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王冕 朱德润 张观 方从义","北京故宫博物院","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,76,50,25,26,32,28,77,78,79,80,81,59,82,83,7,84,85,86,87,88,89,90,56,91,92,93],"书画","树","老树","孤舟","梅","山石","渔船","人物","岸","茅屋","枝干","花","松树","枯树","岸滩","山间","草木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纸本，墨笔","纵30cm，横52.8cm",[36,98],"水墨画精选",111,3,{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":73,"description":107,"tags":108,"thumbUrl":112,"material":113,"size":114,"collection":115,"collections":116,"showCount":117,"zanCount":118,"manualWeight":11,"mainColor":40},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","宋","米友仁","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[23,24,50,25,26,76,109,110,32,28,53,111,30,7],"书法","行书","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米","",[],74,1,{"id":120,"slug":121,"title":122,"dynasty":71,"author":123,"museum":124,"description":125,"tags":126,"thumbUrl":131,"material":132,"size":133,"collection":115,"collections":134,"showCount":135,"zanCount":118,"manualWeight":11,"mainColor":40},232260,"shu-lin-yuan-xiu-tu-ni-zan-232260","疏林远岫图","倪瓒","台北故宫博物院","《疏林远岫图》水墨画河岸、疏树、竹林与房舍，对岸则山峦起伏。用笔多中锋，山石皴法以披麻为主，略有折带笔意。幅上有壬子（一三七二）年款，时七十二岁。然本幅题款，实摹自本台北故宫博物院藏倪氏真本《容膝齐图》。用笔亦无倪氏一代大家之健劲，系后代摹品。",[24,25,28,26,127,7,128,129,30,130],"疏林","孤石","竹子","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f623094ce155625ea685f495651d3f9.jpg","纸本","72.9x37.5厘米",[],67,{"id":137,"slug":138,"title":139,"dynasty":18,"author":140,"museum":141,"description":142,"tags":143,"thumbUrl":146,"material":34,"size":147,"collection":36,"collections":148,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":40},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","王翚","美国大都会艺术博物馆","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,24,76,50,28,52,26,53,111,30,7,54,81,57,144,145],"平原","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[36],{"id":150,"slug":151,"title":122,"dynasty":45,"author":152,"museum":47,"description":153,"tags":154,"thumbUrl":157,"material":158,"size":159,"collection":36,"collections":160,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":40},220956,"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","董其昌","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[23,24,76,155,25,26,28,127,7,156,30],"立轴","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纸本墨笔","纵98.7厘米，横38.6厘米",[36,98],58,{"id":163,"slug":164,"title":165,"dynasty":18,"author":166,"museum":167,"description":168,"tags":169,"thumbUrl":176,"material":115,"size":115,"collection":115,"collections":177,"showCount":178,"zanCount":118,"manualWeight":11,"mainColor":40},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","藏地不详","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,76,50,25,170,26,28,81,30,57,54,53,7,171,172,88,173,174,111,175],"白描","近景","远景","峭壁","村落","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],50,{"id":180,"slug":181,"title":182,"dynasty":45,"author":183,"museum":124,"description":184,"tags":185,"thumbUrl":207,"material":208,"size":209,"collection":36,"collections":210,"showCount":211,"zanCount":118,"manualWeight":11,"mainColor":212},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,52,28,186,79,187,188,189,190,111,130,84,77,191,192,193,194,89,195,196,60,197,198,199,200,7,201,202,203,92,204,205,206],"工笔","渔乐","竹","渔夫","远山","草","芦苇","小船","岸石","汀渚","渔人","烟波","浅滩","丛竹","近岸","霭气","水域","坡岸","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[36,98],48,"795548",{"id":214,"slug":215,"title":216,"dynasty":71,"author":123,"museum":73,"description":217,"tags":218,"thumbUrl":225,"material":226,"size":227,"collection":115,"collections":228,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":212},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,76,155,25,28,219,220,221,7,222,89,223,81,130,224,110,128],"干笔皴擦","留白","淡墨","林亭","房屋","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纸本水墨","纵87.3厘米，横31.4厘米",[],46,{"id":231,"slug":232,"title":233,"dynasty":45,"author":234