[{"data":1,"prerenderedAt":10109},["ShallowReactive",2],{"subject-yun-wu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},62,"yun-wu","云雾","云雾画高清赏析","精选中国历代云雾题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70857e471c25b4c3def0032a35a4cfb.jpg",14,1094,[14,50,70,102,122,142,158,176,190,206,222,237,253,262,276,289,301,315,328,343,355,368,378,391,404,415,426,437,452,463,473,488,500,514,522,533,545,558,572,584,596,609,620,631,642,654,665,677,686,697,714,731,740,751,762,774,788,799,807,816,827,838,850,864,875,885,896,911,921,931,944,955,968,979,991,999,1010,1019,1032,1047,1059,1070,1082,1100,1110,1120,1131,1140,1151,1160,1170,1179,1188,1198,1208,1218,1230,1244,1256,1268,1278,1287,1294,1303,1314,1327,1336,1348,1357,1367,1378,1387,1399,1408,1417,1428,1441,1450,1461,1472,1481,1490,1499,1513,1521,1530,1541,1551,1559,1570,1580,1592,1603,1614,1624,1635,1645,1653,1665,1676,1687,1698,1707,1716,1725,1736,1748,1757,1767,1775,1787,1798,1810,1818,1830,1839,1848,1857,1865,1875,1885,1895,1906,1917,1926,1935,1945,1955,1968,1977,1987,2000,2008,2018,2030,2041,2050,2057,2066,2076,2086,2094,2104,2114,2124,2134,2143,2154,2164,2174,2185,2197,2209,2219,2227,2237,2248,2256,2265,2272,2287,2297,2308,2317,2326,2335,2345,2359,2368,2380,2389,2399,2409,2418,2428,2436,2443,2452,2462,2474,2482,2491,2500,2507,2517,2528,2537,2544,2554,2565,2578,2587,2594,2603,2612,2622,2631,2640,2648,2657,2668,2679,2688,2696,2707,2717,2725,2735,2746,2758,2769,2781,2792,2800,2810,2821,2831,2843,2850,2858,2868,2877,2897,2904,2915,2925,2936,2945,2953,2962,2972,2981,2992,3001,3009,3018,3027,3037,3046,3055,3064,3072,3083,3092,3101,3110,3118,3125,3134,3142,3161,3172,3180,3190,3199,3208,3218,3226,3235,3246,3257,3264,3272,3282,3292,3305,3315,3325,3335,3342,3351,3362,3374,3383,3393,3402,3410,3420,3429,3439,3449,3460,3469,3479,3488,3497,3507,3517,3525,3534,3544,3552,3562,3572,3580,3590,3599,3610,3619,3628,3636,3646,3656,3665,3672,3685,3691,3700,3708,3715,3724,3734,3743,3753,3763,3774,3784,3793,3802,3811,3822,3833,3842,3853,3861,3874,3882,3892,3901,3912,3921,3929,3935,3948,3958,3972,3981,3989,4002,4011,4021,4031,4039,4047,4055,4064,4074,4084,4095,4106,4115,4124,4132,4140,4151,4162,4171,4180,4190,4201,4213,4224,4231,4240,4251,4259,4268,4277,4285,4294,4303,4313,4322,4332,4341,4350,4359,4369,4378,4386,4394,4402,4412,4422,4431,4440,4449,4460,4470,4478,4487,4496,4508,4516,4523,4534,4546,4555,4566,4578,4588,4596,4605,4614,4622,4631,4639,4648,4655,4664,4674,4683,4691,4701,4711,4720,4727,4737,4744,4755,4763,4772,4782,4794,4802,4810,4818,4827,4837,4848,4855,4865,4875,4881,4890,4898,4906,4915,4924,4932,4942,4952,4959,4968,4977,4985,4994,5004,5012,5022,5032,5043,5051,5060,5069,5079,5089,5097,5105,5115,5124,5133,5141,5151,5160,5170,5179,5187,5199,5207,5216,5226,5234,5244,5252,5262,5271,5281,5290,5300,5310,5318,5326,5334,5342,5351,5360,5370,5380,5390,5401,5407,5416,5426,5435,5441,5450,5457,5467,5475,5483,5493,5502,5511,5524,5533,5546,5555,5564,5573,5583,5591,5600,5608,5617,5624,5631,5640,5649,5658,5668,5679,5688,5695,5705,5715,5724,5734,5743,5753,5761,5770,5779,5786,5795,5804,5815,5825,5833,5842,5850,5856,5863,5870,5880,5888,5898,5907,5914,5925,5933,5941,5951,5961,5969,5976,5982,5991,6001,6009,6017,6026,6037,6045,6054,6063,6071,6078,6086,6096,6104,6112,6119,6127,6134,6140,6148,6154,6163,6172,6181,6190,6199,6207,6216,6227,6236,6247,6255,6262,6269,6278,6285,6294,6302,6309,6320,6327,6335,6343,6353,6359,6365,6374,6382,6392,6401,6410,6418,6426,6435,6445,6454,6463,6471,6480,6488,6497,6505,6513,6522,6533,6542,6550,6558,6567,6575,6586,6599,6606,6612,6620,6626,6633,6641,6649,6657,6665,6674,6682,6690,6699,6705,6715,6723,6731,6739,6748,6756,6765,6775,6781,6789,6797,6806,6814,6825,6835,6846,6855,6863,6872,6880,6890,6898,6908,6917,6924,6934,6941,6949,6956,6965,6974,6981,6989,6996,7005,7011,7018,7024,7034,7040,7048,7055,7063,7071,7082,7090,7098,7104,7113,7121,7128,7146,7154,7161,7170,7180,7190,7204,7213,7223,7232,7242,7250,7256,7262,7271,7278,7285,7294,7303,7313,7321,7329,7337,7348,7356,7363,7372,7382,7392,7402,7411,7420,7427,7435,7444,7451,7458,7465,7473,7479,7485,7494,7502,7511,7519,7526,7536,7546,7555,7563,7570,7579,7587,7596,7602,7609,7615,7623,7631,7637,7643,7650,7658,7666,7673,7679,7687,7695,7705,7713,7722,7730,7737,7744,7752,7760,7768,7776,7784,7792,7801,7808,7815,7824,7834,7841,7851,7860,7869,7878,7886,7893,7900,7907,7914,7920,7926,7936,7944,7951,7960,7968,7976,7983,7990,7997,8004,8012,8021,8027,8036,8042,8048,8054,8060,8069,8079,8088,8099,8107,8115,8124,8131,8138,8145,8155,8164,8174,8180,8187,8195,8204,8212,8219,8226,8235,8244,8251,8259,8267,8274,8281,8287,8293,8300,8308,8317,8326,8334,8341,8350,8364,8374,8384,8392,8399,8408,8418,8427,8437,8446,8453,8461,8468,8476,8486,8492,8500,8508,8517,8526,8532,8539,8548,8554,8564,8571,8577,8585,8597,8607,8614,8624,8633,8641,8650,8659,8669,8679,8689,8699,8707,8717,8725,8735,8744,8751,8759,8765,8772,8779,8786,8793,8800,8808,8816,8823,8830,8837,8844,8850,8856,8866,8874,8880,8887,8893,8902,8914,8922,8931,8941,8953,8961,8969,8978,8990,8999,9008,9018,9027,9037,9047,9056,9068,9079,9088,9094,9101,9109,9116,9122,9129,9136,9142,9149,9156,9163,9172,9181,9189,9195,9201,9209,9217,9225,9232,9240,9246,9252,9258,9264,9270,9276,9282,9289,9298,9306,9318,9327,9338,9347,9357,9366,9375,9385,9396,9406,9415,9424,9434,9442,9449,9457,9464,9470,9488,9495,9502,9508,9514,9522,9529,9537,9545,9551,9560,9568,9576,9582,9589,9595,9601,9613,9622,9630,9639,9651,9662,9669,9677,9685,9694,9703,9713,9723,9733,9743,9752,9761,9770,9780,9789,9798,9805,9812,9820,9826,9834,9844,9851,9858,9867,9874,9882,9889,9896,9904,9911,9920,9928,9936,9944,9952,9961,9970,9979,9988,9997,10006,10016,10025,10034,10048,10056,10065,10075,10083,10091,10100],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":46,"zanCount":47,"manualWeight":48,"mainColor":49},221381,"qian-li-jiang-shan-tu-juan-wang-xi-meng-221381","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38],"高清","国画","书画","长卷","青绿","设色","工笔","山水","山峰","河流","湖泊","小船","树木","房屋","桥梁","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","宋画精选",[42,44,45],"人物画精选","设色画精选",22979,181,0,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":20,"description":56,"tags":57,"thumbUrl":63,"material":64,"size":65,"collection":44,"collections":66,"showCount":67,"zanCount":68,"manualWeight":48,"mainColor":69},214261,"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","清","佚名","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[23,24,28,29,58,59,30,60,61,7,62],"人物","龙","悬崖","波浪","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","绢本,设色","34.9x31",[44],2811,8,"BDBDBD",{"id":71,"slug":72,"title":73,"dynasty":18,"author":74,"museum":75,"description":76,"tags":77,"thumbUrl":94,"material":95,"size":96,"collection":42,"collections":97,"showCount":100,"zanCount":101,"manualWeight":48,"mainColor":49},221389,"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","范宽","台北故宫博物院","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[23,24,78,79,80,81,30,82,83,35,84,85,86,7,87,88,89,90,91,92,93],"水墨画","立轴","皴法","雨点皴","山石","瀑布","行旅","溪流","小桥","山路","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","绢本","纵206.3厘米，横103.3厘米",[42,98,99],"山水画精选","水墨画精选",2630,15,{"id":103,"slug":104,"title":105,"dynasty":18,"author":106,"museum":75,"description":107,"tags":108,"thumbUrl":116,"material":117,"size":118,"collection":42,"collections":119,"showCount":120,"zanCount":121,"manualWeight":48,"mainColor":49},221288,"zao-chun-tu-guo-xi-221288","早春图","郭熙","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,25,109,80,110,30,82,35,111,83,7,112,113,114,85,115],"水墨","三远法","流水","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分",[42,98,99],2376,17,{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":20,"description":128,"tags":129,"thumbUrl":136,"material":137,"size":138,"collection":98,"collections":139,"showCount":140,"zanCount":141,"manualWeight":48,"mainColor":69},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","明","沈周","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[23,24,25,26,109,80,130,131,132,133,30,134,35,111,112,7,135],"临摹","书法","行书","印章","孤石","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纸本,设色","纵36.8厘米，横855厘米",[98],1987,11,{"id":143,"slug":144,"title":145,"dynasty":18,"author":146,"museum":75,"description":147,"tags":148,"thumbUrl":152,"material":153,"size":154,"collection":42,"collections":155,"showCount":156,"zanCount":157,"manualWeight":48,"mainColor":69},221509,"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[23,149,24,25,26,109,80,30,82,35,86,111,135,150,151,7,85,113],"名画","飞鸟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[42,98,99],1772,19,{"id":159,"slug":160,"title":161,"dynasty":162,"author":163,"museum":20,"description":164,"tags":165,"thumbUrl":171,"material":40,"size":172,"collection":98,"collections":173,"showCount":174,"zanCount":175,"manualWeight":48,"mainColor":49},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","元","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,24,149,25,26,28,80,30,166,167,35,7,113,168,169,170],"山","水","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[98,45],1751,16,{"id":177,"slug":178,"title":179,"dynasty":162,"author":180,"museum":181,"description":182,"tags":183,"thumbUrl":185,"material":186,"size":187,"collection":98,"collections":188,"showCount":189,"zanCount":175,"manualWeight":48,"mainColor":69},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","王蒙","上海博物馆","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[23,24,25,109,80,79,30,82,83,35,184,85,7,133,131,132],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[98,99],1622,{"id":191,"slug":192,"title":193,"dynasty":126,"author":194,"museum":195,"description":196,"tags":197,"thumbUrl":201,"material":202,"size":203,"collection":98,"collections":204,"showCount":205,"zanCount":101,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","仇英","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,25,79,27,28,29,30,58,198,86,35,82,7,199,38,112,85,200],"楼阁","建筑","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 设色","纵175厘米，横66.7厘米",[98,45],1533,{"id":207,"slug":208,"title":209,"dynasty":18,"author":210,"museum":211,"description":212,"tags":213,"thumbUrl":216,"material":186,"size":217,"collection":42,"collections":218,"showCount":220,"zanCount":221,"manualWeight":48,"mainColor":49},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","波士顿美术馆","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,149,24,25,26,109,131,133,214,215,59,7,167],"写意","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[42,219,99],"花鸟画精选",1532,20,{"id":223,"slug":224,"title":225,"dynasty":126,"author":127,"museum":226,"description":227,"tags":228,"thumbUrl":231,"material":232,"size":233,"collection":98,"collections":234,"showCount":235,"zanCount":236,"manualWeight":48,"mainColor":69},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[23,24,109,26,80,30,135,35,7,82,83,229,230,58],"远山","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","纸本，水墨","50*1165cm",[98,99],871,3,{"id":238,"slug":239,"title":240,"dynasty":18,"author":241,"museum":242,"description":243,"tags":244,"thumbUrl":249,"material":109,"size":250,"collection":98,"collections":251,"showCount":252,"zanCount":68,"manualWeight":48,"mainColor":49},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","藏地不详","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[24,26,109,80,30,229,245,7,32,246,247,248,112,35,86,131,133],"近树","小舟","亭台","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[98,42],865,{"id":254,"slug":255,"title":256,"dynasty":18,"author":19,"museum":20,"description":21,"tags":257,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":259,"showCount":260,"zanCount":261,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,24,149,25,26,27,28,29,80,30,112,32,86,35,247,258,7,38],"舟船",[42,44,45],809,10,{"id":263,"slug":264,"title":265,"dynasty":266,"author":267,"museum":20,"description":268,"tags":269,"thumbUrl":272,"material":95,"size":273,"collection":98,"collections":274,"showCount":275,"zanCount":11,"manualWeight":48,"mainColor":49},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","五代十国","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,24,25,26,30,109,28,270,32,35,271,135,58,7],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[98,99],763,{"id":277,"slug":278,"title":279,"dynasty":266,"author":280,"museum":75,"description":281,"tags":282,"thumbUrl":283,"material":95,"size":284,"collection":285,"collections":286,"showCount":287,"zanCount":288,"manualWeight":48,"mainColor":49},231954,"kuang-lu-tu-jing-hao-231954","匡庐图","荆浩","全幅用水墨画出，画法皴染兼备，充分发挥了水墨画的长处。画幅上部危峰重叠，高耸入云，山巅树木丛生，山崖间飞瀑直泻而下，大有“银河落九天”之势。山腰密林之中深藏一处院落，从院落之中一路下山，山道蜿蜒盘旋，道旁溪流宛转曲折，最后注入山下湖中。山脚水边，巨石耸立，村居房舍掩映于密林之中。水上有渔人撑船，不远的坡旁路上，有一人正赶着毛驴慢行。画中只有两人，人物在画中只作为陪衬。其中有宋高宗所书“荆浩真迹神品”六个字，一般认为是其真迹。\n此画画中绝磴悬崖，平麓云林，虽看不出具体皴法。但笔墨间表现出了山的雄伟气势，烟岚的深远缥缈，比唐代山水大大前进了一步。\n图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方整庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。\n中国山水画发展到晚唐、五代时，具备了更加丰富多样的表现形式，其中的水墨山水更是逐渐走向了成熟。\n荆浩提倡作画要忠实于自然对象，“远取其势，近取其质”，他善于创造富有概括力的形神兼备的艺术形象。除此之外，他还在学习传统的基础之上加以发展创造。他强调笔墨并重，曾对人说：“吴道子画山水，有笔无墨；项容有墨无笔，吾当采二子之所长，成一家之体。”他集唐人山水画法之大成，并努力创造革新，终成一代山水大家。荆浩在笔墨的结合上较前人进了一大步，他的《笔法记》是山水画的重要论著，其中山石皴法、树木画法的论述对山水画的发展起了很大作用。《匡庐图》便是体现他绘画理论的代表作。\n《匡庐图》画中的描绘山水究竟是太行山还是庐山尚存争议。\n这幅图的真实感很强，能够看出画家在隐居生涯中，对自然景观的深刻体验和虚怀若谷的淡泊情思。《匡庐图》营造了一幅雄伟刚劲与寂寞幽静相互交融的远离人间烟火的空灵世界。\n《匡庐图》采用的是立轴构图，鸟瞰式纵向全景布局，层次分明，山水壮阔。画家将“高远”、“平远”、“深远”结合运用，群峰耸峙的巍峨山峦与开阔平旷的山野幽谷，山径盘旋的山中小路及渐远渐淡的远处诸峰相映成趣，自然地呈现在画卷之中。\n在荆浩之前的山水画很少有表现雄伟壮阔的大山大水以及全景式的构图布局。而荆浩的《匡庐图》整幅画上面留天，下面留地。右下角临水浅坡，画的左下角至右面是静静的水面，远处和天色相连接，体现的是大山大水，开图千里的局面。他不满足于局部山水的描绘，而是放眼于广阔空间气势磅礴的自然景观。\n所谓的“全景山水”，其章法是指中心全景式布局，即主峰为中心，用云帕烟霞断白，衬托出中、前景的全局安排。此图以全景构图方式描绘出了山路蜿蜒、巨峰凌空、飞瀑如练，整幅画面体现出百尺危峰、屹立于青冥间的雄伟气势。全景式构图给人以旷远、峻拔、雄壮、博大而深远的审美感受。《匡庐图》大致分为三个层次，由远到近，虽为远景，但很醒目，突兀的主峰轮廓线与留白的天际相照应，峻伟耸拔的高峰在画而上部中央，是全画的视点，给人以开阔、博大、挺拔的意境。主峰被两侧缥缈的烟岚围绕着，主峰如屏，相互映照，充满张力的形式感把观者视野引向画外，联想到更辽远广阔的空间。中景画面丰富，既有飞瀑流水奔流于两崖之间，攀援而上，溪洞之巅横架一桥，两边用小斧劈皱描绘的岩壁，松柏古树参差之变，使画面富有节奏和韵律。近景表现一洗江水，一叶扁舟，树木描绘酣畅淋漓。整幅画而渲染着一种壮关、气脉相通的主旋律。\n此图在用笔上，勾、皴、染法并举，尤其是皴法的运用，是荆浩对山水画发展的重要贡献。画家以中锋画山石，边缘整齐，仿佛切割过般。山头和暗处用类似小斧劈的皴法，再施以淡墨多层晕染，表现出阴阳向背的质感，突出了画面的立体感和厚重感。在墨色变化上，画家注重用色浓、淡及黑、白的对比。且在画云时，一改前人细勾填粉的方法，仅以水墨渲染，衬托出云的空灵飘荡之态，画水也不再使用前人鱼鳞瓦片的勾线之法，而以淡墨烘染水面，显示出水面的明暗变化，兼用舟、桥等物象暗示水的存在，创造了水晕墨章的表现技法。\n《匡庐图》的透视方法，山峰用仰视，不仅令观者觉得山的高大，而且给人以庄严和雄伟的感觉。山腰的峰峦和庐舍、道路用平视，使自然景观给人以自然和亲切的感觉。山脚下的林木、树舍和山洞的流水、桥、松、房舍及行旅等用俯视，显示观者居高临下，给人以心旷神怡的感觉。尤其是山涧的布势，由于用平视，汀岸回转，伸向远方的山坳之中，不但增加了画面的力度，也增加了深度。\n在整幅画中，树的形态也是不一样的。树枝曲中见直，瘦劲有力。画中的树排列得很有曲线，群山把树林当做是一种屏障，而树林也把山当做是一种依靠。在树林森密的地方有一旅店，在旅店的旁边有一古渡，古渡旁边有水，水面显得十分宽阔。\n荆浩在这幅《匡庐图》中把后面的叠水以及水墨微妙的层次处理得很好，避免了山中的瀑布因为线条的处理而显得生硬，画采用了水墨晕染的方法，以丰富的层次体现了山、水、树和景物之间的距离\n画作通篇以中锋刻画山石，辅以侧锋“解索皴”、“钉头皴”、“豆瓣皴”等笔法烘托气氛，山头阳面和暗处皴法类似于小斧劈，间施以淡墨多层晕染，以表现阴阳向背之状。此方式能在唐代李思训父子的青绿山水中找到痕迹。荆浩则善于使用效、染兼具的复笔，错置排列又层次井然，多用小披麻皴，以各种点与效的笔形墨痕与峥嵘崔巍的景致浑然一体，将北方山石质地坚硬、结体曲致的表相，随笔墨运动的各种装饰性皴法，呈现主体心性与人格追求高度统一的“荆氏笔法”。\n五代韩屿：“翠微深处著轩楹，绝瞪悬崖瀑布明。”\n元代书画家柯九思：“岚溃晴薰滴翠浓，苍松绝壁影重重。瀑流飞下三千尺，写出庐山五老峰。”\n清代孙承泽：“其山与树，皆以秃笔细写，形如古篆隶，苍古之甚，非关、范所能及也。”\n现代中国书画理论家王伯敏《中国绘画通史》：“中国山水画的表现，在六朝时期即画有‘卧对其间可至数万里’的作品，到了荆浩的时期，获得更大发展，遂成为宋人所称的‘全景山水’……今传荆浩所作的《匡庐图》就体现了这种山水画的特点。《匡庐图》正是中国宋以前一件具有山水全景模式的典型作品。”",[24,25,79,30,109,80,112,83,35,113,7,85,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80349a4e9c08adb4ee01161f322fb590.jpg","纵185.8厘米，横106.8厘米","",[],621,4,{"id":290,"slug":291,"title":292,"dynasty":162,"author":180,"museum":20,"description":293,"tags":294,"thumbUrl":295,"material":296,"size":297,"collection":98,"collections":298,"showCount":299,"zanCount":300,"manualWeight":48,"mainColor":69},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[23,24,25,79,109,80,30,35,82,111,7,36,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[98,99],552,2,{"id":302,"slug":303,"title":304,"dynasty":126,"author":305,"museum":20,"description":306,"tags":307,"thumbUrl":310,"material":296,"size":311,"collection":98,"collections":312,"showCount":313,"zanCount":314,"manualWeight":48,"mainColor":69},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,25,149,79,28,30,80,308,166,167,309,86,85,113,35,229,7],"仿古","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[98,45],549,1,{"id":316,"slug":317,"title":318,"dynasty":18,"author":319,"museum":211,"description":320,"tags":321,"thumbUrl":323,"material":64,"size":324,"collection":42,"collections":325,"showCount":326,"zanCount":68,"manualWeight":48,"mainColor":327},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,149,24,25,79,322,29,28,58,82,35,7],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[42,44],530,"37474F",{"id":329,"slug":330,"title":331,"dynasty":266,"author":267,"museum":332,"description":333,"tags":334,"thumbUrl":337,"material":338,"size":339,"collection":98,"collections":340,"showCount":341,"zanCount":342,"manualWeight":48,"mainColor":49},220441,"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","美国波士顿博物馆","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[23,149,24,25,26,109,80,30,335,35,112,7,135,111,336,151],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","纸本,水墨","37.5×150.8cm",[98,99],498,5,{"id":344,"slug":345,"title":346,"dynasty":18,"author":210,"museum":347,"description":348,"tags":349,"thumbUrl":351,"material":64,"size":352,"collection":219,"collections":353,"showCount":354,"zanCount":342,"manualWeight":48,"mainColor":49},219064,"shuang-long-xi-hai-tu-chen-rong-219064","双龙戏海图","圣路易斯艺术博物馆","绢本苍褐的底色上，云雾如墨烟般晕散，两条巨龙腾跃其间。上方龙身盘旋，鳞爪劲健，昂首欲飞；下方龙潜于汹涌浪涛，尾摆鳍张，与翻卷的浪花嬉戏。海浪以细腻线条勾勒，层层叠叠如奔雷涌动，龙鳞的纹理、龙须的飘逸皆刻画入微。整幅画将龙的威严与海的壮阔融于一体，云雾的虚渺与浪涛的实感相映，既见神兽的灵动神韵，又显自然的磅礴气势，笔墨间尽是沉雄与细腻的交织，意境深远，引人叹服。",[23,24,25,79,28,59,350,7],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbee6e92aaf60e4d5ceb8d3fada746dc.jpg","纵135.2cm横84cm",[219],438,{"id":356,"slug":357,"title":358,"dynasty":162,"author":180,"museum":359,"description":360,"tags":361,"thumbUrl":365,"material":338,"size":366,"collection":98,"collections":367,"showCount":354,"zanCount":288,"manualWeight":48,"mainColor":69},217744,"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","私人收藏","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[24,149,25,362,109,80,30,35,363,151,86,111,82,7,364,38],"山水画","秋林","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[98],{"id":369,"slug":370,"title":371,"dynasty":162,"author":180,"museum":75,"description":372,"tags":373,"thumbUrl":374,"material":186,"size":375,"collection":98,"collections":376,"showCount":377,"zanCount":314,"manualWeight":48,"mainColor":49},220815,"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[23,24,79,109,30,80,82,35,86,111,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 211.1x34.4公分、全幅 67.5公分",[98,99],431,{"id":379,"slug":380,"title":381,"dynasty":18,"author":382,"museum":359,"description":383,"tags":384,"thumbUrl":387,"material":64,"size":388,"collection":42,"collections":389,"showCount":390,"zanCount":300,"manualWeight":48,"mainColor":69},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","马远","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,149,24,25,385,386,28,80,30,198,309,229,82,35,7,151],"册","界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[42,98],397,{"id":392,"slug":393,"title":394,"dynasty":162,"author":395,"museum":396,"description":397,"tags":398,"thumbUrl":399,"material":400,"size":401,"collection":98,"collections":402,"showCount":403,"zanCount":314,"manualWeight":48,"mainColor":49},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","美国大都会艺术博物馆","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,24,25,79,109,28,30,309,7,112,35,80,82,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纸本设色","纵91.5cm，横31.5cm",[98,45],396,{"id":405,"slug":406,"title":407,"dynasty":18,"author":408,"museum":409,"description":410,"tags":411,"thumbUrl":412,"material":413,"size":285,"collection":99,"collections":414,"showCount":403,"zanCount":48,"manualWeight":48,"mainColor":327},216203,"mo-long-tu-mu-xi-216203","墨龙图","牧溪","美国克利夫兰艺术博物馆","《墨龙图》是一幅大型轴测图，画了许多墨龙和其他动物。这幅画是在宋代的牧溪创作的，他是当时著名的画家、书法家。《墨龙图》被认为是牧溪最著名的作品之一，具有极高的艺术价值。在画面中，牧溪用细腻的线条勾勒出了各种各样的墨龙，并用色彩丰富的技巧表现出了它们的生动形态。在这幅画中，牧溪还用简洁流畅的书法笔触写下了许多墨色的标题，使得整幅画更加美观。",[23,24,25,109,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714c77b0db36c88aef70dba70858b677.jpg","绢本,水墨",[99],{"id":416,"slug":417,"title":418,"dynasty":18,"author":419,"museum":75,"description":420,"tags":421,"thumbUrl":422,"material":64,"size":423,"collection":98,"collections":424,"showCount":425,"zanCount":300,"manualWeight":48,"mainColor":69},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","仙山楼阁图","赵伯驹","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,25,79,27,28,29,386,30,198,35,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[98],388,{"id":427,"slug":428,"title":429,"dynasty":18,"author":210,"museum":430,"description":431,"tags":432,"thumbUrl":433,"material":186,"size":434,"collection":42,"collections":435,"showCount":436,"zanCount":314,"manualWeight":48,"mainColor":49},221458,"wu-long-tu-juan-chen-rong-221458","五龙图卷","日本京都国立博物馆","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,149,24,25,26,109,80,59,82,83,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[42,98,99],374,{"id":438,"slug":439,"title":440,"dynasty":126,"author":305,"museum":20,"description":441,"tags":442,"thumbUrl":447,"material":448,"size":449,"collection":98,"collections":450,"showCount":451,"zanCount":48,"manualWeight":48,"mainColor":69},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","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。",[23,149,24,25,362,80,28,109,443,30,309,82,32,444,35,229,245,85,445,7,446],"文人画","牛","坡岸","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[98,45],371,{"id":453,"slug":454,"title":455,"dynasty":54,"author":456,"museum":75,"description":457,"tags":458,"thumbUrl":460,"material":64,"size":461,"collection":98,"collections":462,"showCount":451,"zanCount":314,"manualWeight":48,"mainColor":69},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[149,24,25,79,28,30,80,130,133,31,7,35,309,113,459,112,38],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[98],{"id":464,"slug":465,"title":466,"dynasty":126,"author":194,"museum":75,"description":467,"tags":468,"thumbUrl":469,"material":153,"size":470,"collection":98,"collections":471,"showCount":472,"zanCount":342,"manualWeight":48,"mainColor":69},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,25,79,386,29,28,30,198,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[98,45],351,{"id":474,"slug":475,"title":476,"dynasty":162,"author":477,"museum":75,"description":478,"tags":479,"thumbUrl":484,"material":95,"size":485,"collection":98,"collections":486,"showCount":487,"zanCount":300,"manualWeight":48,"mainColor":69},220767,"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767","富春山居图-无用师卷","黄公望","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[23,24,25,26,109,80,30,135,111,35,480,112,86,481,271,134,184,7,482,483],"江","渔舟","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg","横636.9公分，高33公分",[98,99],349,{"id":489,"slug":490,"title":491,"dynasty":54,"author":492,"museum":181,"description":493,"tags":494,"thumbUrl":496,"material":137,"size":497,"collection":98,"collections":498,"showCount":499,"zanCount":342,"manualWeight":48,"mainColor":69},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","王鉴（1598-1677），明末清初画家。字玄照，后改字元照、圆照、元炤，号湘碧，自称染香庵主，江苏太仓人。王世贞孙。与王时敏为子侄行，因年岁相若，互相砥砺。家藏名迹亦相埒。工画山水，受董其昌影响，追踵董源、巨然，多拟仿宋元诸家，善于青绿设色，皴染兼长。风格华润，纤不伤雅，但较平实。当时和王时敏被推为画坛领袖。后人把他与王时敏、王翚、王原祁合称“四王”，加吴历、恽寿平亦称“清六家”。",[24,149,25,28,27,80,30,166,167,495,7,82,133],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[98],342,{"id":501,"slug":502,"title":503,"dynasty":126,"author":504,"museum":75,"description":505,"tags":506,"thumbUrl":510,"material":95,"size":511,"collection":98,"collections":512,"showCount":513,"zanCount":48,"manualWeight":48,"mainColor":49},222033,"chun-han-tu-dai-jin-222033","春酣图","戴进","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,149,30,28,80,58,309,86,111,135,507,508,82,7,84,509],"老树","春景","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[98,45],340,{"id":515,"slug":516,"title":105,"dynasty":18,"author":106,"museum":75,"description":107,"tags":517,"thumbUrl":518,"material":519,"size":118,"collection":285,"collections":520,"showCount":521,"zanCount":314,"manualWeight":48,"mainColor":49},231408,"zao-chun-tu-guo-xi-231408",[23,24,149,25,79,109,28,80,30,112,113,35,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,{"id":523,"slug":524,"title":525,"dynasty":126,"author":305,"museum":181,"description":526,"tags":527,"thumbUrl":530,"material":137,"size":285,"collection":98,"collections":531,"showCount":532,"zanCount":288,"manualWeight":48,"mainColor":69},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,385,28,80,132,131,133,30,166,167,495,528,7,229,529,35],"石","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[98],333,{"id":534,"slug":535,"title":536,"dynasty":54,"author":55,"museum":359,"description":537,"tags":538,"thumbUrl":541,"material":64,"size":542,"collection":219,"collections":543,"showCount":544,"zanCount":48,"manualWeight":48,"mainColor":49},216676,"long-bao-tu-yi-ming-216676","龙豹图","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,149,24,25,28,29,109,59,539,540,82,170,7],"豹","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","87x82cm",[219],306,{"id":546,"slug":547,"title":548,"dynasty":18,"author":549,"museum":550,"description":551,"tags":552,"thumbUrl":553,"material":64,"size":554,"collection":98,"collections":555,"showCount":556,"zanCount":557,"manualWeight":48,"mainColor":69},218391,"xiao-xiang-ba-jing-jiang-tian-mu-xue-wang-hong-218391","潇湘八景-江天暮雪","王洪","美国普林斯顿大学美术馆","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,24,149,25,109,80,30,495,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","90.7×23.4厘米",[98],286,7,{"id":559,"slug":560,"title":561,"dynasty":562,"author":563,"museum":564,"description":565,"tags":566,"thumbUrl":568,"material":186,"size":569,"collection":285,"collections":570,"showCount":571,"zanCount":48,"manualWeight":48,"mainColor":69},220478,"jiang-shan-ru-ci-duo-jiao-tu-fu-bao-shi-220478","江山如此多娇图","民国","傅抱石","北京人民大会堂","这幅作品以全景视角铺展山河盛景，云海翻涌间，群峰若隐若现如苍龙腾跃于天地间，右侧近景山峦沉稳苍劲，古松虬枝挺拔，稳稳锚定画面重心。暖调霞光晕染穹宇，赤日高悬天际，将流云远山晕化作鎏金暖色，泼墨晕染与精细勾勒兼用，既带着传统山水画的空灵悠远，又以宏阔格局尽显山河的雄浑壮阔。笔墨之间满怀着对神州大地的热忱礼赞，将山河的厚重底蕴与东方诗意熔铸尺幅间，尽显吞吐天地的泱泱气度，让观者于画中窥见万里山河的磅礴生机。",[23,24,28,80,30,166,7,567,35,109],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da411854c3290546e3eecb3a5aa3288.jpg","纵6.5米，横9米",[],279,{"id":573,"slug":574,"title":575,"dynasty":54,"author":576,"museum":226,"description":577,"tags":578,"thumbUrl":580,"material":338,"size":581,"collection":98,"collections":582,"showCount":583,"zanCount":236,"manualWeight":48,"mainColor":49},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","石涛","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[23,24,25,79,109,80,30,579,82,111,7,151,35,134,133],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[98],273,{"id":585,"slug":586,"title":587,"dynasty":126,"author":127,"museum":20,"description":588,"tags":589,"thumbUrl":591,"material":592,"size":593,"collection":285,"collections":594,"showCount":595,"zanCount":236,"manualWeight":48,"mainColor":69},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,26,109,28,80,30,112,35,590,111,82,151,7],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","纸本，设色","37.5×65cm×4",[],266,{"id":597,"slug":598,"title":599,"dynasty":18,"author":600,"museum":242,"description":601,"tags":602,"thumbUrl":604,"material":605,"size":606,"collection":285,"collections":607,"showCount":608,"zanCount":557,"manualWeight":48,"mainColor":69},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[23,149,24,26,109,30,7,35,603,133,80],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg","未知","Xcm*Xcm",[],262,{"id":610,"slug":611,"title":612,"dynasty":126,"author":613,"museum":614,"description":615,"tags":616,"thumbUrl":617,"material":338,"size":618,"collection":98,"collections":619,"showCount":608,"zanCount":48,"manualWeight":48,"mainColor":69},214298,"shan-shui-tu-liu-jue-214298","山水图","刘珏","美国弗利尔美术馆","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[23,24,25,26,109,80,30,35,82,7,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[98],{"id":621,"slug":622,"title":623,"dynasty":18,"author":210,"museum":624,"description":625,"tags":626,"thumbUrl":627,"material":338,"size":628,"collection":219,"collections":629,"showCount":630,"zanCount":288,"manualWeight":48,"mainColor":49},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[149,24,25,26,109,59,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[219],258,{"id":632,"slug":633,"title":634,"dynasty":54,"author":635,"museum":242,"description":636,"tags":637,"thumbUrl":638,"material":400,"size":639,"collection":98,"collections":640,"showCount":641,"zanCount":48,"manualWeight":48,"mainColor":69},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[149,24,25,130,28,80,30,83,309,82,85,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[98,99],255,{"id":643,"slug":644,"title":645,"dynasty":18,"author":382,"museum":75,"description":646,"tags":647,"thumbUrl":650,"material":64,"size":651,"collection":98,"collections":652,"showCount":653,"zanCount":342,"manualWeight":48,"mainColor":49},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,25,79,109,28,80,30,309,507,58,86,648,82,7,649],"明月","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[98],250,{"id":655,"slug":656,"title":657,"dynasty":126,"author":305,"museum":20,"description":658,"tags":659,"thumbUrl":661,"material":448,"size":662,"collection":98,"collections":663,"showCount":664,"zanCount":48,"manualWeight":48,"mainColor":69},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,149,24,25,385,109,80,30,166,495,7,113,660],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[98,99],248,{"id":666,"slug":667,"title":668,"dynasty":126,"author":669,"museum":75,"description":670,"tags":671,"thumbUrl":673,"material":137,"size":674,"collection":98,"collections":675,"showCount":676,"zanCount":314,"manualWeight":48,"mainColor":69},214588,"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[24,25,385,28,30,386,198,86,672,7],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[98],246,{"id":678,"slug":679,"title":680,"dynasty":162,"author":180,"museum":359,"description":681,"tags":682,"thumbUrl":683,"material":137,"size":285,"collection":285,"collections":684,"showCount":685,"zanCount":48,"manualWeight":48,"mainColor":69},214573,"shan-shui-ce-5-wang-meng-214573","山水册-5","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,25,385,109,80,30,507,82,7,86,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06954314220392a3ccc54c83599ff836.jpg",[],230,{"id":687,"slug":688,"title":689,"dynasty":54,"author":690,"museum":20,"description":691,"tags":692,"thumbUrl":693,"material":64,"size":694,"collection":98,"collections":695,"showCount":696,"zanCount":236,"manualWeight":48,"mainColor":49},220075,"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁耀","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,29,28,386,30,198,82,7,35,86,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[98,45],226,{"id":698,"slug":699,"title":700,"dynasty":18,"author":74,"museum":75,"description":701,"tags":702,"thumbUrl":710,"material":64,"size":711,"collection":98,"collections":712,"showCount":713,"zanCount":288,"manualWeight":48,"mainColor":49},219169,"hai-shan-tu-fan-kuan-219169","海山图","画面中山势巍峨耸峙，峰峦如剑戟刺破云霭，笔墨雄健老硬，皴擦间尽显岩石坚实质感。云雾缭绕山腰，似将天地分割，虚实相生拓展空间纵深。山脚苍松虬劲，枝干盘曲如铁，与嶙峋怪石相映；仙鹤独立坡岸，姿态悠然，为雄浑山水添灵动生机。整幅作品兼具北方山川壮阔气势与文人画雅致意韵，笔墨凝聚对自然的敬畏深情，观之令人心驰神往，仿佛置身云雾缭绕的山海之间，感受那份天地浩渺与生命悠然的交融。",[149,24,362,79,109,80,703,7,704,705,706,707,708,709],"山川","苍松","怪石","仙鹤","山海","雄浑","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632ded243378dc8575ef188c0e24c27e.jpg","110.8×41.5",[98],224,{"id":715,"slug":716,"title":717,"dynasty":18,"author":146,"museum":396,"description":718,"tags":719,"thumbUrl":727,"material":413,"size":728,"collection":42,"collections":729,"showCount":730,"zanCount":314,"manualWeight":48,"mainColor":49},220420,"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[24,25,109,30,79,80,112,35,89,82,720,721,7,722,723,445,724,725,726],"小筑","峭壁","晴岚","杂树","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[42,99],212,{"id":732,"slug":733,"title":265,"dynasty":266,"author":267,"museum":20,"description":268,"tags":734,"thumbUrl":737,"material":95,"size":273,"collection":98,"collections":738,"showCount":739,"zanCount":300,"manualWeight":48,"mainColor":69},221155,"xiao-xiang-tu-dong-yuan-221155",[23,24,26,25,362,109,28,80,30,271,735,481,58,7,736],"苇渚","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[98,99],204,{"id":741,"slug":742,"title":743,"dynasty":126,"author":744,"museum":359,"description":745,"tags":746,"thumbUrl":748,"material":137,"size":749,"collection":98,"collections":750,"showCount":739,"zanCount":288,"manualWeight":48,"mainColor":49},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,28,30,29,80,166,167,495,151,135,747,86,111,82,7,133],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[98,45],{"id":752,"slug":753,"title":754,"dynasty":162,"author":755,"museum":75,"description":756,"tags":757,"thumbUrl":758,"material":64,"size":759,"collection":44,"collections":760,"showCount":761,"zanCount":300,"manualWeight":48,"mainColor":49},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","胡廷晖","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[149,24,28,386,29,80,30,198,86,58,309,7,151,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[44,98],197,{"id":763,"slug":764,"title":765,"dynasty":54,"author":766,"museum":195,"description":767,"tags":768,"thumbUrl":770,"material":137,"size":771,"collection":45,"collections":772,"showCount":773,"zanCount":314,"manualWeight":48,"mainColor":69},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,109,28,80,30,166,528,35,603,7,649,769],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg","22.5x27.5",[45],195,{"id":775,"slug":776,"title":777,"dynasty":18,"author":55,"museum":20,"description":778,"tags":779,"thumbUrl":783,"material":784,"size":785,"collection":42,"collections":786,"showCount":787,"zanCount":314,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,26,29,28,780,58,781,30,258,59,150,35,82,198,782,7],"白描","美人","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":789,"slug":790,"title":791,"dynasty":18,"author":408,"museum":792,"description":793,"tags":794,"thumbUrl":795,"material":338,"size":796,"collection":99,"collections":797,"showCount":798,"zanCount":288,"manualWeight":48,"mainColor":69},218647,"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[23,24,109,30,135,648,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[99],189,{"id":800,"slug":801,"title":265,"dynasty":18,"author":600,"museum":181,"description":802,"tags":803,"thumbUrl":804,"material":338,"size":285,"collection":98,"collections":805,"showCount":806,"zanCount":300,"manualWeight":48,"mainColor":69},218592,"xiao-xiang-tu-mi-you-ren-218592","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[24,25,26,109,80,30,7,35,133,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[98],188,{"id":808,"slug":809,"title":810,"dynasty":266,"author":267,"museum":242,"description":811,"tags":812,"thumbUrl":813,"material":605,"size":606,"collection":285,"collections":814,"showCount":815,"zanCount":300,"manualWeight":48,"mainColor":327},289944,"xia-shan-tu-dong-yuan-289944","夏山图","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。",[23,149,24,26,109,30,35,32,135,151,444,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ceabacb99b9da3101f03c4570459283.jpg",[],184,{"id":817,"slug":818,"title":819,"dynasty":18,"author":820,"museum":75,"description":821,"tags":822,"thumbUrl":823,"material":338,"size":824,"collection":42,"collections":825,"showCount":826,"zanCount":300,"manualWeight":48,"mainColor":69},221338,"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","赵佶","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[23,24,25,79,109,80,30,31,35,85,135,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[42,98,99],183,{"id":828,"slug":829,"title":830,"dynasty":18,"author":831,"museum":242,"description":832,"tags":833,"thumbUrl":835,"material":605,"size":606,"collection":285,"collections":836,"showCount":837,"zanCount":48,"manualWeight":48,"mainColor":49},287569,"jiang-shan-lou-guan-tu-gao-qing-ban-yan-wen-gui-287569","江山楼观图（高清版）","燕文贵","此图绘长江两岸初冬始雪时景色，是将山水、人物相结合的一件画作。画卷上，寒风凄厉，初雪纷飞，江岸小桥，渔人行旅，浩瀚江水，涟漪层层，枯树黄芦迎风摇曳。苦于生计的渔民们，或驾着小舟穿梭江面，或架设网罟捕鱼，或卷起裤脚在冰冷的浅水处布网，衣单裳薄的纤夫逆风拖船，骑驴奔波的商旅在寒风中瑟缩着身子艰难前行，寒冷之景，宛然在目。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣，天空则用洒粉法弹出轻盈飘舞的飞雪，技法颇为别致。",[23,149,24,25,26,109,30,112,834,7,198,35,80],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9c0dcc60066b1e64a74cc691d005bae.jpg",[],179,{"id":839,"slug":840,"title":841,"dynasty":54,"author":842,"museum":843,"description":844,"tags":845,"thumbUrl":847,"material":186,"size":848,"collection":98,"collections":849,"showCount":837,"zanCount":314,"manualWeight":48,"mainColor":49},222610,"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","龚贤","南京博物院","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[23,24,149,26,109,80,30,112,113,35,83,7,135,846,36],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[98,99],{"id":851,"slug":852,"title":853,"dynasty":54,"author":854,"museum":396,"description":855,"tags":856,"thumbUrl":860,"material":64,"size":861,"collection":44,"collections":862,"showCount":863,"zanCount":288,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,29,28,80,30,58,198,86,111,151,35,857,858,859,782,32,112,7],"山脉","村庄","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,98],175,{"id":865,"slug":866,"title":867,"dynasty":126,"author":55,"museum":868,"description":869,"tags":870,"thumbUrl":872,"material":137,"size":873,"collection":98,"collections":874,"showCount":863,"zanCount":314,"manualWeight":48,"mainColor":49},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[149,24,25,26,30,109,80,130,309,135,229,871,721,35,34,247,7],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[98],{"id":876,"slug":877,"title":878,"dynasty":126,"author":879,"museum":75,"description":880,"tags":881,"thumbUrl":882,"material":338,"size":883,"collection":98,"collections":884,"showCount":863,"zanCount":288,"manualWeight":48,"mainColor":49},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","王绂","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,25,79,109,80,30,35,83,85,184,309,229,7,82,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[98],{"id":886,"slug":887,"title":888,"dynasty":162,"author":889,"museum":20,"description":890,"tags":891,"thumbUrl":892,"material":40,"size":893,"collection":44,"collections":894,"showCount":895,"zanCount":236,"manualWeight":48,"mainColor":49},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[23,24,28,29,133,58,59,782,167,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[44,45],172,{"id":897,"slug":898,"title":899,"dynasty":126,"author":55,"museum":242,"description":900,"tags":901,"thumbUrl":908,"material":605,"size":606,"collection":285,"collections":909,"showCount":910,"zanCount":48,"manualWeight":48,"mainColor":327},228414,"shui-yue-guan-yin-zuo-xiang-yi-ming-228414","水月观音坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[902,24,25,28,29,322,58,7,903,904,905,906,907],"明代","重彩","佛教题材","衣纹勾勒","祥云","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5ec879dad57cb6f26224e6447e0ea1.jpg",[],164,{"id":912,"slug":913,"title":914,"dynasty":54,"author":576,"museum":242,"description":915,"tags":916,"thumbUrl":917,"material":232,"size":918,"collection":99,"collections":919,"showCount":920,"zanCount":236,"manualWeight":48,"mainColor":69},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[23,24,26,109,30,80,131,133,35,113,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[99],161,{"id":922,"slug":923,"title":924,"dynasty":18,"author":925,"museum":20,"description":926,"tags":927,"thumbUrl":928,"material":232,"size":929,"collection":42,"collections":930,"showCount":920,"zanCount":300,"manualWeight":48,"mainColor":69},221460,"chang-jiang-wan-li-tu-juan-zhao-fu-221460","长江万里图卷","赵黻","展开此卷，可看到万里江山中的烟云风雨、山石峻岭、山间小道、樵夫行旅、乘风破浪的小舟、穿云破雾的飞鸟、山谷中的屋宇、村落、归庄的农民、深山古寺等等，可谓东起吴越、西至巴蜀、万里江山、气势宏大、一气呵成。着重描写江山壮丽景色，气势雄伟，笔法学李唐而略纵逸，但仍未脱南宋院体画之痕迹。卷末款署“赵黻作”三字，钤“黻”朱文印，画面有明代钱惟善、张宁、陆树声等诗跋 。",[23,24,26,109,362,80,30,834,112,7,35,135,37,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[42,98,99],{"id":932,"slug":933,"title":934,"dynasty":126,"author":935,"museum":75,"description":936,"tags":937,"thumbUrl":940,"material":95,"size":941,"collection":98,"collections":942,"showCount":943,"zanCount":288,"manualWeight":48,"mainColor":49},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","蓝瑛","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,24,79,27,28,80,30,938,939,82,111,86,58,309,7],"白云","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[98,45],159,{"id":945,"slug":946,"title":947,"dynasty":126,"author":127,"museum":20,"description":948,"tags":949,"thumbUrl":950,"material":137,"size":951,"collection":98,"collections":952,"showCount":953,"zanCount":48,"manualWeight":48,"mainColor":954},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”。",[23,24,109,30,80,79,35,7,82,32,151,229,245,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[98],154,"F48FB1",{"id":956,"slug":957,"title":958,"dynasty":18,"author":319,"museum":211,"description":959,"tags":960,"thumbUrl":963,"material":964,"size":965,"collection":42,"collections":966,"showCount":967,"zanCount":300,"manualWeight":48,"mainColor":49},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,24,25,149,29,28,322,58,961,7,962],"竹","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg","绢本设色","111.5x53.1cm",[42,44,45],152,{"id":969,"slug":970,"title":971,"dynasty":562,"author":972,"museum":973,"description":974,"tags":975,"thumbUrl":977,"material":285,"size":285,"collection":285,"collections":978,"showCount":967,"zanCount":314,"manualWeight":48,"mainColor":69},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","张大千","四川博物院","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,25,27,28,30,31,721,83,7,35,976,130,80,133],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":980,"slug":981,"title":982,"dynasty":18,"author":382,"museum":20,"description":983,"tags":984,"thumbUrl":987,"material":40,"size":988,"collection":285,"collections":989,"showCount":990,"zanCount":48,"manualWeight":48,"mainColor":49},233880,"ta-ge-tu-zhou-ma-yuan-233880","踏歌图轴","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[24,149,79,109,28,30,82,35,672,985,58,198,7,111,80,986],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg","纵192.5厘米，横111厘米",[],151,{"id":992,"slug":993,"title":994,"dynasty":18,"author":210,"museum":75,"description":995,"tags":996,"thumbUrl":997,"material":95,"size":285,"collection":42,"collections":998,"showCount":990,"zanCount":48,"manualWeight":48,"mainColor":49},219648,"hua-long-tu-chen-rong-219648","画龙图","此作用墨晕染出翻涌浓云，神龙隐现其间，或露利角锐爪，或显虬劲龙身，虚实相生间，将神龙见首不见尾的玄妙尽显。龙纹勾勒雄健苍劲，鳞爪细节锋芒暗藏，裹挟着磅礴威压，仿佛只需振鳍摆尾，便要冲破云烟扶摇直上。\n墨色浓淡铺陈得宜，云雾的氤氲空濛与龙身的沉凝质感相互映衬，把龙的神性与威仪藏在晦暝云气之中，营造出幽邃缥缈的天地灵韵，尽显笔下神兽的不凡风骨。",[24,25,26,109,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb84b5cd562245554495403c27198d7.jpg",[42],{"id":1000,"slug":1001,"title":689,"dynasty":54,"author":1002,"museum":1003,"description":1004,"tags":1005,"thumbUrl":1006,"material":64,"size":1007,"collection":98,"collections":1008,"showCount":1009,"zanCount":236,"manualWeight":48,"mainColor":49},218715,"peng-lai-xian-jing-tu-xu-wen-218715","徐玟","旅顺博物馆","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[23,24,28,386,29,30,198,35,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[98],150,{"id":1011,"slug":1012,"title":1013,"dynasty":54,"author":854,"museum":242,"description":1014,"tags":1015,"thumbUrl":1016,"material":285,"size":285,"collection":285,"collections":1017,"showCount":1018,"zanCount":314,"manualWeight":48,"mainColor":69},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,26,109,30,80,82,35,7,83,85,112,58,782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],146,{"id":1020,"slug":1021,"title":1022,"dynasty":126,"author":55,"museum":1023,"description":1024,"tags":1025,"thumbUrl":1028,"material":1026,"size":1029,"collection":285,"collections":1030,"showCount":1031,"zanCount":236,"manualWeight":48,"mainColor":327},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","法海寺","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,1026,322,29,28,58,540,30,7,962,1027],"壁画","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg","450x450厘米",[],145,{"id":1033,"slug":1034,"title":1035,"dynasty":18,"author":1036,"museum":226,"description":1037,"tags":1038,"thumbUrl":1042,"material":1043,"size":1044,"collection":42,"collections":1045,"showCount":1046,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,149,25,26,30,80,28,1039,229,35,82,7,1040,95,1041,91,85,247],"茂林","淡墨","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米",[42,98,99],144,{"id":1048,"slug":1049,"title":1050,"dynasty":18,"author":146,"museum":359,"description":1051,"tags":1052,"thumbUrl":1055,"material":64,"size":1056,"collection":98,"collections":1057,"showCount":1058,"zanCount":288,"manualWeight":48,"mainColor":49},218571,"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[24,149,25,30,109,80,151,83,7,82,35,229,85,721,1053,1054],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[98],143,{"id":1060,"slug":1061,"title":1062,"dynasty":54,"author":576,"museum":1063,"description":1064,"tags":1065,"thumbUrl":1066,"material":137,"size":1067,"collection":285,"collections":1068,"showCount":1069,"zanCount":314,"manualWeight":48,"mainColor":69},214890,"shan-shui-tu-ce-3-shi-tao-214890","山水图册-3","大英博物馆","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,25,385,109,28,80,30,135,111,82,35,7,58,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f99fe4ff77ab4950fd6bc2d79236725.jpg","20.3x27.5cm",[],140,{"id":1071,"slug":1072,"title":1073,"dynasty":18,"author":382,"museum":1063,"description":1074,"tags":1075,"thumbUrl":1079,"material":64,"size":285,"collection":42,"collections":1080,"showCount":1081,"zanCount":48,"manualWeight":48,"mainColor":49},219737,"yan-ai-qiu-she-tu-ma-yuan-219737","烟霭秋涉图","此作用笔简劲老辣，以半边取景铺陈秋山之境。远景峰林隐没在烟霭之中，淡墨晕染出空濛虚渺，似将秋意揉进雾色里。近岸古木盘曲，枯干如铁铸，枝头缀着丹红秋叶，为萧飒秋景添了一抹暖色。浅滩处旅人策杖徐行，缓步涉过清浅溪涧，将山野行旅的幽寂之意藏于细节。\n山石以斧劈皴扫出棱线，硬朗峭拔，和远景的朦胧柔润形成强烈虚实对比，以少胜多，留白处尽是山野空寂的秋意，把深秋山涧的清旷冷冽，尽数融在水墨浓淡之间，尽显秋山烟水的澹远诗意。",[23,1076,24,25,79,109,28,30,672,1077,7,113,80,1078,167],"宋画","烟霭","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187656824905620f997701fcc165e4fd.jpg",[42,98],135,{"id":1083,"slug":1084,"title":1085,"dynasty":54,"author":1086,"museum":430,"description":1087,"tags":1088,"thumbUrl":1095,"material":1096,"size":1097,"collection":98,"collections":1098,"showCount":1099,"zanCount":300,"manualWeight":48,"mainColor":69},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,28,109,26,30,1089,112,7,35,34,184,111,150,80,1090,271,229,1091,1092,309,1093,1094],"夕阳","芦苇","近景","柳树","平坡","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[98,45],134,{"id":1101,"slug":1102,"title":1103,"dynasty":162,"author":1104,"museum":75,"description":1105,"tags":1106,"thumbUrl":1107,"material":28,"size":1108,"collection":98,"collections":1109,"showCount":1099,"zanCount":314,"manualWeight":48,"mainColor":69},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,149,24,25,79,28,80,30,309,82,111,151,58,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[98,45],{"id":1111,"slug":1112,"title":1113,"dynasty":54,"author":576,"museum":1063,"description":1064,"tags":1114,"thumbUrl":1117,"material":137,"size":1067,"collection":285,"collections":1118,"showCount":1119,"zanCount":300,"manualWeight":48,"mainColor":69},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6",[23,24,109,80,385,30,198,495,82,36,229,7,199,672,1115,1116],"庭院","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg",[],133,{"id":1121,"slug":1122,"title":1123,"dynasty":54,"author":842,"museum":359,"description":1124,"tags":1125,"thumbUrl":1127,"material":109,"size":1128,"collection":98,"collections":1129,"showCount":1130,"zanCount":48,"manualWeight":48,"mainColor":49},220421,"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[23,24,25,79,109,80,30,1126,82,35,36,7,111],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[98,99],132,{"id":1132,"slug":1133,"title":1134,"dynasty":126,"author":305,"museum":396,"description":1135,"tags":1136,"thumbUrl":1137,"material":186,"size":1138,"collection":98,"collections":1139,"showCount":1130,"zanCount":314,"manualWeight":48,"mainColor":69},220347,"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[24,25,26,109,80,130,30,86,111,151,35,229,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[98],{"id":1141,"slug":1142,"title":1143,"dynasty":18,"author":408,"museum":1144,"description":1145,"tags":1146,"thumbUrl":1148,"material":338,"size":1149,"collection":285,"collections":1150,"showCount":1130,"zanCount":48,"manualWeight":48,"mainColor":69},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","出光美术馆","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,24,149,109,30,150,7,1147,26,1040],"平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],{"id":1152,"slug":1153,"title":1154,"dynasty":266,"author":280,"museum":75,"description":1155,"tags":1156,"thumbUrl":1157,"material":95,"size":285,"collection":285,"collections":1158,"showCount":1159,"zanCount":314,"manualWeight":48,"mainColor":49},226543,"liang-kuang-lu-tu-zhou-jing-hao-226543","梁匡庐图轴","五代的隐逸画家荆浩是水墨山水画演变的关键人物，他将唐代吴道子的笔描与项容的泼墨技法结合，扩展笔墨描写山水的能力。荆浩的画风后来由关仝、李成和范宽继承，演变成永恒不朽的巨碑式山水。《匡庐图》是一幅仿古作品，保留五代山水的特征，但是结合了北宋宫廷画院的风格，再现与隐逸主题相关的山水形象，向荆浩这位雄伟风格山水之父致敬。",[149,24,25,79,109,80,30,112,83,35,85,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a19f97daa491bb204eb9d64ccb256d.jpg",[],131,{"id":1161,"slug":1162,"title":1163,"dynasty":54,"author":1164,"museum":75,"description":1165,"tags":1166,"thumbUrl":1167,"material":592,"size":1168,"collection":98,"collections":1169,"showCount":1159,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[23,24,26,109,28,80,30,83,590,151,86,111,229,7,35,82,131,133,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[98,45],{"id":1171,"slug":1172,"title":1173,"dynasty":54,"author":576,"museum":242,"description":1174,"tags":1175,"thumbUrl":1176,"material":285,"size":285,"collection":98,"collections":1177,"showCount":1178,"zanCount":314,"manualWeight":48,"mainColor":69},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","原济山水图册","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[24,25,385,109,28,80,131,133,30,35,36,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[98],129,{"id":1180,"slug":1181,"title":1182,"dynasty":18,"author":241,"museum":242,"description":1183,"tags":1184,"thumbUrl":1185,"material":605,"size":606,"collection":285,"collections":1186,"showCount":1187,"zanCount":300,"manualWeight":48,"mainColor":69},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” (亦称“落茄被”)，松树笔法细致、严密。",[24,362,109,80,166,309,151,7,132,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg",[],128,{"id":1189,"slug":1190,"title":1191,"dynasty":18,"author":74,"museum":396,"description":1192,"tags":1193,"thumbUrl":1194,"material":964,"size":1195,"collection":42,"collections":1196,"showCount":1197,"zanCount":300,"manualWeight":48,"mainColor":49},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,25,26,30,80,28,82,35,7,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[42,98,99],126,{"id":1199,"slug":1200,"title":1201,"dynasty":54,"author":1164,"museum":1063,"description":1202,"tags":1203,"thumbUrl":1205,"material":137,"size":1206,"collection":98,"collections":1207,"showCount":1197,"zanCount":48,"manualWeight":48,"mainColor":69},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡[kūn]残（1612年-1692年），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。",[23,24,25,30,109,80,672,135,111,112,184,7,35,1204,32,82,133],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纵31.8cm 横65cm",[98],{"id":1209,"slug":1210,"title":1211,"dynasty":126,"author":1212,"museum":75,"description":1213,"tags":1214,"thumbUrl":1215,"material":64,"size":1216,"collection":45,"collections":1217,"showCount":1197,"zanCount":314,"manualWeight":48,"mainColor":69},219445,"bai-yun-hong-shu-tu-guan-si-219445","白云红树图","关思","图绘山态云容，疏林茅屋。山作小青绿，树作无骨法，自言仿自赵孟頫，原画应该是赵子昂用唐人古意所作。",[24,25,79,28,80,30,938,939,35,82,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff525b318e6c156ebc050d824651a0d7b.jpg","129.3x50.5",[45],{"id":1219,"slug":1220,"title":1221,"dynasty":162,"author":1222,"museum":75,"description":1223,"tags":1224,"thumbUrl":1226,"material":64,"size":1227,"collection":98,"collections":1228,"showCount":1229,"zanCount":300,"manualWeight":48,"mainColor":49},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","盛懋","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[23,24,25,30,58,109,28,35,82,7,80,363,1225],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[98],125,{"id":1231,"slug":1232,"title":1233,"dynasty":18,"author":1234,"museum":20,"description":1235,"tags":1236,"thumbUrl":1240,"material":40,"size":1241,"collection":285,"collections":1242,"showCount":1243,"zanCount":314,"manualWeight":48,"mainColor":69},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","王诜","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,109,28,80,29,30,1237,1238,82,35,111,135,747,1239,86,150,7,131,132,133],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],124,{"id":1245,"slug":1246,"title":1247,"dynasty":126,"author":504,"museum":1248,"description":1249,"tags":1250,"thumbUrl":1251,"material":1252,"size":1253,"collection":285,"collections":1254,"showCount":1255,"zanCount":48,"manualWeight":48,"mainColor":285},220728,"fang-ma-yuan-ta-ge-tu-dai-jin-220728","仿马远踏歌图","香港中文大学文物馆","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,25,149,30,80,28,82,35,7,58,86,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","设色,绢本","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],123,{"id":1257,"slug":1258,"title":1259,"dynasty":562,"author":972,"museum":359,"description":1260,"tags":1261,"thumbUrl":1265,"material":137,"size":1266,"collection":98,"collections":1267,"showCount":1255,"zanCount":48,"manualWeight":48,"mainColor":69},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,149,24,25,109,28,214,80,30,111,135,86,83,35,82,7,36,1262,1263,1264],"古道","急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[98,45],{"id":1269,"slug":1270,"title":1271,"dynasty":18,"author":408,"museum":242,"description":551,"tags":1272,"thumbUrl":553,"material":338,"size":1276,"collection":285,"collections":1277,"showCount":1255,"zanCount":314,"manualWeight":48,"mainColor":69},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪",[23,149,24,25,1076,109,214,1273,362,166,167,35,1274,7,1040,1275],"禅画","雪","自然景观","29.5X94.4厘米",[],{"id":1279,"slug":1280,"title":1281,"dynasty":18,"author":382,"museum":359,"description":1282,"tags":1283,"thumbUrl":1284,"material":64,"size":1285,"collection":42,"collections":1286,"showCount":1255,"zanCount":48,"manualWeight":48,"mainColor":49},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,149,24,25,30,109,28,80,166,495,151,7,58,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[42],{"id":1288,"slug":1289,"title":1290,"dynasty":54,"author":766,"museum":195,"description":767,"tags":1291,"thumbUrl":1292,"material":137,"size":771,"collection":98,"collections":1293,"showCount":1255,"zanCount":48,"manualWeight":48,"mainColor":69},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作",[24,149,30,109,80,166,309,35,36,113,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg",[98],{"id":1295,"slug":1296,"title":1297,"dynasty":18,"author":210,"museum":242,"description":1298,"tags":1299,"thumbUrl":1300,"material":285,"size":285,"collection":285,"collections":1301,"showCount":1302,"zanCount":48,"manualWeight":48,"mainColor":49},227688,"shi-yi-long-tu-chen-rong-227688","十一龙图","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[23,149,24,25,26,109,80,59,30,7,82,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd37fa557531a1ee46077055962506d.jpg",[],122,{"id":1304,"slug":1305,"title":1306,"dynasty":126,"author":127,"museum":20,"description":1307,"tags":1308,"thumbUrl":1310,"material":296,"size":1311,"collection":98,"collections":1312,"showCount":1313,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[23,24,25,26,109,30,80,131,133,7,35,229,245,1309],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[98,99],121,{"id":1315,"slug":1316,"title":1317,"dynasty":126,"author":504,"museum":75,"description":1318,"tags":1319,"thumbUrl":1324,"material":413,"size":1325,"collection":98,"collections":1326,"showCount":1313,"zanCount":342,"manualWeight":48,"mainColor":49},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[24,25,79,149,109,80,1320,1321,135,747,86,111,35,112,7,1322,1323,82],"风雨","归舟","舟楫","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[98],{"id":1328,"slug":1329,"title":1330,"dynasty":54,"author":576,"museum":242,"description":1331,"tags":1332,"thumbUrl":1333,"material":605,"size":606,"collection":285,"collections":1334,"showCount":1335,"zanCount":314,"manualWeight":48,"mainColor":69},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,385,30,109,28,80,112,7,35,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":1337,"slug":1338,"title":1339,"dynasty":18,"author":820,"museum":1340,"description":1341,"tags":1342,"thumbUrl":1344,"material":338,"size":1345,"collection":98,"collections":1346,"showCount":1347,"zanCount":314,"manualWeight":48,"mainColor":69},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","日本大阪市立美术馆","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。",[23,24,25,79,109,80,30,82,7,672,229,1343,115,89,1040,215],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[98,42],119,{"id":1349,"slug":1350,"title":1351,"dynasty":162,"author":180,"museum":181,"description":1352,"tags":1353,"thumbUrl":1354,"material":137,"size":1355,"collection":98,"collections":1356,"showCount":1347,"zanCount":48,"manualWeight":48,"mainColor":69},219742,"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[24,25,26,109,80,30,31,35,86,135,7,133,82,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[98],{"id":1358,"slug":1359,"title":1360,"dynasty":54,"author":1361,"museum":75,"description":1362,"tags":1363,"thumbUrl":1364,"material":137,"size":1365,"collection":98,"collections":1366,"showCount":1347,"zanCount":300,"manualWeight":48,"mainColor":69},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","钱维城","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[149,24,25,28,80,130,133,30,35,111,151,82,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[98],{"id":1368,"slug":1369,"title":1370,"dynasty":54,"author":576,"museum":20,"description":1371,"tags":1372,"thumbUrl":1374,"material":296,"size":1375,"collection":285,"collections":1376,"showCount":1377,"zanCount":314,"manualWeight":48,"mainColor":69},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[24,25,26,109,30,80,131,133,132,1373,112,32,35,82,7,1322,603],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],118,{"id":1379,"slug":1380,"title":1381,"dynasty":18,"author":408,"museum":792,"description":1382,"tags":1383,"thumbUrl":1384,"material":338,"size":1385,"collection":285,"collections":1386,"showCount":1377,"zanCount":48,"manualWeight":48,"mainColor":69},219190,"xiao-xiang-ba-jing-dong-ting-qiu-yue-mu-xi-219190","潇湘八景-洞庭秋月","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。",[23,24,25,362,109,214,215,30,648,135,7,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbf818004329886216e8020600b6c8e.jpg","29.4x93.1厘米",[],{"id":1388,"slug":1389,"title":1390,"dynasty":54,"author":1164,"museum":1391,"description":1392,"tags":1393,"thumbUrl":1395,"material":137,"size":1396,"collection":98,"collections":1397,"showCount":1398,"zanCount":48,"manualWeight":48,"mainColor":49},220430,"you-gu-tu-kun-can-220430","幽谷图","耶鲁大学艺术博物馆","髡（kūn）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、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，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。\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：“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!” [4] 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",[23,24,25,79,30,28,80,198,111,82,35,7,58,1394,309,721],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[98,45],117,{"id":1400,"slug":1401,"title":1402,"dynasty":54,"author":854,"museum":20,"description":1403,"tags":1404,"thumbUrl":1405,"material":64,"size":1406,"collection":98,"collections":1407,"showCount":1398,"zanCount":48,"manualWeight":48,"mainColor":49},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,26,109,28,30,938,31,35,83,151,7,82,36,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[98],{"id":1409,"slug":1410,"title":1411,"dynasty":18,"author":106,"museum":242,"description":1412,"tags":1413,"thumbUrl":1414,"material":285,"size":285,"collection":285,"collections":1415,"showCount":1416,"zanCount":314,"manualWeight":48,"mainColor":49},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[23,149,24,26,109,80,30,35,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],115,{"id":1418,"slug":1419,"title":1420,"dynasty":54,"author":1421,"museum":242,"description":1422,"tags":1423,"thumbUrl":1425,"material":95,"size":1426,"collection":98,"collections":1427,"showCount":1416,"zanCount":300,"manualWeight":48,"mainColor":49},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,149,24,25,386,29,28,30,198,82,35,7,1424,846],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg","纵194.5cm，横60.5cm",[98],{"id":1429,"slug":1430,"title":1431,"dynasty":126,"author":1432,"museum":409,"description":1433,"tags":1434,"thumbUrl":1436,"material":1437,"size":1438,"collection":285,"collections":1439,"showCount":1440,"zanCount":300,"manualWeight":48,"mainColor":69},232644,"hua-shan-tu-tang-yin-232644","华山图","唐寅","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[24,109,80,28,30,82,83,35,111,7,134,649,1435],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","纸本浅设色","116.4x41.4厘米",[],114,{"id":1442,"slug":1443,"title":1444,"dynasty":54,"author":55,"museum":242,"description":1445,"tags":1446,"thumbUrl":1447,"material":285,"size":285,"collection":285,"collections":1448,"showCount":1449,"zanCount":236,"manualWeight":48,"mainColor":49},230302,"fang-chou-ying-wang-chuan-tu-yi-ming-230302","仿仇英辋川图","此作用鲜亮石青、石绿晕染勾勒山峦，兼具勾勒骨力与晕染秀润，设色雅致明丽。画幅间烟波浩渺，云气悠然萦绕山谷峰林，村居屋舍错落隐现于林木水岸之间，将辋川别业的林泉意韵铺陈开来。整体意境清旷淡远，把诗意山居化为具象图景，尽显复古工笔青绿山水的雅逸格调，传递出隐世丘园的悠然禅意。",[23,24,25,26,27,28,29,130,30,112,7,35,199,32,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311e89b0c05248950e4ccf7747f51546.jpg",[],112,{"id":1451,"slug":1452,"title":1453,"dynasty":18,"author":1454,"museum":20,"description":1455,"tags":1456,"thumbUrl":1457,"material":1458,"size":1459,"collection":285,"collections":1460,"showCount":1449,"zanCount":48,"manualWeight":48,"mainColor":49},221675,"wan-song-jin-que-tu-juan-quan-juan-zhao-bo-su-221675","万松金阙图卷全卷","赵伯骕","该图画江南的湖畔松岭和楼阁，松树茂密，山巅蜿蜒，上有琼楼金阙。\n该图属青绿山水，笔法清细繁复，格调柔丽雅洁，显示出南宋皇家贵胄的审美情趣。\n该图的出现，标志着宋代山水画的表现对象从北方雄浑的山川转移到江南的青山绿水。\n图绘南宋都城临安郊外风凰山一带景色碧波万顷，红日初升，茂林长松，惊起翔鹤飞鸿，川间琼楼金阙隐约可见。\n该图尾纸有元代赵孟頫、倪瓒、张绅题跋。\n赵伯骕唯一存世的画迹是《万松金阙图》卷，幅上虽无作者款印，但后纸有宋宗室后裔元代赵孟頫的鉴定题记，将此作定为赵伯骕的奉敕之作。\n图中所画是临安皇城之北的万松岭，“金阙”是特指皇帝的宫殿。\n绍兴八年（118年），赵构定都临安，以行宫为基础，东起凤山门，西至凤凰山麓，南抵笤帚湾，北达万松岭，在这方圆18里的范围内营造了南宋皇朝宫殿。\n万松岭相当于宫城的后花园，在那里，有供皇室四季游玩的亭台楼阁，如夏季可在翠寒宫避暑。\n冬季可在明远楼避寒，中秋可在依桂阁赏月，还有专供醉卧用的钟美堂……。\n赵伯骕所绘的“万松”和“金阙”正是此处，画中的金阙周围有许多仙鹤和瑞禽，皇家宫阚掩映在万松之中，在万松的尽头，是钱塘江畔，在潮起潮落之后，是一片宁静，一轮初升的太阳映照山川，其画意在于祷祝宋室江山如松林常青、似日月永年。\n赵伯骕是一位富有艺术情感的画家，他认为： “画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,149,26,27,28,29,80,30,309,198,82,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":1462,"slug":1463,"title":1464,"dynasty":126,"author":305,"museum":20,"description":1465,"tags":1466,"thumbUrl":1467,"material":338,"size":1468,"collection":98,"collections":1469,"showCount":1471,"zanCount":48,"manualWeight":48,"mainColor":69},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[23,24,25,26,109,130,132,131,80,133,30,112,35,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[98,99,1470],"书法精选",110,{"id":1473,"slug":1474,"title":1475,"dynasty":126,"author":305,"museum":242,"description":1476,"tags":1477,"thumbUrl":1478,"material":285,"size":285,"collection":98,"collections":1479,"showCount":1480,"zanCount":300,"manualWeight":48,"mainColor":69},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。”",[24,109,30,35,7,229,80,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e702ea296c830fd9f358026fa00831e.jpg",[98],109,{"id":1482,"slug":1483,"title":1484,"dynasty":54,"author":492,"museum":20,"description":1485,"tags":1486,"thumbUrl":1487,"material":64,"size":1488,"collection":98,"collections":1489,"showCount":1480,"zanCount":314,"manualWeight":48,"mainColor":69},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[23,24,25,26,27,28,30,80,112,35,85,858,7,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[98],{"id":1491,"slug":1492,"title":1493,"dynasty":126,"author":55,"museum":242,"description":900,"tags":1494,"thumbUrl":1496,"material":605,"size":606,"collection":285,"collections":1497,"showCount":1498,"zanCount":48,"manualWeight":48,"mainColor":327},228412,"wen-shu-pu-sa-zuo-xiang-yi-ming-228412","文殊菩萨坐像",[24,25,322,29,28,58,30,7,198,35,82,906,1495,27,386],"古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83145718fc035e6637afa89f6ad83dea.jpg",[],107,{"id":1500,"slug":1501,"title":612,"dynasty":162,"author":1502,"museum":75,"description":1503,"tags":1504,"thumbUrl":1510,"material":413,"size":285,"collection":98,"collections":1511,"showCount":1512,"zanCount":236,"manualWeight":48,"mainColor":69},218761,"shan-shui-tu-wu-zhen-218761","吴镇","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[23,149,24,109,30,270,82,1505,7,133,131,1506,1507,1508,1509],"林木","禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg",[98],106,{"id":1514,"slug":1515,"title":1516,"dynasty":54,"author":576,"museum":1063,"description":1064,"tags":1517,"thumbUrl":1518,"material":137,"size":1067,"collection":285,"collections":1519,"showCount":1520,"zanCount":48,"manualWeight":48,"mainColor":69},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5",[23,24,109,28,385,80,30,198,35,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg",[],105,{"id":1522,"slug":1523,"title":1524,"dynasty":126,"author":305,"museum":396,"description":1525,"tags":1526,"thumbUrl":1527,"material":186,"size":1138,"collection":98,"collections":1528,"showCount":1529,"zanCount":48,"manualWeight":48,"mainColor":69},220344,"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“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。",[149,24,25,26,109,30,80,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg",[98,1470],103,{"id":1531,"slug":1532,"title":1533,"dynasty":562,"author":1534,"museum":1535,"description":1536,"tags":1537,"thumbUrl":1538,"material":285,"size":285,"collection":285,"collections":1539,"showCount":1540,"zanCount":48,"manualWeight":48,"mainColor":69},220606,"song-shi-shan-shui-qi-bai-shi-220606","宋式山水","齐白石","Kyoto National Museum","这幅作品跳脱山水旧法，以斩截刚劲的线条将山峦拆解为方正硬朗的几何岩体，块面堆叠出雄浑厚重的山野气势，全无传统皴法的柔婉，自带稚拙刚健的力量感。\n浅勾淡染的云气柔化山石冷硬，山坳中隐现的屋舍晕开山居悠然意趣。下方枯林以极简枝桠舒展，疏清淡雅，与上部重峦形成疏密对照。\n它以全新造型重构山水意境，将笔墨的写意精神，融于现代感的视觉表达，于朴拙间开创出别具一格的山水新风貌。",[24,109,79,80,30,82,35,7,36,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9a3dc4e5e42b53615a5f03733ed05.jpg",[],102,{"id":1542,"slug":1543,"title":1544,"dynasty":54,"author":690,"museum":409,"description":1545,"tags":1546,"thumbUrl":1547,"material":64,"size":1548,"collection":98,"collections":1549,"showCount":1550,"zanCount":300,"manualWeight":48,"mainColor":49},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","蜀栈行旅图","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,24,25,28,30,80,386,112,93,58,782,35,7,1262,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[98],100,{"id":1552,"slug":1553,"title":841,"dynasty":162,"author":55,"museum":195,"description":1554,"tags":1555,"thumbUrl":1556,"material":338,"size":1557,"collection":98,"collections":1558,"showCount":1550,"zanCount":300,"manualWeight":48,"mainColor":49},218185,"qian-yan-wan-he-tu-yi-ming-218185","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[24,362,109,80,79,82,112,7,83,35,198,86,111,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[98],{"id":1560,"slug":1561,"title":612,"dynasty":162,"author":1562,"museum":1563,"description":1564,"tags":1565,"thumbUrl":1566,"material":64,"size":1567,"collection":98,"collections":1568,"showCount":1569,"zanCount":300,"manualWeight":48,"mainColor":49},218252,"shan-shui-tu-zhang-yu-218252","张雨","中央美术学院","层岩叠嶂如篆，皴笔勾出嶙峋骨，墨色晕染间丘壑自生。松风盘桓，虬枝探向云霭，林间小径隐现，似留隐者屐痕。涧水漱石，苔痕漫漶，草木葱茏处藏着清寂。笔墨苍润相济，干笔见劲，湿墨生烟，将林泉之趣凝于尺幅。