814,"dynasty":96,"author":489,"museum":117,"description":7815,"tags":7816,"thumbUrl":7817,"material":295,"size":296,"collection":34,"collections":7818,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237546,"shi-dao-shan-shui-shan-ye-yi-ming-237546","适道山水扇页","泥金底色温润古雅，晕开淡墨山水的清逸意趣。画面以高远起势，左侧峰崖崚嶒，皴笔苍劲利落，勾勒山石的硬朗肌理；右侧浅峦迤逦铺展，水岸平阔，漾出平远之境。近景虬木错落、枝桠疏朗，掩映着茅亭村舍，田畴横陈，将郊野幽居的闲适日常铺陈开来。淡墨轻施、设色简淡，萧散的文人意趣盈满尺幅之间，题款小字清雅安和，与画面浑然相融，把林泉高致藏于盈握扇面，尽显古雅悠然的山水情怀。",[916,23,28,26,25,52,154,29,59,2151,7,725],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5841dc93a7b567b976371d8e6ad907.jpg",[],{"id":7820,"slug":7821,"title":5391,"dynasty":96,"author":7137,"museum":117,"description":7138,"tags":7822,"thumbUrl":7823,"material":295,"size":296,"collection":34,"collections":7824,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237506,"shan-shui-hua-hui-ce-jiang-shou-cheng-237506",[23,24,27,54,52,28,176,101,156,7,31,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49d532a714dc960a0f0bb773b92a3b5f.jpg",[],{"id":7826,"slug":7827,"title":5391,"dynasty":96,"author":7137,"museum":117,"description":7138,"tags":7828,"thumbUrl":7831,"material":295,"size":296,"collection":34,"collections":7832,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504",[23,24,27,54,52,28,121,55,125,905,6945,25,53,7829,7830,30,234,882,7,725],"自然景物","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],{"id":7834,"slug":7835,"title":2792,"dynasty":44,"author":7553,"museum":117,"description":7554,"tags":7836,"thumbUrl":7837,"material":295,"size":296,"collection":34,"collections":7838,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237398,"shan-shui-tu-ce-xue-xuan-237398",[23,24,27,25,52,26,28,193,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c389e1d53e7ebadf36de69feac3a60f.jpg",[],{"id":7840,"slug":7841,"title":2792,"dynasty":44,"author":7553,"museum":117,"description":7554,"tags":7842,"thumbUrl":7843,"material":295,"size":296,"collection":34,"collections":7844,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237397,"shan-shui-tu-ce-xue-xuan-237397",[23,25,26,27,28,55,30,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca5706c45c5a82dc16d8c01541e0cb50.jpg",[],{"id":7846,"slug":7847,"title":7848,"dynasty":96,"author":3218,"museum":77,"description":7849,"tags":7850,"thumbUrl":7851,"material":1514,"size":7852,"collection":34,"collections":7853,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237264,"shen-hao-shan-shui-tu-ce-shen-hao-237264","沈灏山水图册","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[23,24,27,2424,25,28,193,30,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b5b81bcde430c081aacc9d94e845be.jpg","15.2x23.6厘米",[],{"id":7855,"slug":7856,"title":17,"dynasty":44,"author":1099,"museum":117,"description":7154,"tags":7857,"thumbUrl":7858,"material":34,"size":34,"collection":34,"collections":7859,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237109,"shan-shui-ce-cha-shi-biao-237109",[23,24,25,26,27,28,58,55,60,7,248,56,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa34ebe8e0ebe5a598d59b78eb9a784da.jpg",[],{"id":7861,"slug":7862,"title":6593,"dynasty":44,"author":6594,"museum":117,"description":7863,"tags":7864,"thumbUrl":7865,"material":86,"size":34,"collection":34,"collections":7866,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},237065,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237065","此作以淡墨皴擦山石，层峦清润悠远，几株古松虬劲挺拔，松针攒簇间尽显苍然古意。