,"museum":20,"description":235,"tags":236,"thumbUrl":241,"material":34,"size":115,"collection":115,"collections":242,"showCount":243,"zanCount":118,"manualWeight":11,"mainColor":40},217951,"ming-ren-shan-shui-hua-ce-si-yi-ming-217951","明人山水画册(四)","佚名","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。",[23,24,25,27,26,28,79,30,237,53,238,59,7,239,193,203,240],"山崖","亭","松","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65090f9ae3fb49fb75219114df41c63.jpg",[],40,{"id":245,"slug":246,"title":247,"dynasty":71,"author":248,"museum":124,"description":249,"tags":250,"thumbUrl":255,"material":256,"size":257,"collection":36,"collections":258,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":212},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","赵孟頫","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,76,50,25,52,186,26,109,110,32,28,251,144,54,30,223,174,7,252,253,254,200],"孤山","近水","平野","远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","白纸本","纵：28.4厘米，横：90.2厘米",[36,259],"设色画精选",35,{"id":262,"slug":263,"title":264,"dynasty":18,"author":265,"museum":167,"description":266,"tags":267,"thumbUrl":271,"material":63,"size":115,"collection":36,"collections":272,"showCount":260,"zanCount":118,"manualWeight":11,"mainColor":40},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,52,186,26,28,30,81,175,130,238,268,83,269,85,270,89,88,60,7],"飞鸟","马","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[36],{"id":274,"slug":275,"title":276,"dynasty":105,"author":277,"museum":167,"description":278,"tags":279,"thumbUrl":283,"material":115,"size":115,"collection":115,"collections":284,"showCount":285,"zanCount":11,"manualWeight":11,"mainColor":212},227770,"dai-du-tu-ye-li-tang-227770","待渡图页","李唐","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）。",[23,24,280,52,26,28,79,83,78,81,281,282,30,7,111],"名画","渡头","岸坡","ht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（公元1289—？年），字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。赵雍承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。幼即勤奋，得母指教，稍懈母即严责之。稍长，“所画浓淡浅深皆至理”。山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。书善正、行、草，亦长篆书，体势清劲。",[23,280,24,76,27,25,26,28,388,7,30,81,59,89,78],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71628b63edcc8a6d2dd2ebba0b6fdf9.jpg","扇","68X77",[],{"id":394,"slug":395,"title":396,"dynasty":18,"author":397,"museum":167,"description":398,"tags":399,"thumbUrl":401,"material":328,"size":329,"collection":115,"collections":402,"showCount":403,"zanCount":118,"manualWeight":11,"mainColor":40},235789,"shan-shui-tu-shan-ye-wu-wei-ye-235789","山水图扇页","吴伟业","吴伟业（1609年6月21日—1672年1月23日），字骏公，号梅村，别署鹿樵生、灌隐主人、大云道人，汉族，江苏太仓人。\n生于明万历三十七年，明崇祯四年（1631）进士，曾任翰林院编修、左庶子等职。清顺治十年（1653）被迫应诏北上，次年被授予秘书院侍讲，后升国子监祭酒。顺治十三年底，以奉嗣母之丧为由乞假南归，此后不复出仕。 [2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[24,325,28,26,25,349,77,223,130,7,400],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],10,{"id":405,"slug":406,"title":407,"dynasty":45,"author":408,"museum":167,"description":409,"tags":410,"thumbUrl":411,"material":412,"size":413,"collection":115,"collections":414,"showCount":415,"zanCount":11,"manualWeight":11,"mainColor":40},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,76,50,28,52,26,186,351,81,30,111,7,239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","设色纸本","161×42.9cm",[],9,{"id":417,"slug":418,"title":419,"dynasty":45,"author":234,"museum":167,"description":420,"tags":421,"thumbUrl":422,"material":132,"size":423,"collection":115,"collections":424,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":40},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,76,50,25,110,28,175,130,79,238,30,7,84,32,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],8,{"id":427,"slug":428,"title":429,"dynasty":18,"author":430,"museum":431,"description":432,"tags":433,"thumbUrl":438,"material":115,"size":115,"collection":115,"collections":439,"showCount":440,"zanCount":11,"manualWeight":11,"mainColor":441},201610,"shan-shui-zhou-hong-ren-201610","山水轴","弘仁","上海博物馆","画面构图疏朗旷远，悬崖峭壁之上，孤亭依枯树而立，清寂之韵扑面而来。