意境悠远如太古，尘嚣尽散，只余一片澄明，引人沉潜于山水间，体悟那份超脱世俗的淡然与自在。",[24,28,80,30,82,35,112,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45777cf65d0ff7deccb539b3c7b08765.jpg","168x97cm",[98],99,{"id":1571,"slug":1572,"title":1573,"dynasty":54,"author":1574,"museum":1248,"description":1575,"tags":1576,"thumbUrl":1577,"material":338,"size":1578,"collection":98,"collections":1579,"showCount":1569,"zanCount":48,"manualWeight":48,"mainColor":69},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","弘仁","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",[24,25,385,109,80,30,166,528,35,229,7,134,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[98],{"id":1581,"slug":1582,"title":1583,"dynasty":126,"author":194,"museum":20,"description":1584,"tags":1585,"thumbUrl":1588,"material":40,"size":1589,"collection":285,"collections":1590,"showCount":1591,"zanCount":236,"manualWeight":48,"mainColor":49},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[24,25,79,28,29,27,30,58,198,86,111,309,1586,7,82,151,199,1587,35,528,495],"山洞","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],98,{"id":1593,"slug":1594,"title":1595,"dynasty":266,"author":1596,"museum":75,"description":1597,"tags":1598,"thumbUrl":1600,"material":338,"size":1601,"collection":98,"collections":1602,"showCount":1591,"zanCount":48,"manualWeight":48,"mainColor":69},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[23,24,149,25,26,109,80,132,131,133,30,82,35,83,1599,135,7,112,649],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[98],{"id":1604,"slug":1605,"title":1606,"dynasty":18,"author":280,"museum":1607,"description":1608,"tags":1609,"thumbUrl":1610,"material":95,"size":1611,"collection":42,"collections":1612,"showCount":1613,"zanCount":48,"manualWeight":48,"mainColor":49},226547,"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","美国弗瑞尔美术馆","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[23,24,25,79,30,109,80,112,35,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[42,98,99],97,{"id":1615,"slug":1616,"title":1617,"dynasty":162,"author":1104,"museum":20,"description":1618,"tags":1619,"thumbUrl":1620,"material":1621,"size":1622,"collection":98,"collections":1623,"showCount":1613,"zanCount":288,"manualWeight":48,"mainColor":49},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[23,24,28,30,58,782,495,82,7,1262,199,446,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[98,45],{"id":1625,"slug":1626,"title":1627,"dynasty":18,"author":1628,"museum":396,"description":1629,"tags":1630,"thumbUrl":1631,"material":28,"size":1632,"collection":42,"collections":1633,"showCount":1634,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,149,26,28,80,30,309,151,782,58,229,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[42,98,99],95,{"id":1636,"slug":1637,"title":1638,"dynasty":54,"author":854,"museum":226,"description":1639,"tags":1640,"thumbUrl":1641,"material":1096,"size":1642,"collection":285,"collections":1643,"showCount":1644,"zanCount":314,"manualWeight":48,"mainColor":49},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法","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。",[23,24,25,30,308,80,28,79,112,35,86,111,7,247,364,58,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","82.5x51.2",[],94,{"id":1646,"slug":1647,"title":1648,"dynasty":126,"author":305,"museum":20,"description":1649,"tags":1650,"thumbUrl":1651,"material":592,"size":662,"collection":98,"collections":1652,"showCount":1644,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,25,385,109,28,30,82,35,151,32,229,1091,7,132,133,80,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[98,45],{"id":1654,"slug":1655,"title":1656,"dynasty":18,"author":1657,"museum":75,"description":1658,"tags":1659,"thumbUrl":1661,"material":186,"size":1662,"collection":285,"collections":1663,"showCount":1664,"zanCount":300,"manualWeight":48,"mainColor":69},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。",[23,24,25,26,109,80,30,135,60,35,1660,229,529,112,7,721],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ceb70b5888eae4415468dbb93cdafeb.jpg","纵50.8厘米，横136.4厘米",[],92,{"id":1666,"slug":1667,"title":1668,"dynasty":54,"author":842,"museum":181,"description":1669,"tags":1670,"thumbUrl":1672,"material":1673,"size":1674,"collection":98,"collections":1675,"showCount":1664,"zanCount":314,"manualWeight":48,"mainColor":69},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","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。",[23,24,109,80,385,30,672,184,7,1671,229,133],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纸","纵24.4 厘米 横49.7 厘米",[98,99],{"id":1677,"slug":1678,"title":1679,"dynasty":54,"author":576,"museum":242,"description":1680,"tags":1681,"thumbUrl":1684,"material":285,"size":285,"collection":285,"collections":1685,"showCount":1686,"zanCount":314,"manualWeight":48,"mainColor":69},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[24,25,26,28,30,80,132,133,131,1682,135,150,198,86,111,151,35,82,7,1683,364],"桃花","人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],91,{"id":1688,"slug":1689,"title":1690,"dynasty":126,"author":1691,"museum":409,"description":1692,"tags":1693,"thumbUrl":1695,"material":64,"size":1696,"collection":44,"collections":1697,"showCount":1686,"zanCount":288,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,26,30,28,80,58,86,111,135,747,198,35,82,1694,184,7,1320,248],"渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":1699,"slug":1700,"title":1701,"dynasty":54,"author":576,"museum":242,"description":1702,"tags":1703,"thumbUrl":1704,"material":137,"size":1705,"collection":98,"collections":1706,"showCount":1686,"zanCount":300,"manualWeight":48,"mainColor":69},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。",[23,24,25,79,109,28,30,134,309,60,7,229,151,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纵46.5cm，横30.7cm",[98],{"id":1708,"slug":1709,"title":1710,"dynasty":54,"author":1086,"museum":242,"description":1711,"tags":1712,"thumbUrl":1713,"material":285,"size":285,"collection":98,"collections":1714,"showCount":1715,"zanCount":48,"manualWeight":48,"mainColor":69},237098,"yun-shou-ping-hu-shan-tu-zhou-yun-shou-ping-237098","恽寿平湖山图轴","恽寿平(初名格；1633—1690)，字寿平，以字行，又字正叔，别号南田，一号白云外史、云溪史、东园客、巢枫客、草衣生、横山樵者。江苏武进人，清代著名画家。\n创常州派，为清朝“一代之冠”。特点是以潇洒秀逸的用笔直接点蘸颜色敷染成画，讲究形似，但又不以形似为满足，有文人画的情调、韵味。其山水画亦有很高成就，以神韵、情趣取胜，与“四王”、吴历并称“清初六大家”。他又善诗文和书法，诗被誉为“毗陵六逸之冠”。书法主要学褚遂良，被称为“恽体”。",[24,25,79,109,80,30,135,1092,82,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edf4c0fe6fe2640f88f0e56ef758d77.jpg",[98],90,{"id":1717,"slug":1718,"title":1719,"dynasty":54,"author":1086,"museum":20,"description":1720,"tags":1721,"thumbUrl":1722,"material":592,"size":1723,"collection":98,"collections":1724,"showCount":1715,"zanCount":48,"manualWeight":48,"mainColor":69},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,385,109,28,30,198,86,135,150,35,82,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[98,99],{"id":1726,"slug":1727,"title":1728,"dynasty":18,"author":146,"museum":396,"description":1729,"tags":1730,"thumbUrl":1731,"material":1732,"size":1733,"collection":42,"collections":1734,"showCount":1735,"zanCount":48,"manualWeight":48,"mainColor":69},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷","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。",[23,24,25,26,109,80,30,135,480,495,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","纸本 水墨","29.3x376",[42,98,99],89,{"id":1737,"slug":1738,"title":1739,"dynasty":18,"author":1740,"museum":75,"description":1741,"tags":1742,"thumbUrl":1743,"material":1744,"size":1745,"collection":42,"collections":1746,"showCount":1747,"zanCount":314,"manualWeight":48,"mainColor":49},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","刘松年","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,24,29,28,80,386,30,58,198,309,82,35,7,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 设色","纵198.7厘米，横109.1厘米",[42,44,45],88,{"id":1749,"slug":1750,"title":1751,"dynasty":18,"author":1234,"museum":1607,"description":1752,"tags":1753,"thumbUrl":1754,"material":95,"size":1755,"collection":285,"collections":1756,"showCount":1747,"zanCount":48,"manualWeight":48,"mainColor":49},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[24,149,26,109,80,132,133,30,35,82,85,7,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":1758,"slug":1759,"title":1760,"dynasty":562,"author":972,"museum":1761,"description":1762,"tags":1763,"thumbUrl":1765,"material":400,"size":285,"collection":285,"collections":1766,"showCount":1747,"zanCount":48,"manualWeight":48,"mainColor":69},220500,"e-mei-jin-ding-heng-pi-zhang-da-qian-220500","峨嵋金顶（横披）","中央美术学院美术馆","云海翻涌将山峦裁出虚实层次，一侧以浅赭勾勒山石，枯涩皴笔尽显崖壁嶙峋苍劲，另一侧以青绿重彩晕染坡峦，层叠笔触晕开蓊郁生机。山巅楼宇隐于翠色之上，在流云间恍若仙阙。\n画作糅合北派山水的雄浑大气与南宗的秀润空灵，打破青绿旧有范式，以色调对冲凸显山川刚柔并济的质感，将峰岳的高华巍峨与清虚空灵凝于尺幅。边角题跋朱印呼应，文气与画韵相融，引观者神游绝顶，揽云听松，坠入烟霞之中。",[24,25,28,27,30,80,31,1764,35,60,7],"云海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bb0493805dbede2bd10a16c58db9f5.jpg",[],{"id":1768,"slug":1769,"title":1770,"dynasty":266,"author":1596,"museum":868,"description":1597,"tags":1771,"thumbUrl":1772,"material":413,"size":1773,"collection":98,"collections":1774,"showCount":1747,"zanCount":314,"manualWeight":48,"mainColor":49},219877,"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[23,149,24,25,26,109,30,7,85,35,112,135,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[98],{"id":1776,"slug":1777,"title":1778,"dynasty":18,"author":1779,"museum":75,"description":1780,"tags":1781,"thumbUrl":1784,"material":413,"size":285,"collection":99,"collections":1785,"showCount":1786,"zanCount":314,"manualWeight":48,"mainColor":69},218687,"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","马和之","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[23,24,109,30,150,1782,1783,111,35,82,7,80,1076,25,26],"鹤","清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[99],87,{"id":1788,"slug":1789,"title":1790,"dynasty":54,"author":576,"museum":20,"description":1791,"tags":1792,"thumbUrl":1794,"material":186,"size":1795,"collection":285,"collections":1796,"showCount":1797,"zanCount":300,"manualWeight":48,"mainColor":69},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,109,79,80,30,86,111,35,36,82,150,134,1793,590,229,248,364,7],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],86,{"id":1799,"slug":1800,"title":1801,"dynasty":1802,"author":1803,"museum":396,"description":1804,"tags":1805,"thumbUrl":1807,"material":95,"size":1808,"collection":285,"collections":1809,"showCount":1797,"zanCount":48,"manualWeight":48,"mainColor":49},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","唐","李昭道","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,27,28,26,29,30,1587,112,199,7,1806,35,36,200],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","47.1 x 197.4厘米",[],{"id":1811,"slug":1812,"title":1444,"dynasty":54,"author":55,"museum":242,"description":1813,"tags":1814,"thumbUrl":1815,"material":605,"size":606,"collection":285,"collections":1816,"showCount":1817,"zanCount":314,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,26,27,28,30,130,29,80,112,35,7,32,36,247,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],85,{"id":1819,"slug":1820,"title":1821,"dynasty":162,"author":1822,"museum":75,"description":1823,"tags":1824,"thumbUrl":1826,"material":1827,"size":1828,"collection":98,"collections":1829,"showCount":1817,"zanCount":314,"manualWeight":48,"mainColor":49},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","高克恭","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,24,362,79,109,28,80,1587,166,1825,35,85,82,7,91],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[98,99],{"id":1831,"slug":1832,"title":1833,"dynasty":126,"author":55,"museum":242,"description":1834,"tags":1835,"thumbUrl":1836,"material":605,"size":606,"collection":285,"collections":1837,"showCount":1838,"zanCount":48,"manualWeight":48,"mainColor":327},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[149,24,25,1026,322,29,28,58,30,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],84,{"id":1840,"slug":1841,"title":1842,"dynasty":126,"author":879,"museum":75,"description":1843,"tags":1844,"thumbUrl":1845,"material":400,"size":1846,"collection":98,"collections":1847,"showCount":1838,"zanCount":300,"manualWeight":48,"mainColor":49},222525,"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[24,25,79,109,80,30,151,58,35,82,111,7,649,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[98,99],{"id":1849,"slug":1850,"title":612,"dynasty":18,"author":1851,"museum":1607,"description":1852,"tags":1853,"thumbUrl":1854,"material":109,"size":1855,"collection":42,"collections":1856,"showCount":1838,"zanCount":48,"manualWeight":48,"mainColor":49},221505,"shan-shui-tu-yan-ci-yu-221505","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。",[23,24,149,25,28,80,30,82,35,7,113,86,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[42,98,99],{"id":1858,"slug":1859,"title":1860,"dynasty":54,"author":690,"museum":20,"description":691,"tags":1861,"thumbUrl":1862,"material":40,"size":694,"collection":285,"collections":1863,"showCount":1864,"zanCount":48,"manualWeight":48,"mainColor":49},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,25,79,386,28,29,30,198,247,7,35,82,86,364,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],83,{"id":1866,"slug":1867,"title":1868,"dynasty":126,"author":1869,"museum":359,"description":1870,"tags":1871,"thumbUrl":1872,"material":338,"size":1873,"collection":98,"collections":1874,"showCount":1864,"zanCount":314,"manualWeight":48,"mainColor":49},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。",[24,25,109,30,80,7,198,151,135,36,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[98],{"id":1876,"slug":1877,"title":1878,"dynasty":18,"author":1879,"museum":242,"description":1880,"tags":1881,"thumbUrl":1882,"material":285,"size":285,"collection":285,"collections":1883,"showCount":1884,"zanCount":48,"manualWeight":48,"mainColor":49},227513,"ming-huang-bi-shu-gong-tu-zhou-guo-zhong-shu-227513","明皇避暑宫图轴","郭忠恕","《明皇避暑宫图》是北宋画家郭忠恕所创作的一幅墨笔画 ，现藏于大阪市立美术馆。\n《明皇避暑宫图》描绘唐明皇的避暑宫，背山面水，宏伟壮观。从图下的宫门向内，亭台楼阁、水榭宫室、长廊庭院，层层深入。单是屋脊斗拱，就不下十几座，无不刻画工细精确，结构严谨华丽。虽然楼阁密集，但有巨石、古树点缀其间，故而前后的层次清晰，加上左边的水色，与后山的空朦相映衬，却也疏密有致，雍容大度。\n《明皇避暑宫图》，勾线劲挺，虽说有界尺相助，但是众多的曲线，依然得徒手勾勒。",[23,24,25,79,386,29,28,30,198,199,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc3db0ed91249e6e8c0490e405536b5.jpg",[],82,{"id":1886,"slug":1887,"title":1888,"dynasty":162,"author":1502,"museum":359,"description":1889,"tags":1890,"thumbUrl":1892,"material":338,"size":1893,"collection":98,"collections":1894,"showCount":1884,"zanCount":300,"manualWeight":48,"mainColor":69},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。",[23,24,25,26,109,30,80,131,132,133,166,167,495,86,135,961,1090,229,7,1891],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[98],{"id":1896,"slug":1897,"title":1898,"dynasty":126,"author":1899,"museum":347,"description":1900,"tags":1901,"thumbUrl":1903,"material":338,"size":1904,"collection":98,"collections":1905,"showCount":1884,"zanCount":314,"manualWeight":48,"mainColor":69},219866,"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","文徵明","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[23,24,25,79,109,80,30,35,1902,507,111,82,7,133],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[98],{"id":1907,"slug":1908,"title":1909,"dynasty":54,"author":1910,"museum":20,"description":1911,"tags":1912,"thumbUrl":1914,"material":338,"size":1915,"collection":98,"collections":1916,"showCount":1884,"zanCount":48,"manualWeight":48,"mainColor":69},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。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。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。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。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。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,79,109,80,30,7,309,31,184,1913,82,35],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[98],{"id":1918,"slug":1919,"title":1920,"dynasty":54,"author":854,"museum":242,"description":1921,"tags":1922,"thumbUrl":1923,"material":285,"size":285,"collection":98,"collections":1924,"showCount":1925,"zanCount":48,"manualWeight":48,"mainColor":69},238076,"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴","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》。",[24,78,79,80,130,30,648,135,150,113,35,32,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[98],81,{"id":1927,"slug":1928,"title":1929,"dynasty":54,"author":766,"museum":20,"description":1930,"tags":1931,"thumbUrl":1932,"material":338,"size":1933,"collection":98,"collections":1934,"showCount":1925,"zanCount":48,"manualWeight":48,"mainColor":69},219106,"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[23,149,24,25,79,109,80,443,30,166,35,36,7,111,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[98],{"id":1936,"slug":1937,"title":1938,"dynasty":162,"author":477,"museum":75,"description":1939,"tags":1940,"thumbUrl":1941,"material":95,"size":1942,"collection":98,"collections":1943,"showCount":1944,"zanCount":314,"manualWeight":48,"mainColor":49},219504,"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[24,25,79,109,80,30,82,35,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[98],80,{"id":1946,"slug":1947,"title":1948,"dynasty":18,"author":210,"museum":242,"description":1949,"tags":1950,"thumbUrl":1952,"material":605,"size":606,"collection":285,"collections":1953,"showCount":1954,"zanCount":314,"manualWeight":48,"mainColor":69},289594,"wu-long-tu-chen-rong-289594","五龙图","陈容，字公储，号所翁，福建长乐人，南宋端平二年（1235年）进士，曾做过福建莆田太守。南宋著名画家。《金溪县志》作临川（今属江西）人，《图绘宝鉴》作福唐（今福建福清）人。生卒年不详。陈容墓在福建长乐。\n诗文豪壮，尤善画龙，变化欲活，世传‘所翁龙’是也。”\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[23,24,26,25,109,59,1951,133,7],"神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad44d787cfa6bf3de62f57ee2d80a9fc.jpg",[],79,{"id":1956,"slug":1957,"title":1958,"dynasty":54,"author":1959,"museum":1960,"description":1961,"tags":1962,"thumbUrl":1965,"material":137,"size":1966,"collection":98,"collections":1967,"showCount":1954,"zanCount":48,"manualWeight":48,"mainColor":49},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","王原祁","香港艺术馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,25,79,109,80,30,166,495,590,86,111,36,7,82,579,248,85,1963,114,1964,1040],"层岩","干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[98],{"id":1969,"slug":1970,"title":1971,"dynasty":18,"author":831,"museum":75,"description":1972,"tags":1973,"thumbUrl":1974,"material":64,"size":1975,"collection":98,"collections":1976,"showCount":1954,"zanCount":314,"manualWeight":48,"mainColor":69},215110,"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[23,24,149,25,385,109,28,30,35,1373,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[98],{"id":1978,"slug":1979,"title":1980,"dynasty":18,"author":1981,"museum":242,"description":1982,"tags":1983,"thumbUrl":1985,"material":64,"size":285,"collection":98,"collections":1986,"showCount":1954,"zanCount":314,"manualWeight":48,"mainColor":69},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,1984,25,26,322,386,28,58,30,198,86,111,782,540,150,35,7,1115],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[98],{"id":1988,"slug":1989,"title":1990,"dynasty":18,"author":1991,"museum":75,"description":1992,"tags":1993,"thumbUrl":1996,"material":64,"size":1997,"collection":42,"collections":1998,"showCount":1999,"zanCount":314,"manualWeight":48,"mainColor":49},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","马麟","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,24,149,29,28,322,58,444,59,540,1951,7,1994,1995],"仪仗","神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[42],78,{"id":2001,"slug":2002,"title":371,"dynasty":54,"author":1959,"museum":242,"description":2003,"tags":2004,"thumbUrl":2005,"material":296,"size":2006,"collection":98,"collections":2007,"showCount":1999,"zanCount":48,"manualWeight":48,"mainColor":69},224390,"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[23,24,109,79,30,80,82,35,85,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[98],{"id":2009,"slug":2010,"title":2011,"dynasty":54,"author":690,"museum":20,"description":2012,"tags":2013,"thumbUrl":2015,"material":40,"size":2016,"collection":98,"collections":2017,"showCount":1999,"zanCount":48,"manualWeight":48,"mainColor":49},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,28,386,29,30,309,198,151,1204,82,7,2014,35],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[98,45],{"id":2019,"slug":2020,"title":2021,"dynasty":126,"author":2022,"museum":2023,"description":2024,"tags":2025,"thumbUrl":2027,"material":64,"size":2028,"collection":98,"collections":2029,"showCount":1999,"zanCount":48,"manualWeight":48,"mainColor":49},219935,"bei-ming-tu-zhou-chen-219935","北溟图","周臣","美国纳尔逊阿特金斯艺术博物馆","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[23,24,26,30,29,80,198,35,7,2026,83],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[98],{"id":2031,"slug":2032,"title":2033,"dynasty":18,"author":2034,"museum":359,"description":2035,"tags":2036,"thumbUrl":2038,"material":64,"size":2039,"collection":98,"collections":2040,"showCount":1999,"zanCount":300,"manualWeight":48,"mainColor":49},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。",[24,109,362,80,214,30,309,82,229,35,1891,721,364,7,2037],"深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[98],{"id":2042,"slug":2043,"title":2044,"dynasty":54,"author":1361,"museum":396,"description":2045,"tags":2046,"thumbUrl":2047,"material":137,"size":2048,"collection":285,"collections":2049,"showCount":1999,"zanCount":314,"manualWeight":48,"mainColor":69},216247,"jing-fu-si-qi-dong-jing-tu-10-qian-wei-cheng-216247","景敷四气冬景图-10","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n赭英粉萼共争新，不独迎春且探春。大矣乾元善资始，物犹如此况乎人。钤印：妙意写清快",[24,25,28,30,198,309,82,7,649,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a0ecdde6718846ff99634ffe2046cb.jpg","21.9 × 30.2cm",[],{"id":2051,"slug":2052,"title":2053,"dynasty":54,"author":576,"museum":1063,"description":1064,"tags":2054,"thumbUrl":2055,"material":137,"size":1067,"collection":285,"collections":2056,"showCount":1999,"zanCount":48,"manualWeight":48,"mainColor":69},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[23,149,24,25,385,109,28,30,134,35,229,7,80,133,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":2058,"slug":2059,"title":371,"dynasty":54,"author":1164,"museum":242,"description":2060,"tags":2061,"thumbUrl":2063,"material":285,"size":285,"collection":98,"collections":2064,"showCount":2065,"zanCount":48,"manualWeight":48,"mainColor":69},239477,"shan-shui-zhou-kun-can-239477","髡[kūn]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。",[24,109,80,79,30,86,111,35,82,7,58,603,2062,364,214],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[98,99],77,{"id":2067,"slug":2068,"title":2069,"dynasty":54,"author":1959,"museum":181,"description":2070,"tags":2071,"thumbUrl":2073,"material":64,"size":2074,"collection":98,"collections":2075,"showCount":2065,"zanCount":314,"manualWeight":48,"mainColor":49},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","杜甫诗意图","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[23,24,25,28,80,30,151,82,7,35,199,2072],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[98],{"id":2077,"slug":2078,"title":2079,"dynasty":18,"author":2080,"museum":242,"description":2081,"tags":2082,"thumbUrl":2084,"material":186,"size":285,"collection":44,"collections":2085,"showCount":2065,"zanCount":48,"manualWeight":48,"mainColor":69},218076,"bai-miao-luo-han-tu-ce-1-li-gong-lin-218076","白描罗汉图册-1","李公麟","白描罗汉图册是宋朝画家李公麟所创作的一组绘画作品，收录了许多关于罗汉的故事和传说。罗汉是佛教中的圣人，象征着智慧和善良。李公麟在这一组作品中，以简洁明快的笔触和精细的工笔画风，为读者展现了罗汉的传奇人生。\n\n李公麟的白描罗汉图册是宋朝绘画中的一大杰作，因其精美的画风和细腻的内容而受到许多人的喜爱。他运用了一种独特的白描画法，在画面中展现出纯净和精细的质感。每幅画都描绘了一个生动的故事，让人们可以通过观看这些画作，了解到罗汉的传奇人生。\n\n总的来说，李公麟的白描罗汉图册是一部优秀的绘画作品，值得收藏和鉴赏。如果您对宋朝绘画或佛教传说感兴趣，不妨花一些时间来欣赏这一组美丽的画作。",[23,24,25,385,780,109,322,58,2083,2026,7],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c753992917e049858fa3fcec2e2773.jpg",[44],{"id":2087,"slug":2088,"title":2089,"dynasty":126,"author":305,"museum":75,"description":2090,"tags":2091,"thumbUrl":2092,"material":338,"size":285,"collection":98,"collections":2093,"showCount":2065,"zanCount":48,"manualWeight":48,"mainColor":69},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,25,385,109,28,30,31,35,7,82,85,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[98],{"id":2095,"slug":2096,"title":2097,"dynasty":54,"author":2098,"museum":242,"description":2099,"tags":2100,"thumbUrl":2101,"material":285,"size":285,"collection":285,"collections":2102,"showCount":2103,"zanCount":48,"manualWeight":48,"mainColor":69},230198,"xi-hu-quan-jing-tu-ping-zhou-shang-wen-230198","西湖全景图屏","周尚文","此作用大青绿设色晕染山峦，石青石绿敷色明丽雅致，兼以勾勒皴擦表现山体肌理，糅合浅绛晕染的柔和质感。山峦层叠排布，以留白烘衬云气，虚实相生间烘托出空濛悠远的江南湖山意境。山间苍松虬劲古雅，林木错落点缀，将温润灵秀的山水气质尽显。构图错落递进，层层铺展出悠远舒展的山水格局，尽显工丽秀雅的格调，把江南湖山的清润诗意融于笔底，兼具可观可游之趣。",[23,24,25,27,28,80,30,309,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1d10b61a0a4df84f3479e4933db94a.jpg",[],76,{"id":2105,"slug":2106,"title":2107,"dynasty":162,"author":2108,"museum":75,"description":2109,"tags":2110,"thumbUrl":2111,"material":338,"size":2112,"collection":98,"collections":2113,"showCount":2103,"zanCount":300,"manualWeight":48,"mainColor":69},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,24,25,79,109,80,133,131,132,30,166,1587,1274,495,83,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[98],{"id":2115,"slug":2116,"title":2117,"dynasty":126,"author":305,"museum":75,"description":2118,"tags":2119,"thumbUrl":2120,"material":186,"size":2121,"collection":98,"collections":2122,"showCount":2123,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,25,79,109,80,131,133,30,1373,938,35,36,82,32,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[98,99],75,{"id":2125,"slug":2126,"title":2127,"dynasty":126,"author":2128,"museum":20,"description":2129,"tags":2130,"thumbUrl":2131,"material":64,"size":2132,"collection":98,"collections":2133,"showCount":2123,"zanCount":314,"manualWeight":48,"mainColor":49},220077,"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[23,24,25,26,109,28,30,80,166,113,35,7,111,364,1373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[98,45],{"id":2135,"slug":2136,"title":2137,"dynasty":18,"author":1454,"museum":242,"description":2138,"tags":2139,"thumbUrl":2140,"material":285,"size":285,"collection":285,"collections":2141,"showCount":2142,"zanCount":314,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,149,24,26,27,28,29,80,30,198,86,111,135,35,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],74,{"id":2144,"slug":2145,"title":2146,"dynasty":18,"author":600,"museum":20,"description":2147,"tags":2148,"thumbUrl":2150,"material":2151,"size":2152,"collection":285,"collections":2153,"showCount":2142,"zanCount":314,"manualWeight":48,"mainColor":69},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","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。",[23,24,26,109,80,25,131,132,133,30,112,7,35,2149],"远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":2155,"slug":2156,"title":2157,"dynasty":126,"author":305,"museum":226,"description":2158,"tags":2159,"thumbUrl":2160,"material":2161,"size":2162,"collection":98,"collections":2163,"showCount":2142,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,25,26,109,132,80,166,1587,35,36,248,85,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[98,99],{"id":2165,"slug":2166,"title":2167,"dynasty":126,"author":1691,"museum":396,"description":2168,"tags":2169,"thumbUrl":2170,"material":64,"size":2171,"collection":98,"collections":2172,"showCount":2173,"zanCount":300,"manualWeight":48,"mainColor":49},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,25,149,79,109,28,80,30,309,111,83,58,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[98],73,{"id":2175,"slug":2176,"title":2177,"dynasty":54,"author":2178,"museum":20,"description":2179,"tags":2180,"thumbUrl":2182,"material":137,"size":2183,"collection":98,"collections":2184,"showCount":2173,"zanCount":314,"manualWeight":48,"mainColor":69},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[23,24,25,26,28,29,80,131,132,133,30,1682,112,32,858,35,86,111,1683,7,184,2181,85],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[98],{"id":2186,"slug":2187,"title":2188,"dynasty":126,"author":2189,"museum":2190,"description":2191,"tags":2192,"thumbUrl":2194,"material":186,"size":2195,"collection":98,"collections":2196,"showCount":2173,"zanCount":314,"manualWeight":48,"mainColor":49},216742,"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","日本东京国立博物馆","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,2193,79,322,28,29,80,30,58,83,507,82,7],"日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[98],{"id":2198,"slug":2199,"title":2200,"dynasty":18,"author":146,"museum":242,"description":2201,"tags":2202,"thumbUrl":2206,"material":605,"size":606,"collection":285,"collections":2207,"showCount":2208,"zanCount":314,"manualWeight":48,"mainColor":49},288245,"yan-xiu-lin-ju-tu-xia-gui-288245","烟岫林居图","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。",[23,24,2203,109,30,112,309,7,86,2204,2205,80],"扇面","山居","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],72,{"id":2210,"slug":2211,"title":2212,"dynasty":18,"author":146,"museum":75,"description":2213,"tags":2214,"thumbUrl":2216,"material":95,"size":2217,"collection":285,"collections":2218,"showCount":2208,"zanCount":48,"manualWeight":48,"mainColor":49},231834,"chang-jiang-wan-li-tu-qian-ban-juan-xia-gui-231834","长江万里图（前半卷）","画卷的前半段，以近平视的角度近景特写江岩块、林木，以及行的舟船，表现三长江峡险峻和波涛汹涌的痛痛\n后半段则是俯视和远观的角度以及江景的活动，沿途所见美景。\n从近逼观者的景物转换到辽阔空旷的范围，这种构图的方式具有戏剧性的效果。\n夏圭，字禹玉，钱塘人，生卒年不详，稍晚于马远，宁宗朝画院待诏。他的山水画在构图和笔墨技法方面与马远非常相似，因此画史上一向以马、夏并称 。夏圭作品的风格和马远接触共同点，又各有独特的境界。马、夏山水大量剪裁，全景拍摄而画边角之景，因被称为「马一角」、「夏半边」 。他们在艺术上的高度提炼，是对传统山水画的发展和深度。",[23,24,25,26,109,80,30,198,35,135,111,82,151,150,2215,7],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bef87925daef2f4238cf1e2d9c3fcb8.jpg","该幅26.8x1115.3公分",[],{"id":2220,"slug":2221,"title":2222,"dynasty":266,"author":1596,"museum":242,"description":2223,"tags":2224,"thumbUrl":2225,"material":285,"size":285,"collection":285,"collections":2226,"showCount":2208,"zanCount":48,"manualWeight":48,"mainColor":49},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,149,24,25,79,109,28,80,270,30,166,167,7,113,309,35,85,603,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":2228,"slug":2229,"title":2230,"dynasty":54,"author":1361,"museum":2231,"description":2232,"tags":2233,"thumbUrl":2234,"material":592,"size":2235,"collection":98,"collections":2236,"showCount":2208,"zanCount":314,"manualWeight":48,"mainColor":49},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,26,28,30,80,29,131,132,133,82,198,86,111,151,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[98,45],{"id":2238,"slug":2239,"title":2240,"dynasty":126,"author":1432,"museum":226,"description":2241,"tags":2242,"thumbUrl":2245,"material":400,"size":2246,"collection":98,"collections":2247,"showCount":2208,"zanCount":300,"manualWeight":48,"mainColor":69},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,149,24,25,79,109,28,80,30,58,2243,2244,82,35,7,86],"草屋","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[98,99],{"id":2249,"slug":2250,"title":2251,"dynasty":54,"author":492,"museum":181,"description":2252,"tags":2253,"thumbUrl":2254,"material":64,"size":285,"collection":98,"collections":2255,"showCount":2208,"zanCount":314,"manualWeight":48,"mainColor":69},218266,"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[24,25,79,28,80,131,133,30,166,167,35,113,85,649,1078,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[98],{"id":2257,"slug":2258,"title":2259,"dynasty":54,"author":854,"museum":242,"description":2260,"tags":2261,"thumbUrl":2262,"material":605,"size":606,"collection":98,"collections":2263,"showCount":2264,"zanCount":48,"manualWeight":48,"mainColor":69},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。”",[24,25,385,28,80,130,30,507,82,7,229,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[98,45],71,{"id":2266,"slug":2267,"title":371,"dynasty":126,"author":55,"museum":75,"description":2268,"tags":2269,"thumbUrl":2270,"material":109,"size":285,"collection":99,"collections":2271,"showCount":2264,"zanCount":48,"manualWeight":48,"mainColor":49},219345,"shan-shui-zhou-yi-ming-219345","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[24,25,79,109,80,30,166,309,36,86,35,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[99],{"id":2273,"slug":2274,"title":2275,"dynasty":162,"author":2276,"museum":2277,"description":2278,"tags":2279,"thumbUrl":2284,"material":64,"size":2285,"collection":98,"collections":2286,"showCount":2264,"zanCount":300,"manualWeight":48,"mainColor":49},218249,"xi-ge-liu-quan-tu-yao-ting-mei-218249","溪阁流泉图","姚廷美","湖北省博物馆","画面氤氲着清寂悠远的气息。远山如黛，云雾若带，将层峦叠嶂晕染得朦胧辽远。飞泉如练自崖壁倾泻，溅起细碎水花，似有泠泠声入耳。溪畔楼阁隐于苍松翠柏间，窗棂半启，仿佛正待幽人凭栏，静听泉石之语。笔墨苍劲中见秀润，干笔皴擦勾勒山石肌理，树木萧疏却含生机，枝桠交错间透出空灵感。水面波光粼粼，几只水鸟悠然游弋，更添野趣。整幅画以山水为载体，寄寓文人淡泊尘俗、寄情林泉的心境，素净色调里藏着深远意境，干笔皴擦与秀润笔墨交织，引人步入那片远离喧嚣的桃源之境，于无声处感受自然与心灵的共鸣。",[149,24,362,109,80,198,86,111,82,7,2280,2281,2282,2283],"水鸟","松柏","野趣","林泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b966a8551327c4586de5c5c557bf3d2.jpg","26.7x25.2cm",[98],{"id":2288,"slug":2289,"title":2290,"dynasty":54,"author":2291,"museum":75,"description":2292,"tags":2293,"thumbUrl":2294,"material":137,"size":2295,"collection":98,"collections":2296,"showCount":2264,"zanCount":48,"manualWeight":48,"mainColor":69},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[23,24,25,30,80,28,133,82,350,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[98],{"id":2298,"slug":2299,"title":2300,"dynasty":54,"author":2301,"museum":181,"description":2302,"tags":2303,"thumbUrl":2304,"material":338,"size":2305,"collection":98,"collections":2306,"showCount":2307,"zanCount":48,"manualWeight":48,"mainColor":69},214718,"shan-shui-ce-gao-xiang-214718","山水册","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。",[149,24,25,385,109,80,30,35,82,7,229,245,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a88cf22fa589ab4ab3aa7596243f9d.jpg","纵23.9 厘米，横55.4 厘米",[98],70,{"id":2309,"slug":2310,"title":2311,"dynasty":54,"author":690,"museum":242,"description":2312,"tags":2313,"thumbUrl":2314,"material":605,"size":606,"collection":285,"collections":2315,"showCount":2316,"zanCount":48,"manualWeight":48,"mainColor":49},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,28,386,29,80,30,198,309,82,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],69,{"id":2318,"slug":2319,"title":2320,"dynasty":162,"author":180,"museum":226,"description":2321,"tags":2322,"thumbUrl":2323,"material":137,"size":2324,"collection":98,"collections":2325,"showCount":2316,"zanCount":48,"manualWeight":48,"mainColor":69},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[23,149,24,25,26,30,28,80,198,35,82,7,131,133,86,111,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[98,45],{"id":2327,"slug":2328,"title":2329,"dynasty":54,"author":55,"museum":396,"description":2330,"tags":2331,"thumbUrl":2333,"material":413,"size":285,"collection":98,"collections":2334,"showCount":2316,"zanCount":314,"manualWeight":48,"mainColor":69},219864,"qing-ren-fang-xi-shan-wu-jin-tu-yi-ming-219864","清人仿溪山无尽图","整卷铺展千里丘壑，峰岭层叠攒簇，苔点皴擦尽显山石苍浑质感，烟岚轻笼幽谷溪川，晕染出空濛悠远的意境。村居田庐散缀林麓水湄，野桥横溪、茂林修竹，尽显山居幽寂之致，复刻全景山水的雄浑大气，又糅入文人画的静穆意趣。沉厚绢色晕开烟峦，笔墨带着追摹古贤的沉静韵味，将林泉高隐的诗意融于层叠山水间，让观览者随着溪山延展，步入烟霞丘壑，沉浸在清寂旷远的山水雅趣中。",[23,24,26,30,28,80,112,35,7,32,248,2332],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1062bdcf0ab3c5882ef217057ef7f7.jpg",[98],{"id":2336,"slug":2337,"title":2338,"dynasty":126,"author":2339,"museum":75,"description":2340,"tags":2341,"thumbUrl":2342,"material":64,"size":2343,"collection":44,"collections":2344,"showCount":2316,"zanCount":48,"manualWeight":48,"mainColor":49},216948,"luo-han-tu-song-xu-216948","罗汉图","宋旭","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[24,79,28,58,30,309,134,7,80,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[44],{"id":2346,"slug":2347,"title":2348,"dynasty":54,"author":2349,"museum":75,"description":2350,"tags":2351,"thumbUrl":2354,"material":964,"size":2355,"collection":98,"collections":2356,"showCount":2357,"zanCount":314,"manualWeight":48,"mainColor":2358},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",[23,29,28,386,58,198,30,35,151,1115,2352,2353,229,7],"平台","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425083d660510da46b778f7c49814e14.jpg","188.2*102.2cm",[98,45],68,"FF9800",{"id":2360,"slug":2361,"title":2362,"dynasty":54,"author":854,"museum":20,"description":2363,"tags":2364,"thumbUrl":2365,"material":338,"size":2366,"collection":99,"collections":2367,"showCount":2357,"zanCount":314,"manualWeight":48,"mainColor":69},220379,"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","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。\n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。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[23,24,25,79,30,28,80,112,35,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[99,98],{"id":2369,"slug":2370,"title":2371,"dynasty":54,"author":2291,"museum":20,"description":2372,"tags":2373,"thumbUrl":2375,"material":2376,"size":2377,"collection":98,"collections":2378,"showCount":2379,"zanCount":314,"manualWeight":48,"mainColor":49},236108,"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[149,24,25,79,362,109,28,80,82,2374,7,198,35,111,151],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 ，设色","纵184cm，横117.7cm",[98,99],67,{"id":2381,"slug":2382,"title":2383,"dynasty":266,"author":1596,"museum":75,"description":2384,"tags":2385,"thumbUrl":2386,"material":117,"size":2387,"collection":98,"collections":2388,"showCount":2379,"zanCount":48,"manualWeight":48,"mainColor":49},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[24,362,79,109,28,80,1078,82,35,85,247,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","156.2x77.2公分、全幅 78.3公分",[98],{"id":2390,"slug":2391,"title":2392,"dynasty":126,"author":504,"museum":75,"description":2393,"tags":2394,"thumbUrl":2396,"material":40,"size":2397,"collection":98,"collections":2398,"showCount":2379,"zanCount":48,"manualWeight":48,"mainColor":49},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,24,79,28,30,309,2395,540,80,82,7],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[98,45],{"id":2400,"slug":2401,"title":2402,"dynasty":54,"author":854,"museum":396,"description":2403,"tags":2404,"thumbUrl":2406,"material":137,"size":2407,"collection":98,"collections":2408,"showCount":2379,"zanCount":48,"manualWeight":48,"mainColor":69},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","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",[23,24,25,26,30,28,80,112,7,35,2149,32,82,247,2405,1116],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[98],{"id":2410,"slug":2411,"title":2412,"dynasty":126,"author":305,"museum":75,"description":2413,"tags":2414,"thumbUrl":2415,"material":137,"size":2416,"collection":98,"collections":2417,"showCount":2379,"zanCount":48,"manualWeight":48,"mainColor":69},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[24,25,385,109,80,30,1913,166,495,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[98],{"id":2419,"slug":2420,"title":2421,"dynasty":162,"author":1822,"museum":75,"description":2422,"tags":2423,"thumbUrl":2425,"material":109,"size":285,"collection":98,"collections":2426,"showCount":2427,"zanCount":314,"manualWeight":48,"mainColor":69},219004,"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","烟岚轻笼层岫，云气漫洇溪谷，远山如黛隐现于濛濛雾色，近树似簇点染于湿润墨痕。淡墨晕染出空濛之境，浓墨点苔显苍劲之姿，米家云山的氤氲与董巨山水的浑厚相融，笔意松秀却不失沉雄。山水间无喧嚣，唯有烟霭流动的静谧，仿佛能闻涧水潺潺，听松风低语，尽显元人寄情林泉的隐逸之思。墨色的浓淡干湿交织出自然生机，虚实之间见真意，将烟雨溪山的空灵悠远凝于尺幅，耐人细细品咂。",[23,24,25,109,80,30,35,7,1913,111,82,38,2424],"朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg",[98],66,{"id":2429,"slug":2430,"title":2431,"dynasty":18,"author":382,"museum":359,"description":383,"tags":2432,"thumbUrl":2434,"material":64,"size":388,"collection":285,"collections":2435,"showCount":2427,"zanCount":48,"manualWeight":48,"mainColor":69},218039,"song-di-ming-ti-ce-shi-ma-yuan-218039","宋帝命题册(十)",[23,24,25,385,109,28,80,2433,30,309,31,7,131,133],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c290a29cb2476ddf0147882bbc77cf5.jpg",[],{"id":2437,"slug":2438,"title":2259,"dynasty":54,"author":854,"museum":242,"description":1921,"tags":2439,"thumbUrl":2440,"material":285,"size":285,"collection":98,"collections":2441,"showCount":2442,"zanCount":48,"manualWeight":48,"mainColor":69},237581,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581",[24,25,149,109,308,80,30,112,85,135,35,86,1239,113,7,170,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[98,99],65,{"id":2444,"slug":2445,"title":2300,"dynasty":54,"author":842,"museum":20,"description":2446,"tags":2447,"thumbUrl":2449,"material":296,"size":2450,"collection":98,"collections":2451,"showCount":2442,"zanCount":314,"manualWeight":48,"mainColor":49},233970,"shan-shui-ce-gong-xian-233970","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,109,30,80,385,166,495,36,7,507,2448],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fe2dfc70ed8a77ffac3d0fb8c75a90.jpg","纵22.2厘米，横33.2厘米",[98],{"id":2453,"slug":2454,"title":2455,"dynasty":18,"author":55,"museum":2456,"description":2457,"tags":2458,"thumbUrl":2460,"material":64,"size":285,"collection":42,"collections":2461,"showCount":2442,"zanCount":48,"manualWeight":48,"mainColor":327},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[23,24,149,362,79,109,28,80,29,30,309,82,7,58,2459],"文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[42],{"id":2463,"slug":2464,"title":2465,"dynasty":18,"author":146,"museum":75,"description":2466,"tags":2467,"thumbUrl":2470,"material":117,"size":2471,"collection":285,"collections":2472,"showCount":2473,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,26,109,362,80,112,2468,135,247,309,7,2469,229],"江景","崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","该幅26.8x1115.3公分；隔水一 11.3公分；引首 26.8x75.7公分；隔水二 13.7公分；隔水三 11.3公分；拖尾 26.9x241公分",[],64,{"id":2475,"slug":2476,"title":2477,"dynasty":126,"author":935,"museum":242,"description":2478,"tags":2479,"thumbUrl":2480,"material":285,"size":285,"collection":285,"collections":2481,"showCount":2473,"zanCount":48,"manualWeight":48,"mainColor":69},228427,"fang-huang-gong-wang-shan-shui-juan-lan-ying-228427","仿黄公望山水卷","此作用淡墨晕开漫谷烟岚，山石以枯淡勾勒皴擦，简劲松灵间带着萧散元人意趣。高岭危岩朴拙厚重，几株苍松杂木卓立云岫，枝桠舒展，暗涌生机。留白氤氲云气衔接远近山景，虚实相生，衬出林泉幽寂的空濛意境。\n\n右上角鉴藏朱印排布规整，朱红米黄绢底相映，为古雅山水更添金石气韵。全卷师法元人笔意却自出清隽格调，将江南山水的静穆淡远融于尺幅间，尽显文人山水的悠然雅韵。",[24,25,26,28,109,30,80,134,35,112,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8cc00462f6de4e96e3d6c62025f165e.jpg",[],{"id":2483,"slug":2484,"title":2485,"dynasty":54,"author":1086,"museum":75,"description":2486,"tags":2487,"thumbUrl":2488,"material":28,"size":2489,"collection":98,"collections":2490,"showCount":2473,"zanCount":48,"manualWeight":48,"mainColor":69},220983,"fang-guo-xi-han-shan-xing-lv-yun-shou-ping-220983","仿郭熙寒山行旅","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,28,130,80,30,82,672,7,84,1262,1343,229,782],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5acd697e8aabd17c2b3f85707c6b56.jpg","77.2厘米",[98,99],{"id":2492,"slug":2493,"title":2494,"dynasty":18,"author":2495,"museum":211,"description":2496,"tags":2497,"thumbUrl":2498,"material":64,"size":324,"collection":44,"collections":2499,"showCount":2473,"zanCount":236,"manualWeight":48,"mainColor":327},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","林庭珪","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,149,24,25,322,386,28,58,82,7,199,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[44],{"id":2501,"slug":2502,"title":2503,"dynasty":18,"author":382,"museum":359,"description":383,"tags":2504,"thumbUrl":2505,"material":64,"size":388,"collection":285,"collections":2506,"showCount":2473,"zanCount":48,"manualWeight":48,"mainColor":69},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[23,24,25,385,28,362,166,198,35,7,229,199,133,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":2508,"slug":2509,"title":2510,"dynasty":54,"author":2511,"museum":614,"description":2512,"tags":2513,"thumbUrl":2514,"material":186,"size":2515,"collection":285,"collections":2516,"showCount":2473,"zanCount":48,"manualWeight":48,"mainColor":49},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,25,109,80,385,30,134,35,7,309,2244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg","23.4x15.8",[],{"id":2518,"slug":2519,"title":2520,"dynasty":18,"author":2521,"museum":1340,"description":2522,"tags":2523,"thumbUrl":2524,"material":95,"size":2525,"collection":42,"collections":2526,"showCount":2527,"zanCount":48,"manualWeight":48,"mainColor":49},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,149,25,26,109,80,30,112,35,309,7,86,111,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[42],63,{"id":2529,"slug":2530,"title":2531,"dynasty":562,"author":972,"museum":2532,"description":2533,"tags":2534,"thumbUrl":2535,"material":285,"size":285,"collection":285,"collections":2536,"showCount":2527,"zanCount":48,"manualWeight":48,"mainColor":69},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","Indianapolis Museum of Art at Newfields","以高远危崖呼应平阔水汀，淡赭晕开朝暮霞光，江雾轻笼天地。枯笔勾出崖石筋骨，焦墨点簇顶间林木，苍劲里暗含秀雅疏朗。水色留白晕染浅青，浅滩枯木枝桠清瘦，间缀浅红秋意，冷寂中晕开暖意。\n\n扁舟横斜汀渚，舟上人影简淡，尽显江湖散人的从容闲逸。整幅画笔简意足，将江乡清灵旷远融于淡墨轻色之间，淡而弥永，尽显萧散简远的文人林下风流。",[23,24,28,80,79,30,135,35,82,32,7,36,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff30913e83fe79ae7e565b04344eaf69a.jpg",[],{"id":2538,"slug":2539,"title":1958,"dynasty":54,"author":1959,"museum":2540,"description":1961,"tags":2541,"thumbUrl":2542,"material":137,"size":285,"collection":98,"collections":2543,"showCount":2527,"zanCount":48,"manualWeight":48,"mainColor":69},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","京都国立博物馆",[24,25,79,30,80,28,130,82,35,111,86,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[98],{"id":2545,"slug":2546,"title":418,"dynasty":162,"author":2547,"museum":242,"description":2548,"tags":2549,"thumbUrl":2552,"material":285,"size":285,"collection":285,"collections":2553,"showCount":5,"zanCount":314,"manualWeight":48,"mainColor":49},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,149,24,25,2550,27,28,362,29,80,79,2551,198,309,86,111,58,82,35,7],"元代","仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":2555,"slug":2556,"title":2557,"dynasty":126,"author":935,"museum":1003,"description":2558,"tags":2559,"thumbUrl":2561,"material":2562,"size":2563,"collection":98,"collections":2564,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},222600,"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、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作品。",[23,24,26,109,80,30,2560,603,35,111,135,150,82,7],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","纸本水墨","26.3x246.5",[98,99],{"id":2566,"slug":2567,"title":2568,"dynasty":162,"author":2569,"museum":75,"description":2570,"tags":2571,"thumbUrl":2574,"material":40,"size":2575,"collection":285,"collections":2576,"showCount":2577,"zanCount":48,"manualWeight":48,"mainColor":69},231423,"yan-jiang-dai-du-tu-qian-xuan-231423","烟江待渡图","钱选","此卷绘秋景山水，山峦平坡多用硬拙直笔勾皴，既表现出青绿山水的古雅工丽，又富有文人画的恬静意趣。树丛以细笔皴点，葱郁清丽，构图平远浩渺，颇有绝世出尘之境。画家借助创作此幽寂静谧，充满诗意的山水，并在画上题诗，委婉曲折地表达自己隐遁避世之愿望。",[149,24,25,26,28,27,29,30,133,131,132,2572,166,167,135,35,229,2573,58,32,7,445,38],"篆书","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],61,{"id":2579,"slug":2580,"title":2581,"dynasty":18,"author":146,"museum":20,"description":2582,"tags":2583,"thumbUrl":2584,"material":95,"size":2585,"collection":285,"collections":2586,"showCount":2577,"zanCount":48,"manualWeight":48,"mainColor":49},223340,"yun-feng-yuan-tiao-tu-xia-gui-223340","云峰远眺图","图绘群山相拥，山腰中云雾霭霭，一平坦处二人观景寒暄，一小童拿一长竿站立其后；远处松木成林，楼台庭院坐落于山腰中，隐约的山峰高耸陡峭，侧面如刀削般平整。此画画风近夏圭风格，画面简而不空，所画山峰线条刚劲、峰顶尖利！",[23,149,24,25,109,30,80,58,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728ca2ae2c5d24dda0b691a4c2b1e73f.jpg","24.8*26.4cm",[],{"id":2588,"slug":2589,"title":2590,"dynasty":54,"author":766,"museum":195,"description":767,"tags":2591,"thumbUrl":2592,"material":137,"size":771,"collection":98,"collections":2593,"showCount":2577,"zanCount":48,"manualWeight":48,"mainColor":69},220001,"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[24,25,109,130,30,166,167,35,7,199,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[98],{"id":2595,"slug":2596,"title":2597,"dynasty":18,"author":55,"museum":242,"description":2598,"tags":2599,"thumbUrl":2600,"material":605,"size":606,"collection":285,"collections":2601,"showCount":2602,"zanCount":236,"manualWeight":48,"mainColor":49},288461,"xi-shan-wu-jin-tu-yi-ming-288461","溪山无尽图","此作用全景长卷铺展丘壑，群峰层峦拔地而起，或雄峙崔嵬，或玲珑峭拔，烟云在峰林之间舒卷弥漫，晕染出远近山岫的虚实层次。\n\n笔墨苍劲古拙，以浑厚皴法写出山石嶙峋肌理，林木错落点染，蓊郁苍茂。澄澈水面留白托景，行舟、山居隐现于林泉，将山野的雄浑大气与村居野趣相融，于咫尺长卷中铺陈出千里江山的无尽意趣，尽显林泉高致的山水雅韵，藏着天地悠悠的静穆生机。",[23,24,26,109,362,82,35,111,135,86,247,7,80,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd2b09a208c3f6337ea5aa4bf8bcfd5.jpg",[],60,{"id":2604,"slug":2605,"title":2606,"dynasty":18,"author":55,"museum":2023,"description":2607,"tags":2608,"thumbUrl":2609,"material":186,"size":2610,"collection":42,"collections":2611,"showCount":2602,"zanCount":48,"manualWeight":48,"mainColor":49},221677,"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[23,24,25,26,109,80,30,35,113,7,84,166,167,134,1262,151,150,1902,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[42,98,99],{"id":2613,"slug":2614,"title":2615,"dynasty":126,"author":2616,"museum":1248,"description":2617,"tags":2618,"thumbUrl":2619,"material":64,"size":2620,"collection":98,"collections":2621,"showCount":2602,"zanCount":314,"manualWeight":48,"mainColor":49},219944,"jiang-shan-sheng-lan-tu-yan-zong-219944","江山胜览图","颜宗","颜宗（1393—约1453）广东南海人，字学渊。永乐二十一年举人。授邵武知县，为政清明，以救荒悯旱为先。招抚邓茂七余部，全活甚众。景泰中擢兵部主事，署员外郎。奔母丧归，卒于途中。善画山水，时人有“颜老天趣不可及”之语，当时名画师如林良，视之尚有逊色。",[149,24,25,26,109,30,112,7,834,248,247,35,481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F366483a10fdb6cde35d65da1131e8083.jpg","35.5x610厘米",[98],{"id":2623,"slug":2624,"title":2625,"dynasty":54,"author":492,"museum":242,"description":2626,"tags":2627,"thumbUrl":2628,"material":605,"size":606,"collection":285,"collections":2629,"showCount":2630,"zanCount":314,"manualWeight":48,"mainColor":69},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","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。",[23,149,24,25,2203,28,109,80,30,135,150,35,184,2244,229,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],59,{"id":2632,"slug":2633,"title":2634,"dynasty":54,"author":766,"museum":75,"description":2635,"tags":2636,"thumbUrl":2637,"material":153,"size":2638,"collection":98,"collections":2639,"showCount":2630,"zanCount":300,"manualWeight":48,"mainColor":69},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[24,28,30,130,80,79,133,166,1274,495,86,111,36,113,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[98],{"id":2641,"slug":2642,"title":2643,"dynasty":54,"author":1164,"museum":242,"description":2060,"tags":2644,"thumbUrl":2645,"material":285,"size":285,"collection":98,"collections":2646,"showCount":2647,"zanCount":48,"manualWeight":48,"mainColor":69},237873,"shan-shui-tu-zhou-kun-can-237873","山水图轴",[24,109,80,79,25,132,133,30,112,35,83,247,85,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[98,1470],58,{"id":2649,"slug":2650,"title":2651,"dynasty":126,"author":504,"museum":226,"description":2652,"tags":2653,"thumbUrl":2654,"material":40,"size":2655,"collection":98,"collections":2656,"showCount":2647,"zanCount":48,"manualWeight":48,"mainColor":49},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,149,24,25,79,109,28,80,30,151,86,111,35,83,58,82,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[98,99],{"id":2658,"slug":2659,"title":2660,"dynasty":126,"author":2661,"museum":396,"description":2662,"tags":2663,"thumbUrl":2665,"material":592,"size":2666,"collection":98,"collections":2667,"showCount":2647,"zanCount":48,"manualWeight":48,"mainColor":69},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,28,30,29,80,109,2664,198,86,111,151,150,82,35,7,58,258,1262],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 x1183.6cm",[98,45],{"id":2669,"slug":2670,"title":2671,"dynasty":126,"author":2672,"museum":195,"description":2673,"tags":2674,"thumbUrl":2676,"material":338,"size":2677,"collection":98,"collections":2678,"showCount":2647,"zanCount":300,"manualWeight":48,"mainColor":69},219948,"fang-mi-fei-yun-shan-tu-mo-shi-long-219948","仿米芾云山图","莫是龙","莫是龙（1537年—1587年），得米芾石刻“云卿”二字，因以为字，字云卿，后以字行，更字廷韩，号秋水，又号后明、玉关山人、虚舟子等。南直隶松江府华亭（今上海松江）人，莫如忠长子。明代文学家、书画家、藏书家。\n八岁读书，十岁属文，十四岁补郡诸生，人称“神童”。皇甫汸、王世贞辈亟称之。不喜科举业而攻古文辞及书法、绘画，以贡生终。",[23,24,25,26,109,130,131,132,80,30,2675,112,35,7,133],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1550e95af95b112efd3574d713c9812.jpg","20.8x233厘米",[98],{"id":2680,"slug":2681,"title":2682,"dynasty":126,"author":2683,"museum":1340,"description":2684,"tags":2685,"thumbUrl":2686,"material":338,"size":285,"collection":98,"collections":2687,"showCount":2647,"zanCount":48,"manualWeight":48,"mainColor":69},219705,"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[23,24,109,26,80,30,1587,166,167,35,135,151,150,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[98,99],{"id":2689,"slug":2690,"title":612,"dynasty":126,"author":55,"museum":1391,"description":2691,"tags":2692,"thumbUrl":2693,"material":338,"size":2694,"collection":98,"collections":2695,"showCount":2647,"zanCount":48,"manualWeight":48,"mainColor":69},217942,"shan-shui-tu-yi-ming-217942","明朝时期，山水图在中国传统绘画中占有重要地位。这类图画以山水为主题，通常呈现出自然美景，如山川、河流、森林、花草等。佚名的山水图具有浓郁的哲学性，蕴含了对自然、人生和境界的深刻思考。\n\n山水图多以立体透视的手法呈现，描绘出丰富多彩的山水景观。在这类图画中，山川是最为突出的元素，其次是水流、树木、建筑物、人物等。在佚名的山水图中，山川往往呈现出巍峨雄伟的姿态，从而给人以肃穆、庄严的感觉。",[24,109,26,30,135,507,151,133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a784136cd3caac172854cd7b62d81a.jpg","10.5x58.7cm",[98],{"id":2697,"slug":2698,"title":2699,"dynasty":54,"author":2700,"museum":75,"description":2701,"tags":2702,"thumbUrl":2703,"material":186,"size":2704,"collection":285,"collections":2705,"showCount":2706,"zanCount":48,"manualWeight":48,"mainColor":69},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”。",[23,24,109,80,79,309,58,30,134,7,82,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],57,{"id":2708,"slug":2709,"title":2710,"dynasty":54,"author":2711,"museum":242,"description":2712,"tags":2713,"thumbUrl":2715,"material":285,"size":285,"collection":285,"collections":2716,"showCount":2706,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[24,386,28,29,385,133,30,198,86,35,82,199,1115,7,229,672,2714,2353],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":2718,"slug":2719,"title":2177,"dynasty":54,"author":576,"museum":242,"description":2720,"tags":2721,"thumbUrl":2723,"material":285,"size":285,"collection":285,"collections":2724,"showCount":2706,"zanCount":314,"manualWeight":48,"mainColor":69},228983,"tao-yuan-tu-shi-tao-228983","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。",[24,25,26,28,30,109,80,112,7,248,36,35,150,111,649,1683,1682,2722,85,229,1091,58],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":2726,"slug":2727,"title":2728,"dynasty":562,"author":2729,"museum":1761,"description":2730,"tags":2731,"thumbUrl":2733,"material":285,"size":285,"collection":285,"collections":2734,"showCount":2706,"zanCount":48,"manualWeight":48,"mainColor":69},220539,"hui-shi-dong-jing-xu-bei-hong-220539","会师东京","徐悲鸿","群狮踞于高岭之上，鬃毛如戟张扬，或昂首怒号震彻云间，或沉身蓄力目光如炬，幼狮紧随母狮身侧，懵懂中带着悍勇。翻涌云海似乱世烽烟，将沉郁悲愤的底色铺陈满卷。\n\n以狮喻人，把满腔家国意气凝于笔端，干湿浓墨晕染雄狮肌理，苍劲铁线勾勒筋骨，让猛兽野性与民族魂灵相融，将驱除外侮、终得聚首的热望藏在狮群之中，笔墨间皆是山河重光的呐喊与期盼。",[24,109,28,540,2732,82,7,214],"狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd235db2dab5b220d48376a2051048d02.jpg",[],{"id":2736,"slug":2737,"title":2738,"dynasty":162,"author":2739,"museum":2740,"description":2741,"tags":2742,"thumbUrl":2743,"material":338,"size":2744,"collection":98,"collections":2745,"showCount":2706,"zanCount":314,"manualWeight":48,"mainColor":69},219934,"tan-you-gui-lai-tu-zhu-de-run-219934","探友归来图","朱德润","金贝尔艺术博物馆","朱德润字泽民，号睢阳山人，又号旹杰，其擅山水，初学许道宁，后法郭熙，所画多作溪山清远、峰岳耸秀、林木挺健，山石用卷云皴，树作蟹爪枝，颇具真实感。",[23,24,25,26,109,80,30,86,111,135,495,82,7,58,184,133,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72957dd60af3e3d5c952f9e954c2d1e.jpg","28.2x119.3",[98],{"id":2747,"slug":2748,"title":2749,"dynasty":126,"author":2750,"museum":20,"description":2751,"tags":2752,"thumbUrl":2753,"material":2754,"size":2755,"collection":98,"collections":2756,"showCount":2757,"zanCount":314,"manualWeight":48,"mainColor":49},236933,"qian-yan-wan-he-tu-zhou-wu-bin-236933","千岩万壑图轴","吴彬","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。\n《画史会要》称吴彬：“善山水，布置绝不摹古，皆对真景描写。”实际上，吴彬画中的山水仍受古画的影响，但其境界主要来自其云游各地之奇景，加之想象而得。作者的绘画能从古人窠臼中脱迈而出，又深受自然界山水之熏陶，因而在明末的山水画坛迥异时流，独树一帜。",[24,79,109,80,30,31,113,35,247,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e68b23f635d47b17a1c9a8d30178a5e.jpg","绫本，设色","纵170.5厘米，横46.7厘米",[98,99],56,{"id":2759,"slug":2760,"title":2761,"dynasty":126,"author":2762,"museum":20,"description":2763,"tags":2764,"thumbUrl":2766,"material":2562,"size":2767,"collection":285,"collections":2768,"showCount":2757,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[24,25,26,109,30,130,2765,7,35,82,83,151,111,229,245,114],"米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f59ad95d193c191833e0c060f6d0654.jpg","纵14．8厘米横247．2厘米",[],{"id":2770,"slug":2771,"title":2772,"dynasty":54,"author":55,"museum":396,"description":2773,"tags":2774,"thumbUrl":2778,"material":285,"size":2779,"collection":285,"collections":2780,"showCount":2757,"zanCount":48,"manualWeight":48,"mainColor":49},223357,"fang-dong-yuan-jiang-nan-yan-luan-tu-juan-yi-ming-223357","仿董源江南烟峦图卷","该画作展现了江南峰峦叠翠，云雾缭绕，林木繁茂的夏日景致，画中绘有许多辛勤劳作的山民和家畜，洋溢着浓厚的自然气息和生活情趣。\n画面上有山峦复叠、烟树沙川的夏日景致。画面中央山峦起伏连绵，上方水面空阔回转；一道道沙川和坡丘在水上和岸边延伸推展，两人泛舟水上；岸上树木丛生，百草丰茂，其间有牛羊悠闲吃草，有农人从容劳作；一道一道的冈峦，苍苍茫茫由近向远渐渐推展开去，忽明忽暗，层峦叠嶂，极具自然掩映的趣味。",[24,25,26,109,130,80,30,7,35,135,32,2775,336,2776,2777],"丘陵","丛竹","亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff949cfedb91c38ffe9314bf3c1e04eb8.jpg","30x600厘米",[],{"id":2782,"slug":2783,"title":2784,"dynasty":126,"author":2785,"museum":75,"description":2786,"tags":2787,"thumbUrl":2789,"material":109,"size":2790,"collection":98,"collections":2791,"showCount":2757,"zanCount":48,"manualWeight":48,"mainColor":69},222184,"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左","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。\n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。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，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。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n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。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[23,149,24,25,79,109,80,82,672,7,83,2788,1343,30],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[98,45],{"id":2793,"slug":2794,"title":2795,"dynasty":18,"author":382,"museum":359,"description":383,"tags":2796,"thumbUrl":2798,"material":64,"size":388,"collection":285,"collections":2799,"showCount":2757,"zanCount":48,"manualWeight":48,"mainColor":69},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[23,24,25,385,28,30,80,309,1891,2797,229,7,133,131],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":2801,"slug":2802,"title":2803,"dynasty":18,"author":319,"museum":242,"description":2804,"tags":2805,"thumbUrl":2807,"material":285,"size":285,"collection":285,"collections":2808,"showCount":2809,"zanCount":300,"manualWeight":48,"mainColor":49},227952,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-227952","五百罗汉图之应身观音","画面主次分明，应身观音安坐于视觉中心，圆光晕染间神态慈悲自在，衣袂舒展流转。身旁僧众或合十谛听，或垂目静思，清癯面容尽显禅门肃穆沉静。\n\n下方文人执卷商榷，童子随侍侧旁，雅意融融。整作设色调和古雅，衣纹以铁线描勾勒，劲挺流畅的线条尽显衣物褶皱的层叠质感，各个人物面相各有风骨，细节鲜活灵动。\n\n布景以祥云朱柱晕染出缥缈佛境，竹石点衬增添清幽禅意，将佛界的静穆与俗世雅意相融，尽显工笔人物画的精湛造诣，晕散开冲淡安和的禅意底蕴。",[23,24,25,322,29,28,58,961,7,1076,2806],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0a4e63aacdd50a770d92a6826a7327.jpg",[],55,{"id":2811,"slug":2812,"title":612,"dynasty":126,"author":2813,"museum":75,"description":2814,"tags":2815,"thumbUrl":2818,"material":338,"size":2819,"collection":98,"collections":2820,"showCount":2809,"zanCount":48,"manualWeight":48,"mainColor":69},214729,"shan-shui-tu-qian-gu-214729","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,79,109,80,2816,133,30,82,35,151,309,31,649,7,87,2817,721,1963,579,2204],"题字","林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[98],{"id":2822,"slug":2823,"title":2824,"dynasty":54,"author":2825,"museum":242,"description":2826,"tags":2827,"thumbUrl":2828,"material":285,"size":285,"collection":98,"collections":2829,"showCount":2830,"zanCount":48,"manualWeight":48,"mainColor":69},238231,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238231","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[24,28,30,80,385,58,35,82,7,111,2395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e501d9ee404748c7a19862371ad4663.jpg",[98,45],54,{"id":2832,"slug":2833,"title":2834,"dynasty":18,"author":55,"museum":242,"description":2835,"tags":2836,"thumbUrl":2841,"material":285,"size":285,"collection":285,"collections":2842,"showCount":2830,"zanCount":48,"manualWeight":48,"mainColor":49},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,26,130,28,29,780,30,58,258,59,782,198,35,7,2837,2838,2839,32,82,2840],"旗帜","侍从","神仙","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],{"id":2844,"slug":2845,"title":2846,"dynasty":18,"author":74,"museum":396,"description":1192,"tags":2847,"thumbUrl":2848,"material":964,"size":1195,"collection":42,"collections":2849,"showCount":2830,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,24,25,26,30,80,28,82,35,7,247,1078,85,364,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,98,99],{"id":2851,"slug":2852,"title":947,"dynasty":18,"author":600,"museum":1391,"description":2853,"tags":2854,"thumbUrl":2855,"material":338,"size":2856,"collection":98,"collections":2857,"showCount":2830,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,109,30,80,7,31,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[98],{"id":2859,"slug":2860,"title":2861,"dynasty":18,"author":2862,"museum":1391,"description":2863,"tags":2864,"thumbUrl":2865,"material":64,"size":2866,"collection":98,"collections":2867,"showCount":2830,"zanCount":314,"manualWeight":48,"mainColor":69},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","李山","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,25,30,1902,507,80,28,1320,82,35,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[98],{"id":2869,"slug":2870,"title":612,"dynasty":126,"author":2871,"museum":359,"description":2872,"tags":2873,"thumbUrl":2874,"material":64,"size":2875,"collection":98,"collections":2876,"showCount":2830,"zanCount":48,"manualWeight":48,"mainColor":327},218098,"shan-shui-tu-li-zai-218098","李在","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,25,149,79,109,28,80,30,31,35,86,111,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[98],{"id":2878,"slug":2879,"title":2880,"dynasty":54,"author":2881,"museum":242,"description":2882,"tags":2883,"thumbUrl":2894,"material":285,"size":285,"collection":285,"collections":2895,"showCount":2896,"zanCount":314,"manualWeight":48,"mainColor":69},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,25,2203,27,28,30,111,135,35,82,7,151,2884,2885,2886,2887,2888,2889,2890,2891,2892,2893],"青绿山水","设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],53,{"id":2898,"slug":2899,"title":2900,"dynasty":18,"author":210,"museum":242,"description":1298,"tags":2901,"thumbUrl":2902,"material":285,"size":285,"collection":285,"collections":2903,"showCount":2896,"zanCount":314,"manualWeight":48,"mainColor":954},227689,"shi-long-tu-juan-chen-rong-227689","十龙图卷",[23,24,25,26,109,59,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6cf259cdc833e34e4a030ea74ea01f.jpg",[],{"id":2905,"slug":2906,"title":2907,"dynasty":162,"author":2108,"museum":181,"description":2908,"tags":2909,"thumbUrl":2912,"material":338,"size":2913,"collection":99,"collections":2914,"showCount":2896,"zanCount":314,"manualWeight":48,"mainColor":49},220407,"bai-yun-shen-chu-tu-fang-cong-yi-220407","白云深处图","以水墨横点浓淡烘染峰峦重叠，写出了云烟掩映，风雨迷濛的江南景色。山峦、杂树以焦墨点染、益见秀润可爱。溪水小桥平添了江南平淡恬静的情趣，引人进入白云深处的佳境。",[24,109,80,30,938,31,35,86,32,7,2910,2911,85,112,1077],"山间","树木丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a430378f5317098ee833066a2ed7d.jpg","纵25.8厘米、横57.9厘米",[99],{"id":2916,"slug":2917,"title":2918,"dynasty":162,"author":55,"museum":2919,"description":2920,"tags":2921,"thumbUrl":2922,"material":64,"size":2923,"collection":98,"collections":2924,"showCount":2896,"zanCount":48,"manualWeight":48,"mainColor":49},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[149,24,28,386,27,30,198,35,111,82,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[98],{"id":2926,"slug":2927,"title":2928,"dynasty":54,"author":766,"museum":20,"description":2929,"tags":2930,"thumbUrl":2932,"material":296,"size":2933,"collection":98,"collections":2934,"showCount":2935,"zanCount":48,"manualWeight":48,"mainColor":69},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,109,79,30,80,309,31,83,111,603,35,86,82,7,2931],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[98,99],52,{"id":2937,"slug":2938,"title":2939,"dynasty":54,"author":1910,"museum":20,"description":2940,"tags":2941,"thumbUrl":2942,"material":186,"size":2943,"collection":98,"collections":2944,"showCount":2935,"zanCount":48,"manualWeight":48,"mainColor":69},236457,"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","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”。",[24,25,79,109,80,30,86,111,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[98,99],{"id":2946,"slug":2947,"title":2948,"dynasty":54,"author":842,"museum":242,"description":2949,"tags":2950,"thumbUrl":2951,"material":285,"size":285,"collection":285,"collections":2952,"showCount":2935,"zanCount":48,"manualWeight":48,"mainColor":69},229007,"shui-mo-shan-shui-ce-gong-xian-229007","水墨山水册","此作用笔沉郁苍润，以积墨手法反复皴染，将山石的厚重朴拙、林木的葱郁劲健尽皆铺陈。左侧丘峦缓坡之上，山居孑立，檐角轻挑隐于青嶂间，似藏幽人栖居之趣。右侧林木错落，浓淡墨色分出层叠深浅，与留白的水色相映，晕染出空濛悠远的江上晚景。\n整幅画境清寂萧散，墨色的虚实相生里藏着绝尘避世的安宁，题款与画作相映，更添文人情致，将江南山水的静穆淡远揉进方寸之间，尽显幽淡空和的林下之风。",[24,25,149,109,80,30,151,495,82,7,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30802f84640b4220fab4b0c4f3708cb1.jpg",[],{"id":2954,"slug":2955,"title":2956,"dynasty":54,"author":576,"museum":242,"description":2957,"tags":2958,"thumbUrl":2960,"material":285,"size":285,"collection":285,"collections":2961,"showCount":2935,"zanCount":48,"manualWeight":48,"mainColor":69},228998,"she-se-shan-shui-ce-shi-tao-228998","设色山水册","此作以虚实相生之趣写山林幽境，主峰半隐于翻涌云海间，一道飞瀑垂落，破开山石沉凝。留白衬出云气的空濛氤氲，干湿浓淡的水墨晕染出山峦苍润肌理。右下亭台隐于深林，坡岸幽草间似有幽人卧看云起，野趣横生。两枚朱红点染左上，为水墨素朴添了古雅意趣。\n\n笔墨简淡却丘壑暗藏，以意造境，将江南山林的静穆萧散尽显，仿佛能聆听到瀑声潺潺，嗅见草木清芬，于尺幅之间尽显林泉高致，藏着文人山水独有的幽寂禅意与雅逸情怀。",[24,28,109,30,198,83,7,82,2959,58,133,80,385],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae6fd993ba1f516bdea0e22920187e0.jpg",[],{"id":2963,"slug":2964,"title":2965,"dynasty":18,"author":1234,"museum":242,"description":2966,"tags":2967,"thumbUrl":2970,"material":285,"size":285,"collection":285,"collections":2971,"showCount":2935,"zanCount":48,"manualWeight":48,"mainColor":49},227519,"yan-jiang-die-zhang-wang-shen-227519","烟江叠嶂","《烟江叠嶂图》是宋代画家王诜创作的一幅设色画，现藏于上海博物馆。\n《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。",[23,24,362,2968,26,27,80,112,1660,7,2969,1505,2965],"设色画","溪瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4632dd73f474257bd583fa36c4a4a423.jpg",[],{"id":2973,"slug":2974,"title":2975,"dynasty":54,"author":576,"museum":242,"description":2976,"tags":2977,"thumbUrl":2978,"material":285,"size":285,"collection":285,"collections":2979,"showCount":2980,"zanCount":288,"manualWeight":48,"mainColor":69},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[23,149,24,25,385,109,28,80,30,58,35,82,7,198,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],51,{"id":2982,"slug":2983,"title":2984,"dynasty":126,"author":2985,"museum":75,"description":2986,"tags":2987,"thumbUrl":2989,"material":400,"size":2990,"collection":98,"collections":2991,"showCount":2980,"zanCount":314,"manualWeight":48,"mainColor":49},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n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。",[23,24,79,362,28,80,2988,31,35,309,247,834,82,7,133],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[98,99],{"id":2993,"slug":2994,"title":717,"dynasty":2995,"author":2996,"museum":409,"description":2997,"tags":2998,"thumbUrl":2999,"material":95,"size":285,"collection":98,"collections":3000,"showCount":2980,"zanCount":48,"manualWeight":48,"mainColor":49},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","不详","朝鲜·佚名","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。",[23,24,362,80,28,30,198,86,111,135,82,35,151,229,7,1204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[98],{"id":3002,"slug":3003,"title":612,"dynasty":18,"author":74,"museum":242,"description":3004,"tags":3005,"thumbUrl":3006,"material":605,"size":606,"collection":285,"collections":3007,"showCount":3008,"zanCount":48,"manualWeight":48,"mainColor":327},290235,"shan-shui-tu-fan-kuan-290235","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[24,362,109,80,112,7,1505,198,79,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960de341b13a3055246c0d71ff699365.jpg",[],50,{"id":3010,"slug":3011,"title":3012,"dynasty":54,"author":55,"museum":242,"description":3013,"tags":3014,"thumbUrl":3016,"material":285,"size":285,"collection":285,"collections":3017,"showCount":3008,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[24,386,28,29,30,198,135,113,35,3015,7,229,529,1204],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":3019,"slug":3020,"title":3021,"dynasty":162,"author":3022,"museum":242,"description":3023,"tags":3024,"thumbUrl":3025,"material":285,"size":285,"collection":285,"collections":3026,"showCount":3008,"zanCount":314,"manualWeight":48,"mainColor":49},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","管道升","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[24,25,385,109,80,30,961,82,111,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":3028,"slug":3029,"title":3030,"dynasty":54,"author":3031,"museum":242,"description":3032,"tags":3033,"thumbUrl":3035,"material":285,"size":285,"collection":285,"collections":3036,"showCount":3008,"zanCount":314,"manualWeight":48,"mainColor":69},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","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。",[23,24,25,26,109,780,80,30,82,35,247,32,112,2149,1091,3034,309,721,248,7,86],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":3038,"slug":3039,"title":3040,"dynasty":54,"author":492,"museum":843,"description":3041,"tags":3042,"thumbUrl":3044,"material":338,"size":285,"collection":98,"collections":3045,"showCount":3008,"zanCount":314,"manualWeight":48,"mainColor":69},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图","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。",[24,25,149,109,80,79,362,30,35,111,135,82,3043,7,672,113,38],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[98],{"id":3047,"slug":3048,"title":3049,"dynasty":54,"author":55,"museum":242,"description":3050,"tags":3051,"thumbUrl":3052,"material":605,"size":606,"collection":285,"collections":3053,"showCount":3054,"zanCount":48,"manualWeight":48,"mainColor":69},290186,"fang-gong-xian-shan-shui-ce-5-kai-yi-ming-290186","仿龚贤山水册5开","此作用积墨之法写山林幽境，层层晕染铺就氤氲烟岚。