林麓间村居隐现，茅舍错落，晕染出幽寂平和的山居之境。左侧题诗与画作相映，诗书画印浑然一体，尽显文人雅趣。整体构图虚实相生，笔致秀雅内敛，将林下隐逸的栖居意趣融于尺幅之间，静穆雅致晕染出清代文人山水特有的淡远审美，藏着文人心中幽居林泉的理想图景。",[23,24,27,52,28,26,156,154,30,59,55,7,126,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0b758499f628aec8605fa563b12c73.jpg",[],{"id":7868,"slug":7869,"title":5692,"dynasty":96,"author":7870,"museum":117,"description":7871,"tags":7872,"thumbUrl":7873,"material":295,"size":296,"collection":34,"collections":7874,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":133},236705,"shan-shui-shan-zuo-zhen-236705","左桢","左桢（1854--1937），男，字绍臣，别号江南大隐，江苏高邮人。著有《甓湖草堂笔记》、《甓湖楹帖》、《金石录》。",[916,23,25,28,55,59,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49801e20c40c3e0054448041d0c4122a.jpg",[],{"id":7876,"slug":7877,"title":5692,"dynasty":96,"author":7878,"museum":117,"description":7879,"tags":7880,"thumbUrl":7881,"material":295,"size":296,"collection":34,"collections":7882,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":133},236703,"shan-shui-shan-lin-fan-236703","林凡","以干笔淡墨绘就秋山幽居，近岸板桥横陈，策杖行人缓步徐行，篱舍错落隐于林间。远山层叠晕染，主峰以短皴攒簇，勾勒苍厚肌理，金笺底色晕开疏淡墨色，衬出空寂秋意。\n此作以尺幅铺展咫尺千里之境，笔墨简淡清逸，以简驭繁，将林泉高致藏于方寸扇面。萧散野趣漫溢其间，尽显文人画的幽寂襟怀，观之如临深秋日暮的山居，静赏山光林影，遥想丘壑间的隐逸闲情。",[916,23,25,26,28,30,55,59,57,60,7,725,1218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600b1b6f1911a4652e5bdd3c55f1145.jpg",[],{"id":7884,"slug":7885,"title":17,"dynasty":44,"author":7519,"museum":117,"description":7520,"tags":7886,"thumbUrl":7887,"material":237,"size":34,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lv-bi-shan-shui-ce-lv-bi-239500","此帧绘江岸山居之景，近岸危崖苍松错落，山坳村居隐现，远江帆影浮沉于烟水间，淡墨晕染出空蒙悠远的江天色。画面笔墨秀雅清润，山石以干笔皴擦尽显朴拙质感，苍松虬劲古雅，设色柔和清淡。\n\n左页题诗与画境相得益彰，诗画合璧，将春日山居的幽寂清宁铺展尽致，把文人林泉高致寄于尺幅之间，尽显静穆萧散的隐逸之思，以画载情，尽显雅致意趣，是颇具韵味的诗画小品。",[23,24,27,25,26,28,55,30,101,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa968d303918aea8174df42cea756d2cb.jpg",[],{"id":8554,"slug":8555,"title":7958,"dynasty":44,"author":7146,"museum":117,"description":8556,"tags":8557,"thumbUrl":8558,"material":295,"size":296,"collection":34,"collections":8559,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},239494,"shan-shui-ce-6-shang-guan-zhou-239494","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[23,27,25,26,28,30,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d54b4879be849494ef55198c05878d.jpg",[],{"id":8561,"slug":8562,"title":17,"dynasty":44,"author":8563,"museum":117,"description":8564,"tags":8565,"thumbUrl":8566,"material":34,"size":34,"collection":34,"collections":8567,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},239351,"shan-shui-ce-lin-fu-chang-239351","林福昌","此作近岸苍松挺劲，浓墨点簇松针，生机勃发，坡岸村居黛瓦素墙，隐于林间，晕开悠然乡居意趣。中景平湖如镜，淡墨晕出水汽朦胧之态，对岸林木错落，色墨交织层次明晰。远景危峰高耸，枯笔勾勒皴擦山石，敷以浅赭淡青，兼具厚重质感与清逸气韵。\n\n右上角题字落款，笔墨相映，融诗画为一体。全幅章法疏密得当，以淡彩浅墨营造出清旷淡远的山居雅境，笔致秀润雅致，尽显传统文人山水的写意风神，漫溢出平和冲淡的隐逸意趣。",[80,23,24,27,52,25,26,28,156,59,30,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead99b79c601ad5ccfc1e361a07e6f9.jpg",[],{"id":8569,"slug":8570,"title":17,"dynasty":44,"author":8563,"museum":117,"description":8571,"tags":8572,"thumbUrl":8573,"material":34,"size":34,"collection":34,"collections":8574,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},239345,"shan-shui-ce-lin-fu-chang-239345","此帧以水墨写意摹黄鹤山人笔意，绘就江岸山居之景。危崖层叠而上，古松虬枝蟠曲、针叶郁苍，崖下临江水榭错落，随波漾出闲静意趣。右侧半山楼阁崔嵬，山道蜿蜒隐于林木间，远山晕在烟霭之中，淡如浅黛。\n作者以干湿互用的墨色皴擦山石，苍润兼具。