笔墨以干笔淡墨见长，山石轮廓用刚劲线条勾勒，辅以简洁皴擦，质感坚凝；远处山峦淡墨晕染，层次空灵。平展水面无波，与远岫相映，更添空濛悠远之感。整体意境孤高淡远，既含自然真趣，亦藏画家遗世独立的心境，是新安画派清逸冷寂风格的典型呈现。",[24,28,434,26,435,436,89,7,437,18],"干笔淡墨","悬崖","孤亭","平水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755e9940189622221b98592b190c93cf.jpg",[],7,"c7b496",{"id":443,"slug":444,"title":445,"dynasty":18,"author":446,"museum":167,"description":447,"tags":448,"thumbUrl":450,"material":115,"size":115,"collection":115,"collections":451,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},238226,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238226","仿王翬山水册","曹夔音","此作取山林晓景，近岸怪石错落，古寺藏于深林，溪桥引渡山径，远峰隐在烟岚轻雾间。笔墨清润苍秀，皴擦兼具苍劲秀雅意韵，布景疏密相宜，将空山晓钟的幽寂禅意晕染开来。\n\n淡墨设色晕出空濛澄澈的湖光山色，静穆恬和的意境藏在湖山深处。左侧题诗与画境相契，诗书画合为一体，尽显文人雅趣，将山寺清晨的清寂出尘融在山水间，尽显仿古山水的清丽韵致。",[24,76,25,26,449,28,29,175,130,79,238,30,81,111,7,200,27],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F457231bba39a2a53c514ce0d5484f458.jpg",[],{"id":453,"slug":454,"title":455,"dynasty":18,"author":140,"museum":167,"description":456,"tags":457,"thumbUrl":459,"material":328,"size":329,"collection":115,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":40},237534,"fang-shan-qiao-yan-ju-shan-wang-hui-237534","仿山樵岩居扇","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。”",[325,24,28,26,52,30,223,79,32,175,130,81,89,7,57,60,458],"题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96b2ed25eb13c72ff22e242312452c49.jpg",[],4,{"id":463,"slug":464,"title":465,"dynasty":18,"author":466,"museum":167,"description":467,"tags":468,"thumbUrl":470,"material":328,"size":329,"collection":115,"collections":471,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":40},230352,"shan-shui-ce-liu-yu-230352","山水册","柳堉","柳堉. 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。",[24,25,26,27,76,32,110,28,79,29,30,81,59,7,469],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb46bf774b4ee06c53bb0d0f4bef3403.jpg",[],{"id":473,"slug":474,"title":475,"dynasty":18,"author":476,"museum":431,"description":477,"tags":478,"thumbUrl":479,"material":115,"size":115,"collection":36,"collections":480,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":481},201683,"qiu-lin-ting-zi-tu-zhou-zhu-da-201683","秋林亭子图轴","朱耷","悬崖耸峙，秋木疏枝横斜，茅亭隐于林麓间，似含幽思。近处溪流缓淌，远岫淡抹如黛，水天相映成空濛。笔墨简劲老辣，以水墨写意出荒寒之境，树木枝干虬曲如铁，山石皴擦寥寥却见骨力。留白处尽是余韵，清冷孤寂中藏超然逸气，尽显文人山水的简淡深致。",[24,25,28,238,78,26,128,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2353175154fbe0e89a0e13305460a4e0.jpg",[36],"bba49b",{"id":483,"slug":484,"title":485,"dynasty":18,"author":486,"museum":167,"description":487,"tags":488,"thumbUrl":489,"material":115,"size":115,"collection":115,"collections":490,"showCount":491,"zanCount":11,"manualWeight":11,"mainColor":40},234514,"shan-shui-ce-ye-song-jun-ye-234514","山水册页","宋骏业","宋骏业[清]（？―一七一三）字声求，号坚斋，一号坚甫，江苏长洲(今蘇州）人。官兵部左侍郎。善书画，笃好山水，因绘南巡图聘王翚于家而画学大进。\n宋骏业因绘南巡图聘王翚于家而画学大进。曾为纂修佩文斋书画谱总裁官。作宋元人小品，清韵可挹。康熙四十七年（一七o八）尝作晓烟积雪图。",[24,52,27,26,28,81,30,238,223,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d1e02f0b4af80a6623d0ad6ca7d946f.jpg",[],2,{"id":493,"slug":494,"title":465,"dynasty":18,"author":495,"museum":167,"description":496,"tags":497,"thumbUrl":499,"material":328,"size":329,"collection":115,"collections":500,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":40},238696,"shan-shui-ce-dong-bang-da-238696","董邦达","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”。",[24,76,27,170,25,26,28,349,350,77,223,7,498],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15082f5d5ea5c2401ff48ca35e0884f0.jpg",[],{"id":502,"slug":503,"title":504,"dynasty":18,"author":505,"museum":167,"description":506,"tags":507,"thumbUrl":510,"material":328,"size":329,"collection":115,"collections":511,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":212},236954,"shan-shui-shan-ye-cao-you-guang-236954","山水扇页","曹有光","曹有光 （生卒年不详），吴县（今江苏苏州）人。工书，善画山水、花卉。",[325,24,28,25,52,26,349,350,77,508,92,7,509,59,58],"石","近岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef854c1188bba4c5b7d7ba3e0b16df8a.jpg",[],1777535713877]