右侧崖壁以焦墨勒定轮廓，淡墨反复皴擦堆就厚重质感，石间点植杂木，苍拙古茂，崖巅古亭半隐，暗合林泉幽居之趣。左侧以留白糅合淡墨晕染云烟，虚实相生，将山壑深渺朦胧之态铺陈开来，与沉凝崖壁形成虚实对照，尽显开合之妙。边角题字与山水相映成趣，诗画相融，暗合原作静穆苍润之韵，将江南山水的空寂淡远藏于尺幅间，笔墨间尽是林泉高致的悠然意趣。",[24,385,109,30,198,82,7,133,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904f9bc9a41f1ddb33e9bbe19d78320f.jpg",[],49,{"id":3056,"slug":3057,"title":3058,"dynasty":54,"author":3059,"museum":409,"description":3060,"tags":3061,"thumbUrl":3062,"material":285,"size":285,"collection":285,"collections":3063,"showCount":3054,"zanCount":314,"manualWeight":48,"mainColor":49},228921,"qiu-shan-hong-shu-tu-li-jian-228921","秋山红树图","黎简","这幅山水以没骨青绿晕染山峦，留白烘出流云如絮，将山谷裹在空濛仙气之中。丹红的枫林点染在青碧峰峦间，冷暖撞色鲜活明快，打破了青绿基调的沉静，映着澄澈秋水，板桥卧波引渡。隅侧茅舍隐在红树之后，野趣横生。\n\n山石勾勒圆浑，设色厚而不浊，在堂皇明艳的大青绿底色中，融入文人山水的清寂澹远，将秋山的绚烂丹枫与幽寂林泉相融，把秋日山林明丽又安宁的意韵尽数铺展，诗意悠然。",[149,24,25,79,28,29,80,30,939,86,36,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea6ed7e98b0f5962716eadac4fb205f7.jpg",[],{"id":3065,"slug":3066,"title":3067,"dynasty":18,"author":419,"museum":242,"description":3068,"tags":3069,"thumbUrl":3070,"material":285,"size":285,"collection":285,"collections":3071,"showCount":3054,"zanCount":48,"manualWeight":48,"mainColor":49},227955,"gu-gong-tu-ce-zhao-bo-ju-227955","故宫图册","此作以青绿晕染层叠丘壑，色调古雅厚重，界画楼阁精工严整，飞檐斗拱分毫毕现，尽显宫苑富丽堂皇。云气缭绕于台榭林麓之间，虚实相生，让恢宏楼宇掩映得灵动缥缈，消解了建筑的刻板厚重。\n\n山道间行旅策蹇徐行，板桥卧于溪上，潺潺流水隐于其间，鲜活点缀为静谧宫晕开几分林泉雅趣。画作糅合院体山水的精工法度与青绿设色的古艳雅致，将皇家苑囿的恢宏气度，与林泉丘壑的清逸空濛相融，尽显工丽秀雅的宋画风韵。",[23,24,27,28,386,29,30,198,86,58,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd9ee1df76dc0919e8b19de41238e03.jpg",[],{"id":3073,"slug":3074,"title":3075,"dynasty":126,"author":3076,"museum":242,"description":3077,"tags":3078,"thumbUrl":3079,"material":3080,"size":3081,"collection":98,"collections":3082,"showCount":3054,"zanCount":48,"manualWeight":48,"mainColor":69},222139,"shan-shui-shou-juan-li-liu-fang-222139","山水手卷","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。\n万历三年（1575）李流芳出生于嘉定南翔一户官宦人家。原籍南直隶徽州府歙县（今安徽歙县南丰），祖父李文邦为迁翔始祖，任成山卫指挥使，封赠公爵。父亲李汝筠系县学生。伯父李汝节是嘉靖进士，官至安吉知州。堂兄李先芳，万历进士，四川参议。李流芳兄弟四人：长兄李元芳，诸生，诗人；仲兄李名芳万历进士，翰林院庶吉士；弟李三芳，定海县丞。李流芳排行第三，人称李三长蘅。\n李流芳青少年时，潜身东林庵中，认真读书，企求科举入仕。万历三十四年(1606)，32岁中举，后又两度赴京参加殿试皆不第。时朝廷为太监魏忠贤及其党羽把持，仕途凶吉难料。他感到气馁，回到家乡，自建“檀园”，绝意仕途。他经常游览杭州西湖，一边游湖一边作画，并提笔写下一系列题跋，一派高人逸士之风度。为人耿直，诗风清新自然，文品为士林翘楚。魏忠贤建生祠不往拜，与人云：“拜，一时事，不拜，千古事。”\n李流芳和程嘉燧，诗文书画齐名，曾对好友钱谦益说：“精舍轻舟，晴窗明己，看孟阳（程嘉燧）吟诗作画乃是生平第一快事。”钱谦益曰：“吾却有二快，兼看兄与孟阳耳。”崇祯元年（1628），钱谦益被放，坐帐论牍，病中的李流芳闻讯，扶枕浩叹：“不可为矣！”\n崇祯二年 (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！”",[23,24,25,26,109,80,30,166,167,35,36,248,859,229,1091,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[98,99],{"id":3084,"slug":3085,"title":3086,"dynasty":126,"author":305,"museum":75,"description":3087,"tags":3088,"thumbUrl":3089,"material":338,"size":3090,"collection":98,"collections":3091,"showCount":3054,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,149,25,79,109,80,30,35,82,85,229,245,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[98,99],{"id":3093,"slug":3094,"title":3095,"dynasty":54,"author":3096,"museum":1063,"description":3097,"tags":3098,"thumbUrl":3099,"material":64,"size":285,"collection":44,"collections":3100,"showCount":3054,"zanCount":48,"manualWeight":48,"mainColor":49},219835,"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[23,24,28,29,79,309,82,7,781,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[44],{"id":3102,"slug":3103,"title":2222,"dynasty":266,"author":3104,"museum":242,"description":3105,"tags":3106,"thumbUrl":3107,"material":605,"size":606,"collection":285,"collections":3108,"showCount":3109,"zanCount":48,"manualWeight":48,"mainColor":49},288836,"hu-shan-chun-xiao-tu-liu-dao-shi-288836","刘道士","工佛道鬼神，落笔遒怪，尤善山水，师董源，与巨然同时，画亦同。但刘道士在左，巨然则以僧在左。以此为别",[23,149,24,25,79,109,30,80,112,198,111,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d33542a55bbea40943f6b7f253a0dd.jpg",[],48,{"id":3111,"slug":3112,"title":3113,"dynasty":126,"author":194,"museum":242,"description":3114,"tags":3115,"thumbUrl":3116,"material":605,"size":606,"collection":285,"collections":3117,"showCount":3109,"zanCount":48,"manualWeight":48,"mainColor":49},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,149,24,25,79,29,27,28,30,198,86,111,58,309,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":3119,"slug":3120,"title":3121,"dynasty":18,"author":831,"museum":242,"description":832,"tags":3122,"thumbUrl":3123,"material":605,"size":606,"collection":285,"collections":3124,"showCount":3109,"zanCount":48,"manualWeight":48,"mainColor":49},283692,"jiang-shan-lou-guan-tu-yan-wen-gui-283692","江山楼观图",[23,149,24,26,109,30,80,112,834,7,35,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41c21ecbc8836ec3be077cef4fdb8e.jpg",[],{"id":3126,"slug":3127,"title":3128,"dynasty":54,"author":3129,"museum":242,"description":3130,"tags":3131,"thumbUrl":3132,"material":285,"size":285,"collection":98,"collections":3133,"showCount":3109,"zanCount":48,"manualWeight":48,"mainColor":69},238823,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册","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”。",[24,25,385,28,30,80,82,35,309,36,86,111,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[98,45],{"id":3135,"slug":3136,"title":3137,"dynasty":54,"author":576,"museum":242,"description":3138,"tags":3139,"thumbUrl":3140,"material":285,"size":285,"collection":285,"collections":3141,"showCount":3109,"zanCount":48,"manualWeight":48,"mainColor":69},234168,"yuan-ji-shan-shui-tu-juan-shi-tao-234168","原济山水图卷","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。",[23,24,25,26,109,80,30,31,35,36,32,7,132,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815dd148ee14a764573968a252a39549.jpg",[],{"id":3143,"slug":3144,"title":3145,"dynasty":126,"author":3146,"museum":75,"description":3147,"tags":3148,"thumbUrl":3158,"material":117,"size":3159,"collection":98,"collections":3160,"showCount":3109,"zanCount":314,"manualWeight":48,"mainColor":49},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。",[23,24,28,30,29,135,509,961,3149,229,7,111,3150,495,1225,1090,34,3151,672,3152,3153,1322,1094,3154,2776,230,2149,3155,846,445,170,258,3156,3157],"渔夫","岸","岸石","汀渚","渔人","浅滩","霭气","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[98,99],{"id":3162,"slug":3163,"title":3164,"dynasty":126,"author":305,"museum":396,"description":3165,"tags":3166,"thumbUrl":3168,"material":3169,"size":3170,"collection":1470,"collections":3171,"showCount":3109,"zanCount":48,"manualWeight":48,"mainColor":69},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,26,109,30,80,443,131,132,133,112,35,247,86,111,7,248,649,82,3167,184],"竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[1470],{"id":3173,"slug":3174,"title":3175,"dynasty":54,"author":842,"museum":409,"description":3176,"tags":3177,"thumbUrl":3178,"material":338,"size":285,"collection":98,"collections":3179,"showCount":3109,"zanCount":48,"manualWeight":48,"mainColor":49},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[23,24,25,79,30,2448,80,31,7,35,85,83,82,2204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[98],{"id":3181,"slug":3182,"title":3183,"dynasty":18,"author":55,"museum":181,"description":3184,"tags":3185,"thumbUrl":3187,"material":64,"size":3188,"collection":98,"collections":3189,"showCount":3109,"zanCount":314,"manualWeight":48,"mainColor":327},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。",[23,24,25,26,30,109,80,28,166,35,32,34,199,3186,7,229],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[98],{"id":3191,"slug":3192,"title":3193,"dynasty":54,"author":690,"museum":20,"description":3194,"tags":3195,"thumbUrl":3196,"material":64,"size":3197,"collection":98,"collections":3198,"showCount":3109,"zanCount":314,"manualWeight":48,"mainColor":49},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,28,386,29,30,166,309,198,2014,34,7,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[98],{"id":3200,"slug":3201,"title":3202,"dynasty":18,"author":319,"museum":614,"description":3203,"tags":3204,"thumbUrl":3206,"material":64,"size":285,"collection":285,"collections":3207,"showCount":3109,"zanCount":314,"manualWeight":48,"mainColor":49},214869,"wu-bai-luo-han-zhi-tian-tai-shi-qiao-tu-zhou-ji-chang-214869","五百罗汉之天台石桥图","五百罗汉之天台石桥图是一幅中国古代图画，出现在宋朝时期。这幅图画由周季常创作，被认为是宋朝时期艺术史上的里程碑。\n\n五百罗汉之天台石桥图描绘了一座天台山上的石桥。石桥上站着五百个罗汉（佛教中的圣者），他们身着鲜艳的衣服，戴着华丽的首饰，手执莲花，肩挎佛像。每个罗汉都有自己独特的特征和表情，表现出不同的心态和境界。图中还有云朵、山峦、树木等元素，构成了一幅美丽的图画。\n\n五百罗汉之天台石桥图被认为是宋朝艺术史上的里程碑，因为它标志着中国传统绘画艺术走向成熟和完善。这幅图画的细腻和逼真的写实，以及对人物特征和心理描写的深刻，让人们对宋朝艺术有了更加深入的了解和认识。",[23,24,25,79,322,28,29,58,30,113,83,7,3205],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce180fb2ebcd4c0fe8a67a27cc9478a.jpg",[],{"id":3209,"slug":3210,"title":3211,"dynasty":126,"author":1432,"museum":75,"description":3212,"tags":3213,"thumbUrl":3214,"material":338,"size":3215,"collection":98,"collections":3216,"showCount":3217,"zanCount":48,"manualWeight":48,"mainColor":954},228481,"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[24,25,79,109,30,83,35,82,58,111,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[98],47,{"id":3219,"slug":3220,"title":3221,"dynasty":162,"author":1222,"museum":75,"description":3222,"tags":3223,"thumbUrl":3224,"material":64,"size":285,"collection":285,"collections":3225,"showCount":3217,"zanCount":300,"manualWeight":48,"mainColor":69},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,25,2203,28,30,35,86,111,7,82,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":3227,"slug":3228,"title":3229,"dynasty":266,"author":1596,"museum":75,"description":3230,"tags":3231,"thumbUrl":3232,"material":413,"size":3233,"collection":98,"collections":3234,"showCount":3217,"zanCount":48,"manualWeight":48,"mainColor":69},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,109,28,30,151,166,35,113,7,80,270],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[98],{"id":3236,"slug":3237,"title":3238,"dynasty":18,"author":106,"museum":75,"description":3239,"tags":3240,"thumbUrl":3243,"material":64,"size":3244,"collection":98,"collections":3245,"showCount":3217,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,109,28,80,30,1913,3241,135,82,35,7,1660,229,245,3242],"江帆","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[98],{"id":3247,"slug":3248,"title":3249,"dynasty":54,"author":3250,"museum":242,"description":3251,"tags":3252,"thumbUrl":3254,"material":605,"size":606,"collection":285,"collections":3255,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":49},290394,"chang-cheng-nei-wai-li-zhou-qian-song-nie-290394","长城内外立轴","钱松喦","此作用笔苍厚老辣，以浓墨重笔皴染危崖巨嶂，长城如苍龙盘亘山脊，雄姿尽显。山间留白晕染流云雾气，虚实相生里拉开空间层次。\n\n画作打破传统山水的古意局限，将山脊上的新旧烽塔、山下的新式厂区与高原驼队并置，把山河厚重的古韵与新生的蓬勃生机融为一体，既保留了传统山水画的悠远意境，又以细腻视角定格时代变迁，让长城不再只是关山隘口的符号，更成为连接古今、见证山河新生的载体，尽显家国山河的壮阔温情。",[23,24,79,30,28,109,80,3253,112,7,248,782,133],"长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f285f6425982a1654d5b14d945ea01.jpg",[],46,{"id":3258,"slug":3259,"title":2643,"dynasty":54,"author":1164,"museum":181,"description":3260,"tags":3261,"thumbUrl":3262,"material":186,"size":285,"collection":98,"collections":3263,"showCount":3256,"zanCount":314,"manualWeight":48,"mainColor":69},237413,"shan-shui-tu-zhou-kun-can-237413","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。",[24,109,80,79,30,507,1902,58,1262,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[98],{"id":3265,"slug":3266,"title":1103,"dynasty":54,"author":3267,"museum":242,"description":3268,"tags":3269,"thumbUrl":3270,"material":285,"size":285,"collection":285,"collections":3271,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":69},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","邹一桂","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,24,79,28,80,30,86,111,151,309,82,198,58,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":3273,"slug":3274,"title":3275,"dynasty":54,"author":3276,"museum":181,"description":3277,"tags":3278,"thumbUrl":3279,"material":186,"size":3280,"collection":98,"collections":3281,"showCount":3256,"zanCount":314,"manualWeight":48,"mainColor":49},224493,"huai-rong-tang-tu-wu-li-224493","槐荣堂图","吴历","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,24,25,28,30,80,166,167,495,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[98,45],{"id":3283,"slug":3284,"title":3285,"dynasty":126,"author":3286,"museum":226,"description":3287,"tags":3288,"thumbUrl":3289,"material":400,"size":3290,"collection":98,"collections":3291,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":69},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","萧云从","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,26,28,30,80,109,112,113,35,85,7,86,248,134,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[98,45],{"id":3293,"slug":3294,"title":3295,"dynasty":126,"author":3286,"museum":195,"description":3296,"tags":3297,"thumbUrl":3302,"material":1096,"size":3303,"collection":98,"collections":3304,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":69},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","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。",[23,24,26,28,80,30,82,35,198,151,86,111,7,229,1091,1505,3298,364,603,85,115,114,3299,3300,3301],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[98,45],{"id":3306,"slug":3307,"title":3308,"dynasty":126,"author":3309,"museum":226,"description":3310,"tags":3311,"thumbUrl":3312,"material":95,"size":3313,"collection":98,"collections":3314,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":954},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[23,24,25,28,386,133,198,35,7,86,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502d7f9fa2aca839f973ae5.jpg","28.3×56.84cm",[98,45],{"id":3316,"slug":3317,"title":3318,"dynasty":54,"author":3276,"museum":20,"description":3319,"tags":3320,"thumbUrl":3322,"material":137,"size":3323,"collection":98,"collections":3324,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":69},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","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。",[23,149,24,25,26,109,80,30,35,7,32,135,229,3321,38,85],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[98,45],{"id":3326,"slug":3327,"title":612,"dynasty":126,"author":3328,"museum":3329,"description":3330,"tags":3331,"thumbUrl":3332,"material":3333,"size":285,"collection":98,"collections":3334,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":69},219099,"shan-shui-tu-zhang-hong-219099","张宏","昆仑堂美术馆","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[23,149,24,25,79,109,80,30,166,167,35,36,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[98],{"id":3336,"slug":3337,"title":3338,"dynasty":126,"author":305,"museum":181,"description":526,"tags":3339,"thumbUrl":3340,"material":137,"size":285,"collection":285,"collections":3341,"showCount":3256,"zanCount":48,"manualWeight":48,"mainColor":69},214654,"qiu-xing-ba-jing-tu-ce-4-dong-qi-chang-214654","秋兴八景图册-4",[24,25,385,28,30,132,131,80,166,495,111,7,446,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b9afae4d988c47bfbafeba3b68c40.jpg",[],{"id":3343,"slug":3344,"title":3345,"dynasty":54,"author":55,"museum":242,"description":3346,"tags":3347,"thumbUrl":3348,"material":285,"size":285,"collection":219,"collections":3349,"showCount":3350,"zanCount":48,"manualWeight":48,"mainColor":69},238811,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238811","董诰律宣韶景册","此作绘春日花溪胜境，浅青晕染重峦，烟岚轻笼远山，虚实相生间晕出空濛雅致。溪谷桃林遍绽，丹红如云霞漫过翠嶂，柔化了峰石的硬朗。涧水穿林漱石，湍波映着花光，灵动清冽。林麓深处隐见屋舍，暗合春深幽居之趣。\n\n笔法秀雅工致，青绿设色明丽温润，以淡墨烘衬烟霭，糅合工笔精细与写意空灵，将暮春山乡的融融春意铺展纸上，观之便如身临桃源，尽览静雅恬和的东方山水意韵。",[24,25,385,28,30,80,35,82,111,1682,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe181bd02ef517366b84f0e2f5bc99ff.jpg",[219,98,45],45,{"id":3352,"slug":3353,"title":3354,"dynasty":54,"author":854,"museum":242,"description":3355,"tags":3356,"thumbUrl":3360,"material":285,"size":285,"collection":285,"collections":3361,"showCount":3350,"zanCount":314,"manualWeight":48,"mainColor":49},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，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。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,3357,28,80,109,29,3358,112,85,938,247,35,82,36,7,3359,199,83],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":3363,"slug":3364,"title":3365,"dynasty":54,"author":3366,"museum":3367,"description":3368,"tags":3369,"thumbUrl":3371,"material":186,"size":3372,"collection":219,"collections":3373,"showCount":3350,"zanCount":48,"manualWeight":48,"mainColor":69},222823,"shan-yin-cao-tang-tu-xu-gu-222823","山阴草堂图","虚谷","广州艺术博物院","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。",[23,149,24,25,26,109,80,131,132,30,35,82,3370,7],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1a7fdce3cd4a97891e59a5fb55386.jpg","283.6x29",[219,99],{"id":3375,"slug":3376,"title":3377,"dynasty":162,"author":2108,"museum":20,"description":3378,"tags":3379,"thumbUrl":3380,"material":232,"size":3381,"collection":98,"collections":3382,"showCount":3350,"zanCount":48,"manualWeight":48,"mainColor":69},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","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。",[23,24,109,80,79,133,131,132,30,135,111,35,113,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[98,99],{"id":3384,"slug":3385,"title":3386,"dynasty":126,"author":3387,"museum":181,"description":3388,"tags":3389,"thumbUrl":3390,"material":338,"size":3391,"collection":98,"collections":3392,"showCount":3350,"zanCount":48,"manualWeight":48,"mainColor":49},220351,"shan-shui-he-juan-du-qiong-220351","山水合卷","杜琼","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[23,24,25,26,109,80,30,166,167,495,151,86,111,7,113,2714,58,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[98],{"id":3394,"slug":3395,"title":3396,"dynasty":126,"author":1691,"museum":75,"description":3397,"tags":3398,"thumbUrl":3399,"material":64,"size":3400,"collection":45,"collections":3401,"showCount":3350,"zanCount":48,"manualWeight":48,"mainColor":49},219408,"shan-shui-tu-xia-mu-chui-yin-xie-shi-chen-219408","山水图-夏木垂阴","层岩叠嶂间，飞瀑如练坠幽谷，云雾轻笼远岫，添几分空濛。近景浓荫匝地，夏木枝繁叶茂，墨色沉郁中见灵秀。茅舍隐于林麓，小桥横卧溪畔，行人缓步、屋中对坐，皆含闲适之趣。笔致兼具雄健与秀逸，山石皴擦刚劲，树木点染细密，云雾淡扫留白，层次分明。整幅画将夏日山居的清幽与生机融于一体，既见自然之壮美，亦含人文之雅韵，尽显融浙派骨力与吴门风神的独特笔墨。",[24,30,109,80,79,166,495,151,86,111,83,58,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80770ddfcfa65f88c30367964f7d5a6.jpg","140x62.9",[45],{"id":3403,"slug":3404,"title":3405,"dynasty":18,"author":146,"museum":75,"description":2466,"tags":3406,"thumbUrl":3407,"material":117,"size":606,"collection":285,"collections":3408,"showCount":3409,"zanCount":48,"manualWeight":48,"mainColor":49},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷",[23,149,24,26,109,30,80,112,1660,309,198,151,135,7,1505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg",[],44,{"id":3411,"slug":3412,"title":3413,"dynasty":54,"author":3414,"museum":20,"description":3415,"tags":3416,"thumbUrl":3417,"material":592,"size":3418,"collection":98,"collections":3419,"showCount":3409,"zanCount":48,"manualWeight":48,"mainColor":69},239548,"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","任颐","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[24,25,79,28,109,58,30,782,82,7,80,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[98,44,45],{"id":3421,"slug":3422,"title":3423,"dynasty":54,"author":690,"museum":20,"description":3424,"tags":3425,"thumbUrl":3426,"material":40,"size":3427,"collection":98,"collections":3428,"showCount":3409,"zanCount":48,"manualWeight":48,"mainColor":49},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,25,79,386,28,29,80,30,198,86,82,35,7,58,364,199,38,112,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[98,45],{"id":3430,"slug":3431,"title":3432,"dynasty":18,"author":1234,"museum":181,"description":3433,"tags":3434,"thumbUrl":3436,"material":28,"size":3437,"collection":285,"collections":3438,"showCount":3409,"zanCount":48,"manualWeight":48,"mainColor":49},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,149,24,25,26,30,109,28,80,3435,480,31,35,7],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":3440,"slug":3441,"title":3442,"dynasty":18,"author":3443,"museum":75,"description":3444,"tags":3445,"thumbUrl":3446,"material":338,"size":3447,"collection":98,"collections":3448,"showCount":3409,"zanCount":300,"manualWeight":48,"mainColor":69},218644,"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[23,24,25,109,80,30,35,7,82,111,1913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[98],{"id":3450,"slug":3451,"title":3452,"dynasty":54,"author":3453,"museum":1063,"description":3454,"tags":3455,"thumbUrl":3457,"material":64,"size":3458,"collection":285,"collections":3459,"showCount":3409,"zanCount":48,"manualWeight":48,"mainColor":69},218326,"shen-xian-gu-shi-tu-ce-10-leng-mei-218326","神仙故事图册-10","冷枚","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,149,24,25,385,29,28,58,82,7,962,3456],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59c4eabdad812463812ac127f8c66.jpg","38x42",[],{"id":3461,"slug":3462,"title":3463,"dynasty":162,"author":2108,"museum":359,"description":3464,"tags":3465,"thumbUrl":3466,"material":338,"size":3467,"collection":98,"collections":3468,"showCount":3409,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[23,149,24,25,26,109,30,80,133,132,112,7,35,247,85,229,871,721,38,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[98],{"id":3470,"slug":3471,"title":3472,"dynasty":54,"author":3473,"museum":359,"description":3474,"tags":3475,"thumbUrl":3476,"material":137,"size":3477,"collection":98,"collections":3478,"showCount":3409,"zanCount":48,"manualWeight":48,"mainColor":69},218094,"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[23,24,25,79,109,80,30,166,151,86,111,135,35,36,7,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[98],{"id":3480,"slug":3481,"title":3482,"dynasty":18,"author":419,"museum":242,"description":3483,"tags":3484,"thumbUrl":3485,"material":605,"size":606,"collection":285,"collections":3486,"showCount":3487,"zanCount":48,"manualWeight":48,"mainColor":49},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088","汉宫春晓图","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。",[149,24,386,29,28,198,30,1424,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa88892b34b877788f8b89fdee5cdd3a.jpg",[],43,{"id":3489,"slug":3490,"title":3491,"dynasty":126,"author":879,"museum":75,"description":3492,"tags":3493,"thumbUrl":3494,"material":3495,"size":285,"collection":98,"collections":3496,"showCount":3487,"zanCount":48,"manualWeight":48,"mainColor":49},222526,"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[24,78,79,80,30,35,309,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg","绢本墨笔",[98,99],{"id":3498,"slug":3499,"title":3500,"dynasty":54,"author":3286,"museum":3501,"description":3502,"tags":3503,"thumbUrl":3504,"material":338,"size":3505,"collection":98,"collections":3506,"showCount":3487,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[23,24,25,26,109,80,30,82,35,36,1204,229,871,309,3298,7,482,199,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[98],{"id":3508,"slug":3509,"title":3510,"dynasty":126,"author":3511,"museum":1063,"description":3512,"tags":3513,"thumbUrl":3514,"material":137,"size":3515,"collection":98,"collections":3516,"showCount":3487,"zanCount":314,"manualWeight":48,"mainColor":69},219750,"liu-ruan-tian-tai-tu-ding-yun-peng-219750","刘阮天台图","丁云鹏","石缘林漱玉凉，远上紫逻更苍苍。溪边列树云和静，洞口落寞水亦香。作记未应拟彭泽，成诗早见有曹唐。浙东仙境依然在，可复双鬟待二郎。乾隆戊寅春御题",[23,24,149,79,29,28,133,30,58,35,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151f3ed0233acb65b06439368bfeb4ac.jpg","纵136.7横33.5厘米",[98],{"id":3518,"slug":3519,"title":612,"dynasty":162,"author":2108,"museum":614,"description":3520,"tags":3521,"thumbUrl":3522,"material":338,"size":3523,"collection":98,"collections":3524,"showCount":3487,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,25,79,109,80,30,166,528,35,85,36,229,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[98],{"id":3526,"slug":3527,"title":2300,"dynasty":54,"author":3528,"museum":75,"description":3529,"tags":3530,"thumbUrl":3531,"material":285,"size":285,"collection":98,"collections":3532,"showCount":3533,"zanCount":48,"manualWeight":48,"mainColor":69},238258,"shan-shui-ce-zhang-yan-238258","张演","此作以边角取景造境，右侧危岩迭起，苍松斜倚石畔，谷中云气漫漶，远山隐没于烟岚，虚实交织出清幽空蒙之态。左侧山居枕溪而卧，窗内幽人凭栏凝睇，坡岸佳木葱茏，一人策蹇缓行，野意悠然。\n\n设色清润雅致，山石勾勒细劲，浅赭与花青轻敷晕染，皴擦间尽显肌理质感。云水以留白晕化，愈衬山林阒寂。整体意境萧散淡远，以尺幅小景藏丘壑万千，将林泉幽居的闲逸之趣尽显无遗，笔墨温润秀雅，兼得元人山水的简旷与吴门画派的雅致风神。",[24,25,385,28,109,80,30,111,82,35,36,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d2ed93952dff40ea52e2910d1c80cd3.jpg",[98,45],42,{"id":3535,"slug":3536,"title":3537,"dynasty":54,"author":3538,"museum":20,"description":3539,"tags":3540,"thumbUrl":3541,"material":285,"size":3542,"collection":98,"collections":3543,"showCount":3533,"zanCount":314,"manualWeight":48,"mainColor":49},238136,"jiang-shan-qiu-ji-tu-juan-yun-xi-238136","江山秋霁图卷","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[23,149,24,25,26,28,80,30,166,167,7,35,36,34,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614009d1680a009126009a62d024bfab.jpg","22.5×143.2厘米",[98,45],{"id":3545,"slug":3546,"title":3547,"dynasty":54,"author":766,"museum":242,"description":3548,"tags":3549,"thumbUrl":3550,"material":285,"size":285,"collection":285,"collections":3551,"showCount":3533,"zanCount":314,"manualWeight":48,"mainColor":69},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,149,30,28,80,385,166,167,83,85,35,82,7,1891,58,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":3553,"slug":3554,"title":3555,"dynasty":562,"author":2729,"museum":1761,"description":3556,"tags":3557,"thumbUrl":3560,"material":285,"size":285,"collection":285,"collections":3561,"showCount":3533,"zanCount":48,"manualWeight":48,"mainColor":69},220546,"xi-ma-la-ya-shan-zhi-yi-xu-bei-hong-220546","喜马拉雅山之一","以泼墨晕染翻涌的云海林雾，苍茫混沌间烘托出主峰的高绝伟岸。下半重墨铺就深幽林海云烟，裹挟着湿润朦胧的山野之气，而上半处以留白糅合淡粉提亮雪峰，将积雪覆峰的冷冽圣洁具象化。\n突破传统山水程式，融西画光影写实于水墨写意中，把雪域高原雄浑辽远的气魄尽显笔下，既有东方水墨的氤氲空灵，又兼具写实的巍峨质感，让观者恍若立于云海之上，仰望这方冷峻壮美的神山胜景，尽展创作者开阔的襟怀与独特的山水表达。",[24,109,28,215,30,3558,7,112,3559],"雪山","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec56556922f3bab21e0c7a8fd702ad1e.jpg",[],{"id":3563,"slug":3564,"title":3565,"dynasty":54,"author":492,"museum":3367,"description":3566,"tags":3567,"thumbUrl":3568,"material":95,"size":3569,"collection":98,"collections":3570,"showCount":3571,"zanCount":48,"manualWeight":48,"mainColor":49},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,25,79,28,80,30,857,35,198,86,111,151,82,1078,85,603,1505,115,93,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[98,99],41,{"id":3573,"slug":3574,"title":3575,"dynasty":54,"author":854,"museum":242,"description":3576,"tags":3577,"thumbUrl":3578,"material":285,"size":285,"collection":285,"collections":3579,"showCount":3571,"zanCount":48,"manualWeight":48,"mainColor":49},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","仿巨然山水图","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,25,79,130,80,30,82,35,198,86,111,7,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":3581,"slug":3582,"title":3583,"dynasty":126,"author":3584,"museum":226,"description":3585,"tags":3586,"thumbUrl":3587,"material":186,"size":3588,"collection":98,"collections":3589,"showCount":3571,"zanCount":48,"manualWeight":48,"mainColor":69},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[23,24,25,26,109,30,80,35,82,111,7,133,902,1078,1394,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[98,99],{"id":3591,"slug":3592,"title":3593,"dynasty":126,"author":3511,"museum":75,"description":3594,"tags":3595,"thumbUrl":3596,"material":400,"size":3597,"collection":98,"collections":3598,"showCount":3571,"zanCount":48,"manualWeight":48,"mainColor":49},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,79,109,28,30,83,111,35,82,7,80,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[98,45],{"id":3600,"slug":3601,"title":3602,"dynasty":54,"author":3276,"museum":20,"description":3603,"tags":3604,"thumbUrl":3606,"material":3607,"size":3608,"collection":98,"collections":3609,"showCount":3571,"zanCount":48,"manualWeight":48,"mainColor":69},220372,"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[23,24,25,79,109,80,30,590,82,199,985,1394,35,58,85,112,7,1115,2714,114,3605,3299],"笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[98],{"id":3611,"slug":3612,"title":3613,"dynasty":18,"author":55,"museum":181,"description":3614,"tags":3615,"thumbUrl":3616,"material":285,"size":285,"collection":42,"collections":3617,"showCount":3571,"zanCount":48,"manualWeight":48,"mainColor":3618},201746,"xi-shan-tu-juan-yi-ming-201746","溪山图卷","画面峰峦层叠，皴染结合的山石质感浑厚，如剑戟般刺破云雾。轻烟似纱缠绕峰谷，虚实相生间拓展空间纵深。山间林木葱茏，墨色浓淡交错尽显苍劲生机；溪畔屋舍隐现，与流水、舟楫相映，添了几分人间烟火气。远处水天相接，朦胧远山若隐若现，整体意境悠远静谧，尽显宋代山水画的雅致与深邃。",[24,30,26,109,80,7,82,1505,85,603,1322,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[42],"82786f",{"id":3620,"slug":3621,"title":3622,"dynasty":162,"author":2108,"museum":242,"description":3623,"tags":3624,"thumbUrl":3625,"material":285,"size":285,"collection":285,"collections":3626,"showCount":3627,"zanCount":48,"manualWeight":48,"mainColor":49},228270,"feng-yu-gui-zhou-tu-fang-cong-yi-228270","风雨归舟图","以水墨晕染铺就漫天雨雾，峰峦在烟岚中若隐若现，焦墨勾勒的山石苍劲朴拙，与朦胧水汽形成虚实对照。孤舟扬帆穿雨而归，渺小的舟楫在浩渺烟雨中衬出江湖寥廓，暗合归人冒雨赶路的匆匆意绪。\n近景以淡墨点染丛木，斜逸的松树带着风雨飘摇之姿，呼应着满幅湿冷雨意。整幅画作以留白晕染营造空濛苍茫氛围，将山野骤雨之景绘得灵动写意，把江南雨中山水的空寂清冷与旅人归思相融，尽显元代文人山水空灵简远的意趣。",[23,24,109,30,80,135,495,7,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18e3d81d317532706d52b707a3c30e9.jpg",[],40,{"id":3629,"slug":3630,"title":3631,"dynasty":54,"author":576,"museum":242,"description":3632,"tags":3633,"thumbUrl":3634,"material":285,"size":285,"collection":99,"collections":3635,"showCount":3627,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,25,26,109,80,132,131,30,31,113,35,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[99],{"id":3637,"slug":3638,"title":3639,"dynasty":54,"author":3640,"museum":75,"description":3641,"tags":3642,"thumbUrl":3644,"material":285,"size":285,"collection":98,"collections":3645,"showCount":3627,"zanCount":48,"manualWeight":48,"mainColor":69},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,25,79,28,80,30,3186,3643,86,111,35,82,36,7],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[98,45],{"id":3647,"slug":3648,"title":3649,"dynasty":54,"author":3650,"museum":409,"description":3651,"tags":3652,"thumbUrl":3653,"material":338,"size":3654,"collection":98,"collections":3655,"showCount":3627,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,109,26,131,133,80,30,82,35,83,247,229,7,85,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[98],{"id":3657,"slug":3658,"title":3659,"dynasty":54,"author":854,"museum":843,"description":3660,"tags":3661,"thumbUrl":3662,"material":137,"size":3663,"collection":98,"collections":3664,"showCount":3627,"zanCount":314,"manualWeight":48,"mainColor":49},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","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。",[24,362,28,80,1041,31,35,85,82,1078,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[98],{"id":3666,"slug":3667,"title":3668,"dynasty":54,"author":2291,"museum":20,"description":2372,"tags":3669,"thumbUrl":3670,"material":64,"size":2377,"collection":219,"collections":3671,"showCount":3627,"zanCount":314,"manualWeight":48,"mainColor":49},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴",[23,149,24,79,30,28,80,82,2374,111,35,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd631dc13de2e69a5451abd4d5af28756.jpg",[219],{"id":3673,"slug":3674,"title":3675,"dynasty":18,"author":549,"museum":242,"description":3676,"tags":3677,"thumbUrl":3682,"material":605,"size":606,"collection":285,"collections":3683,"showCount":3684,"zanCount":314,"manualWeight":48,"mainColor":49},288940,"xiao-xiang-ba-jing-yan-si-wan-zhong-wang-hong-288940","潇湘八景-烟寺晚钟","金碧招提古，高峰最上层。喧风僧入梵，宿雾佛前灯。禅观延空寂，蒲牢忽震凌。黄昏山路险，窘步一枝藤。",[24,149,26,30,109,80,112,111,3678,1505,7,3679,3680,3681],"古寺","悠远","潇湘八景","烟寺晚钟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3166e7284dc5ff42ff0284cdff74ab71.jpg",[],39,{"id":3686,"slug":3687,"title":371,"dynasty":54,"author":1164,"museum":242,"description":3260,"tags":3688,"thumbUrl":3689,"material":285,"size":285,"collection":98,"collections":3690,"showCount":3684,"zanCount":48,"manualWeight":48,"mainColor":69},236915,"shan-shui-zhou-kun-can-236915",[24,109,80,79,131,133,30,198,82,35,649,184,229,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[98,99,1470],{"id":3692,"slug":3693,"title":3694,"dynasty":54,"author":3695,"museum":242,"description":3696,"tags":3697,"thumbUrl":3698,"material":285,"size":285,"collection":285,"collections":3699,"showCount":3684,"zanCount":48,"manualWeight":48,"mainColor":49},230192,"jiu-long-tu-ce-zhou-xun-230192","九龙图册","周璕","此作以水墨晕染铺就翻涌云海，虚实掩映间神龙破云而出。画师以浓淡变幻的墨色烘托出混沌氤氲的云气，将龙身隐没在烟岚之中，仅露威严龙首与遒劲鳞爪，藏头露爪间尽显神龙幽渺难测的神秘感。\n\n龙首刻画工细，眉须戟张，目光沉凝威严，鳞爪筋骨苍劲有力，与泼墨晕染的朦胧云海形成鲜明虚实对比。干湿浓淡的笔墨层次丰富，将神龙腾云的磅礴气势与云雾翻卷的空茫意境相融，尽显神兽潜藏天地间的慑人神威，把东方神龙的灵韵威严藏于烟云万象之中，是水墨绘龙的精妙之作。",[23,24,25,385,109,59,540,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e5ab036e4a2b558af5a0323993952a.jpg",[],{"id":3701,"slug":3702,"title":3703,"dynasty":18,"author":55,"museum":242,"description":3704,"tags":3705,"thumbUrl":3706,"material":285,"size":285,"collection":285,"collections":3707,"showCount":3684,"zanCount":48,"manualWeight":48,"mainColor":49},227931,"chang-jiang-wan-li-tu-juan-quan-juan-yi-ming-227931","长江万里图卷全卷","以咫尺长卷铺展万里江山，层叠峰岫或雄峙凌天，或温婉藏于烟岚，虚实相生如淡墨梦境。江波澹澹，与远山交织晕染，将长江的逶迤舒展尽致。墨色浓淡铺就山川悠远层次，留白烘托云水之态，带着沉静雅致的宋画风骨。\n整卷如乘舟浮江，揽尽楚天清旷，将山河雄浑与灵秀揉于一处，藏着描摹天地的匠心，与对山河的眷恋深情，一眼便似随江流转，阅尽千里盛景。",[23,24,25,26,109,30,80,111,135,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d3564b5c39c17781a9425ca7fb314e.jpg",[],{"id":3709,"slug":3710,"title":161,"dynasty":18,"author":1454,"museum":242,"description":3711,"tags":3712,"thumbUrl":3713,"material":285,"size":285,"collection":285,"collections":3714,"showCount":3684,"zanCount":314,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,149,24,25,26,27,28,30,29,80,112,35,247,86,111,1322,36,7,1806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":3716,"slug":3717,"title":3718,"dynasty":54,"author":690,"museum":20,"description":3719,"tags":3720,"thumbUrl":3721,"material":40,"size":3722,"collection":98,"collections":3723,"showCount":3684,"zanCount":48,"manualWeight":48,"mainColor":49},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,24,79,386,30,198,82,35,7,135,28,80,58,747,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[98,45],{"id":3725,"slug":3726,"title":3727,"dynasty":126,"author":3728,"museum":75,"description":3729,"tags":3730,"thumbUrl":3731,"material":964,"size":3732,"collection":44,"collections":3733,"showCount":3684,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,26,29,28,58,30,198,309,82,7,229,386,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[44,45],{"id":3735,"slug":3736,"title":3737,"dynasty":162,"author":2547,"museum":75,"description":3738,"tags":3739,"thumbUrl":3740,"material":232,"size":3741,"collection":98,"collections":3742,"showCount":3684,"zanCount":300,"manualWeight":48,"mainColor":69},221915,"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,24,25,79,109,80,30,83,35,199,113,7,131,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[98,99],{"id":3744,"slug":3745,"title":3746,"dynasty":562,"author":972,"museum":3747,"description":3748,"tags":3749,"thumbUrl":3750,"material":3751,"size":285,"collection":285,"collections":3752,"showCount":3684,"zanCount":48,"manualWeight":48,"mainColor":69},220505,"e-mei-zhang-da-qian-220505","峨眉","中国现当代美术文献研究中心","此作以云海托举雄峰，虚实相映间铺展蜀山灵韵。以青绿皴染勾勒峭崖肌理，晕染出层叠石壁的苍劲质感，石青石绿晕开山峦清润，赭石铺陈崖顶厚重。翻涌云涛以泼墨晕染而成，将群峰半掩半露，生出缥缈仙气。崖巅古松劲拔、梵宇隐现，为雄奇山景添上清寂禅意。既恪守传统笔墨法度，又以泼彩新意晕化山色，将巍峨与灵秀糅合，尽显天地造化之奇，静穆之中自有磅礴大气，藏着蜀中山河的万千意趣。",[24,25,30,28,109,80,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6a494de0efa8d16398fba50d5288ec.jpg","纸本水墨设色",[],{"id":3754,"slug":3755,"title":2643,"dynasty":3756,"author":3757,"museum":181,"description":3758,"tags":3759,"thumbUrl":3760,"material":285,"size":285,"collection":98,"collections":3761,"showCount":3684,"zanCount":48,"manualWeight":48,"mainColor":3762},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","近代","黄宾虹","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[24,25,79,109,80,30,309,86,82,7,603,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[98],"e1d9cb",{"id":3764,"slug":3765,"title":3766,"dynasty":126,"author":194,"museum":242,"description":3767,"tags":3768,"thumbUrl":3771,"material":605,"size":606,"collection":285,"collections":3772,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":49},290950,"yu-dong-shao-dan-juan-chou-ying-290950","玉洞烧丹卷","乍辞紫府出仙都。来问丹成事有无。云雾衣裳芝作馔。桃花颜色雪为肤。壶中满贮长生药。卷内同看太极图。寄语群仙机尽息。何须更问玉蟾蜍。仇英实甫画玉洞烧丹图。精细工雅。深得松年千里二公神髓。诚当代绝技也。雨窓无聊。据案展阅。不觉情思飞扬。漫赋短句。嘉靖壬子（1552）征明识。",[24,26,29,28,27,58,30,309,7,3769,3770],"炼丹","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea85c55f212fc077fd9230bbed9a7f2.jpg",[],38,{"id":3775,"slug":3776,"title":3777,"dynasty":126,"author":3778,"museum":242,"description":3779,"tags":3780,"thumbUrl":3781,"material":285,"size":3782,"collection":98,"collections":3783,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[24,109,26,30,80,86,111,135,151,35,113,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[98,99],{"id":3785,"slug":3786,"title":3787,"dynasty":54,"author":3788,"museum":242,"description":3789,"tags":3790,"thumbUrl":3791,"material":285,"size":285,"collection":285,"collections":3792,"showCount":3773,"zanCount":314,"manualWeight":48,"mainColor":69},235674,"huang-shan-tian-dou-feng-tu-zhou-mei-qing-235674","黄山天都峰图轴","梅清","此作用高远章法铺陈景致，方折硬皴刻画嶙峋山石，层叠岩壁尽显峰峦雄崛之势。留白摹写空濛云海，衬出天都峰的高拔清逸。松下孤亭旁二人策杖对语，在雄奇山景晕染出世外幽意。\n题诗与山水相融，以书入画尽显新安画派灵秀苍劲。水墨晕染出清冷空寂的意境，既绘出黄山天险之姿，又寄寓画家对林泉高致的向往，笔致清隽，将自然奇绝与文人雅趣合为一体。",[24,25,149,79,109,80,30,31,7,151,35,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c78ff500e4796524b4ff31de712606.jpg",[],{"id":3794,"slug":3795,"title":3796,"dynasty":54,"author":576,"museum":20,"description":3797,"tags":3798,"thumbUrl":3799,"material":592,"size":3800,"collection":285,"collections":3801,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":69},233958,"yun-shan-tu-zhou-shi-tao-233958","云山图轴","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,25,79,109,80,30,2675,7,82,35,2797,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8523eeee7217dae1b5bb91657e0c2417.jpg","纵45.1厘米，横30.8厘米",[],{"id":3803,"slug":3804,"title":3805,"dynasty":54,"author":854,"museum":242,"description":3806,"tags":3807,"thumbUrl":3809,"material":285,"size":285,"collection":285,"collections":3810,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":69},224455,"shan-shui-zhu-lan-he-yan-wen-gui-wang-hui-224455","山水朱兰和燕温归","此卷以全景铺展山水胜境，云气氤氲缠绕峰峦洲渚，虚实相生间划分出悠远层次。山石以披麻皴写就，皴染兼施，苍润浑厚又不失秀雅，丘壑繁复却井然有致。\n林麓水岸错落村居渔舍，江面渔舟泛波，松岩深处隐现山寺塔影，烟火意趣融于林泉丘壑间。画作兼具宋元山水笔墨意韵，将可居可游的文人理想寄于卷中，徐徐铺展出清旷淡远的水墨江山，尽显江南山水空濛灵秀之致。",[23,24,25,26,28,80,30,166,167,495,672,3808,34,151,603,150,83,7,82,85],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4828d72b42a0bf1f9867b188e3185f.jpg",[],{"id":3812,"slug":3813,"title":3814,"dynasty":54,"author":3815,"museum":409,"description":3816,"tags":3817,"thumbUrl":3819,"material":1096,"size":3820,"collection":98,"collections":3821,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,26,109,80,362,3818,35,82,32,36,649,58,7,229,245,445],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[98,99],{"id":3823,"slug":3824,"title":3825,"dynasty":126,"author":3826,"museum":430,"description":3827,"tags":3828,"thumbUrl":3829,"material":3830,"size":3831,"collection":98,"collections":3832,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":49},221876,"shan-shui-tu-bi-geng-yuan-gao-ran-hui-221876","山水图(笔耕园）","高然晖","《笔耕园》是将室町时代（1336年－1573年，当时倭寇开始在我国为祸，大量文物自此流失）及以后舶来的中国画汇集而成的手鉴。\n《笔耕园》收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有一些其他朝代品质极高的作品。",[23,24,25,109,80,30,86,111,135,82,7,35,85,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b47ef1948cd9cb76d6fe494279e3f24.jpg","纸本墨画","24.3×33.2",[98,99],{"id":3834,"slug":3835,"title":3836,"dynasty":18,"author":600,"museum":20,"description":3837,"tags":3838,"thumbUrl":3839,"material":296,"size":3840,"collection":285,"collections":3841,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":69},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图","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。",[23,24,25,26,109,30,7,35,31,80,132,133,131,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg","纵21.4厘米，横195.8厘米",[],{"id":3843,"slug":3844,"title":3845,"dynasty":54,"author":3846,"museum":1248,"description":3847,"tags":3848,"thumbUrl":3849,"material":3850,"size":3851,"collection":98,"collections":3852,"showCount":3773,"zanCount":314,"manualWeight":48,"mainColor":285},220734,"xun-qin-tu-huang-xiang-jian-220734","寻亲图","黄向坚","此作用平远糅合高远之章法，左侧危崖突兀，青绿晕染出山峦温润秀雅之态，皴笔勾勒，尽显山石苍劲肌理。浩渺平湖铺陈开开阔景致，洲渚错落星罗，村居隐于葱郁林木间，渔舟泛于烟波之上，三两行人点缀水岸。\n\n远山以淡墨轻岚晕染，虚实相生，尽显江南水泽空濛诗意。笔意清隽柔和，设色淡雅妍丽，承唐宋青绿山水古雅意趣，又以细腻布景传递羁旅怀思，于秀逸湖山之间，暗合迢迢心绪，淡远悠长。",[24,25,26,28,30,80,112,32,135,35,248,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa9dc2fa40177d86a07917e44bf59.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[98],{"id":3854,"slug":3855,"title":3856,"dynasty":54,"author":55,"museum":868,"description":3857,"tags":3858,"thumbUrl":3859,"material":64,"size":285,"collection":98,"collections":3860,"showCount":3773,"zanCount":48,"manualWeight":48,"mainColor":49},219905,"shan-ju-tu-yi-ming-219905","山居图","淡墨晕开空濛烟岚，奇崛峰石隐现于流云薄雾，恍如世外仙乡。山麓楼阁层叠，飞檐翘角掩映苍林，板桥通幽，行人徐行，漫溢出山居的悠然意趣。近岸垂柳依依，渔舟泛于微波之上，渔翁垂纶闲坐，汀渚浅滩缀着顽石，野趣横生。\n\n此作用水墨淡设色晕染，烘托出氤氲空寂氛围，将高远、平远之境相融，铺陈开山野幽居的静谧雅致，似能触到山涧湿润清风，窥见古人幽栖林泉的隐逸清梦，尽显传统山水含蓄悠然的意境之美。",[24,28,30,80,198,86,111,135,35,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd3090754485169aca224d8eaa9304c.jpg",[98],{"id":3862,"slug":3863,"title":3864,"dynasty":162,"author":3865,"museum":242,"description":3866,"tags":3867,"thumbUrl":3871,"material":605,"size":606,"collection":285,"collections":3872,"showCount":3873,"zanCount":48,"manualWeight":48,"mainColor":49},283621,"wei-mo-shuo-fa-tu-he-bi-juan-li-sheng-283621","维摩说法图合璧卷","李升","画面清波荡漾,湖上有小桥、扁舟,远望峰峦高耸,树林参差,山间古寺隐约可见,景色清幽,一派送别离人的气氛。",[23,149,24,25,26,109,80,30,198,82,35,7,3868,3869,131,132,133,3870],"佛教","维摩说法","写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6614b55fa7f765c035cfb69c0288099.jpg",[],37,{"id":3875,"slug":3876,"title":3877,"dynasty":18,"author":1740,"museum":242,"description":3878,"tags":3879,"thumbUrl":3880,"material":285,"size":285,"collection":285,"collections":3881,"showCount":3873,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","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。",[23,149,24,25,28,30,29,80,35,82,198,229,7,83,58,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":3883,"slug":3884,"title":3885,"dynasty":562,"author":3886,"museum":1761,"description":3887,"tags":3888,"thumbUrl":3890,"material":2562,"size":285,"collection":285,"collections":3891,"showCount":3873,"zanCount":48,"manualWeight":48,"mainColor":69},220475,"man-mu-qing-shan-xi-zhao-ming-zhou-li-ke-ran-220475","满目青山夕照明（轴）","李可染","此作用巨幅雄山占据画面主体，焦墨勒出山峦筋骨，赭石晕染铺就夕照暖光，将冷硬岩壁晕染出暮色鎏金的温煦。山谷间田埂溪流萦回蜿蜒，深郁林木沉黑如墨，与亮部形成强烈明暗反差，既衬出山岳巍峨厚重的体量感，又暗藏乡野灵动生机。\n以积墨反复皴擦堆叠，让山体兼具苍茫质感与雄浑气势，右上角题笔朴拙苍劲，与画风融为一体，将暮色中山川的沉浑壮美与田园静谧相融，把晚照青山的诗意凝于尺幅之间，尽显沉雄朴厚的山水意趣，藏着对山河暮色的深切眷恋。",[24,25,79,109,28,80,30,3889,1089,111,112,35,7],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6185073b7c5986525e80316eb85c6.jpg",[],{"id":3893,"slug":3894,"title":3895,"dynasty":54,"author":1959,"museum":20,"description":3896,"tags":3897,"thumbUrl":3898,"material":64,"size":3899,"collection":98,"collections":3900,"showCount":3873,"zanCount":314,"manualWeight":48,"mainColor":49},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,25,79,30,80,28,166,495,111,86,36,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[98],{"id":3902,"slug":3903,"title":3904,"dynasty":162,"author":55,"museum":3905,"description":3906,"tags":3907,"thumbUrl":3909,"material":137,"size":3910,"collection":44,"collections":3911,"showCount":3873,"zanCount":314,"manualWeight":48,"mainColor":49},218441,"han-shan-shi-de-tu-yi-ming-218441","寒山拾得图","福冈市立美术馆","画面分呈两段意趣：左间二人相倚，笑意温软如沐春风，似是知音对语；右处禅者踞岩，虎伴身侧驯若良朋，尽显禅心化境。淡墨晕染烟岚轻笼的山野，线条简括却勾摹出人物神态的鲜活与自然的清旷。草木疏朗，山石朴拙，处处透着元人画中那份超然尘外的禅意与闲逸。素净之笔未施浓彩，却将隐逸的自在与禅理的圆融悄然铺展，观之令人忘俗。",[23,24,109,780,80,58,3908,30,35,134,7],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0e535c4564e424c74e7b09730c1015.jpg","56x110.2",[44],{"id":3913,"slug":3914,"title":3915,"dynasty":18,"author":549,"museum":242,"description":3916,"tags":3917,"thumbUrl":3918,"material":605,"size":606,"collection":285,"collections":3919,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[149,24,25,26,109,80,30,32,82,35,83,2777,229,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F339dada0ada5326f09ea7594fb34f379.jpg",[],36,{"id":3922,"slug":3923,"title":3924,"dynasty":54,"author":2291,"museum":242,"description":3925,"tags":3926,"thumbUrl":3927,"material":285,"size":285,"collection":98,"collections":3928,"showCount":3920,"zanCount":314,"manualWeight":48,"mainColor":49},238234,"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","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。",[24,26,362,109,80,1964,30,198,86,151,82,1505,111,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[98,45],{"id":3930,"slug":3931,"title":2259,"dynasty":54,"author":854,"museum":242,"description":1921,"tags":3932,"thumbUrl":3933,"material":285,"size":285,"collection":285,"collections":3934,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":69},237588,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237588",[149,24,25,385,109,28,80,308,30,35,82,111,151,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c371ad1b554c4cb74d1d00a8c6b3ead.jpg",[],{"id":3936,"slug":3937,"title":3938,"dynasty":18,"author":600,"museum":20,"description":3939,"tags":3940,"thumbUrl":3946,"material":296,"size":3840,"collection":285,"collections":3947,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":69},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","云山墨戏图卷","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。",[24,25,26,109,30,1587,35,133,131,80,214,3941,229,245,7,112,2816,3942,443,3943,3944,3945],"点染","墨笔","水墨山水","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg",[],{"id":3949,"slug":3950,"title":3951,"dynasty":162,"author":3952,"museum":242,"description":3953,"tags":3954,"thumbUrl":3955,"material":186,"size":3956,"collection":285,"collections":3957,"showCount":3920,"zanCount":314,"manualWeight":48,"mainColor":69},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","赵原","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,149,24,25,26,130,109,80,30,166,7,111,35,32,1806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","41x278.3厘米",[],{"id":3959,"slug":3960,"title":3961,"dynasty":54,"author":1421,"museum":242,"description":3962,"tags":3963,"thumbUrl":3970,"material":285,"size":285,"collection":285,"collections":3971,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":49},228950,"jiu-cheng-gong-tu-yuan-jiang-228950","九成宫图","危崖崚嶒，古柏虬劲苍郁，云雾轻笼层峦，将殿宇台榭晕染如缥缈仙宫。界画工细严整，斗拱梁枋毫厘毕现，青蓝重彩晕染出殿宇的华贵庄重，尽显匠造精工。\n\n远景平沙远岫，烟波浩渺间晕开朦胧诗意，近景层岩叠翠，山道间商旅穿行点缀烟火气。整幅开合有度，虚实相生，将皇家宫苑的宏阔威严，与山水灵秀融为一体，以极致工笔勾勒出雄奇雅丽的山水宫苑胜境。",[23,149,24,386,29,28,27,30,198,3964,3965,3966,7,3967,1963,3968,3969],"殿宇","危崖","古柏","平沙远岫","商旅","皇家宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612d9d536058ffbfac745708307b19e8.jpg",[],{"id":3973,"slug":3974,"title":3975,"dynasty":126,"author":1691,"museum":242,"description":3976,"tags":3977,"thumbUrl":3979,"material":285,"size":285,"collection":285,"collections":3980,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":49},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,25,79,109,28,80,30,3978,135,35,83,82,7],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":3982,"slug":3983,"title":3984,"dynasty":126,"author":194,"museum":242,"description":3985,"tags":3986,"thumbUrl":3987,"material":285,"size":285,"collection":285,"collections":3988,"showCount":3920,"zanCount":300,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,26,29,28,27,30,58,782,86,111,35,82,7,80,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":3990,"slug":3991,"title":3992,"dynasty":126,"author":1432,"museum":3993,"description":3994,"tags":3995,"thumbUrl":3999,"material":592,"size":4000,"collection":44,"collections":4001,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":69},222361,"jin-chang-song-bie-tu-tang-yin-222361","金昌送别图","吴氏梅景书屋","图绘柳溪水岸边四人拱手作别，即将远去的朋友回头顾盼他的三个朋友，深含依依不舍之情，旁边一樵夫等待离别的人上船，即将扬帆起航。远处群山连绵，云雾霭霭，空旷高远。整幅图以水墨与淡设色相融合，使画面呈现出清雅的格调。",[23,24,26,109,28,30,58,86,111,135,198,3996,1092,7,151,3997,3998],"群山","送别","依依不舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd1421c45dfa306f19591e4f68b6877.jpg","21×132cm",[44,99],{"id":4003,"slug":4004,"title":4005,"dynasty":54,"author":1574,"museum":20,"description":4006,"tags":4007,"thumbUrl":4008,"material":186,"size":4009,"collection":285,"collections":4010,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":69},220323,"huang-shan-tu-ce-7-hong-ren-220323","黄山图册-7","《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。",[23,149,24,385,109,80,30,60,309,36,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6273e3416479027eeb1ab9d4d8cccedb.jpg","21.5x18.3厘米",[],{"id":4012,"slug":4013,"title":4014,"dynasty":126,"author":305,"museum":359,"description":4015,"tags":4016,"thumbUrl":4019,"material":137,"size":285,"collection":285,"collections":4020,"showCount":3920,"zanCount":48,"manualWeight":48,"mainColor":69},217033,"fang-gu-shan-shui-ce-liu-kai-2-dong-qi-chang-217033","仿古山水册六开-2","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,385,109,28,30,135,111,4017,4018,150,82,7,132,80],"烟树","雪峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705dca76b87e5d6c9999fda035dc601d.jpg",[],{"id":4022,"slug":4023,"title":4024,"dynasty":54,"author":1164,"museum":20,"description":4025,"tags":4026,"thumbUrl":4027,"material":592,"size":4028,"collection":285,"collections":4029,"showCount":4030,"zanCount":48,"manualWeight":48,"mainColor":69},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,25,79,109,28,80,30,198,111,135,507,151,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],35,{"id":4032,"slug":4033,"title":4034,"dynasty":18,"author":1454,"museum":242,"description":3711,"tags":4035,"thumbUrl":4036,"material":95,"size":4037,"collection":285,"collections":4038,"showCount":4030,"zanCount":48,"manualWeight":48,"mainColor":49},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","关山行旅图卷",[23,1076,24,25,26,27,28,29,80,30,112,35,672,309,198,151,86,111,58,782,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":4040,"slug":4041,"title":418,"dynasty":126,"author":4042,"museum":242,"description":4043,"tags":4044,"thumbUrl":4045,"material":285,"size":285,"collection":285,"collections":4046,"showCount":4030,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,25,27,28,29,80,30,198,58,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":4048,"slug":4049,"title":4050,"dynasty":162,"author":180,"museum":242,"description":4051,"tags":4052,"thumbUrl":4053,"material":285,"size":285,"collection":285,"collections":4054,"showCount":4030,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","溪山秋色图卷","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,24,25,26,30,80,28,35,82,85,1078,247,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":4056,"slug":4057,"title":4058,"dynasty":18,"author":4059,"museum":242,"description":4060,"tags":4061,"thumbUrl":4062,"material":285,"size":285,"collection":285,"collections":4063,"showCount":4030,"zanCount":48,"manualWeight":48,"mainColor":49},227333,"jiu-ge-tu-zhang-dun-li-227333","九歌图","张敦礼","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,149,24,25,26,29,28,58,59,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":4065,"slug":4066,"title":4067,"dynasty":54,"author":4068,"museum":75,"description":4069,"tags":4070,"thumbUrl":4071,"material":964,"size":4072,"collection":98,"collections":4073,"showCount":4030,"zanCount":300,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,79,28,30,112,7,35,113,32,135,198,86,111,858,80,1262,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[98,45],{"id":4075,"slug":4076,"title":4077,"dynasty":126,"author":4078,"museum":75,"description":4079,"tags":4080,"thumbUrl":4081,"material":338,"size":4082,"collection":44,"collections":4083,"showCount":4030,"zanCount":48,"manualWeight":48,"mainColor":69},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴","项元汴（明 1525—1590）字子京，号墨林，别号墨林山人、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏\n明鉴藏家。国子生。精于鉴赏，辨别真赝，析及毫发，当时无人可比。尝得铁琴一，上有“天籁”二字，因以名阁。又曾遴选能工巧匠制作各种器具，凡几榻、架柜、奁盒等，镌以铭识，都极精巧。 工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[24,25,79,109,30,58,134,111,309,82,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[44],{"id":4085,"slug":4086,"title":4087,"dynasty":54,"author":4088,"museum":75,"description":4089,"tags":4090,"thumbUrl":4092,"material":64,"size":4093,"collection":98,"collections":4094,"showCount":4030,"zanCount":48,"manualWeight":48,"mainColor":69},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[24,25,79,28,30,80,2204,35,82,7,198,86,111,151,4091],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[98],{"id":4096,"slug":4097,"title":3463,"dynasty":162,"author":2108,"museum":868,"description":4098,"tags":4099,"thumbUrl":4103,"material":338,"size":4104,"collection":98,"collections":4105,"showCount":4030,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[24,25,26,109,80,131,132,30,112,7,35,32,86,247,113,38,85,229,1091,4100,214,4101,4102,133],"留白","笔墨","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[98],{"id":4107,"slug":4108,"title":4109,"dynasty":18,"author":55,"museum":242,"description":4110,"tags":4111,"thumbUrl":4112,"material":285,"size":285,"collection":44,"collections":4113,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":49},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[149,24,25,26,29,780,28,58,30,258,198,35,7,59,782,151,781,130,133,111,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[44],34,{"id":4116,"slug":4117,"title":4118,"dynasty":54,"author":492,"museum":20,"description":4119,"tags":4120,"thumbUrl":4121,"material":296,"size":4122,"collection":98,"collections":4123,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":69},236364,"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[24,362,109,79,80,166,167,35,113,199,7,247,85,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[98,99,1470],{"id":4125,"slug":4126,"title":4127,"dynasty":54,"author":3276,"museum":242,"description":4128,"tags":4129,"thumbUrl":4130,"material":605,"size":606,"collection":285,"collections":4131,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":69},235637,"fang-gu-shan-shui-ping-wu-li-235637","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》。",[24,25,30,28,80,308,198,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df074ba8c51f80c12f8c57d5b60b59c.jpg",[],{"id":4133,"slug":4134,"title":4135,"dynasty":162,"author":3865,"museum":242,"description":4136,"tags":4137,"thumbUrl":4138,"material":285,"size":285,"collection":285,"collections":4139,"showCount":4114,"zanCount":314,"manualWeight":48,"mainColor":69},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[23,24,25,26,109,30,80,131,133,112,35,86,111,247,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":4141,"slug":4142,"title":4143,"dynasty":18,"author":4144,"museum":242,"description":1412,"tags":4145,"thumbUrl":4149,"material":285,"size":285,"collection":285,"collections":4150,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":49},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）","许道宁",[23,149,24,25,26,109,80,30,112,31,35,672,1660,7,34,1322,58,4146,4147,4148],"岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],{"id":4152,"slug":4153,"title":4154,"dynasty":2995,"author":55,"museum":242,"description":4155,"tags":4156,"thumbUrl":4160,"material":285,"size":285,"collection":285,"collections":4161,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[4157,28,4158,30,83,309,85,7,229,36,113,35,4159,846],"浮世绘","木刻","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":4163,"slug":4164,"title":4165,"dynasty":54,"author":854,"museum":242,"description":4166,"tags":4167,"thumbUrl":4169,"material":285,"size":285,"collection":285,"collections":4170,"showCount":4114,"zanCount":300,"manualWeight":48,"mainColor":69},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","此作用淡墨晕染山峦，烟岚轻笼峰巅，将雨霁后空濛湿润的山景铺展开来。以披麻皴勾勒山石肌理，层层叠叠的丘壑尽显浑朴苍润，暗承江南山水的悠远意韵。\n\n近岸林木错落，点叶苍秀灵动，坡渚间杂草丰茂，野意十足。山谷村居隐于林泉之间，更衬出溪山幽谧清寂。\n笔墨秀雅兼具浑厚，把雨后天朗气清、山光涤荡一新的悠然宁静尽数烘托，于皴擦点染间尽显山水清润灵秀的意境，复刻古法同时自出新意，晕染出江南烟岚山水的温润诗意。",[23,24,25,79,109,80,130,30,166,4168,35,7,113,38],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":4172,"slug":4173,"title":4174,"dynasty":18,"author":55,"museum":242,"description":4175,"tags":4176,"thumbUrl":4177,"material":40,"size":4178,"collection":42,"collections":4179,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,25,362,28,29,80,590,198,82,35,111,229,7,199,721,1505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[42,98,99],{"id":4181,"slug":4182,"title":4183,"dynasty":162,"author":4184,"museum":396,"description":4185,"tags":4186,"thumbUrl":4187,"material":109,"size":4188,"collection":285,"collections":4189,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":69},221723,"liu-chen-ruan-zhao-ru-tian-tai-shan-tu-juan-zhao-cang-yun-221723","刘晨阮肇入天台山图卷","赵苍云","赵苍云是宋代皇室家族成员，经历了南宋灭亡、蒙元统治的巨大变化。他采用李公麟的白描手法描绘了汉代刘晨、阮肇入天台山遇仙的故事。天台山在浙江天台县北，传说刘晨、阮肇入天台山采药，遇见两个仙女，留他们住了半年。后来他们要求回家，到家乡时发现已经过了七世，这种天堂与人间的巨大反差让他们感到疏离与不适应，这也是许多宋代遗民在蒙古人统治下的心境。\n关于赵苍云的资料，我们只有在这幅画卷的题跋中所知一二。第一段跋中，元代人华幼武（字彦清，号栖碧，无锡人。生于元成宗大德十一年，卒于明太祖洪武八年，年六十九岁。平生笃于孝友。少有盛名。）说赵苍云以没骨法作水墨山水与人物画。华还说赵苍云年轻时比他的同宗赵孟坚、赵孟頫更有名气。后来赵苍云归隐山林，不婚不仕，他的生平资料没有任何记载，只有这幅画留存人世。\n华幼武跋语：苍云山人，本赵宋宗室。高奇嗜酒，绘事入神。山水横放，大都仿没骨图，而生动过之。人物工致，别有姿韵，世不多见。所作刘阮天台图，意境萧散，神趣闲逸，曹衣吴带，设色妍妙，有诸家所不能及者。窃意刘阮未必非乌有子虚，唐人云：“仙姝宜属魅界。”但得此墨妙，觉灵山俨然，西园犹在，展卷不知身在桃云柳浪、清风红日间也。苍云早岁，名在子昂、子固之上，不婚不宦，每隐于山林湖舫，虽亲串无从踪迹，世人得其片帧，几如拱璧，此其匠心运意，备极惨澹，当不能有二也。洪武十二年秋九月，华幼武书於春草轩。",[23,149,24,25,26,780,109,58,30,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f6ca0b72de89d4c9bf952820d989cd.jpg","22.5cm×561.34cm",[],{"id":4191,"slug":4192,"title":4193,"dynasty":126,"author":4194,"museum":614,"description":4195,"tags":4196,"thumbUrl":4198,"material":64,"size":4199,"collection":44,"collections":4200,"showCount":4114,"zanCount":314,"manualWeight":48,"mainColor":49},220128,"du-hai-luo-han-tu-su-zhen-tai-hou-220128","渡海罗汉图","肃贞太后","此幅题：大明万历岁次庚戌年（1610年）明肃贞寿端献恭熹皇太后绘造。钤：慈圣宣文明肃贞寿端献恭熹皇太后宝 朱文大印。",[23,24,29,28,322,58,2083,350,7,4197,902,62],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[44],{"id":4202,"slug":4203,"title":4204,"dynasty":2995,"author":55,"museum":75,"description":4205,"tags":4206,"thumbUrl":4210,"material":95,"size":4211,"collection":98,"collections":4212,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":49},219369,"wu-kuan-shan-shui-zhou-yi-ming-219369","无款山水轴","这幅山水轴以细腻笔触勾勒出静谧悠远的自然之境。前景林木扶疏，枝干交错间掩映着几椽茅舍，似有幽人闲坐，静听溪涧潺潺。中景溪流蜿蜒，石矶错落，墨色层次分明，尽显生机。远山层叠，云雾轻笼，墨色由浓转淡，渐次隐入天际，拓展出深远的空间感。山石皴染结合，苍劲中见温婉；树木点染有致，姿态自然生动。整体色调古雅沉静，笔墨意趣盎然，将自然之美与文人隐逸情怀融于一体，引人沉浸其中，体味那份远离尘嚣的恬淡与自在。",[149,24,362,79,109,80,28,1505,4207,85,82,7,4208,4209],"茅舍","隐逸","恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7339aa747e902c48320949a28e177acb.jpg","84.5x65.6",[98],{"id":4214,"slug":4215,"title":4216,"dynasty":18,"author":55,"museum":75,"description":4217,"tags":4218,"thumbUrl":4221,"material":64,"size":4222,"collection":42,"collections":4223,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":69},218860,"xiao-shi-sheng-luan-tu-yi-ming-218860","萧史乘鸾图","这幅画是根据秦国公的女儿鲁豫的传说创作的。作者巧妙地利用扇面的圆形框架，将人物、建筑和凤凰围成一圈，在中间留出空隙，以扩大画作的意义。",[23,24,28,29,385,58,781,4219,4220,35,7],"鸾鸟","台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780e13d780ec8d0ca13d6d3282b6afad.jpg","22.8x23厘米",[42],{"id":4225,"slug":4226,"title":4227,"dynasty":126,"author":305,"museum":181,"description":526,"tags":4228,"thumbUrl":4229,"material":137,"size":285,"collection":285,"collections":4230,"showCount":4114,"zanCount":48,"manualWeight":48,"mainColor":69},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[24,25,385,109,27,28,30,166,495,7,133,131,132,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff817eee9f0599f9ebafe594d2a16d4ab.jpg",[],{"id":4232,"slug":4233,"title":4234,"dynasty":126,"author":2339,"museum":242,"description":4235,"tags":4236,"thumbUrl":4237,"material":605,"size":606,"collection":285,"collections":4238,"showCount":4239,"zanCount":48,"manualWeight":48,"mainColor":49},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[23,149,24,25,26,30,109,80,112,7,579,198,247,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],33,{"id":4241,"slug":4242,"title":4243,"dynasty":126,"author":4244,"museum":20,"description":4245,"tags":4246,"thumbUrl":4247,"material":4248,"size":4249,"collection":98,"collections":4250,"showCount":4239,"zanCount":314,"manualWeight":48,"mainColor":69},237122,"xi-shan-zi-cui-tu-zhou-wang-duo-237122","溪山紫翠图轴","王铎","此幅是画家为其三弟王鑨所绘，以高远之法图写，远处雄峰峻岭，气势壮阔，中景飞瀑烟岚，尽显空灵，近处碧树流泉，生机盎然，更有文士二人坐于石上观泉品茗，实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛，不专一家，观其作品可以看到画家在宗法五代荆浩、关仝以气势与境界奇胜为长的北方画派之外，尚能融入南方画派董源、巨然借水墨晕染烘托山川气韵之法，故而笔墨技巧变化丰富，令人眼目一新。创作中，王铎能有意避开清雅潇洒的画苑时风，落笔从容不迫，轻重缓急收放自如，凭借粗劲中见质朴的艺术面目，在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。",[24,25,79,109,80,30,31,35,85,7,113,38,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纸本墨笔","纵95厘米，横36.4厘米",[98,1470],{"id":4252,"slug":4253,"title":4254,"dynasty":126,"author":2683,"museum":242,"description":4255,"tags":4256,"thumbUrl":4257,"material":285,"size":285,"collection":98,"collections":4258,"showCount":4239,"zanCount":48,"manualWeight":48,"mainColor":49},236896,"shan-shui-hua-hui-ce-shao-mi-236896","山水花卉册","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[24,25,149,385,28,80,30,309,82,7,58,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[98,219,45],{"id":4260,"slug":4261,"title":4262,"dynasty":126,"author":3328,"museum":20,"description":4263,"tags":4264,"thumbUrl":4265,"material":592,"size":4266,"collection":285,"collections":4267,"showCount":4239,"zanCount":314,"manualWeight":48,"mainColor":69},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[23,24,25,26,109,28,30,60,1262,132,133,80,7,93,82,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":4269,"slug":4270,"title":4271,"dynasty":126,"author":3511,"museum":75,"description":4272,"tags":4273,"thumbUrl":4274,"material":400,"size":4275,"collection":285,"collections":4276,"showCount":4239,"zanCount":314,"manualWeight":48,"mainColor":49},232691,"lu-shan-gao-tu-zhuang-biao-ding-yun-peng-232691","庐山高图（装裱）","此作构图紧凑密实，以细笔牛毛皴描写山石；有似王蒙的笔法，古朴厚实，浑然天成。在山体架构的布局上，又与沈周《庐山高》有些相似，甚至篆书题写《庐山高》三字的手法也和沈周作品基本雷同。所绘山头的岩石为卷云皴，造就这种看似有动态的效果，此类笔法在丁云鹏的作品中很少见。",[24,25,79,30,29,80,28,111,82,35,7,85,87],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7c9ae8dad645098bbcb66538a53dd21.jpg","193.8xx98.1厘米",[],{"id":4278,"slug":4279,"title":4280,"dynasty":18,"author":55,"museum":242,"description":4281,"tags":4282,"thumbUrl":4283,"material":285,"size":285,"collection":285,"collections":4284,"showCount":4239,"zanCount":48,"manualWeight":48,"mainColor":69},227936,"feng-yu-gui-zhou-tu-ye-yi-ming-227936","风雨归舟图页","这幅扇面以淡墨晕染出烟笼远岫，山影在濛濛水雾里晕开，似有风雨欲来的湿冷之意漫过江天。近岸老树虬曲偃仰，枝桠带风，坡石苍润间杂生的丛草随势披拂，暗合风动之姿。\n\n江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,25,2203,109,28,30,80,135,747,82,35,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":4286,"slug":4287,"title":4288,"dynasty":54,"author":4289,"museum":242,"description":4290,"tags":4291,"thumbUrl":4292,"material":285,"size":285,"collection":285,"collections":4293,"showCount":4239,"zanCount":314,"manualWeight":48,"mainColor":69},224353,"shan-shui-tu-li-zhou-sun-yi-224353","山水图立轴","孙逸","此作用高远、平远构图错落铺展，左畔危崖层叠拔地而起，以留白晕出流岚烟霭，虚实相映间尽显山势空灵秀奇。以浅绛设色写就，山石勾勒细劲挺秀，淡赭敷色晕染出清润苍朴的质感，笔简意赅。\n\n下方村居隐于岩岫竹木间，野桥通幽，士人凭栏远眺，幽寂闲适的山居雅趣跃然纸上。整体画风萧散淡远，尽显静穆清逸的文人意韵，将皖南山水的冷隽灵秀与林下幽居的雅怀相融，尽显遗世独立的审美意趣。",[23,24,25,79,28,80,30,151,86,111,134,495,36,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49b9c0e92967b4ce30f0222df23738f.jpg",[],{"id":4295,"slug":4296,"title":4297,"dynasty":126,"author":3328,"museum":75,"description":4298,"tags":4299,"thumbUrl":4300,"material":137,"size":4301,"collection":98,"collections":4302,"showCount":4239,"zanCount":314,"manualWeight":48,"mainColor":69},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","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。",[23,24,25,79,28,80,30,151,309,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[98,45],{"id":4304,"slug":4305,"title":4306,"dynasty":126,"author":1432,"museum":4307,"description":4308,"tags":4309,"thumbUrl":4310,"material":186,"size":4311,"collection":285,"collections":4312,"showCount":4239,"zanCount":48,"manualWeight":48,"mainColor":49},222337,"qi-feng-gao-yin-tu-zhou-tang-yin-222337","奇峰高隐图轴","印第安纳波利斯艺术博物馆","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,25,79,28,80,30,1373,83,86,111,35,82,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg","75x56",[],{"id":4314,"slug":4315,"title":4316,"dynasty":126,"author":127,"museum":75,"description":4317,"tags":4318,"thumbUrl":4319,"material":186,"size":4320,"collection":285,"collections":4321,"showCount":4239,"zanCount":48,"manualWeight":48,"mainColor":69},222105,"xie-mi-jia-shan-shen-zhou-222105","写米家山","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,24,25,109,30,3941,385,166,495,167,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82c8db68a8b575954749b6f85eccdfc.jpg","34.8×56.5厘米",[],{"id":4323,"slug":4324,"title":4325,"dynasty":18,"author":382,"museum":242,"description":4326,"tags":4327,"thumbUrl":4329,"material":605,"size":606,"collection":285,"collections":4330,"showCount":4331,"zanCount":314,"manualWeight":48,"mainColor":49},289379,"diao-tai-wang-yun-tu-ma-yuan-289379","雕台望云图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[24,362,386,109,80,198,4328,229,7,35,133],"高台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c98950ab3cd210300a80beee13ca05.jpg",[],32,{"id":4333,"slug":4334,"title":4335,"dynasty":54,"author":4336,"museum":242,"description":4337,"tags":4338,"thumbUrl":4339,"material":285,"size":285,"collection":98,"collections":4340,"showCount":4331,"zanCount":48,"manualWeight":48,"mainColor":69},237161,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237161","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[24,25,385,27,28,30,35,83,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4603652ccdb32e3cecd134127efbb3b3.jpg",[98,45],{"id":4342,"slug":4343,"title":4344,"dynasty":54,"author":4345,"museum":242,"description":4346,"tags":4347,"thumbUrl":4348,"material":285,"size":285,"collection":285,"collections":4349,"showCount":4331,"zanCount":314,"manualWeight":48,"mainColor":49},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","高岑","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[149,24,25,79,28,80,30,166,167,495,590,36,135,672,7,248,82,1505,2014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":4351,"slug":4352,"title":4353,"dynasty":54,"author":4354,"museum":242,"description":4355,"tags":4356,"thumbUrl":4357,"material":605,"size":606,"collection":285,"collections":4358,"showCount":4331,"zanCount":314,"manualWeight":48,"mainColor":69},235282,"ren-wu-gu-shi-ce-fan-xue-yi-235282","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,28,29,386,58,198,150,35,7,2353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652a5897903630ea1f074609fb94805f.jpg",[],{"id":4360,"slug":4361,"title":4362,"dynasty":54,"author":4363,"museum":20,"description":4364,"tags":4365,"thumbUrl":4366,"material":964,"size":4367,"collection":285,"collections":4368,"showCount":4331,"zanCount":314,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,26,28,27,29,80,30,1682,111,86,135,58,35,7,184,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":4370,"slug":4371,"title":2177,"dynasty":126,"author":4372,"museum":242,"description":4373,"tags":4374,"thumbUrl":4375,"material":285,"size":4376,"collection":285,"collections":4377,"showCount":4331,"zanCount":314,"manualWeight":48,"mainColor":49},231948,"tao-yuan-tu-shi-rui-231948","石锐","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,24,362,28,80,82,35,199,111,1682,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 厘米",[],{"id":4379,"slug":4380,"title":4381,"dynasty":162,"author":2547,"museum":242,"description":4382,"tags":4383,"thumbUrl":4384,"material":285,"size":285,"collection":285,"collections":4385,"showCount":4331,"zanCount":48,"manualWeight":48,"mainColor":49},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,25,26,27,28,30,198,86,111,309,82,7,386,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":4387,"slug":4388,"title":4389,"dynasty":162,"author":1822,"museum":242,"description":4390,"tags":4391,"thumbUrl":4392,"material":285,"size":285,"collection":285,"collections":4393,"showCount":4331,"zanCount":314,"manualWeight":48,"mainColor":49},227989,"qiu-shan-mu-ai-tu-juan-gao-ke-gong-227989","秋山暮霭图卷","以淡墨晕染峰峦，烟岚轻笼岫影，虚实相生间铺展秋日山野的空寂萧疏。