笔致松灵秀逸，淡墨晕染烟岚，虚实相生间晕出空濛淡远的诗意，将萧散简远的元人山水意趣融于尺幅，把林泉高致的隐逸氛围烘托得恰到好处，尽显文人水墨的雅致淡远。",[23,24,27,25,26,28,176,55,30,7,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10bfe30e11280413a72d3a3add57576.jpg",[],{"id":8576,"slug":8577,"title":4013,"dynasty":44,"author":5876,"museum":117,"description":8578,"tags":8579,"thumbUrl":8580,"material":34,"size":34,"collection":34,"collections":8581,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":133},239301,"fang-gu-shan-shui-ce-wu-lin-239301","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[23,25,153,27,26,28,55,30,260,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58825ff8e3a00ed4e95eef7faaa67260.jpg",[],{"id":8583,"slug":8584,"title":5391,"dynasty":44,"author":7741,"museum":117,"description":8585,"tags":8586,"thumbUrl":8588,"material":295,"size":296,"collection":34,"collections":8589,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},239157,"shan-shui-hua-hui-ce-chen-heng-ke-239157","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[23,24,27,25,54,259,59,7,8587],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F773e1713308ebeb08b3d2243dfe369f8.jpg",[],{"id":8591,"slug":8592,"title":17,"dynasty":44,"author":5876,"museum":117,"description":8086,"tags":8593,"thumbUrl":8594,"material":34,"size":34,"collection":34,"collections":8595,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},239044,"shan-shui-ce-wu-lin-239044",[80,23,25,26,27,28,58,101,193,83,7,104,55,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10abb4a9cea588c79e458516e9c3c1bb.jpg",[],{"id":8597,"slug":8598,"title":17,"dynasty":44,"author":5876,"museum":117,"description":8086,"tags":8599,"thumbUrl":8600,"material":8089,"size":8090,"collection":34,"collections":8601,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},239035,"shan-shui-ce-wu-lin-239035",[23,25,26,27,28,414,83,55,7,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f352ac31678676f1f347f32b5939c9.jpg",[],{"id":8603,"slug":8604,"title":8605,"dynasty":44,"author":7906,"museum":117,"description":8606,"tags":8607,"thumbUrl":8608,"material":34,"size":34,"collection":34,"collections":8609,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},238981,"shan-shui-ce-fang-wu-zhong-gui-bing-shu-shi-tian-ju-wang-chen-238981","山水册－仿吴仲圭并书石田句","此作以浅绛绘就林泉之景，近崖峻拔，草木翳然，山道逶迤通幽；山坳村居隐于松荫，朴拙静谧。干笔勾勒山石骨相，披麻皴晕染肌理，淡赭轻敷，色调清润柔和，尽显元人萧散简淡的意趣。\n\n题诗与画境交融，将幽寂的山居意韵娓娓道来。笔意苍秀古拙，不尚雕琢，以极简的笔墨写尽林泉高致，把隐逸的山居之思融于尺幅间，平淡之中自见隽永风神，尽显文人山水的写意雅趣。",[23,24,27,25,26,51,54,126,28,30,55,59,7,120,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53da4dccb0bb03892a40748465207366.jpg",[],{"id":8611,"slug":8612,"title":8613,"dynasty":44,"author":7906,"museum":117,"d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等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[23,24,27,51,25,26,28,57,56,55,30,7,58,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60b45a9ecd58a4bf0a2f3ac5cea04180.jpg",[],{"id":8835,"slug":8836,"title":8837,"dynasty":96,"author":489,"museum":117,"description":8838,"tags":8839,"thumbUrl":8840,"material":295,"size":296,"collection":34,"collections":8841,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},235139,"chen-dan-zhong-shan-shui-ce-yi-ming-235139","陈丹衷山水册","此作以淡笔绘就江南烟景，近岸苍松虬劲蓊翠，浅滩烟波氤氲，一叶扁舟悠然浮于水面，漾出闲淡野趣。中渚林木葱郁，远山层叠晕染，以留白衬出水雾空濛，村舍隐现山麓间，尽显幽寂清旷之致。\n诗画合璧，将倦客归思寄于山水林泉。