近岸苍林错落，村居隐于枝桠间，秋水如镜，映带平远野色，将暮霭沉沉的静谧秋意晕开。\n画作以干湿互用的墨色写就，山峦以淡墨披麻皴辅以晕染，弱化嶙峋棱角，尽显温润秀雅。留白处化作流岚晓雾，将远峰近林织就朦胧诗境。右上角题诗与朱印错落，书画印相映成趣，添就文雅书卷气，将秋山暮时的澹远空寂，融在水墨氤氲里，尽显文人寄情丘壑的写意幽远之致。",[23,149,24,25,26,109,80,30,166,35,7,846,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37365464f0d1bde1301c29f462bf7cdc.jpg",[],{"id":4395,"slug":4396,"title":4397,"dynasty":18,"author":55,"museum":242,"description":4398,"tags":4399,"thumbUrl":4400,"material":285,"size":285,"collection":285,"collections":4401,"showCount":4331,"zanCount":48,"manualWeight":48,"mainColor":954},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,25,2203,30,109,80,3889,938,309,35,82,7,648,150,846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":4403,"slug":4404,"title":4405,"dynasty":54,"author":4406,"museum":242,"description":4407,"tags":4408,"thumbUrl":4409,"material":40,"size":4410,"collection":45,"collections":4411,"showCount":4331,"zanCount":48,"manualWeight":48,"mainColor":49},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,25,149,79,30,80,109,82,309,83,36,151,35,86,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 横90CM",[45],{"id":4413,"slug":4414,"title":4415,"dynasty":54,"author":4416,"museum":226,"description":4417,"tags":4418,"thumbUrl":4419,"material":95,"size":4420,"collection":98,"collections":4421,"showCount":4331,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,26,28,29,80,30,32,34,35,36,86,229,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","35X195厘米",[98,45],{"id":4423,"slug":4424,"title":4425,"dynasty":54,"author":456,"museum":75,"description":4426,"tags":4427,"thumbUrl":4428,"material":1096,"size":4429,"collection":285,"collections":4430,"showCount":4331,"zanCount":48,"manualWeight":48,"mainColor":69},223101,"fang-fan-kuan-qiu-shan-pu-bu-zhou-tang-dai-223101","仿范宽秋山瀑布轴","图绘峰峦高耸，幽谷溪流，缥缈的岚气中，有瀑布奔泻而下。\n是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处。",[23,149,24,25,79,28,80,130,30,2560,83,309,82,85,86,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5329ade25972de17d15cf4d5af47324.jpg","325.8x89.5",[],{"id":4432,"slug":4433,"title":4434,"dynasty":126,"author":504,"museum":75,"description":4435,"tags":4436,"thumbUrl":4437,"material":95,"size":4438,"collection":98,"collections":4439,"showCount":4331,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,28,30,29,1092,86,111,198,151,58,229,7,3151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[98],{"id":4441,"slug":4442,"title":4443,"dynasty":54,"author":842,"museum":181,"description":4444,"tags":4445,"thumbUrl":4446,"material":186,"size":4447,"collection":285,"collections":4448,"showCount":4331,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[24,109,80,30,82,35,184,846,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e6802b3a7a668616a8dfc5d77189f.jpg","24.4x49.7厘米",[],{"id":4450,"slug":4451,"title":4452,"dynasty":54,"author":4453,"museum":75,"description":4454,"tags":4455,"thumbUrl":4457,"material":186,"size":4458,"collection":98,"collections":4459,"showCount":4331,"zanCount":557,"manualWeight":48,"mainColor":49},219484,"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[149,24,25,79,109,80,30,1126,2797,85,113,672,7,4456],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[98],{"id":4461,"slug":4462,"title":4463,"dynasty":54,"author":4464,"museum":242,"description":4465,"tags":4466,"thumbUrl":4467,"material":285,"size":285,"collection":45,"collections":4468,"showCount":4469,"zanCount":48,"manualWeight":48,"mainColor":69},239380,"hong-wu-da-yu-zhi-shui-tu-juan-hong-wu-239380","弘旿大禹治水图卷","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。",[23,24,25,26,28,30,58,35,150,32,112,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],31,{"id":4471,"slug":4472,"title":2259,"dynasty":54,"author":854,"museum":242,"description":1921,"tags":4473,"thumbUrl":4476,"material":285,"size":285,"collection":285,"collections":4477,"showCount":4469,"zanCount":48,"manualWeight":48,"mainColor":69},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[25,24,109,80,4474,308,30,166,167,495,672,86,36,4475,7,649,248],"册页","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":4479,"slug":4480,"title":4481,"dynasty":54,"author":4482,"museum":20,"description":4483,"tags":4484,"thumbUrl":4485,"material":186,"size":285,"collection":285,"collections":4486,"showCount":4469,"zanCount":48,"manualWeight":48,"mainColor":69},233746,"hu-fu-tu-er-duan-juan-dai-xi-233746","虎阜图二段卷","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。\u2028 工诗书，善绘事。四王以后的山水画大家，被誉为四王后劲，与清代画家汤贻汾齐名。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花鸟、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是:临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。戴熙另著有《习苦斋画絮》，于画理多有论述。题画偶录行世。\n他的子侄受其影响都能绘画:长子有恒(1826-1891)(字大年，号保卿)所作山水笔意疏秀，有倪瓒风韵。以恒(字用伯)、之恒(字仲江，号菊孙)、其恒(字秀渠，又字问水)、尔恒(字子谦)，皆继承家学，善作山水，而各有成就。\n以恒更有声誉，所作山水笔意淹润，墨气淋漓，而屋宇几席亦复精工，著有《醉苏斋画诀》。《清画家诗史》则称之恒画技为戴氏群从之冠。有恒子兆登、兆春亦均能画。",[24,25,26,109,80,30,82,35,151,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d99c23e5f3cf97e36ff8021d4c17f77.jpg",[],{"id":4488,"slug":4489,"title":4490,"dynasty":126,"author":2871,"museum":396,"description":4491,"tags":4492,"thumbUrl":4493,"material":400,"size":4494,"collection":285,"collections":4495,"showCount":4469,"zanCount":48,"manualWeight":48,"mainColor":954},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[23,24,25,26,109,30,80,112,7,35,82,131,133,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":4497,"slug":4498,"title":4499,"dynasty":162,"author":4500,"museum":75,"description":4501,"tags":4502,"thumbUrl":4504,"material":4505,"size":4506,"collection":285,"collections":4507,"showCount":4469,"zanCount":300,"manualWeight":48,"mainColor":69},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。”",[24,109,362,26,25,80,30,134,4503,35,34,229,230,7,133],"沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":4509,"slug":4510,"title":4511,"dynasty":126,"author":669,"museum":242,"description":4512,"tags":4513,"thumbUrl":4514,"material":285,"size":285,"collection":285,"collections":4515,"showCount":4469,"zanCount":48,"manualWeight":48,"mainColor":49},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\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。\n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。\n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。\n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。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”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。\n”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。\n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。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,25,26,109,80,132,131,133,30,166,35,36,85,7,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":4517,"slug":4518,"title":4519,"dynasty":54,"author":690,"museum":20,"description":2012,"tags":4520,"thumbUrl":4521,"material":40,"size":2016,"collection":285,"collections":4522,"showCount":4469,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[23,149,24,25,30,386,28,29,198,648,35,258,32,7,1092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":4524,"slug":4525,"title":4526,"dynasty":162,"author":1822,"museum":75,"description":4527,"tags":4528,"thumbUrl":4530,"material":4531,"size":4532,"collection":98,"collections":4533,"showCount":4469,"zanCount":314,"manualWeight":48,"mainColor":49},221691,"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[23,149,24,25,79,109,80,30,3889,938,35,86,111,229,245,7,82,1093,85,170,3298,4529],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[98,99],{"id":4535,"slug":4536,"title":4537,"dynasty":562,"author":2729,"museum":1761,"description":4538,"tags":4539,"thumbUrl":4543,"material":4544,"size":285,"collection":285,"collections":4545,"showCount":4469,"zanCount":314,"manualWeight":48,"mainColor":69},220555,"xi-ma-la-ya-shan-zhi-lin-xu-bei-hong-220555","喜马拉雅山之林","以林木为天然画框，将雪域盛景揽入其中。苍劲树干皴刻着斑驳肌理，枝桠间萌动的新绿晕开春日生机，暖棕色调晕染出山林的温润烟火气。远景山峦层叠着柔灰与赭色，峰顶积雪在天光下泛着清冽皎洁，冷调与暖韵交织融合，揉合西画光影质感与东方山水留白意趣。\n\n将山野春日的鲜活瞬间凝于画布，循着林木间隙，便可踏入这藏着林间呼吸与雪域清辉的秘境，窥见生机盎然的山林与孤高辽远的雪山共生的自然意趣。",[149,4540,28,4541,35,3558,112,4159,7,4542,229,38],"油画","写实","森林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797481366c3bd1cdfc248ab635ea0f5c.jpg","布面油彩",[],{"id":4547,"slug":4548,"title":4549,"dynasty":162,"author":2108,"museum":1340,"description":4550,"tags":4551,"thumbUrl":4552,"material":338,"size":4553,"collection":99,"collections":4554,"showCount":4469,"zanCount":48,"manualWeight":48,"mainColor":69},220263,"tai-bai-long-jiao-tu-fang-cong-yi-220263","太白泷湫图","此幅作品画陕西秦岭主峰太白山上的瀑布，与隐居其间的道士。此幅画构图，大致运用远、中、近景的三段式。近景平地松木和杂树丛生，树林背面有数间茅屋、水榭．楼阁，隐约可见。中景为空旷的水面，左侧的岸边长着数株林木，右侧的山径曲折，在半山腰中有数株树木，枝叶下垂。山腰间瀑布直泻，宛如一条白龙腾空而下。远景为龙脉高耸的山势，十分奇峭。",[23,24,109,79,30,80,166,35,111,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[99],{"id":4556,"slug":4557,"title":4558,"dynasty":54,"author":4559,"museum":242,"description":4560,"tags":4561,"thumbUrl":4563,"material":605,"size":606,"collection":285,"collections":4564,"showCount":4565,"zanCount":314,"manualWeight":48,"mainColor":69},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","董邦达","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,149,24,25,26,362,28,30,33,112,7,35,86,247,198,4562,248,150,135,131,133],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],30,{"id":4567,"slug":4568,"title":4569,"dynasty":126,"author":1432,"museum":75,"description":4570,"tags":4571,"thumbUrl":4576,"material":338,"size":3215,"collection":98,"collections":4577,"showCount":4565,"zanCount":48,"manualWeight":48,"mainColor":954},283644,"guan-pu-tu-tang-yin-283644","观瀑图","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,109,79,362,4572,82,4573,111,7,4574,2459,4575,80,131,133],"观瀑","古树","崖岸","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg",[98],{"id":4579,"slug":4580,"title":4581,"dynasty":54,"author":854,"museum":181,"description":4582,"tags":4583,"thumbUrl":4584,"material":4585,"size":4586,"collection":98,"collections":4587,"showCount":4565,"zanCount":48,"manualWeight":48,"mainColor":49},237152,"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[24,79,109,80,30,86,111,151,83,35,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[98,99],{"id":4589,"slug":4590,"title":4591,"dynasty":54,"author":3815,"museum":20,"description":4592,"tags":4593,"thumbUrl":4594,"material":285,"size":285,"collection":98,"collections":4595,"showCount":4565,"zanCount":48,"manualWeight":48,"mainColor":69},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,25,385,109,80,30,309,82,7,198,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[98,99],{"id":4597,"slug":4598,"title":4599,"dynasty":162,"author":1222,"museum":20,"description":4600,"tags":4601,"thumbUrl":4602,"material":95,"size":4603,"collection":285,"collections":4604,"showCount":4565,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,2203,109,28,80,30,1587,507,150,58,82,229,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 横28cm.",[],{"id":4606,"slug":4607,"title":4608,"dynasty":162,"author":2547,"museum":75,"description":4609,"tags":4610,"thumbUrl":4611,"material":137,"size":4612,"collection":98,"collections":4613,"showCount":4565,"zanCount":314,"manualWeight":48,"mainColor":49},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[24,25,26,109,80,30,166,7,35,36,133,38,111,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[98],{"id":4615,"slug":4616,"title":2383,"dynasty":162,"author":55,"museum":75,"description":4617,"tags":4618,"thumbUrl":4619,"material":95,"size":4620,"collection":98,"collections":4621,"showCount":4565,"zanCount":48,"manualWeight":48,"mainColor":49},219492,"qiu-shan-tu-zhou-yi-ming-219492","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[24,25,79,109,80,30,35,83,7,151,58,82,309,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[98],{"id":4623,"slug":4624,"title":4625,"dynasty":18,"author":820,"museum":75,"description":4626,"tags":4627,"thumbUrl":4628,"material":338,"size":824,"collection":285,"collections":4629,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":69},288510,"xi-shan-qiu-se-tu-zhao-ji-288510","溪山秋色图","图中描绘的烟岚雾气迷漫，群峰隐现其间，溪水曲环，江面空阔，渔民捕捞，舟船停泊，秋叶杂树点缀在山头坡岸，完全是一派江湖渔乐的景象。画法上用笔潇洒，点染苍润，是当时画院中的另一种风格。全图中天空留白很大，用鸟瞰法取景，表现出无限辽阔深远的意境。",[149,24,362,109,30,7,35,85,135,1078,133,131,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78fc1823a0c76aefdc06a6fe20acc6e1.jpg",[],29,{"id":4632,"slug":4633,"title":4634,"dynasty":18,"author":1851,"museum":75,"description":1852,"tags":4635,"thumbUrl":4637,"material":605,"size":606,"collection":285,"collections":4638,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":49},288420,"shan-cun-gui-qi-tu-yan-ci-yu-288420","山村归骑图",[149,24,30,109,80,82,35,7,4636,782,133,1509],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4996dfe72e1b851417cc3efdcb3e355c.jpg",[],{"id":4640,"slug":4641,"title":4642,"dynasty":54,"author":456,"museum":20,"description":4643,"tags":4644,"thumbUrl":4645,"material":592,"size":4646,"collection":98,"collections":4647,"showCount":4630,"zanCount":314,"manualWeight":48,"mainColor":49},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,25,79,28,80,30,112,35,111,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 x 62 cm",[98,45],{"id":4649,"slug":4650,"title":2300,"dynasty":54,"author":1959,"museum":242,"description":4651,"tags":4652,"thumbUrl":4653,"material":285,"size":285,"collection":98,"collections":4654,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":69},236044,"shan-shui-ce-wang-yuan-qi-236044","笔底云峰浮于烟岚，以干笔积墨皴擦山峦，苍浑厚重间带着元人披麻皴的秀润遗意。近景溪湾宛转，村居隐于茂林错落间，屋舍疏朗恬淡，林木俯仰有姿。留白晕染出云气流荡，将远峰、中林、近岸自然衔连，疏密松紧相映。层层积墨却清雅松秀，不露堆砌之态，既得山川浑厚之致，又藏静穆萧散的文心。丘壑间浸着江南山水温润的灵韵，把幽居林下的闲澹意趣融于笔墨法度，尽显沉静悠然的文人山水意境。",[24,109,30,80,166,167,35,36,649,7,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[98],{"id":4656,"slug":4657,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":4661,"thumbUrl":4662,"material":592,"size":285,"collection":98,"collections":4663,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":69},234719,"huang-shan-tu-ce-jiang-zhu-234719","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,109,80,131,132,385,30,82,111,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[98],{"id":4665,"slug":4666,"title":4667,"dynasty":18,"author":4668,"museum":242,"description":4669,"tags":4670,"thumbUrl":4672,"material":285,"size":285,"collection":285,"collections":4673,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":49},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）。",[23,24,149,28,80,30,135,58,507,82,4671,4146,35,2149,7],"渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":4675,"slug":4676,"title":4677,"dynasty":54,"author":1421,"museum":242,"description":4678,"tags":4679,"thumbUrl":4681,"material":285,"size":285,"collection":285,"collections":4682,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":49},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,24,386,28,29,30,198,35,82,7,1115,4680,1204,32],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":4684,"slug":4685,"title":4686,"dynasty":54,"author":576,"museum":242,"description":4687,"tags":4688,"thumbUrl":4689,"material":285,"size":285,"collection":285,"collections":4690,"showCount":4630,"zanCount":300,"manualWeight":48,"mainColor":69},224515,"shan-shui-tu-ce-8-kai-4-shi-tao-224515","山水图册8开-4","淡墨晕染出山峦肌理，远山隐在烟岚之中，如笼轻绡。左崖飞瀑垂落，为静寂山林注入灵动生机。坡上苍松错落虬劲，撑起山野清寂风骨，茅舍静立平坡，素朴安然，似藏幽人栖居之趣。\n\n此作用干淡笔墨皴擦山体，湿墨点染松针，简淡见苍润。留白烘衬出空濛云烟，寥寥数笔铺陈开林泉幽寂，笔意松秀清脱，尽显萧散淡远的林下意趣，观之便如踏入幽僻山居，尘俗烟火尽涤。",[23,24,109,28,385,80,30,166,83,309,184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ad686bc962b57eed356778454ad1df.jpg",[],{"id":4692,"slug":4693,"title":3718,"dynasty":126,"author":4694,"museum":75,"description":4695,"tags":4696,"thumbUrl":4698,"material":117,"size":4699,"collection":98,"collections":4700,"showCount":4630,"zanCount":314,"manualWeight":48,"mainColor":49},222502,"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","张路","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[23,24,109,79,80,30,82,35,7,649,58,111,134,4697],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","纵147厘米，横105厘米",[98,99],{"id":4702,"slug":4703,"title":4704,"dynasty":562,"author":4705,"museum":4706,"description":4707,"tags":4708,"thumbUrl":4709,"material":285,"size":285,"collection":285,"collections":4710,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":69},220486,"qiu-tian-de-feng-jing-lin-feng-mian-220486","秋天的风景","林风眠","Hong Kong Museum of Art","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[24,28,30,166,495,36,7,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfade6bcbd19b6de8e2bb0e680d9ab09.jpg",[],{"id":4712,"slug":4713,"title":4714,"dynasty":126,"author":305,"museum":75,"description":4715,"tags":4716,"thumbUrl":4717,"material":413,"size":4718,"collection":98,"collections":4719,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,109,362,79,80,2765,166,167,35,7,229,245,1093,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15e39c6775698df13687f8.jpg","123.2x51.9",[98],{"id":4721,"slug":4722,"title":4723,"dynasty":126,"author":305,"museum":396,"description":1525,"tags":4724,"thumbUrl":4725,"material":186,"size":285,"collection":285,"collections":4726,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":69},220345,"fang-mi-fei-shan-shui-tu-juan-2-wen-dong-qi-chang-220345","仿米芾山水图卷-2文",[24,25,26,109,130,80,30,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca2b8e1d8c5f8ab047812b476da7701.jpg",[],{"id":4728,"slug":4729,"title":4730,"dynasty":54,"author":854,"museum":242,"description":4731,"tags":4732,"thumbUrl":4734,"material":137,"size":4735,"collection":285,"collections":4736,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":69},220134,"mo-gu-shan-shui-hua-2-wang-hui-220134","摹古山水画2","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。",[23,24,25,28,4733,80,30,151,111,82,35,7],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bffb832eccf43b9b7369932d121853.jpg","30.5×21.5",[],{"id":4738,"slug":4739,"title":4740,"dynasty":54,"author":854,"museum":242,"description":4731,"tags":4741,"thumbUrl":4742,"material":137,"size":4735,"collection":285,"collections":4743,"showCount":4630,"zanCount":48,"manualWeight":48,"mainColor":69},220133,"mo-gu-shan-shui-hua-3-wang-hui-220133","摹古山水画3",[23,24,25,4733,28,80,30,309,82,7,36,58,85,35,229,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95d2ba722189a59771f6f1eb36950e.jpg",[],{"id":4745,"slug":4746,"title":4747,"dynasty":126,"author":4748,"museum":242,"description":4749,"tags":4750,"thumbUrl":4752,"material":186,"size":285,"collection":44,"collections":4753,"showCount":4754,"zanCount":314,"manualWeight":48,"mainColor":49},236959,"xian-ren-cai-zhi-tu-zhou-guo-fen-ya-236959","仙人采芝图轴","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。",[149,24,25,79,29,780,28,58,134,4751,7],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b03906855f2a9702cbd91eb476a56a.jpg",[44],28,{"id":4756,"slug":4757,"title":362,"dynasty":54,"author":4758,"museum":20,"description":4759,"tags":4760,"thumbUrl":4761,"material":186,"size":285,"collection":285,"collections":4762,"showCount":4754,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,26,28,80,109,30,7,82,35,834,135,198,229,871,248,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":4764,"slug":4765,"title":4766,"dynasty":162,"author":55,"museum":20,"description":4767,"tags":4768,"thumbUrl":4769,"material":95,"size":4770,"collection":98,"collections":4771,"showCount":4754,"zanCount":314,"manualWeight":48,"mainColor":327},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,24,25,79,28,27,29,30,58,309,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[98,45],{"id":4773,"slug":4774,"title":4775,"dynasty":126,"author":4776,"museum":1003,"description":4777,"tags":4778,"thumbUrl":4779,"material":338,"size":4780,"collection":98,"collections":4781,"showCount":4754,"zanCount":48,"manualWeight":48,"mainColor":954},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","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。",[23,24,362,130,109,80,82,35,247,36,7,135,111,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[98],{"id":4783,"slug":4784,"title":4785,"dynasty":126,"author":4786,"museum":1063,"description":4787,"tags":4788,"thumbUrl":4791,"material":64,"size":4792,"collection":98,"collections":4793,"showCount":4754,"zanCount":48,"manualWeight":48,"mainColor":49},219735,"shi-hu-mu-se-tu-sheng-mao-ye-219735","石湖暮色图","盛茂烨","此作用淡墨晕染铺展暮色氛围感，远山轻笼烟岚，山巅浮屠隐现濛濛霭气间，将黄昏的朦胧柔焦晕染尽致。近岸林木错落，屋舍藏于深翠之中，湖畔浅滩温润柔和，空茫湖面漾着晚色静波。\n\n笔墨松秀简淡，以干湿层次区分远近虚实，把江南水畔黄昏的清寂淡远尽数铺陈。整体意境萧疏沉静，将暮色四合时的松弛空茫藏在水墨晕染里，尽显晚山归暮的温柔意韵，让观者仿若置身于这沉静的暮色湖山之间，沉醉在江南水泽的黄昏意趣中。",[23,24,28,30,80,79,166,4789,35,2014,7,4790],"塔","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485dfc0e033834ef6aef1379c333e4e.jpg","纵113.5横48厘米",[98],{"id":4795,"slug":4796,"title":4797,"dynasty":18,"author":55,"museum":181,"description":4798,"tags":4799,"thumbUrl":4800,"material":338,"size":285,"collection":44,"collections":4801,"showCount":4754,"zanCount":48,"manualWeight":48,"mainColor":49},219516,"song-xia-qi-ji-tu-yi-ming-219516","松下憩寂图","淡墨晕染开幽寂林泉，松枝斜斜探入空濛烟霭，似将山岚轻轻挑起。袒腹老僧倚石而卧，袈裟半敞，眉眼松弛自在，将浮生俗虑尽数抛却。\n\n身旁药葫芦悬于松根，石上摊开素纸，案边置着煮茶陶釜，静水流淌在咫尺之外，把山野清旷揉进笔墨里。画面以留白衬出空寂禅意，虚实相生间，将林下幽居的松弛与禅家的静穆融作一处，淡远萧散的笔意，晕开了宋人偏爱的林下雅趣，将喧嚣隔在烟岚之外，只留山风松涛伴幽人一枕清梦。",[24,109,28,58,309,134,30,322,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adcc3f030428c1fdabd00c0eee7d3b7.jpg",[44],{"id":4803,"slug":4804,"title":3463,"dynasty":162,"author":2108,"museum":242,"description":4805,"tags":4806,"thumbUrl":4807,"material":605,"size":606,"collection":285,"collections":4808,"showCount":4809,"zanCount":314,"manualWeight":48,"mainColor":69},290227,"yun-lin-zhong-xiu-tu-fang-cong-yi-290227","画苍茫之云山雾海，山峰高耸，山腰飘着一带浓云，朦胧一片，山下坡岸杂树茂密，还有一片暗淡树影，在一股白云飘带中时隐时现，更突出了苍茫云气之动感。画一高一低的山峰挺出于白云之上，山尖用墨色点染，山下深谷幽涧。画之右端，画有几棵苍天古松，用浓墨点出茂密的松枝和树干，生趣盎然。画面之末端，茂密的树丛中所出现之屋宇，俨然为一道观集中之地，有山门、有围墙、有宫观，这应是龙虎山上清宫之主观所在，其它宫观则分散各处。此画从表面上看系水墨云山烟树，实际为方从义绘道教第三十二福地龙虎山及上清宫等宫观。他所题《云林钟秀》即已说明所绘为“天地间灵秀之气所聚，亦省称‘灵秀’、‘毓灵’”。这灵秀之气所聚，及道教之福地。",[23,24,25,26,109,30,7,112,1505,4102,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643ccd723e1550afdc83087f48a35f73.jpg",[],27,{"id":4811,"slug":4812,"title":4813,"dynasty":54,"author":1361,"museum":242,"description":4814,"tags":4815,"thumbUrl":4816,"material":285,"size":285,"collection":98,"collections":4817,"showCount":4809,"zanCount":48,"manualWeight":48,"mainColor":954},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷","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。",[24,26,109,30,80,135,133,35,82,7,32,198,858,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[98,99],{"id":4819,"slug":4820,"title":4821,"dynasty":54,"author":4559,"museum":75,"description":4822,"tags":4823,"thumbUrl":4824,"material":28,"size":4825,"collection":98,"collections":4826,"showCount":4809,"zanCount":48,"manualWeight":48,"mainColor":69},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","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。",[23,24,25,79,109,80,30,166,528,1587,151,35,85,131,133,115,1505,7,4102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[98,99],{"id":4828,"slug":4829,"title":4830,"dynasty":126,"author":3076,"museum":242,"description":4831,"tags":4832,"thumbUrl":4834,"material":109,"size":4835,"collection":98,"collections":4836,"showCount":4809,"zanCount":48,"manualWeight":48,"mainColor":954},222140,"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,24,26,109,80,30,166,495,36,7,248,168,4833],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[98,99],{"id":4838,"slug":4839,"title":4840,"dynasty":54,"author":854,"museum":843,"description":3660,"tags":4841,"thumbUrl":4845,"material":338,"size":4846,"collection":98,"collections":4847,"showCount":4809,"zanCount":48,"manualWeight":48,"mainColor":69},219913,"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图",[24,25,109,30,80,495,7,82,1077,4842,4843,4844,112,1505,89],"传统山水画技法","水墨写意","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[98],{"id":4849,"slug":4850,"title":4851,"dynasty":54,"author":842,"museum":181,"description":4444,"tags":4852,"thumbUrl":4853,"material":186,"size":4447,"collection":285,"collections":4854,"showCount":4809,"zanCount":48,"manualWeight":48,"mainColor":69},219854,"ba-jing-shan-shui-tu-3-gong-xian-219854","八景山水图-3",[24,109,30,672,1891,1671,7,80,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19de21601c89225b55803f981dddc27.jpg",[],{"id":4856,"slug":4857,"title":4858,"dynasty":266,"author":267,"museum":75,"description":4859,"tags":4860,"thumbUrl":4861,"material":413,"size":4862,"collection":285,"collections":4863,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":49},289924,"dong-tian-shan-tang-tu-dong-yuan-289924","洞天山堂图","厚厚的白云拥抱着巍峨的群峰，深沟巨壑中，山道弯弯，涧流清澈。山林白云深处，阁楼显露峥嵘，如此美景可谓别有“洞天”。此图用笔坚实，用墨浓重，山石以长皴短点相间，再复加染以浓重墨色，显出一种浑雄苍郁的气派。\n此画无款，图绘白云吞吐飘浮于山间， 山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[149,24,25,79,109,80,30,198,86,309,7,82,151,111,133,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg","183.2x121.2",[],26,{"id":4866,"slug":4867,"title":4868,"dynasty":54,"author":1421,"museum":242,"description":4869,"tags":4870,"thumbUrl":4873,"material":605,"size":606,"collection":285,"collections":4874,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":49},288523,"shan-shui-ye-yuan-jiang-288523","山水页","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[23,24,149,385,109,80,30,112,7,35,4562,4871,4872],"平岸","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4a3d1ad5f6a140a5de6f967f195038.jpg",[],{"id":4876,"slug":4877,"title":2259,"dynasty":54,"author":854,"museum":242,"description":1921,"tags":4878,"thumbUrl":4879,"material":285,"size":285,"collection":285,"collections":4880,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":69},237587,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237587",[24,25,149,109,308,30,80,385,112,35,111,86,36,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa175a195bd0ae1ffc16b04aa9a2fba7e.jpg",[],{"id":4882,"slug":4883,"title":4884,"dynasty":54,"author":854,"museum":226,"description":4885,"tags":4886,"thumbUrl":4887,"material":2562,"size":4888,"collection":98,"collections":4889,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":69},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[24,109,80,130,79,133,30,2675,82,35,86,111,135,151,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[98],{"id":4891,"slug":4892,"title":4893,"dynasty":54,"author":4894,"museum":20,"description":3797,"tags":4895,"thumbUrl":4896,"material":592,"size":3800,"collection":98,"collections":4897,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":954},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","王概",[24,25,79,109,28,30,309,672,151,111,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg",[98],{"id":4899,"slug":4900,"title":4901,"dynasty":126,"author":55,"museum":181,"description":4902,"tags":4903,"thumbUrl":4904,"material":285,"size":285,"collection":285,"collections":4905,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":49},234930,"xie-shi-chen-xia-shan-fei-pu-tu-zhou-yi-ming-234930","谢时臣夏山飞瀑图轴","谢时臣（1487-1567），明代画家。字思忠，号樗仙。吴（今江苏苏州）人。工书法，长于隶书。擅山水，师法吴镇、沈周，稍作变化，作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作山峦重叠，高耸险峻，笔墨或细密苍劲，或劲健沉郁，或纵横纷披，富有变化。有《杜陵诗意图》、《溪山揽胜图》、《策杖寻幽图》、《武当霁雪图》、《谪仙玩月图》等传世。\n谢时臣(公元1488-1567年尚在)，字思忠，号樗仙，吴人，专长画山水，画史称他师法梅道人，学沈石田稍变其意。多作屏障大幅，构图雄伟严密，气势纵横，从作品看，画风近于戴进与吴派的沈周之间。传世作品有《虎阜春晴图》(辽宁省博物馆藏)、《江山胜览图》卷、《夏山飞瀑图》(上海博物馆藏)、《杜陵诗意图册》(现藏故宫博物院)、《武当霁雪图》大轴(现藏山东省博物馆)等。上海博物馆藏有谢氏水墨花卉册，作于嘉靖廿三年(1544)，颇有风致，惟传世不多。",[24,109,80,79,30,83,82,35,7,58,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5022b1e88d93f3e65c907903f6e5ddfc.jpg",[],{"id":4907,"slug":4908,"title":4909,"dynasty":54,"author":4559,"museum":75,"description":4910,"tags":4911,"thumbUrl":4912,"material":153,"size":4913,"collection":98,"collections":4914,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":69},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,25,79,109,80,30,112,309,83,151,36,85,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[98,99],{"id":4916,"slug":4917,"title":3796,"dynasty":54,"author":4559,"museum":75,"description":4822,"tags":4918,"thumbUrl":4921,"material":153,"size":4922,"collection":98,"collections":4923,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":69},223106,"yun-shan-tu-zhou-dong-bang-da-223106",[23,24,30,109,28,80,79,112,35,83,151,85,7,36,113,91,4919,649,114,229,1091,4100,214,4920],"谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[98,99],{"id":4925,"slug":4926,"title":3183,"dynasty":18,"author":831,"museum":396,"description":4927,"tags":4928,"thumbUrl":4929,"material":95,"size":4930,"collection":42,"collections":4931,"showCount":4864,"zanCount":314,"manualWeight":48,"mainColor":69},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品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。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,149,24,25,26,109,28,80,30,2560,3186,35,82,7,112,1902,507,649,111,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,98,99],{"id":4933,"slug":4934,"title":4935,"dynasty":126,"author":4936,"museum":1003,"description":4937,"tags":4938,"thumbUrl":4939,"material":64,"size":4940,"collection":98,"collections":4941,"showCount":4864,"zanCount":48,"manualWeight":48,"mainColor":49},220040,"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[23,149,24,25,26,109,30,80,166,83,4168,35,199,7,113,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[98],{"id":4943,"slug":4944,"title":612,"dynasty":126,"author":4945,"museum":75,"description":4946,"tags":4947,"thumbUrl":4949,"material":137,"size":4950,"collection":98,"collections":4951,"showCount":4864,"zanCount":314,"manualWeight":48,"mainColor":69},219470,"shan-shui-tu-gu-ning-yuan-219470","顾凝远","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,25,79,109,28,80,133,132,30,229,7,35,672,36,1599,445,4948],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[98],{"id":4953,"slug":4954,"title":4955,"dynasty":126,"author":305,"museum":359,"description":4015,"tags":4956,"thumbUrl":4957,"material":137,"size":285,"collection":285,"collections":4958,"showCount":4864,"zanCount":314,"manualWeight":48,"mainColor":69},217016,"fang-gu-shan-shui-ce-liu-kai-5-dong-qi-chang-217016","仿古山水册六开-5",[23,24,25,385,109,30,132,133,672,82,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31baaa2bc3dec82af32f7ba9ddd10f36.jpg",[],{"id":4960,"slug":4961,"title":4962,"dynasty":18,"author":831,"museum":242,"description":4963,"tags":4964,"thumbUrl":4965,"material":605,"size":606,"collection":285,"collections":4966,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":49},290335,"qiu-shan-lin-yu-tu-zhou-yan-wen-gui-290335","秋山琳宇图轴","燕文贵（约公元十一世纪），浙江吴兴人。少时曾流落京师（河南开封）为商贩，后来才华被画院待诏高益所赏识，得以进入画院任祇候之职。山水、人物均佳，尤善於描绘四季景物，清雅可爱。画院中人称其画为“燕家景”。",[24,149,79,30,109,80,322,198,672,83,111,7,82,1078,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa06ad292210ef9b12e3c03a7583042bc.jpg",[],25,{"id":4969,"slug":4970,"title":4971,"dynasty":18,"author":2080,"museum":242,"description":4972,"tags":4973,"thumbUrl":4975,"material":605,"size":606,"collection":285,"collections":4976,"showCount":4967,"zanCount":314,"manualWeight":48,"mainColor":69},288277,"xiao-xiang-wo-you-tu-li-gong-lin-288277","潇湘卧游图","《潇湘卧游图》该画中主要描绘了当时的潇湘奇景。作者以轻灵、淡雅的水墨风格在纸上作画，使用了将画面大片留白的画法。",[23,149,24,26,25,109,30,1505,150,7,132,4974,133,80],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd68985dcb3dc40da32929dd1bf1f4.jpg",[],{"id":4978,"slug":4979,"title":4980,"dynasty":54,"author":690,"museum":242,"description":4981,"tags":4982,"thumbUrl":4983,"material":605,"size":606,"collection":285,"collections":4984,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":69},287689,"han-gong-chun-xiao-tu-zhou-yuan-yao-287689","汉宫春晓图轴","此图名为汉代宫殿之景，实际上表现的是作者想像中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其灵动的点染不仅显现出石质的坚硬，同时增强了画面的动势，与工整精巧的宫阙楼阁形成粗放与华美、活泼与整齐的鲜明对比。",[24,25,149,79,386,29,28,30,198,86,111,151,7,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71777f03d1a1f477faee4e4e8089f117.jpg",[],{"id":4986,"slug":4987,"title":4988,"dynasty":54,"author":2291,"museum":20,"description":4989,"tags":4990,"thumbUrl":4991,"material":592,"size":4992,"collection":98,"collections":4993,"showCount":4967,"zanCount":314,"manualWeight":48,"mainColor":69},236110,"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[24,109,80,30,111,507,134,229,7,35,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[98,99],{"id":4995,"slug":4996,"title":4997,"dynasty":54,"author":4998,"museum":242,"description":4999,"tags":5000,"thumbUrl":5002,"material":285,"size":285,"collection":285,"collections":5003,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":69},230219,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230219","十二金钗图轴","张善孖","此作用水墨晕染出秋江暮色，云烟如絮，朦胧苍茫。芦叶以焦墨劲笔写出，苍劲挺拔，烘托出荒寒清寂的秋意。墨虎雄踞丛芦之上，身姿矫健遒劲，皮毛以干湿墨皴擦晕染，将绒质感与猛兽威严相融。它回首远眺，目光沉毅内敛，褪去传统虎画的凶戾张扬，尽显山林王者的孤傲沉静。\n\n题款朱印错落点缀，诗画相映，将虎的英武气度融于秋江暮色之中，以写意笔墨勾勒实景意趣，把猛兽的雄姿化作秋江一景的清寂风骨，笔意兼工带写，借虎抒怀，尽显雅致文气。",[23,24,25,149,79,109,214,3908,5001,7,540],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6490eb9fd9675d8251e3cf2c0e894455.jpg",[],{"id":5005,"slug":5006,"title":5007,"dynasty":54,"author":766,"museum":242,"description":5008,"tags":5009,"thumbUrl":5010,"material":285,"size":285,"collection":285,"collections":5011,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":49},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,25,79,362,80,109,28,30,309,83,7,82,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":5013,"slug":5014,"title":5015,"dynasty":18,"author":55,"museum":75,"description":5016,"tags":5017,"thumbUrl":5019,"material":153,"size":5020,"collection":285,"collections":5021,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":49},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,24,25,79,109,80,30,590,5018,198,495,82,229,7],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":5023,"slug":5024,"title":5025,"dynasty":54,"author":55,"museum":20,"description":5026,"tags":5027,"thumbUrl":5028,"material":5029,"size":5030,"collection":285,"collections":5031,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":69},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,28,26,80,30,31,35,199,1204,32,7,4789,151,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","彩绘","纵32厘米，横210厘米",[],{"id":5033,"slug":5034,"title":5035,"dynasty":126,"author":5036,"museum":75,"description":5037,"tags":5038,"thumbUrl":5041,"material":109,"size":285,"collection":98,"collections":5042,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":69},219252,"zhi-zi-hou-men-tu-wang-shi-chang-219252","稚子候门图","王世昌","山峦层叠间云雾轻飏，似给远峰披上薄纱，愈显深幽。近景古木虬枝盘曲，墨色浓淡交错，勾勒出苍劲风骨；岩石以简括皴法写就，纹理毕现。蜿蜒小径上，稚子数人或立或趋，眉眼间满是天真，翘首之态似在盼归人，那份纯粹的期盼，在清寂山水中晕开暖意。画作以水墨衬淡彩，山水的空灵与人间温情相映，既承继明代山水的雅致气韵，又以人物点染出生活鲜活，于无声处传递亲情的柔软，观之如临其境，心生动容。",[23,24,109,28,30,58,579,113,649,112,7,5039,5040,80],"盼归","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92016fc192d1615fd58bffc960f15b69.jpg",[98],{"id":5044,"slug":5045,"title":5046,"dynasty":54,"author":5047,"museum":1248,"description":1575,"tags":5048,"thumbUrl":5049,"material":137,"size":1578,"collection":98,"collections":5050,"showCount":4967,"zanCount":314,"manualWeight":48,"mainColor":69},218100,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218100","新安逸韵册(韩铸山水)","韩铸",[23,24,25,30,28,80,82,35,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f291341f23bb7e28180547e5a748143.jpg",[98],{"id":5052,"slug":5053,"title":5054,"dynasty":54,"author":492,"museum":181,"description":5055,"tags":5056,"thumbUrl":5057,"material":137,"size":5058,"collection":285,"collections":5059,"showCount":4967,"zanCount":314,"manualWeight":48,"mainColor":69},216977,"fang-song-yuan-shan-shui-ce-8-wang-jian-216977","仿宋元山水册-8","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。",[23,24,25,30,130,28,80,385,82,111,35,7,86,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31137973a74e5dcf920e4c89fd5788c.jpg","纵55.4厘米，横36.0厘米",[],{"id":5061,"slug":5062,"title":5063,"dynasty":54,"author":854,"museum":181,"description":5064,"tags":5065,"thumbUrl":5066,"material":285,"size":285,"collection":98,"collections":5067,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":5068},201845,"song-he-ming-quan-tu-zhou-wang-hui-201845","松壑鸣泉图轴","画面以松壑泉流为韵，苍松虬枝盘曲，松针细密如织，尽显古木之劲。山石用皴法层层皴染，纹理错杂，与轻烟淡雾交织，铺展深远空间。泉声隐于山间，似潺潺入耳，添灵动之趣。近景林木葱郁，中景山峦叠嶂，远景云雾缥缈，层次分明。笔墨融南北宗精髓，雄浑与秀逸兼具，气韵生动，静中藏生机，尽展传统山水的笔墨意趣与自然灵韵。",[30,80,109,79,579,112,7,111,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7da25015fde549641720d4a3fb365f1.jpg",[98],"917257",{"id":5070,"slug":5071,"title":5072,"dynasty":54,"author":5073,"museum":181,"description":5074,"tags":5075,"thumbUrl":5076,"material":285,"size":285,"collection":98,"collections":5077,"showCount":4967,"zanCount":48,"manualWeight":48,"mainColor":5078},201793,"xia-shan-yu-yu-tu-zhou-zhang-yin-201793","夏山欲雨图轴","张崟","画面以云雾为脉络，层叠山峦在烟霭中虚实相生，夏山欲雨的朦胧氛围扑面而来。近处苍松挺劲，枝繁叶茂，掩映着山间亭榭；溪流潺潺绕过嶙峋怪石，清幽静寂。笔墨细腻工致，皴擦点染间尽显山水神韵，既得自然野趣，又含文人雅意，松涛与水声似在耳畔相和，将瞬间的诗意凝于尺幅。",[24,30,79,28,80,151,309,85,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b9918f8b20e1a9cbd4b6d171d72668.jpg",[98],"afaca5",{"id":5080,"slug":5081,"title":5082,"dynasty":54,"author":1959,"museum":20,"description":5083,"tags":5084,"thumbUrl":5085,"material":592,"size":5086,"collection":98,"collections":5087,"showCount":5088,"zanCount":48,"manualWeight":48,"mainColor":69},236412,"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","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”。王原祁做为“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。追随王原祁的画家众多，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。",[24,25,79,109,80,130,30,82,35,36,111,7,2797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[98,45,1470],24,{"id":5090,"slug":5091,"title":5092,"dynasty":54,"author":3788,"museum":242,"description":5093,"tags":5094,"thumbUrl":5095,"material":285,"size":285,"collection":285,"collections":5096,"showCount":5088,"zanCount":300,"manualWeight":48,"mainColor":69},235673,"huang-shan-tu-zhou-mei-qing-235673","黄山图轴","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\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。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[24,25,79,109,80,30,309,7,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":5098,"slug":5099,"title":5100,"dynasty":126,"author":55,"museum":1607,"description":5101,"tags":5102,"thumbUrl":5103,"material":285,"size":285,"collection":285,"collections":5104,"showCount":5088,"zanCount":48,"manualWeight":48,"mainColor":49},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,109,28,30,80,648,309,82,58,782,184,111,7,35,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":5106,"slug":5107,"title":5108,"dynasty":126,"author":305,"museum":242,"description":5109,"tags":5110,"thumbUrl":5112,"material":605,"size":606,"collection":285,"collections":5113,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},283749,"qiao-mu-zhou-yin-tu-zhou-dong-qi-chang-283749","乔木昼阴图轴","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。",[24,109,79,30,5111,112,603,7,131,133,80],"乔木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582d87c9d9d0f019697b81e9c1a0575d.jpg",[],23,{"id":5116,"slug":5117,"title":5118,"dynasty":54,"author":5119,"museum":242,"description":5120,"tags":5121,"thumbUrl":5122,"material":186,"size":285,"collection":98,"collections":5123,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},240887,"tang-ren-qi-lv-shi-ye-qi-zhi-jia-240887","唐人七律诗页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[24,25,109,80,30,166,167,495,36,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[98],{"id":5125,"slug":5126,"title":5127,"dynasty":54,"author":5128,"museum":242,"description":5129,"tags":5130,"thumbUrl":5131,"material":285,"size":285,"collection":98,"collections":5132,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","张若澄","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,25,109,29,80,385,30,166,309,82,721,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[98],{"id":5134,"slug":5135,"title":5136,"dynasty":54,"author":854,"museum":242,"description":5137,"tags":5138,"thumbUrl":5139,"material":285,"size":285,"collection":1470,"collections":5140,"showCount":5114,"zanCount":314,"manualWeight":48,"mainColor":69},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。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。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，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。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[24,109,79,80,131,133,30,166,167,7,35,36,135,83,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[1470],{"id":5142,"slug":5143,"title":5144,"dynasty":54,"author":5145,"museum":242,"description":5146,"tags":5147,"thumbUrl":5149,"material":285,"size":285,"collection":98,"collections":5150,"showCount":5114,"zanCount":314,"manualWeight":48,"mainColor":69},235923,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235923","湖山梵刹图册","潘恭寿","这幅山水以淡墨轻晕远山，层峦在烟霭中虚实错落，似被晨雾揽入怀抱，晕开悠远空寂的意境。近岸林木以水墨点染，苍润的枝叶错落生姿，烟波水泽之上孤舟独行，更衬出湖面的浩渺清寂。林间隐露梵刹一角，将禅意悄藏在湖山深处，与清远景致相融无间。\n\n画面题诗与笔墨呼应，诗画相生，以浅绛淡墨绘就江南湖山的空濛灵秀，将禅寂澹泊揉入山水烟岚，观之如身临幽寂水畔，可感风烟俱净的安宁，尽抒寄情丘壑的文人襟怀。",[24,109,30,5148,135,35,7,80,385],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedbd2ce17f3643e153453e3dffb7440.jpg",[98,45],{"id":5152,"slug":5153,"title":5154,"dynasty":126,"author":5155,"museum":242,"description":5156,"tags":5157,"thumbUrl":5158,"material":117,"size":285,"collection":285,"collections":5159,"showCount":5114,"zanCount":314,"manualWeight":48,"mainColor":49},234164,"nan-ping-yan-yu-tu-juan-zhou-han-234164","南屏烟雨图卷","周翰","[明]工山水。北京故宫绘画馆有嘉靖三十四年（一五五五）所画南屏烟雨图卷，绢本，似王巩而秀润，云烟烘染尤妙。《榆园画志》",[23,149,24,25,26,28,80,30,198,86,111,135,151,150,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6585ae0baa2edac4fe97f120f7e3f49d.jpg",[],{"id":5161,"slug":5162,"title":5163,"dynasty":54,"author":576,"museum":20,"description":5164,"tags":5165,"thumbUrl":5166,"material":5167,"size":5168,"collection":285,"collections":5169,"showCount":5114,"zanCount":314,"manualWeight":48,"mainColor":69},233424,"yuan-ji-shan-shui-ce-shi-tao-233424","原济山水册","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。",[149,24,25,385,109,80,133,30,166,7,35,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b281a289ed6ab616f64e10b152cd89.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":5171,"slug":5172,"title":5173,"dynasty":18,"author":2080,"museum":1607,"description":5174,"tags":5175,"thumbUrl":5176,"material":186,"size":5177,"collection":285,"collections":5178,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},232629,"qun-xian-gao-hui-tu-juan-li-gong-lin-232629","群仙高会图卷","长卷绘群山连绵，云雾缭绕，群仙或立于云端、山中、河岸边、凉亭里，画卷中绘一高大天门，长松守护左右，众仙聚集热闹非凡。",[24,25,26,780,109,30,58,82,672,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a48d01ac0c21f75efd5eeab0c875d1.jpg","41.5x948.7",[],{"id":5180,"slug":5181,"title":5182,"dynasty":126,"author":127,"museum":242,"description":5183,"tags":5184,"thumbUrl":5185,"material":285,"size":285,"collection":285,"collections":5186,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","两江名胜图册","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[24,25,385,28,30,386,198,35,82,199,1115,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":5188,"slug":5189,"title":5190,"dynasty":1802,"author":55,"museum":242,"description":5191,"tags":5192,"thumbUrl":5197,"material":285,"size":285,"collection":285,"collections":5198,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":327},227123,"fu-shuo-guan-pu-xian-pu-sa-xing-fa-jing-yi-ming-227123","佛说观普贤菩萨行法经","小说主人公是阿难,释迦牟尼,诸菩萨的小说叫做佛说观普贤菩萨行法经，本小说的作者是佚名所编写的近代社会、社科、人文小说，书中主要讲述了：强烈推荐《佛说观普贤菩萨行法经》这本书，本人特别喜欢这本书，从前看的那些连套路都是一样的，甚至有些文章思维紊乱文笔极。",[5193,322,3870,5194,29,5195,30,58,5196,7],"唐代","楷书","描金","大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89ed3aaacbebe9a7950d89b2f968183.jpg",[],{"id":5200,"slug":5201,"title":5202,"dynasty":54,"author":1959,"museum":242,"description":5203,"tags":5204,"thumbUrl":5205,"material":285,"size":285,"collection":285,"collections":5206,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},224387,"fang-huang-zi-jiu-she-se-shan-shui-wang-yuan-qi-224387","仿黄子久设色山水","《王原祁仿黄子久设色山水轴》，清代山水画，现藏于辽宁省博物馆。\n绢本，设色。\n画心纵122.71，横52.8厘米。\n山峦俊秀，双峰突起，白云迷漫的远山，似起伏的海浪。\n山上山下屋宇排列整齐有绪，泉水沿岩石款款而下，汇成山角下半湖碧水。\n水天相处缀以小汀洲渚，板桥旁又有水榭数楹。\n山石繁密，草木葱茏，山下的几株大树掩映溪水，构成了山山相连的效果。\n高崖峻壑，采用纵线的披麻皴，平林打上横卧点子叶，这种纵横交错的用笔，形成一种强烈的节奏感；重施石青、石绿，色艳明快，山峦显得像碧玉一样温润，给人以清新洁爽之感。\n右上角自识：“康熙癸末(17)春日仿黄子久似恺翁老先生麓台，娄东王原祁。\n”旁钤“王原祁印”、“麓台”二印。",[23,24,25,79,28,30,112,35,36,86,111,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a9513c5762e39dce7925cea01d4a8.jpg",[],{"id":5208,"slug":5209,"title":5210,"dynasty":54,"author":842,"museum":242,"description":5211,"tags":5212,"thumbUrl":5213,"material":296,"size":5214,"collection":98,"collections":5215,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,149,24,25,26,2448,80,109,30,35,82,7,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg","纵28.8厘米，横404.1厘米",[98,99,1470],{"id":5217,"slug":5218,"title":5219,"dynasty":562,"author":5220,"museum":5221,"description":5222,"tags":5223,"thumbUrl":5224,"material":285,"size":285,"collection":285,"collections":5225,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","万壑松风图","黄君璧","龙美术馆西岸馆","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,25,79,28,80,30,309,83,113,7,85,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":5227,"slug":5228,"title":5229,"dynasty":562,"author":4705,"museum":5230,"description":4707,"tags":5231,"thumbUrl":5232,"material":285,"size":285,"collection":285,"collections":5233,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},220484,"feng-jing-lin-feng-mian-220484","风景","中国美术学院美术馆",[24,28,109,30,112,35,7,846,4948,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],{"id":5235,"slug":5236,"title":5237,"dynasty":54,"author":55,"museum":614,"description":5238,"tags":5239,"thumbUrl":5241,"material":338,"size":5242,"collection":98,"collections":5243,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},219980,"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[23,24,109,30,79,80,132,133,31,7,198,35,113,5240,58,3186],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560f7ee714f936fe6b5bf9c7c3125307.jpg","107.9 × 38.5 cm",[98],{"id":5245,"slug":5246,"title":5247,"dynasty":54,"author":55,"museum":75,"description":5248,"tags":5249,"thumbUrl":5250,"material":186,"size":285,"collection":98,"collections":5251,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},219366,"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[24,25,79,30,80,109,28,82,35,7,198,649,58,3186,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[98],{"id":5253,"slug":5254,"title":5255,"dynasty":18,"author":5256,"museum":75,"description":5257,"tags":5258,"thumbUrl":5259,"material":64,"size":5260,"collection":98,"collections":5261,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":69},218684,"yun-shan-chun-ai-tu-zhao-ling-rang-218684","云山春霭图","赵令穰","轻烟淡霭缠绕层峦，山峦在云气中时隐时现，虚实交织间藏着悠远韵致。山间疏林错落，新绿初萌，透着春的温润。溪流蜿蜒穿梭雾霭，似有若无，添几分灵动。笔墨细腻清雅，山石勾勒柔婉，云雾以淡墨晕染，层次朦胧却不失清逸。整体意境宁静悠远，如春日拂晓的郊野，湿润气息裹挟草木轻香，引人遐想。画面取小景却含蕴生机与诗意，尽显文人山水雅致情韵，仿佛能让人暂避尘扰，沉醉在云山春霭的静谧里，感受自然与心灵的契合。",[23,24,25,109,28,30,7,112,35,89,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9f12b887b14d2f8022acc378c6591e.jpg","26x23cm",[98],{"id":5263,"slug":5264,"title":5265,"dynasty":126,"author":305,"museum":181,"description":5266,"tags":5267,"thumbUrl":5268,"material":285,"size":285,"collection":98,"collections":5269,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":5270},203014,"shu-hua-ce-dong-qi-chang-203014","书画册","笔墨疏朗清逸，以书入画的笔意贯穿其间。山石用淡墨皴擦，林木以简笔勾勒，屋舍隐于丘壑间，尽显文人画的雅致禅意。右侧山水云雾氤氲，层峦叠嶂间透着空濛之趣；左侧丘林静谧，草木扶疏中藏着幽居之思。题跋行书流畅，与画作相映成趣，融诗书画于一册，尽显晚明文人的审美意趣。",[25,385,109,30,80,82,1505,7,132,603,3298,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cd3e7e67f2166a0c7ee53857daa63e.jpg",[98],"d7ccc2",{"id":5272,"slug":5273,"title":5274,"dynasty":126,"author":305,"museum":181,"description":5275,"tags":5276,"thumbUrl":5278,"material":285,"size":285,"collection":98,"collections":5279,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":5280},203011,"yan-wu-ba-jing-tu-ce-dong-qi-chang-203011","燕吴八景图册","画面取山水之精粹，左幅以淡彩晕染山峦，峰顶赭石点染与深绿山体形成层次，云雾借留白与淡墨晕化，松枝挺劲，岸畔茅舍隐现，尽显江南山水的温润悠远；右幅以水墨写雪景，山石皴法刚健，线条勾勒积雪厚重与岩石肌理，枯树疏枝傲立，寒江静谧，传递冬日山川的清寂萧疏。笔墨间可见董其昌对意境的追求，不重写实而重神韵，以简洁构图营造空灵淡远的文人气息，尽显“以画为寄”的艺术主张。",[2203,109,28,80,30,590,4207,82,7,2797,672,5277,23],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25ef6d679fbc825f90db5e577bda970.jpg",[98],"beae99",{"id":5282,"slug":5283,"title":2643,"dynasty":54,"author":5284,"museum":181,"description":5285,"tags":5286,"thumbUrl":5287,"material":285,"size":285,"collection":98,"collections":5288,"showCount":5114,"zanCount":48,"manualWeight":48,"mainColor":5289},201863,"shan-shui-tu-zhou-qian-shu-201863","钱恕","画面层峦叠嶂，山石皴染结合，纹理细腻尽显雄浑质感；枯树虬枝苍劲，与葱郁林木相映，生机与古意交织。山间村落隐于云雾间，若隐若现，静谧中含烟火气。云雾缭绕峰谷，虚实相生，拓展深远意境。笔墨雅致，意境清幽，融自然之美与文人淡泊襟怀于尺幅，尽显山水之韵。",[24,79,30,80,109,35,248,7,86,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F257d2cf2d9c40dd7451a3851643ec048.jpg",[98],"a38f76",{"id":5291,"slug":5292,"title":5293,"dynasty":18,"author":106,"museum":242,"description":5294,"tags":5295,"thumbUrl":5297,"material":605,"size":606,"collection":285,"collections":5298,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":49},290304,"yun-yan-lan-sheng-zhou-guo-xi-290304","云烟揽胜轴","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[24,79,362,109,80,30,7,672,82,111,135,1053,5296],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8371c836a4c84acf0ffa9310d91859.jpg",[],22,{"id":5301,"slug":5302,"title":5303,"dynasty":54,"author":4482,"museum":20,"description":5304,"tags":5305,"thumbUrl":5306,"material":5307,"size":5308,"collection":285,"collections":5309,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":69},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,26,109,30,80,131,132,133,166,167,590,495,528,83,649,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":5311,"slug":5312,"title":5313,"dynasty":54,"author":766,"museum":242,"description":5314,"tags":5315,"thumbUrl":5316,"material":285,"size":285,"collection":285,"collections":5317,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":69},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,24,25,149,79,109,80,30,166,167,495,198,86,184,82,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":5319,"slug":5320,"title":5321,"dynasty":54,"author":3267,"museum":242,"description":5322,"tags":5323,"thumbUrl":5324,"material":285,"size":285,"collection":285,"collections":5325,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":69},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,24,79,30,80,109,112,7,35,36,85,309,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":5327,"slug":5328,"title":5329,"dynasty":54,"author":854,"museum":242,"description":5330,"tags":5331,"thumbUrl":5332,"material":285,"size":285,"collection":285,"collections":5333,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":69},224453,"fu-chun-da-ling-tu-wang-hui-224453","富春大岭图","此作用高远、深远法铺陈丘壑，以云气留白切割层峦，将大岭的雄秀与幽深次第铺展。以干笔披麻皴写山石，兼施浅绛淡赭晕染，复刻元人苍润笔意，又糅合宋人丘壑的繁复精细。\n\n层岩间林泉迂曲，村居掩映于深林，林木疏密错落，枯荣相济，静穆萧散的山居意趣盈满纸面。师法富春古意却自出机杼，笔底既有山野的苍茫清旷，又带着秀整雅致的文人心韵，尽显林泉高致。",[23,24,25,79,28,30,80,31,7,35,85,113,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185770931e69346f81a2ed45e421ddf6.jpg",[],{"id":5335,"slug":5336,"title":5337,"dynasty":54,"author":3788,"museum":242,"description":5338,"tags":5339,"thumbUrl":5340,"material":285,"size":285,"collection":285,"collections":5341,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":49},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\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。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,25,30,109,80,79,31,309,7,151,58,133,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":5343,"slug":5344,"title":5345,"dynasty":126,"author":55,"museum":396,"description":5346,"tags":5347,"thumbUrl":5348,"material":95,"size":5349,"collection":98,"collections":5350,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":49},223457,"shan-shui-ce-ye-yi-ming-223457","山水册页","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[23,24,25,385,109,28,80,30,31,7,82,36,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[98,99],{"id":5352,"slug":5353,"title":5354,"dynasty":18,"author":55,"museum":75,"description":5355,"tags":5356,"thumbUrl":5357,"material":1732,"size":5358,"collection":285,"collections":5359,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":69},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[23,24,79,109,80,30,112,113,35,7,85,649,247,4697],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","126.3x49.7厘米",[],{"id":5361,"slug":5362,"title":5363,"dynasty":126,"author":5364,"museum":75,"description":5365,"tags":5366,"thumbUrl":5367,"material":153,"size":5368,"collection":285,"collections":5369,"showCount":5299,"zanCount":314,"manualWeight":48,"mainColor":69},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","仿王蒙山水","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,24,25,79,109,80,130,30,309,82,83,85,1891,35,112,60,649,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":5371,"slug":5372,"title":5373,"dynasty":126,"author":5374,"museum":396,"description":5375,"tags":5376,"thumbUrl":5377,"material":400,"size":5378,"collection":98,"collections":5379,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":69},222230,"heng-tang-yu-xie-tu-juan-wen-bo-ren-222230","横塘雨歇图卷","文伯仁","全卷画层峦叠谳，千岩万壑，岗岭蜿蜒，龙脉起伏不断，峦间飞瀑如练，苍松依聚溪畔坡石。野色桥边，树石掩映，露出茅屋草亭。人物幽闲，或俯临秋水，或曳杖渡桥，或对坐观瀑，颇得游山观水之乐。署“嘉靖戊子冬日，五峰山人文伯仁。”",[23,24,25,26,28,30,80,31,83,35,32,113,247,58,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78539aa02e216d5b6930b22af81d1ea0.jpg","18x123cm",[98,45],{"id":5381,"slug":5382,"title":5383,"dynasty":126,"author":5374,"museum":1248,"description":5384,"tags":5385,"thumbUrl":5386,"material":5387,"size":5388,"collection":285,"collections":5389,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":285},220737,"yan-jiang-die-zhang-tu-hua-xin-zuo-wen-bo-ren-220737","烟江叠嶂图画心左","此作用平远之境铺展江天盛景，淡墨晕染烟波，留白尽显水汽氤氲。层叠峰峦以枯笔轻勾浅皴，苍秀松灵，在云雾中远近隐现，似随江雾漾动。汀渚沙洲错落其间，林木蓊郁，渔舟点点散于空茫江面，生机暗涌。\n\n画面虚实相生，将江南烟水的空濛柔婉尽数铺陈，把远眺江天的悠然意趣藏进疏密错落的景致里，以极简笔墨晕染出无尽悠远的水乡诗意，淡而弥远，尽显文人画清逸雅致的审美意趣，让观画者如临江岸，沉浸式触摸江南烟水的温润灵秀。",[23,24,25,26,109,80,30,112,35,34,1660,7,1077],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb26a5273e89c68c9cf3567f7ad1861.jpg","设色,纸本","25.6 × 360.8厘米",[],{"id":5391,"slug":5392,"title":5393,"dynasty":54,"author":5394,"museum":409,"description":5395,"tags":5396,"thumbUrl":5399,"material":28,"size":285,"collection":98,"collections":5400,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":69},220042,"han-qiu-wan-yan-tu-zhang-feng-220042","寒秋晚烟图","张风","图绘高士在秋林水畔觅句，寒烟重重，密林无限，空寂之至。",[23,24,25,79,109,28,80,30,58,672,507,1902,4146,7,5397,5398],"寒秋","晚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45634c300f514a2047d57e857165e26.jpg",[98],{"id":5402,"slug":5403,"title":2643,"dynasty":3756,"author":3757,"museum":181,"description":5404,"tags":5405,"thumbUrl":10,"material":285,"size":285,"collection":98,"collections":5406,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":3762},202798,"shan-shui-tu-zhou-huang-bin-hong-202798","画面层峦叠嶂，云雾氤氲其间，山石以苍劲皴法勾勒，墨色浓淡交错，尽显嶙峋肌理。崖畔青松虬劲，枯木疏朗，旁侧小屋隐于林麓，小桥横跨溪涧，流水潺潺似可闻。笔墨老辣浑厚，积墨破墨互用，于虚实间营造深远意境，尽显自然野逸之趣，藏着传统山水的深邃韵味与生机。",[24,30,109,80,590,82,86,7,79,4101,23],[98],{"id":5408,"slug":5409,"title":2643,"dynasty":54,"author":5410,"museum":181,"description":5411,"tags":5412,"thumbUrl":5413,"material":285,"size":285,"collection":98,"collections":5414,"showCount":5299,"zanCount":48,"manualWeight":48,"mainColor":5415},201830,"shan-shui-tu-zhou-wan-shang-lin-201830","万上遴","画面以水墨晕染出层叠山峦，云雾轻笼峰巅，皴擦笔法勾勒山石肌理，苍劲中见灵动。前景老树虬枝横斜，墨色浓淡交错，掩映着几椽屋舍，隐现于林泉之间，逸趣盎然。笔墨简练却意境悠远，清幽之气扑面而来，仿佛置身静谧山林，与自然相融，体悟那份恬淡自在的心境。",[109,80,24,30,507,603,112,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcddf2a02330fdb51a4b15740e93cbb.jpg",[98],"8d8077",{"id":5417,"slug":5418,"title":2300,"dynasty":162,"author":5419,"museum":242,"description":5420,"tags":5421,"thumbUrl":5423,"material":605,"size":606,"collection":285,"collections":5424,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":49},290789,"shan-shui-ce-cao-zhi-bai-290789","曹知白","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。",[24,25,385,30,109,80,112,35,198,5422,7],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c6d9323959376a70ce09d6eefe44290.jpg",[],21,{"id":5427,"slug":5428,"title":5429,"dynasty":162,"author":2108,"museum":242,"description":5430,"tags":5431,"thumbUrl":5433,"material":605,"size":606,"collection":285,"collections":5434,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":49},290398,"cong-lin-gao-ta-tu-fang-cong-yi-290398","丛林高塔图","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[149,24,109,30,91,5432,198,82,7,133,80],"高塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c37e8375a12f9fbb738dd2e5fc004e.jpg",[],{"id":5436,"slug":5437,"title":3121,"dynasty":18,"author":831,"museum":242,"description":832,"tags":5438,"thumbUrl":5439,"material":605,"size":606,"collection":285,"collections":5440,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":49},288505,"jiang-shan-lou-guan-tu-yan-wen-gui-288505",[23,149,24,26,109,30,80,198,82,1505,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55247d7d229304874dd28046e365247f.jpg",[],{"id":5442,"slug":5443,"title":5444,"dynasty":126,"author":935,"museum":242,"description":5445,"tags":5446,"thumbUrl":5448,"material":605,"size":606,"collection":285,"collections":5449,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":327},287606,"yun-he-gao-yi-tu-li-zhou-yuan-tu-lan-ying-287606","云壑高逸图立轴(原图)","高山之麓，丘岗片片，山泉淙淙；溪流清鸣，绕贯其中；丛花簇草，竞相吐艳；桃李明艳，繁枝雍雍，像是在奏响的晚春妙曲。林深之处，溪水岸旁，一白衫红裤的老者，在茅亭内候客。亭外木桥上，有一红衣老者，向茅亭走来。",[23,149,24,79,109,362,151,86,111,4573,82,58,7,80,5447],"高逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96cd84ca765b062920e0b7469166d281.jpg",[],{"id":5451,"slug":5452,"title":5453,"dynasty":54,"author":3129,"museum":242,"description":3130,"tags":5454,"thumbUrl":5455,"material":285,"size":285,"collection":98,"collections":5456,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":49},238339,"si-jing-shan-shui-xiao-ce-dong-gao-238339","四景山水小册",[24,25,385,109,28,80,30,166,495,36,7,846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[98,45],{"id":5458,"slug":5459,"title":5460,"dynasty":126,"author":2785,"museum":242,"description":5461,"tags":5462,"thumbUrl":5465,"material":285,"size":285,"collection":285,"collections":5466,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":69},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[24,25,79,109,80,30,5463,5464,672,309,82,36,58,112,7],"寒崖","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":5468,"slug":5469,"title":1163,"dynasty":126,"author":5470,"museum":242,"description":5471,"tags":5472,"thumbUrl":5473,"material":285,"size":285,"collection":285,"collections":5474,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":954},228755,"shan-shui-tu-juan-wen-jia-228755","文嘉","此卷以细笔绘就平远山水，起首林麓幽深，梵宇隐于松云之间，谷中云气萦回，衬出山峦层叠之致。中段湖面空阔，汀渚错落，村居藏于茂林，渔舟泛于烟波，尽展江南水泽的清和之态。后段重峦复岭，嘉木葱茏，山居错落嵌于岩岫间。\n笔墨承吴门清雅之风，山石以披麻皴写就，松枝虬劲秀挺，设色浅淡清逸，整体气息静谧淡远，将文人悠游林泉的雅趣寄于山水之间，尽显江南山水温婉诗意，是文人画萧散意境的绝佳体现。",[23,24,25,26,109,80,30,35,82,7,151,111,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59685d508ab0343fdec514458d694349.jpg",[],{"id":5476,"slug":5477,"title":5478,"dynasty":18,"author":600,"museum":242,"description":5479,"tags":5480,"thumbUrl":5481,"material":285,"size":285,"collection":285,"collections":5482,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":49},227706,"dai-du-tu-mi-you-ren-227706","待渡图","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,109,80,30,135,111,2244,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b90154e546073fde551209019683cef.jpg",[],{"id":5484,"slug":5485,"title":5486,"dynasty":18,"author":55,"museum":20,"description":5487,"tags":5488,"thumbUrl":5489,"material":5490,"size":5491,"collection":285,"collections":5492,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":69},223338,"jiu-ge-tu-juan-yi-ming-223338","九歌图卷","画卷根据屈原《楚辞·九歌》中的神话故事绘制而成。“九歌”原为传说中的一种远古歌曲的名称，《九歌》是屈赋中最精、最美、最富魅力的诗篇，它代表了屈原艺术创作的最高成就。",[23,24,149,26,780,29,58,59,3908,540,111,82,35,7,1951],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07bb572ae953b740fe54293fea95aea1.jpg","纸本，手卷，墨笔","纵37厘米、横845厘米",[],{"id":5494,"slug":5495,"title":5496,"dynasty":162,"author":1222,"museum":20,"description":5497,"tags":5498,"thumbUrl":5499,"material":186,"size":5500,"collection":285,"collections":5501,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,25,385,30,109,28,135,60,35,82,7,229,32,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":5503,"slug":5504,"title":5505,"dynasty":126,"author":4078,"museum":75,"description":5506,"tags":5507,"thumbUrl":5508,"material":186,"size":5509,"collection":98,"collections":5510,"showCount":5425,"zanCount":48,"manualWeight":48,"mainColor":69},219466,"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[24,25,79,109,30,58,82,35,32,309,7,80,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21041e.jpg","130x30.5",[98],{"id":5512,"slug":5513,"title":5514,"dynasty":126,"author":5515,"museum":75,"description":5516,"tags":5517,"thumbUrl":5521,"material":137,"size":5522,"collection":285,"collections":5523,"showCount":221,"zanCount":48,"manualWeight":48,"mainColor":69},290498,"shan-shui-xiao-jing-zhou-xiang-sheng-mo-290498","山水小景轴","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,79,30,109,28,80,112,7,5518,603,5519,131,133,5520],"松杉","水渚","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea20af0bdde11306224e82a8f221a5e.jpg","106.6x24.3",[],{"id":5525,"slug":5526,"title":5527,"dynasty":54,"author":55,"museum":242,"description":5528,"tags":5529,"thumbUrl":5531,"material":605,"size":606,"collection":285,"collections":5532,"showCount":221,"zanCount":48,"manualWeight":48,"mainColor":69},267355,"xiu-xian-ci-xi-yin-song-he-tu-zhou-yi-ming-267355","绣线慈禧印松鹤图轴","此作以绣为笔，将山水灵韵藏于针线之间。危崖奇崛高耸，古松虬枝横斜，松针层叠尽显苍劲高古，崖巅仙鹤独立，似在聆风望云；下方惊涛翻涌，汀渚之上又有仙鹤卓立，呼应松鹤延年的祥瑞寓意。\n\n绣线晕染柔和雅致，以淡紫与米白铺陈出山石松烟与流云之态，将水墨山水的晕染层次精妙复刻，针线藏于画意之中，不见匠气反倒尽显文人山水的清逸意境。搭配题印排布规整，让绣作兼具端雅礼制意蕴与文人书画审美意趣，是晚清融画入针的精妙绣作。",[24,79,25,5530,309,1782,30,111,82,7,133,29],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1872571a576ef6a2e5b4af6bf38695f1.jpg",[],{"id":5534,"slug":5535,"title":5536,"dynasty":54,"author":5537,"museum":5538,"description":5539,"tags":5540,"thumbUrl":5543,"material":232,"size":5544,"collection":98,"collections":5545,"showCount":221,"zanCount":48,"manualWeight":48,"mainColor":69},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞","浙江省博物馆","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,30,109,80,79,86,82,507,35,2026,7,85,114,5541,133,5542,214],"书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[98,99],{"id":5547,"slug":5548,"title":5549,"dynasty":54,"author":5550,"museum":242,"description":5551,"tags":5552,"thumbUrl":5553,"material":285,"size":285,"collection":285,"collections":5554,"showCount":221,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[149,24,25,2203,109,80,130,30,309,58,82,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":5556,"slug":5557,"title":5558,"dynasty":54,"author":5559,"museum":242,"description":5560,"tags":5561,"thumbUrl":5562,"material":285,"size":285,"collection":285,"collections":5563,"showCount":221,"zanCount":314,"manualWeight":48,"mainColor":69},228971,"shan-shui-ce-ye-4-kai-ji-yun-228971","山水册页4开","纪昀","层岩如篆，方折奇崛，烟岚柔漫缠绕崖谷，虚实相生间划分出山林层次。半山幽轩凭岩而起，飞桥悬于流泉之上，山麓水榭凌波，扁舟静系矶头，屋舍藏于林泉深幽处，尽显幽居雅趣。\n\n笔墨刚柔相济，干笔硬挺勾勒方整岩块，皴写出山石苍劲质感，轻敷淡晕出空蒙烟岚。整幅取景清寂，将林下栖居的悠然意趣藏于山重水复之间，淡墨轻岚里晕染出简澹清远的文人意境，把林泉高致的隐逸情怀融于尺幅之中。",[23,24,25,385,109,80,30,198,151,135,82,35,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfb35ed9c8dbdfc3887c3b0034f1efa.jpg",[],{"id":5565,"slug":5566,"title":5567,"dynasty":18,"author":600,"museum":242,"description":5479,"tags":5568,"thumbUrl":5571,"material":285,"size":285,"collection":285,"collections":5572,"showCount":221,"zanCount":314,"manualWeight":48,"mainColor":69},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[23,24,25,26,109,80,133,132,2572,30,112,7,1078,5569,5570],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":5574,"slug":5575,"title":5576,"dynasty":162,"author":2108,"museum":75,"description":5577,"tags":5578,"thumbUrl":5580,"material":186,"size":5581,"collection":98,"collections":5582,"showCount":221,"zanCount":314,"manualWeight":48,"mainColor":69},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[23,24,25,109,80,30,112,35,5579,7,1093,3559,3299,214],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[98,99],{"id":5584,"slug":5585,"title":5586,"dynasty":18,"author":1657,"museum":75,"description":5587,"tags":5588,"thumbUrl":5589,"material":153,"size":1662,"collection":1470,"collections":5590,"showCount":221,"zanCount":48,"manualWeight":48,"mainColor":69},221682,"chi-bi-tu-juan-quan-juan-wu-yuan-zhi-221682","赤壁圖卷全卷","系根据宋代文学家苏轼的《赤壁赋》创作而成。画面长江浩荡，烟波渺茫，两岸峭壁陡立，山势险峻延绵，山顶崖岸间树木葱茏，江中一舟顺流而下，苏轼及同游诸友对坐舱中饮酒，形象地再现了苏轼携友乘舟夜游赤壁(即黄州赤鼻矶)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。",[23,24,25,26,30,109,80,131,132,31,834,135,35,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484f34a336a6c9ed140b16b6ef47561c.jpg",[1470],{"id":5592,"slug":5593,"title":5594,"dynasty":54,"author":854,"museum":181,"description":5595,"tags":5596,"thumbUrl":5597,"material":285,"size":285,"collection":98,"collections":5598,"showCount":221,"zanCount":48,"manualWeight":48,"mainColor":5599},203384,"xiao-zhong-jian-da-ce-wang-hui-203384","小中见大册","画面层峦叠嶂，峰岭连绵间云雾轻笼，似将远山半遮半掩，添得朦胧之趣。近景林木葱郁，枝干虬劲，叶色深浅交错；溪涧潺潺绕石，小桥横卧其上，偶见村舍隐于林间，一派清幽静谧的山居景象。笔墨运用细腻灵动，山石以皴法勾勒肌理，皴染结合尽显苍润质感；设色淡雅温润，层次丰富却不艳俗。咫尺册页间，山水空间层层递进，小中见大，于方寸之内展万千气象，尽显山水之悠远意韵。",[30,80,28,86,111,385,24,35,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824f8e21cce380e2b2b8f76361952d0f.jpg",[98],"ab8e5f",{"id":5601,"slug":5602,"title":5603,"dynasty":18,"author":55,"museum":242,"description":5604,"tags":5605,"thumbUrl":5606,"material":605,"size":606,"collection":285,"collections":5607,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":49},290270,"wang-chuan-tu-yi-ming-290270","辋川图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,149,24,26,109,362,112,1505,603,111,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F268f7660d5dcf46ee6dead61cb365ff5.jpg",[],{"id":5609,"slug":5610,"title":810,"dynasty":18,"author":5611,"museum":242,"description":5612,"tags":5613,"thumbUrl":5615,"material":605,"size":606,"collection":285,"collections":5616,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":327},288977,"xia-shan-tu-qu-ding-288977","屈鼎","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[149,24,26,109,80,30,112,1505,32,258,7,5614],"夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ed240c08185678837f9810e468620.jpg",[],{"id":5618,"slug":5619,"title":5620,"dynasty":54,"author":1421,"museum":242,"description":4869,"tags":5621,"thumbUrl":5622,"material":605,"size":606,"collection":285,"collections":5623,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":69},235666,"shan-shui-ping-yuan-jiang-235666","山水屏",[24,25,149,79,386,28,30,198,86,111,35,82,7,199,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f04d355bfef7f860f03bc022aa5b472.jpg",[],{"id":5625,"slug":5626,"title":2300,"dynasty":126,"author":305,"museum":20,"description":5627,"tags":5628,"thumbUrl":5629,"material":448,"size":662,"collection":285,"collections":5630,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[149,24,25,385,109,80,30,35,82,36,229,7,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c284092d9c32f1c2b5519282e29198.jpg",[],{"id":5632,"slug":5633,"title":5634,"dynasty":126,"author":5036,"museum":242,"description":5635,"tags":5636,"thumbUrl":5638,"material":605,"size":606,"collection":285,"collections":5639,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":49},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","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》。",[23,149,24,25,79,362,109,28,80,590,82,111,247,58,35,229,7,5637],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":5641,"slug":5642,"title":5643,"dynasty":18,"author":5644,"museum":242,"description":5645,"tags":5646,"thumbUrl":5647,"material":285,"size":285,"collection":285,"collections":5648,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":49},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[23,24,25,149,2203,109,30,135,480,495,7,3242,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554147c093468663cf70503980f95.jpg",[],{"id":5650,"slug":5651,"title":5652,"dynasty":54,"author":55,"museum":242,"description":5653,"tags":5654,"thumbUrl":5656,"material":285,"size":285,"collection":285,"collections":5657,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":69},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,109,28,30,80,4474,82,35,32,34,36,112,7,38,85,248,5655,2374],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":5659,"slug":5660,"title":5661,"dynasty":126,"author":935,"museum":20,"description":5662,"tags":5663,"thumbUrl":5665,"material":400,"size":5666,"collection":285,"collections":5667,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":69},222598,"cheng-guan-tu-ce-he-juan-lan-ying-222598","澄观图册合卷","“澄观”一语出自六朝山水画家、画论家宗炳《画山水叙》。宗炳认为山水画的功用在于“澄怀观道”，即通过欣赏山水画以滌除心胸之垢，进入平和无我的高尚境界，这也是蓝瑛69岁时精绘此册的初衷。\n蓝瑛一生游历甚广，明代韩昂在《图绘宝鉴续纂》中记载他到过福建、广东、湖北、陕西、河南等地，对长江南北的名山大川有着细致的观察和深切的感悟。因此，在这本图册中，他凭藉深厚的艺术功底准确地表现出江南水乡的秀美和北方山岳的壮丽。由于画家遵循“外师造化，中得心源”的创作原则，在创作过程中达到“澄观”的目的，所以在此图册中无法找到任何与自然界相对应的具体景观。蓝瑛在师法自然的基础上又对自然山水的某些形式结构及色彩等进行了分解和重新组合，使之化作自己的“胸中丘壑”再加以表现。这种典型的文人山水画创作方法与西方注重写实的风景画迥异其趣。",[23,24,25,385,28,109,80,131,30,82,35,150,111,135,151,7,86,603,5664],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e687a33ee9379b8def8f1d91a5d46e.jpg","纵42.5cm，横23.2cm",[],{"id":5669,"slug":5670,"title":5671,"dynasty":54,"author":5672,"museum":1248,"description":5673,"tags":5674,"thumbUrl":5675,"material":5676,"size":5677,"collection":98,"collections":5678,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":285},220746,"shan-shui-ji-wang-shi-min-weng-ling-wu-hong-deng-220746","山水集","王時敏,翁陵,吳宏等","此作以淡墨写秋山幽居，高远山势裹挟平远溪村，虚实相生间铺展萧疏秋意。干笔皴擦勾勒崖石肌理，墨色枯润相间，山石苍朴古拙，间植的虬松杂木以浓墨点染，于淡逸底色中醒出清刚生气。山脚茅舍隐于坡麓林樾，似有幽人栖居，愈显空山岑寂。\n左侧题识朱印与画面相映成趣，文气融于山水间，将笔墨意趣与林下襟怀相融，尽显简淡天真的文人逸韵，引人神游林泉，坐忘尘嚣。",[24,109,80,79,30,82,35,58,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69bcfdca7a043dfd340cb6eb43397849.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[98],{"id":5680,"slug":5681,"title":5682,"dynasty":54,"author":3846,"museum":1248,"description":5683,"tags":5684,"thumbUrl":5686,"material":3850,"size":3851,"collection":285,"collections":5687,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":285},220730,"xun-qin-tu-5-huang-xiang-jian-220730","寻亲图5","画面以虚实二分排布，左为题识，右绘山水。淡墨晕开烟岚，青绿晕染峰峦，温润雅致。层叠山峦间云气萦回，山寺卓立翠岭之巅，江渚隐现烟波里，孤舟悬于空濛水面，暗衬长路寻亲的孤寂。\n\n苍劲题笔与秀雅山水相映，文情画境交融，将羁旅寻亲的悠长愁思，寄于阔远烟霞。青绿设色承袭古意，留白铺陈烘托出漫漫寻途的沉郁心绪，笔墨工秀兼具，把天涯寻亲的幽微情愫藏在云山烟水之间，意韵绵长。",[24,26,28,109,30,80,112,7,38,229,5685,35,113,649],"近峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ed87cab5ac6282467def950a93b23e.jpg",[],{"id":5689,"slug":5690,"title":5691,"dynasty":54,"author":1574,"museum":20,"description":4006,"tags":5692,"thumbUrl":5693,"material":186,"size":4009,"collection":285,"collections":5694,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":69},220306,"huang-shan-tu-ce-21-hong-ren-220306","黄山图册-21",[23,24,25,30,385,109,28,80,31,134,309,198,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb293f3d4e7ddae656d41c4cbe335d40d.jpg",[],{"id":5696,"slug":5697,"title":5698,"dynasty":54,"author":5699,"museum":1003,"description":5700,"tags":5701,"thumbUrl":5702,"material":137,"size":5703,"collection":285,"collections":5704,"showCount":157,"zanCount":48,"manualWeight":48,"mainColor":69},214484,"he-yi-shan-shui-tu-ce-3-he-yi-214484","赫奕山水图册-3","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。",[23,24,25,385,109,28,30,86,111,35,36,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36421852b31841467b68e476b68398f2.jpg","34x25cm",[],{"id":5706,"slug":5707,"title":5708,"dynasty":162,"author":5709,"museum":242,"description":5710,"tags":5711,"thumbUrl":5712,"material":605,"size":606,"collection":285,"collections":5713,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":49},290131,"xi-shan-yan-ting-tu-tang-di-290131","溪山烟艇图","唐棣","溪畔草亭中，一人弹阮，三人聆听著。小径上，僮子送酒而来。溪上，有人敞胸坐于船头，富有野逸消遥的乐趣。坡石用云头皴，圆润稳厚，有着郭熙一派的面目。",[24,109,30,135,672,82,7,80,509,507,111,747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46212bb032f1cc623ce1508a316867b1.jpg",[],18,{"id":5716,"slug":5717,"title":5718,"dynasty":54,"author":5719,"museum":242,"description":5720,"tags":5721,"thumbUrl":5722,"material":285,"size":285,"collection":285,"collections":5723,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":49},235677,"qing-shan-hong-shu-tu-zhou-chen-zi-235677","青山红树图轴","陈字","此作用笔苍劲工致，以重墨勾勒山石肌理，皴染结合尽显岩岳雄浑厚重，流云如练缠绕峰腰，将崇山衬得愈发灵秀高古。山间丹枫红树层层叠叠，艳色破开深褐山石的沉郁，撞出深秋浓烈鲜活的意趣。\n右侧江天豁然开朗，波光澹澹间渔翁撑舟徐行，远山含黛，汀洲茅亭隐逸一隅，添就萧散悠然的野趣。整体布局左实右虚，将秋山的浓艳高旷与江湖的清远闲和相融，兼具北派山水的雄强与南宗山水的温婉意境，笔底尽是秋日林泉的静美诗意。",[24,25,79,28,30,80,3889,939,135,111,151,82,35,7,1239,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d14541ecf43948d98b6bf7cc947723c.jpg",[],{"id":5725,"slug":5726,"title":5727,"dynasty":162,"author":1822,"museum":75,"description":5728,"tags":5729,"thumbUrl":5731,"material":413,"size":5732,"collection":285,"collections":5733,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":49},232266,"qun-feng-qiu-se-tu-gao-ke-gong-232266","群峰秋色图","画中峰峦多用淡墨浅色皴染，主峰用墨最重，山顶并缀以横笔“米点”，有水墨淋漓之趣。石绿、石青之渍染润厚秀雅，显得峰峦更为浑厚稳重。",[24,25,79,109,28,80,362,31,112,7,35,5730,82,846,151,507],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24f2fae530aea5dd8da8ae53c3bd081.jpg","该幅159.9x104.8公分；全幅105.8公分",[],{"id":5735,"slug":5736,"title":5737,"dynasty":126,"author":4786,"museum":359,"description":5738,"tags":5739,"thumbUrl":5740,"material":186,"size":5741,"collection":285,"collections":5742,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":49},231945,"gu-mu-you-ju-tu-sheng-mao-ye-231945","古木幽居图","盛茂烨的画作题材除了少量的人物及花鸟外，以山水为主，“大幅山水，浑厚而有气势，多得范宽之法，小幅作品，清新活泼，自成一种情趣。”盛氏活跃于仿古之风弥漫的时代，其对古人虽有用心之处，然而却极少仿古之作。\n根据种种的文献记载，盛氏在当时颇负盛名，虽古意不足，然饶有趣味，在笔墨造型和布局方面均有所开拓，形成了自身独特的画风。这种风格的形成，不仅在于他对浙派和吴派兼收并蓄，更在于他对古人的画法进行了选择性的采纳和吸收。\n他的作品中，有对大自然的真实描写，也有一些夸张变形的因素，这些均是宋代山水画传统在晚明画坛中复兴的征象。",[23,149,24,25,79,362,80,28,579,82,112,7,2204,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb575d9feb5a80e4189ee444b2fb5180a.jpg","157.5×54cm",[],{"id":5744,"slug":5745,"title":5746,"dynasty":126,"author":305,"museum":20,"description":5747,"tags":5748,"thumbUrl":5750,"material":338,"size":5751,"collection":285,"collections":5752,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":69},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","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。",[24,362,109,79,25,80,35,82,111,7,151,309,166,38,5749],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":5754,"slug":5755,"title":5756,"dynasty":18,"author":1628,"museum":242,"description":5757,"tags":5758,"thumbUrl":5759,"material":285,"size":285,"collection":285,"collections":5760,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":49},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","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\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。",[23,149,24,25,26,28,30,80,58,782,309,112,7,151,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":5762,"slug":5763,"title":5764,"dynasty":54,"author":5765,"museum":242,"description":5766,"tags":5767,"thumbUrl":5768,"material":285,"size":285,"collection":98,"collections":5769,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":69},223248,"shan-shui-1-pu-hua-223248","山水1","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,25,79,109,28,80,30,166,495,309,113,7,58,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[98,99],{"id":5771,"slug":5772,"title":5773,"dynasty":54,"author":4464,"museum":75,"description":5774,"tags":5775,"thumbUrl":5776,"material":285,"size":5777,"collection":98,"collections":5778,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":69},222845,"wan-qing-qing-yin-hong-wu-222845","万顷清阴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《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，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,28,80,385,30,151,111,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e86d17ce180690e506b45cdbf2ef30.jpg","32x38",[98,45],{"id":5780,"slug":5781,"title":5782,"dynasty":54,"author":1574,"museum":20,"description":4006,"tags":5783,"thumbUrl":5784,"material":186,"size":4009,"collection":285,"collections":5785,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":69},220317,"huang-shan-tu-ce-12-hong-ren-220317","黄山图册-12",[23,24,25,149,385,109,28,80,30,31,309,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b54d3c4af734c0a0632bca860be3cf.jpg",[],{"id":5787,"slug":5788,"title":5789,"dynasty":54,"author":854,"museum":1063,"description":5790,"tags":5791,"thumbUrl":5792,"material":137,"size":5793,"collection":285,"collections":5794,"showCount":5714,"zanCount":48,"manualWeight":48,"mainColor":69},217208,"fang-gu-shan-shui-shi-er-kai-shi-wang-hui-217208","仿古山水十二开(十)","此册王翚仿古十二开",[24,25,385,109,80,308,30,83,134,35,7,85,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac8621add47247ddd3b2459729362f6.jpg","25x35.4cm",[],{"id":5796,"slug":5797,"title":5798,"dynasty":162,"author":55,"museum":75,"description":5799,"tags":5800,"thumbUrl":5801,"material":338,"size":5802,"collection":98,"collections":5803,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":49},290737,"fang-mi-shi-yun-shan-zhou-yi-ming-290737","仿米氏云山轴","此幅画夏雨初过，山野溪畔水气弥漫，山脚林间云霭飘移，村屋、古寺掩映其间。山石以浓淡变化的“米点”层叠渲渍，再加色烘染，水份饱满。唯用笔构图板滞，应为明清之作。",[24,79,109,80,30,112,7,35,86,603,133,131,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd455344f176e2280f3d2ea4362701fd1.jpg","57x35.3",[98],{"id":5805,"slug":5806,"title":5807,"dynasty":126,"author":5808,"museum":75,"description":5809,"tags":5810,"thumbUrl":5812,"material":64,"size":5813,"collection":98,"collections":5814,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":49},290355,"chun-wu-cun-ju-tu-zhou-ma-shi-290355","春坞村居图轴","马轼","画幅上方的主峰，奇而不觉突兀，山石峭峰直上，远山笼罩在一片迷蒙的雾中，准确而又充分地表达了作者独特的感受，这正是师承郭熙的画山心法，不仅强调自然山水体貌结构的规律，而且还特别去发现和塑造山水优美的艺术形象。“山形面面看”，“山形步步移”，角度不同而呈现千姿百态，又有别于郭熙的画山之奇异画风。观马轼之山，笔力劲爽含蓄、灵活秀润，无雕琢刻画与粗莽恣肆之弊。从构图和立意上，画家着重墨色浓淡变化，笔锋细劲，设色淡雅。人物虽小，但真实具体，各尽其态。山水景物皆以尖劲利落的细笔勾出，山石用小斧劈皴法，坚凝沉着，棱角分明，以皴点加淡青绿色画出半明半暗的效果，很好的表现了峰峦的质感。树亦以小笔勾点而成，整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味，形成了秀逸而不媚弱，清劲而不霸悍的风格。\n马轼在艺术表现上沁入较多自由清新的气息，如这幅画的山石皴法，固然还可看出传统画法“斧劈皴”的痕迹，但他并不拘泥于前人，而是带有更多的写实意味，用笔细腻沉着，苍秀挺峭，表现了山川苍劲之势和沉着浑厚之气，赋予作品浓郁的生活气息。整个画面的布局上，运用虚实相生的手法，远景山树迷茫，峰峦朦胧，与烟雾相交融，含蓄而更富有真实感。近景大石居中，林树细笔攒簇，柔韧坚挺，更突出了近山的耸拔气象。而茅舍间点缀了正在悠然耕作的人，左峰角小石间似湍湍流动的溪水，使画面的气氛更生动，又营造了画面恬静适淡的意境。马轼是一位宫廷画家，此画在一定程度上也暗示了作者对那种终日应酬、荣辱萦怀的世俗生活的厌倦。从这一个意义上看，《春坞村居图》不但以优美抒情的笔墨描绘了一个自然朴实的春日村居，同时，电是抒发了作者歆羡村居无忧无虑又简单惬意的田园生活及远离世俗的思想情怀。",[24,362,79,109,80,112,35,5811,7,82,86,111,36],"村居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7824d0b618148eddd22cf4a3670ea444.jpg","178.6x112.1",[98],{"id":5816,"slug":5817,"title":5818,"dynasty":54,"author":5819,"museum":242,"description":5820,"tags":5821,"thumbUrl":5823,"material":605,"size":606,"collection":285,"collections":5824,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},237045,"gao-ling-han-zhong-shan-mian-zhu-ang-zhi-237045","高岭寒钟扇面","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[24,25,2203,109,80,30,5822,112,35,7],"高岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ecdb02de8897eebe40965ddb2b4976.jpg",[],{"id":5826,"slug":5827,"title":5828,"dynasty":54,"author":854,"museum":242,"description":5829,"tags":5830,"thumbUrl":5831,"material":285,"size":285,"collection":98,"collections":5832,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},236445,"ni-qian-ren-shi-yi-ce-wang-hui-236445","拟前人诗意册","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。",[24,25,385,109,80,30,35,7,82,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62006bed9cd38e5feced8176c057269c.jpg",[98,99],{"id":5834,"slug":5835,"title":2300,"dynasty":126,"author":2339,"museum":20,"description":5836,"tags":5837,"thumbUrl":5838,"material":5839,"size":5840,"collection":285,"collections":5841,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},236327,"shan-shui-ce-song-xu-236327","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,109,385,80,30,135,111,82,35,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbe6cd4ba19ef0be137f652190d5330d.jpg","纸本 ，设色","纵31cm，横42cm",[],{"id":5843,"slug":5844,"title":5845,"dynasty":54,"author":576,"museum":242,"description":5846,"tags":5847,"thumbUrl":5848,"material":285,"size":285,"collection":285,"collections":5849,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},235891,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235891","原济黄山游图册","这幅山水以水墨晕染烟岚，春山隐在翻涌云气间，虚实掩映晕出空山新雨的湿润。近景茅庐藏于芦荻深处，水牛静卧溪头，田畴青苗含露。\n以枯湿浓淡的多变笔墨绘就山峦苔点，苍劲朴拙，烟霭则以淡墨留白晕染，铺展出山野初春的空蒙柔润。题诗与画境相融，将山农冒雨春耕的野趣藏在淡烟疏柳里，揉合田园闲逸与山野生机，笔底兼具自然意趣与文人气韵，寄寓着隐逸耕读的林下雅情。",[24,109,80,214,149,30,166,7,1225,444,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a1219c43d19bd359589ad745709dc4.jpg",[],{"id":5851,"slug":5852,"title":5620,"dynasty":54,"author":1421,"museum":242,"description":4869,"tags":5853,"thumbUrl":5854,"material":605,"size":606,"collection":285,"collections":5855,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},235661,"shan-shui-ping-yuan-jiang-235661",[24,386,29,28,30,198,35,32,34,58,151,1092,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47a984a5ebee0ef4d208db621d44f4f0.jpg",[],{"id":5857,"slug":5858,"title":2643,"dynasty":126,"author":5470,"museum":242,"description":5859,"tags":5860,"thumbUrl":5861,"material":285,"size":285,"collection":285,"collections":5862,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},235310,"shan-shui-tu-zhou-wen-jia-235310","此作用笔秀雅清润，以淡墨勾勒皴擦山石，间施浅赭晕染，营造出空寂淡远的山居之境。画面自上而下铺展，云山层叠掩隐古寺，虬松斜生崖畔，溪石错落，溪滩处隐士垂坐独钓，处处透着林泉雅意。题诗与画境呼应，将文人寄情山水、超脱尘俗的隐逸情怀尽显，是吴门画派温润雅致风格的典型体现，笔墨精简却意蕴悠长，尽显明代文人山水画的抒情特质。",[24,79,109,28,30,309,82,58,603,7,80,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876beebe5658113260f2436ce7960e89.jpg",[],{"id":5864,"slug":5865,"title":5866,"dynasty":126,"author":2339,"museum":242,"description":5836,"tags":5867,"thumbUrl":5868,"material":592,"size":285,"collection":285,"collections":5869,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷",[23,24,26,109,80,130,133,30,35,36,135,86,150,229,7,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":5871,"slug":5872,"title":5873,"dynasty":18,"author":55,"museum":75,"description":5874,"tags":5875,"thumbUrl":5877,"material":186,"size":5878,"collection":285,"collections":5879,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,109,80,26,30,5876,198,36,82,35,32,229,7,1204],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","28.6x44.1公分",[],{"id":5881,"slug":5882,"title":5883,"dynasty":162,"author":1822,"museum":242,"description":5884,"tags":5885,"thumbUrl":5886,"material":285,"size":285,"collection":285,"collections":5887,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,25,385,109,28,30,86,111,135,35,36,7,229,131,132,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":5889,"slug":5890,"title":5891,"dynasty":18,"author":55,"museum":242,"description":5892,"tags":5893,"thumbUrl":5896,"material":285,"size":285,"collection":285,"collections":5897,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[23,24,2203,29,28,58,781,5894,150,5895,7,133],"神鸟","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":5899,"slug":5900,"title":5901,"dynasty":2995,"author":55,"museum":242,"description":5902,"tags":5903,"thumbUrl":5905,"material":285,"size":285,"collection":285,"collections":5906,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},225305,"fu-shi-hui-32-yi-ming-225305","浮世绘32","这幅山水绘以平远视角铺展幽寂景致，澄澈湖水切割出错落洲渚，岩崖间白练飞瀑垂落，晕开一汪幽潭清涟。苍劲虬曲的古松或孤植洲头，或茂生崖畔，隐在云霭间的山居添了悠然野趣。\n\n远景淡青山峦托着朱色浅丘，与靛蓝湖水相映，留白如轻烟岚雾层层推开空间，糅合装饰性与写意感。明快柔和的石青、草绿晕染出温润生机，凝练利落的线条勾勒林泉肌理，将幽寂禅意融于湖光山色，尽显日式山水绘的空灵悠远，复刻出侘寂闲静的自然之趣。",[4157,4158,28,30,111,309,83,7,36,33,113,5904],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc601009e26987e67a465c679f8627.jpg",[],{"id":5908,"slug":5909,"title":1958,"dynasty":54,"author":854,"museum":242,"description":5910,"tags":5911,"thumbUrl":5912,"material":285,"size":285,"collection":285,"collections":5913,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,24,25,79,28,80,30,35,113,85,229,7,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":5915,"slug":5916,"title":5917,"dynasty":126,"author":5374,"museum":20,"description":5918,"tags":5919,"thumbUrl":5922,"material":400,"size":5923,"collection":285,"collections":5924,"showCount":121,"zanCount":314,"manualWeight":48,"mainColor":69},222222,"ping-qiao-yuan-shui-tu-juan-wen-bo-ren-222222","平桥远水图卷","此卷为文伯仁仿元赵孟頫《水村图卷》之作，亦称《平桥远水图卷》。作者用水墨之笔，轻渲淡染，以近景为主，远处则略加留白，以示水光苍茫。此图意境萧疏清旷，从容深秀，深得赵孟頫《水村图》之神韵。\n全卷层峦叠谳，岗岭蜿蜒，起伏不断。江面空旷，波光激荡，舟帆点点，远山朦胧。野色桥边，树石掩映，露出茅屋草亭，人物幽闲。青山高耸，俯临秋水，草木茂密，掩映楼阁。此图兼工带写，构图严密，既继承家法，又追宗王蒙， 山石多用蜷曲皴笔，有条不紊，理具其中而得质感。整卷布景奇兀，笔力清劲。署“嘉靖庚午秋仿赵文敏笔，五峰文伯仁。”钤“五峰山人”白文印和“文伯仁印”朱文印。",[23,149,24,25,26,109,80,30,5920,5921,672,112,111,35,7,133],"平桥","远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ef409fd3029ecdb8f7bb06b1fc56fe.jpg","26.7x231cm",[],{"id":5926,"slug":5927,"title":5928,"dynasty":18,"author":2080,"museum":359,"description":5929,"tags":5930,"thumbUrl":5931,"material":95,"size":285,"collection":285,"collections":5932,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":49},218079,"luo-han-tu-ce-8-li-gong-lin-218079","罗汉图册-8","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,24,149,385,322,58,780,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d6599dbe381a3aae0b7393155c2101.jpg",[],{"id":5934,"slug":5935,"title":5936,"dynasty":126,"author":55,"museum":1063,"description":5937,"tags":5938,"thumbUrl":5939,"material":137,"size":285,"collection":285,"collections":5940,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":69},217946,"ming-ren-shan-shui-hua-ce-jiu-yi-ming-217946","明人山水画册(九)","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。",[23,24,25,385,109,30,80,166,7,35,36,2014,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa574ea7389a9c41271ae0e8aae560842.jpg",[],{"id":5942,"slug":5943,"title":5944,"dynasty":3756,"author":5945,"museum":181,"description":5946,"tags":5947,"thumbUrl":5948,"material":285,"size":285,"collection":98,"collections":5949,"showCount":121,"zanCount":48,"manualWeight":48,"mainColor":5950},202969,"chun-yan-die-cui-tu-zhou-xiao-jun-xian-202969","春岩叠翠图轴","萧俊贤","画面中山峦层叠，云雾缭绕间，苍松挺劲，枝叶繁茂，似有清风拂过。山间瀑布潺潺而下，汇入溪流，水声仿佛可闻。崖畔茅屋隐现，添了几分隐逸之趣。笔墨上，山石以皴擦结合晕染，质感厚重；树木用浓淡墨色点染，层次分明。整体意境清幽，尽显春日山林的生机与静谧，传递出文人雅士对自然的向往与哲思。",[30,109,28,80,309,83,184,7,82,85,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f10fbcbeaa4cd0e3b5181bc5ec59a3.jpg",[98],"bcb2a3",{"id":5952,"slug":5953,"title":5954,"dynasty":162,"author":1822,"museum":75,"description":5955,"tags":5956,"thumbUrl":5958,"material":338,"size":5959,"collection":285,"collections":5960,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},290345,"yu-shan-tu-zhou-gao-ke-gong-290345","雨山图轴","此幅远山近石上，皆以米家点为之，画树叶亦不勾勒，率以浓淡不等之墨直接画出，水份用得特别饱满，加以所用纸张为不吸水性，犹觉水份流动於纸上。自题此图完成时云雨正来，空气湿润，更加倍促使本图能表现雨之濛濛情调。",[24,149,79,109,30,80,5957,112,7,35,36,131,133],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ebd812cba6a2a20d43eb8516e168d.jpg","122.1x81.1",[],{"id":5962,"slug":5963,"title":5964,"dynasty":162,"author":3952,"museum":242,"description":5965,"tags":5966,"thumbUrl":5967,"material":605,"size":606,"collection":285,"collections":5968,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},290253,"shan-xi-yun-shu-tu-zhao-yuan-290253","剡溪云树图","画江浙一带溪山平远之境，丘陵蜿蜒，草木丰茸，云蒸霞蔚，笔墨圆厚华滋，淳雅文秀有书卷气，画法与元人马文璧同调。本幅及卷后有陆友、奂祖明、陈方、仇远、张天英等多人题跋，本幅更有乾隆御书七古长诗，以为乃写会稽山水，故有“剡溪云树”之标识。诗中有句云：“传神犹在烟霞外，肯让董源第一流?”推崇可谓备之。故《石渠宝笈•初编》定为上等，可见钟爱之深也。卷后有近人萱晖堂主程伯奋多次考识，以元人张伯英诗题“画山水歌题赵宜之卷”而定为金代赵元字宜之者。因赵元后来几乎失明，宜之画世无第二本，此或许是孤本了。",[23,24,26,362,109,80,112,35,7,111,248,86,36,132,133,4208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0afad2ea03fa3328ac2e549f14dc8804.jpg",[],{"id":5970,"slug":5971,"title":2643,"dynasty":54,"author":2511,"museum":242,"description":5972,"tags":5973,"thumbUrl":5974,"material":285,"size":285,"collection":285,"collections":5975,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},235693,"shan-shui-tu-zhou-hua-yan-235693","此作为小青绿山水，以高远、深远法构景，主峰清隽挺秀，浅绛与青绿交融晕染，褪去浓艳尽显清和格调。留白铺陈云雾，将山谷晕染为空濛仙境，虚实相生间拉开山林纵深感。\n\n山脚林木繁秀，杂花点染枝头，流泉蜿蜒穿石而过，林麓间隐现山居人家，灵动雅致，暗合文人幽居雅趣。笔墨兼工带写，既有院体山水的精工细致，又具文人写意的秀逸灵韵，将丘壑幽寂、林泉清润的出尘意境娓娓铺展，尽显山水间的恬淡诗意。",[24,79,28,30,82,111,83,35,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff675f012ce8c073d8eabc9f62ada51e3.jpg",[],{"id":5977,"slug":5978,"title":5620,"dynasty":54,"author":1421,"museum":242,"description":4869,"tags":5979,"thumbUrl":5980,"material":605,"size":606,"collection":285,"collections":5981,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":49},235665,"shan-shui-ping-yuan-jiang-235665",[24,79,28,386,29,80,30,3558,35,86,36,364,111,7,82,1343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefca7b2dcd8a712e35fd50b73241e017.jpg",[],{"id":5983,"slug":5984,"title":5985,"dynasty":126,"author":5986,"museum":242,"description":5987,"tags":5988,"thumbUrl":5989,"material":605,"size":606,"collection":285,"collections":5990,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},235203,"ren-wu-tu-shan-ye-chen-hong-shou-235203","人物图扇页","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,25,2203,28,58,29,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df89576066f1a08a513a6edf9e83f6f.jpg",[],{"id":5992,"slug":5993,"title":5994,"dynasty":54,"author":5995,"museum":20,"description":5996,"tags":5997,"thumbUrl":5998,"material":40,"size":5999,"collection":285,"collections":6000,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","方琮","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[24,79,28,30,80,166,167,83,86,151,495,36,4475,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":6002,"slug":6003,"title":6004,"dynasty":126,"author":5470,"museum":20,"description":6005,"tags":6006,"thumbUrl":6007,"material":186,"size":285,"collection":285,"collections":6008,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,26,109,30,80,131,133,132,35,86,111,151,150,184,229,230,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e66541a7ebd7c5075034cb06a0ac1b.jpg",[],{"id":6010,"slug":6011,"title":5163,"dynasty":54,"author":576,"museum":20,"description":6012,"tags":6013,"thumbUrl":6014,"material":186,"size":6015,"collection":285,"collections":6016,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},233127,"yuan-ji-shan-shui-ce-shi-tao-233127","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。",[24,25,385,109,28,80,30,135,112,35,36,7,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg","纵33.2cm，横22.8cm",[],{"id":6018,"slug":6019,"title":6020,"dynasty":54,"author":1959,"museum":75,"description":6021,"tags":6022,"thumbUrl":6023,"material":153,"size":6024,"collection":285,"collections":6025,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,25,385,28,30,80,112,35,111,83,82,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":6027,"slug":6028,"title":6029,"dynasty":54,"author":6030,"museum":20,"description":6031,"tags":6032,"thumbUrl":6033,"material":6034,"size":6035,"collection":285,"collections":6036,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":49},223139,"shi-wan-tu-ce-3-ren-xiong-223139","十万图册3","任熊","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,149,24,25,385,27,28,30,7,35,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aeb50154d506f2c841a50d34007f7fa.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],{"id":6038,"slug":6039,"title":6040,"dynasty":562,"author":972,"museum":242,"description":6041,"tags":6042,"thumbUrl":6043,"material":338,"size":285,"collection":285,"collections":6044,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":69},218171,"da-qian-kuang-tu-ce-7-zhang-da-qian-218171","大千狂涂册-7","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,109,80,30,198,135,86,35,82,7,131,4474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c38b0ac6496c4186a00a1231e8058da.jpg",[],{"id":6046,"slug":6047,"title":6048,"dynasty":126,"author":2022,"museum":181,"description":6049,"tags":6050,"thumbUrl":6051,"material":285,"size":285,"collection":98,"collections":6052,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":6053},203439,"chang-xia-shan-cun-tu-zhou-zhou-chen-203439","长夏山村图轴","峰峦巍峨入云，墨色皴擦间显山石苍劲肌理，云雾轻笼山腰，添缥缈之态。山麓楼阁临流而筑，飞檐层叠，结构精巧（界画之韵），周遭古木扶疏，枝叶婆娑，笔触灵动。溪水潺潺穿石而过，矶石错落，动静相谐。整幅以水墨为底，浓淡干湿交织，尽显夏日山居的清幽静谧，文人寄情山水的闲适意趣溢于笔端，浙派笔墨的雄浑与细腻在此交融，观之如临其境，心向往之。",[23,24,109,80,79,30,198,35,82,111,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a29c942bfcac35fba3e51442c04ede3.jpg",[98],"877d75",{"id":6055,"slug":6056,"title":6057,"dynasty":3756,"author":3757,"museum":181,"description":6058,"tags":6059,"thumbUrl":6060,"material":285,"size":285,"collection":98,"collections":6061,"showCount":175,"zanCount":48,"manualWeight":48,"mainColor":6062},202869,"kan-shu-tu-zhou-huang-bin-hong-202869","勘书图轴","这幅画以浑厚华滋的笔墨勾勒山水之韵，山峦层叠，皴擦与积墨交织，山石纹理苍劲古拙。山间云雾氤氲，似将峰峦轻笼，显深远之境。近景处松枝挺拔，亭台隐于林麓间，溪水绕石而过，静谧中藏生机。笔墨浓淡相宜，干湿互济，尽显自然灵秀与文人意趣，是画家晚年山水的典型风貌，于质朴中见深邃，于厚重中显清逸。",[24,30,109,80,2448,151,309,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd938673ed4b5cb9ebb8ccb397d562c68.jpg",[98],"b5af99",{"id":6064,"slug":6065,"title":947,"dynasty":266,"author":6066,"museum":242,"description":6067,"tags":6068,"thumbUrl":6069,"material":605,"size":606,"collection":285,"collections":6070,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":49},289870,"yun-shan-tu-zhong-yin-289870","钟隐","钟隐，五代南唐人物，字晦叔，天台（今浙江天台）人，盖处士也。好画花竹禽鸟。",[24,149,25,79,109,80,30,2675,507,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c35661a4dcd7d3b6c2f8566ab7067fe.jpg",[],{"id":6072,"slug":6073,"title":3365,"dynasty":54,"author":3366,"museum":242,"description":6074,"tags":6075,"thumbUrl":6076,"material":605,"size":606,"collection":285,"collections":6077,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":49},288213,"shan-yin-cao-tang-tu-xu-gu-288213","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[23,24,25,26,109,30,3370,35,7,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f7f94852af7e7a30ef59206740d623.jpg",[],{"id":6079,"slug":6080,"title":6081,"dynasty":126,"author":3328,"museum":242,"description":6082,"tags":6083,"thumbUrl":6084,"material":605,"size":606,"collection":285,"collections":6085,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":49},287861,"shan-shui-tu-ye-zhang-hong-287861","山水图页","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[23,149,24,30,111,112,35,80,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda5fe75184c121f92c524d109737692.jpg",[],{"id":6087,"slug":6088,"title":6089,"dynasty":18,"author":2080,"museum":242,"description":6090,"tags":6091,"thumbUrl":6094,"material":605,"size":606,"collection":285,"collections":6095,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},287737,"bai-miao-luo-han-tu-juan-qun-xian-du-hai-li-gong-lin-287737","白描罗汉图卷(群仙渡海)","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,149,24,26,780,58,322,2083,6092,131,133,6093,350,7],"渡海","仙佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9353d739f26f03383d099ee1c6984e1.jpg",[],{"id":6097,"slug":6098,"title":6099,"dynasty":54,"author":4464,"museum":242,"description":4465,"tags":6100,"thumbUrl":6102,"material":285,"size":285,"collection":45,"collections":6103,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":954},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷",[23,24,25,26,28,30,29,58,782,6101,35,82,7,36,85,133,149],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[45],{"id":6105,"slug":6106,"title":6107,"dynasty":126,"author":55,"museum":242,"description":6108,"tags":6109,"thumbUrl":6110,"material":605,"size":606,"collection":285,"collections":6111,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},238578,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238578","明人升平翊赞图并书赞册","此作以工笔重彩绘就，设色浓妍饱满。青绿浪涛间晕染粉黄祥云，层次绵密铺展出神幻水境。右侧水府门庭威严矗立，赤甲神人持械守立；左侧仙官乘骑率众列队，仪仗整肃齐整，衣甲纹饰刻画入微，旌旗猎猎尽显仪典庄重。\n画作以叙事构图铺陈海神受贺的吉庆盛景，神人形象刚劲饱满，将神异世界的肃穆祥瑞融于一体，尽显道释绘画的精工富丽，勾勒出天界水府的恢弘气象。",[24,385,29,28,58,782,59,30,7,198,2837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3fa2435db481017698d178d3cf926d.jpg",[],{"id":6113,"slug":6114,"title":6115,"dynasty":54,"author":3129,"museum":242,"description":3130,"tags":6116,"thumbUrl":6117,"material":285,"size":285,"collection":98,"collections":6118,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},238414,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238414","董诰蓬壶荟胜图册",[24,28,30,385,80,112,35,36,135,7,111,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b57bd7c4262f4b634c1cac62844ecf.jpg",[98,45],{"id":6120,"slug":6121,"title":6122,"dynasty":126,"author":55,"museum":242,"description":6123,"tags":6124,"thumbUrl":6125,"material":605,"size":606,"collection":285,"collections":6126,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,25,79,28,29,80,30,58,198,35,1115,229,7,36,1322,2714,672,309,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":6128,"slug":6129,"title":6130,"dynasty":54,"author":854,"museum":242,"description":5829,"tags":6131,"thumbUrl":6132,"material":285,"size":285,"collection":98,"collections":6133,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},236746,"fang-gao-yan-jing-shan-shui-ce-zhuang-zhou-wang-hui-236746","仿高彦敬山水册装轴",[24,149,30,109,131,133,80,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7015681639e90340b2a5d8af9be265.jpg",[98,99,1470],{"id":6135,"slug":6136,"title":5620,"dynasty":54,"author":1421,"museum":242,"description":4869,"tags":6137,"thumbUrl":6138,"material":605,"size":606,"collection":285,"collections":6139,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":49},235663,"shan-shui-ping-yuan-jiang-235663",[24,25,386,29,28,27,30,198,309,1682,83,7,82,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":6141,"slug":6142,"title":6143,"dynasty":54,"author":854,"museum":242,"description":6144,"tags":6145,"thumbUrl":6146,"material":285,"size":285,"collection":285,"collections":6147,"showCount":101,"zanCount":314,"manualWeight":48,"mainColor":69},235606,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-hui-235606","仿黄公望山水图轴","此作以高远兼深远之法写就，层峦叠嶂自右上逶迤铺展，山势雄秀兼具，留白晕染仿出初雪覆山的清润寒意。干笔皴擦间点缀湿墨晕染，勾勒出岩体质朴苍劲的纹理。\n\n林木疏密错落，枯荣交织，挺劲枝干带着摇曳之姿，涧水潺潺穿林绕石，掩映处的山居茅舍，衬出林泉幽寂的林下之致。右上角题诗补白，笔墨与文心相融，既得元人萧散简远的林下意境，又不失清丽秀润的自家风骨，师法前人却不泥古，将山川林壑的静穆生机晕染开来，尽显山水笔墨的隽永意趣。",[24,25,79,109,28,80,30,35,82,111,7,247,113,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12ebab63a5fd626204d87b2f599add4a.jpg",[],{"id":6149,"slug":6150,"title":2259,"dynasty":54,"author":854,"museum":242,"description":2260,"tags":6151,"thumbUrl":6152,"material":605,"size":606,"collection":285,"collections":6153,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},234959,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234959",[24,25,385,28,80,130,30,82,35,229,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dab0f664c3f528b81070dd8fb5cd087.jpg",[],{"id":6155,"slug":6156,"title":6157,"dynasty":126,"author":5515,"museum":75,"description":6158,"tags":6159,"thumbUrl":6160,"material":186,"size":6161,"collection":285,"collections":6162,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[23,24,26,109,30,80,131,132,133,82,35,111,86,151,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":6164,"slug":6165,"title":6166,"dynasty":126,"author":6167,"museum":242,"description":6168,"tags":6169,"thumbUrl":6170,"material":285,"size":285,"collection":285,"collections":6171,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,26,109,80,132,133,30,83,35,82,151,135,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":6173,"slug":6174,"title":6175,"dynasty":2995,"author":6176,"museum":242,"description":6177,"tags":6178,"thumbUrl":6179,"material":605,"size":606,"collection":285,"collections":6180,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},230588,"jiang-hu-shi-dai-xi-hu-chun-jing-tu-ping-feng-chi-da-ya-230588","江户时代 西湖春景图屏风","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,79,109,80,30,151,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3125c5c3370cc69ab3b9f3786836eea.jpg",[],{"id":6182,"slug":6183,"title":6184,"dynasty":2995,"author":6185,"museum":242,"description":6186,"tags":6187,"thumbUrl":6188,"material":285,"size":285,"collection":285,"collections":6189,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":49},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","狩野山雪","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,26,29,28,386,58,198,30,86,111,151,35,3808,1424,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],{"id":6191,"slug":6192,"title":6193,"dynasty":162,"author":6194,"museum":242,"description":6195,"tags":6196,"thumbUrl":6197,"material":285,"size":285,"collection":285,"collections":6198,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","王渊","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[23,24,25,26,109,132,2572,131,80,133,30,135,151,35,82,7,111,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":6200,"slug":6201,"title":6202,"dynasty":54,"author":854,"museum":242,"description":6203,"tags":6204,"thumbUrl":6205,"material":285,"size":285,"collection":285,"collections":6206,"showCount":101,"zanCount":314,"manualWeight":48,"mainColor":69},224467,"hua-meng-hao-ran-shi-yi-zhou-wang-hui-224467","画孟浩然诗意轴","此作以诗入画，全景铺展幽寂山居。层峦叠嶂以披麻皴写就，笔力苍秀，皴擦间尽显山石肌理的苍厚质感。云气在山谷间流荡开合，晕染出空濛湿润的烟雨氛围，将山峦切割成错落层次，虚实相生。\n\n水岸汀洲、古木虬枝错落排布，板桥行旅、崖畔山居点缀其间，为清冷山水添上灵动烟火气。高远与平远兼具的构图，上见巉崖陡立，下观浅溪通幽，将诗句里的隐逸恬淡具象化，笔墨兼具宋元山水的浑朴与清丽秀雅，尽显山居烟岚的悠然意趣。",[23,24,362,79,109,80,30,86,111,151,198,35,82,7,58,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c7a0db74deff24cd7a29e728cdc7a4.jpg",[],{"id":6208,"slug":6209,"title":6210,"dynasty":54,"author":2825,"museum":75,"description":6211,"tags":6212,"thumbUrl":6213,"material":202,"size":6214,"collection":285,"collections":6215,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},222829,"fang-fan-kuan-shan-shui-zhang-yu-sen-222829","倣范宽山水","张雨森，清朝画家。初名雨，字作霖，一字紫琅，号苍野，经子，工山水，得文家风韵。善 亦善画花鸟。",[23,24,362,130,80,28,166,167,83,151,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26a62e98db18f4a08c75656b156a81a.jpg","31x37.1",[],{"id":6217,"slug":6218,"title":6219,"dynasty":18,"author":6220,"museum":75,"description":6221,"tags":6222,"thumbUrl":6224,"material":964,"size":6225,"collection":285,"collections":6226,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},221663,"guan-shan-xing-lv-xiao-zhao-221663","关山行旅","萧照","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，虚处乃为江上为气所迷，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。近山浓重，远山清淡，又形成虚实对比。名款“萧照”二字楷书于幅中央之树石间，则与《西湖志余》所载相同。",[23,149,24,25,28,80,30,82,35,7,1262,84,112,721,1077,364,6223,782],"天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fe06d072d80ba657a4399c5a76700d.jpg","24.2 x 26.2 cm",[],{"id":6228,"slug":6229,"title":6230,"dynasty":126,"author":5374,"museum":1248,"description":6231,"tags":6232,"thumbUrl":6233,"material":5387,"size":6234,"collection":285,"collections":6235,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":285},220735,"yan-jiang-die-zhang-tu-ba-wen-bo-ren-220735","烟江叠嶂图跋","此小楷题跋笔致清劲秀雅，结体匀整端稳。书者追念原作笔墨逸趣，慨叹辗转得见真迹的幸然，盛赞原作笔意苍茫浑朴，以精妙水墨晕染出烟江层峦的空濛之致，将山川灵秀收于尺幅之间。\n\n字里行间藏着得见真迹的珍视，把寻获佳作的欣喜与对原作风神的倾慕娓娓道来。笔墨文辞相融，既为画作添上一段流传佳话，又以隽雅书迹衬合原作山水意境，尽显文人清雅意趣与鉴藏情怀，书画相映，让这份古雅意韵更添悠长。",[24,25,132,109,28,30,480,112,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3032ad22be1f88d0afc7499004d1d852.jpg","22 × 31.7厘米",[],{"id":6237,"slug":6238,"title":6239,"dynasty":18,"author":6240,"museum":75,"description":6241,"tags":6242,"thumbUrl":6244,"material":64,"size":6245,"collection":98,"collections":6246,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[23,24,149,25,80,109,30,2560,1077,507,82,35,229,4697,1505,445,7,649,6243],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a043a6d31731e9d74857f9921bcf1c.jpg","21.4x24.7",[98],{"id":6248,"slug":6249,"title":6250,"dynasty":18,"author":55,"museum":75,"description":6251,"tags":6252,"thumbUrl":6253,"material":64,"size":285,"collection":98,"collections":6254,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},218690,"yun-shan-lan-sheng-tu-yi-ming-218690","云山揽胜图","层峦叠嶂间，云雾如缕如带，缠绕峰腰，将山川晕染出远近错落的层次。山石勾勒皴擦见苍劲质感，林木点缀其间添自然生机，而云气的轻烟淡墨柔化了峰岭的硬朗，晕开几分空濛之趣。笔墨工致中藏灵动，写实里含写意，尽显宋人山水分韵之妙。观者仿佛凭高揽胜，目之所及皆是层峰竞秀，云气吞吐，心随景阔，顿生天地悠悠、物我两忘的清幽意境。",[23,24,25,109,28,30,80,2675,112,7,82,35,26,2816,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26092f110f0e3d6da8b2ff949a808d53.jpg",[98],{"id":6256,"slug":6257,"title":6258,"dynasty":54,"author":492,"museum":181,"description":5055,"tags":6259,"thumbUrl":6260,"material":137,"size":5058,"collection":285,"collections":6261,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},216981,"fang-song-yuan-shan-shui-ce-6-wang-jian-216981","仿宋元山水册-6",[23,24,362,28,80,130,385,112,35,111,86,151,7,446,113,85,38,1394,83,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46f5271914a2b4ff894633cf7a7a1fc.jpg",[],{"id":6263,"slug":6264,"title":6265,"dynasty":54,"author":492,"museum":181,"description":5055,"tags":6266,"thumbUrl":6267,"material":137,"size":5058,"collection":285,"collections":6268,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":69},216967,"fang-song-yuan-shan-shui-ce-11-wang-jian-216967","仿宋元山水册-11",[23,24,25,109,130,80,308,30,35,82,7,199,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12cc379bfe0f6d2c425b876799af556f.jpg",[],{"id":6270,"slug":6271,"title":6272,"dynasty":3756,"author":3757,"museum":181,"description":6273,"tags":6274,"thumbUrl":6275,"material":285,"size":285,"collection":98,"collections":6276,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":6277},202809,"han-lin-wan-shan-tu-zhou-huang-bin-hong-202809","寒林晚山图轴","笔墨沉厚华滋，积墨层层晕染山峦，皴擦点染交织出山石苍劲肌理。寒林枝干虬曲古拙，溪流蜿蜒，飞瀑潺潺，屋舍隐于林麓间，添静谧生趣。远山云雾氤氲，虚实相生，苍茫幽深的晚山意境跃然纸上，尽显传统山水的浑厚气韵与文人雅趣。",[24,30,109,80,2448,1343,83,603,85,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfffa3f4b895034bf9d496806e1f4b65.jpg",[98],"bcbdae",{"id":6279,"slug":6280,"title":2643,"dynasty":3756,"author":3757,"museum":181,"description":6281,"tags":6282,"thumbUrl":6283,"material":285,"size":285,"collection":98,"collections":6284,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":3762},202801,"shan-shui-tu-zhou-huang-bin-hong-202801","墨色层叠间，山峦如黛，以苍劲皴笔勾勒筋骨，干湿浓淡交织出石的肌理与云的缥缈。近景松石挺秀，松枝虬劲，与嶙峋怪石相映；林间隐见小桥流水，屋舍数椽，似有烟火气却又透着清寂。中远景峰峦起伏，云雾缭绕，将天地连成一片悠远之境。整幅画笔墨老辣，意境浑朴，尽显文人山水的沉郁与空灵，仿佛可闻山风过松，观流云漫谷，引人入胜。",[24,109,80,30,309,86,7,603,705,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91b26d9e666e9cbccab8cbcfbaca997.jpg",[98],{"id":6286,"slug":6287,"title":6288,"dynasty":126,"author":305,"museum":181,"description":6289,"tags":6290,"thumbUrl":6291,"material":285,"size":285,"collection":98,"collections":6292,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":6293},201726,"wang-wei-shi-yi-tu-zhou-dong-qi-chang-201726","王维诗意图轴","此作以水墨写意出山川之姿，峰峦层叠间云雾缭绕，林木疏密有致，屋舍隐于溪畔林间，尽显“诗中有画”的空灵意境。笔墨清润淡雅，皴擦点染间见文人雅致，线条灵动却不失沉稳，山石纹理与树木姿态皆透出自然生机，将王维诗中的悠远静谧转化为可视的山水图景，传递出淡远的文人情怀。",[30,109,80,79,1505,603,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e35dfc76ab32d31c71c0b823ac82f.jpg",[98],"c5b9a6",{"id":6295,"slug":6296,"title":6297,"dynasty":126,"author":55,"museum":242,"description":6298,"tags":6299,"thumbUrl":6300,"material":605,"size":606,"collection":285,"collections":6301,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},290980,"ming-ren-liu-an-cun-she-yi-ming-290980","明人柳岸村舍","薄雾轻笼远山，黛色融在烟岚里，晕作朦胧柔色。近岸柳丝垂曳，枯荣相杂的林木环着村舍，黛瓦矮墙隐在深浅绿意中，藏起乡野人家的日常。\n\n柔波漾着春水，三两渔人泛扁舟，持篙摇橹，把清寂春晨揉出淡淡烟火气。\n\n整幅以青绿设色，绢本底色晕开雅致石青石绿，色调柔和恬淡，无浓烈铺陈，只以浅淡晕染写尽江南水村的春日清宁。笔触秀雅细腻，绘林木错落随性，勾水波轻细灵动，将乡野安然藏在尺幅间，带着温婉闲逸的意趣，把江南水乡的慵懒春日定格于绢素之上，尽显平和悠远的林下清思。",[24,30,385,27,28,724,1092,111,135,35,509,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17be9d15578f72df9e8a41dddd847a5c.jpg",[],{"id":6303,"slug":6304,"title":612,"dynasty":162,"author":1822,"museum":242,"description":6305,"tags":6306,"thumbUrl":6307,"material":605,"size":606,"collection":285,"collections":6308,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},290497,"shan-shui-tu-gao-ke-gong-290497","高克恭（1248—1310）字彦敬，号房山，色畏吾儿（今维吾尔族），高克恭的先人来自西域，先定居于大同，后移居燕京（今北京），祖籍西域（今新疆）。 由京师贡补工部令史，选充行台掾，擢山东西道按察司经历，历河南道按察司判官，大中时，官至刑部尚书。画山水初学二米，后学董源、李成笔法，专取写意气韵，亦擅长墨竹，与文湖州并驰，造诣精绝。",[149,24,79,109,30,603,35,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b32823c8dee2143a81c0ef5b0d559c6.jpg",[],{"id":6310,"slug":6311,"title":6312,"dynasty":162,"author":6313,"museum":75,"description":6314,"tags":6315,"thumbUrl":6317,"material":338,"size":6318,"collection":285,"collections":6319,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},290400,"qiu-lin-xiao-yin-tu-zhou-tao-fu-chu-290400","秋林小隐图轴","陶复初","陶复初，字明本，号介轩，元中叶石曲人。",[24,79,109,362,363,2204,82,7,35,111,133,131,80,6316,1078],"隐居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff085a8e059a6fc77f2a467fae1d4d8c5.jpg","70x28.7",[],{"id":6321,"slug":6322,"title":6323,"dynasty":162,"author":2108,"museum":242,"description":5430,"tags":6324,"thumbUrl":6325,"material":605,"size":606,"collection":285,"collections":6326,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},290261,"shan-shui-tu-zhou-ke-luo-ban-fang-cong-yi-290261","山水图轴（珂罗版）",[23,24,149,79,109,30,134,111,135,198,35,7,80,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e173a9c7c9e329ac11f95e51162b3a.jpg",[],{"id":6328,"slug":6329,"title":6330,"dynasty":54,"author":3267,"museum":242,"description":6331,"tags":6332,"thumbUrl":6333,"material":605,"size":606,"collection":285,"collections":6334,"showCount":11,"zanCount":314,"manualWeight":48,"mainColor":69},287448,"tai-gu-yun-lan-tu-zou-yi-gui-287448","太古云岚图","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,149,25,79,30,109,28,112,7,4573,36,86,111,133,131,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef4e4eaf1fc1e2699370d3d8e8973ac.jpg",[],{"id":6336,"slug":6337,"title":2300,"dynasty":54,"author":6338,"museum":242,"description":6339,"tags":6340,"thumbUrl":6341,"material":285,"size":285,"collection":98,"collections":6342,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,109,80,385,30,198,82,35,111,229,529,199,7,3043,2062],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F591c692a53110aba3d0f7ed31649a34e.jpg",[98,99],{"id":6344,"slug":6345,"title":6346,"dynasty":126,"author":6347,"museum":242,"description":6348,"tags":6349,"thumbUrl":6351,"material":285,"size":285,"collection":285,"collections":6352,"showCount":11,"zanCount":314,"manualWeight":48,"mainColor":49},235996,"qiao-yue-dan-xia-zhou-xiang-de-xin-235996","乔岳丹霞轴","项德新","此作以奇崛岳峰起势，方硬岩壁勾勒间兼施水墨晕染，云雾萦回山腰，将厚重山石衬得空灵缥缈，隐于云间的瀑流暗生机趣。下方江岸虬松盘曲苍劲，水岸汀渚之上，孤舟渔翁独钓，林麓茅舍幽藏，糅合雄奇与清逸。\n\n笔墨取元人简淡意趣又自出机杼，干笔皴擦写山石肌理，湿墨晕染烟岚云水，虚实相生。把高旷山岳的雄浑与林下幽居的闲淡相融，绘就文人心底丘壑，尽显静穆淡远的隐逸意趣，引观者沉潜林泉高致之间。",[902,24,362,79,80,82,35,83,7,86,6350,111],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff13466302312933c3bd5dea309f2a8.jpg",[],{"id":6354,"slug":6355,"title":1173,"dynasty":54,"author":576,"museum":20,"description":3138,"tags":6356,"thumbUrl":6357,"material":5839,"size":6015,"collection":285,"collections":6358,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},235005,"yuan-ji-shan-shui-tu-ce-shi-tao-235005",[24,109,30,135,80,35,31,7,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd784b91f6631c5f760dc9d90bdcebb.jpg",[],{"id":6360,"slug":6361,"title":1173,"dynasty":54,"author":576,"museum":20,"description":3138,"tags":6362,"thumbUrl":6363,"material":5839,"size":6015,"collection":285,"collections":6364,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},235004,"yuan-ji-shan-shui-tu-ce-shi-tao-235004",[149,24,25,109,28,80,385,131,133,30,58,672,7,2026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1d5969137e19a3568085176acf242b.jpg",[],{"id":6366,"slug":6367,"title":6368,"dynasty":126,"author":5515,"museum":20,"description":6369,"tags":6370,"thumbUrl":6371,"material":95,"size":6372,"collection":285,"collections":6373,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},233463,"jian-yue-jiang-qiu-tu-juan-xiang-sheng-mo-233463","剪越江秋图卷","本幅设色，引首陈鸿寿隶书四大字，后隔水有钱楷题记，后幅有载光曾题记。\n项圣谟（1597—1658年），字孔彰，号易庵，又号胥山樵，别号松涛散仙、存存居士，浙江嘉兴人，晚明大收藏家项元汴之孙。家学渊厚，诗画俱佳，于历代诸家多有临习，尤得力于北宋技法与元人神韵，山水、花鸟、人物无不笔墨清隽，格调高雅，是明末不可多得的自成一格的文人画家。",[24,26,30,28,80,31,7,35,1660,135,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a78a5368103a80910bbda050a2fc172.jpg","纵34.5cm 横688cm",[],{"id":6375,"slug":6376,"title":2300,"dynasty":162,"author":5419,"museum":20,"description":6377,"tags":6378,"thumbUrl":6379,"material":592,"size":6380,"collection":285,"collections":6381,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[24,25,385,109,80,30,166,495,199,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c56a42fde601ecf5f7dd11e23e93b3.jpg","纵33.1cm，横27.4cm",[],{"id":6383,"slug":6384,"title":6385,"dynasty":54,"author":5995,"museum":242,"description":6386,"tags":6387,"thumbUrl":6389,"material":285,"size":6390,"collection":285,"collections":6391,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},232692,"shan-shui-shan-xia-ben-quan-tu-ye-fang-cong-232692","山水山峡奔泉图页","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》",[23,149,24,25,4474,28,80,30,6388,83,82,35,36,32,7,86],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc835b79f8135b64f62bb539dc0e09c96.jpg","46x32 厘米",[],{"id":6393,"slug":6394,"title":6395,"dynasty":54,"author":6396,"museum":242,"description":6397,"tags":6398,"thumbUrl":6399,"material":605,"size":606,"collection":285,"collections":6400,"showCount":11,"zanCount":314,"manualWeight":48,"mainColor":69},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》",[24,25,149,30,308,28,82,7,229,151,495,385,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb26cb02769aeda20dba4113895ea76f.jpg",[],{"id":6402,"slug":6403,"title":6404,"dynasty":126,"author":6405,"museum":242,"description":6406,"tags":6407,"thumbUrl":6408,"material":285,"size":285,"collection":285,"collections":6409,"showCount":11,"zanCount":314,"manualWeight":48,"mainColor":327},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","魏之璜","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,25,79,109,30,80,82,35,111,247,58,309,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":6411,"slug":6412,"title":612,"dynasty":162,"author":6413,"museum":242,"description":6414,"tags":6415,"thumbUrl":6416,"material":285,"size":285,"collection":285,"collections":6417,"showCount":11,"zanCount":314,"manualWeight":48,"mainColor":49},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,25,2203,109,28,30,80,86,111,35,82,7,199,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":6419,"slug":6420,"title":6421,"dynasty":18,"author":2080,"museum":242,"description":6422,"tags":6423,"thumbUrl":6424,"material":285,"size":285,"collection":285,"collections":6425,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},227608,"fa-hai-ling-shan-tu-li-gong-lin-227608","法海灵山图","李公麟（1049年－1106年），北宋畫家。字伯時，號龍眠居士，舒州（今安徽桐城）人。\n\n進士出身，曆南康、長垣尉、泗州錄事參軍，官至朝奉郎。擅畫人物、佛道像，吸取曆代流派之長，自創一格，多用線描，筆法如行雲流水，而不設色，生動地表現了人物的神情意態，人稱“白描”；尤精擅畫鞍馬，常觀察群馬生活，求其變化，下筆形神兼備。注重寫生，畫技博取前人之長，承繼顧恺之、吳道子等人筆法，在新畫中表達新義。\n\n《十八羅漢渡江圖》畫中人物按未渡者、方渡者、已渡者三組依序進場，人物神態，栩栩如生。李公麟畫作時人評價甚高，宋徽宗曾贊他爲當朝最重要畫家。元符三年（1100年）病痹告老，隱居龍眠山，號龍眠居士。\n\n存世作品有《五馬圖》、《臨韋偃牧放圖》等。\n\n另外李公麟也擅長于考古，對于夏、商以來的銅器和印玺頗有研究，“聞一妙品，雖捐千金不惜。”。",[24,25,780,58,7,133,322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdc61f3d01a0a9aa272d333e658adcc.jpg",[],{"id":6427,"slug":6428,"title":6429,"dynasty":18,"author":6430,"museum":75,"description":6431,"tags":6432,"thumbUrl":6433,"material":95,"size":285,"collection":285,"collections":6434,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":69},218671,"xi-hu-shi-jing-tu-liang-feng-cha-yun-ye-xiao-yan-218671","西湖十景图-两峰插云","叶肖岩","画面以淡墨晕染湖山底色，双峰对峙如黛，破云而出，尽显“插云”之姿。云雾以留白与淡墨交织，虚虚实实间，峰峦似隐似现，缥缈若仙境。近处亭台依水而立，屋宇线条简练精巧，与远山朦胧影相映成趣。左侧书法笔意流畅，墨色浓淡相宜，诗画相融，更添文人雅致。整幅作品以简驭繁，用清逸之笔勾勒西湖山水的空灵悠远，将两峰插云的朦胧意境凝于尺幅。观之如临西子湖畔，见双峰在云间若隐若现，心随景远，顿生悠然之思，尽显宋画清雅秀逸之态。",[23,24,25,385,109,28,30,31,7,198,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621724a098a46f28b1031499dc6f3bd9.jpg",[],{"id":6436,"slug":6437,"title":6438,"dynasty":54,"author":6439,"museum":181,"description":6440,"tags":6441,"thumbUrl":6442,"material":285,"size":285,"collection":98,"collections":6443,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":6444},203425,"lin-song-yuan-shan-shui-ce-12-kai-wang-jian-203425","临宋元山水册12开","王鑑","画面峰峦层叠，皴笔细密有致，墨色浓淡相间，晕染出云雾缭绕的空濛之境。山间林木疏密错落，几株红叶点缀枝头，与苍劲松柏相映，添了几分秋意。溪流穿石蜿蜒，与嶙峋山石相映成趣，整体构图取宋元山水精髓，笔墨雅致醇厚，意境清幽淡远，尽显临古而化的笔墨功力，于传统范式中蕴藉文人雅致。",[24,30,385,80,28,82,35,7,85,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9bf75d92699775c016e5a9ed334670.jpg",[98],"bcb6ab",{"id":6446,"slug":6447,"title":6448,"dynasty":54,"author":3788,"museum":181,"description":6449,"tags":6450,"thumbUrl":6451,"material":285,"size":285,"collection":98,"collections":6452,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":6453},203337,"huang-shan-shi-jiu-jing-tu-ce-mei-qing-203337","黄山十九景图册","此作以篆隶意趣的线条勾勒黄山峭壁，淡墨皴擦与浅蓝设色晕染云海，崖顶奇松虬劲，枝干如铁，与空濛山雾相映成趣。笔墨简括却气韵流转，将黄山的雄奇险峻与灵秀空濛融于册页之中，尽显山川的自然生机与文人画的清雅神韵。",[24,109,28,30,590,80,385,7,82,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29340f3958da7cce96ba27c364a6a209.jpg",[98],"cec6bb",{"id":6455,"slug":6456,"title":6457,"dynasty":126,"author":4776,"museum":242,"description":6458,"tags":6459,"thumbUrl":6460,"material":605,"size":606,"collection":285,"collections":6461,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},290927,"liang-xin-tang-shen-shi-chong-290927","凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之。",[24,109,28,30,385,198,309,86,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8e28dccfca39f0fd78b4380f31662a.jpg",[],13,{"id":6464,"slug":6465,"title":371,"dynasty":126,"author":6466,"museum":242,"description":6467,"tags":6468,"thumbUrl":6469,"material":605,"size":606,"collection":285,"collections":6470,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。",[24,79,109,30,80,1053,82,111,36,7,133,2204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c18bdacdfc802b4d0c4f82866a078d5.jpg",[],{"id":6472,"slug":6473,"title":6474,"dynasty":126,"author":6475,"museum":242,"description":6476,"tags":6477,"thumbUrl":6478,"material":605,"size":606,"collection":285,"collections":6479,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":49},288072,"xia-shan-yu-yu-liu-yu-288072","夏山欲雨","刘钰","刘珏(1410—1472)字廷美,号完庵,南直隶苏州府长洲(今江苏苏州)人。宣德中,苏州知府况钟举为吏,不就,得补生员,正统三年(1438)中举人,授刑部主事,迁山西按察司佥事,年五十弃官归。",[23,149,24,79,30,28,80,112,86,111,83,198,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd380e4f1b122124cca601af28dc7c21.jpg",[],{"id":6481,"slug":6482,"title":6483,"dynasty":126,"author":55,"museum":242,"description":6484,"tags":6485,"thumbUrl":6486,"material":285,"size":285,"collection":285,"collections":6487,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},239529,"wen-jia-shan-shui-tu-juan-yi-ming-239529","文嘉山水图卷","此作用浅绛淡色晕染江南丘壑，以披麻皴写山石肌理，笔致清隽秀雅。长卷铺展平远山水，峰峦缓叠，林麓葱郁，溪谷间云气漫漶，将山居村舍、林塔梵宇轻轻托在烟岚之间。咫尺卷内藏万千丘壑，时而见飞泉漱石，时而见幽居临流，处处皆是文雅意趣。\n\n引首篆书古雅端凝，尾跋笔意萧散，书画相映，尽显文人卧游林泉的隐逸襟怀。整体气息淡和清远，将江南山水的温润灵秀，与文人寄情丘园的闲逸，揉作一卷可游可居的幽境，观之如入桃源尘外。",[23,24,25,26,28,30,80,29,131,2572,132,133,35,82,7,199,247,86,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719d03c4d265eba22cd51a1d7c1095f8.jpg",[],{"id":6489,"slug":6490,"title":6491,"dynasty":126,"author":6492,"museum":242,"description":6493,"tags":6494,"thumbUrl":6495,"material":605,"size":606,"collection":285,"collections":6496,"showCount":6462,"zanCount":314,"manualWeight":48,"mainColor":69},239412,"qiu-lin-li-zhang-tu-zhou-sun-zhi-239412","秋林藜杖图轴","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。",[24,25,79,109,30,80,363,82,58,86,229,35,2062,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f73c7d36a9cd4d75b5cc1f1c0fb19b9.jpg",[],{"id":6498,"slug":6499,"title":6500,"dynasty":126,"author":3328,"museum":242,"description":6501,"tags":6502,"thumbUrl":6503,"material":285,"size":285,"collection":98,"collections":6504,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},239314,"shan-shui-tu-ce-zhang-hong-239314","山水图册","此作用水墨晕染绘就烟林清景，以浓墨点簇成苍郁茂林，淡墨晕铺化作烟岚云水，虚实相映间，江南水畔空濛之境尽显眼前。林麓间茅舍隐现，愈发衬出丘山幽寂清宁。构图疏朗留白，以极简笔墨勾勒山野意趣，让观者沉浸于静穆淡远的林泉雅韵之中。墨色层次丰富多变，简淡中饱含苍润质感，寥寥数笔便将山水间空濛幽静的氛围感尽数铺展，尽显文人寄情山水的隐逸情怀，把写意山水以简驭繁的精妙发挥到极致。",[24,25,385,109,30,35,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff569ed788259f34a3e9cd2987a162d4d.jpg",[98,99],{"id":6506,"slug":6507,"title":6508,"dynasty":126,"author":2762,"museum":242,"description":6509,"tags":6510,"thumbUrl":6511,"material":605,"size":606,"collection":285,"collections":6512,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},235954,"chen-dao-fu-yun-shan-tu-shan-ye-chen-chun-235954","陈道复云山图扇页","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[24,2203,109,28,30,2675,35,309,229,7,151,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5bc8da1855c64f3db964c360cadaa64.jpg",[],{"id":6514,"slug":6515,"title":6516,"dynasty":126,"author":6517,"museum":20,"description":6518,"tags":6519,"thumbUrl":6520,"material":232,"size":285,"collection":285,"collections":6521,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[23,24,25,26,109,30,58,309,134,7,132,131,80,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":6523,"slug":6524,"title":3777,"dynasty":126,"author":6525,"museum":242,"description":6526,"tags":6527,"thumbUrl":6531,"material":592,"size":285,"collection":285,"collections":6532,"showCount":6462,"zanCount":314,"manualWeight":48,"mainColor":69},234183,"shan-shui-juan-chen-lian-234183","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,24,25,26,109,30,80,166,167,35,7,31,113,2149,91,85,3298,649,6528,38,6529,1077,672,6530,248,247],"坡地","层峦叠嶂","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":6534,"slug":6535,"title":6536,"dynasty":2995,"author":6537,"museum":242,"description":6538,"tags":6539,"thumbUrl":6540,"material":605,"size":606,"collection":285,"collections":6541,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,26,109,28,30,31,7,35,5664,2797,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":6543,"slug":6544,"title":6545,"dynasty":54,"author":4559,"museum":242,"description":6546,"tags":6547,"thumbUrl":6548,"material":285,"size":285,"collection":285,"collections":6549,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,25,26,109,30,166,1587,495,83,150,85,229,245,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":6551,"slug":6552,"title":6553,"dynasty":54,"author":4345,"museum":242,"description":6554,"tags":6555,"thumbUrl":6556,"material":285,"size":285,"collection":285,"collections":6557,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":49},228925,"gu-dai-jing-guan-ce-ye-shan-shui-ce-ye-gao-cen-228925","古代景观册页（山水册页）","此作用淡墨晕染烟岚，远山沉郁隐现于云气间，似浸着朝暮的湿润清寒。近岸苍松劲挺，修林攒簇，浓淡墨色梳开林木高低层次。坡上屋舍静立，柴门虚掩，似在等候晚归之人。板桥横卧浅溪，仿佛能听见流水带着清响缓缓淌过，将山野的幽寂轻轻漾开。\n\n画作兼取高远与平远构图，笔力苍秀相融，以朦胧墨色铺展江南山水的空濛灵秀。不着繁复皴擦，却将林泉隐逸的静穆之气藏在烟树水色里，观之如踏入无人山境，暂忘尘嚣纷扰。",[23,24,25,385,109,80,30,35,86,36,7,82,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdad96f547d3a59a538c7965794404c.jpg",[],{"id":6559,"slug":6560,"title":6561,"dynasty":126,"author":6562,"museum":242,"description":6563,"tags":6564,"thumbUrl":6565,"material":285,"size":285,"collection":285,"collections":6566,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","钱毂","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,385,28,109,30,80,112,7,111,86,198,35,150,151,82,649,58,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":6568,"slug":6569,"title":6570,"dynasty":54,"author":2511,"museum":242,"description":6571,"tags":6572,"thumbUrl":6573,"material":285,"size":285,"collection":285,"collections":6574,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":69},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,79,28,29,30,35,36,86,111,135,7,31,309,2244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":6576,"slug":6577,"title":6578,"dynasty":54,"author":1959,"museum":181,"description":6579,"tags":6580,"thumbUrl":6583,"material":285,"size":285,"collection":98,"collections":6584,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":6585},203438,"du-fu-shi-yi-tu-zhou-wang-yuan-qi-203438","杜甫诗意图轴","笔墨苍劲浑厚，层层皴染间尽显丘壑深度。峰峦叠嶂如聚，云雾缭绕似带，将远山推向幽深；近处松石挺秀，溪流蜿蜒穿涧，山间屋舍隐于林麓，动静相宜。既承北宗山水的雄健骨力，又融南宗笔墨的温润韵致，把杜诗中的沉郁意境凝于尺幅，在严谨构图中藏生机流动，足见画家对传统山水的精研与创新。",[23,79,28,80,30,166,309,82,7,111,35,364,38,115,6581,114,1505,6582,87,3298],"沟壑","溪涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2bf256a8bbab7a17077134edcdbbc.jpg",[98],"96724d",{"id":6587,"slug":6588,"title":6589,"dynasty":3756,"author":1534,"museum":181,"description":6590,"tags":6591,"thumbUrl":6596,"material":285,"size":285,"collection":98,"collections":6597,"showCount":6462,"zanCount":48,"manualWeight":48,"mainColor":6598},202815,"xi-he-gu-wu-tu-zhou-qi-bai-shi-202815","西河古屋图轴","水墨晕染间，古屋错落于苍树浓荫下，简劲笔触勾勒出树木的挺拔，墨色浓淡相济，层次分明。远山以淡墨晕染，云雾轻笼，添几分悠远静谧。齐白石以质朴笔意捕捉乡土意趣，线条简练却含生机，浓墨点染的林木与疏淡的屋宇相映，似藏着对故园的温软回忆。画面虽简，却于水墨交融中透出自然真趣与生活烟火气，尽显其独特山水笔墨风格。",[24,109,30,35,7,6592,6593,6594,6595,23],"古屋","简劲笔触","墨色浓淡","乡土意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F970befdd1cc62011f57ce8fa4a9885a9.jpg",[98],"cec7b7",{"id":6600,"slug":6601,"title":2300,"dynasty":162,"author":5419,"museum":242,"description":5420,"tags":6602,"thumbUrl":6603,"material":605,"size":606,"collection":285,"collections":6604,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},290791,"shan-shui-ce-cao-zhi-bai-290791",[24,149,25,385,109,80,30,112,151,36,7,131,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8d4db09053f098e95e9302d75be369.jpg",[],12,{"id":6607,"slug":6608,"title":612,"dynasty":162,"author":1822,"museum":242,"description":6305,"tags":6609,"thumbUrl":6610,"material":605,"size":606,"collection":285,"collections":6611,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},290438,"shan-shui-tu-gao-ke-gong-290438",[149,24,109,30,79,198,35,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40779699f9dfe5baa0ba97701830ec66.jpg",[],{"id":6613,"slug":6614,"title":6615,"dynasty":54,"author":6338,"museum":242,"description":6616,"tags":6617,"thumbUrl":6618,"material":285,"size":285,"collection":285,"collections":6619,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},238273,"song-he-ming-quan-tu-zhou-lu-zun-shu-238273","松鹤鸣泉图轴","此作用全景式布局铺展山林胜境，山峦层叠延绵，以细密温婉的皴笔写尽岩壑肌理，苍松林立挺拔，松针刻画劲挺细致，尽显古松郁然深秀之姿。\n山居茅舍错落隐于林麓溪畔，飞泉流于山谷之间，似能闻声。淡墨晕染出清润空蒙的山林气韵，将幽寂清旷的林下雅境铺陈眼前。整画笔法秀雅工致，以静穆的笔调写就林泉幽居之趣，尽显文人山水萧散淡远的隐逸意致，藏着画者寄情林泉的山居雅怀。",[24,79,109,80,30,590,166,111,199,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21312d10a315f6756d858f716f06e8a2.jpg",[],{"id":6621,"slug":6622,"title":2824,"dynasty":54,"author":2825,"museum":242,"description":2826,"tags":6623,"thumbUrl":6624,"material":285,"size":285,"collection":285,"collections":6625,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},238240,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238240",[24,28,109,30,80,385,166,167,1092,184,58,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6c5a108e9c64dea7e1e7ec17100c74.jpg",[],{"id":6627,"slug":6628,"title":2824,"dynasty":54,"author":2825,"museum":242,"description":2826,"tags":6629,"thumbUrl":6631,"material":285,"size":285,"collection":285,"collections":6632,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},238232,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238232",[149,24,25,385,28,80,30,166,167,4207,35,961,6630,7,93,82],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18dd9df66367d82542672b8b337dc484.jpg",[],{"id":6634,"slug":6635,"title":2300,"dynasty":54,"author":6636,"museum":242,"description":6637,"tags":6638,"thumbUrl":6639,"material":605,"size":606,"collection":98,"collections":6640,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},238084,"shan-shui-ce-lu-yao-238084","陆耀","陆耀，字朗甫，一字朗夫，号青来，吴县人，工诗文，兼长书、画，精分隶书，水墨山水，落落有自家风。",[24,109,80,385,30,35,36,82,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2985e28acb1580fa39b13e42e6be69.jpg",[98],{"id":6642,"slug":6643,"title":371,"dynasty":54,"author":3059,"museum":242,"description":6644,"tags":6645,"thumbUrl":6646,"material":6647,"size":285,"collection":98,"collections":6648,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},237970,"shan-shui-zhou-li-jian-237970","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,79,109,28,80,30,35,309,82,7,184,58,649,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg","设色绢本",[98,45],{"id":6650,"slug":6651,"title":6500,"dynasty":54,"author":6652,"museum":242,"description":6653,"tags":6654,"thumbUrl":6655,"material":285,"size":285,"collection":98,"collections":6656,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},237946,"shan-shui-tu-ce-liu-yu-237946","柳堉","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[24,25,385,109,80,131,133,30,35,82,111,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[98,219],{"id":6658,"slug":6659,"title":6660,"dynasty":126,"author":4786,"museum":242,"description":6661,"tags":6662,"thumbUrl":6663,"material":605,"size":606,"collection":285,"collections":6664,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},237845,"shi-hu-yan-yu-shan-sheng-mao-ye-237845","石湖烟雨扇","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。",[24,25,2203,109,28,30,1913,35,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34da1d8c00124d4b0cf45f9a7503e11.jpg",[],{"id":6666,"slug":6667,"title":6668,"dynasty":126,"author":6669,"museum":242,"description":6670,"tags":6671,"thumbUrl":6672,"material":285,"size":285,"collection":285,"collections":6673,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},235839,"yu-nv-tan-tu-ye-zhu-lang-235839","玉女潭图页","朱朗","此作用笔温润雅致，右侧幽谷深潭静卧山坳，苍岩皴笔朴拙苍劲，潭水以淡墨晕染出澄澈空濛之态。临潭水榭半隐于松荫翠色中，隐约有人凭栏观览，将林泉雅意收于咫尺画幅。\n\n左侧题咏行书笔致清逸舒展，诗画相映，衬出潭水的仙灵意境。整幅工写兼施，将江南山水的温婉秀润与文人幽居雅兴相融，以细腻笔墨勾勒出涤净尘俗的林泉胜境，尽显寄情山水的抒情意趣。",[24,25,28,30,132,80,133,151,35,111,82,199,7,649,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa612ad865fbda0ae6c6443e63e8c7ad5.jpg",[],{"id":6675,"slug":6676,"title":6677,"dynasty":54,"author":55,"museum":242,"description":6678,"tags":6679,"thumbUrl":6680,"material":285,"size":285,"collection":285,"collections":6681,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},235669,"yuan-yao-shan-shui-ping-wan-song-die-cui-yi-ming-235669","袁耀山水屏-万松叠翠","此作以平远之法铺展意境，烟波浩渺的水中央渔舟错落，漾出鲜活的烟火意趣。近岸孤亭翼然矗立，凭栏可尽览春水汤汤。层叠山峦渐次抬升，古松苍劲蟠虬遍布崖间，粉花点缀在青绿间晕开春日暖意，山坳间云烟漫溢，柔化了山石嶙峋棱角。\n\n笔墨清润雅致，皴染兼具，既勾勒出山峦肌理脉络，又以淡色晕染出江南山水的氤氲温润。静穆丘壑与渔家日常相映相融，将春日江南的安闲悠然藏入尺幅，融写景之真与写意之柔，尽显清润平和的山水意韵。",[24,25,28,29,80,30,590,198,3808,82,35,7,151,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647fdf8eda29f8f9c0689b73a349e40c.jpg",[],{"id":6683,"slug":6684,"title":6685,"dynasty":126,"author":935,"museum":20,"description":6686,"tags":6687,"thumbUrl":6688,"material":285,"size":285,"collection":285,"collections":6689,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":327},234476,"fang-mi-fei-shan-shui-shan-ye-lan-ying-234476","仿米芾山水扇页","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。",[24,2203,109,30,130,151,150,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a5a4290051bbe9bdc2e265db525275.jpg",[],{"id":6691,"slug":6692,"title":6693,"dynasty":54,"author":576,"museum":20,"description":6694,"tags":6695,"thumbUrl":6696,"material":592,"size":6697,"collection":285,"collections":6698,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,385,109,28,132,80,30,58,36,35,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg","纵27厘米，横21.3厘米",[],{"id":6700,"slug":6701,"title":2300,"dynasty":162,"author":5419,"museum":20,"description":6377,"tags":6702,"thumbUrl":6703,"material":592,"size":6380,"collection":285,"collections":6704,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},233176,"shan-shui-ce-cao-zhi-bai-233176",[24,25,109,132,80,385,30,35,32,229,7,86,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17ecbbd4b4d239fdd07a6646c24e93.jpg",[],{"id":6706,"slug":6707,"title":6708,"dynasty":54,"author":6709,"museum":1003,"description":6710,"tags":6711,"thumbUrl":6712,"material":202,"size":6713,"collection":285,"collections":6714,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[23,24,109,80,30,166,167,86,35,36,7,2714,309,1682],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":6716,"slug":6717,"title":6718,"dynasty":2995,"author":55,"museum":242,"description":6719,"tags":6720,"thumbUrl":6721,"material":605,"size":606,"collection":285,"collections":6722,"showCount":6605,"zanCount":314,"manualWeight":48,"mainColor":69},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,25,26,28,308,133,30,58,111,35,7,82,151,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":6724,"slug":6725,"title":6726,"dynasty":126,"author":935,"museum":242,"description":6727,"tags":6728,"thumbUrl":6729,"material":285,"size":285,"collection":285,"collections":6730,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,25,79,28,109,80,30,495,309,86,58,198,4475,7,1078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":6732,"slug":6733,"title":6734,"dynasty":18,"author":55,"museum":242,"description":6735,"tags":6736,"thumbUrl":6737,"material":285,"size":285,"collection":285,"collections":6738,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,25,109,28,30,386,385,80,198,35,111,248,229,7,1093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":6740,"slug":6741,"title":6742,"dynasty":2995,"author":55,"museum":242,"description":6743,"tags":6744,"thumbUrl":6746,"material":285,"size":285,"collection":285,"collections":6747,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":69},225338,"fu-shi-hui-91-yi-ming-225338","浮世绘91","这幅作品以百尺飞瀑为视觉核心，垂直奔涌的水流如银练垂空，蓝白渐变晕染出碎玉崩溅的磅礴水汽，与四周苍翠绿意的层峦形成强烈视觉张力。\n\n前景处负笠赶路的旅人、水雾裹挟下的山居茅舍，将宏大山水与市井烟火相融。利落的线条勾勒出山岳纹理与行人动态，柔和敷色晕开湿润空濛的幽谷氛围，仿佛能听见瀑声轰鸣、水花扑簌。画作将自然的雄浑浩渺与人间日常的暖意交织，尽显雅致意境，把幽谷飞瀑的清旷生机定格于尺幅之间。",[4157,4158,28,30,83,35,82,7,58,184,6745],"水花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c29268bc35bbb814405c3712ecfca34.jpg",[],{"id":6749,"slug":6750,"title":6751,"dynasty":54,"author":766,"museum":242,"description":6752,"tags":6753,"thumbUrl":6754,"material":285,"size":285,"collection":285,"collections":6755,"showCount":6605,"zanCount":48,"manualWeight":48,"mainColor":49},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[23,24,25,385,27,28,80,30,35,459,82,7,32,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":6757,"slug":6758,"title":6759,"dynasty":126,"author":1691,"museum":181,"description":6760,"tags":6761,"thumbUrl":6762,"material":285,"size":285,"collection":98,"collections":6763,"showCount":6605,"zanCount":314,"manualWeight":48,"mainColor":6764},201698,"shan-zhai-jia-mei-tu-juan-xie-shi-chen-201698","山斋假寐图卷","水墨晕染间，淡远山水渐次铺展。近处茅屋依石而建，松石环绕，屋内人影闲坐，似入假寐之境，幽居意趣盎然。山石以皴法勾勒，线条苍劲；树木枝干虬曲，叶簇繁密如盖。云雾缭绕于山间水畔，虚实相生间拓展了空间纵深，更添缥缈之韵。笔墨兼具雄浑与秀润，既含苍劲骨力，又蕴雅致情致，将文人寄情林泉的闲适心境娓娓道来。",[24,109,30,58,80,7,26,134,507,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ca7269425b89ff269e46bd4d2ce31f.jpg",[98],"9f9892",{"id":6766,"slug":6767,"title":6768,"dynasty":54,"author":6769,"museum":242,"description":6770,"tags":6771,"thumbUrl":6773,"material":605,"size":606,"collection":285,"collections":6774,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},289904,"hai-wo-tian-chou-tu-qu-zhao-lin-289904","海渥添筹图","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,149,24,25,79,28,362,80,30,309,350,706,198,7,150,6772],"祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e819a6563ee6cde90a0621a4593fb59.jpg",[],{"id":6776,"slug":6777,"title":2300,"dynasty":54,"author":3538,"museum":242,"description":3539,"tags":6778,"thumbUrl":6779,"material":285,"size":285,"collection":285,"collections":6780,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},238142,"shan-shui-ce-yun-xi-238142",[24,28,80,385,30,82,309,86,36,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14f7fcf27a5310c0ba5dede1dab3133.jpg",[],{"id":6782,"slug":6783,"title":6784,"dynasty":54,"author":854,"museum":242,"description":6785,"tags":6786,"thumbUrl":6787,"material":285,"size":285,"collection":285,"collections":6788,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},235779,"ming-xian-ji-jin-ce-liu-xi-yan-yu-ye-wang-hui-235779","名贤集锦册-柳溪烟雨页","此作以水墨晕染出江南烟柳水村之境。远山在空濛烟雨间晕化成淡墨虚影，与云天相融，尽显虚灵空寂之态。近岸垂柳成林，浓墨点染枝叶，摇曳生姿，浅墨绘就长堤水渚，疏密有致。水面之上，渔翁独撑小舟悠然泛行，柳荫下木桥横卧，衬出乡野幽寂之趣。画面虚实相生，淡墨写远、浓墨绘近，将烟雨笼罩下的朦胧诗意尽显无遗，笔墨简淡却意韵悠长，藏着寄情林泉、归向野逸的文人雅趣，尽显山水小品的空灵雅致。",[24,25,385,109,30,1092,85,1913,7,135,1239,229,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a06f5961504c5c8bb6c4c16bd19efaa.jpg",[],{"id":6790,"slug":6791,"title":6792,"dynasty":54,"author":55,"museum":242,"description":6793,"tags":6794,"thumbUrl":6795,"material":605,"size":606,"collection":285,"collections":6796,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},235655,"gao-jian-jiang-xiang-chu-xia-tu-zhou-yi-ming-235655","高简江乡初夏图轴","此作用青绿晕染山峦，淡赭铺陈水岸云天，冷暖色调交织晕化，铺展出初夏江乡温润朦胧的氛围。近景林木错落疏密，溪涧蜿蜒穿绕石畔，野趣横生。丘峦由近及远逐层淡去，水汽氤氲间与云天相融，留白拓开渺远空阔的江天意境。左上角题诗与画境相映，将江乡初夏的清润闲适尽数铺展，以雅致设色与悠远构图，尽显江南水乡初夏的空濛雅致，是颇具抒情意趣的青绿山水佳作。",[24,25,79,27,28,30,35,32,112,7,985],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108657341743e2d321215d43e24b26e3.jpg",[],{"id":6798,"slug":6799,"title":6800,"dynasty":126,"author":5470,"museum":20,"description":6801,"tags":6802,"thumbUrl":6803,"material":186,"size":6804,"collection":285,"collections":6805,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},234155,"yun-shan-tu-juan-wen-jia-234155","云山图卷","此图描绘水村渔舟、寺庙山居、岩穴幽渺。图中画法略有元代吴镇、黄公望遗意，而参以黄氏的浅绛法设色。图中山石、树木行笔松秀稳健，施墨设色富于深浅浓淡的变化，区分出物象的层次；水纹细密，用笔流畅而不板滞；山间弥漫的云气以墨和滕黄两次勾线，近线条处以淡墨晕染，表现出云层的厚度，颇富装饰趣味。画面徐徐展开，步移景易，引观者悠游于吴中的山林胜境之中，反映了当时吴中文人隐居、游乐的生活情趣。",[23,24,25,26,109,80,132,131,30,2675,7,112,35,858,36,86,111,135,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e924840c6c6d0485a1f02db6bdb54f.jpg","纵21.3cm，横387.8cm",[],{"id":6807,"slug":6808,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":6810,"thumbUrl":6811,"material":592,"size":6812,"collection":285,"collections":6813,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},233891,"huang-shan-tu-ce-mei-qing-233891","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。",[24,25,385,109,28,30,80,131,133,31,495,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg","纵26厘米，横33厘米",[],{"id":6815,"slug":6816,"title":6817,"dynasty":54,"author":6818,"museum":20,"description":6819,"tags":6820,"thumbUrl":6821,"material":6822,"size":6823,"collection":285,"collections":6824,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},233393,"shan-shui-ren-wu-ce-jin-nong-233393","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,385,109,28,30,7,35,132,133,134,111,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b508b39647df860015e33b12d744377.