浅绛设色清润柔和，笔墨松秀简淡，不事雕琢，以简驭繁，将江南水乡温润诗意与萧散林下之风相融，淡远意境暗合文人幽居林泉、寄情江湖的隐逸意趣，尽显雅致清远的文人山水意韵。",[80,23,24,27,52,28,7,120,31,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb02be495cd4d500c2fac8adda0e5905.jpg",[],{"id":8843,"slug":8844,"title":17,"dynasty":44,"author":1948,"museum":46,"description":8383,"tags":8845,"thumbUrl":8846,"material":34,"size":34,"collection":34,"collections":8847,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234802,"shan-shui-ce-dong-bang-da-234802",[23,25,26,27,28,58,259,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393fca74d1c375b4db61c2c9e928c337.jpg",[],{"id":8849,"slug":8850,"title":17,"dynasty":44,"author":1948,"museum":46,"description":8383,"tags":8851,"thumbUrl":8852,"material":34,"size":34,"collection":34,"collections":8853,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234796,"shan-shui-ce-dong-bang-da-234796",[23,24,27,25,26,28,154,29,58,30,178,7,725,84,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d6dda4967c6f5cf4ee430a529366c3.jpg",[],{"id":8855,"slug":8856,"title":5692,"dynasty":44,"author":7906,"museum":117,"description":8857,"tags":8858,"thumbUrl":8859,"material":34,"size":34,"collection":34,"collections":8860,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234687,"shan-shui-shan-wang-chen-234687","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。",[23,24,916,28,25,26,30,55,123,178,7,493],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbb9677c3cc7a97a9bb9eb5329586f6.jpg",[],{"id":8862,"slug":8863,"title":8398,"dynasty":44,"author":8399,"museum":117,"description":8400,"tags":8864,"thumbUrl":8865,"material":34,"size":34,"collection":34,"collections":8866,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234361,"you-niao-shi-tu-ce-jin-kun-234361",[23,24,27,54,126,52,28,57,56,55,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43947393ebed197c253016c5f649581d.jpg",[],{"id":8868,"slug":8869,"title":8398,"dynasty":44,"author":8399,"museum":117,"description":8400,"tags":8870,"thumbUrl":8871,"material":34,"size":34,"collection":34,"collections":8872,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234358,"you-niao-shi-tu-ce-jin-kun-234358",[23,24,27,52,54,126,28,29,155,7,120,31,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad041c21a79ac98fee5e6b835d4b67d.jpg",[],{"id":8874,"slug":8875,"title":8398,"dynasty":44,"author":8399,"museum":117,"description":8400,"tags":8876,"thumbUrl":8877,"material":34,"size":34,"collection":34,"collections":8878,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234353,"you-niao-shi-tu-ce-jin-kun-234353",[23,24,27,52,28,260,55,30,56,7,54,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f300a8b8ccab61a4d799c3ff3a90c6.jpg",[],{"id":8880,"slug":8881,"title":8398,"dynasty":44,"author":8399,"museum":117,"description":8400,"tags":8882,"thumbUrl":8883,"material":34,"size":34,"collection":34,"collections":8884,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234345,"you-niao-shi-tu-ce-jin-kun-234345",[23,24,27,54,126,52,28,260,82,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff51d9be8cf617714b87349dbb806480b.jpg",[],{"id":8886,"slug":8887,"title":8888,"dynasty":44,"author":489,"museum":46,"description":8889,"tags":8890,"thumbUrl":8892,"material":8893,"size":8894,"collection":34,"collections":8895,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},234333,"hong-wu-song-lin-yuan-xiu-tu-zhou-yi-ming-234333","弘旿松林远岫图轴","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。 