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":6826,"slug":6827,"title":6828,"dynasty":54,"author":55,"museum":20,"description":6829,"tags":6830,"thumbUrl":6832,"material":186,"size":6833,"collection":285,"collections":6834,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","平定苗疆战图册","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[149,24,25,385,28,29,80,58,782,30,198,35,2837,6831,82,7],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg","纵55.4cm，横90.8cm",[],{"id":6836,"slug":6837,"title":6838,"dynasty":54,"author":6839,"museum":1003,"description":6840,"tags":6841,"thumbUrl":6842,"material":6843,"size":6844,"collection":285,"collections":6845,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},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》。",[23,24,25,26,109,80,30,35,82,32,7,229,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a52250e5d999c337a4036662e188ac5.jpg","纸本 墨笔","27cmx285cm",[],{"id":6847,"slug":6848,"title":6849,"dynasty":54,"author":6850,"museum":242,"description":6851,"tags":6852,"thumbUrl":6853,"material":285,"size":285,"collection":285,"collections":6854,"showCount":141,"zanCount":314,"manualWeight":48,"mainColor":49},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","闭户著书图","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,25,79,28,80,30,309,82,83,111,198,603,58,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":6856,"slug":6857,"title":6858,"dynasty":126,"author":3511,"museum":242,"description":6859,"tags":6860,"thumbUrl":6861,"material":285,"size":285,"collection":285,"collections":6862,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,79,30,28,29,80,166,83,1587,309,85,58,35,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":6864,"slug":6865,"title":6866,"dynasty":18,"author":6867,"museum":242,"description":6868,"tags":6869,"thumbUrl":6870,"material":285,"size":285,"collection":285,"collections":6871,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,149,25,28,29,322,58,30,82,83,579,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":6873,"slug":6874,"title":6875,"dynasty":54,"author":766,"museum":242,"description":6876,"tags":6877,"thumbUrl":6878,"material":285,"size":285,"collection":285,"collections":6879,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},224418,"shu-hua-shi-liu-kai-4-wang-shi-min-224418","书画十六开-4","此作用笔苍浑秀润，追摹元人萧散意趣。层岩叠岫间古松虬曲，苔点皴染遍覆崖身，青绿敷色沉静古雅，恍若旧时光晕晕染纸面。飞泉漱石，流云出岫，将山巅晕出空濛仙气。澄江如练，渔翁独棹扁舟欸乃行于江心，静澜载闲，把江湖幽寂融于笔底。林麓间隐见山居茅亭，石径通幽暗合林下隐逸之思。整幅画将山林深秀与江湖闲逸织为一体，于青绿妍秀中藏文人淡远襟怀，尽显寄情林泉的雅逸意趣。",[23,24,25,28,27,80,30,135,111,86,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc562462de56224602031cb4887c257ca.jpg",[],{"id":6881,"slug":6882,"title":6883,"dynasty":54,"author":6884,"museum":242,"description":6885,"tags":6886,"thumbUrl":6888,"material":285,"size":285,"collection":285,"collections":6889,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},224268,"fang-fan-zhong-li-fei-quan-zhan-dao-tu-zhao-cheng-224268","仿范中立飞泉栈道图","赵澄","画作以雄奇主峰撑起画面骨架，山石皴刻硬朗厚重，遍覆蓊郁林木，尽显苍浑朴拙之气。山谷间云气氤氲，将上下景致晕出空濛层次，飞泉隐于林间，栈道盘绕崖壁，楼阁依险而建，既衬出山势的崔嵬险峻，也勾勒出山居的幽邃雅趣。笔墨追摹北派山水的雄浑风骨，沉雅的设色晕染开古厚氛围，把山野间的浩荡大气与林泉间的静谧隐逸相融，让观者仿佛踏入烟岚深处，尽览崖间飞泉与盘道山居的世外之景。",[23,24,25,28,80,386,30,6887,93,82,35,7,198],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a3ff265b1f216bdf8767877e88f38.jpg",[],{"id":6891,"slug":6892,"title":6893,"dynasty":54,"author":2291,"museum":242,"description":6894,"tags":6895,"thumbUrl":6896,"material":285,"size":285,"collection":285,"collections":6897,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},224264,"hua-wan-hu-chao-tian-zhou-zhang-zong-cang-224264","画万笏朝天轴","群峰如笏攒立，拔地参天，以干笔皴擦勾勒山石肌理，苍浑厚重，尽显雄奇壮阔之势。山坳溪畔，林舍错落，浅滩回溪萦绕村居，杂木疏密有致，枯荣相映，晕染出江南山野的温润清宁。\n\n整幅笔墨兼具精整法度与文人雅致，皴擦点染层次分明，将峰岳的沉雄高旷与乡居的悠然意趣相融，左上题诗呼应画境，把自然山川的形神与林泉雅怀合为一体，勾勒点染间尽显山水清旷高华之态。",[24,25,79,109,80,30,82,35,247,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66bff8c39fbab376a96a62831c8d9ff4.jpg",[],{"id":6899,"slug":6900,"title":6901,"dynasty":162,"author":55,"museum":2023,"description":6902,"tags":6903,"thumbUrl":6905,"material":186,"size":6906,"collection":285,"collections":6907,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},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。",[23,24,109,80,28,30,135,111,672,5277,4671,35,229,7,1093,6904],"石矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e77f66f7f33d72e246016b5833f6c12.jpg","30x32厘米",[],{"id":6909,"slug":6910,"title":6911,"dynasty":54,"author":456,"museum":75,"description":6912,"tags":6913,"thumbUrl":6914,"material":28,"size":6915,"collection":285,"collections":6916,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},223100,"fang-fan-kuan-hua-fu-zhou-tang-dai-223100","仿范宽画幅轴","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[23,24,25,79,362,28,80,130,166,528,495,7,1891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0f7f8016183e9f28c29a883a1292e5.jpg","123.5x69.3",[],{"id":6918,"slug":6919,"title":6920,"dynasty":54,"author":842,"museum":181,"description":1669,"tags":6921,"thumbUrl":6922,"material":1673,"size":1674,"collection":285,"collections":6923,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},222615,"shan-shui-ba-jing-5-gong-xian-222615","山水八景-5",[23,24,25,385,109,80,30,507,151,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa329c651f4d05a616990e35cfffa22.jpg",[],{"id":6925,"slug":6926,"title":6927,"dynasty":126,"author":6928,"museum":75,"description":6929,"tags":6930,"thumbUrl":6931,"material":28,"size":6932,"collection":285,"collections":6933,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":69},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1","周龙","周龍（明熹宗天啟一年（1621））",[149,24,25,26,109,80,30,35,83,82,7,111,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg","该幅32.2x825.7厘米，隔水一11厘米，隔水二10.4厘米",[],{"id":6935,"slug":6936,"title":6937,"dynasty":126,"author":2189,"museum":2190,"description":2191,"tags":6938,"thumbUrl":6939,"material":186,"size":2195,"collection":285,"collections":6940,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":49},216743,"ri-ben-zu-shi-tu-2-shou-ye-yuan-xin-216743","日本· 祖师图-2",[23,149,24,25,79,322,28,29,80,58,30,35,7,113,2014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035108d652e982407e2fc25ccbd7c36f.jpg",[],{"id":6942,"slug":6943,"title":2643,"dynasty":3756,"author":4998,"museum":181,"description":6944,"tags":6945,"thumbUrl":6946,"material":285,"size":285,"collection":98,"collections":6947,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":6948},202954,"shan-shui-tu-zhou-zhang-shan-ma-202954","这幅山水图以层叠山峦为骨架，飞瀑如白练穿云坠谷，云雾氤氲间营造出虚实相生的空灵之境。崖边古松虬劲，枝干旁逸斜出，树下一人凭石远眺，似沉醉于瀑声山色中。笔墨运用精妙，山石以皴法勾勒，线条刚柔相济；云雾用淡墨晕染，轻盈缥缈。整体画风雅致清幽，既承传统山水的笔墨韵味，又蕴含自然生机，尽显文人画的意趣与情怀。",[24,30,80,28,2374,7,1053,58,79,109,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d52c81c7a265a5bdb45dbb1309f44df.jpg",[98],"cdbea7",{"id":6950,"slug":6951,"title":2643,"dynasty":54,"author":5284,"museum":181,"description":6952,"tags":6953,"thumbUrl":6954,"material":285,"size":285,"collection":98,"collections":6955,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":5289},202118,"shan-shui-tu-zhou-qian-shu-202118","此作笔墨苍劲沉厚，山峦以皴法写就，纹理交错间尽显石质坚凝。山间云雾轻飏，虚实相生，将远近景致自然分隔。近景枯树虬枝，姿态古拙，与嶙峋怪石相映成趣；中景村落隐于林麓，屋舍错落添几分烟火气；远景峰峦叠嶂，意境悠远。整体构图疏密有致，气韵流转生动，尽显传统山水画的空灵深远，传递出文人对自然的静谧观照与哲思。",[24,30,80,672,705,7,248,109,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4096e56061498878b48f5c01ffe78262.jpg",[98],{"id":6957,"slug":6958,"title":6959,"dynasty":54,"author":766,"museum":181,"description":6960,"tags":6961,"thumbUrl":6962,"material":285,"size":285,"collection":98,"collections":6963,"showCount":141,"zanCount":48,"manualWeight":48,"mainColor":6964},202014,"chuang-xian-nong-bi-tu-zhou-wang-shi-min-202014","窗闲弄笔图轴","这幅画笔墨苍润雅致，构图层次悠远，尽显文人山水的闲逸之趣。山石以皴法皴染结合，纹理细密，山峦叠嶂间云雾轻飘，晕出空濛之境。近处苍松虬枝盘曲，树下溪流潺潺，小桥横跨水面，隐于林间的亭屋错落有致；远处村落依稀，与淡墨远山相映，一派悠然静谧。笔墨间可见对宋元山水的传承，每一处勾勒晕染都藏着画家对自然的深情与文人的清雅心境，仿佛将观者带入那窗下弄笔时的闲适氛围中。",[109,30,80,86,111,151,35,7,112,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0f293ee78e17d03f0f5974a5459bd0.jpg",[98],"aba69b",{"id":6966,"slug":6967,"title":6968,"dynasty":18,"author":55,"museum":75,"description":6969,"tags":6970,"thumbUrl":6971,"material":64,"size":6972,"collection":285,"collections":6973,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},290774,"qiong-tai-xian-lv-zhou-yi-ming-290774","琼台仙侣轴","峰岫奇崛，隐现于昏暝烟霭之中，如灵墟仙山浮沉空濛里，氤氲着幽玄出尘的氛围感。苍松虬曲古劲，枝桠如铁，掩映错落层叠的琼台朱阁，飞甍翘角隐于松荫间，规整雅致的楼宇晕染出清旷仙气。\n\n全作用水墨晕染营造虚实相生之境，淡墨轻烟消解山石楼宇的厚重，将仙家幽境的清寂脱俗藏于笔底，恍若踏入杳杳云间的世外仙居，把缥缈仙乡的空灵意趣铺展在绢素之上，尽显山水楼阁画意境营造的精妙。",[24,79,362,386,28,80,198,112,579,7,2551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35df980a3987cf09eccdcdce150bb137.jpg","138x74.7",[],{"id":6975,"slug":6976,"title":6977,"dynasty":162,"author":2108,"museum":242,"description":5430,"tags":6978,"thumbUrl":6979,"material":605,"size":606,"collection":285,"collections":6980,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},290262,"shan-shui-tu-ke-luo-ban-fang-cong-yi-290262","山水图（珂罗版）",[23,24,25,109,30,135,111,35,603,7,150,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ebd6c74865923ae26353a3a93def9d.jpg",[],{"id":6982,"slug":6983,"title":6984,"dynasty":54,"author":854,"museum":242,"description":2260,"tags":6985,"thumbUrl":6987,"material":605,"size":606,"collection":285,"collections":6988,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},288501,"fang-fan-kuan-bu-meng-hao-ran-shi-yi-wang-hui-288501","仿范宽补孟浩然诗意",[24,109,362,130,80,79,30,198,86,111,151,4573,7,6986,133],"行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c90cd07debb1bad00510702ae5c1bd.jpg",[],{"id":6990,"slug":6991,"title":6992,"dynasty":126,"author":4786,"museum":242,"description":6661,"tags":6993,"thumbUrl":6994,"material":605,"size":606,"collection":285,"collections":6995,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},287948,"yan-si-wan-zhong-tu-ye-sheng-mao-ye-287948","烟寺晚钟图页",[23,149,24,25,385,28,30,132,131,133,86,111,112,309,3186,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee2ff072691336c7ccc9a6449892a59.jpg",[],{"id":6997,"slug":6998,"title":6999,"dynasty":54,"author":7000,"museum":242,"description":7001,"tags":7002,"thumbUrl":7003,"material":285,"size":285,"collection":98,"collections":7004,"showCount":261,"zanCount":314,"manualWeight":48,"mainColor":69},239274,"qing-luan-nuan-cui-tu-zhou-qin-bing-wen-239274","晴峦暖翠图轴","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。",[24,79,28,80,30,112,7,35,86,111,151,36,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7590cf853fd8a92277c9d92aa1e34b94.jpg",[98,45],{"id":7006,"slug":7007,"title":3128,"dynasty":54,"author":3129,"museum":242,"description":3130,"tags":7008,"thumbUrl":7009,"material":285,"size":285,"collection":285,"collections":7010,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},238824,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238824",[149,24,25,385,28,80,30,151,111,1092,82,35,229,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4d66f1f31efc1cdd5c2818f8047037.jpg",[],{"id":7012,"slug":7013,"title":2824,"dynasty":54,"author":2825,"museum":242,"description":7014,"tags":7015,"thumbUrl":7016,"material":285,"size":285,"collection":285,"collections":7017,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},238238,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238238","此作以青绿晕染峰岫，苍润厚重的远山托着空濛烟岚，留白将远近山水晕开淡远诗意。林麓间幽舍隐于繁枝，溪桥架于浅渚，山道逶迤，衬出山居阒寂。\n\n右下角旅人策驴缓行，僮仆挑担相随，鲜活的行旅意趣融在静穆山光里，动静相生。设色雅妍温润，皴法细腻，将幽居山野的清旷日常铺陈开来，把“山静日长”的悠然意境藏于笔底，尽显东方山水的澹泊美学。",[24,25,385,28,80,29,30,151,86,111,58,782,1262,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20442350978cac3850c22182aaee49c0.jpg",[],{"id":7019,"slug":7020,"title":2824,"dynasty":54,"author":2825,"museum":242,"description":2826,"tags":7021,"thumbUrl":7022,"material":285,"size":285,"collection":285,"collections":7023,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},238235,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238235",[24,28,80,385,30,151,961,111,58,495,83,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb87917cc8e4bd3c1e2cc295c8f548a.jpg",[],{"id":7025,"slug":7026,"title":7027,"dynasty":54,"author":7028,"museum":242,"description":7029,"tags":7030,"thumbUrl":7032,"material":285,"size":285,"collection":285,"collections":7033,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},238229,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238229","仿王翬山水册","曹夔音","此作用笔苍秀老辣，以披麻皴晕染山峦肌理，石骨硬朗不失温润质感。近溪错落排布屋舍林木，寥寥数笔点染出山居清寂之趣，远山晕以浅黛，虚实相映，晕染出空濛淡远的秋山氛围。\n\n整幅追摹古贤笔意，将林下幽居的静穆诗意融于尺幅之间，题跋诗文与绘景相得益彰，尽显文人画诗画交融的雅致意趣。笔墨间浸透着内敛沉静的古雅格调，铺陈出秋日山居萧散淡远的悠悠意境，观之如临其境，仿若可闻溪声林籁，沉潜于幽寂山居的澹泊况味中。",[24,25,30,385,109,80,82,35,32,7,229,1091,247,131,7031,769],"浅设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a306cc9ec5feefb9c0dd7065e0a00b.jpg",[],{"id":7035,"slug":7036,"title":2300,"dynasty":54,"author":3538,"museum":242,"description":3539,"tags":7037,"thumbUrl":7038,"material":285,"size":285,"collection":285,"collections":7039,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},238144,"shan-shui-ce-yun-xi-238144",[24,28,109,80,385,166,167,7,36,35,649,85,4475,2797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f3ef880ac7f04f143208f381793708.jpg",[],{"id":7041,"slug":7042,"title":2300,"dynasty":54,"author":7043,"museum":242,"description":7044,"tags":7045,"thumbUrl":7046,"material":186,"size":285,"collection":98,"collections":7047,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},237424,"shan-shui-ce-chen-jia-le-237424","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,25,385,109,80,30,82,35,135,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34b630cae0500429bd2495df05340f22.jpg",[98],{"id":7049,"slug":7050,"title":2300,"dynasty":54,"author":4289,"museum":20,"description":7051,"tags":7052,"thumbUrl":7053,"material":592,"size":285,"collection":285,"collections":7054,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},237195,"shan-shui-ce-sun-yi-237195","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。",[149,24,25,385,109,80,30,82,7,35,36,2014,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7f7c1bcfc75673c455c5ff7155dff4.jpg",[],{"id":7056,"slug":7057,"title":7058,"dynasty":54,"author":55,"museum":242,"description":7059,"tags":7060,"thumbUrl":7061,"material":605,"size":606,"collection":285,"collections":7062,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},237078,"ba-jia-shan-shui-ce-lu-hong-qing-shan-hong-shu-ce-ye-yi-ming-237078","八家山水册-陆鸿青山红树册页","此作设色清隽雅致，以青绿晕染山峦，石骨挺拔皴擦苍劲，淡墨轻烘出流逸云雾，将山林晕染似清虚仙境。山间古木虬曲，丹叶缀枝点醒秋意，蜿蜒山道隐见行人，暗添行旅幽趣。\n\n搭配左侧行书题跋，书画合璧相映成趣。此作取法前人笔意，以写意笔法勾勒山水灵秀，既保有青绿设色的妍丽，又兼具文人山水的简淡幽远，将丘壑林泉间的超然逸趣尽显纸上，观之如临洞天福地，暗合题诗寻仙问道的出世之思，是颇具匠心的仿古佳制。",[24,25,385,28,30,3889,939,82,35,7,131,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ddc572ceb43430fb17769d86c0bd0fc.jpg",[],{"id":7064,"slug":7065,"title":7066,"dynasty":126,"author":5470,"museum":242,"description":7067,"tags":7068,"thumbUrl":7069,"material":285,"size":285,"collection":285,"collections":7070,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},236410,"xiao-xiang-ba-jing-ce-wen-jia-236410","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（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。”",[24,109,30,385,80,35,32,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305dfb6544d16e40cc8dd1deb269c066.jpg",[],{"id":7072,"slug":7073,"title":7074,"dynasty":54,"author":7075,"museum":242,"description":7076,"tags":7077,"thumbUrl":7080,"material":605,"size":606,"collection":285,"collections":7081,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[149,24,25,79,28,27,30,7078,5876,112,7,198,5422,7079,35],"初日","民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],{"id":7083,"slug":7084,"title":7085,"dynasty":54,"author":55,"museum":242,"description":7086,"tags":7087,"thumbUrl":7088,"material":285,"size":285,"collection":285,"collections":7089,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[24,25,79,109,28,30,83,309,58,7,82,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":7091,"slug":7092,"title":2300,"dynasty":54,"author":3276,"museum":20,"description":7093,"tags":7094,"thumbUrl":7095,"material":296,"size":7096,"collection":285,"collections":7097,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},235025,"shan-shui-ce-wu-li-235025","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。",[149,24,25,385,109,28,30,31,35,135,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4512c003399075cc8ca9078c54db47a0.jpg","23.2厘米，横28厘米",[],{"id":7099,"slug":7100,"title":6693,"dynasty":54,"author":576,"museum":20,"description":6694,"tags":7101,"thumbUrl":7102,"material":592,"size":6697,"collection":285,"collections":7103,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[149,24,25,385,109,28,30,58,86,111,35,82,7,36,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":7105,"slug":7106,"title":7107,"dynasty":2995,"author":55,"museum":242,"description":7108,"tags":7109,"thumbUrl":7111,"material":285,"size":285,"collection":285,"collections":7112,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},231823,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-li-zhou-wo-lu-zang-yi-ming-231823","明清日本古画粉本人物立轴 蜗卢蔵","此作以淡墨晕染水月观音，观音安坐岩巅，衣袂舒展空灵，面容娴静慈悲，璎珞细节柔和细腻，尽显神性清寂温婉。下方云水翻涌，神龙隐现于烟波之间，墨色层次丰富，将水之灵动与云之空濛相融，烘托出幽渺出尘的禅境。\n左上题字清雅隽秀，与画面禅意呼应，笔墨简淡却神采具足，尽显汲取汉地佛画养分后的独特意趣，以极简笔触勾勒出观音的沉静与海天的悠远，将禅家空寂之味蕴藏在淡墨清晕之中，是佛画与文人意趣相融的雅致佳作。",[23,1984,24,25,79,7110,109,28,58,322,82,7,111],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09fe3fc01c2b8210207ee58fd3db282.jpg",[],{"id":7114,"slug":7115,"title":7116,"dynasty":54,"author":854,"museum":242,"description":7117,"tags":7118,"thumbUrl":7119,"material":285,"size":285,"collection":285,"collections":7120,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":954},231000,"fang-dong-bei-yuan-shan-shui-tu-wang-hui-231000","仿董北苑山水图","此作以披麻皴写山峦层叠，淡墨晕染出烟雨空濛的江南氤氲之态，高远与平远景致相融，铺陈出山水的幽深阔远。苍松杂木错落点缀于岩岫间，山脚村居田舍隐现，将烟火气融于林泉丘壑，让幽寂山水多了几分温润生机。\n笔墨苍秀温润，皴擦尽显山石浑厚质感，淡墨轻染晕化出云气浮动的朦胧意境，既保有师法对象的平淡天真，又糅合自身清丽工致的笔意，将江南山水的静穆悠远诠释尽致，氤氲出文人山水独有的雅致闲澹之韵。",[23,24,25,30,109,80,130,31,35,82,7,38,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":7122,"slug":7123,"title":6800,"dynasty":162,"author":55,"museum":242,"description":7124,"tags":7125,"thumbUrl":7126,"material":285,"size":285,"collection":285,"collections":7127,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},228184,"yun-shan-tu-juan-yi-ming-228184","以水墨晕染铺就江南烟岚，山峦在氤氲雾气中远近层叠，淡墨轻扫出山形轮廓，虚实相生，将天地边界揉作一团朦胧。汀渚林木以浓墨点染，和淡远云山相映成趣，江面一叶江帆轻泛，寥寥数笔便牵起江南秋日的柔婉空濛。\n\n整卷诗画交融，墨色晕开如将秋夜湖山揽入卷中，山岚裹挟水汽漫过纸面，和题跋里的梦中游湖意境呼应，萧散简远的文人意趣尽藏其间。仿佛踏入一场水墨织就的清寂旧梦，伸手便可以触到湿润的山雾，将江南烟水的淡远之美，晕染成挥之不去的朦胧诗意。",[23,149,24,25,26,109,30,7,135,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189cb0b82f453db9f4924ab23b668e3a.jpg",[],{"id":7129,"slug":7130,"title":7131,"dynasty":2995,"author":7132,"museum":242,"description":7133,"tags":7134,"thumbUrl":7143,"material":605,"size":606,"collection":7144,"collections":7145,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":327},225949,"houses-of-parliament-reflection-of-the-thames-1900-01-mo-nai-225949","Houses of Parliament, Reflection of the Thames, 1900-01","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。",[7135,7136,7137,7138,7139,32,199,7140,7,135,7141,4159,7142],"印象派","光影表现","色彩叠加","笔触松散","朦胧","水面倒影","水波","光影反射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab85cd2ddec6bd1df0182ed4e56a120.jpg","油画精选",[7144],{"id":7147,"slug":7148,"title":7149,"dynasty":54,"author":854,"museum":242,"description":7150,"tags":7151,"thumbUrl":7152,"material":285,"size":285,"collection":285,"collections":7153,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},224451,"xia-shan-yan-yu-tu-wang-hui-224451","夏山烟雨图","清王翚款夏山烟雨图轴是重庆中国三峡博物馆收藏的绘画。\n质地:纸 藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,24,25,79,109,28,80,30,166,35,111,151,7,1913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":7155,"slug":7156,"title":7157,"dynasty":54,"author":55,"museum":242,"description":5653,"tags":7158,"thumbUrl":7159,"material":285,"size":285,"collection":285,"collections":7160,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,24,25,109,28,80,385,30,82,35,135,32,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":7162,"slug":7163,"title":7164,"dynasty":54,"author":55,"museum":242,"description":7165,"tags":7166,"thumbUrl":7167,"material":285,"size":7168,"collection":98,"collections":7169,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":49},223344,"wu-tai-shan-sheng-jing-quan-tu-1-yi-ming-223344","五台山圣境全图1","是五台山慈福寺喇嘛桑格阿麻格于1846年(道光二十六年)，亲手刻就的图版。在《五台山圣境全图》中，刻画了五台山清代时的大小寺庙、丛林静室60余处，帝王行宫3处，佛塔灵迹30余处。同时还展现了当时的村庄，绘制了康熙皇帝朝台的盛况，并穿插了康熙寻父的民间传说。内容有人有物，有情有景，有动有静，真实地反映了五台山佛教圣地僧俗人等的生活情景，是一件珍贵的艺术品。图版以极简练的手法，雕刻出五台山佛教圣地的概貌。表现了高超的雕刻技巧和丰富的想像力。",[24,322,30,386,780,109,112,3186,198,7,364,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c3cebd21bb757879e6aa24b7b34c3c.jpg","该图长162厘米，宽118厘米",[98],{"id":7171,"slug":7172,"title":7173,"dynasty":126,"author":7174,"museum":75,"description":7175,"tags":7176,"thumbUrl":7177,"material":2562,"size":7178,"collection":285,"collections":7179,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,109,2203,30,309,82,229,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83eb023c5f477bc2367a2db4019520b.jpg","17x52.2厘米",[],{"id":7181,"slug":7182,"title":7183,"dynasty":126,"author":7184,"museum":195,"description":7185,"tags":7186,"thumbUrl":7187,"material":137,"size":7188,"collection":285,"collections":7189,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},219061,"xiao-xiang-ba-jing-ce-8-zhang-fu-219061","潇湘八景册-8","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,25,385,109,30,198,35,82,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1af29f49da804b9cb6fd382b5fbf29.jpg","30x33厘米",[],{"id":7191,"slug":7192,"title":7193,"dynasty":126,"author":7194,"museum":359,"description":7195,"tags":7196,"thumbUrl":7202,"material":137,"size":285,"collection":285,"collections":7203,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[5530,25,24,4474,109,308,130,2765,80,7197,7198,30,135,35,229,230,2014,7,112,7199,7200,7201,133,131],"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":7205,"slug":7206,"title":7207,"dynasty":54,"author":7208,"museum":359,"description":7209,"tags":7210,"thumbUrl":7211,"material":137,"size":285,"collection":285,"collections":7212,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":69},214377,"tian-guang-yun-jing-tu-ce-1-zhu-da-214377","天光云景图册-1","朱耷","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,24,109,80,385,30,112,35,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb52e79e5ef09d8de419cd9c5d81e0f2.jpg",[],{"id":7214,"slug":7215,"title":371,"dynasty":54,"author":7216,"museum":181,"description":7217,"tags":7218,"thumbUrl":7220,"material":285,"size":285,"collection":98,"collections":7221,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":7222},202232,"shan-shui-zhou-chen-yuan-fu-202232","陈元复","画面远山含黛，云雾轻笼山间，似将天地晕染成淡墨底色。近景枯树疏枝，笔法简练却见苍劲，枝桠间透着冬日清寂。树下茅亭隐现，亭内人影朦胧，似在对谈，添了几分生趣。山石以皴法勾勒，纹理清晰，墨色浓淡相宜，与淡彩晕染的景致相融，尽显雅致悠远的意境。整幅画作于简淡中见情韵，传递出文人山水的静谧之美。",[30,80,672,7219,7,28,23],"茅亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d6755a65d37981b76d7635bf77880a2.jpg",[98],"9f8d75",{"id":7224,"slug":7225,"title":7226,"dynasty":54,"author":766,"museum":181,"description":7227,"tags":7228,"thumbUrl":7229,"material":285,"size":285,"collection":98,"collections":7230,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":7231},202221,"fang-yi-feng-shan-shui-zhou-wang-shi-min-202221","仿一峰山水轴","画面层峦叠嶂，山势雄浑中透着秀逸，笔墨间深见对黄公望的追摹——以披麻皴写山体肌理，线条温润绵长，墨色层次丰富，干湿浓淡交错相宜。近景林木葱茏，枝干虬劲，或挺拔或欹侧，姿态万千；中景溪流蜿蜒，穿梭于丘壑之间，与错落山石相映成趣；远景峰峦起伏，云雾轻笼，拓展出深远的空间感。整体意境清幽淡远，尽显文人山水的雅致韵味，既承元人笔意，又融自身对自然的体悟，堪称摹古而不泥古的典范之作。",[24,25,79,109,80,30,35,85,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b206d8a975e46957c8666c3cab08279.jpg",[98],"a78e65",{"id":7233,"slug":7234,"title":7235,"dynasty":54,"author":7236,"museum":181,"description":7237,"tags":7238,"thumbUrl":7239,"material":285,"size":285,"collection":98,"collections":7240,"showCount":261,"zanCount":48,"manualWeight":48,"mainColor":7241},202168,"xi-shan-tu-zhou-cha-ji-zuo-202168","溪山图轴","查继佐","这幅山水以水墨为底，山峦用皴法勾勒石质肌理，笔触苍劲老辣；草木以点染出之，疏密有致间见生机。山间云雾轻绕，虚实相生，营造出清旷悠远的意境。上方行书题跋笔墨洒脱，与下方山水相得益彰，印信点缀其间，诗书画印浑然一体。画风简淡空灵，不事雕琢，却于简括中藏深意，尽显文人画的逸趣与哲思，仿佛将观者带入一片静谧绝尘的山林之境。",[109,80,132,133,30,134,170,7,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c46a4d930d2a7e0b087c757ffda9d5.jpg",[98],"b7a28a",{"id":7243,"slug":7244,"title":7245,"dynasty":126,"author":305,"museum":242,"description":5109,"tags":7246,"thumbUrl":7247,"material":605,"size":606,"collection":285,"collections":7248,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},283745,"shu-hua-he-bi-juan-dong-qi-chang-283745","书画合壁卷",[23,149,24,25,26,109,131,132,30,112,1505,724,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9730d590d7dfec6d881d41f1b0e097.jpg",[],9,{"id":7251,"slug":7252,"title":3128,"dynasty":54,"author":3129,"museum":242,"description":3130,"tags":7253,"thumbUrl":7254,"material":285,"size":285,"collection":285,"collections":7255,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},238832,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238832",[24,28,30,80,385,82,35,36,229,871,7,1115,649,38,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],{"id":7257,"slug":7258,"title":2300,"dynasty":54,"author":3538,"museum":242,"description":3539,"tags":7259,"thumbUrl":7260,"material":285,"size":285,"collection":285,"collections":7261,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},238141,"shan-shui-ce-yun-xi-238141",[149,24,25,385,28,80,30,82,35,83,7,649,446],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8d6c892ae66900383ba78fcac103714.jpg",[],{"id":7263,"slug":7264,"title":7265,"dynasty":54,"author":7266,"museum":242,"description":7267,"tags":7268,"thumbUrl":7269,"material":285,"size":285,"collection":98,"collections":7270,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[149,24,25,385,109,28,30,166,167,35,36,134,229,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c33fe3c63a07639da94923c962c0cc.jpg",[98,45],{"id":7272,"slug":7273,"title":2259,"dynasty":54,"author":55,"museum":242,"description":7274,"tags":7275,"thumbUrl":7276,"material":285,"size":285,"collection":285,"collections":7277,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},236068,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236068","以淡墨晕开烟岚，将山峦笼在轻霭之中，主峰巍峨苍润，苔点皴擦勾勒出山石古拙肌理，尽显厚重质感。山腰松林攒簇，枝桠灵动似携山风簌簌有声。幽谷间村舍隐于林木，流泉绕石潺湲，将山居野逸之趣藏于尺幅之间。\n\n此作用笔兼取干湿，干笔皴擦见山石苍劲，湿墨晕染铺就空濛底色，浅淡设色含蓄温润，暗合宋元山水的林下余韵，将江南山水的温润空濛凝缩于册页。不见雕琢匠气，只留幽寂淡远的文人意趣，观之便如身临空山，听松涛泉响，涤尽俗尘。",[24,25,385,109,80,130,30,82,35,7,111,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdcf654195c2227b0a54329bda003c3.jpg",[],{"id":7279,"slug":7280,"title":6500,"dynasty":54,"author":3276,"museum":242,"description":7281,"tags":7282,"thumbUrl":7283,"material":285,"size":285,"collection":285,"collections":7284,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},235641,"shan-shui-tu-ce-wu-li-235641","这幅山水以淡墨晕染出空濛烟雨之境，层叠远山隐在烟霭间，虚实相生，将江南雨后的山岚雾气尽数铺展。近景村居错落依偎松林修竹，屋舍俨然，带着悠然野逸的田园意趣。笔墨松秀苍润，以留白衬出烟林清润的朦胧质感，既有元人山水的萧散简淡，又晕染出温润的烟火暖意。边角题诗与笔墨意境呼应，诗画交融，将文人幽居林泉的理想铺陈开来，整体清和淡远，藏着静穆安宁的山居诗意，尽显江南山林雨后的静谧清润之美。",[24,25,385,109,30,166,495,36,151,7,80,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9887841a41a50cb5eb71badbb3c5ccfe.jpg",[],{"id":7286,"slug":7287,"title":7288,"dynasty":54,"author":55,"museum":20,"description":7289,"tags":7290,"thumbUrl":7291,"material":964,"size":7292,"collection":285,"collections":7293,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":49},234909,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234909","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,385,28,27,80,30,82,35,7,31,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43b62b1e5bd3d7a5f2f180e1ad3242ac.jpg","25.7×33厘米",[],{"id":7295,"slug":7296,"title":7297,"dynasty":126,"author":7298,"museum":20,"description":7299,"tags":7300,"thumbUrl":7301,"material":186,"size":285,"collection":285,"collections":7302,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},233854,"shi-hua-he-bi-ce-zhou-yong-233854","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。",[24,25,385,109,80,780,28,30,58,134,507,721,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b239f8f751456574441785c55cb076.jpg",[],{"id":7304,"slug":7305,"title":7306,"dynasty":126,"author":935,"museum":242,"description":7307,"tags":7308,"thumbUrl":7309,"material":7310,"size":7311,"collection":285,"collections":7312,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","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。",[23,24,25,26,30,28,80,29,31,82,35,7,2149,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","设色纸本","161×42.9cm",[],{"id":7314,"slug":7315,"title":304,"dynasty":54,"author":7316,"museum":242,"description":7317,"tags":7318,"thumbUrl":7319,"material":285,"size":285,"collection":285,"collections":7320,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},230914,"fang-gu-shan-shui-tu-cheng-geng-lu-230914","程庚鹭","此作用淡墨晕染山峦，留白铺陈出空濛水汽，层叠峰峦尽显高远之致，干笔皴擦勾勒山石肌理，湿墨晕染晕出山岚氤氲。崖间村居错落，石阶蜿蜒通幽，点染出林下幽居的闲淡意趣。\n右上角题跋笔墨隽秀，与山水笔墨相映成趣，诗画交融。整体兼具萧散简远的文人意韵，将林泉高致寄于尺幅，观之如临空山幽境，俗虑尽销。",[24,109,80,308,30,166,167,83,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb8830d376ba0de9a0803b19592cb0df.jpg",[],{"id":7322,"slug":7323,"title":7324,"dynasty":2995,"author":2189,"museum":242,"description":7325,"tags":7326,"thumbUrl":7327,"material":285,"size":285,"collection":285,"collections":7328,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":49},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[23,24,25,28,80,30,58,83,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":7330,"slug":7331,"title":7332,"dynasty":126,"author":55,"museum":242,"description":7333,"tags":7334,"thumbUrl":7335,"material":285,"size":285,"collection":285,"collections":7336,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":49},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,25,2203,28,386,30,198,2675,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb59895a5da6a6f6e2388d9f2e68579a.jpg",[],{"id":7338,"slug":7339,"title":7340,"dynasty":54,"author":7341,"museum":1248,"description":7342,"tags":7343,"thumbUrl":7344,"material":7345,"size":7346,"collection":285,"collections":7347,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":285},220703,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220703","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,149,30,109,28,385,35,82,36,7,80,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814fa3e46d38ecce71bf3ffe0d290d3.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":7349,"slug":7350,"title":7351,"dynasty":54,"author":1574,"museum":20,"description":4006,"tags":7352,"thumbUrl":7354,"material":186,"size":4009,"collection":285,"collections":7355,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},220273,"huang-shan-tu-ce-50-hong-ren-220273","黄山图册-50",[23,24,25,149,385,109,80,30,82,309,7353,7,229,85],"洞穴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eb0a71d6aaf60a7e550f6ed7e96459.jpg",[],{"id":7357,"slug":7358,"title":7359,"dynasty":126,"author":7184,"museum":195,"description":7185,"tags":7360,"thumbUrl":7361,"material":137,"size":7188,"collection":285,"collections":7362,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},219066,"xiao-xiang-ba-jing-ce-5-zhang-fu-219066","潇湘八景册-5",[23,24,109,30,385,60,309,135,229,80,82,2014,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c50ead1d3939511b18b28649db1b2d4.jpg",[],{"id":7364,"slug":7365,"title":7366,"dynasty":126,"author":194,"museum":75,"description":7367,"tags":7368,"thumbUrl":7369,"material":64,"size":7370,"collection":285,"collections":7371,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":69},214893,"di-wang-dao-tong-wan-nian-tu-ce-20-chou-ying-214893","帝王道统万年图册-20","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,28,29,386,385,58,198,150,35,7,2395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d687cb508e45c93f244df352f2c7f0d.jpg","32.5*32.6",[],{"id":7373,"slug":7374,"title":7375,"dynasty":3756,"author":7376,"museum":181,"description":7377,"tags":7378,"thumbUrl":7379,"material":285,"size":285,"collection":98,"collections":7380,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":7381},203368,"xi-shan-tu-heng-pi-wu-zheng-203368","溪山图横披","吴徴","这幅水墨山水以灵动笔墨铺展层叠山峦，皴擦点染间，山石肌理与林木丰茂之态毕现。山间云雾轻笼，林木扶疏，几处屋舍隐于浓荫或山坳，似藏尘世静谧。线条粗细交错，墨色浓淡相宜，既显山川雄浑，又含林泉清逸，意境悠远引人入胜，仿佛可闻林间风声与山涧流水，尽显传统山水雅致韵味。",[109,30,80,1505,603,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87712ad494c34fec658814e8e47cb77.jpg",[98],"b4a998",{"id":7383,"slug":7384,"title":7385,"dynasty":3756,"author":563,"museum":181,"description":7386,"tags":7387,"thumbUrl":7389,"material":285,"size":285,"collection":98,"collections":7390,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":7391},203286,"lu-shan-yao-shi-yi-tu-zhou-fu-bao-shi-203286","庐山谣诗意图轴","笔墨纵逸洒脱，抱石皴法赋予山峦嶙峋肌理，墨色浓淡交织间，云雾如流岚漫过山脊，数道飞泉倾泻而下，与苍松虬枝相映成趣。虚实相生的构图里，庐山的雄奇壮阔与诗意空灵交融，似将李白诗中“飞流直下三千尺”的豪情与“云蒸霞蔚”的悠远意境凝于一纸，尽显山水灵韵与文人笔墨情致。",[24,30,109,28,7388,83,7,309,79,23],"抱石皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009092f8b200ac9b1aad04ca964388b5.jpg",[98],"a3937d",{"id":7393,"slug":7394,"title":2643,"dynasty":3756,"author":7395,"museum":181,"description":7396,"tags":7397,"thumbUrl":7399,"material":285,"size":285,"collection":98,"collections":7400,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":7401},202993,"shan-shui-tu-zhou-hu-pei-heng-202993","胡佩衡","这幅山水图以水墨写意营造悠远意境，峰峦叠嶂间云雾缭绕，墨色浓淡相衬，皴擦点染兼具，山石肌理尽显苍劲。近景松枝虬劲，临水而立；中景流水潺潺，小桥横卧，一蓑笠翁独钓其间，添得几分闲适。远山隐现，古塔尖顶破云而出，与苍茫山势相映成趣。整幅画气韵生动，既有传统山水的笔墨韵味，又透出清寂悠远的文人气息，将自然之美与心境之静融于一纸。",[24,109,30,80,86,135,747,4562,7398,7,79,23],"松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F963d007aa8f0f5bce725b838f647933f.jpg",[98],"d0c8b1",{"id":7403,"slug":7404,"title":7405,"dynasty":3756,"author":3757,"museum":181,"description":7406,"tags":7407,"thumbUrl":7408,"material":285,"size":285,"collection":98,"collections":7409,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":7410},202931,"fang-jing-guan-shan-shui-tu-zhou-huang-bin-hong-202931","仿荆关山水图轴","峰岭如戟，墨色层叠间见苍劲风骨。取荆关北派山水之雄健，以干湿浓淡的笔墨皴擦山峦，线条刚劲却不失灵动。云雾在岩隙间流转，似将群峰晕染成氤氲的整体，溪流蜿蜒穿谷而下，点出清润生机。树木疏朗有神，与厚重山石相映，尽显山水深邃苍茫之态。整幅画于古法中融新意，笔墨韵律藏自然灵韵，是传统山水精神的生动延续。",[30,24,79,109,80,112,7,85,35,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9efd96d57d700276b52fa63cd272999.jpg",[98],"8f8679",{"id":7412,"slug":7413,"title":7414,"dynasty":54,"author":3695,"museum":181,"description":7415,"tags":7416,"thumbUrl":7417,"material":285,"size":285,"collection":45,"collections":7418,"showCount":7249,"zanCount":48,"manualWeight":48,"mainColor":7419},202111,"mo-long-zhou-zhou-xun-202111","墨龙轴","云雾翻腾间，墨龙破壁而出，龙首昂然，双目炯炯，龙须飞扬若劲草，鳞爪张弛间满溢威严与力量。画家以水墨为骨，浓淡晕染出云雾的缥缈与厚重，线条勾勒精准细腻，龙身鳞片纹理清晰，尽显工笔之精致；下方海浪波涛汹涌，笔触顿挫间似闻涛声，皴法运用更添海浪的雄浑质感。整幅画虚实相生，龙隐于云雾，露于浪尖，动静交织，既藏龙的神秘莫测，又显其腾跃四海的气势。水墨晕染与工笔细腻结合，让云雾朦胧、龙的刚劲、海浪磅礴浑然一体，传递出震撼的视觉张力，尽显传统绘画中龙的象征意蕴与艺术魅力。",[109,29,80,59,7,350,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabb8117d1a4cbc5848ca2bc81172fa9f.jpg",[45],"796040",{"id":7421,"slug":7422,"title":7423,"dynasty":18,"author":55,"museum":242,"description":5604,"tags":7424,"thumbUrl":7425,"material":605,"size":606,"collection":285,"collections":7426,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":49},290109,"shui-cun-lou-ge-tu-yi-ming-290109","水村楼阁图",[23,24,2203,109,30,198,35,111,86,248,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5d6ccfac5c518af5d44f3f72c4f826.jpg",[],{"id":7428,"slug":7429,"title":7430,"dynasty":126,"author":55,"museum":242,"description":7431,"tags":7432,"thumbUrl":7433,"material":605,"size":606,"collection":285,"collections":7434,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":954},288103,"shan-si-wen-dao-tu-li-zhou-yi-ming-288103","山寺问道图立轴","淡墨晕染出山岚空濛，远山隐在烟霭间，如美人敛眉含黛。崖壁奇崛，皴笔硬朗刻画出山石苍劲肌理，古松虬曲扎根危岩，枝叶舒展间带萧疏野趣。山径蜿蜒盘桓，半山古寺藏于松涛深处，飞檐翘角若隐若现，禅意暗生。溪畔三两行人正拾级缓行，似欲赴山寺问道，幽寂山林因这几抹人影多了灵动意趣。\n\n画作以虚实相生之法铺陈意境，淡墨轻岚衬出世外林泉的静穆清远，将文人寄情山水、寻幽问道的雅致襟怀藏于尺幅间，简淡笔墨里尽是悠远林下之思。",[23,24,79,362,109,80,198,309,82,111,58,1262,151,7,133,1509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0dd14d32bd01d376f036a7af62e871.jpg",[],{"id":7436,"slug":7437,"title":7438,"dynasty":126,"author":55,"museum":242,"description":7439,"tags":7440,"thumbUrl":7442,"material":605,"size":606,"collection":285,"collections":7443,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},283634,"yu-yu-yu-qing-tu-yi-ming-283634","欲雨欲晴图","此作用米家山水的晕染之法，绘就江南烟霭迷离之景。远景山峦隐没在翻涌云岚间，墨色轻淡柔和，虚实掩映间衬出山光断处的幽远意境。近景汀洲水岸边，村居错落隐在葱郁林木中，板桥连通两岸，扁舟系在浅滩，漾出水乡安闲静穆的日常意趣。\n\n画面以水墨晕染尽显欲雨将晴的湿润空蒙，水汽漫过江渚，笼住层林远山，将江南湿润清宁的氛围感拉满。留白与墨色相融相生，把天地间的朦胧柔婉尽数铺展，带着文人画独有的雅致诗意，观之如亲赴烟雨中的江南水乡，静赏闲淡日常，尽显山水画平淡天真的隽永意趣。",[23,24,149,362,109,28,86,111,135,36,112,7,35,131,133,7441,4575],"欲雨欲晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a0a5ee8f2e9049eb7b495a8bba539d.jpg",[],{"id":7445,"slug":7446,"title":2300,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":7448,"thumbUrl":7449,"material":285,"size":285,"collection":98,"collections":7450,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":49},238312,"shan-shui-ce-dong-bang-da-238312","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”。",[24,109,80,385,30,86,111,135,35,36,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401a8f7deacb8e6ea14fd07f3dd0895c.jpg",[98,99],{"id":7452,"slug":7453,"title":2824,"dynasty":54,"author":2825,"museum":242,"description":2826,"tags":7454,"thumbUrl":7456,"material":285,"size":285,"collection":285,"collections":7457,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},238236,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238236",[24,28,29,80,385,30,58,35,82,7,603,846,7455],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f187a6ca9912a53c11940667530eaea.jpg",[],{"id":7459,"slug":7460,"title":2300,"dynasty":126,"author":3076,"museum":242,"description":7461,"tags":7462,"thumbUrl":7463,"material":285,"size":285,"collection":285,"collections":7464,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},235824,"shan-shui-ce-li-liu-fang-235824","此作用笔取法米氏云山，以淡墨晕染铺就烟霭空濛之境。远山如黛隐现于云气间，似有若无，尽显朦胧悠远之致。近岸浅滩错落，林木萧疏朴拙，村居隐于林下，野意悠然自生。\n笔墨干湿互济，以浓淡墨色晕染烘托出江南水乡的氤氲诗意，不见繁复勾勒，却将烟岚流荡之态尽现纸面。题画文辞呼应画意，尽显作者对米家山水意趣的追慕，以简淡笔墨写就林泉幽居之雅，不重具象描摹，而重写意传神，将文人寄情丘壑的幽怀融于尺幅之间，整幅淡远空灵，余韵悠长，尽显文人山水的写意风神。",[24,25,385,109,30,166,167,495,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8c27eb6646485221b61effc069f39a.jpg",[],{"id":7466,"slug":7467,"title":7468,"dynasty":126,"author":3511,"museum":20,"description":7469,"tags":7470,"thumbUrl":7471,"material":592,"size":285,"collection":285,"collections":7472,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},234142,"yun-bai-shan-qing-tu-juan-ding-yun-peng-234142","云白山青图卷","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”\n传世作品有《待朝图》轴，图录于《中国绘画史图录》下册；《伏虎尊者图》轴，现藏安徽省博物馆；《白马驭经图》轴，藏台北故宫博物院；《洗象图》轴，藏中国美术馆；罗浮花月图〉轴及《漉酒图》轴，藏上海博物馆；《龙王拜观音图》卷，藏中国美术馆；《溪山烟霭图》卷藏南京博物院；《丛山樵径图》轴，藏天津艺术博物馆；《达摩图》轴，藏沈阳故宫博物院；《煮茶图》轴，藏无锡市博物馆；《六祖像图》轴，藏荣宝斋。",[23,24,26,109,30,80,31,7,35,86,111,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fe8ffb55ad3c48f2bb14ff4bd9d273.jpg",[],{"id":7474,"slug":7475,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":7476,"thumbUrl":7477,"material":592,"size":6812,"collection":285,"collections":7478,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},233435,"huang-shan-tu-ce-mei-qing-233435",[24,109,30,80,82,35,7,31,385,649,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b212879f959dce763fc65f14db00d25.jpg",[],{"id":7480,"slug":7481,"title":2300,"dynasty":162,"author":5419,"museum":20,"description":6377,"tags":7482,"thumbUrl":7483,"material":592,"size":6380,"collection":285,"collections":7484,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":49},233172,"shan-shui-ce-cao-zhi-bai-233172",[24,25,385,109,80,30,166,495,86,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358988cca645453495c37e3807d5abeb.jpg",[],{"id":7486,"slug":7487,"title":7488,"dynasty":126,"author":1432,"museum":20,"description":7489,"tags":7490,"thumbUrl":7491,"material":5839,"size":7492,"collection":285,"collections":7493,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},233138,"ming-ren-xi-shan-sheng-jing-he-bi-ce-yue-lai-xi-tu-ye-tang-yin-233138","明人西山胜景合壁册-越来溪图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,385,109,30,672,82,985,85,229,7,35,445,80,132,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3926a6ab069ef73d913001355611c3.jpg","纵22.8cm，横33.2cm",[],{"id":7495,"slug":7496,"title":455,"dynasty":54,"author":456,"museum":20,"description":7497,"tags":7498,"thumbUrl":7499,"material":95,"size":7500,"collection":285,"collections":7501,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},231530,"fang-fan-kuan-shan-shui-tu-tang-dai-231530","远景山峦重叠，主峰矗立，气势雄伟，山巅间烟云缭绕，云气弥漫，似浮起润泽的雾气；中景峰峦对峙，林木丛生，烟锁山腰，山坳中树木茂密，层次分明，满而不塞，两座秀丽的楼阁屋宇隐显于烟光浮动之中，寂静的山林更增添了幽邃之感。近处为坡石丛林，两坡石间高架有一座木桥，两山峡谷间溪水直流而下，汇聚于溪水之中，左侧溪水边，座落着几间房舍，掩映在浓密的丛树荫底。\n范宽是五代末北宋初的一位山水画家，他与当时的李成、董源同时著称于北宋初期画坛，故他的作品被不少画家所临仿，清唐岱也不例外。唐岱虽提倡“不用古人之匠壑蹊径”，但却主张笔墨“用古人规矩格法”。所以他的作品有其新意。此《仿范宽山水图》名为仿作，实为师古而见新意之作。\n从这幅山水作品中，不难发现，画家除着重描绘大块山景外，却也不放过很多细小景致描绘，如整齐的楼阁屋宇，溪上的板桥、溪水、飞瀑、山径和岸渚等，使这幅作品所摄取的物象既有高山溪流，又有细小的景致，相辅相成，配合默契，相得益彰。此图师范宽。范宽笔法硬劲，因而“势状雄强”：可是此《仿范宽山水图》却寓方于圆的笔法，不见犀利，但见醇厚，可见此图名为仿作，实为师古而见新意，颇具自家风格。",[24,362,28,80,130,82,35,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d165d240ea0c72ab35eef5a2f615f09.jpg","纵287.2厘米，横155.2厘米",[],{"id":7503,"slug":7504,"title":7505,"dynasty":18,"author":2080,"museum":242,"description":7506,"tags":7507,"thumbUrl":7508,"material":186,"size":7509,"collection":285,"collections":7510,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},221402,"fa-hai-ling-shan-tu-4-li-gong-lin-221402","法海灵山图4","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,1076,24,25,780,109,322,58,782,540,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dc8ae31066e200f62d122a2dd929a5.jpg","23x299cm",[],{"id":7512,"slug":7513,"title":7514,"dynasty":54,"author":492,"museum":359,"description":7515,"tags":7516,"thumbUrl":7517,"material":137,"size":285,"collection":285,"collections":7518,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},215027,"fang-gu-shan-shui-ce-4-wang-jian-215027","仿古山水册-4","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。",[24,25,385,28,109,27,30,60,82,846,3559,7,80,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0393365bda3bc690fcdbd70ef24cce4c.jpg",[],{"id":7520,"slug":7521,"title":7522,"dynasty":54,"author":2301,"museum":181,"description":2302,"tags":7523,"thumbUrl":7524,"material":338,"size":2305,"collection":285,"collections":7525,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":69},214695,"shan-shui-ce-12-gao-xiang-214695","山水册-12",[24,109,80,385,30,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c2f8159037211605f4ad1b30b03f1e.jpg",[],{"id":7527,"slug":7528,"title":7529,"dynasty":126,"author":7530,"museum":181,"description":7531,"tags":7532,"thumbUrl":7533,"material":285,"size":285,"collection":98,"collections":7534,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":7535},203465,"fang-gu-shan-shui-ce-yun-xiang-203465","仿古山水册","恽向","这幅山水以水墨为基调，干笔皴擦与淡墨晕染交织，山峦层叠间见苍劲质感，皴法细密勾勒出山石纹理；林木疏密有致，墨色浓淡相间尽显葱茏意态，几间茅舍隐于林下，添清幽之趣却无喧嚣。仿古意趣浓厚，追摹宋元笔意却融入自身韵致，山石勾勒简练，墨色温润沉厚，整体画面静谧悠远，似能让人感受到山林间的清寂之风，尽显文人画的雅致与古拙。",[23,24,25,109,80,385,131,133,30,35,309,82,85,36,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c233ceace0d052277ef7c6007ee54.jpg",[98],"817666",{"id":7537,"slug":7538,"title":7539,"dynasty":3756,"author":563,"museum":181,"description":7540,"tags":7541,"thumbUrl":7543,"material":285,"size":285,"collection":98,"collections":7544,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":7545},203311,"you-gu-ting-pu-tu-zhou-fu-bao-shi-203311","幽谷听瀑图轴","峭壁如削，瀑布飞漱而下，云雾在幽谷间流转，晕染出朦胧诗境。山道上几人缓步前行，衣袂飘飘，似为瀑声所引，探幽寻趣。笔墨挥洒间，散锋皴擦出山石苍劲肌理，水墨与青绿交织，层次丰富且气韵生动。瀑布的动感与山林的静谧相映，文人雅士的闲情与自然壮美相融，尽显画面意境之美与笔墨之妙。",[24,30,109,28,58,83,7,7542,80,23],"山道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416154d95732b48de800768c63845416.jpg",[98],"99876d",{"id":7547,"slug":7548,"title":7549,"dynasty":54,"author":5819,"museum":181,"description":7550,"tags":7551,"thumbUrl":7552,"material":285,"size":285,"collection":98,"collections":7553,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":7554},201595,"wang-yun-si-qin-tu-juan-zhu-ang-zhi-201595","望云思亲图卷","云雾如纱轻笼层叠山峦，林木葱郁间，屋舍隐现于溪畔岩边。水墨晕染出朦胧意境，山石以皴法显其肌理，树木笔法疏密有致，层次分明。画面静谧悠远，借山水云雾传递“望云思亲”的缱绻深情，于自然景致中藏人文意韵，尽显传统山水画的笔墨韵味与情感张力。",[24,26,109,30,80,7,1505,603,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb2869e556232030267a9825a5f5a5d.jpg",[98],"000000",{"id":7556,"slug":7557,"title":7558,"dynasty":126,"author":2785,"museum":181,"description":7559,"tags":7560,"thumbUrl":7561,"material":285,"size":285,"collection":98,"collections":7562,"showCount":68,"zanCount":48,"manualWeight":48,"mainColor":7554},201550,"fang-da-chi-qiu-shan-wu-jin-tu-juan-zhao-zuo-201550","仿大痴秋山无尽图卷","长卷铺展，秋意漫入层峦。山石以皴法勾勒，纹理苍劲；树木或疏或密，红叶点染秋光。云雾缭绕峰谷，流水蜿蜒过小桥，孤舟泛于碧波，亭舍隐于林麓。笔墨交融间，既有大痴笔意的深远，又含赵左自身的秀逸。淡设色晕染出清旷意境，山水相连如无尽诗行，引人沉醉于烟霞深处。",[24,26,30,80,109,28,135,86,111,151,35,82,7,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6171acb2b976380c517048392c6555d8.jpg",[98],{"id":7564,"slug":7565,"title":7566,"dynasty":18,"author":55,"museum":242,"description":5604,"tags":7567,"thumbUrl":7568,"material":605,"size":606,"collection":285,"collections":7569,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":49},290268,"yan-lan-feng-luan-tu-yi-ming-290268","烟岚峰峦图",[24,149,30,109,80,112,7,35,111,113,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b2e099f265be7284bfcce10b3bc520.jpg",[],{"id":7571,"slug":7572,"title":7573,"dynasty":54,"author":7574,"museum":242,"description":7575,"tags":7576,"thumbUrl":7577,"material":605,"size":606,"collection":285,"collections":7578,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},239537,"fang-gu-ji-you-tu-ce-huang-yi-239537","访古纪游图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,109,780,385,30,248,229,7,133,4102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec6732ab7dbed29550b6e9e7d243771.jpg",[],{"id":7580,"slug":7581,"title":7582,"dynasty":54,"author":1959,"museum":242,"description":7583,"tags":7584,"thumbUrl":7585,"material":285,"size":285,"collection":285,"collections":7586,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},239463,"qing-chu-liu-da-jia-ji-ce-xia-shan-tu-ce-ye-wang-yuan-qi-239463","清初六大家集册-夏山图册页","此作用笔苍浑老辣，以干笔积墨反复皴擦，山峦层叠间云气横生，将高远、深远之境相融，衬出山林空阔幽深。坡岸林木错落，或虬劲或葱郁，溪桥村居隐于林泉间，暗合题句里长夏山居的悠然意趣。\n\n画面笔墨沉厚苍秀，于繁密皴法中透出灵透，既得宋元山水的苍茫元气，又自具朴拙静穆的文人雅韵，将夏日山林的清寂悠长晕染开来，尽显静谧澹远的山居之美。",[24,25,385,28,80,30,166,111,86,495,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b08c3e176452e8260dd64640da9e37.jpg",[],{"id":7588,"slug":7589,"title":7590,"dynasty":54,"author":7591,"museum":242,"description":7592,"tags":7593,"thumbUrl":7594,"material":285,"size":285,"collection":285,"collections":7595,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},239206,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239206","三大名山十二图册","徐枋","此作以水墨写就山林胜景，危峰崚嶒直插云端，流云如练缠绕崖间，将黄山奇秀空灵尽数铺展。苍松虬曲错落在岩壑间，松下茅舍幽然隐现，自带林泉高致。\n笔致苍朴清逸，淡墨晕染出漫山空濛岚气，糅合山水与书法，题字笔力沉劲，与山水意境相融，尽显幽淡冷寂的隐逸意趣，以山水托寄出世襟怀，是文人画中山水与心境合一的精妙之作。",[24,109,80,385,131,133,30,309,82,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee9d2bf38ceefe2ee6ab829f677915f.jpg",[],{"id":7597,"slug":7598,"title":3345,"dynasty":54,"author":3129,"museum":242,"description":3130,"tags":7599,"thumbUrl":7600,"material":285,"size":285,"collection":285,"collections":7601,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},238820,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238820",[24,25,385,28,109,80,30,151,35,82,111,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3447afc150ba6c05ef584fdb9121a08b.jpg",[],{"id":7603,"slug":7604,"title":2300,"dynasty":54,"author":456,"museum":242,"description":7605,"tags":7606,"thumbUrl":7607,"material":285,"size":285,"collection":285,"collections":7608,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},238205,"shan-shui-ce-tang-dai-238205","此作为青绿设色的江南夏景，山峦层叠以石青、石绿晕染，间以赭石提点坡岸，草木蓊郁的盛夏之意呼之欲出。近岸林木扶疏，屋舍隐于浓荫之下，开阔水面映着淡晕远山，将山居清旷闲适铺陈开来。\n\n搭配题诗书画合璧，诗句与画境两两呼应，把江南夏日水村的安谧悠然尽数定格。笔致秀雅清润，兼具院体画的精致妍丽与文人山水的澹远意趣，观之如沐熏风，恍若踏入这幽寂又充满生机的世外洲渚，尽览水乡闲逸之致。",[24,28,27,80,385,30,166,495,167,151,7,82,111,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e8ef9ddf63f7acbc3c067569205b9a.jpg",[],{"id":7610,"slug":7611,"title":2300,"dynasty":54,"author":3538,"museum":242,"description":3539,"tags":7612,"thumbUrl":7613,"material":285,"size":285,"collection":285,"collections":7614,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},238138,"shan-shui-ce-yun-xi-238138",[24,28,80,385,214,30,151,86,35,82,111,229,7,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40d00873d5deb0b1bcf331633c4e545.jpg",[],{"id":7616,"slug":7617,"title":6500,"dynasty":54,"author":7618,"museum":242,"description":7619,"tags":7620,"thumbUrl":7621,"material":285,"size":285,"collection":285,"collections":7622,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},237866,"shan-shui-tu-ce-jin-xue-jian-237866","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》",[24,28,385,80,30,309,82,58,7,170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121d3bdf8b82faf10754514086aa672c.jpg",[],{"id":7624,"slug":7625,"title":7626,"dynasty":126,"author":5515,"museum":242,"description":7627,"tags":7628,"thumbUrl":7629,"material":285,"size":285,"collection":285,"collections":7630,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":49},237704,"shan-shui-hua-guo-ce-xiang-sheng-mo-237704","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》。",[24,109,80,385,30,151,495,82,111,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2dbd22238bbd19b7e9d9eb235dcc5d.jpg",[],{"id":7632,"slug":7633,"title":2259,"dynasty":54,"author":854,"museum":242,"description":1921,"tags":7634,"thumbUrl":7635,"material":285,"size":285,"collection":285,"collections":7636,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},237604,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237604",[24,25,385,109,30,80,130,132,133,35,82,7,151,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefff6300f71cce1079795e22a037fdea.jpg",[],{"id":7638,"slug":7639,"title":2300,"dynasty":126,"author":2339,"museum":20,"description":5836,"tags":7640,"thumbUrl":7641,"material":5839,"size":5840,"collection":285,"collections":7642,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},236905,"shan-shui-ce-song-xu-236905",[24,25,385,28,80,109,30,198,86,35,82,229,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded5fbf2b6d1ece41ac6fb9c0c577096.jpg",[],{"id":7644,"slug":7645,"title":2300,"dynasty":54,"author":1959,"museum":242,"description":7646,"tags":7647,"thumbUrl":7648,"material":285,"size":285,"collection":285,"collections":7649,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},236868,"shan-shui-ce-wang-yuan-qi-236868","此帧以干淡渴墨写溪山林樾，坡陀间泉流宛转，幽篁杂木交映成趣，满幅苍浑深秀。以黄公望浅绛为骨，层层皴擦积墨，淡墨晕染出林岚轻霭，静穆清寂的山居野趣扑面而来。\n\n笔力苍劲松秀，于细碎勾皴中见整体丘壑，元气内敛，将萧散淡远的林下风致融于致密笔墨排布间。题识小字清雅，与画境相映，虽尺幅小巧，却包纳山林深幽之致，尽显追摹宋元山水意境的旨趣，尽显正统山水画静穆沉凝的典型韵致。",[24,25,385,109,80,30,961,35,82,111,649,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bb7e6e909fa498033e1899995cbe4ef.jpg",[],{"id":7651,"slug":7652,"title":5092,"dynasty":54,"author":3788,"museum":20,"description":7653,"tags":7654,"thumbUrl":7655,"material":2754,"size":7656,"collection":285,"collections":7657,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},236387,"huang-shan-tu-zhou-mei-qing-236387","图绘黄山的西海门。此图构思巧妙，自下而上的万千石峰，如戟似剑穿云而出，它们即成为巨大的崖石下垂的支点，稳定了画面，又以其弯曲细长的石壁烘托出西海门崖石的危耸之势。图中山石轮廓以细线勾勒，石面略作晕染，并以灵动的墨点加以点缀，其精简的色、墨在表现出山石雄奇的壮美之外，更使山石的纯洁柔秀之美跃然纸上。",[24,109,79,80,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb409a8ff9adb11343df5071b68e3f9d6.jpg","纵186.6厘米，横56.8厘米",[],{"id":7659,"slug":7660,"title":7661,"dynasty":54,"author":1361,"museum":242,"description":7662,"tags":7663,"thumbUrl":7664,"material":285,"size":285,"collection":219,"collections":7665,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":49},236200,"hua-shan-shui-jin-de-ying-shu-he-dong-po-you-xi-hu-shi-cheng-shan-qian-wei-cheng-236200","画山水金德瑛书和东坡游西湖诗成扇","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》。",[24,25,2203,30,28,80,112,35,85,7,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55cc7d22ebee3ba8b86de8420b0949c8.jpg",[219],{"id":7667,"slug":7668,"title":2300,"dynasty":54,"author":1959,"museum":242,"description":7669,"tags":7670,"thumbUrl":7671,"material":285,"size":285,"collection":285,"collections":7672,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},236051,"shan-shui-ce-wang-yuan-qi-236051","此作用笔苍浑老辣，以干笔积墨反复皴染山峦，层层叠叠间尽显山石厚重质感。上部奇峰拔地而起，留白作云气萦绕山坳，将高旷幽深之意藏于留白间。下部水泽蜿蜒环抱着错落村居，萧疏林木点缀其间，晕染出冬日元寂清和的淡远氛围。\n\n画作以披麻解索皴写山石肌理，枯淡中见秀润，苍润结合间恪守正统笔墨宗法，将文人画的书卷气融于山水丘壑之内，静穆雅致中带着醇厚的笔墨意趣，尽显山水空濛萧散的冬日意韵。",[24,149,109,80,385,30,82,35,36,32,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc787e8552221060b97bb2fd4ea44b26a.jpg",[],{"id":7674,"slug":7675,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":7676,"thumbUrl":7677,"material":592,"size":6812,"collection":285,"collections":7678,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},233889,"huang-shan-tu-ce-mei-qing-233889",[24,109,30,385,80,166,309,151,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5662b96905e1fb069fb3633b5122a2dd.jpg",[],{"id":7680,"slug":7681,"title":7682,"dynasty":54,"author":3815,"museum":20,"description":7683,"tags":7684,"thumbUrl":7685,"material":285,"size":285,"collection":285,"collections":7686,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},233223,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-zou-zhe-233223","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。",[24,109,28,30,385,80,309,82,4789,58,7,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dddddd0f618db689ce529ff86c246d4.jpg",[],{"id":7688,"slug":7689,"title":7690,"dynasty":2995,"author":6176,"museum":242,"description":6177,"tags":7691,"thumbUrl":7693,"material":605,"size":606,"collection":285,"collections":7694,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},231739,"jiang-hu-shi-dai-qian-tang-guan-chao-tu-ping-feng-chi-da-ya-231739","江户时代 钱塘观潮图屏风",[23,24,25,109,80,7692,30,82,35,7,60,309],"屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8db9acb303c8ef84afdfe3579cf19e.jpg",[],{"id":7696,"slug":7697,"title":7698,"dynasty":2995,"author":7699,"museum":242,"description":7700,"tags":7701,"thumbUrl":7703,"material":605,"size":606,"collection":285,"collections":7704,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":49},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,25,28,29,80,30,58,2931,7702,309,82,7,86,111],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":7706,"slug":7707,"title":841,"dynasty":18,"author":55,"museum":75,"description":7708,"tags":7709,"thumbUrl":7711,"material":2562,"size":5358,"collection":285,"collections":7712,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},231346,"qian-yan-wan-he-tu-yi-ming-231346","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。",[7710,24,25,149,79,109,80,30,113,35,85,7],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a367f486734e2739a21f3d46375c6e.jpg",[],{"id":7714,"slug":7715,"title":7716,"dynasty":2995,"author":7717,"museum":242,"description":7718,"tags":7719,"thumbUrl":7720,"material":605,"size":606,"collection":285,"collections":7721,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 山水图屏风-第一屏","云谷等颜","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,24,25,109,80,30,495,309,199,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":7723,"slug":7724,"title":7725,"dynasty":54,"author":55,"museum":242,"description":7726,"tags":7727,"thumbUrl":7728,"material":285,"size":285,"collection":285,"collections":7729,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":49},230339,"luo-han-du-hai-tu-yi-ming-230339","罗汉渡海图","开篇海门轻启，仙娥探身，沧澜翻涌成涡，细密灵动的线条将水势浩渺汹涌尽显。罗汉们或乘龙踏浪，或引虎随行，奇妖异仆持械护法，红芒隐于周身，诡谲间不失神圣气象。\n\n后半段峰崖叠翠，古松虬劲，众罗汉缓行林间，或驻足对谈，或盥手小憩，神态悠然松弛。全卷工笔设色雅致清润，人物形貌各异，毛发衣褶分毫毕现，山海之景虚实相生，将渡海登岸的奇幻禅意晕染开来，叙事性与观赏性兼具，尽显仙佛绘卷的古典意趣。",[23,24,28,29,26,322,58,30,59,3908,540,7,35,82,350],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff86155df94a6033f55373ac4bdebf0ed.jpg",[],{"id":7731,"slug":7732,"title":7529,"dynasty":54,"author":854,"museum":242,"description":7733,"tags":7734,"thumbUrl":7735,"material":285,"size":285,"collection":285,"collections":7736,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},229016,"fang-gu-shan-shui-ce-wang-hui-229016","此作取冬初水村之景，淡墨晕染出濛濛寒雾，远山以留白素裹，将冬日清寂铺陈开来。堤岸老柳残条轻垂，陂塘枯敛的莲叶错落，村舍隐于深林之间，曲径蜿蜒通幽，寥寥数笔便将村居安闲静谧勾勒尽致。\n\n用笔秀润雅致，以淡赭轻敷衬出秃木苍劲，墨色与留白相映，氤氲出空濛冷冽的水乡冬韵，将江南冬日清寒又安宁的诗意藏于尺幅间，尽显文人山水温婉雅致的意趣。",[24,308,80,28,30,672,1092,2014,603,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b388f3716f969182de3b18816e228a.jpg",[],{"id":7738,"slug":7739,"title":2300,"dynasty":54,"author":4068,"museum":242,"description":7740,"tags":7741,"thumbUrl":7742,"material":285,"size":285,"collection":285,"collections":7743,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},228926,"shan-shui-ce-gao-qi-pei-228926","以指代笔，水墨写意。淡墨晕染出空濛烟岚，远山隐绰在暮雨薄雾之间，浑茫幽寂。近处以浓墨挥斫危崖，苍劲古木虬曲斜生，枝叶以焦墨点簇，朴拙老辣。临水村居简笔勾廓，素净雅致，静卧于溪岸之侧，流露出山野幽居的闲淡意趣。\n\n题诗与画境呼应，将春日迟暮、静听暮雨的萧散心境融于笔墨。整幅画面虚实相生，简淡空灵，以极简的笔墨勾勒出清远空寂的山居之境，尽显文人画简远疏淡的审美意趣。",[24,109,385,30,36,35,113,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0b4398013bfd218a1a58a5ceb209d.jpg",[],{"id":7745,"slug":7746,"title":7747,"dynasty":18,"author":55,"museum":242,"description":7748,"tags":7749,"thumbUrl":7750,"material":285,"size":285,"collection":285,"collections":7751,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":49},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,149,24,25,4474,2203,28,132,80,386,30,198,31,35,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":7753,"slug":7754,"title":7755,"dynasty":2995,"author":55,"museum":242,"description":7756,"tags":7757,"thumbUrl":7758,"material":285,"size":285,"collection":285,"collections":7759,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},225332,"fu-shi-hui-85-yi-ming-225332","浮世绘85","这幅风景版画以高远视角铺展云海深谷之景，朱红飞桥凌空横跨山涧，将孤亭与崖畔古寺相连。青绿山石鲜亮明快，暖调屋宇错落嵌入崖壁，翻涌的云海如棉絮般托举山峦，将山寺衬得恍若缥缈仙境。\n作者以利落线条勾勒建筑与山石肌理，冷暖色彩雅致对比，兼具装饰性与意境感，将深山古刹的凌空奇险和山林空寂的禅意相融，尽显幽玄出尘的意蕴，令人仿若踏入这灵秀秘境，静赏山云间的静谧禅味。",[4157,4158,28,30,198,86,7,60,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f8f059fd473dcde6fb951462b02bea8.jpg",[],{"id":7761,"slug":7762,"title":7763,"dynasty":54,"author":1959,"museum":242,"description":7764,"tags":7765,"thumbUrl":7766,"material":285,"size":285,"collection":285,"collections":7767,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,79,109,80,133,131,132,30,166,35,36,32,113,309,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":7769,"slug":7770,"title":7771,"dynasty":54,"author":1959,"museum":242,"description":7772,"tags":7773,"thumbUrl":7774,"material":285,"size":285,"collection":285,"collections":7775,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,24,25,30,79,28,80,166,167,35,309,113,86,85,7,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":7777,"slug":7778,"title":7779,"dynasty":54,"author":1959,"museum":242,"description":7780,"tags":7781,"thumbUrl":7782,"material":285,"size":285,"collection":285,"collections":7783,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,149,24,25,79,28,30,82,35,247,111,7,80,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":7785,"slug":7786,"title":7787,"dynasty":54,"author":55,"museum":75,"description":7788,"tags":7789,"thumbUrl":7790,"material":285,"size":285,"collection":285,"collections":7791,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":49},223412,"ma-zu-qi-ji-c-yi-ming-223412","妈祖奇迹C","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,28,29,386,322,58,2215,350,7,5876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bdb2f2246419402205f91e670b372b.jpg",[],{"id":7793,"slug":7794,"title":7795,"dynasty":126,"author":4694,"museum":181,"description":7796,"tags":7797,"thumbUrl":7798,"material":186,"size":7799,"collection":285,"collections":7800,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},222496,"shang-bo-hua-ji-xuan-36-4-zhang-lu-222496","上博画集选36-4","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,25,58,109,28,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b3ddf3801c9f41e459db4b14eb5bd3.jpg","55.88厘米 27.94厘米",[],{"id":7802,"slug":7803,"title":7804,"dynasty":54,"author":1574,"museum":20,"description":4006,"tags":7805,"thumbUrl":7806,"material":186,"size":4009,"collection":285,"collections":7807,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},220272,"huang-shan-tu-ce-51-hong-ren-220272","黄山图册-51",[23,149,24,25,385,109,80,30,31,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878124d4212b5065f64f157660ee3b03.jpg",[],{"id":7809,"slug":7810,"title":7811,"dynasty":54,"author":2301,"museum":181,"description":2302,"tags":7812,"thumbUrl":7813,"material":338,"size":2305,"collection":285,"collections":7814,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":69},214715,"shan-shui-ce-3-gao-xiang-214715","山水册-3",[24,25,109,385,80,30,782,1262,35,112,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ff0a5ba972a4352c5e493ca9b6bb2e.jpg",[],{"id":7816,"slug":7817,"title":7818,"dynasty":126,"author":305,"museum":181,"description":7819,"tags":7820,"thumbUrl":7821,"material":285,"size":285,"collection":98,"collections":7822,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":7823},203249,"fang-song-yuan-shan-shui-tu-ce-dong-qi-chang-203249","仿宋元山水图册","笔墨间流转宋元遗韵，淡墨晕染层叠山峦，云雾如轻纱漫过林麓，将远近景致晕成虚实相生的意境。近处林木苍劲，枝桠以简括笔触勾勒，墨色浓淡交错显生机；山间小屋隐于树后，添几分烟火气，旁侧小桥轻架，似连尘世与幽境。皴法藏于山体肌理，不张扬却见骨力，水墨清润与枯涩相济，恰是“平淡天真”之趣。无繁复设色，仅墨色变化构建空间，融宋元雅致与文人意趣于一册，尽显古典山水空灵之美。",[24,25,385,109,30,80,35,7,1891,86,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9830bdd0228addf29109450c5aaf85c.jpg",[98],"a98e5f",{"id":7825,"slug":7826,"title":7827,"dynasty":3756,"author":7828,"museum":181,"description":7829,"tags":7830,"thumbUrl":7831,"material":285,"size":285,"collection":98,"collections":7832,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":7833},203205,"fang-yan-wen-gui-shan-shui-tu-zhou-wu-hu-fan-203205","仿燕文贵山水图轴","吴湖帆","云雾如纱轻笼层叠山峦，青绿设色晕染出岩岫灵秀，苍松盘根危石，枝干虬劲松针如簇；瀑流漱玉而下，烟岚间隐现亭台一角，添得幽寂。画作糅合古法峭拔与今韵雅致，皴染相济，线条灵动，既见山石雄浑质感，又显林木清逸之姿，将山水悠远意境与笔墨精妙韵味融于尺幅，尽显传统山水的诗意神韵。",[24,30,27,28,80,309,83,7,247,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df8d25947ab0c8d8362e40725c72dc8.jpg",[98],"d3c5ad",{"id":7835,"slug":7836,"title":2643,"dynasty":3756,"author":3757,"museum":181,"description":7837,"tags":7838,"thumbUrl":7839,"material":285,"size":285,"collection":98,"collections":7840,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":3762},202910,"shan-shui-tu-zhou-huang-bin-hong-202910","这幅山水图笔墨苍劲浑厚，墨色层次丰富，干湿浓淡交织尽显山林气象。山峦以多种皴法勾勒点染，峰峦叠嶂间云雾缭绕，虚实相生。岩畔劲松挺拔，枝干虬曲，与杂树相映；小桥隐于林麓，屋舍依稀，添了人间烟火气。整体画风沉郁古拙，意境悠远，尽显传统山水的深邃韵味，笔墨间流露画家对自然的深刻体悟与人文情怀。",[24,30,109,80,309,86,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6804621f4b5a79dfbabbeb43768a29.jpg",[98],{"id":7842,"slug":7843,"title":4127,"dynasty":54,"author":7844,"museum":181,"description":7845,"tags":7846,"thumbUrl":7848,"material":285,"size":285,"collection":285,"collections":7849,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":7850},202695,"fang-gu-shan-shui-ping-huang-jun-202695","黄均","画面层叠山峦为骨，云雾轻笼似带，晕染出悠远空濛之境。近景溪畔茅舍掩映，苍松虬枝横斜，山石以皴法写就，肌理分明。中景林木蓊郁，小径蜿蜒隐现，远山淡墨轻描，层次递进。笔墨温润秀雅，线条细腻灵动，既承传统山水的古拙韵致，又蕴文人画的诗意留白，将林泉之趣凝于纸端，观之如临幽寂清旷之域，心绪亦随之沉静。",[24,25,30,109,80,308,4207,704,7,82,7847,23],"溪畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf72c4322b66650e80528a5b0c871a67.jpg",[],"c1a493",{"id":7852,"slug":7853,"title":7854,"dynasty":162,"author":55,"museum":181,"description":7855,"tags":7856,"thumbUrl":7857,"material":285,"size":285,"collection":285,"collections":7858,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":7859},202639,"shan-shui-wan-shan-yi-ming-202639","山水纨扇","画面以淡设色铺展山水意境，山峦叠嶂间云雾轻拢，松枝虬曲苍劲，溪水潺潺绕石而过。山石以皴法勾勒纹理，线条细腻且富有层次，尽显丘壑之幽深；树木笔法简练却神形兼备，枝叶疏密有致，添几分自然野趣。近处坡岸错落，隐约可见小径蜿蜒，似藏林泉隐者之居，传递出元人山水特有的清幽淡远之韵。方寸纨扇间纳天地之阔，将自然的静谧与人文的雅致交融，尽显古典山水的含蓄之美。",[24,2203,28,80,30,590,85,7,82,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea04161c686e6c9dd4b2557b99c23e1.jpg",[],"897550",{"id":7861,"slug":7862,"title":7863,"dynasty":126,"author":305,"museum":181,"description":7864,"tags":7865,"thumbUrl":7866,"material":285,"size":285,"collection":285,"collections":7867,"showCount":557,"zanCount":314,"manualWeight":48,"mainColor":7868},202409,"qing-lv-shan-shui-zhou-dong-qi-chang-202409","青绿山水轴","这幅青绿山水以清润设色晕染山峦，笔墨兼具秀逸与苍劲。云雾如带轻盈流动，分隔远近景致，衬出山林空濛深远之态。古木虬枝舒展，皴法细腻见笔力，小屋隐于林麓，藏而不露添幽趣。整体构图虚实相生，意境悠远静谧，尽显文人画韵致——青绿设色中见笔墨筋骨，自然丘壑里含士人淡泊心境，是董氏融南北宗之长的典型之作。",[27,28,30,80,79,24,25,149,35,112,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdddd4d042d25de2645ab41fefb9afe3e.jpg",[],"76654e",{"id":7870,"slug":7871,"title":7872,"dynasty":54,"author":1959,"museum":181,"description":7873,"tags":7874,"thumbUrl":7875,"material":285,"size":285,"collection":98,"collections":7876,"showCount":557,"zanCount":48,"manualWeight":48,"mainColor":7877},202178,"wei-yan-yu-zuo-shan-shui-zhou-wang-yuan-qi-202178","为彦瑜作山水轴","画面山峦逶迤，笔墨苍劲浑厚，干笔皴擦间尽显古拙气韵。近景屋舍隐于松石侧，小桥流水意趣悠然；中景山石嶙峋，林木葱郁，姿态各异；远景云雾轻笼，峰峦隐现，层次分明。以层层积墨铺陈山水深远，师法传统却自出机杼，尽显文人画雅致沉雄。笔墨交融，意境清幽，静谧中藏生机，为典型风格之作。",[30,80,109,79,35,86,603,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64453a196fa11a74ff9f27e3c5715a4.jpg",[98],"e1dcd0",{"id":7879,"slug":7880,"title":2300,"dynasty":54,"author":4758,"museum":242,"description":7881,"tags":7882,"thumbUrl":7883,"material":605,"size":606,"collection":285,"collections":7884,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,149,109,28,385,30,672,7,229,113,648,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b6cb88617f59c43f749c11bc7316a7.jpg",[],6,{"id":7887,"slug":7888,"title":7590,"dynasty":54,"author":7591,"museum":242,"description":7889,"tags":7890,"thumbUrl":7891,"material":285,"size":285,"collection":285,"collections":7892,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},239207,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239207","此开以淡墨写意写就黄山胜境，峰峦清癯空灵，仅以极简皴擦晕染出山石肌理，古松错落、山居隐现于烟云之间，意境萧疏淡远，尽得山川清寂风神。对页行书题跋笔意苍劲舒展，笔墨朴拙老辣，诗书与画境相融相合。\n\n整幅以简驭繁，以淡墨写尽丘壑之美，将沉潜的林泉之志寄寓其中，尽显文人山水的冲淡雅致，是笔简意丰的水墨佳构。",[24,25,385,109,80,132,133,30,31,309,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd3f13e622a4c489abe8da03a5dc739.jpg",[],{"id":7894,"slug":7895,"title":2300,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":7896,"thumbUrl":7897,"material":7898,"size":285,"collection":98,"collections":7899,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},238301,"shan-shui-ce-dong-bang-da-238301",[149,24,25,109,80,30,35,2244,113,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b6973b20a4bceb9c2b98bf95c3010c.jpg","水墨纸本",[98,45],{"id":7901,"slug":7902,"title":7027,"dynasty":54,"author":7028,"museum":242,"description":7903,"tags":7904,"thumbUrl":7905,"material":285,"size":285,"collection":285,"collections":7906,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},238226,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238226","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。",[24,25,109,80,130,30,198,86,111,135,151,35,82,7,2149,230,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F457231bba39a2a53c514ce0d5484f458.jpg",[],{"id":7908,"slug":7909,"title":7027,"dynasty":54,"author":7028,"museum":242,"description":7910,"tags":7911,"thumbUrl":7912,"material":285,"size":285,"collection":285,"collections":7913,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,109,80,4474,308,30,82,35,7,32,229,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee7d78aaca4be0fc2d96ce97cc3872c.jpg",[],{"id":7915,"slug":7916,"title":7626,"dynasty":126,"author":5515,"museum":242,"description":7627,"tags":7917,"thumbUrl":7918,"material":285,"size":285,"collection":285,"collections":7919,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":49},237702,"shan-shui-hua-guo-ce-xiang-sheng-mo-237702",[24,109,385,80,25,131,149,30,82,35,7,846,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a8bf621d124c897046bb7f2b836aac.jpg",[],{"id":7921,"slug":7922,"title":2259,"dynasty":54,"author":854,"museum":242,"description":1921,"tags":7923,"thumbUrl":7924,"material":285,"size":285,"collection":285,"collections":7925,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},237606,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237606",[24,25,385,109,30,80,132,133,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c9d2ecffd6824cc8a5e8dbed889cefe.jpg",[],{"id":7927,"slug":7928,"title":7929,"dynasty":126,"author":7930,"museum":181,"description":7931,"tags":7932,"thumbUrl":7933,"material":400,"size":7934,"collection":285,"collections":7935,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},237263,"shen-hao-shan-shui-tu-ce-shen-hao-237263","沈灏山水图册","沈颢","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。",[24,25,385,109,80,30,198,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0931745eb9581949f6e9e4591ded41f6.jpg","15.2x23.6厘米",[],{"id":7937,"slug":7938,"title":2300,"dynasty":126,"author":7939,"museum":242,"description":7940,"tags":7941,"thumbUrl":7942,"material":285,"size":285,"collection":285,"collections":7943,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},236925,"shan-shui-ce-qin-mao-de-236925","秦懋德","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。",[24,25,385,28,109,80,30,507,82,229,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddf3042a4cf9df2d2f24657a68f6731a.jpg",[],{"id":7945,"slug":7946,"title":7529,"dynasty":54,"author":6884,"museum":20,"description":7947,"tags":7948,"thumbUrl":7949,"material":592,"size":285,"collection":285,"collections":7950,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":49},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","[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》",[24,308,30,28,80,166,528,35,7,198,199,38,112,721,649,2352,1323,4529,1495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":7952,"slug":7953,"title":7954,"dynasty":126,"author":7955,"museum":242,"description":7956,"tags":7957,"thumbUrl":7958,"material":285,"size":285,"collection":285,"collections":7959,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},236633,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236633","宋懋晋江南名胜图册","宋懋晋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[24,25,385,109,28,30,198,35,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d1533f3a52270bf4caf572f9c8c9e.jpg",[],{"id":7961,"slug":7962,"title":5092,"dynasty":54,"author":3788,"museum":20,"description":7963,"tags":7964,"thumbUrl":7965,"material":2754,"size":7966,"collection":285,"collections":7967,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":49},236385,"huang-shan-tu-zhou-mei-qing-236385","此图在布局上打破常规，没有绘出完整的山形地貌，而是通过无形的云霭遮挡住山头、山脚，仅突出了山崖的一角，从而重点表现了画作的主题，即黄山的炼丹台。旧传轩辕黄帝与浮丘公曾在此采朱砂炼丹，此地遂成为黄山上一处重要的道教活动场所。梅清擅长于画黄山的怪石、松、云等景致，但他在此图中并没有以专门的色彩或者线条来特别地表现云，而是巧妙地借助了以虚托实的手法，以不着一笔的留白来表现云的实体所在，并且通过山石的空隙，表现出云飘浮的动感和若有若无的透明空间。",[24,25,79,109,80,30,309,113,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e669c24ab5358976f2f1f1915036f.jpg","纵186.5厘米，横56.7厘米",[],{"id":7969,"slug":7970,"title":7971,"dynasty":54,"author":55,"museum":242,"description":7972,"tags":7973,"thumbUrl":7974,"material":285,"size":285,"collection":285,"collections":7975,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},236072,"yun-xi-yu-zhuang-shan-she-tu-zhou-yi-ming-236072","允禧渔庄山舍图轴","此作全景式铺展山林丘壑，青绿设色温润雅致，晕染出古雅氛围感。层叠山峦以细腻皴法勾勒筋骨，苔点错落尽显草木丰茂，留白云气缠绕峰腰，将山势衬得愈发空灵悠远。\n\n溪泉穿谷绕村，山舍渔庄错落隐于林麓水畔，屋舍俨然、林木扶苏，将幽居野逸的闲情融于山水间。画作笔法秀润兼具，既得山川浑厚之态，又铺陈出文人梦寐的林泉高致，静穆中带着鲜活生机，尽显传统山水里寄情林泉的雅趣。",[24,28,30,80,79,112,35,111,86,36,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba433d5ff3e91f793fb3c6d7c42d71b.jpg",[],{"id":7977,"slug":7978,"title":2259,"dynasty":54,"author":55,"museum":242,"description":7979,"tags":7980,"thumbUrl":7981,"material":285,"size":285,"collection":285,"collections":7982,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},236069,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236069","此作用高远与平远之法铺陈丘壑，主峰层叠盘桓，以干笔皴擦出苍浑石质，留白晕染的云气缠绕崖间，让陡峭山形生出灵动空寂之意。山脚林木姿态各异，蓊郁错落，坡岸清寂淡远，尽显幽居林泉的静穆意趣。\n\n笔墨间墨色浓淡层叠，追摹古意苍润之风，将山川沉邃萧散之态尽显纸上，内敛的文人情致藏在每一处皴擦点染间，于仿古之中自存沉静风骨，仿佛将往昔林泉高致悄然铺展眼前。",[24,25,385,109,30,82,35,7,133,130,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee362f0ce070233651c6966aa5608ca.jpg",[],{"id":7984,"slug":7985,"title":2259,"dynasty":54,"author":55,"museum":242,"description":7986,"tags":7987,"thumbUrl":7988,"material":285,"size":285,"collection":285,"collections":7989,"showCount":7885,"zanCount":314,"manualWeight":48,"mainColor":69},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。",[24,25,385,308,28,27,80,30,82,35,309,7,229,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce3e4b9cf9a5530008cd27cfb6b484ce.jpg",[],{"id":7991,"slug":7992,"title":2300,"dynasty":126,"author":3076,"museum":242,"description":7993,"tags":7994,"thumbUrl":7995,"material":285,"size":285,"collection":285,"collections":7996,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},235825,"shan-shui-ce-li-liu-fang-235825","此作以水墨晕染出江南幽居之景，近岸老松错落苍劲，村居隐于林麓，远山以淡墨轻扫，留白晕开空濛水汽，尽显萧散淡远之致。\n\n题跋点出此画于简淡中藏精妙，取法先贤又自出机杼，笔意松秀温润，将文人幽居林泉的襟怀寄寓其中。以干湿浓淡的水墨层次，勾勒出山林静穆清和的氛围，把江南山水的温润雅致凝于尺幅之间，淡而弥永，悠悠诗意漫溢纸面，尽显文人画尚韵重意的隽永特质。",[149,24,25,385,109,30,166,495,36,167,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c930a53074b4f73f98b23eeeb0df25.jpg",[],{"id":7998,"slug":7999,"title":6500,"dynasty":54,"author":3276,"museum":242,"description":8000,"tags":8001,"thumbUrl":8002,"material":285,"size":285,"collection":285,"collections":8003,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,149,385,109,80,30,82,309,83,229,7,2014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":8005,"slug":8006,"title":2300,"dynasty":126,"author":3076,"museum":242,"description":8007,"tags":8008,"thumbUrl":8010,"material":285,"size":285,"collection":285,"collections":8011,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":49},235153,"shan-shui-ce-li-liu-fang-235153","此作用笔简淡清逸，以水墨晕染出山水襟怀。近坡淡墨轻铺，竹枝萧疏摇曳，笔致清瘦隽雅。中处长松亭亭如盖，浓墨点染松针，枯淡勾勒树干，高低错落间见出苍劲古拙。远山以淡墨轻扫而过，留白衬出烟岚空濛。\n\n通篇墨色层次分明，浓淡相依，糅合出萧散出尘的幽远意境，暗含文人澹泊襟怀。题款与画面浑然相融，笔墨间不见烟火尘嚣，只余林泉高致，将山居幽寂的清冷意趣尽数铺陈。",[24,149,25,109,8009,80,4474,214,30,35,2244,82,6528,7],"淡墨渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda4d66caabfd57aa2897466192206d8.jpg",[],{"id":8013,"slug":8014,"title":8015,"dynasty":54,"author":8016,"museum":242,"description":8017,"tags":8018,"thumbUrl":8019,"material":285,"size":285,"collection":98,"collections":8020,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},235068,"zhu-jia-shan-shui-ce-ye-lou-ge-ce-ye-li-yin-235068","诸家山水册页-楼阁册页","李寅","以淡墨晕开氤氲底色，晕染出江南春晨烟霭朦胧的氛围感。近岸屋舍错落排布，木桥横卧水面，几叶渔舟轻泛波上，岸旁柳丝垂曳如烟似雾，将春日柔婉尽数铺展。山腰村居隐于林霭之间，远山楼阁凭崖矗立，虚实相生层层递进，铺排出悠远开阔的空间层次。\n笔墨清浅秀逸，不着浓丽色彩，全以水墨干湿浓淡烘托烟柳空濛之境，将江南水乡的温婉雅致融于尺幅，把郊野春闲的诗意定格纸面，尽显静穆淡远的文人意趣。",[24,385,109,386,30,80,198,86,111,135,35,36,1204,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc870a0a569573b8ca55a3195d0141971.jpg",[98],{"id":8022,"slug":8023,"title":7288,"dynasty":54,"author":55,"museum":20,"description":7289,"tags":8024,"thumbUrl":8025,"material":964,"size":7292,"collection":285,"collections":8026,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":49},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905",[24,25,385,28,30,131,132,133,80,82,35,247,111,7,1682,649,58,36,113,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg",[],{"id":8028,"slug":8029,"title":8030,"dynasty":54,"author":8031,"museum":242,"description":8032,"tags":8033,"thumbUrl":8034,"material":285,"size":285,"collection":285,"collections":8035,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},234823,"yu-shan-zhu-xian-he-bi-ce-yun-he-xian-ju-tu-ce-ye-cai-yuan-234823","虞山诸贤合璧册-云壑仙居图册页","蔡远","虞山派又称“虞山山水画派”简称“虞山派”。为“云间画派”两大支流之一。“虞山派”包括“虞山画派”、“虞山诗派”、“虞山印派”、“虞山琴派”、“虞山派藏书楼”、“虞山派红木雕刻”、“虞山派微雕”和“虞山书法派”等等。一首《“虞山派”歌》曰：“虞山藏书读书乐，铁琴唻铜剑臫頭第一楼條；虞山画派王翬创，画祖还有黄公望；虞山琴派严天池，古琴艺术传万世；虞山印派林鹤田，篆刻刀法气宇轩；虞山诗派钱牧斋，绛云书楼胸中载；虞山书法不成派，草圣张旭醉唐代”。",[24,25,109,30,385,80,86,111,112,7,35,151,133,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a07f03dda9cd3e7eb54f8891eca37b.jpg",[],{"id":8037,"slug":8038,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":8039,"thumbUrl":8040,"material":592,"size":285,"collection":285,"collections":8041,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},234757,"huang-shan-tu-ce-jiang-zhu-234757",[24,25,385,109,28,132,131,80,30,166,528,495,7,1373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be6bbf7f5a59544ae1e4a3e17092d5.jpg",[],{"id":8043,"slug":8044,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":8045,"thumbUrl":8046,"material":592,"size":6812,"collection":285,"collections":8047,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},233888,"huang-shan-tu-ce-mei-qing-233888",[24,25,385,109,80,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec9fa4dd3f6caed9c2d2fd3a330b8439.jpg",[],{"id":8049,"slug":8050,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":8051,"thumbUrl":8052,"material":592,"size":6812,"collection":285,"collections":8053,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},233432,"huang-shan-tu-ce-mei-qing-233432",[24,109,80,385,133,30,112,134,151,150,1262,961,495,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3248ca9a22b55ef40d212ff75967d3.jpg",[],{"id":8055,"slug":8056,"title":2300,"dynasty":162,"author":5419,"museum":20,"description":6377,"tags":8057,"thumbUrl":8058,"material":592,"size":6380,"collection":285,"collections":8059,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":49},233175,"shan-shui-ce-cao-zhi-bai-233175",[24,109,80,385,132,131,30,166,167,35,113,229,7,846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1665cd980e58c01dcfcbc88ae1e167d9.jpg",[],{"id":8061,"slug":8062,"title":8063,"dynasty":54,"author":8064,"museum":75,"description":8065,"tags":8066,"thumbUrl":8067,"material":285,"size":285,"collection":285,"collections":8068,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},232817,"luo-fu-shan-tu-dong-jiao-zeng-232817","罗浮山图","董教增","董教增（1750—1822）字益甫，江苏上元人，清朝大臣。乾隆四十五年，南巡，召试举人，授内阁中书。五十一年，成一甲三名进士，授编修，散馆改吏部主事，累迁郎中。二十五年，入觐，乞病未允，道光元年，乃得请归。二年，卒，赐恤，谥文恪\n嘉庆四年，以道员发四川，次年，授按察使。峨眉、雷波二厅铜铅各厂，毗连夷地。奸民与争界，焚夷巢，倮夷纠凉山生番为变，教增率兵往，议者多主剿，教增不可，廉得汉奸构衅者十一人，夷匪首事者六人，集众诛之，夷情帖然。仁宗以教增不烦兵力，而远夷心服，谕奖有加。寻调贵州。九年，迁四川布政使。十二年，擢安徽巡抚。宁国、池州、广德各属，旧有棚民，植杂粮为业。户部虑妨民田，议遣回籍。教增言：“棚民既立室家，难复迁徙。且所种多隙壤，於民田无损，於民食有益，第约束之而已。”从之。又言：“徽、宁等府巨室，向有世仆，出户已久，告讦频仍，请严杜妄讼，凡世仆以现在是否服役为断；其出户及百年者，虽有据亦开豁为良。”得旨允行，著为例。\n十五年，调陕西。兴安七属，旧食河东引盐。乾隆间，课摊地丁，其后复归商运。地介川、楚，土盐侵碍，运艰费重，引课多亏。教增请循凤翔例，改食花马池盐，引归民运，课按丁摊，以恤商力。又榆林、绥德、吴堡、米脂四州县，向食土盐，官给票销售。前抚方维甸请用部引，以二百斤为率，凡万一千三百馀引，民力难胜。教增规复其旧，由州县颁发小票，每票五十斤，民皆便之。时南山善后倚汉中知府严如熤，能尽其才，不拘文法，岁歉请赈，逾限破例，上陈得允。\n十八年，调广东。先是百龄锐意灭海寇，曾贻教增诗云：“岭南一事君堪羡，杀贼归来啖荔支。”既而张保仔就抚，教增报书曰：“诗应改一字为‘降’贼归来也。”百龄愧之；至是承其后，诸降人桀骜，为闾阎害，惩治甚力，然未尝妄杀。广州府有死囚，值赦减等改军而逃，获之，论重辟，按察使持之坚，教增以律不当死，龂龂与辩，此囚卒免死。\n二十二年，擢闽浙总督。先是海寇未平，禁商民造船高不得逾一丈八尺，小不任重载，难涉风涛，沿海多失业。教增以寇平已久，请免立禁限，以从民便，允之。福清武生林弥高者，健讼包粮，阻众不纳，邑令躬缉，为其党邀夺，官役并伤，令文武往捕获，弥高嗾其党劫持，通县抗徵。教增亲鞫得弥高罪状，立斩以徇，诸郡慴惧，强宗悍族抗欠者，皆输纳如额。奏入，诏嘉其能。临海民纠众殴差，致酿大狱。巡抚杨頀坐褫职，命教增兼权浙抚，鞫治之。漳、泉两郡多械斗杀人，官吏往往不能制。龙溪令姚莹捕渠魁五人，杖毙之。巡抚疑其违制，教增曰：“刑乱国宜用重典。”优容之，悍俗稍戢。张保仔就抚后，改名宝，官至澎湖副将，时论犹指斥。教增责令捕盗，奔走海上，盗平而宝亦死。",[24,25,149,27,28,80,30,112,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d9360d61f7347b84fac5f007bac46c.jpg",[],{"id":8070,"slug":8071,"title":8072,"dynasty":54,"author":1959,"museum":409,"description":8073,"tags":8074,"thumbUrl":8076,"material":186,"size":8077,"collection":285,"collections":8078,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[149,24,25,79,109,80,132,131,133,30,31,35,309,2244,82,7,8075],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg","80.4x43.5cm",[],{"id":8080,"slug":8081,"title":8082,"dynasty":2995,"author":6176,"museum":242,"description":8083,"tags":8084,"thumbUrl":8086,"material":285,"size":285,"collection":285,"collections":8087,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},231672,"lu-ao-qi-sheng-tu-juan-chi-da-ya-231672","陆奥奇胜图卷","此作用淡墨晕染铺陈平远山水，汀渚山峦随卷舒展，留白托出氤氲水汽，空濛幽寂。点染的林木村居朴拙灵动，将胜景的清旷雅致尽数铺展。\n卷中配行书题跋，笔墨萧散率性，纪游文辞与山水意境相融相生，尽显文人雅趣。整卷以极简水墨，晕开东方山水的禅意侘寂，把漫游揽胜的闲情藏在尺幅长卷里，淡远空灵，是诗书画一体的文人佳构。",[23,8085,443,109,28,26,80,131,133,30,166,167,135,150,151,35,198,7,86],"南画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f2e4305253da5ba56be20454445e88.jpg",[],{"id":8089,"slug":8090,"title":8091,"dynasty":2995,"author":8092,"museum":242,"description":8093,"tags":8094,"thumbUrl":8097,"material":605,"size":606,"collection":285,"collections":8098,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},231660,"ri-da-zheng-nian-jin-jiang-ba-jing-jin-cun-zi-hong-231660","日大正年 近江八景","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,28,80,24,30,3558,7,33,35,150,8095,8096],"动物","木栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F084e35ef2972f17e1b2ae1b40e797869.jpg",[],{"id":8100,"slug":8101,"title":6239,"dynasty":18,"author":8102,"museum":242,"description":8103,"tags":8104,"thumbUrl":8105,"material":285,"size":285,"collection":285,"collections":8106,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},227757,"qiu-shan-yan-ai-tu-yan-ci-ping-227757","阎次平","《秋山烟霭图》是宋代阎次于的作品，现收藏有台北故宫博物院。\n\n此用水墨绘淡墨远山，烟霭朦朦，若隐若现。下部作山坡秋树，山坡处用笔勾出染色，画树枝用劲硬笔法，但整幅画面以水墨渲染为主，以墨色的浓淡分出层次，有“岚顶柔和”的风格，近乎秀润清真。",[23,24,362,109,80,2560,1077,35,229,846,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F241d4edcaac7e30555df5987f97eab77.jpg",[],{"id":8108,"slug":8109,"title":8110,"dynasty":2995,"author":55,"museum":242,"description":8111,"tags":8112,"thumbUrl":8113,"material":285,"size":285,"collection":285,"collections":8114,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},225335,"fu-shi-hui-88-yi-ming-225335","浮世绘88","这幅作品以撞色铺陈山林飞瀑之景，冷调瀑水如垂落的素白匹练，自涡旋潭水倾泻而下，衬得两侧暖黄覆绿的崖壁愈显温润厚实。\n\n左侧崖台之上，三位旅人围坐铺陈的席面，就着山音瀑声煮茶闲坐，将幽寂山境晕出悠然雅趣。画作以装饰性的线条勾勒水纹与山形，将自然的雄浑壮阔与市井文人的松弛闲情相融，落笔尽显侘寂悠然的日式美学意韵，定格出深山中治愈松弛的片刻闲景。",[4157,4158,28,30,83,58,35,113,4948,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9bc4955b2fb3c24bfab0a38bef4537.jpg",[],{"id":8116,"slug":8117,"title":8118,"dynasty":54,"author":8119,"museum":242,"description":8120,"tags":8121,"thumbUrl":8122,"material":285,"size":285,"collection":285,"collections":8123,"showCount":7885,"zanCount":314,"manualWeight":48,"mainColor":69},224272,"shan-shui-hua-hui-ce-san-fu-shan-224272","山水花卉冊(三)","傅山","此作用淡墨轻晕出层叠丘峦，留白铺陈出浩渺河川，近隅山居错落隐于浅坡之间，尽写荒寒清寂的郊野暮色。笔墨简率随性，舍去繁复皴擦，以清浅赭石晕染山骨，线条苍劲松脱，尽显疏朗之致。右上角行书题跋笔意舒展，书画相映，文气盎然。画师以简淡之墨写旅途中的日暮河居，将胸中山林丘壑落于纸上，清冷空濛的意境里藏着孤高疏放的文人襟怀，淡岚轻烟间，把羁旅所见化作文雅悠远的沉静天地。",[23,24,25,385,109,80,30,7,82,199,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86ff22e5320f10bfd5c660fa5f159a5.jpg",[],{"id":8125,"slug":8126,"title":8127,"dynasty":126,"author":4694,"museum":181,"description":7796,"tags":8128,"thumbUrl":8129,"material":186,"size":7799,"collection":285,"collections":8130,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},222495,"shang-bo-hua-ji-xuan-36-3-zhang-lu-222495","上博画集选36-3",[23,149,24,25,58,109,28,780,7,150,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3232ca4f32698b25453d60c8f9e02aba.jpg",[],{"id":8132,"slug":8133,"title":8134,"dynasty":18,"author":831,"museum":75,"description":1972,"tags":8135,"thumbUrl":8136,"material":964,"size":1975,"collection":285,"collections":8137,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},221422,"qi-feng-wan-mu-yan-wen-gui-221422","奇峰万木",[23,24,149,2203,109,28,80,30,1373,1505,7,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d6ff8fa0d000df2a0092b1241184c30.jpg",[],{"id":8139,"slug":8140,"title":8141,"dynasty":54,"author":1574,"museum":20,"description":4006,"tags":8142,"thumbUrl":8143,"material":186,"size":4009,"collection":285,"collections":8144,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":69},220270,"huang-shan-tu-ce-53-hong-ren-220270","黄山图册-53",[23,149,24,25,385,109,80,30,134,309,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67aafcc8d6af09bf5f118df30194186.jpg",[],{"id":8146,"slug":8147,"title":2643,"dynasty":54,"author":8148,"museum":181,"description":8149,"tags":8150,"thumbUrl":8152,"material":285,"size":285,"collection":98,"collections":8153,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":8154},201820,"shan-shui-tu-zhou-sun-yan-chang-201820","孙燕昌","这幅山水图以水墨为基调，层峦叠嶂间云雾缭绕，虚实相映成趣。山峦以简练线条勾勒轮廓，辅以淡墨皴擦，尽显苍劲质感；山间屋舍隐于林木，静谧悠然；近景树木枝干舒展，叶色浅染似含秋意。右下角士人独行溪边，添得几分闲适清逸。整体笔墨清润，构图疏密有致，传递出山林间的悠远意境，尽显传统山水的雅致之美。",[109,80,30,7,603,8151,35,79,24,23],"士人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4dfb1df54c78ec26b427cb3c190045.jpg",[98],"bcac9d",{"id":8156,"slug":8157,"title":8158,"dynasty":54,"author":854,"museum":181,"description":8159,"tags":8160,"thumbUrl":8161,"material":285,"size":285,"collection":98,"collections":8162,"showCount":7885,"zanCount":48,"manualWeight":48,"mainColor":8163},201541,"han-shan-wan-mu-tu-zhou-wang-hui-201541","寒山万木图轴","画面铺展清冷山景，万木萧疏间尽显秋冬意韵。远景山峦叠嶂，云雾轻笼如纱，渐次淡入天际；中景崖壁陡峭，皴擦纹理勾勒出山石筋骨，蜿蜒溪流穿谷而下，水声似隐；近景村舍错落溪边，小桥卧波连岸，枯树虬枝伸展，枝干以枯笔写就，尽显寒林萧索之态。笔墨上干湿互济，浓淡相宜：山石用皴法层层积染，质感厚重；树木枝干挺劲，叶色疏淡。整体构图开合有致，空间层次分明，静谧中藏生机，尽显传统山水画的笔墨韵味与清旷意境。",[30,80,109,86,111,248,1343,82,7,672,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a620a97dc7631d2ecc8c39beda4312.jpg",[98],"beb1a0",{"id":8165,"slug":8166,"title":2581,"dynasty":18,"author":55,"museum":242,"description":8167,"tags":8168,"thumbUrl":8172,"material":605,"size":606,"collection":285,"collections":8173,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":49},290248,"yun-feng-yuan-tiao-tu-yi-ming-290248","画面寥寥数笔，勾画出高峰、古树，及奇石、人物等元素，构图及树石写法皆属马远、夏圭一派，中国古代书画鉴定组定为宋人画，且偏于夏圭作品。",[23,24,149,362,109,80,112,8169,7,1053,8170,198,58,8171,2205],"云峰","枯木","远眺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d27eb9949fe301128687d27de049b0.jpg",[],{"id":8175,"slug":8176,"title":612,"dynasty":126,"author":6167,"museum":242,"description":6168,"tags":8177,"thumbUrl":8178,"material":605,"size":606,"collection":285,"collections":8179,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},287955,"shan-shui-tu-wen-zheng-ming-287955",[23,149,24,25,26,109,30,834,112,35,247,135,248,7,4102,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4f3e980274033cbc75ab347d4b58af.jpg",[],{"id":8181,"slug":8182,"title":7590,"dynasty":54,"author":7591,"museum":242,"description":8183,"tags":8184,"thumbUrl":8185,"material":285,"size":285,"collection":285,"collections":8186,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},239205,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239205","此帧以枯淡笔墨绘就云山胜景，嶙峋危崖如鬼斧削成，淡墨晕染出空濛烟岚，将山林古寺晕化在清寂烟霭之间，萧散简远。\n\n画作笔墨苍秀内敛，山石勾勒简劲古拙，林木层叠间见生拙之趣。左侧题跋行书笔致清刚疏宕，与山水意境浑然相融，尽显画者寄情林泉、幽独超逸的林下之风，通篇淡墨浅痕，漫溢出静穆淡远的文人雅韵，是遗民画家清冷孤高心境的笔墨写照。",[24,25,385,109,30,166,495,151,229,7,131,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff082f0001e6630a62c74dcc0fe01cbfd.jpg",[],{"id":8188,"slug":8189,"title":2300,"dynasty":54,"author":8190,"museum":242,"description":8191,"tags":8192,"thumbUrl":8193,"material":285,"size":285,"collection":285,"collections":8194,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":49},239010,"shan-shui-ce-li-dong-239010","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,25,385,28,109,30,80,82,35,7,83,151,1806],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264bea25ee2616400b5c6c32e7d5ca98.jpg",[],{"id":8196,"slug":8197,"title":7027,"dynasty":54,"author":7028,"museum":242,"description":8198,"tags":8199,"thumbUrl":8202,"material":285,"size":285,"collection":285,"collections":8203,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},238216,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238216","此作为仿古佳制，右幅绘溪林静境，苍松虬劲成荫，溪桥隐于林下，远山以淡墨晕染留白，晕开空濛烟岚，尽显林泉幽寂的隐逸之趣。笔触温婉秀润，循古法而出新意，将淡远清和的山水风神尽显无余。\n左幅题咏琳琅，诗画合璧，以文衬景，把寄情丘壑的雅怀诉诸笔端，笔墨间浸透了传统文人澄怀观道的林下襟怀，整幅册页清雅隽永，尽显师古能化的笔墨功力。",[24,25,149,362,109,28,80,82,35,309,86,111,7,8200,8201,443],"传统技法","仿古风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763a5f1073179bed6806c33f9105b513.jpg",[],{"id":8205,"slug":8206,"title":6500,"dynasty":54,"author":8207,"museum":242,"description":8208,"tags":8209,"thumbUrl":8210,"material":605,"size":606,"collection":285,"collections":8211,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},237396,"shan-shui-tu-ce-xue-xuan-237396","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。",[24,25,385,28,109,80,30,86,111,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3754680fb070bdf393422f28ab8006.jpg",[],{"id":8213,"slug":8214,"title":8215,"dynasty":54,"author":5819,"museum":242,"description":5820,"tags":8216,"thumbUrl":8217,"material":605,"size":606,"collection":285,"collections":8218,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},237046,"fang-mi-shan-shui-shan-mian-zhu-ang-zhi-237046","仿米山水扇面",[24,25,2203,109,80,30,31,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6dfebdea1ec4fd4a236e0cfce9f118.jpg",[],{"id":8220,"slug":8221,"title":4254,"dynasty":126,"author":2683,"museum":242,"description":8222,"tags":8223,"thumbUrl":8224,"material":285,"size":285,"collection":285,"collections":8225,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":49},236897,"shan-shui-hua-hui-ce-shao-mi-236897","此作以云气为脉，将层叠山峦串织成境，飞瀑穿破烟岚，隐于云岫之间，虚实掩映漾出空濛灵逸之致。近岸古松虬枝舒展，丹黄枝叶点染清秋意趣，石矶棱角苍劲朴拙。扁舟静泊水湄，舟中雅士凭兀凝睇，将幽居林泉的隐逸之思融于尺幅。设色淡雅清和，笔致秀逸温婉，将江南秋江之静穆萧散铺陈开来，尽绘文人耽爱烟霞、寄情山水的林下襟怀。",[24,25,385,28,109,80,30,135,35,82,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3da67e8e18893b62628174671f7fdc.jpg",[],{"id":8227,"slug":8228,"title":8229,"dynasty":126,"author":55,"museum":242,"description":8230,"tags":8231,"thumbUrl":8233,"material":605,"size":606,"collection":285,"collections":8234,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":49},236691,"lu-zhi-yun-yan-qiu-ji-tu-shan-ye-yi-ming-236691","陆治云岩秋霁图扇页","此作用泥金扇面承载笔墨，布景疏密有致，以高远之法绘右侧巉岩叠嶂，山居隐现于林泉之间，左侧则以平远之景铺陈浅汀疏木，淡墨晕染远山，留白托出秋空寥廓清旷。\n笔致简劲老辣，勾勒皴擦写尽山石嶙峋质感，点染林木萧疏之态，兼融元人笔墨简淡与明人小品雅趣，题字古拙朴雅，与画面浑然相融，将秋霁初晴后山居的空明净爽尽数铺展，满溢着文人寄情林泉的澹寂意韵。",[2203,109,28,80,30,113,35,7,1078,112,8232,170],"晴霁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cffe56cf80379259cdf36c612de53c5.jpg",[],{"id":8236,"slug":8237,"title":8238,"dynasty":54,"author":8239,"museum":242,"description":8240,"tags":8241,"thumbUrl":8242,"material":285,"size":285,"collection":285,"collections":8243,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},236104,"chun-jing-shan-shui-tu-zhou-li-shi-zhuo-236104","春景山水图轴","李世倬","此作用淡绛设色铺陈春日山居，先以烟霭笼住远山，浅披麻皴勾勒出山峦温润质感，春日空濛尽现。开阔平缓的水面上，板桥木桥连缀溪村，错落村舍隐于初绽的柳桃之间，浅粉嫩绿晕开融融春意。\n\n画面动静相生，溪水流淌衬出村野静谧，将元人山水的空灵雅致与清丽设色意趣相融，把春日水乡的闲逸山居图景缓缓铺展，尽显山乡春日里的柔润生机与世外幽宁。",[24,28,30,79,86,111,35,36,112,7,1682,508,80,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1c09a715a0baa9e13a5302b519b433.jpg",[],{"id":8245,"slug":8246,"title":2259,"dynasty":54,"author":55,"museum":242,"description":8247,"tags":8248,"thumbUrl":8249,"material":285,"size":285,"collection":285,"collections":8250,"showCount":342,"zanCount":314,"manualWeight":48,"mainColor":69},236064,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236064","此作用水墨晕染江南春山朝暮之景，云雾如缕，在层叠峰峦与林麓间漫溢缠绕，将青山晕染得虚实相生，似含温润水汽。近岸苍木蓊郁，山坞中隐见村居屋舍，下方溪河蜿蜒舒展，三两扁舟轻泛烟波，野趣悠然。\n\n笔法松秀温雅，以淡墨反复皴擦晕染，不见刻露之笔，处处透着静穆淡远的意境，将江南山水的柔婉清幽与文人向往的林泉雅趣融为一体，观之如身临幽寂山野，足以涤荡尘心。",[24,25,385,109,130,80,30,83,35,32,7,82,86,151,135,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae085406406d31950536f0b8ca2ee6f.jpg",[],{"id":8252,"slug":8253,"title":8254,"dynasty":54,"author":854,"museum":242,"description":8255,"tags":8256,"thumbUrl":8257,"material":285,"size":285,"collection":285,"collections":8258,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},235780,"zhu-jia-ji-jin-ce-yun-shan-ye-wang-hui-235780","诸家集锦册-云山页","此作用淡墨晕染云霭，以短披麻皴写山峦，苍润浑厚。云气以留白与淡晕相融，将层峦托于云海之上，虚实相生间尽显飘渺灵动。茂林清溪之畔隐着山居小屋，野逸幽寂的林下栖居之趣扑面而来。\n\n右上角题诗与画面呼应，诗画交融，尽显文人山水的雅致意韵。笔墨干湿浓淡交织，松秀苍浑，既见丘壑幽深，又具笔墨雅韵，将江南云山空蒙秀润之景，与文人幽栖的襟怀相融，简淡间意蕴悠长，尽显山水小品的隽永情致。",[24,25,385,109,80,30,2675,35,82,7,111,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa306eb381b484c752eb4e75fab1e7f67.jpg",[],{"id":8260,"slug":8261,"title":6500,"dynasty":126,"author":8262,"museum":242,"description":8263,"tags":8264,"thumbUrl":8265,"material":285,"size":285,"collection":285,"collections":8266,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},235451,"shan-shui-tu-ce-pan-zheng-235451","潘徵","这幅水墨山水以虚实相生的笔意晕染烟岚江南。主峰以浓墨皴擦，棱线苍劲，在淡墨晕开的烟霭中卓然挺立，和周遭隐现的远山形成强烈虚实对比。汀洲松林以简笔点簇，萧疏错落，带着山野清寂之趣。湖面留白写意，以数点淡墨轻描渔舟，愈发衬出天地空阔。浅岸小径蜿蜒向林麓，藏露之间引人遐思山隅深处的幽居。\n全作用笔极简，以水墨干湿浓淡铺就迷蒙诗意，没有繁复勾勒，却将湖山静穆悠远的意境全然铺展，尽显文人画的空灵意趣，仿佛能让人浸在山野湿润的雾气里，静赏这份林下幽寂的悠然。",[24,25,385,109,80,30,495,86,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c47be9871ca1901d2d2ae09e1224f3f.jpg",[],{"id":8268,"slug":8269,"title":2300,"dynasty":54,"author":4894,"museum":242,"description":8270,"tags":8271,"thumbUrl":8272,"material":605,"size":606,"collection":285,"collections":8273,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},234859,"shan-shui-ce-wang-gai-234859","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,25,385,109,80,30,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0504348d803a12caf7adb5620161f971.jpg",[],{"id":8275,"slug":8276,"title":2300,"dynasty":54,"author":4559,"museum":20,"description":8277,"tags":8278,"thumbUrl":8279,"material":285,"size":285,"collection":285,"collections":8280,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},234792,"shan-shui-ce-dong-bang-da-234792","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,25,385,109,80,30,166,167,35,7,113,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236be7196d6ef9cf365f8f88faac5787.jpg",[],{"id":8282,"slug":8283,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":8284,"thumbUrl":8285,"material":592,"size":285,"collection":285,"collections":8286,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},234755,"huang-shan-tu-ce-jiang-zhu-234755",[24,25,385,109,80,132,30,31,309,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b7316e218ef7d9d046721a09a461b6.jpg",[],{"id":8288,"slug":8289,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":8290,"thumbUrl":8291,"material":592,"size":285,"collection":285,"collections":8292,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},234741,"huang-shan-tu-ce-jiang-zhu-234741",[24,25,385,109,30,82,134,7,35,80,131,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe579d6f706c66a4b60473f1fa9f408e1.jpg",[],{"id":8294,"slug":8295,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":8296,"thumbUrl":8298,"material":592,"size":285,"collection":285,"collections":8299,"showCount":342,"zanCount":314,"manualWeight":48,"mainColor":69},234738,"huang-shan-tu-ce-jiang-zhu-234738",[8297,149,24,25,385,28,80,30,115,82,35,7,309,132,133],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b06e15593f0c0b799413b461de64ee3.jpg",[],{"id":8301,"slug":8302,"title":7529,"dynasty":54,"author":854,"museum":242,"description":8303,"tags":8304,"thumbUrl":8305,"material":232,"size":8306,"collection":285,"collections":8307,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},234715,"fang-gu-shan-shui-ce-wang-hui-234715","《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。",[24,25,149,385,109,80,308,30,672,82,58,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca9f3af74811c30e2439f3313491490.jpg","25.6厘米，横：20.5厘米",[],{"id":8309,"slug":8310,"title":8311,"dynasty":2995,"author":8312,"museum":242,"description":8313,"tags":8314,"thumbUrl":8315,"material":605,"size":606,"collection":285,"collections":8316,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},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","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。",[23,24,25,26,28,30,113,35,309,846,1806,1204,7,229,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":8318,"slug":8319,"title":8320,"dynasty":126,"author":3328,"museum":75,"description":8321,"tags":8322,"thumbUrl":8323,"material":186,"size":8324,"collection":285,"collections":8325,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,79,28,30,35,151,198,82,7,80,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":8327,"slug":8328,"title":8329,"dynasty":2995,"author":55,"museum":242,"description":8330,"tags":8331,"thumbUrl":8332,"material":285,"size":285,"collection":285,"collections":8333,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},225334,"fu-shi-hui-87-yi-ming-225334","浮世绘87","飞流直下的瀑布以劲挺利落的蓝白线条铺就，仿佛携着轰然水声自崖头倾泻而下。崖畔朱色小屋静立，暖调破开冷冽水汽，让奔涌的山水多了一丝人间暖意。右下角旅人负具驻足观瀑，衬出飞瀑的宏阔，将人与自然的尺度铺展开来。\n\n设色明丽雅致，青绿山石晕染出山野苍翠，钴蓝飞瀑撞入眼底，暖棕崖壁点缀其间，尽显浮世绘独有的装饰质感。画作揉合幽谷飞瀑的壮阔与山居的幽寂烟火，将日式山水特有的诗意幽玄之美尽显无余。",[4157,4158,28,30,83,198,86,111,58,35,36,7,113,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd712d7caa336d20298db6aa8156e555f.jpg",[],{"id":8335,"slug":8336,"title":8337,"dynasty":54,"author":1574,"museum":20,"description":4006,"tags":8338,"thumbUrl":8339,"material":186,"size":4009,"collection":285,"collections":8340,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},220285,"huang-shan-tu-ce-40-hong-ren-220285","黄山图册-40",[23,24,109,385,80,30,82,31,111,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb476f91b8683e6ae75ff503d372138.jpg",[],{"id":8342,"slug":8343,"title":1113,"dynasty":54,"author":8344,"museum":181,"description":8345,"tags":8346,"thumbUrl":8347,"material":64,"size":8348,"collection":285,"collections":8349,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},219841,"shan-shui-tu-ce-6-xie-sun-219841","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,385,28,30,80,134,35,36,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabec3aa886306dbb692fec513e8e16ad.jpg","14.2x19.2",[],{"id":8351,"slug":8352,"title":8353,"dynasty":54,"author":8354,"museum":242,"description":8355,"tags":8356,"thumbUrl":8362,"material":137,"size":285,"collection":285,"collections":8363,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":69},217202,"fa-jie-yuan-liu-tu-juan-5-li-ming-217202","法界源流图卷-5","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,24,25,26,28,29,322,58,8357,8358,3908,6101,8359,8360,30,247,8361,62,7],"神佛","飞天","云纹","莲花座","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305682d8ab114fd612934456e79ed579.jpg",[],{"id":8365,"slug":8366,"title":8367,"dynasty":126,"author":669,"museum":181,"description":8368,"tags":8369,"thumbUrl":8371,"material":285,"size":285,"collection":285,"collections":8372,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":8373},203348,"fang-song-yuan-shan-shui-ce-bian-wen-yu-203348","仿宋元山水册","此帧山水取宋元笔意，山峦层叠如卷，皴擦间见古雅韵致。飞瀑自岩隙倾泻，与缭绕云雾相映，添几分空濛灵动。山间隐现屋舍，枯木疏枝点染其间，更显林泉之趣。墨色干湿浓淡相宜，淡墨晕染出烟岚缥缈，山石轮廓以细劲线条勾勒，兼具宋元山水的雄浑与秀逸。整体构图疏密有致，虚实相生，将自然之清幽与文人之静思融于尺幅，尽显摹古而不泥古的匠心。",[24,30,385,109,80,4733,7,83,603,8370],"枯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a76b1b7633362d4c7c229057bfb4309.jpg",[],"bcb096",{"id":8375,"slug":8376,"title":8377,"dynasty":3756,"author":7828,"museum":181,"description":8378,"tags":8379,"thumbUrl":8381,"material":285,"size":285,"collection":98,"collections":8382,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":8383},203199,"mei-jing-shu-wu-tu-zhou-wu-hu-fan-203199","梅景书屋图轴","此图以雅致笔触勾勒梅林掩映下的书屋景致。虬曲梅枝缀满繁花，似雪覆枝头；山石嶙峋间瀑布飞泻，溪流潺潺；云雾轻笼山峦，添空濛之趣。书屋隐于梅林深处，窗棂隐约，尽显文人居停的清幽意境。技法上，设色淡雅温润，皴染结合：山石以皴法表现苍劲质感，梅花用点染出繁密之态，整体风格清丽秀逸，兼具传统笔墨韵味与个人意趣，传递出画者对文人雅致生活的向往与追寻。",[8380,30,7702,28,80,443,5637,7,83,82,23],"标签：国画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89f4a7eb1dfa2df7298aedaab7d94373.jpg",[98],"bbad9d",{"id":8385,"slug":8386,"title":466,"dynasty":3756,"author":2700,"museum":181,"description":8387,"tags":8388,"thumbUrl":8389,"material":285,"size":285,"collection":285,"collections":8390,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":8391},203087,"xian-shan-lou-ge-tu-zhou-pu-ru-203087","云雾轻笼奇峰，苍松倚崖挺秀，精巧楼阁隐现于松间崖畔，飞檐翘角与山间云气相映成趣。山石以皴法写就，纹理细腻含古意；树木笔墨苍劲，枝叶疏密有致；楼阁界画工整，线条精准，设色淡雅清新。整幅画融自然之秀与人文之巧，笔墨秀逸中藏古拙，意境缥缈如仙境，尽显传统文人画的超脱韵致，引人遐思。",[24,30,198,28,386,80,590,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a73f7079bf692569bd77bd82b5cf14.jpg",[],"cec3ab",{"id":8393,"slug":8394,"title":2643,"dynasty":3756,"author":3757,"museum":181,"description":8395,"tags":8396,"thumbUrl":8397,"material":285,"size":285,"collection":98,"collections":8398,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":3762},202933,"shan-shui-tu-zhou-huang-bin-hong-202933","这幅山水图轴笔墨浑厚华滋，意境苍茫深秀。层岩叠嶂间云雾氤氲，虚实相生；近处松石挺劲，枝干虬曲，墨色浓淡相宜。溪畔茅舍隐约，小桥横跨，似有隐士居于此间，尽显清寂雅致的山林气象。画家以干笔皴擦勾勒山石肌理，湿墨晕染烘托云气，浓淡干湿交错，墨色层次丰富，尽显“黑密厚重”之韵，蕴含着对自然山川的深刻体悟与文人画的诗意情怀，是其山水风格的典型体现。",[24,109,30,80,309,82,86,4207,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46178af2211fd537f0e2f3702937a46.jpg",[98],{"id":8400,"slug":8401,"title":8402,"dynasty":54,"author":2511,"museum":181,"description":8403,"tags":8404,"thumbUrl":8405,"material":285,"size":285,"collection":285,"collections":8406,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":8407},202440,"qing-xi-chui-diao-tu-zhou-hua-yan-202440","清溪垂钓图轴","画面中山峦层叠，云雾如缕缠绕峰腰，墨色浓淡交织出丘壑深浅之韵。岸边树木枝干虬劲，叶丛以泼墨点染，或浓或淡，姿态疏朗有致；水面孤舟轻泛，蓑笠翁静倚船舷，垂竿于清溪之上，神情悠然自适。笔墨灵动洒脱，线条兼具柔婉与刚劲，水墨晕染自然，皴擦间显山石肌理，整体意境清寂淡远，尽显渔隐之趣，仿佛引观者步入尘外幽境，心随流水缓，意伴闲云舒。",[24,109,30,135,747,80,509,35,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F241ba1b63c09b94851c679cb7b0a2ffe.jpg",[],"ccc5bd",{"id":8409,"slug":8410,"title":8411,"dynasty":126,"author":8412,"museum":181,"description":8413,"tags":8414,"thumbUrl":8415,"material":285,"size":285,"collection":98,"collections":8416,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":8417},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。",[24,30,132,109,80,131,82,1505,229,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d3fd06647a30be231ac2cc1d47593f.jpg",[98],"c2a077",{"id":8419,"slug":8420,"title":8421,"dynasty":54,"author":3846,"museum":181,"description":8422,"tags":8423,"thumbUrl":8424,"material":285,"size":285,"collection":98,"collections":8425,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":8426},201676,"dian-cang-shan-se-tu-zhou-huang-xiang-jian-201676","点苍山色图轴","层峦叠嶂如黛，云雾似缕轻缠峰腰，远近山景因之错落有致。山石以皴擦显肌理，或浓墨点苔增苍劲，或淡笔晕染衬空灵。山下江流蜿蜒，孤舟泛于碧波，岸畔村舍隐于树影，小桥横卧溪上，行人策马路过，烟火气与清寂山光相融。笔墨干湿相济，设色淡雅温润，既展山川雄浑之态，又含水乡灵秀之韵，自然意趣与人文情致交织，尽得传统山水画气韵生动之妙。",[30,28,80,86,111,135,782,248,4101,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2f80673801566b69d1f6606ddfe3dd1.jpg",[98],"8b7b70",{"id":8428,"slug":8429,"title":8430,"dynasty":126,"author":8431,"museum":181,"description":8432,"tags":8433,"thumbUrl":8434,"material":285,"size":285,"collection":98,"collections":8435,"showCount":342,"zanCount":48,"manualWeight":48,"mainColor":8436},201617,"wu-jin-xi-shan-tu-zhou-jiang-song-201617","无尽溪山图轴","蒋嵩","笔墨挥洒间，峰峦层叠隐于烟霭，远近错落间显深远之致。近处苍松虬曲，枝干如铁，松针劲挺若戟，墨色浓淡交织，尽显苍劲之态。溪边小径上，两人缓步而行，衣袂轻扬似流连山水，为静谧溪山添几分生趣。画面以水墨写意为主，笔触奔放利落，皴法刚劲，远山淡墨晕染，近景浓墨勾勒，虚实相生间野逸之趣扑面而来，仿佛能闻松涛阵阵、见云雾流转，引人入胜。",[24,109,30,80,590,58,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53d2fc013f324938fbbe6b9b66e73a5.jpg",[98],"958469",{"id":8438,"slug":8439,"title":8440,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":8441,"thumbUrl":8444,"material":605,"size":606,"collection":285,"collections":8445,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},288500,"dan-ai-cang-shan-tu-dong-bang-da-288500","淡霭苍山图",[149,24,25,79,109,80,362,8442,7,8443,184,86,35,131,133],"苍山","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8214838b222f6c271dd732b2a627adb5.jpg",[],{"id":8447,"slug":8448,"title":2300,"dynasty":54,"author":1910,"museum":242,"description":8449,"tags":8450,"thumbUrl":8451,"material":605,"size":606,"collection":285,"collections":8452,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},239335,"shan-shui-ce-cha-shi-biao-239335","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。",[24,109,80,385,30,86,82,7,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb99e6f26520c0e892f3ebb62bfd584.jpg",[],{"id":8454,"slug":8455,"title":8456,"dynasty":54,"author":4559,"museum":242,"description":8457,"tags":8458,"thumbUrl":8459,"material":285,"size":285,"collection":285,"collections":8460,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},238746,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238746","画弘历拟古诗意图册","此作以淡墨绘就江岸山居之景，近岸古松盘虬苍劲，松下高士凭崖远眺，崖壁层叠皴擦细致，石间草木蓊郁清润。远景江天相融，水色空濛渺远，将咫尺尺幅拓展出辽阔的山水意趣。\n笔墨以干笔勾勒山石肌理，淡墨晕染铺陈出清寂空润的氛围，将写实景致与文人写意笔趣相融。右侧题诗与画作相映成趣，诗画相生，尽显清雅文心，把幽远超脱的林下意境烘托尽致，将观者带入沉静澹泊的文人情思之中，是兼具笔墨意趣与抒情性的精妙山水小品。",[24,25,385,109,30,80,131,133,309,82,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be58a09a3b88e645e21dc2dc3082d64.jpg",[],{"id":8462,"slug":8463,"title":2300,"dynasty":54,"author":456,"museum":242,"description":8464,"tags":8465,"thumbUrl":8466,"material":285,"size":285,"collection":285,"collections":8467,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},238200,"shan-shui-ce-tang-dai-238200","左页小楷题自作山水诗，笔致清劲隽秀，诗中摹写空山雨过、烟霭随行之景。右页浅绛山水，近岸林木苍茂，板桥通幽径，层岩叠嶂延绵向远，飞泉自崖顶垂落，流云轻笼峰峦，晕染出空濛淡远之境。\n全作用笔沉稳秀润，设色淡雅柔和，诗画相合，将山居幽寂清宁的意韵铺陈尽致，尽显正统山水的雅正法度，藏文人画的诗意留白，绘就了一卷空山无尘、烟岚随行的世外林泉图景。",[24,28,80,132,131,133,30,82,35,86,111,115,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99d7bd8f32d56ff93233a99f07171b.jpg",[],{"id":8469,"slug":8470,"title":2300,"dynasty":54,"author":8471,"museum":242,"description":8472,"tags":8473,"thumbUrl":8474,"material":285,"size":285,"collection":285,"collections":8475,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},237982,"shan-shui-ce-zhang-geng-237982","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,109,80,133,30,166,309,1891,7,35,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0661c14b15c4358c732e089e57b0a05a.jpg",[],{"id":8477,"slug":8478,"title":8479,"dynasty":54,"author":8480,"museum":242,"description":8481,"tags":8482,"thumbUrl":8484,"material":605,"size":606,"collection":285,"collections":8485,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},237814,"jiang-cheng-chun-se-shan-yuan-ying-237814","江城春色扇","袁瑛","字近华，号二峰，元和（今江苏苏州）人。",[24,25,2203,109,30,35,82,7,80,8483],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79d898f6ba8f451f433da656aa58759.jpg",[],{"id":8487,"slug":8488,"title":6500,"dynasty":54,"author":8207,"museum":242,"description":8208,"tags":8489,"thumbUrl":8490,"material":605,"size":606,"collection":285,"collections":8491,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},237392,"shan-shui-tu-ce-xue-xuan-237392",[24,25,385,109,80,30,82,35,7,86,111,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc0110d9cdad07df1c56fa5804d3bae.jpg",[],{"id":8493,"slug":8494,"title":8495,"dynasty":54,"author":854,"museum":75,"description":8496,"tags":8497,"thumbUrl":8498,"material":186,"size":285,"collection":285,"collections":8499,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},237381,"shan-shui-ce-yang-jin-chu-shan-qing-xiao-tu-ye-wang-hui-237381","山水册-杨晋楚山清晓图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n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。",[24,25,385,109,80,362,30,31,7,198,35,83,1225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba8eddc6857a2d1b33ce8c82ff0ef6d.jpg",[],{"id":8501,"slug":8502,"title":2300,"dynasty":54,"author":8503,"museum":242,"description":8504,"tags":8505,"thumbUrl":8506,"material":605,"size":606,"collection":285,"collections":8507,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},236990,"shan-shui-ce-zhang-xi-236990","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[24,25,385,109,132,133,80,30,590,83,151,7,166,528,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f199c1ef3dfe5efda921fbdd3f59a5.jpg",[],{"id":8509,"slug":8510,"title":8511,"dynasty":126,"author":8512,"museum":242,"description":8513,"tags":8514,"thumbUrl":8515,"material":605,"size":606,"collection":285,"collections":8516,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":49},236560,"shan-shui-shan-zhu-rong-zhong-236560","山水扇","朱容重","朱容重（1620～1697） 行书七言诗绫本立轴识文：从来仙令似冰清，几度裁诗作凤鸣。爱客尽多名士致，居官更得古人情。时艰尚尔闻佳政，绩著能无起颂声。",[24,25,2203,109,80,30,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ff2c859c945c2e8d5257321712c04f.jpg",[],{"id":8518,"slug":8519,"title":5092,"dynasty":54,"author":3788,"museum":20,"description":8520,"tags":8521,"thumbUrl":8522,"material":8523,"size":8524,"collection":285,"collections":8525,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":49},236386,"huang-shan-tu-zhou-mei-qing-236386","图绘黄山的硃砂泉。构图为上下呼应的对仗式，上方低垂的山岩和下方与之相对峙的杂树，均以粗笔作横点写出，墨气淋漓蕴藉，显示出山林的苍郁深秀之貌。图中蜿蜒而下的硃砂泉以淡墨细笔勾画，生动简约的线条显现出泉水的清澈与流畅。不同的物象施以不同的笔法，既贴切地表现了景致，也展示了作者娴熟多变的笔墨风格。",[24,109,80,79,30,82,35,36,7,86,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07f3f74e4adf6673a0a657038a99c1d.jpg","绫本，墨笔","纵185.2厘米，横56.7厘米",[],{"id":8527,"slug":8528,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":8529,"thumbUrl":8530,"material":592,"size":285,"collection":285,"collections":8531,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},234725,"huang-shan-tu-ce-jiang-zhu-234725",[24,25,385,109,80,30,31,7,131,132,133,1891,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39eb46fac96cea86c89a4ad8652a2241.jpg",[],{"id":8533,"slug":8534,"title":8535,"dynasty":126,"author":935,"museum":242,"description":6686,"tags":8536,"thumbUrl":8537,"material":285,"size":285,"collection":285,"collections":8538,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},234635,"fang-mi-shan-shui-shan-ye-lan-ying-234635","仿米山水扇页",[2203,109,130,80,30,151,35,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45338a139c22da767c5f8dbb3a83132b.jpg",[],{"id":8540,"slug":8541,"title":8542,"dynasty":54,"author":8543,"museum":242,"description":8544,"tags":8545,"thumbUrl":8546,"material":285,"size":285,"collection":285,"collections":8547,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},234356,"you-niao-shi-tu-ce-jin-kun-234356","有鸟诗图册","金昆","金昆，清朝画家，善画。康熙（1662至1722）时供奉内廷，有庆丰图、虎邱待月图均邀御题。\n乾隆五年（1740）尝与陈枚、孙祜、程志道、丁观鹏合作庆丰图册。《国[清]朝院画录》、《熙朝名画录》、《国[清]朝画徵录》",[24,25,385,28,30,80,133,132,112,35,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecaf90d6df44072cc67e1b28a30473ff.jpg",[],{"id":8549,"slug":8550,"title":8542,"dynasty":54,"author":8543,"museum":242,"description":8544,"tags":8551,"thumbUrl":8552,"material":285,"size":285,"collection":285,"collections":8553,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},234350,"you-niao-shi-tu-ce-jin-kun-234350",[24,25,28,30,385,112,35,198,7,170,82,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d8af2a0231af03f6f3a88f21aeaf3.jpg",[],{"id":8555,"slug":8556,"title":8557,"dynasty":54,"author":5394,"museum":20,"description":8558,"tags":8559,"thumbUrl":8560,"material":8561,"size":8562,"collection":285,"collections":8563,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},234043,"huang-shan-shi-yi-tu-shan-ye-zhang-feng-234043","黄山诗意图扇页","据自题而知，此图是作者根据友人口述五月游黄山的经历所画。扇面采取上下开合式构图，不落前人窠臼，景致奇险。全图以七上八下的山石为主，石面皴染结合，看似松散率意的用笔，实则笔法多变不失章法。张风虽然没有亲历黄山，但自1644年以后，他曾经佩剑走北都，出卢龙、上谷，纵览昌平、天寿诸山，攀登过许多名山大川。当晚年的他耳闻黄山的神采时，能够准确地画出自身对黄山萧森郁茂壮美的感悟。",[24,25,2203,30,80,109,28,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e1a6f63041aca0d639a076a86e6715a.jpg","金笺，设色","纵16厘米，横51.2厘米",[],{"id":8565,"slug":8566,"title":2300,"dynasty":54,"author":842,"museum":20,"description":2446,"tags":8567,"thumbUrl":8569,"material":296,"size":2450,"collection":285,"collections":8570,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},233976,"shan-shui-ce-gong-xian-233976",[24,25,109,2448,30,36,35,7,8568],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca84608863d51f18f4b6370d44538c6.jpg",[],{"id":8572,"slug":8573,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":8574,"thumbUrl":8575,"material":592,"size":6812,"collection":285,"collections":8576,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},233433,"huang-shan-tu-ce-mei-qing-233433",[24,25,385,109,80,30,112,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f548c6fae18d5e1fc4d315057bd6543.jpg",[],{"id":8578,"slug":8579,"title":8580,"dynasty":54,"author":1959,"museum":20,"description":6021,"tags":8581,"thumbUrl":8582,"material":6822,"size":8583,"collection":285,"collections":8584,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},233164,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233164","草堂十志图册",[24,25,385,109,30,80,31,7,35,36,82,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a094f728ed5c0a0d0fe30bf0a96562c.jpg","纵29厘米，横29.5厘米",[],{"id":8586,"slug":8587,"title":8588,"dynasty":54,"author":55,"museum":20,"description":8589,"tags":8590,"thumbUrl":8595,"material":186,"size":6833,"collection":285,"collections":8596,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},233064,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233064","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。",[149,24,25,28,29,80,58,8591,30,112,35,133,8592,8593,6831,7,113,8594,2837],"战马","战争场景","骑兵","帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890375b5c81ed92a214a850894c4ca78.jpg",[],{"id":8598,"slug":8599,"title":8600,"dynasty":2995,"author":8601,"museum":242,"description":8602,"tags":8603,"thumbUrl":8605,"material":605,"size":606,"collection":285,"collections":8606,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":49},231722,"jiang-hu-shi-dai-niao-zhi-xiao-jing-tu-ping-feng-shen-jiang-lu-zhou-231722","江户时代 茑之小径图屏风","深江芦舟","深江 芦舟（ふかえ ろしゅう、別表記：深江 蘆舟、1699年（元禄9年）- 1757年5月25日（宝暦7年4月8日））は、江戸時代中期の画家である。名は庄六。別号に青白堂。",[23,24,25,28,29,495,8604,82,7],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190ac07d878e980e83e2da06bc988375.jpg",[],{"id":8608,"slug":8609,"title":8610,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":8611,"thumbUrl":8612,"material":592,"size":6812,"collection":285,"collections":8613,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},231389,"huang-shan-tu-ce-8-zhen-mei-qing-231389","黄山图册8帧",[24,109,80,385,30,31,7,35,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec21768437056d5d3bfa94ad15fa026b.jpg",[],{"id":8615,"slug":8616,"title":8617,"dynasty":2995,"author":55,"museum":242,"description":8618,"tags":8619,"thumbUrl":8622,"material":605,"size":606,"collection":285,"collections":8623,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},225402,"fu-shi-hui-159-yi-ming-225402","浮世绘159","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[4157,28,4158,781,8620,495,30,7,364,8621],"伞","和服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3d469d541645a479ce9fd769dbd2d6.jpg",[],{"id":8625,"slug":8626,"title":8627,"dynasty":54,"author":8628,"museum":396,"description":8629,"tags":8630,"thumbUrl":8631,"material":2562,"size":285,"collection":285,"collections":8632,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":49},222719,"huang-shan-ba-jing-tu-ce-8-zheng-min-222719","黄山八景图册8","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。",[23,24,25,385,109,30,134,35,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c88e2857cdb070f757087ef007a96c.jpg",[],{"id":8634,"slug":8635,"title":8636,"dynasty":54,"author":55,"museum":20,"description":8637,"tags":8638,"thumbUrl":8639,"material":28,"size":285,"collection":285,"collections":8640,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},217299,"gu-xiu-wu-shi-san-can-tu-ce-18-yi-ming-217299","顾绣·五十三参图册-18","针丝婉转间，绘就两重意境：左幅石上坐者凝神，阶前立人持物相谈，草木疏朗衬出山间幽寂；右幅仙者乘鹤凌云，下方童子仰首揖送，云雾轻漫裹着仙风飘举。顾绣以线代色，层次细腻如晕染，人物神态生动，松石有灵。静时禅意暗生，动处仙韵流转，将修行故事里的相遇与超脱，凝作绢上灵动的篇章，尽显传统绣艺的雅致与人文情韵。",[5530,28,385,58,706,590,82,7,906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a227f8f9244adc685985978abe6052.jpg",[],{"id":8642,"slug":8643,"title":8644,"dynasty":126,"author":3511,"museum":75,"description":8645,"tags":8646,"thumbUrl":8647,"material":338,"size":8648,"collection":285,"collections":8649,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":69},217072,"ying-zhen-xiang-si-zhou-4-ding-yun-peng-217072","应真像四轴-4","用笔实而有力，颇具装饰意味。时年丁云鹏已经67岁了，这是他晚年的风格。",[24,25,79,29,80,322,30,35,7,82,2083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96f8c7c392e1db0fa078ba31ba2a9156.jpg","141.4x66",[],{"id":8651,"slug":8652,"title":8653,"dynasty":3756,"author":3757,"museum":181,"description":8654,"tags":8655,"thumbUrl":8656,"material":285,"size":285,"collection":285,"collections":8657,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":8658},202778,"gui-lin-shan-shui-tu-juan-huang-bin-hong-202778","桂林山水图卷","笔墨苍劲沉厚，积墨叠染间勾勒桂林奇峰秀水。喀斯特峰林如笋如簪，漓江清波蜿蜒，云雾轻笼山脚，晕开成流动的水墨长卷。山间亭台隐现，孤舟泛江，藏文人逸趣。斧劈皴与披麻皴交错，干湿浓淡相济，墨色层次丰富，既显桂林灵秀，又含北派雄浑。笔意流转中，自然之美与人文情韵交融，尽展传统山水画的深邃意境。",[24,30,26,109,80,135,151,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a768926bf3f17eb13ebb78f93e1040.jpg",[],"dedad3",{"id":8660,"slug":8661,"title":8662,"dynasty":54,"author":3059,"museum":181,"description":8663,"tags":8664,"thumbUrl":8666,"material":285,"size":285,"collection":285,"collections":8667,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":8668},202445,"qiu-shan-xian-zuo-tu-zhou-li-jian-202445","秋山闲坐图轴","淡墨晕染的山峦间云雾流转，显层叠深远之境；近处林木错落，红叶点染秋意，枝干以写意笔法勾勒，苍劲中见灵动。茅屋隐于树侧，一人闲坐，悠然望山，尽得林泉之趣。画面以皴擦结合晕染，墨色浓淡相宜，构图疏密有致，将文人雅士寄情山水的恬淡心境融于笔墨间，尽显清逸雅致之韵。",[30,80,28,79,109,1505,7,184,8665,5520,23],"闲坐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31099f941bab2304eff7ca16a2943ac3.jpg",[],"9d8769",{"id":8670,"slug":8671,"title":8672,"dynasty":54,"author":8673,"museum":181,"description":8674,"tags":8675,"thumbUrl":8676,"material":285,"size":285,"collection":98,"collections":8677,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":8678},201661,"nan-shan-tu-zhou-wang-zhuan-201661","南山图轴","王撰","这幅山水以水墨绘就，层峦叠嶂间云雾轻笼，山形用皴法勾勒，肌理分明。山间溪流蜿蜒而下，两岸林木疏朗有致，小桥隐于树影中，景致清寂雅致。笔墨简练却意境悠远，山石的厚重与云雾的空灵相映成趣，传递出文人画特有的宁静与悠远，尽显自然之美与心境之宁。",[24,109,30,80,86,111,35,82,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3086d883d9d9462be79dce849f0816.jpg",[98],"e1d8c5",{"id":8680,"slug":8681,"title":8682,"dynasty":54,"author":8683,"museum":181,"description":8684,"tags":8685,"thumbUrl":8686,"material":285,"size":285,"collection":98,"collections":8687,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":8688},201555,"xiu-se-qing-zhong-tu-zhou-fang-shi-shu-201555","秀色清钟图轴","方士庶","这幅山水图以水墨铺陈，山峦层叠间云雾氤氲，尽显悠远清寂之境。陡峭崖壁以细腻皴法勾勒，线条苍劲却含秀逸；林木葱茏处隐现亭台村舍，近景溪水蜿蜒，树木姿态各异。笔墨疏淡却层次分明，虚实相生间传递出文人画特有的宁静超脱，仿佛钟磬之声随山风轻拂林泉，令人心醉神驰。",[30,109,80,79,151,35,7,248,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F314c2f49cebd5684e82c0886b0de302f.jpg",[98],"b2ada5",{"id":8690,"slug":8691,"title":8692,"dynasty":126,"author":2762,"museum":181,"description":8693,"tags":8694,"thumbUrl":8696,"material":285,"size":285,"collection":285,"collections":8697,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":8698},201437,"yue-xia-gui-zhou-tu-zhou-chen-chun-201437","月下归舟图轴","淡墨轻染出朦胧月色，峰峦在云雾中若隐若现，如披薄纱。山间竹木扶疏，笔触简括却见生趣，枝叶摇曳间透着清寂。溪流潺潺，一叶孤舟静泊岸边，舟中影绰，似有归人欲返。近景丛竹以细劲线条勾写，与远山的淡皴晕染相映，虚实交错间尽显章法。整幅画水墨淋漓，写意之韵与山水之幽相融，漾出文人画特有的空灵悠远，引人入胜。",[24,109,30,135,2244,80,214,79,7,8695],"流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1883c4d975b248c5322c7dd431839d2b.jpg",[],"b6aa99",{"id":8700,"slug":8701,"title":3777,"dynasty":126,"author":1086,"museum":181,"description":8702,"tags":8703,"thumbUrl":8704,"material":285,"size":285,"collection":98,"collections":8705,"showCount":288,"zanCount":48,"manualWeight":48,"mainColor":8706},201328,"shan-shui-juan-yun-shou-ping-201328","画面以水墨写意，松姿各异：虬干盘曲处松针如簇，垂枝拂水间苍劲含秀。坡岸小径蜿蜒，二叟对坐论道，尽显林下幽情。右侧水榭隐于松荫，远山含烟，云雾轻笼，笔墨简淡却意境悠远。山石皴染结合，草木疏密有致，水色空濛，将文人寄情山水的雅致心境融于卷中，尽显清幽韵致。",[24,109,30,590,80,26,58,151,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55af418c3333eae4316daf20d23edd60.jpg",[98],"b8ab97",{"id":8708,"slug":8709,"title":8710,"dynasty":54,"author":8711,"museum":242,"description":8712,"tags":8713,"thumbUrl":8715,"material":605,"size":606,"collection":285,"collections":8716,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},290581,"chun-shan-chu-yun-zhou-zhang-peng-chong-290581","春山出云轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,25,79,109,28,30,86,111,151,82,35,133,131,80,8714,7],"春山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a2d0b96d95d1df047caa62a9b73bb9.jpg",[],{"id":8718,"slug":8719,"title":8720,"dynasty":54,"author":55,"museum":242,"description":8721,"tags":8722,"thumbUrl":8723,"material":605,"size":606,"collection":285,"collections":8724,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":49},290379,"xiang-jiang-ba-jing-shan-shui-shou-juan-zhi-er-yi-ming-290379","湘江八景山水手卷之二","潇湘八景，相传为潇湘一带的湖南八处佳胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。“新潇湘八景”评选活动，由湖南省旅游学会于2005年4月份启动。一年多时间中，专家评审委员会评出了山水文化、人文景观、生态休闲三大类“新潇湘八景”。",[23,24,26,25,109,362,135,150,7,2468,131,80,3679],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551a7b933c012356c50ea8ca143fcbb1.jpg",[],{"id":8726,"slug":8727,"title":8728,"dynasty":2995,"author":55,"museum":242,"description":8729,"tags":8730,"thumbUrl":8733,"material":605,"size":606,"collection":285,"collections":8734,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},289035,"louis-comfort-tiffany-drawing-of-a-figure-of-christ-yi-ming-289035","Louis Comfort Tiffany--Drawing of a figure of Christ","画面以柔润晕染的粉紫暖白铺就云海与圣光，边界朦胧交融，将整个空间浸在神性柔光之中。基督垂眸静立，舒展双臂，姿态悲悯又沉静，仿佛正以怀抱接纳世人。衣袍晕开柔粉肌理，随光晕自然流淌，消解了厚重感，与云雾融为一体。缥缈云霭托举着身形，将神性的庄严揉进温柔色调里，无凌厉线条，全靠色彩晕染烘托出宁静圣洁的氛围，让观者沉浸于这份平和的神性感召中，感知安抚与救赎的力量。",[322,8731,58,28,4540,7,8732],"基督","神圣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62639734dd832a2bbfaa6b7082b0a9a2.jpg",[],{"id":8736,"slug":8737,"title":8738,"dynasty":54,"author":8739,"museum":242,"description":8740,"tags":8741,"thumbUrl":8742,"material":285,"size":285,"collection":285,"collections":8743,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},239382,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239382","画载月十咏诗意册","永瑢","此作用浅绛绘就秋日林居之景，近处村舍错落，篱墙萦回，丹枫杂树点染出秋意暖色，村居意趣悠然。中景烟水空濛，淡墨晕开渺渺水汽，洲渚间霜林疏朗，留白铺就开阔平远的意境。远景峰峦舒缓延绵，左侧孤峰拔地而起，奇崛醒目，为淡远山水添了几分峭拔。\n\n笔墨秀雅松灵，以干笔皴擦出山石肌理，淡赭、花青轻敷晕染，色调清润柔和。右上角题诗衬景，诗画交融，将载月归游的诗意融于萧淡秋光里，整体气息安闲淡远，褪去尘嚣烟火，尽显文人画雅致静穆的林泉意韵。",[24,25,385,28,80,30,134,151,36,35,229,7,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec62eee0d9bbb718c9e92e17c565eca.jpg",[],{"id":8745,"slug":8746,"title":8738,"dynasty":54,"author":8739,"museum":242,"description":8747,"tags":8748,"thumbUrl":8749,"material":285,"size":285,"collection":285,"collections":8750,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},239374,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239374","此作用淡墨晕开烟霭，将平远松林笼在空濛清寂之中。坡岸虬松挺秀苍劲，鳞枝舒展如盖，清涧蜿蜒穿石而出，带着山涧微凉沁入画中。右侧崖畔茅庐静立，伴着孤松幽石，似在候着载月归人。\n淡笔轻皴山石，浅设晕染铺就雅淡底色，边角题诗与画境呼应相融，把林下幽居、待月听松的文人雅趣晕散开，尽显疏朗简淡的雅致意境，将幽寂旷远的林泉之思藏进每一处笔墨里。",[24,25,385,109,80,133,30,309,82,151,111,7,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0f977b1a423f77688eff26e207c30c.jpg",[],{"id":8752,"slug":8753,"title":2300,"dynasty":54,"author":8754,"museum":242,"description":8755,"tags":8756,"thumbUrl":8757,"material":285,"size":285,"collection":285,"collections":8758,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},239348,"shan-shui-ce-lin-fu-chang-239348","林福昌","这幅小品以留白摹写流云雾气，将层叠山峦衬得灵动缥缈，山居藏于松石崖壁间，似隐似现。近坡林木错落苍润，屋舍依傍溪岸野林，尽显幽居闲寂之态。设色清淡雅致，以青绿轻晕山石，浓墨点染苍松古木，笔致简逸秀雅，带着文人画特有的萧散意趣，将山林间悠然避世的栖居诗意尽数铺展，处处透着林下幽居的静谧闲适，淡而有味，简中见雅。",[24,25,385,109,28,30,309,82,7,36,35,31,38,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb01ddef5faace5b120a79ec8e46e5.jpg",[],{"id":8760,"slug":8761,"title":2300,"dynasty":54,"author":1910,"museum":242,"description":8449,"tags":8762,"thumbUrl":8763,"material":605,"size":606,"collection":285,"collections":8764,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},239334,"shan-shui-ce-cha-shi-biao-239334",[24,25,385,109,132,80,30,112,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae5a08a2d083b3292167be42c12f9fb.jpg",[],{"id":8766,"slug":8767,"title":8768,"dynasty":54,"author":1361,"museum":242,"description":4814,"tags":8769,"thumbUrl":8770,"material":285,"size":285,"collection":285,"collections":8771,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},238519,"shan-shui-xiao-ce-qian-wei-cheng-238519","山水小册",[24,25,385,109,80,30,495,7,229,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd33f3b8e676688e5b76dfddad760d1d9.jpg",[],{"id":8773,"slug":8774,"title":2300,"dynasty":54,"author":456,"museum":242,"description":8775,"tags":8776,"thumbUrl":8777,"material":285,"size":285,"collection":285,"collections":8778,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},238201,"shan-shui-ce-tang-dai-238201","此帧取晨霁之景，青峰叠翠浸润晓雾，烟岚轻笼溪山，山脚林木蓊郁，水榭藏于幽居，汀洲隐现渡头，一派清润空寂的山居气象。设色雅致柔和，石青石绿晕染山峦，兼青绿之明妍与浅绛之温润，笔墨糅合元人萧散简远与院体精整工致。左侧题诗与画境呼应，将辋川闲意融于笔端，写尽朝露沐山、凉风穿榭的幽居意趣，诗画一体，淡远清和，尽显静穆高逸的林下之风，铺陈出烟雨初歇的溪山雅态。",[24,25,28,30,5194,80,166,167,35,198,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cce957f30ebbf222781052b82b587e1.jpg",[],{"id":8780,"slug":8781,"title":2300,"dynasty":54,"author":456,"museum":242,"description":8782,"tags":8783,"thumbUrl":8784,"material":285,"size":285,"collection":285,"collections":8785,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},238199,"shan-shui-ce-tang-dai-238199","浅绛皴擦出岩壑肌理，重林沉凝在清霭之间，风神疏旷悠然。飞瀑高悬如匹练垂空，将春山的生机揉进空蒙雾气中。浓荫深掩孤村柴扉，静锁山居闲逸意趣。峰腰苔痕青润，危崖草亭孑立，似候访客寻幽踏春，探问山灵私语。\n\n诗画相映成趣，笔致苍秀兼备，淡设晕染出春日山乡的清和幽寂，将林泉高致藏于尺幅间，观之恍若步入云深之处，揽烟霞、听流泉，尽得林泉雅韵。",[24,25,28,80,385,30,166,528,35,36,86,111,168,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dcc4abf16f05eceec82252ed998da1.jpg",[],{"id":8787,"slug":8788,"title":2300,"dynasty":54,"author":456,"museum":242,"description":8789,"tags":8790,"thumbUrl":8791,"material":285,"size":285,"collection":285,"collections":8792,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},238197,"shan-shui-ce-tang-dai-238197","此帧以淡墨皴染层峦，烟气氤氲裹挟峰岫，似要融于空濛天色。近岸松柯苍劲虬曲，山居隐于林木间，板桥溪流通往烟水深处，平波衔着遥岑，尽得山水悠然之致。\n\n笔底带着沉静古意，皴法温厚敦实，墨色干湿互用，将重岚吞吐、云封户牖的幽寂山居写尽。诗画相生，没有繁复刻画，却把林泉高致藏在每一处留白晕染中，淡而弥远，静中生趣，尽显文人山水的雅逸襟怀。",[24,30,385,109,28,80,495,86,111,151,36,1262,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d8516760a361a91553e3cc73638d0c.jpg",[],{"id":8794,"slug":8795,"title":2300,"dynasty":54,"author":5719,"museum":242,"description":8796,"tags":8797,"thumbUrl":8798,"material":605,"size":606,"collection":285,"collections":8799,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":49},237522,"shan-shui-ce-chen-zi-237522","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,25,149,385,28,132,30,166,495,36,7,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc2d8d9a7d3a1eeb8fc1c642e189f60.jpg",[],{"id":8801,"slug":8802,"title":4254,"dynasty":126,"author":8803,"museum":242,"description":8804,"tags":8805,"thumbUrl":8806,"material":605,"size":606,"collection":285,"collections":8807,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},237501,"shan-shui-hua-hui-ce-jiang-shou-cheng-237501","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。",[24,25,385,28,109,80,131,133,30,309,82,7,111,135,2026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cb01483ce49386bed6ce637a3c66bb.jpg",[],{"id":8809,"slug":8810,"title":2300,"dynasty":54,"author":8811,"museum":242,"description":8812,"tags":8813,"thumbUrl":8814,"material":186,"size":285,"collection":285,"collections":8815,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},237372,"shan-shui-ce-wang-jiu-237372","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[24,25,385,109,30,80,131,133,7,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99fab46134f266acd40051f17eaec64b.jpg",[],{"id":8817,"slug":8818,"title":2300,"dynasty":54,"author":7043,"museum":242,"description":8819,"tags":8820,"thumbUrl":8821,"material":605,"size":606,"collection":285,"collections":8822,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},236969,"shan-shui-ce-chen-jia-le-236969","陈嘉乐（生卒年不详），又名陈嘉荣，字子显，号东原。清代济南历城人。善诗，工书画，尤长于山水。画学王原祁风格，乾隆年间闻名于画坛。后被道光皇帝第九子、孚敬郡王奕譓请到京邸，跟其学画。",[24,385,109,28,80,30,135,82,7,720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01dcb894b6bcc20ac83c6a39b439c6f.jpg",[],{"id":8824,"slug":8825,"title":8826,"dynasty":54,"author":4559,"museum":20,"description":7447,"tags":8827,"thumbUrl":8828,"material":285,"size":285,"collection":98,"collections":8829,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":327},236193,"hua-shan-shui-qian-ru-cheng-shu-yong-long-quan-pan-zi-shi-cheng-shan-dong-bang-da-236193","画山水钱汝诚书咏龙泉盘子诗成扇",[24,25,2203,30,109,80,131,132,82,35,7,85,115,1505,4101,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34acdc9056c7fd7283ac060b7ce77fd1.jpg",[98,45],{"id":8831,"slug":8832,"title":7529,"dynasty":126,"author":7930,"museum":242,"description":8833,"tags":8834,"thumbUrl":8835,"material":285,"size":285,"collection":285,"collections":8836,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},235625,"fang-gu-shan-shui-ce-shen-hao-235625","此作以水墨晕染村居小景，虬曲古木与柔润新篁并立，刚柔相映生趣。矮墙围合村舍，篱畔野草丛生，平波微漾，远景烟树朦胧氤氲。画中添两步行旅人，为静谧图景晕开人间烟火气。\n\n笔触简淡松灵，以留白铺陈悠远空寂，淡墨晕染出江南乡野的清寂闲逸。左上角题字古雅端方，书画合璧，更添幽淡萧散的文人意趣，将闲淡悠远的林下之思融于尺幅之间，简笔写意中尽得山水小品的空灵意境。",[24,25,149,385,109,80,30,495,1891,1225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48490e82e3cc80ca90b86d926e498140.jpg",[],{"id":8838,"slug":8839,"title":7529,"dynasty":126,"author":7930,"museum":242,"description":8840,"tags":8841,"thumbUrl":8842,"material":285,"size":285,"collection":285,"collections":8843,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},235624,"fang-gu-shan-shui-ce-shen-hao-235624","此作用笔简淡清逸，两峰隔溪对坐，枯笔皴擦勾勒出山石嶙峋苍古之态，尽显山石肌理的苍浑质感。山间林木萧疏，虬曲枝桠间以淡墨点苔，晕染出草木清润意趣。留白作溪涧云气，虚实相生，漾出空寂幽远的林下意境。\n\n右上角题以隽秀小楷，书画相映成趣，糅合笔墨文思，尽显文人雅韵。整体构图简括空灵，脱尽尘俗烟火气，以极简的山水形制传递出悠远的林泉逸趣，寄寓着静守丘山、清远自持的襟怀，尽显文人山水的审美意趣。",[149,24,385,308,130,109,80,133,132,30,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11c978244be0eb5f200755456ab9cd9b.jpg",[],{"id":8845,"slug":8846,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":8847,"thumbUrl":8848,"material":592,"size":285,"collection":285,"collections":8849,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},234752,"huang-shan-tu-ce-jiang-zhu-234752",[24,30,28,80,385,31,82,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe871b89fd827ad062001df9635ce5b4d.jpg",[],{"id":8851,"slug":8852,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":8853,"thumbUrl":8854,"material":592,"size":285,"collection":285,"collections":8855,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},234728,"huang-shan-tu-ce-jiang-zhu-234728",[149,24,25,385,109,30,31,7,1891,35,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398f34688994bd33315f53250866d2b1.jpg",[],{"id":8857,"slug":8858,"title":8859,"dynasty":54,"author":8860,"museum":20,"description":8861,"tags":8862,"thumbUrl":8863,"material":592,"size":8864,"collection":285,"collections":8865,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},234499,"bai-ying-lou-tu-ce-ye-shi-er-zhi-234499","拜影楼图册页","史尔祉","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[24,25,385,109,30,166,495,36,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F606478c7dda13ae2089d32b26200ba31.jpg","纵19.5厘米 横16.0厘米",[],{"id":8867,"slug":8868,"title":2300,"dynasty":54,"author":8869,"museum":242,"description":8870,"tags":8871,"thumbUrl":8872,"material":285,"size":285,"collection":285,"collections":8873,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},234343,"shan-shui-ce-jin-ting-biao-234343","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -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。",[24,109,28,30,35,36,7,80,131,133,385],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf0e6fd5134ff670995f1039c11086b.jpg",[],{"id":8875,"slug":8876,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":8877,"thumbUrl":8878,"material":592,"size":6812,"collection":285,"collections":8879,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},233887,"huang-shan-tu-ce-mei-qing-233887",[24,25,385,109,28,30,198,82,35,7,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031cbd2b7fb893838d1f4d06f6205773.jpg",[],{"id":8881,"slug":8882,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":8883,"thumbUrl":8885,"material":592,"size":6812,"collection":285,"collections":8886,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},233429,"huang-shan-tu-ce-mei-qing-233429",[24,109,30,385,80,8884,82,309,7,133],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b44c628fe1686b51a5d8febfd1e871.jpg",[],{"id":8888,"slug":8889,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":8890,"thumbUrl":8891,"material":592,"size":6812,"collection":285,"collections":8892,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},233158,"huang-shan-tu-ce-mei-qing-233158",[24,109,80,385,131,133,30,166,309,151,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe552749b978d50ac06c592811531b053.jpg",[],{"id":8894,"slug":8895,"title":8896,"dynasty":2995,"author":8897,"museum":242,"description":8898,"tags":8899,"thumbUrl":8900,"material":605,"size":606,"collection":285,"collections":8901,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},231719,"jiang-hu-shi-dai-shan-shui-tu-ping-feng-di-yi-ping-peng-cheng-bai-chuan-231719","江户时代 山水图屏风-第一屏","彭城百川","1697-1752 江户时代中期的画家。",[23,24,30,386,109,80,28,198,86,111,35,82,7,364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2459b6003b2266b79592c88255f0a1c.jpg",[],{"id":8903,"slug":8904,"title":8905,"dynasty":2995,"author":55,"museum":242,"description":8906,"tags":8907,"thumbUrl":8912,"material":605,"size":606,"collection":285,"collections":8913,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},231615,"jiang-hu-shi-qi-zhang-xiao-zhi-zhan-tu-juan-yi-ming-231615","江户时期 长篠之战图卷","淡赭底色晕开朦胧烟霭，苍松错落点缀郊野，简淡写意勾勒出开阔疏朗的战地景致。右下角武士甲胄齐整，军旗猎猎排布，红日旗、穗旗次第舒展，静穆画面暗涌肃杀战意。作者以留白衬出兵行旷野的沉凝氛围，将写意山水与写实军阵相融，用雅致柔和的和风笔调，把古战场战前的张力藏于清淡色彩之间，于极简构图里铺陈出战事将临的沉谧氛围。",[23,26,28,29,58,309,2837,8908,8909,8910,8911,7],"红日旗","蓝旗","盔甲","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65e0a4e2df78359229bc0806c15e081.jpg",[],{"id":8915,"slug":8916,"title":8917,"dynasty":2995,"author":55,"museum":242,"description":8918,"tags":8919,"thumbUrl":8920,"material":285,"size":285,"collection":285,"collections":8921,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},225342,"fu-shi-hui-95-yi-ming-225342","浮世绘95","崖边席地的旅人正静聆飞瀑，青绿苔岫晕染出山林苍润的生机。山泉自洞窟水潭奔涌直下，规整竖线摹写出水流奔淌的沉凝力量，上方涡旋水纹蓝白交错，和飞瀑的直挺线条形成动静呼应。暖黄与浅柔草色铺陈山野，衬得幽蓝水色愈发清冽深邃。\n\n画面将山林幽寂的禅意融于雅致配色，把耽于林泉的闲雅心境具象化，空灵静美的韵致里，似能听见瀑声回荡空谷，将自然野趣与文人幽怀晕染在纸面之中。",[4157,4158,28,83,60,58,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F024f0b69b72d40a1727f1dcd80154460.jpg",[],{"id":8923,"slug":8924,"title":8925,"dynasty":54,"author":4559,"museum":75,"description":8926,"tags":8927,"thumbUrl":8928,"material":186,"size":8929,"collection":285,"collections":8930,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},223111,"duan-qiao-can-xue-yu-ti-zhou-dong-bang-da-223111","断桥残雪御题轴","《断桥残雪图》画的是杭州西湖十景之一“断桥残雪”景。白堤第一桥曰断桥，界于前后两湖之间。春雪未消，悉琼林瑶树，晶莹朗澈。\n断桥残雪是西湖上著名的景色，以冬雪时远观桥面若隐若现于湖面而称著。属于西湖十景之一。每当瑞雪初霁，站在宝石山上向南眺望，西湖银装素裹，白堤横亘雪柳霜桃。断桥的石桥拱面无遮无拦，在阳光下冰雪消融，露出了斑驳的桥栏，而桥的两端还在皑皑白雪的覆盖下。依稀可辩的石桥身似隐似现，而涵洞中的白雪奕奕生光，桥面灰褐形成反差，远望去似断非断，故称断桥。明代画家李流芳《西湖卧游图题跋——断桥春望》称：“往时至湖上，从断桥一望，魂销欲死。还谓所知，湖之潋滟熹微，大约如晨光之着树，明月之入庐。盖山水映发，他处即有澄波巨浸，不及也。”",[23,24,25,79,109,30,80,229,7,35,36,86,111,82,364,2777,1505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6591715b6da5650f2c0cb662f335d50c.jpg","68.6x38.2厘米",[],{"id":8932,"slug":8933,"title":8934,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":8936,"thumbUrl":8939,"material":109,"size":285,"collection":285,"collections":8940,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},216840,"zhan-zheng-tong-ban-hua-4-lang-shi-ning-216840","战争铜版画-4","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[8937,4541,8938,58,782,30,35,82,8911,8593,7,2775,32],"铜版画","战争","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40c54aa776e0f6a4696da694a2a0b89.jpg",[],{"id":8942,"slug":8943,"title":8944,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":8945,"thumbUrl":8951,"material":109,"size":285,"collection":285,"collections":8952,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":69},216818,"zhan-zheng-tong-ban-hua-26-lang-shi-ning-216818","战争铜版画-26",[8937,8946,4541,8947,8592,112,8948,8949,8950,7,35,199,8911],"中西合璧","线刻","城堡","防御工事","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c195a3d473ba74b85895cba0a65460.jpg",[],{"id":8954,"slug":8955,"title":2300,"dynasty":54,"author":842,"museum":181,"description":8956,"tags":8957,"thumbUrl":8958,"material":285,"size":285,"collection":98,"collections":8959,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":8960},203424,"shan-shui-ce-gong-xian-203424","这幅册页以水墨绘就，笔墨沉雄厚重。山峦用积墨皴染层层叠加，尽显石质坚凝；坡岸枯树虬枝交错，疏朗间见苍劲。蜿蜒小径穿林而过，几间小屋隐于林间，添些许烟火气。远山淡墨轻笼，云雾氤氲，留白处空灵悠远。整体意境清寂淡远，笔力精湛，于方寸间勾勒出冬日山林的静谧苍茫，尽显自然之趣与画家笔墨功力。",[30,109,80,672,385,82,649,1891,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d21a6dfe49e6a24403d0abe1e899284.jpg",[98],"cac3bd",{"id":8962,"slug":8963,"title":5092,"dynasty":3756,"author":3757,"museum":181,"description":8964,"tags":8965,"thumbUrl":8966,"material":285,"size":285,"collection":285,"collections":8967,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":8968},202744,"huang-shan-tu-zhou-huang-bin-hong-202744","峰峦层叠间云雾氤氲，黄山的奇秀与雄浑尽纳于尺幅。笔墨苍劲老辣，皴擦点染交错，山石肌理如斧劈般硬朗，墨色浓淡干湿相济，显浑厚华滋之韵。山间林木葱茏，几处屋舍隐于岩岫下，静谧悠远似藏幽趣。整体气象沉雄灵动，融自然神韵与文人胸臆，尽显传统山水画的深邃意境。",[24,30,80,109,28,82,7,1505,603,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ffabc015ea4f3e4a60af72eb464af7.jpg",[],"cecbc2",{"id":8970,"slug":8971,"title":8972,"dynasty":54,"author":4406,"museum":181,"description":8973,"tags":8974,"thumbUrl":8975,"material":285,"size":285,"collection":285,"collections":8976,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":8977},202698,"chun-yan-tu-zhou-zhang-gu-202698","春烟图轴","层岩叠嶂间，云雾如缕似纱，轻笼山川，晕开朦胧春韵。山石以皴法写就，线条苍劲，纹理毕现，显浑厚古朴之态；林木疏密相衬，枝干虬劲，叶色深浅交错，添生机灵动。山间小径蜿蜒隐现，几处屋舍错落于林泉旁，似藏隐逸闲居之趣。画面以水墨设色，色调淡雅温润，意境清幽静谧，笔墨间尽展春山烟霭的空灵之美，仿佛可感山风轻拂，可闻泉声潺潺，尽显传统山水画的笔墨情致与自然意趣。",[24,362,109,28,80,82,35,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed539777f14128b4f39145f9355a8671.jpg",[],"97735f",{"id":8979,"slug":8980,"title":8981,"dynasty":126,"author":8982,"museum":181,"description":8983,"tags":8984,"thumbUrl":8987,"material":285,"size":285,"collection":285,"collections":8988,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":8989},202685,"shui-ge-ting-quan-tu-zhou-ge-zheng-qi-202685","水阁听泉图轴","葛徵奇","此作以水墨晕染铺陈山水意境，山峦轮廓用简练线条勾勒，皴擦结合的技法赋予山石苍劲肌理。近景水阁依岩傍泉，清泉穿石蜿蜒而下，似携泠泠声韵；疏朗林木挺劲多姿，叶簇以点染出自然韵致。远景云雾轻笼，层峦隐现，虚实相生间拓深画面悠远感。整体笔致清逸雅致，墨色层次丰富，尽显文人山水的清幽意趣，仿佛可闻泉声与林籁相和，引人沉醉于林泉寄傲的闲适之境。",[24,30,109,80,8985,8986,35,82,7,23],"水阁","泉流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17954556808e75f357507c014c1d280a.jpg",[],"c7b19e",{"id":8991,"slug":8992,"title":466,"dynasty":54,"author":8993,"museum":181,"description":8994,"tags":8995,"thumbUrl":8996,"material":285,"size":285,"collection":285,"collections":8997,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":8998},202488,"xian-shan-lou-ge-tu-zhou-you-ying-202488","尤英","画面以淡墨轻彩铺陈，云雾氤氲间，层叠楼阁依奇峰而建，飞檐翘角尽显界画之精。山石以皴法勾勒，纹理苍劲；古松虬枝盘曲，松针细密如织。山间人物或凭栏远眺，或缓步游赏，空中仙人乘云而来，动静相宜。整体意境清寂高远，仙气缥缈，工笔细腻处见匠心，设色淡雅中显空灵，将仙山胜境的虚幻与真切融为一体，引人入胜。",[24,29,28,30,198,58,386,80,150,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea17b80ef3c80f912789c28fdf217474.jpg",[],"cbb7a1",{"id":9000,"slug":9001,"title":2643,"dynasty":54,"author":5819,"museum":181,"description":9002,"tags":9003,"thumbUrl":9005,"material":285,"size":285,"collection":285,"collections":9006,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":9007},202103,"shan-shui-tu-zhou-zhu-ang-zhi-202103","画面以水墨写意出山川之姿，峰峦层叠险峻，笔触勾勒山石轮廓，皴染结合尽显肌理质感，雄浑中见秀逸。山间云雾氤氲，留白与墨色交融，虚实相生间拓延悠远意境。近景林木苍劲，枝干挺劲，墨色浓淡交错；山坳隐现小屋，添几分尘世暖意。整体笔墨洒脱，既有传统山水的笔墨底蕴，又具个人情致，尽显自然静谧灵秀之态。",[109,30,80,79,35,7,82,9004],"小","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc78c8a9ac7b038797a4e3ab6bd5413.jpg",[],"b7a694",{"id":9009,"slug":9010,"title":9011,"dynasty":54,"author":9012,"museum":181,"description":9013,"tags":9014,"thumbUrl":9015,"material":285,"size":285,"collection":98,"collections":9016,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":9017},201660,"mao-lin-xian-guan-tu-zhou-wang-hui-201660","茂林仙馆图轴","王翬","峰峦层叠间，皴法细腻晕染山石纹理，苍劲中见秀润；云雾轻缠山腰，似隐似现添空灵之韵。山麓茂林修竹亭亭，几重楼阁依林而建，界画工整精致，飞檐翘角尽显古雅。蜿蜒小径穿林而过，偶见人影点缀，更增生趣。笔墨融南北宗之长，既有北派山水的雄浑气势，又具南派的清逸雅致，整体意境清幽静谧，仿佛仙源胜地，引人入胜。",[24,30,198,80,386,28,1039,82,7,649,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb25aef68d85f1b4b5509c6bf241af3.jpg",[98],"beaa9d",{"id":9019,"slug":9020,"title":9021,"dynasty":54,"author":3788,"museum":181,"description":9022,"tags":9023,"thumbUrl":9024,"material":285,"size":285,"collection":285,"collections":9025,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":9026},201522,"shi-zi-feng-tu-zhou-mei-qing-201522","狮子峰图轴","画面中山峦层叠耸峙，峰脊线条硬朗灵动，墨色浓淡交错间，尽显山石苍劲质感。云雾如缕缠绕峰谷，虚实相生，营造深远空间意境。山腰隐现的亭阁，为雄奇山水添几分人文意趣，似可闻隐士凭栏之声。笔触兼用皴擦渲染，干湿互济，既勾山骨，又晕云柔，尽显黄山狮子峰的奇险秀美。画风洒脱自然，雄浑中见雅致，是文人山水的典型之作。",[24,30,109,28,80,151,7,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb1879db814abd741cb56fbd330929.jpg",[],"ae9e89",{"id":9028,"slug":9029,"title":9030,"dynasty":54,"author":9031,"museum":181,"description":9032,"tags":9033,"thumbUrl":9034,"material":285,"size":285,"collection":98,"collections":9035,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":9036},201480,"fan-gang-gui-zhao-tu-zhou-wu-hong-201480","梵岗归棹图轴","吴宏","画面中山石以皴法勾勒，笔墨苍劲浑厚，层叠峰峦间云雾轻笼，古寺隐于林木深处，添几分静谧禅意。