此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。",[23,24,81,25,26,28,8891,7,58,30,55,1545],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1dfb8496f1998e09f08da9e48675e6.jpg","纸本 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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[288,531,52,60,1044,882,905,7,539,6002,3804,8909,8910],"骑马者","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d13ba0f77e0cf152aa023fa77e48b9.jpg",[],{"id":8914,"slug":8915,"title":8916,"dynasty":284,"author":489,"museum":117,"description":8917,"tags":8918,"thumbUrl":8919,"material":34,"size":34,"collection":34,"collections":8920,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":133},231691,"shi-ting-shi-qi-qiao-yi-ming-231691","室町时期 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Vernet--The Castel Nuovo in 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年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[23,24,27,25,28,154,155,29,83,7,54,53,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726eda8082c671f313f77c8f44a8f088.jpg",[],"FFFFFF",{"id":9110,"slug":9111,"title":17,"dynasty":44,"author":7519,"museum":117,"description":9112,"tags":9113,"thumbUrl":9114,"material":295,"size":296,"collection":34,"collections":9115,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},237917,"shan-shui-ce-cheng-ming-237917","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[23,24,27,25,52,26,28,58,260,82,83,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad585c9cd05d3305114348da5b5788f.jpg",[],{"id":9117,"slug":9118,"title":2792,"dynasty":44,"author":45,"museum":117,"description":9119,"tags":9120,"thumbUrl":9121,"material":295,"size":296,"collection":34,"collections":9122,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},237758,"shan-shui-tu-ce-cheng-zheng-kui-237758","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,24,27,54,25,52,28,726,101,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db9715c1fdd354917be084718cb15d.jpg",[],{"id":9124,"slug":9125,"title":2792,"dynasty":44,"author":45,"museum":117,"description":9119,"tags":9126,"thumbUrl":9127,"material":295,"size":296,"collection":34,"collections":9128,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},237756,"shan-shui-tu-ce-cheng-zheng-kui-237756",[23,24,27,25,28,83,193,7,54,126,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e772c7ac61382334a75e4c69cdde321.jpg",[],{"id":9130,"slug":9131,"title":2792,"dynasty":44,"author":45,"museum":117,"description":9119,"tags":9132,"thumbUrl":9133,"material":295,"size":296,"collection":34,"collections":9134,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},237746,"shan-shui-tu-ce-cheng-zheng-kui-237746",[23,25,54,27,26,28,83,55,7,58,126,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab672cc8a29cd292737dbf9d8762a32.jpg",[],{"id":9136,"slug":9137,"title":9138,"dynasty":44,"author":9139,"museum":117,"description":9140,"tags":9141,"thumbUrl":9142,"material":295,"size":296,"collection":34,"collections":9143,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},237645,"li-yin-fang-gu-shan-shui-ce-li-yin-237645","李寅仿古山水册","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[23,24,27,25,54,126,51,28,58,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd634656657dce2f7a660e156c246fb.jpg",[],{"id":9145,"slug":9146,"title":17,"dynasty":96,"author":3218,"museum":117,"description":3219,"tags":9147,"thumbUrl":9148,"material":295,"size":296,"collection":34,"collections":9149,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},237630,"shan-shui-ce-shen-hao-237630",[23,25,28,57,176,126,307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fca833f23a8848e04225d83bdec00c.jpg",[],{"id":9151,"slug":9152,"title":17,"dynasty":96,"author":8287,"museum":117,"description":8288,"tags":9153,"thumbUrl":9154,"material":295,"size":296,"collection":34,"collections":9155,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},237005,"shan-shui-ce-sun-ri-shao-237005",[23,24,27,25,52,26,54,28,29,83,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84aec7d37744377ddc39a1b5d41197b1.jpg",[],{"id":9157,"slug":9158,"title":5945,"dynasty":44,"author":9159,"museum":117,"description":9160,"tags":9161,"thumbUrl":9162,"material":34,"size":34,"collection":34,"collections":9163,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},236743,"shan-shui-wan-shan-chen-yan-shu-236743","陈衍庶","此作用水墨写就丘壑，团扇尺幅里铺展山林幽境。以干笔皴擦勾勒山石肌理，披麻皴带出苍朴质感，远山以淡墨晕染，虚实相映，将山岚空濛之态藏于留白间。近坡虬松错落，林木蓊郁，崖谷间隐见涧水，暗合听泉寻幽之趣。\n\n左上题款墨色沉凝，与画面淡润笔调相映，文气悠悠。整体萧散简远，以笔墨写胸中丘壑，不着意实景刻画，只以清润淡远的意韵传递林下幽居的隐逸心绪，尽显文人山水的雅逸风神。",[23,916,25,28,26,30,55,7,56,156,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1939249652ac833fe6e4dedf9382f96c.jpg",[],{"id":9165,"slug":9166,"title":6427,"dynasty":44,"author":6428,"museum":117,"description":6429,"tags":9167,"thumbUrl":9168,"material":34,"size":34,"collection":34,"collections":9169,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},236516,"sun-shan-shui-ce-wang-ji-236516",[23,25,27,26,28,101,55,102,7,120,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75639b7bc79d45de93aac6a8678288ab.jpg",[],{"id":9171,"slug":9172,"title":17,"dynasty":44,"author":1510,"museum":117,"description":9173,"tags":9174,"thumbUrl":9175,"material":34,"size":34,"collection":34,"collections":9176,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},235112,"shan-shui-ce-wang-yuan-qi-235112","近岸乱石错落，古木虬枝舒张，自带清寒之气，溪涧隐于林麓，暗合山水有声之趣。留白晕出空濛烟岚，将远近山水晕出层次过渡，远山以干笔皴擦堆叠，浑厚苍莽，兼具沉雄与秀逸。\n\n笔墨苍润相生，干笔积墨反复皴擦山石，墨色浓淡交织，既绘出丘壑深邃，又尽显笔墨意趣。整幅画作静穆淡远，将文人书卷气融于山林丘壑，简淡中见深秀，枯涩中含温润，勾勒出林下幽居的清寂意境，尽显沉静雅致的山水意韵。",[23,24,27,52,26,25,28,30,55,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6bed67edc7aa0e3519ff75ac102c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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[23,24,27,25,52,28,26,572,156,62,7,53,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5555c65778c6b7dae7d67875a19994a3.jpg",[],{"id":9210,"slug":9211,"title":7290,"dynasty":44,"author":1732,"museum":46,"description":7291,"tags":9212,"thumbUrl":9213,"material":389,"size":7294,"collection":34,"collections":9214,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":39},233157,"huang-shan-tu-ce-mei-qing-233157",[23,80,25,26,28,156,58,30,55,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098a29238b2f771e9bc73d9be6b2f031.jpg",[],{"id":9216,"slug":9217,"title":9218,"dynasty":284,"author":6466,"museum":117,"description":6467,"tags":9219,"thumbUrl":9231,"material":295,"size":296,"collection":34,"collections":9232,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":133},232342,"a-er-ma-69-lao-lun-si-a-er-ma-ta-de-ma-232342","阿尔玛69",[288,52,6224,60,9220,9221,9222,9223,9224,55,9225,539,9226,7,9227,6479,9228,6233,9229,9230],"美人","男性人物","古希腊服饰","大理石建筑","石碑","海洋","海岸线","弦乐器","石桌","木质椅子","石质地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dc9763ef4974b1212acdaae4eab6e6.jpg",[],{"id":9234,"slug":9235,"title":9236,"dynasty":284,"author":8906,"museum":117,"description":8907,"tags":9237,"thumbUrl":9238,"material":295,"size":296,"collection":34,"collections":9239,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":133},232120,"landscape-circa-museum-of-fine-arts-houston-usa-de-jia-232120","Landscape 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”、“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。",[23,24,27,2424,25,28,29,247,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5215a9f66afc6ffcca5db152a27534eb.jpg",[],{"id":9457,"slug":9458,"title":9459,"dynasty":44,"author":9261,"museum":117,"description":9262,"tags":9460,"thumbUrl":9461,"material":250,"size":34,"collection":34,"collections":9462,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},218013,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-5-ceng-yan-dong-218013","七道子山水人物画册18帧-5",[49,23,24,25,27,28,82,59,7,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6ddd48c80a6e79dcbfa24734c6f123.jpg",[],{"id":9464,"slug":9465,"title":9466,"dynasty":44,"author":489,"museum":117,"description":9467,"tags":9468,"thumbUrl":9469,"material":33,"size":34,"collection":34,"collections":9470,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},215606,"tian-xia-ming-shan-tu-17-yi-ming-215606","天下名山图-17","笔墨轻挥间，山水之韵徐徐铺展。前景溪流蜿蜒，岸线层叠，水纹细劲如丝，似有潺潺声入耳。中景坡地起伏，林木疏密有致，几椽屋舍隐于其间，添了烟火气却不失清幽。背景山峦巍峨，轮廓刚劲含柔，山间留白若云雾缭绕，将远岫的深邃悄然晕开。线条简练却见功底，皴擦点染皆合章法，简淡中藏深远，平实处生奇趣。整幅画如无声的山水诗，把自然静谧与人文闲适融于尺幅，引人入胜，心生向往。",[80,23,24,27,2424,25,26,28,55,7,456,84,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7b0bab5cf9e908df16329dcb37bf07.jpg",[],{"id":9472,"slug":9473,"title":9474,"dynasty":44,"author":489,"museum":117,"description":9475,"tags":9476,"thumbUrl":9478,"material":33,"size":34,"collection":34,"collections":9479,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},215587,"tian-xia-ming-shan-tu-36-yi-ming-215587","天下名山图-36","线条如行云流水，勾勒出山峦的起伏褶皱。层岩叠嶂间，皴笔细密交织，尽显山体肌理的苍劲质感。古松虬枝斜出，墨线凝练中藏着灵动，似与山风相和。旁侧林木以疏密线条铺陈，葱郁之意跃然纸上。画面虽无设色，却以墨线的浓淡变化，铺展出山林的幽深静谧——仿佛松涛阵阵入耳，云雾隐现于峰峦缝隙，尽显传统山水的笔墨意趣。于简洁勾勒中蕴含深远意境，让人窥得古人笔下山川的雄浑与秀逸，笔墨间流淌着对自然的敬畏与诗意描摹。",[23,24,2424,28,27,154,156,84,7,9477,25],"线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e9806ce3da1fff4a7a4d1a5092a6de.jpg",[],{"id":9481,"slug":9482,"title":9483,"dynasty":44,"author":489,"museum":117,"description":9484,"tags":9485,"thumbUrl":9486,"material":33,"size":34,"collection":34,"collections":9487,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},215586,"tian-xia-ming-shan-tu-37-yi-ming-215586","天下名山图-37","画面以危崖为轴，一侧平远湖山如展卷，烟波轻笼岸树，远山层叠成淡墨剪影；一侧崖壁如削，线条勾勒出嶙峋肌理，皴擦间见山石苍劲。崖巅数人衣袂轻扬，凭栏望断湖山，似与风语，又或沉醉于天地清旷。笔墨古雅，以线塑形，墨色深浅晕染出山水层次，将文人寄情丘壑的闲逸与山水壮阔融于尺幅。每一笔藏着旧时光的温润，每处留白盛着悠远意境，尽显古典山水的雅致与深远，仿佛踏入画中，同赏这名山胜景里的岁月清欢。",[23,24,2424,26,28,60,55,1079,7,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c377219a7cbda13df694934a0c1b75.jpg",[],{"id":9489,"slug":9490,"title":9491,"dynasty":44,"author":9492,"museum":77,"description":9493,"tags":9494,"thumbUrl":9495,"material":34,"size":34,"collection":34,"collections":9496,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":9497},202490,"fang-ni-yun-lin-lao-shu-yuan-shan-tu-zhou-wang-jian-202490","仿倪云林老树远山图轴","王鑑","这幅画作追摹倪云林笔意，画面清冷萧疏：几株老树虬枝疏朗，枯藤悬垂，树下溪流萦回，山石错落；远处山峦淡远，以简淡墨色晕染，尽显空濛之致。王鉴以精湛笔墨诠释云林神韵，线条简劲利落，山石用折带皴勾勒，墨色层次清雅，构图空灵留白，既保留倪氏“逸笔草草”的疏旷，又融入自身温润厚重的笔意。整幅画清幽淡远，意境悠远，是清代摹古山水的典范之作，展现了对元人山水精神的深刻把握与艺术传承。",[28,343,193,7,61,1307,25,26,51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