远处江面归棹缓缓，似载晚归渔者，意境悠远恬淡。设色淡雅却见层次，构图错落有致，将自然山川的雄浑与人文景致的清幽相融，传递出深远山水情韵，引人沉醉。",[28,80,30,198,135,111,7,1505,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F420ee42ac131ea15f0a314ee5497891a.jpg",[98],"8a704f",{"id":9038,"slug":9039,"title":9040,"dynasty":126,"author":9041,"museum":181,"description":9042,"tags":9043,"thumbUrl":9044,"material":285,"size":285,"collection":98,"collections":9045,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":9046},201444,"yun-yang-zao-xing-tu-zhou-xie-jin-201444","云阳早行图轴","谢缙","晨雾轻笼峰峦，皴笔勾勒的山石苍劲，林木葱茏间云气流转。近坡古松虬枝盘曲，树下旅人策马路过，身影隐于霭色中。水墨浓淡晕染出虚实层次，远山近树在云雾里相映成趣，笔意苍秀兼具，传递出早行的清寂悠远。仿佛能嗅到山间朝露的清新，听见松风掠过的轻响，将清晨行旅的静谧氛围凝于画卷。",[30,109,80,782,1262,35,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f23cd84a7cdcf121096e8863e796521.jpg",[98],"9f9990",{"id":9048,"slug":9049,"title":9050,"dynasty":54,"author":2511,"museum":181,"description":9051,"tags":9052,"thumbUrl":9053,"material":285,"size":285,"collection":98,"collections":9054,"showCount":236,"zanCount":48,"manualWeight":48,"mainColor":9055},201431,"mao-wu-yu-zhu-tu-zhou-hua-yan-201431","茅屋雨竹图轴","画面以雨竹为核心，丛竹疏密交织，墨色浓淡相济，竹叶间似凝雨意，笔触洒脱灵动。掩映处茅屋半露，屋内人影依稀，漾出几分闲适雅致。背景远山淡彩晕染，云雾缭绕，与近景浓墨竹影虚实相映，营造出清幽空灵的意境。笔墨兼工带写，既捕捉竹之挺拔神韵，又彰显山水之悠远，传递出文人雅士于林间居所的悠然心境。",[24,25,79,109,28,29,214,961,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab16f03305e3572e921904f176270a9.jpg",[98],"a89179",{"id":9057,"slug":9058,"title":9059,"dynasty":2995,"author":55,"museum":242,"description":9060,"tags":9061,"thumbUrl":9066,"material":605,"size":606,"collection":285,"collections":9067,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},288710,"william-blake-angel-of-the-revelation-yi-ming-288710","William Blake--Angel of the Revelation","挺拔的天使周身漫溢暖金神光，抬手昭告天启降临，另一手紧攥载满圣谕的经卷。他赤足立于惊涛之上的岩礁，熔火光焰缠绕踝间，躯体的线条凝练而充满力量感，将神性威严与精神伟力具象化。\n\n云霭间簇拥的众灵神态各异，或敬畏凝视，或惶惑低语，以凡俗的渺小反衬出天使的崇高孤绝。淡彩晕染出朦胧又磅礴的神光明暗，柔和笔触勾勒的神圣辉光，将天启时刻的庄严肃穆铺展开来，让观者仿若亲历神谕降下的瞬间，灵魂随这束神光震颤，沉浸在神圣降临的震撼之中。",[322,9062,28,9063,8732,9064,7,350,9065],"人物画","天使","光芒","圣经题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2042e8386e1bfa58d6347b9ebb4fb5c1.jpg",[],{"id":9069,"slug":9070,"title":9071,"dynasty":54,"author":55,"museum":242,"description":9072,"tags":9073,"thumbUrl":9077,"material":605,"size":606,"collection":285,"collections":9078,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":327},273637,"zi-tan-mu-bian-zuo-hua-bo-li-cha-ping-yi-ming-273637","紫檀木边座画玻璃插屏","此作以玻璃为底，铺陈墨色夜幕晕开沉幽底色，青绿皴染的层叠山峦苍劲古雅，松林木色鲜亮蓊郁，将深山林壑勾勒得层次分明。\n山腰间朱墙黄宇的古寺院落温润醒目，山道与庭间的行人缓步徐行，为静谧夜色晕开鲜活烟火气。天际流云裹挟光晕翻涌，和山涧流泉动静相映，把山寺夜中清寂又不失暖意的景致凝于屏间。\n搭配镂空雕花座架，古雅工致和画中清隽意趣呼应，整体雅致悠然，尽显传统山水的古典意境。",[9074,9075,9076,28,30,198,58,150,112,35,7],"玻璃画","插屏","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf9752eed848236be7a59a50a22856f.jpg",[],{"id":9080,"slug":9081,"title":9082,"dynasty":54,"author":55,"museum":242,"description":9083,"tags":9084,"thumbUrl":9086,"material":605,"size":606,"collection":285,"collections":9087,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},272863,"zi-tan-mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272863","紫檀木边画玻璃山水图挂屏","此作以玻璃为底，晕染出缥缈仙山胜境。近崖临水立起四方亭台，碧波粼粼拍打着岸石，山道蜿蜒穿梭于苍松石间，草木鲜亮点缀其间。云气如练缠绕山谷，将中景奇峰托起，琼楼殿宇半藏于云岫翠微间，远景青峰破云而出，在朦胧天光下愈显幽远空灵。\n\n创作者糅合西洋光影晕染技法，让云雾虚实层次柔和通透，又恪守传统界画工整雅致的意韵，将世外山居的清雅理想藏入画中。温润古朴的紫檀边框呼应冷冽通透的玻璃画面，让这方洞天愈发清虚超脱，尽显清代玻璃画中西合璧的别致风韵，将悠远的仙道意韵晕染得诗意盎然。",[24,9085,9074,28,386,30,198,151,7,1660,2026],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fd757b58b9b10f501bed2a8d840da8f.jpg",[],{"id":9089,"slug":9090,"title":2300,"dynasty":54,"author":1910,"museum":242,"description":8449,"tags":9091,"thumbUrl":9092,"material":605,"size":606,"collection":285,"collections":9093,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},239333,"shan-shui-ce-cha-shi-biao-239333",[24,25,385,109,30,134,7,80,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a22c129bceea4111e69815da2ba08d.jpg",[],{"id":9095,"slug":9096,"title":7590,"dynasty":54,"author":7591,"museum":242,"description":9097,"tags":9098,"thumbUrl":9099,"material":285,"size":285,"collection":285,"collections":9100,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},239200,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239200","此帧以水墨绘山居清景，山谷间村居错落，林木蓊郁，飞泉穿岩漱石，层峦以淡墨晕染出空濛烟岚，将江南山水温润之态尽数铺展。笔墨以干笔皴擦出山石肌理，墨色层次清润柔和，意境幽寂淡远。左侧行书题跋笔致苍劲朴拙，书画相映成趣，尽显文人雅意。画面寄寓着幽居林泉的隐逸襟怀，将沉郁静穆的心境融于丘壑林泉，笔底皆是世外丘山，毫端尽见林下高致。",[24,109,385,80,131,133,30,86,111,198,151,35,82,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27dfdc15d81e286e5bd0c0537523e416.jpg",[],{"id":9102,"slug":9103,"title":4254,"dynasty":54,"author":9104,"museum":242,"description":9105,"tags":9106,"thumbUrl":9107,"material":285,"size":285,"collection":285,"collections":9108,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},239166,"shan-shui-hua-hui-ce-chen-heng-ke-239166","陈衡恪","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》。",[24,109,385,80,30,166,495,459,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d6d3b1021fc74e183b7371dc5a4dc3.jpg",[],{"id":9110,"slug":9111,"title":8456,"dynasty":54,"author":4559,"museum":242,"description":9112,"tags":9113,"thumbUrl":9114,"material":285,"size":285,"collection":285,"collections":9115,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238754,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238754","此作诗画合璧，左文右图尽显文人雅趣。远山以淡墨晕染，朦胧如黛，铺陈出江天寥廓的空寂。近岸以细腻皴法写山石草木，苍润秀雅，野意盎然。水面之上两艘渔舟轻漾，舟中人物神态松弛，或低语或抬手，将江上行旅的悠然野趣具象呈现。\n\n笔墨清润柔和，留白烘托出山水间的空寂禅意，搭配左侧行书题诗，诗画相映，将寄情山水的文人心怀融于尺幅之间，平和悠远，把江乡闲游的恬澹况味娓娓道来。",[24,109,30,385,80,111,135,58,112,35,2014,82,34,7,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcfe32360689195263600ec19b3582d.jpg",[],{"id":9117,"slug":9118,"title":2300,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":9119,"thumbUrl":9120,"material":605,"size":606,"collection":285,"collections":9121,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238707,"shan-shui-ce-dong-bang-da-238707",[24,109,30,80,385,82,35,36,83,7,85,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff776e073d0701ac91f35614a2dc3aeb6.jpg",[],{"id":9123,"slug":9124,"title":8768,"dynasty":54,"author":1361,"museum":242,"description":9125,"tags":9126,"thumbUrl":9127,"material":285,"size":285,"collection":285,"collections":9128,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238517,"shan-shui-xiao-ce-qian-wei-cheng-238517","此作以干笔皴擦绘就山野村居，近岸乱石环水，杂木虬曲苍劲，田埂盘山而上，错落村舍隐在林木山坳间，石墙山道逶迤，将烟火人家与幽深山野相融。全幅以墨色分出阴阳向背，山峦厚重、林木秀劲皆在笔锋枯润间尽显，无艳色晕染，自带着疏淡苍润的意趣。题款小字清雅，与山水浑然一体，将文人山居的悠然隐逸藏在尺幅间，笔底浸着沉静的田园意韵，把寻常山乡绘成了可游可居的诗意天地，诉尽乡野间不被惊扰的静好岁月。",[24,385,109,80,30,495,82,649,36,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d74b7e7bc3babf90f8f52feb26c683.jpg",[],{"id":9130,"slug":9131,"title":8768,"dynasty":54,"author":1361,"museum":242,"description":9132,"tags":9133,"thumbUrl":9134,"material":285,"size":285,"collection":285,"collections":9135,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238516,"shan-shui-xiao-ce-qian-wei-cheng-238516","此作用笔秀润温和，以浅淡设色晕染出江南暮春晚景。近岸垂柳疏朗，柔丝轻拂水面，孤舍静立水滨，愈显清寂闲淡。对岸烟树错落，人家隐现于淡赭烟岚之间，远山以淡墨轻勾，和空濛水色相融一体，晕开黄昏暖意。\n\n行书题诗与画境相映，将水乡暮色里的慵懒诗意娓娓道来，没有繁复皴擦，以极简笔墨营造出悠远空静的文人意趣，将平淡天真的水乡烟景与清雅襟怀相融，尽显雅致恬淡的山水意韵。",[24,25,385,28,30,1092,459,229,2014,82,35,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ee62f6b8cf88564b2a2077dd093ace.jpg",[],{"id":9137,"slug":9138,"title":2300,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":9139,"thumbUrl":9140,"material":285,"size":285,"collection":285,"collections":9141,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238307,"shan-shui-ce-dong-bang-da-238307",[24,109,80,385,30,82,35,36,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5944275d81b094ef0ee2295d49fa7fb.jpg",[],{"id":9143,"slug":9144,"title":7027,"dynasty":54,"author":7028,"museum":242,"description":9145,"tags":9146,"thumbUrl":9147,"material":285,"size":285,"collection":285,"collections":9148,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238224,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238224","此作山峦层叠，以干笔皴擦晕染，浑朴苍润，尽显夏山沉厚肌理。近岸林木蓊郁，板桥通幽，野居隐于翠微间，漾着山居的恬然意趣。落照漫过山岚，将暮色温煦铺陈开来，晕染出夏日山野的静穆悠长。\n\n诗书合璧，题咏衬景，笔底追摹古意又自含灵秀，将江南夏夕的沉宁诗意晕染纸上，把山野暮色的悠然定格，藏着文人画平淡天真的隽永风神。",[24,25,385,130,30,109,80,112,35,85,86,82,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf179075dd529cfd9657085347521301.jpg",[],{"id":9150,"slug":9151,"title":7027,"dynasty":54,"author":7028,"museum":242,"description":9152,"tags":9153,"thumbUrl":9154,"material":285,"size":285,"collection":285,"collections":9155,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238217,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238217","此作用浅绛设色绘秋山平远之景，云雾翻涌裹挟峰峦，虚实间晕染出空濛烟岚之态。近岸苍松错落，林麓村舍隐现，江水蜿蜒如练，载着清寂秋意缓缓铺展。\n笔墨追摹古法，皴擦温润苍秀，设色淡雅柔和，将暮秋山林的萧疏静谧晕染尽致。搭配题诗题跋，诗画合璧，尽显文人山水的雅致意趣，于尺幅间铺展出林泉幽寂之美，笔底藏着从容古韵，将悠然林下襟怀融于淡远氤氲之中。",[24,25,385,109,28,80,130,30,112,7,32,35,229,230,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc48bcb368250e04d6101e309e967d0.jpg",[],{"id":9157,"slug":9158,"title":2300,"dynasty":54,"author":3538,"museum":242,"description":9159,"tags":9160,"thumbUrl":9161,"material":285,"size":285,"collection":285,"collections":9162,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},238156,"shan-shui-ce-yun-xi-238156","此作为诗画合璧的文人山水小品，以淡墨皴染绘就幽寂山居。远景峰崖巍峨，云气萦回，将山巅托于虚缈之间，近岸汀渚错落，林木萧疏，村居隐于林麓，野趣自生。\n\n左侧行书秀雅俊朗，诗句呼应画中意境，黛岚消尽、白云人家，将丘壑林泉间的隐逸闲情娓娓道来。笔墨简淡却意致悠长，以清润水墨写尽林泉幽旷之态，诗画相映，尽显文人画寄情山水、栖心丘园的雅逸襟怀。",[24,25,385,109,80,132,133,30,495,528,199,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f37a05bb8fd2d1327d5883cdc19391e.jpg",[],{"id":9164,"slug":9165,"title":2300,"dynasty":54,"author":9166,"museum":242,"description":9167,"tags":9168,"thumbUrl":9169,"material":605,"size":606,"collection":285,"collections":9170,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9171},237999,"shan-shui-ce-qin-zu-yong-237999","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 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。",[24,25,385,109,80,132,30,166,528,495,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc59d493ba3558b9ab1b0617ad3a92e7b.jpg",[],"FFFFFF",{"id":9173,"slug":9174,"title":9175,"dynasty":54,"author":9176,"museum":242,"description":9177,"tags":9178,"thumbUrl":9179,"material":605,"size":606,"collection":285,"collections":9180,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},237796,"fang-huang-gong-wang-shan-shui-shan-zhu-xu-237796","仿黄公望山水扇","朱虚","此作用干笔淡墨绘就林泉丘壑，近岸坡石错落，长松挺秀苍劲，杂木枝桠舒展，生机暗藏。中景山岩以披麻皴写就，笔致松秀温润，飞泉隐于岩隙，似可闻声。远山简淡空灵，留白衬出悠远意境。\n\n整体师法元人山水意趣，墨色清和淡雅，层次疏朗，淡赭扇底晕染出古雅质感，右上角题识与画面浑然相融，将山林清旷之美凝于盈尺之间，气息萧散简远，尽显文人画静穆淡逸的雅韵，淡而弥厚，清寂悠然。",[149,24,25,2203,109,80,130,30,82,35,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efc24932b1988215711d3d4e9f8748d.jpg",[],{"id":9182,"slug":9183,"title":9184,"dynasty":54,"author":8016,"museum":242,"description":9185,"tags":9186,"thumbUrl":9187,"material":605,"size":606,"collection":285,"collections":9188,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},237643,"li-yin-fang-gu-shan-shui-ce-li-yin-237643","李寅仿古山水册","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。",[24,109,385,132,131,133,80,308,30,507,961,151,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26d71b16b958723b97993811b3cd916.jpg",[],{"id":9190,"slug":9191,"title":4254,"dynasty":126,"author":8803,"museum":242,"description":8804,"tags":9192,"thumbUrl":9193,"material":605,"size":606,"collection":285,"collections":9194,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},237513,"shan-shui-hua-hui-ce-jiang-shou-cheng-237513",[24,25,385,109,28,132,30,166,35,111,7,36,80,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2ef48e14ad8c53446249150754aaab.jpg",[],{"id":9196,"slug":9197,"title":5828,"dynasty":54,"author":854,"museum":242,"description":5829,"tags":9198,"thumbUrl":9199,"material":285,"size":285,"collection":285,"collections":9200,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},236448,"ni-qian-ren-shi-yi-ce-wang-hui-236448",[149,24,25,385,109,30,80,82,35,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d262b4910f53df6bc971c718088a4aa.jpg",[],{"id":9202,"slug":9203,"title":9204,"dynasty":126,"author":55,"museum":242,"description":9205,"tags":9206,"thumbUrl":9207,"material":285,"size":285,"collection":285,"collections":9208,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},236433,"shu-zhi-shan-shui-ce-yi-ming-236433","殳执山水册","此作以淡墨晕染出空濛月夜山境，云雾留白铺陈，将山林古刹托于烟霭之中。明月悬于浅灰天际，古松虬枝、佛塔禅院隐现云间，似远还近。枯淡线条勾勒松木枝桠，蓬松云气以水墨晕染而成，淡赭轻点秋叶，清冷又带着几缕暖色生机。\n整幅画作将秋夜幽寂写得如诗似幻，清寂空灵间满是禅意，把寄情林泉、寻味尘外的意趣藏于尺幅之间，寥寥笔墨便勾勒出超脱尘俗的山水禅境，尽显小品山水的雅致意韵。",[24,25,385,109,28,30,386,198,150,648,82,35,7,134,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc5f70ff9752b852ec1d91690ace04e.jpg",[],{"id":9210,"slug":9211,"title":6500,"dynasty":54,"author":9212,"museum":242,"description":9213,"tags":9214,"thumbUrl":9215,"material":605,"size":606,"collection":285,"collections":9216,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},235918,"shan-shui-tu-ce-mei-chong-235918","梅翀","梅翀，明末清初画家，字培翌、培翼，号鹿墅，安徽宣城人，生卒年不详，艺术家，代表作《幽林探胜图》等。",[24,25,385,109,30,80,134,151,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9de35d6ab334a6dff958cc15b276a8.jpg",[],{"id":9218,"slug":9219,"title":9220,"dynasty":126,"author":55,"museum":242,"description":9221,"tags":9222,"thumbUrl":9223,"material":605,"size":606,"collection":285,"collections":9224,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},235140,"chen-dan-zhong-shan-shui-ce-yi-ming-235140","陈丹衷山水册","此作以没骨间杂浅绛晕染山峦，峰尖如黛，云雾在林麓间缓缓氤氲，将青碧山石与丹红霜叶晕融成朦胧空濛的秋山图景。山径蜿蜒隐没于茂草霜林间，萧索秋意裹着幽寂禅意漫开。\n\n笔意秀雅温润，以水色糅合墨韵消解了线条的凌厉，明丽设色又带着沉静质感，将晚秋山野的清旷萧寒含蓄铺展。左侧题诗与画境呼应，诗画合璧，点破万籁俱寂的深秋天光，尽显晚明山水崇尚的淡远萧疏之美，是文人寄情丘壑，以景抒怀的典型佳构。",[24,25,385,28,30,86,111,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232dcaea0c8b8b7c0d9fdd2d9376772e.jpg",[],{"id":9226,"slug":9227,"title":2300,"dynasty":54,"author":1959,"museum":242,"description":9228,"tags":9229,"thumbUrl":9230,"material":285,"size":285,"collection":285,"collections":9231,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},235107,"shan-shui-ce-wang-yuan-qi-235107","此作以渴笔淡墨铺展云山景致，层叠山峦以干笔皴擦勾勒嶙峋石骨，苍松错落在岩缝间虬劲挺拔。氤氲云海缠绕峰麓山腰，虚实相生，将冬日山林清寂萧寒又奇崛雄浑的意境缓缓铺陈。\n画风苍浑秀润，既带着黄公望浅绛山水的遗韵，又尽显熟中求生的笔墨法度，简淡中见苍茫厚重，留白处蒸腾着空蒙灵气，静穆山川的生机尽藏在枯淡笔意里，带着沉静内敛的文人雅韵，尽显娄东山水的典型意趣。",[24,25,385,109,80,30,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a16aaa414e41040f634975102937df.jpg",[],{"id":9233,"slug":9234,"title":9235,"dynasty":54,"author":9236,"museum":20,"description":8861,"tags":9237,"thumbUrl":9238,"material":592,"size":8864,"collection":285,"collections":9239,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},235027,"bai-ying-lou-tu-ye-hua-xu-235027","拜影楼图页","华胥",[24,109,28,385,58,30,590,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b0bdaf5d09fb16d7e6d701aa19561a.jpg",[],{"id":9241,"slug":9242,"title":2300,"dynasty":54,"author":4559,"museum":20,"description":8277,"tags":9243,"thumbUrl":9244,"material":285,"size":285,"collection":285,"collections":9245,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},234796,"shan-shui-ce-dong-bang-da-234796",[24,25,385,109,80,30,166,495,151,82,1505,229,1091,113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48d6dda4967c6f5cf4ee430a529366c3.jpg",[],{"id":9247,"slug":9248,"title":4658,"dynasty":54,"author":4659,"museum":20,"description":4660,"tags":9249,"thumbUrl":9250,"material":592,"size":285,"collection":285,"collections":9251,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},234732,"huang-shan-tu-ce-jiang-zhu-234732",[24,25,385,109,80,30,82,7,721,35,131,132,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb20278557b5536d5dd83267f755541.jpg",[],{"id":9253,"slug":9254,"title":2300,"dynasty":54,"author":8869,"museum":242,"description":8870,"tags":9255,"thumbUrl":9256,"material":285,"size":285,"collection":285,"collections":9257,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},234341,"shan-shui-ce-jin-ting-biao-234341",[24,30,28,80,309,82,7,36,649,35,385,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c17e5a71b8e74ab72942a2fcef0a5.jpg",[],{"id":9259,"slug":9260,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":9261,"thumbUrl":9262,"material":592,"size":6812,"collection":285,"collections":9263,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},233436,"huang-shan-tu-ce-mei-qing-233436",[24,109,30,385,80,214,31,7,247,82,60,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf5057451075fc3f6e26ecdc2281993.jpg",[],{"id":9265,"slug":9266,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":9267,"thumbUrl":9268,"material":592,"size":6812,"collection":285,"collections":9269,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},233159,"huang-shan-tu-ce-mei-qing-233159",[24,109,30,385,80,133,131,132,82,35,4789,229,7,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d7cb05d7e0dbeebdc6d3d6d01af09e.jpg",[],{"id":9271,"slug":9272,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":9273,"thumbUrl":9274,"material":592,"size":6812,"collection":285,"collections":9275,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},233156,"huang-shan-tu-ce-mei-qing-233156",[24,109,30,80,385,133,112,35,36,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e84eeeab538b1bb51d43d93d2971351.jpg",[],{"id":9277,"slug":9278,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":9279,"thumbUrl":9280,"material":592,"size":6812,"collection":285,"collections":9281,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},233154,"huang-shan-tu-ce-mei-qing-233154",[24,25,385,109,80,30,31,7,151,150,133,131,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8efd096915179d5dadc044f0c44890.jpg",[],{"id":9283,"slug":9284,"title":1163,"dynasty":2995,"author":55,"museum":242,"description":9285,"tags":9286,"thumbUrl":9287,"material":605,"size":606,"collection":285,"collections":9288,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},231690,"shan-shui-tu-juan-yi-ming-231690","此卷以平远之境铺陈，江水宛转串联淡墨晕染的浅丘远山，晕开江乡空濛的烟岚之气。江岸虬松卓立、茅舍错落，江心归帆缓行，将江南野渡日常的清寂萧散尽数铺展。\n笔墨简逸苍润，淡墨皴擦勾勒出柔缓的山峦肌理，枯笔写就的松枝苍劲老辣，留白衬出悠远余韵。左侧题跋与画面相映成趣，诗画合璧，尽显文人画简淡天真的林下之风，把江天无尽的闲淡诗意融于长卷之中。",[23,24,25,26,109,30,135,35,229,7,151,80,133,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf68c467bc6fdbbd23d17dbddac51dc.jpg",[],{"id":9290,"slug":9291,"title":9292,"dynasty":2995,"author":9293,"museum":242,"description":9294,"tags":9295,"thumbUrl":9296,"material":605,"size":606,"collection":285,"collections":9297,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":49},231627,"shi-ting-shi-dai-shan-shui-tu-zhou-yue-weng-cang-qiu-231627","室町时代 山水图轴","岳翁藏丘","这幅水墨山水以枯笔勾皴山石肌理，淡墨晕染烟岚，层岩峻岫隐于空濛雾气中，虚实相生铺展出春日山野的清寂空阔。\n\n汀洲古松挺劲苍秀，溪畔行人策杖徐行，山腰楼宇藏于林峦间，动静相映，尽显林泉幽致。题诗与画境呼应，诗画合璧，将春山烟雨间的林下幽居意趣娓娓道来，笔简意赅尽显文人山水的萧散雅逸，观之如踏入烟岚春山，漫染林泉间的闲淡古韵。",[23,24,25,79,109,80,30,198,309,58,83,82,7,151,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b5a4ac76cd422e8c48ebe8c84dbbe7.jpg",[],{"id":9299,"slug":9300,"title":9301,"dynasty":2995,"author":55,"museum":242,"description":9302,"tags":9303,"thumbUrl":9304,"material":285,"size":285,"collection":285,"collections":9305,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,25,26,109,308,80,30,135,83,309,3558,648,7,82,111,1694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":9307,"slug":9308,"title":9309,"dynasty":54,"author":55,"museum":242,"description":9310,"tags":9311,"thumbUrl":9316,"material":605,"size":606,"collection":285,"collections":9317,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":327},229330,"yu-guan-pu-cha-ping-yi-ming-229330","玉观瀑插屏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[9312,9313,9314,8297,30,83,58,309,82,111,198,7,9315],"玉石","雕刻","浮雕","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4767ca873bc970f56d2f686eed93aba.jpg",[],{"id":9319,"slug":9320,"title":9321,"dynasty":126,"author":1869,"museum":1063,"description":9322,"tags":9323,"thumbUrl":9324,"material":137,"size":9325,"collection":285,"collections":9326,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},217871,"zhou-li-yuan-shang-kuan-shen-ce-qi-hu-yu-kun-217871","周栎园上款什册(七)","远山如黛染轻烟，近水含光映空濛。淡墨晕开的峰峦似隐似现，几抹青绿点染出苍润之态，水面波纹疏疏，衬得天地愈发清旷。笔墨写意却藏细腻，每一笔都似带着悠然的心境。旁侧题跋字迹流转，与山水景致相契，文字的闲情与画面的雅致交融，仿佛能窥见作者行旅途中的片刻凝思，或是对自然风物的深情咏叹。整幅作品将绘事与书道、诗意相融，尽显文人画的韵致，观之如入幽境，心随山水悠远。",[24,25,385,109,28,30,132,133,112,7,1660,8884,1264,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4669799fb6d97445d20ba3726ed1a985.jpg","24.7x32.3cm",[],{"id":9328,"slug":9329,"title":9330,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":9331,"thumbUrl":9336,"material":109,"size":285,"collection":285,"collections":9337,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},216825,"zhan-zheng-tong-ban-hua-24-lang-shi-ning-216825","战争铜版画-24",[8937,9332,4541,8946,30,58,8950,9333,112,82,35,9334,364,7,38,9335,6831],"蚀刻","战斗","堡垒","军事防御工事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc647fdf8d4ff4c6db24781e5d24665.jpg",[],{"id":9339,"slug":9340,"title":9341,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":9342,"thumbUrl":9345,"material":109,"size":285,"collection":285,"collections":9346,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":69},216816,"zhan-zheng-tong-ban-hua-29-lang-shi-ning-216816","战争铜版画-29",[8297,8937,8938,30,82,9334,9343,9344,8950,35,7,32,8949,8594],"营寨","栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787ae0cb79ad23768838f29a727787f9.jpg",[],{"id":9348,"slug":9349,"title":9350,"dynasty":54,"author":9351,"museum":181,"description":9352,"tags":9353,"thumbUrl":9354,"material":285,"size":285,"collection":98,"collections":9355,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9356},203453,"shao-ling-shi-yi-tu-ce-gu-fu-zhen-203453","少陵诗意图册","顾符稹","画面以水墨为底，皴擦与晕染交织，山峦在云雾中浮沉。近处林木苍劲，亭阁隐于浓荫，小径蜿蜒通幽；远处峰峦层叠，烟霭缭绕，留白处尽现空濛之韵。笔墨灵动，既勾勒山石的嶙峋，又晕染云雾的轻柔，恰将少陵诗中江山迷蒙的意境凝于尺幅。文人画的雅致与诗意的悠远相融，每一处笔触都藏着对诗境的解读，让山水不仅是景，更是情与韵的载体。",[23,24,25,385,109,30,82,7,198,35,85,80,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265343004079023f189a901974de33a5.jpg",[98],"c8b5aa",{"id":9358,"slug":9359,"title":371,"dynasty":3756,"author":9360,"museum":181,"description":9361,"tags":9362,"thumbUrl":9363,"material":285,"size":285,"collection":285,"collections":9364,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9365},202741,"shan-shui-zhou-wang-tong-yu-202741","王同愈","画面层峦叠嶂，云雾如缕轻笼峰谷，山石以灵动皴法勾勒，线条刚柔相济，纹理毕现；林木错落，枯枝与苍松相映成趣，姿态万千；溪流蜿蜒穿石而过，似携潺潺水声。笔墨淡雅却意蕴深厚，将自然山水的静谧与文人画的雅致融于一体，营造出清幽旷远的意境，引人驻足其间，感受山林之趣。",[24,109,30,80,82,35,85,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a4f31dd3982361ea3f6e2682f82ad4.jpg",[],"c7c4b7",{"id":9367,"slug":9368,"title":9369,"dynasty":54,"author":5819,"museum":181,"description":9370,"tags":9371,"thumbUrl":9372,"material":285,"size":285,"collection":285,"collections":9373,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9374},202661,"song-xi-gao-yi-tu-zhou-zhu-ang-zhi-202661","松溪高逸图轴","此图以奇崛山石为骨架，皴法勾勒出嶙峋肌理，云雾缭绕峰谷间，显幽深空灵之境。苍松虬劲盘曲，松针浓墨点染，生机勃发；山涧溪流隐现，小径蜿蜒，山脚茅舍雅致，暗寓高逸之士居停之趣。远处峰峦叠嶂，笔墨由实转虚，拓展悠远空间。整体笔墨苍秀相济，山石皴擦结合，树木笔法灵动，构图疏密有致，传递出文人山水的清寂淡泊与自然意趣。",[30,80,590,7,151,109,28,134,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec5664d35aea5ede9f26fccd37b77b3.jpg",[],"b27c51",{"id":9376,"slug":9377,"title":9378,"dynasty":54,"author":9379,"museum":181,"description":9380,"tags":9381,"thumbUrl":9382,"material":285,"size":285,"collection":285,"collections":9383,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9384},202544,"peng-lai-qiu-se-tu-zhou-fa-ruo-zhen-202544","蓬莱秋色图轴","法若真","层岩叠壑间，云雾如缕缠绕峰峦，流泉隐于深谷似有声息。山脚老树枝干盘曲，墨色苍劲，与淡染山石相映，秋意悄然弥漫。山石以皴法勾纹，笔触刚柔相济，水墨晕染出虚实相生之境，缥缈间似含蓬莱仙韵。构图疏密有致，远峰淡远，近景沉厚，融山水清旷与灵秀于一纸，尽显自然妙趣与文人意绪。",[30,109,80,507,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507dcd7d32ae3b261338e23347dba638.jpg",[],"cdb491",{"id":9386,"slug":9387,"title":9388,"dynasty":54,"author":766,"museum":181,"description":9389,"tags":9390,"thumbUrl":9393,"material":285,"size":285,"collection":285,"collections":9394,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9395},202278,"qiu-luan-shuang-pu-tu-zhou-wang-shi-min-202278","秋峦双瀑图轴","层峦起伏间，双瀑如练飞泻，云雾氤氲缠绕峰谷，秋木扶疏，或挺拔或虬曲，点缀岩崖。山间茅舍隐现，添几分幽寂之趣。笔墨取法宋元，山石以披麻皴皴擦，线条苍劲，墨色层层晕染，浓淡交错，尽显山水深远之致。构图兼具高远、深远，空间层次分明，既承黄公望之秀逸，又融自身笔墨之浑厚。画作于静谧中藏生机，秋意清旷，传递出文人对自然的眷恋与精神栖居的向往，是清初“四王”山水传承宋元传统的典型之作。",[24,30,80,109,79,9391,9392,35,7,1891,23],"秋峦","双瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f4c7844459b8d8ab9431b6a267d76c.jpg",[],"978c7d",{"id":9397,"slug":9398,"title":9399,"dynasty":126,"author":4776,"museum":181,"description":9400,"tags":9401,"thumbUrl":9403,"material":285,"size":285,"collection":285,"collections":9404,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9405},202204,"qiu-lin-du-shu-tu-zhou-shen-shi-chong-202204","秋林读书图轴","云雾轻笼层峦，秋林疏秀间，茅舍错落隐现，似闻书页翻动之声随山风漫散。笔墨清润雅致，水墨晕染出空濛山岚，山石皴擦见肌理，树木枝干挺劲，红叶点染秋意浓淡。整体意境清幽淡远，将文人隐居读书的闲适心境融于山水，尽显松江派画风的温婉雅致。",[24,30,109,28,363,4207,7,80,9402],"文人意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50046e2d2965ea1dddc1334806397c9e.jpg",[],"b3a79e",{"id":9407,"slug":9408,"title":371,"dynasty":54,"author":5719,"museum":181,"description":9409,"tags":9410,"thumbUrl":9412,"material":285,"size":285,"collection":285,"collections":9413,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9414},202152,"shan-shui-zhou-chen-zi-202152","画面山峦层叠，云雾穿绕峰谷，远近错落间显深远之致。近景枯藤老树虬枝盘结，笔墨苍劲；山间小径隐现，水面孤舟泊岸，添悠然闲趣。山体以皴法勾勒纹理，设色淡雅，绢本古雅底色更衬悠远意境。整幅画作清逸出尘，蕴含文人山水的闲远之思，观之如入幽寂山林，心随景宁。",[24,30,79,80,28,1902,507,135,82,7,9411],"文人山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69dd4e79fdea49b6f261f81b73112112.jpg",[],"835b29",{"id":9416,"slug":9417,"title":9418,"dynasty":54,"author":854,"museum":181,"description":9419,"tags":9420,"thumbUrl":9421,"material":285,"size":285,"collection":98,"collections":9422,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9423},201492,"qiu-feng-huang-ye-tu-zhou-wang-hui-201492","秋枫黄叶图轴","山峦以皴法勾勒肌理，层叠间云雾缭绕，显山水深远之致。山麓林木错落，丹枫黄叶点染秋光，添萧瑟清旷之韵。溪涧蜿蜒，小桥横跨，行人缓步，衬出幽寂山居意趣。笔墨兼融南北宗之长，皴染结合，设色淡雅，将自然野趣与文人情怀相融，尽显秋日山林的恬淡诗意。",[24,30,79,28,80,86,111,35,112,7,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6398c4e32838fec821b7641f219831.jpg",[98],"c2b3a2",{"id":9425,"slug":9426,"title":9427,"dynasty":54,"author":3788,"museum":181,"description":9428,"tags":9429,"thumbUrl":9431,"material":285,"size":285,"collection":285,"collections":9432,"showCount":300,"zanCount":48,"manualWeight":48,"mainColor":9433},201257,"huang-shan-song-gu-tu-zhou-mei-qing-201257","黄山松谷图轴","画面中山峰如剑戟攒聚，皴笔勾勒出岩石苍劲肌理，虬松于峭壁间挺生，松枝斜逸带起清冽之风。云雾似白练缠绕峰脚，虚实相生间，松谷的幽深与奇险扑面而来。笔墨清逸洒脱，水墨晕染出朦胧意境，山石硬朗与云气柔润相映成趣，尽显黄山雄奇又空灵的神韵。观者仿佛踏入松谷，听松涛阵阵，看云卷云舒，心随山影浮动，沉醉于自然的静谧与壮阔。",[24,30,109,80,590,528,7,9430],"黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd74389fe133eddd7cd244ddcaeb13a.jpg",[],"b9b8b4",{"id":9435,"slug":9436,"title":9437,"dynasty":2995,"author":55,"museum":242,"description":9438,"tags":9439,"thumbUrl":9440,"material":605,"size":606,"collection":285,"collections":9441,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":49},281564,"chi-shang-xiu-mu-shan-shui-tu-zhou-yi-ming-281564","池上秀亩山水图轴","淡月悬于空濛天际，山岚如纱晕染峰峦，将山林晕作深浅不一的墨色层次。山坳间村居依岩临水，白墙黛瓦隐于苍林怪石之间，烟火气融于清寂山光。浅滩流水潺湲，留白与淡墨铺就水光清浅，将山野幽居的静谧尽数铺开。\n\n整幅设色清润雅致，以晕染烘托出月夜山乡的空濛氛围，把幽居的恬然和山野的清寂融为一体，笔意简淡却意境悠长，将江村月夜的安闲诗意铺陈于绢素之上。观之如临其境，仿若能聆听见流水松风，静享山乡夜色的清宁。",[24,25,79,362,28,648,248,85,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbff70080a09dea58a916c4cebae1545.jpg",[],{"id":9443,"slug":9444,"title":4254,"dynasty":54,"author":9104,"museum":242,"description":9445,"tags":9446,"thumbUrl":9447,"material":605,"size":606,"collection":285,"collections":9448,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},239158,"shan-shui-hua-hui-ce-chen-heng-ke-239158","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。",[149,24,25,385,109,30,36,229,35,7,80,131,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6485380e7cf2b3de2af3c8692609ca6d.jpg",[],{"id":9450,"slug":9451,"title":8511,"dynasty":54,"author":9452,"museum":242,"description":9453,"tags":9454,"thumbUrl":9455,"material":605,"size":606,"collection":285,"collections":9456,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},239001,"shan-shui-shan-shen-qi-239001","沈祁","沈祁[清]字雨公，嘉定（今属上海市）人。工绘事，笔墨苍老。",[2203,24,25,149,30,109,80,166,167,35,115,7,113,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bf8d1665857abceae309b89a5e6a08.jpg",[],{"id":9458,"slug":9459,"title":8367,"dynasty":54,"author":3129,"museum":242,"description":9460,"tags":9461,"thumbUrl":9462,"material":285,"size":285,"collection":285,"collections":9463,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},238902,"fang-song-yuan-shan-shui-ce-dong-gao-238902","这幅山水以水墨写就，主峰雄峙画面中央，皴笔苍劲老辣，将山石的嶙峋质感尽皆铺陈。山间烟岚轻漾，晕染出幽谷空濛，把远近山林的层次悄然拉开。水岸汀洲错落延展，村庐隐于疏林之间，板桥卧波连接野岸，枯木疏枝带着萧寒野趣。整体笔墨温润苍秀，追摹萧散简远的山水意境，淡墨轻岚里晕染出江南林泉的空澹闲雅，于尺幅间铺展出丘壑之深，尽显文人画静穆幽远的林下意趣，是颇具意韵的仿古佳构。",[24,109,30,130,80,385,31,111,135,35,86,7,229,245,85,4146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a344db5d2aae719cc6ae065d46043a0.jpg",[],{"id":9465,"slug":9466,"title":2300,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":9467,"thumbUrl":9468,"material":605,"size":606,"collection":285,"collections":9469,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},238704,"shan-shui-ce-dong-bang-da-238704",[24,25,385,109,80,30,135,35,82,7,2014,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12118ff6e5c78b4472fc11e81ddee697.jpg",[],{"id":9471,"slug":9472,"title":9473,"dynasty":54,"author":55,"museum":242,"description":9474,"tags":9475,"thumbUrl":9486,"material":605,"size":606,"collection":285,"collections":9487,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},238616,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238616","平定两金川得胜图册","以全景式构图铺展山地鏖战全貌，远景层叠峰峦翻涌着云雾，将战场烘托得开阔辽远。近中景两军短兵相接，骑兵策马挥刃、步兵攒射拼杀，人马错杂间，奔逃、格斗、倒地的细节纤毫毕现，将冷兵器对决的惨烈与紧张尽数铺陈。\n\n刻线刚劲利落，以明暗晕染出山石肌理、衣甲褶皱与战马肌肉起伏，精准还原战地肃杀之气，既复刻了战事的真实瞬间，也尽显清代纪实版画的写实功力，带着冷峻的纪实质感，让观者仿佛亲临烽火狼烟的古战场。",[9476,9477,9478,8593,9479,8591,115,7,9480,9481,9482,9483,9484,9485],"版画","纪实版画","山地战场","步兵","短兵相接","战斗场景","冷兵器","写实风格","刻线技法","肃杀氛围","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478376db2609a5d4206824c4b09d7305.jpg",[],{"id":9489,"slug":9490,"title":8768,"dynasty":54,"author":1361,"museum":242,"description":9491,"tags":9492,"thumbUrl":9493,"material":285,"size":285,"collection":285,"collections":9494,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":954},238531,"shan-shui-xiao-ce-qian-wei-cheng-238531","此作用枯淡笔墨绘就秋山萧寂之境，危峰崚嶒耸立，枯木虬枝斜曳，淡墨晕染的流云萦绕峰侧，衬出山峦空寂高旷。山脚村居错落排布，简笔勾勒见出山野烟火意趣，皴擦晕染间山石苍硬质感尽显，浅淡墨色铺陈出清冷秋意。整幅疏密相宜，以留白衬出幽远意境，将秋日山居的清寂安闲融于笔墨，尽显文人山水的淡逸雅韵，藏着山野幽居的静谧意趣。",[24,109,385,80,30,166,672,603,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F024df95b00d4338f2dea05f3e4c52e5b.jpg",[],{"id":9496,"slug":9497,"title":8768,"dynasty":54,"author":1361,"museum":242,"description":9498,"tags":9499,"thumbUrl":9500,"material":285,"size":285,"collection":285,"collections":9501,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":49},238527,"shan-shui-xiao-ce-qian-wei-cheng-238527","云烟如素缕缠裹黛色主峰，干湿浓淡的墨晕晕开峰峦明暗，皴笔勾勒出山岩苍劲厚重的筋骨，与柔缓舒卷的云气相映，刚柔互济。\n\n前景淡墨点染村居茅舍，浓墨簇就林木枝叶，朴拙雅致。右下角板桥轻横野渡，漾出乡野清寂意趣。\n\n整幅以水墨铺陈，虚实相生，笔意简淡却意蕴悠长，将山林幽居的闲澹意境藏于尺幅，带着清雅文心，观之便觉林泉野趣扑面而来，静穆悠然。",[24,25,385,109,80,30,495,86,198,133,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84af3ee070cc708889f5108376b8f5df.jpg",[],{"id":9503,"slug":9504,"title":2300,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":9505,"thumbUrl":9506,"material":285,"size":285,"collection":285,"collections":9507,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},238311,"shan-shui-ce-dong-bang-da-238311",[24,109,362,80,385,166,35,198,7,82,199,38,4529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd359d92ef6d4c0dc7e7de2cfd178eb.jpg",[],{"id":9509,"slug":9510,"title":2300,"dynasty":54,"author":4559,"museum":242,"description":7447,"tags":9511,"thumbUrl":9512,"material":285,"size":285,"collection":285,"collections":9513,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},238309,"shan-shui-ce-dong-bang-da-238309",[149,24,25,30,109,80,780,151,507,82,86,2062,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f3c94ef9e0372f203acbe93ec24bd5.jpg",[],{"id":9515,"slug":9516,"title":2300,"dynasty":54,"author":9517,"museum":242,"description":9518,"tags":9519,"thumbUrl":9520,"material":285,"size":285,"collection":285,"collections":9521,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},238177,"shan-shui-ce-song-jun-ye-238177","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。",[24,25,28,30,133,131,80,166,167,35,198,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d39bd7a29d4999b972a583ae0ef7a64.jpg",[],{"id":9523,"slug":9524,"title":2300,"dynasty":54,"author":3538,"museum":242,"description":9525,"tags":9526,"thumbUrl":9527,"material":285,"size":285,"collection":285,"collections":9528,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},238153,"shan-shui-ce-yun-xi-238153","设色清雅温润，以淡赭晕染山峦，皴笔细腻勾勒出岩体质感，坡岸林木错落排布，水榭板桥点缀溪谷，将幽居藏于绝涧深林之间，尽显山野丘壑的悠然意趣。\n\n题诗与画境互为表里，诗画交融，铺陈出林泉高致的隐逸情怀。笔墨间藏着冲淡恬和的林下之风，以淡雅之态描摹出林泉幽寂的世外之境，将文人心中的丘壑山水诉诸纸面，观之如临绝尘幽居，引人步入忘俗的山居雅意中。",[24,30,28,80,131,132,133,385,86,111,35,82,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a676ec269400083967ea7fda07bd5d.jpg",[],{"id":9530,"slug":9531,"title":6500,"dynasty":54,"author":6652,"museum":242,"description":9532,"tags":9533,"thumbUrl":9535,"material":285,"size":285,"collection":285,"collections":9536,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},237951,"shan-shui-tu-ce-liu-yu-237951","此作以淡晕轻染绘就江天暮雨，斜雨如丝穿破烟霭，远岸汀洲隐在薄雾间，几叶归帆浮沉空濛水色之中。近陂草木苍润含露，茅庐依水而居，似能闻见山雨初歇后的湿润清气。\n\n画作将诗意融于笔墨，搭配题诗互衬，把空江听雨的寂廖清旷具象铺展。清润的墨色晕染出水汽浸透纸面的柔润质感，没有繁复皴擦，却将江南雨后的静穆禅意尽数勾勒，观之如亲身步入烟水孤居，尽显寄情丘壑的文人雅趣。",[24,25,149,385,109,132,131,133,30,151,35,1204,7,9534,80],"远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890610443d854cf28ec9382fa124367c.jpg",[],{"id":9538,"slug":9539,"title":6500,"dynasty":54,"author":9540,"museum":242,"description":9541,"tags":9542,"thumbUrl":9543,"material":605,"size":606,"collection":285,"collections":9544,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},237747,"shan-shui-tu-ce-cheng-zheng-kui-237747","程正揆","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。",[24,25,385,109,30,80,132,82,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c6db534f42180704f67e5935fdb7a2.jpg",[],{"id":9546,"slug":9547,"title":9184,"dynasty":54,"author":8016,"museum":242,"description":9185,"tags":9548,"thumbUrl":9549,"material":605,"size":606,"collection":285,"collections":9550,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},237641,"li-yin-fang-gu-shan-shui-ce-li-yin-237641",[24,25,385,109,30,80,132,133,82,35,7,150,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b00a3cea4a6a169c1bc19de746b1087.jpg",[],{"id":9552,"slug":9553,"title":9554,"dynasty":54,"author":9555,"museum":242,"description":9556,"tags":9557,"thumbUrl":9558,"material":605,"size":606,"collection":285,"collections":9559,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},237475,"shan-shui-hua-shi-ce-wang-han-237475","山水花石册","王翰","王翰（公元687年~726年），字子羽，并州晋阳（今山西太原市）人，唐代边塞诗人。与王昌龄同时期，王翰这样一个有才气的诗人，其集不传。其诗载于《全唐诗》的，仅有14首。登进士第，举直言极谏，调昌乐尉。复举超拔群类，召为秘书正字。擢通事舍人、驾部员外。出为汝州长史，改仙州别驾。",[24,25,385,109,80,133,30,111,135,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a406c2809ed2fc58aaa63e4174e72c5.jpg",[],{"id":9561,"slug":9562,"title":6500,"dynasty":54,"author":9563,"museum":242,"description":9564,"tags":9565,"thumbUrl":9566,"material":605,"size":606,"collection":285,"collections":9567,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},237125,"shan-shui-tu-ce-yao-song-237125","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,109,385,30,82,35,135,7,2014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5696fc3a4d208e8856ce1a6a1e85e448.jpg",[],{"id":9569,"slug":9570,"title":7854,"dynasty":54,"author":9571,"museum":242,"description":9572,"tags":9573,"thumbUrl":9574,"material":285,"size":285,"collection":285,"collections":9575,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,2203,109,30,80,82,35,229,111,309,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1939249652ac833fe6e4dedf9382f96c.jpg",[],{"id":9577,"slug":9578,"title":7265,"dynasty":54,"author":7266,"museum":242,"description":7267,"tags":9579,"thumbUrl":9580,"material":285,"size":285,"collection":285,"collections":9581,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},236516,"sun-shan-shui-ce-wang-ji-236516",[24,109,385,80,30,135,35,7,229,245,2014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75639b7bc79d45de93aac6a8678288ab.jpg",[],{"id":9583,"slug":9584,"title":2300,"dynasty":54,"author":1959,"museum":242,"description":9585,"tags":9586,"thumbUrl":9587,"material":285,"size":285,"collection":285,"collections":9588,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},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。",[24,25,385,28,80,109,30,82,35,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6bed67edc7aa0e3519ff75ac102c9d.jpg",[],{"id":9590,"slug":9591,"title":2300,"dynasty":54,"author":4559,"museum":20,"description":8277,"tags":9592,"thumbUrl":9593,"material":285,"size":285,"collection":285,"collections":9594,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},234801,"shan-shui-ce-dong-bang-da-234801",[24,25,385,109,80,133,30,82,35,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff014ac10ffa26b840a34cdee7e3ca8fd.jpg",[],{"id":9596,"slug":9597,"title":4658,"dynasty":54,"author":3788,"museum":20,"description":6809,"tags":9598,"thumbUrl":9599,"material":592,"size":6812,"collection":285,"collections":9600,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},233155,"huang-shan-tu-ce-mei-qing-233155",[24,25,385,109,80,30,134,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e263c5152f071c8c08bf320f732ccb.jpg",[],{"id":9602,"slug":9603,"title":9604,"dynasty":54,"author":55,"museum":242,"description":9605,"tags":9606,"thumbUrl":9610,"material":285,"size":9611,"collection":285,"collections":9612,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},233108,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233108","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[29,4158,58,782,30,35,82,8938,8911,9607,7,112,9608,9609,113,3034,1091],"弓箭","动态","战骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9d4649f4a1254642ca9e039373ed85.jpg","87.3×50cm",[],{"id":9614,"slug":9615,"title":9616,"dynasty":54,"author":4559,"museum":75,"description":4822,"tags":9617,"thumbUrl":9618,"material":9619,"size":9620,"collection":285,"collections":9621,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},223109,"fang-zhao-ling-rang-chun-shan-cui-ai-zhou-dong-bang-da-223109","倣赵令穰春山翠霭轴",[23,149,24,25,79,28,30,80,130,133,8714,7,32,135,36,82,309,1092,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4b13e24fcb7ef928d5dd05b077a07e.jpg","轴 纸本 设色","133.2x63.5",[],{"id":9623,"slug":9624,"title":9625,"dynasty":54,"author":4559,"museum":75,"description":4822,"tags":9626,"thumbUrl":9627,"material":153,"size":9628,"collection":285,"collections":9629,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},223108,"fang-lu-guang-song-xi-yan-ai-juan-dong-bang-da-223108","仿陆广松溪烟霭卷",[23,149,24,25,26,28,109,80,30,309,85,1077,82,35,36,7,649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1adeb6ea1ae84d4822372e030d776c.jpg","23.5x229.5",[],{"id":9631,"slug":9632,"title":9633,"dynasty":126,"author":9634,"museum":242,"description":9635,"tags":9636,"thumbUrl":9637,"material":186,"size":285,"collection":285,"collections":9638,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":327},217145,"shui-hu-quan-tu-49-du-jin-217145","水浒全图-49","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[149,24,780,109,385,58,82,35,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bd48a0bfc0369a3430062265e63185.jpg",[],{"id":9640,"slug":9641,"title":9642,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":9643,"thumbUrl":9649,"material":109,"size":285,"collection":285,"collections":9650,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},216824,"zhan-zheng-tong-ban-hua-22-lang-shi-ning-216824","战争铜版画-22",[8297,8937,9483,8592,112,9644,8950,8591,7,82,9334,9645,9646,9647,9648],"碉楼","军事建筑","人物动态","线条刻画","明暗处理","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac8fa72fedad42d568d0a2bac8617ac.jpg",[],{"id":9652,"slug":9653,"title":9654,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":9655,"thumbUrl":9660,"material":109,"size":285,"collection":285,"collections":9661,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},216823,"zhan-zheng-tong-ban-hua-28-lang-shi-ning-216823","战争铜版画-28",[149,8297,8937,4541,9656,9657,112,9658,9659,8591,2837,58,82,7,8911,8949,2816],"透视","战争题材","城墙","军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ddc7e338ce325db6b67f77e9d71c3c.jpg",[],{"id":9663,"slug":9664,"title":9665,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":9666,"thumbUrl":9667,"material":109,"size":285,"collection":285,"collections":9668,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},216821,"zhan-zheng-tong-ban-hua-19-lang-shi-ning-216821","战争铜版画-19",[8937,4541,8947,8938,30,857,9334,9658,8950,199,35,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d71822d534b982cfce5bccd5f88d045.jpg",[],{"id":9670,"slug":9671,"title":9672,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":9673,"thumbUrl":9675,"material":109,"size":285,"collection":285,"collections":9676,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},216820,"zhan-zheng-tong-ban-hua-23-lang-shi-ning-216820","战争铜版画-23",[54,8937,8938,30,58,82,35,7,9334,9674,8950,8949,112,9659],"工事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafc8de65bc0e0115bc9a7b76ce1e4165.jpg",[],{"id":9678,"slug":9679,"title":9680,"dynasty":54,"author":2349,"museum":242,"description":8935,"tags":9681,"thumbUrl":9683,"material":109,"size":285,"collection":285,"collections":9684,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":69},216796,"zhan-zheng-tong-ban-hua-49-lang-shi-ning-216796","战争铜版画-49",[8937,29,3300,80,30,9682,9659,58,82,35,7,8938],"城池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ba12f3f97b92c0a5ce68a50d7b5a92.jpg",[],{"id":9686,"slug":9687,"title":9688,"dynasty":54,"author":55,"museum":9689,"description":9690,"tags":9691,"thumbUrl":9692,"material":64,"size":285,"collection":285,"collections":9693,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":49},215929,"di-jian-tu-shuo-cai-hui-ben-75-yi-ming-215929","帝鉴图说彩绘本-75","法国国家图书馆","青绿山水间，亭台依山而筑，朱红廊柱衬翠瓦，檐角云气袅袅，恍若仙境。桥下石阶旁，数人凭栏赏景或低语论道，衣袂轻扬；阶下孩童追逐嬉戏，稚态可掬，为静谧景致注入鲜活生机。山石皴染细腻，草木葱茏有致，色彩明丽雅致，工笔笔触精准勾勒人物情态与景物细节，尽显古典绘画的匠心。整幅画融山水清幽与人间烟火于一体，动静相宜间，晕染出悠然闲适的古典意境，引人沉醉。",[149,24,29,28,27,386,385,58,198,30,86,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6717539a3eab9cfd6dbb3ecce633ca8c.jpg",[],{"id":9695,"slug":9696,"title":9697,"dynasty":3756,"author":7828,"museum":181,"description":9698,"tags":9699,"thumbUrl":9700,"material":285,"size":285,"collection":285,"collections":9701,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9702},203123,"fang-liu-jue-lan-rong-chuan-se-tu-zhe-shan-wu-hu-fan-203123","仿刘珏岚容川色图折扇","此扇面山水取意刘珏笔意，山峦层叠起伏，林木苍劲错落，云雾轻笼如纱，晕染出岚容川色的朦胧意蕴。笔墨运用娴熟，皴法温润有致，线条清逸中见骨力，墨色浓淡干湿交错，层次丰富而和谐。构图于咫尺间铺展山川气象，疏密得宜，动静相生，既葆有古法的雅正韵致，又流露吴氏特有的秀逸气度，将山水之美凝于扇面方寸，尽显近代文人画的雅致情味。",[24,2203,30,109,80,130,7,112,1505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e064e6be4cd8bbb255dcd23ac57809a.jpg",[],"b3aca5",{"id":9704,"slug":9705,"title":4254,"dynasty":54,"author":9706,"museum":181,"description":9707,"tags":9708,"thumbUrl":9710,"material":285,"size":285,"collection":285,"collections":9711,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9712},202987,"shan-shui-hua-hui-ce-fan-yun-202987","樊云","近处坡岸蜿蜒，树木错落生姿，枝桠疏朗间枯荣相映，树下茅舍隐现，似藏幽居之趣。远处山峦层叠，主峰挺秀，山石以淡墨皴染，肌理分明；山脚云雾轻笼，留白处漾出空濛之韵。笔墨清润秀逸，线条灵动，皴法细腻，树木简笔点染，尽显文人画的闲适淡远。简淡中见深意，仿佛山涧清风拂面，得山林隐逸之味。",[30,109,80,385,35,82,7,9709],"茅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8327d839c6bfb4395630213dac65b8b.jpg",[],"cdc8b4",{"id":9714,"slug":9715,"title":9716,"dynasty":54,"author":9717,"museum":181,"description":9718,"tags":9719,"thumbUrl":9720,"material":285,"size":285,"collection":285,"collections":9721,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9722},202608,"mo-guan-xiu-luo-han-tu-zhou-fang-xun-202608","摹贯休罗汉图轴","方薰","画面以清雅设色绘数位人物，神态各异，或沉静凝思，或悠然对语，衣纹流转间尽显笔墨灵动。云雾缭绕的背景烘托出超然氛围，人物造型古雅，既承贯休罗汉奇崛之韵，又融自身细腻工致的笔意，于简约中见深致，传递出清寂玄远的意趣。",[24,58,28,130,29,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eca00bbae7b014fbb671dd474c9ae97.jpg",[],"d8cab7",{"id":9724,"slug":9725,"title":9726,"dynasty":54,"author":3286,"museum":181,"description":9727,"tags":9728,"thumbUrl":9730,"material":285,"size":285,"collection":285,"collections":9731,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9732},202524,"fan-zhou-jun-cheng-tu-zhou-xiao-yun-cong-202524","泛舟郡城图轴","笔墨细劲勾勒出叠嶂山峦，林木葱茏间屋舍错落，塔寺在云雾轻笼的岸畔矗立。烟波里舟楫往来，或缓行或停泊，似载着文人观景的闲情逸致。皴擦得体的山石显露出层次，淡雅设色晕染出江南郡城的灵秀，云雾缭绕更添悠远氛围，尽显自然与人文交融的雅致意趣。",[24,30,80,28,135,603,9729,7,443,23],"塔寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709701c190c5edcb69537a8fc4c280c9.jpg",[],"c2c6cc",{"id":9734,"slug":9735,"title":9736,"dynasty":54,"author":9737,"museum":181,"description":9738,"tags":9739,"thumbUrl":9740,"material":285,"size":285,"collection":285,"collections":9741,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9742},202272,"fang-mi-yun-shan-tu-zhou-xi-gang-202272","仿米云山图轴","奚冈","此作以水墨写意出米家云山意趣，主峰巍峨，山间云气氤氲，似流似驻。近景林木苍润，屋舍隐于绿荫，溪畔渔舟轻泊，野趣盎然。笔墨挥洒自如，浓淡干湿交错，既承米氏皴染之韵，又显清逸脱俗之姿。留白与墨色交融，营造空濛深远之境，尽显文人山水的悠然与诗意。",[24,109,30,80,79,481,35,603,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d84cb2bd470ebc87467e0f6f4138fe.jpg",[],"cdc2ae",{"id":9744,"slug":9745,"title":491,"dynasty":54,"author":6439,"museum":181,"description":9746,"tags":9747,"thumbUrl":9749,"material":285,"size":285,"collection":285,"collections":9750,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9751},202266,"shan-shui-san-ye-wang-jian-202266","画面中山峦层叠，青绿设色温润雅致，勾勒皴擦间尽显宋元遗韵。近景古木虬枝，或挺拔或虬曲，枝叶疏密有致；山间云雾轻拢，若隐若现间衔接远近景致，营造出幽深静谧的山水意境。笔墨细腻，山石轮廓以中锋勾勒，皴法柔和，色彩晕染自然，将山水的秀逸与古雅融为一体，尽显传统山水画的韵味与格调。",[24,25,385,27,28,80,30,112,35,7,9748],"临","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a30e5f3871474862dea91539d620b.jpg",[],"d0bfb3",{"id":9753,"slug":9754,"title":9755,"dynasty":54,"author":854,"museum":181,"description":9756,"tags":9757,"thumbUrl":9758,"material":285,"size":285,"collection":285,"collections":9759,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9760},202265,"chun-jiang-xiao-bie-tu-zhou-wang-hui-202265","春江晓别图轴","晨雾氤氲，山峦层叠隐现，江流在薄雾中漾开清浅波纹。山石以细腻皴法勾勒，纹理间见笔墨苍劲；树木错落，枝桠带露，似有晓风拂过。岸边人影依稀，孤舟泊于水畔，桨影轻摇，暗合“晓别”之意。云雾以留白与淡墨晕染，虚实相生间拓展画面纵深，尽显山水悠远之致。笔墨干湿浓淡相宜，既有古法的严谨，又含自然的灵动，将春江黎明的怅惘与旷远交织成卷。",[24,30,109,80,135,7,82,111,79,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fe73725423f09975994390cf54f02.jpg",[],"c5b4a1",{"id":9762,"slug":9763,"title":9764,"dynasty":54,"author":9351,"museum":181,"description":9765,"tags":9766,"thumbUrl":9767,"material":285,"size":285,"collection":285,"collections":9768,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9769},201792,"song-xia-du-shu-tu-zhou-gu-fu-zhen-201792","松下读书图轴","画面中山石巍峨，皴法勾勒出嶙峋肌理，云雾如练缠绕峰峦，虚实间显深远意境。苍松虬枝横斜，松下书屋隐约，似有文人展卷沉思，尽显幽居雅趣。笔墨清润，线条劲挺，将山水之秀与文人之逸融于一体，尽显传统山水画的气韵生动。",[109,80,79,30,309,7,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107eebb0a292baab696737eb38a1e13a.jpg",[],"9b9e9a",{"id":9771,"slug":9772,"title":9773,"dynasty":54,"author":8711,"museum":181,"description":9774,"tags":9775,"thumbUrl":9777,"material":285,"size":285,"collection":98,"collections":9778,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9779},201564,"yan-wai-fu-rong-tu-zhou-zhang-peng-chong-201564","烟外芙蓉图轴","画面以水墨绘就，山峦层叠如芙蓉绽姿，皴笔细密摹写山石肌理，烟岚轻笼峰腰，添几分空濛之韵。近景林木扶疏，茅舍隐于枝柯下，溪流曲径穿林而过，清幽自现。中景山麓错落，草木点缀有致，远岫含烟渐隐，意境淡远。笔墨简括却韵致盎然，树石勾勒灵动，尽显文人山水的雅致情趣，似可揽山间清趣，寻得一份悠然心境。",[24,30,109,80,9776,85,7,4207,1505,23],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa55e0a33bce9d37ab4cd0e56a1cb9b2.jpg",[98],"c7b7a3",{"id":9781,"slug":9782,"title":9783,"dynasty":54,"author":3788,"museum":181,"description":9784,"tags":9785,"thumbUrl":9786,"material":285,"size":285,"collection":98,"collections":9787,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9788},201461,"jing-ting-ji-se-tu-zhou-mei-qing-201461","敬亭霁色图轴","这幅画作以水墨为韵，绘就敬亭山雨后初霁之景。主峰峻峭挺拔，山石轮廓以灵动线条勾勒，皴擦间尽显肌理质感；山间云雾缭绕，淡墨晕染与留白交织，虚实相生间拓延空间层次。松林葱郁，小径蜿蜒穿林而过，亭台楼阁隐于峰峦或松荫下，瀑布潺潺落于谷底，动静相宜。墨色干湿浓淡变幻自然，既有山川的雄浑气势，又含文人画的雅致清幽，将自然之美与超脱心境融于笔端，尽显山水灵动与诗意。",[24,109,30,80,79,151,83,660,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf71698d8cdbde14be441e162a2cb46d.jpg",[98],"aba59d",{"id":9790,"slug":9791,"title":9792,"dynasty":54,"author":766,"museum":181,"description":9793,"tags":9794,"thumbUrl":9795,"material":285,"size":285,"collection":98,"collections":9796,"showCount":314,"zanCount":48,"manualWeight":48,"mainColor":9797},201454,"wei-zhi-weng-zuo-shan-shui-zhou-wang-shi-min-201454","为至翁作山水轴","这幅山水轴笔墨苍润醇厚，承元人山水遗风，峰峦以披麻皴层层皴染，墨色浓淡相间，显山石纹理与厚重质感。山峦叠嶂间云雾轻笼，留白处虚实相生，拓展深远意境。山间屋舍隐于林木，溪流蜿蜒穿石而过，小桥横跨溪上，林木萧疏有致，尽显文人笔下山水的静谧雅致。画家以娴熟笔法勾勒景物，既见复古之韵，又含自然生机，整体画面清寂悠远，耐人寻味。",[24,109,30,80,79,86,1505,7,603,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48838923769ab9cd6ed4c4323b10cb9c.jpg",[98],"d3b69f",{"id":9799,"slug":9800,"title":9801,"dynasty":54,"author":55,"museum":242,"description":9310,"tags":9802,"thumbUrl":9803,"material":605,"size":606,"collection":285,"collections":9804,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},251038,"qing-yu-xian-shan-lou-ge-shuang-mian-cha-ping-yi-ming-251038","青玉仙山楼阁双面插屏",[9312,9313,30,198,2551,82,35,7,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f97c2d8178eee0a22c1c70f6e43a9c6.jpg",[],{"id":9806,"slug":9807,"title":8738,"dynasty":54,"author":8739,"museum":242,"description":9808,"tags":9809,"thumbUrl":9810,"material":285,"size":285,"collection":285,"collections":9811,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},239375,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239375","此作用浅绛晕染山水，主峰崔嵬耸立，周遭山峦迤逦舒展，淡墨轻扫出烟岚流云，虚实相生间晕化开空濛清寂的氛围。坡岸苍松错落劲挺，浓淡墨色点染出苍郁生机，衬出山居的幽远静谧。\n\n画面右上题诗与山水相映，诗画交融，尽显文人雅致意趣。笔触秀逸温婉，不尚繁复雕琢，以简淡笔墨勾勒山川神韵，将诗意融于山色，观之如临其境，可细细体味山月之下林泉幽寂的淡然况味，尽显传统山水诗画合一的雅致美学。",[149,24,25,385,109,80,30,166,495,7,648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958c5796f71f18d054907e1f96458c19.jpg",[],{"id":9813,"slug":9814,"title":2300,"dynasty":54,"author":9815,"museum":242,"description":9816,"tags":9817,"thumbUrl":9818,"material":285,"size":285,"collection":285,"collections":9819,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},239043,"shan-shui-ce-wu-lin-239043","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,109,28,385,80,30,58,82,35,7,229,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949366518c2d87f656499e8776af4ed1.jpg",[],{"id":9821,"slug":9822,"title":2300,"dynasty":54,"author":9815,"museum":242,"description":9816,"tags":9823,"thumbUrl":9824,"material":285,"size":285,"collection":285,"collections":9825,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},239039,"shan-shui-ce-wu-lin-239039",[24,109,80,30,385,31,309,83,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58239256591982787f887231b46e77b4.jpg",[],{"id":9827,"slug":9828,"title":6828,"dynasty":54,"author":55,"museum":242,"description":9829,"tags":9830,"thumbUrl":9832,"material":285,"size":285,"collection":285,"collections":9833,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},238650,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238650","全景式构图铺展平叛战事，山峦河谷间清军分路挺进，炮火硝烟腾起于密林隘口，河桥处短兵相接人马奔突，远景大营与层叠山境烘托出磅礴战事规模。作者以精细线刻技法，复刻战地肃杀张力，山石林木皴刻入微，将士甲胄阵型排布分毫毕现，将平叛战事的宏阔与惨烈凝于尺幅。画作融合纪实性与艺术表现力，以西式铜版画写实笔法，将这场平叛的铁血征程跃然纸上，尽显战争纪实版画的独特质感。",[29,780,80,58,30,35,32,37,112,9831,199,7,9659,8911],"马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9741823415bd26d59844915cd4218c3.jpg",[],{"id":9835,"slug":9836,"title":2300,"dynasty":54,"author":3528,"museum":75,"description":9837,"tags":9838,"thumbUrl":9841,"material":28,"size":9842,"collection":285,"collections":9843,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},238267,"shan-shui-ce-zhang-yan-238267","此作取边角之景入画，左畔危岩嶙峋，古松蟠曲苍劲，近处长林掩映茅庐，幽人徐行篱边，似正沉醉林泉意趣。\n开面湖水空阔澄澈，汀渚错落，远岸松列如黛。层叠山峦浮沉在烟岚薄雾间，暮光轻抹远山天际，晕开一抹暖红，糅合了冷寂山光与温柔暮色。\n笔墨温润雅致，以浅绛设色晕染山石，细劲皴笔写出岩体质感，淡墨烘染烟霭，将江南水山的空濛静穆尽数铺展，尽显林泉高隐的悠然澹泊之境，藏着传统文人寄情丘壑的隐逸襟怀。",[24,28,80,385,29,30,309,82,7,58,35,32,229,720,2014,529,168,38,9839,1041,9840],"人物活动","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F531c43ef944af0c19c1b03b7a21cf4bc.jpg","37.1x31.7",[],{"id":9845,"slug":9846,"title":2300,"dynasty":54,"author":3528,"museum":75,"description":9847,"tags":9848,"thumbUrl":9849,"material":28,"size":9842,"collection":285,"collections":9850,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},238261,"shan-shui-ce-zhang-yan-238261","此作用淡墨晕染远景云山，崖壁以披麻皴写就，留白烘出烟岚云气，虚实相映间尽显林泉空濛之态。近景苍松翠柏错落簇拥山居，屋中二人对坐清谈，将文人雅兴寄于林壑幽居之中。\n\n设色浅淡清润，山石皴法秀雅温润，林木疏密有致，掩映出隐逸悠然的山居日常。画面静穆淡远，把出世幽寂与雅集闲趣融为一体，尽显寄情丘壑的文人意趣，将江南山居的清寂闲雅铺陈开来。",[24,28,30,385,80,166,167,495,528,7,58,603],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3afabc94eb74caaf779a5438b23437.jpg",[],{"id":9852,"slug":9853,"title":2300,"dynasty":54,"author":3528,"museum":75,"description":9854,"tags":9855,"thumbUrl":9856,"material":28,"size":9842,"collection":285,"collections":9857,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},238260,"shan-shui-ce-zhang-yan-238260","此作以淡彩铺陈山居幽境，近景苍松虬劲，翠色蓊郁，掩映白墙黛瓦的屋舍，庭院芳草凝碧，顽石错落，一派安谧雅致。侧旁山溪潺湲，有人负物缓行，野趣自生。\n\n远景危崖高耸，皴笔兼工带写，苍劲中见秀润，留白晕出山岚空濛，虚实相生间尽显山川浑厚之态。整体清和淡雅，构图疏密得宜，将幽栖林泉的闲适诗意融于尺幅，笔意温婉秀雅，仿佛可揽松风溪声，消解俗尘烦扰，尽显文人寄情山水的林下意趣。",[24,28,30,80,309,198,82,229,1115,35,649,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feade0e6f75720fba4da3807932282adc.jpg",[],{"id":9859,"slug":9860,"title":9861,"dynasty":54,"author":55,"museum":242,"description":9862,"tags":9863,"thumbUrl":9865,"material":285,"size":285,"collection":285,"collections":9866,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},235907,"yuan-ji-shan-shui-tu-ye-yi-ming-235907","原济山水图页","这幅山水以留白晕染出氤氲云气，将层叠山峦裁得分明远近。披麻皴勾勒山骨，墨色浓淡铺陈出植被苍润郁茂的质感，山峦层叠错落，兼具厚重与灵秀。\n\n两处山居隐于崖畔林间，幽僻出尘，山道上的独行旅人，为清寂山林添入灵动生息，动静相映成趣。淡设色晕染山石，浅淡清雅，将江南空山的湿润空濛尽数铺展，尽显文人山水的隐逸禅意，观之如临幽寂林泉，恍若可闻山风松涛，浸溺在物我两忘的悠然里。",[149,24,25,385,109,80,30,82,35,7,9864,985],"山间屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e77401a54764a6509ab19cb6b7bc64a.jpg",[],{"id":9868,"slug":9869,"title":9870,"dynasty":54,"author":8628,"museum":396,"description":8629,"tags":9871,"thumbUrl":9872,"material":2562,"size":285,"collection":285,"collections":9873,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},222713,"huang-shan-ba-jing-tu-ce-2-zheng-min-222713","黄山八景图册2",[23,24,25,385,109,28,30,80,82,35,7,115,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c16628a71a3ce28f5931e147056363.jpg",[],{"id":9875,"slug":9876,"title":9877,"dynasty":126,"author":55,"museum":242,"description":9878,"tags":9879,"thumbUrl":9880,"material":1252,"size":285,"collection":285,"collections":9881,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216634,"xuan-da-shan-xi-san-zhen-tu-23-yi-ming-216634","宣大山西三镇图-23","万历三十一年秘阁本",[23,24,28,30,80,131,133,385,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb900e87ec8fc3ecd019fd783ef4ed59c.jpg",[],{"id":9883,"slug":9884,"title":9885,"dynasty":126,"author":55,"museum":242,"description":9878,"tags":9886,"thumbUrl":9887,"material":1252,"size":285,"collection":285,"collections":9888,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216623,"xuan-da-shan-xi-san-zhen-tu-33-yi-ming-216623","宣大山西三镇图-33",[23,24,25,30,28,386,112,7,199,131,902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9bd4d58e97fd997abc2b9d45a0b1e2.jpg",[],{"id":9890,"slug":9891,"title":9892,"dynasty":126,"author":55,"museum":242,"description":9878,"tags":9893,"thumbUrl":9894,"material":1252,"size":285,"collection":285,"collections":9895,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},216606,"xuan-da-shan-xi-san-zhen-tu-52-yi-ming-216606","宣大山西三镇图-52",[23,24,25,385,28,30,80,131,5194,166,7,1262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95761663897fa7770d69370664faa68d.jpg",[],{"id":9897,"slug":9898,"title":9899,"dynasty":126,"author":55,"museum":242,"description":9900,"tags":9901,"thumbUrl":9902,"material":64,"size":285,"collection":285,"collections":9903,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},216541,"xuan-da-shan-xi-san-zhen-tu-103-yi-ming-216541","宣大山西三镇图-103","明万历三十一年秘阁本",[23,24,27,28,30,112,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da9ff5a0c63604b4f614f5fcec0e9e2.jpg",[],{"id":9905,"slug":9906,"title":9907,"dynasty":126,"author":55,"museum":242,"description":9900,"tags":9908,"thumbUrl":9909,"material":64,"size":285,"collection":285,"collections":9910,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},216500,"xuan-da-shan-xi-san-zhen-tu-141-yi-ming-216500","宣大山西三镇图-141",[23,24,28,27,30,131,133,82,7,859,385,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f09160f325bd5d8a260cdc8e840151.jpg",[],{"id":9912,"slug":9913,"title":9914,"dynasty":126,"author":55,"museum":242,"description":9915,"tags":9916,"thumbUrl":9918,"material":64,"size":285,"collection":285,"collections":9919,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},216424,"xuan-da-shan-xi-san-zhen-tu-215-yi-ming-216424","宣大山西三镇图-215","画面分左右两轴，左为墨书文字，右为青绿山水舆图。右图以淡彩晕染山峦，峰峦叠嶂间云雾轻笼，道路蜿蜒穿插，“守场堡”标注清晰醒目，兼具地理精度与写意韵味；左文行楷工整，墨色沉厚，记述当与边镇防务相关，字迹古朴流畅。图文相契，既展现边疆地理风貌，又将军事舆图的实用性与传统绘画的意境美融合，于严谨中见灵动，让疆域轮廓承载人文温度，折射出彼时边镇防御的历史语境，尽显古代舆图绘制的匠心巧思。",[23,24,25,27,28,30,132,9917,7],"山体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7154088a9d845e12c1bbf67d17461790.jpg",[],{"id":9921,"slug":9922,"title":9923,"dynasty":126,"author":55,"museum":242,"description":9924,"tags":9925,"thumbUrl":9926,"material":64,"size":285,"collection":285,"collections":9927,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},216401,"xuan-da-shan-xi-san-zhen-tu-240-yi-ming-216401","宣大山西三镇图-240","青绿设色晕染山峦，层叠起伏间云雾轻笼，勾勒出边塞的苍茫气象。画面中央“永代堡”醒目，周边烽燧、关隘标记错落，军事地理信息隐于山水意境。左侧题跋与右侧图像互文，既是实用的舆图记录，又兼具传统山水画的笔墨意趣，在写实与写意间达成巧妙平衡，既承载着历史的厚重，又流露着艺术的雅致，尽显其独特的双重价值。",[23,24,25,28,27,29,386,132,30,112,86,7,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F503be16ffe8bed85a96b41f589560823.jpg",[],{"id":9929,"slug":9930,"title":9931,"dynasty":54,"author":55,"museum":242,"description":9932,"tags":9933,"thumbUrl":9934,"material":338,"size":285,"collection":285,"collections":9935,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},215580,"tian-xia-ming-shan-tu-45-yi-ming-215580","天下名山图-45","层岩叠嶂以线条勾勒，皴擦纹理间漫溢山野苍劲。中央孤峰如鬼斧削成，孑然挺立于烟霞缭绕处，形态奇崛夺目。轻逸墨线绘就的云雾，牵起远近峰峦的呼应，铺展深远空间。山间小径蜿蜒，数木姿态悠然，二三行者曳杖徐行，微小人影却为静穆山水注入鲜活烟火。笔墨细腻处见匠心，既显自然雄奇之态，又藏文人寄情山水的雅趣，似在低语三衢山的灵秀悠远，引人沉醉其间。",[149,24,25,385,780,30,82,35,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1640d52992b8c625642bacf845623e.jpg",[],{"id":9937,"slug":9938,"title":9939,"dynasty":54,"author":55,"museum":242,"description":9940,"tags":9941,"thumbUrl":9942,"material":338,"size":285,"collection":285,"collections":9943,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},215568,"tian-xia-ming-shan-tu-56-yi-ming-215568","天下名山图-56","画面以白描勾勒山水气韵，峰峦叠嶂间，数道飞瀑倾泻而下，似有轰鸣之声穿纸而出。山间云雾缭绕，淡墨晕染与线条交织，虚实相生衬出山体巍峨雄浑。近处水波以细密曲线勾勒，层层叠叠如鳞，灵动富韵；远处山石线条刚劲，刚柔相济。构图疏密有致，左方孤峰挺拔，右方群峦聚涌，瀑布如银练串联天地，融山水壮阔与灵秀于一纸。笔墨简练却意境深远，尽显传统山水写意精神，让人仿若置身清幽高旷的名山胜境，感受自然静谧与磅礴交织的独特韵味。",[24,780,80,385,30,83,31,7,134,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88f3a53445e6ad103372d03d6a62a91.jpg",[],{"id":9945,"slug":9946,"title":9947,"dynasty":54,"author":55,"museum":242,"description":9948,"tags":9949,"thumbUrl":9950,"material":338,"size":285,"collection":285,"collections":9951,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":69},215567,"tian-xia-ming-shan-tu-59-yi-ming-215567","天下名山图-59","墨线勾勒的山石嶙峋如削，崖壁间瀑布倾泻如练，湍流裹挟碎玉般的水花奔涌不息。左侧砥柱独立江心，身姿挺拔似与惊涛对峙；山间云雾轻笼，若隐若现的林木点缀出几分生机。整幅画以线为骨，刚劲处见山石棱角分明，柔婉处显水流气韵灵动，动静相衬间，既展山河雄奇之姿，又藏天地空灵之趣，仿佛能听见瀑声轰鸣与江浪拍岸，引人沉浸于这方山水的壮阔与幽远。",[24,780,30,134,111,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadca08f6e6d25da15450b2e2e4ed0b5f.jpg",[],{"id":9953,"slug":9954,"title":9955,"dynasty":54,"author":55,"museum":242,"description":9956,"tags":9957,"thumbUrl":9959,"material":137,"size":285,"collection":285,"collections":9960,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},215134,"er-shi-si-xiao-tu-ce-6-yi-ming-215134","二十四孝图册-6","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,24,28,58,385,35,82,7,8297,9958,962,780],"二十四孝题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649ae9ea96985355c6d531055ae0e7f1.jpg",[],{"id":9962,"slug":9963,"title":9964,"dynasty":54,"author":3129,"museum":181,"description":9965,"tags":9966,"thumbUrl":9967,"material":285,"size":285,"collection":285,"collections":9968,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":9969},203410,"qiao-ju-shi-yong-ce-dong-gao-203410","樵具十咏册","山间云雾轻笼，峭壁如削，几株苍劲的树木扎根于乱石之间，小径蜿蜒隐现于草木深处。笔墨以水墨为底，淡设色晕染出清润氛围，山石用皴法勾勒肌理，线条挺劲中见秀雅。右侧行书题咏与画面相映，诗画交融间，尽显文人山水的雅致意趣。整幅作品虽篇幅不大，却将山林的幽远意境凝于尺幅，仿佛能感知到樵夫穿行的悠然，笔墨间藏着传统山水的含蓄情韵。",[24,30,109,28,80,25,133,385,132,82,7,495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d74ad07da170abbee566bcc9dee06b7.jpg",[],"b1a383",{"id":9971,"slug":9972,"title":5265,"dynasty":126,"author":9973,"museum":181,"description":9974,"tags":9975,"thumbUrl":9976,"material":285,"size":285,"collection":285,"collections":9977,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":9978},203216,"shu-hua-ce-diao-rui-203216","刁锐","这幅水墨山水以淡墨晕染出空濛意境，云雾轻锁江面，远山层叠隐现，近岸松石挺秀，亭舍藏于林麓间，几叶扁舟泛于碧波，尽显江南山水的清寂雅致。山石以皴法勾勒纹理，笔墨苍润中见秀逸，树木枝干虬劲，留白处拓展了空间纵深，传递出文人寄情林泉的恬淡心境，于简淡中蕴含悠远的诗意。",[24,109,30,80,151,135,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5489b23db04e6e56088916aa92d59c8.jpg",[],"c9b38b",{"id":9980,"slug":9981,"title":9982,"dynasty":54,"author":6439,"museum":181,"description":9983,"tags":9984,"thumbUrl":9985,"material":285,"size":285,"collection":285,"collections":9986,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":9987},203211,"fang-song-yuan-ba-jia-shan-shui-ce-wang-jian-203211","仿宋元八家山水册","云雾轻笼层叠山峦，峰峦间透着宋元山水的秀逸之韵；近景处，苍树临水而立，茅亭静卧树荫下，水面如镜映出天光，一派清幽淡远的意境。笔墨上，皴染细腻，设色雅致，山石纹理与树木姿态皆见功底，既循古人章法之妙，又融自身对山水的体悟，于仿古中流露文人画的空灵意趣，尽显自然之静谧与悠远。",[24,30,28,80,130,151,35,31,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f20d93f26356080007a065386847cf3.jpg",[],"c6b8a0",{"id":9989,"slug":9990,"title":9991,"dynasty":54,"author":854,"museum":181,"description":9992,"tags":9993,"thumbUrl":9994,"material":285,"size":285,"collection":285,"collections":9995,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":9996},202510,"fang-huang-gong-wang-yun-shan-tu-zhou-wang-hui-202510","仿黄公望云山图轴","画面中山峦起伏，云雾轻笼，似隐似现间透着空灵。树木或苍劲或秀逸，错落于坡岸溪旁，溪流蜿蜒穿林而过，漾起清浅诗意。笔墨上，皴染相济，山石以披麻皴写就，纹理细腻；云雾用淡墨晕染，虚实相生。既得黄公望萧散简远之韵，又融自身秀逸灵动之姿，将江南山水的静谧悠远凝于尺幅，尽显文人画的笔墨情致。",[24,30,109,80,130,7,112,35,85,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91048a90fbeca6551bc87900bfc94a8.jpg",[],"bdb8b2",{"id":9998,"slug":9999,"title":10000,"dynasty":54,"author":3414,"museum":181,"description":10001,"tags":10002,"thumbUrl":10003,"material":285,"size":285,"collection":285,"collections":10004,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10005},202460,"fang-gao-ke-gong-yun-shan-tu-zhou-ren-yi-202460","仿高克恭云山图轴","这幅山水以水墨为基调，山峦层叠间尽显笔墨意趣。峰峦用皴染结合之法，浓墨勾骨，淡墨晕韵，石体的厚重与云雾的轻盈形成鲜明对比。云雾处留白与淡墨交融，似烟似岚，缠绕山腰，营造出空濛悠远的意境。树木以焦墨点染，苍劲中透着秀逸，枝桠伸展间添几分生机。整作既承袭高克恭云山的浑朴气象，又融入灵动笔触，于传统范式中见个人风神，清幽雅致，耐人寻味。",[24,30,109,80,7,112,35,130,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F174e57cf629147465cb475fb85d20931.jpg",[],"c7c0b7",{"id":10007,"slug":10008,"title":10009,"dynasty":54,"author":854,"museum":181,"description":10010,"tags":10011,"thumbUrl":10013,"material":285,"size":285,"collection":285,"collections":10014,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10015},202263,"xi-ge-wu-dui-tu-zhou-wang-hui-202263","溪阁晤对图轴","峭壁耸峙入云，云雾缭绕间显山峦幽深。近景溪流潺湲，枯树虬枝疏朗，溪畔小阁半藏于石树，似有雅士晤对，意境清寂悠远。笔墨细腻，皴染结合，山石纹理以皴法勾勒得层次分明，树木姿态鲜活。融宋元山水笔意，古雅中见生机，尽显文人山水的林下之趣。",[24,30,80,10012,672,82,7,79,109,443,23],"溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc89bf85c7414f77d9d1e5d8ba3138cd.jpg",[],"a3937e",{"id":10017,"slug":10018,"title":6800,"dynasty":54,"author":6439,"museum":181,"description":10019,"tags":10020,"thumbUrl":10022,"material":285,"size":285,"collection":285,"collections":10023,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10024},202259,"yun-shan-tu-juan-wang-jian-202259","此卷以水墨写云山景致，山峦层叠间云雾氤氲，虚实相生，尽显空濛之趣。林木疏密交错，枯荣相杂，笔墨干湿浓淡互用，皴染结合，山石肌理与树木姿态皆得自然之妙。山间茅舍掩映，水面孤舟泛波，添几分幽居之静。整体意境清寂悠远，承元人山水韵致，又显个人笔墨精妙，于平淡中见深远，为仿古出新之作。",[109,30,80,2675,1505,4207,135,7,10021],"仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35400336de31e30eb00e4308ff69d475.jpg",[],"beaa9a",{"id":10026,"slug":10027,"title":10028,"dynasty":126,"author":305,"museum":181,"description":10029,"tags":10030,"thumbUrl":10031,"material":285,"size":285,"collection":285,"collections":10032,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10033},202252,"wu-song-jiang-shui-tu-zhou-dong-qi-chang-202252","吴淞江水图轴","此图以水墨写意出吴淞江一带的山水神韵，山峦起伏间云雾氤氲，林木萧疏错落，村舍隐于丘壑侧畔，意境淡远空灵。笔墨上，山石用披麻皴轻染，线条秀逸而含骨力，树木姿态苍劲却不失灵动，尽显文人画的雅致情韵。题跋与印章相映成趣，书画交融间，将自然景致转化为诗化的笔墨语言，传递出董氏“平淡天真”的艺术追求，是其文人山水画的典型之作。",[30,109,80,25,133,35,7,79,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0db5f56041d1340a4dcec70f58ad6096.jpg",[],"9e9485",{"id":10035,"slug":10036,"title":10037,"dynasty":54,"author":10038,"museum":181,"description":10039,"tags":10040,"thumbUrl":10045,"material":285,"size":285,"collection":285,"collections":10046,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10047},202228,"qiu-shan-xing-lv-tu-zhou-wu-qing-yun-202228","秋山行旅图轴","吴庆云","秋山逶迤，云雾氤氲间，行旅者策马穿行于山间古道，蹄声似隐若现。崖边亭阁嵌于丹枫与枯树交错处，溪畔茅舍内有人凭栏远眺，溪流婉转，红叶点染秋光。笔墨以皴法写山石之峻厚，水墨晕染云雾之轻盈，淡彩敷陈秋意之浓，动静相生间，尽显秋山行旅的幽远清寂与生活意趣。",[30,109,28,80,782,151,1262,85,672,446,84,7,4207,10041,10042,10043,10044],"丹枫","行旅者","山间小径","淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17cb812743982270e7f5700cf22276f7.jpg",[],"a8a092",{"id":10049,"slug":10050,"title":371,"dynasty":54,"author":5819,"museum":181,"description":10051,"tags":10052,"thumbUrl":10053,"material":285,"size":285,"collection":285,"collections":10054,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10055},202222,"shan-shui-zhou-zhu-ang-zhi-202222","云雾如缕缠裹层叠峰峦，浅青山石间，松枝以淡蓝晕染，苍劲中透着清逸。山间楼阁隐于云霭林木后，似有若无，添了几分幽远。近景处，几株老松斜倚水边，枝桠舒展，树下小亭孑立，仿佛正待知音。画家以细腻皴法勾勒山石肌理，设色淡雅温润，浅绛与青绿交融，将山水灵秀与静谧晕染得恰到好处。整幅画如无声诗，引观者步入烟霞深处，感受远离尘嚣的悠然旷达。",[24,30,28,80,590,198,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1a4beee68904c3bfabaf7082425ff90.jpg",[],"c0b5a9",{"id":10057,"slug":10058,"title":10059,"dynasty":54,"author":854,"museum":181,"description":10060,"tags":10061,"thumbUrl":10062,"material":285,"size":285,"collection":98,"collections":10063,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10064},201397,"fang-jiang-guan-dao-shan-shui-tu-zhou-wang-hui-201397","仿江贯道山水图轴","峰峦层叠间，皴笔细密勾勒山石肌理，墨色浓淡晕染出云雾缭绕之态，山脚林木扶疏，枝干虬劲多姿。近景处小桥横卧溪上，行人缓步其间，添几分野趣。笔墨苍秀相济，既循江贯道山水清逸遗风，又融自身对传统的深刻体悟，构图开合有度，气韵流转，尽显古典山水的雅致意境与文人情怀。",[30,80,109,24,86,1505,7,112,308,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea279b2d1ea3e78b3015c416176e4ca2.jpg",[98],"ad9b82",{"id":10066,"slug":10067,"title":10068,"dynasty":54,"author":10069,"museum":181,"description":10070,"tags":10071,"thumbUrl":10072,"material":285,"size":285,"collection":98,"collections":10073,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10074},201383,"chun-jiang-die-zhang-tu-juan-cai-jia-201383","春江叠嶂图卷","蔡嘉","江流缓缓铺展，叠嶂层峦错落有致，云雾似轻纱萦绕峰谷，晕染出悠远的空间感。近岸林木葱郁，枝桠间透着春日鲜嫩，几处村舍隐于绿荫，更添生趣。江上孤舟点点，桨声仿佛随波荡漾，尽显江南水乡的清和雅致。笔墨细腻处，山石皴法灵动，设色淡雅温润，将自然之美与文人意趣融于一卷，读来如沐春风，心境旷达。",[24,26,28,30,80,135,1505,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5decdcbc882ecdeecb45ac9506bac4.jpg",[98],"b0a896",{"id":10076,"slug":10077,"title":8511,"dynasty":126,"author":5470,"museum":181,"description":10078,"tags":10079,"thumbUrl":10080,"material":285,"size":285,"collection":98,"collections":10081,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10082},201357,"shan-shui-shan-wen-jia-201357","画面山峦错落，林木葱郁，云雾以淡墨晕染，流溢于峰谷间，添空濛之趣。山石勾勒简洁，皴擦细腻，显清润质感；树木枝干挺秀，叶态丰茂，笔墨雅致。构图疏密相宜，意境清幽淡远，尽显文人山水的闲逸之致，于扇面方寸间铺展自然生机与诗意。",[2203,30,80,109,1505,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1063ed96c5bcfdf1983a5b3779d313.jpg",[98],"dce5e0",{"id":10084,"slug":10085,"title":10086,"dynasty":54,"author":3276,"museum":181,"description":10087,"tags":10088,"thumbUrl":10089,"material":285,"size":285,"collection":98,"collections":10090,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":6444},201332,"shan-zhong-ku-yu-tu-juan-wu-li-201332","山中苦雨图卷","画面中山峦起伏，云雾氤氲，林木错落间溪水流淌，孤舟静泊岸畔。笔墨苍秀相济，皴法细腻，设色淡雅，于雨意朦胧中传递出文人的闲适与哲思，虽名“苦雨”，却在烟岚与草木间藏着一份从容之趣，尽显传统山水的诗意与笔墨功力。",[24,26,30,109,28,80,135,7,1505,132,133,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfe0282f31ed75ae8648fca641525c44.jpg",[98],{"id":10092,"slug":10093,"title":10094,"dynasty":126,"author":935,"museum":181,"description":10095,"tags":10096,"thumbUrl":10097,"material":285,"size":285,"collection":98,"collections":10098,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10099},201291,"fang-da-chi-shan-shui-juan-lan-ying-201291","仿大痴山水卷","画卷铺展，山峦层叠如黛，云雾轻笼似纱，晕染出悠远空灵的意境。近处林木苍劲，几椽村舍隐于岩麓，溪水蜿蜒穿林过野，连缀起远近景致的呼应。笔意追摹大痴道人，披麻皴的细腻纹理中融入蓝瑛特有的沉雄笔力，山石既见元人山水的萧散，又含浙派的刚健气韵。林间飞鸟点活静景，村落炊烟暗合人间温情，将自然旷远与生活意趣交织。墨色层次丰富，淡彩晕染清润，在临摹中尽显个人风貌，传递出文人山水的雅致与生机。",[30,26,80,109,130,248,1505,7,5240,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a36db6f899146689951814afd9563d.jpg",[98],"9c805b",{"id":10101,"slug":10102,"title":10103,"dynasty":54,"author":854,"museum":181,"description":10104,"tags":10105,"thumbUrl":10106,"material":285,"size":285,"collection":98,"collections":10107,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":10108},201239,"fang-huang-gong-wang-shan-shui-zhou-wang-hui-201239","仿黄公望山水轴","笔墨苍润秀逸，承黄公望浅绛山水遗韵，山峦以披麻皴皴染结合，肌理浑厚。云雾轻笼峰谷，虚实相生间拓展深远空间。山间林木葱郁，松枝挺劲，杂树错落；小径蜿蜒而下，小桥横跨溪流，屋舍隐于林麓，尽显清幽淡远之致。整体章法疏密得宜，气韵连贯，既守古法又蕴新意，是仿古而能化的佳构。",[30,80,28,86,111,1505,79,1116,603,7,649,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10de6524d2fa0cde2f4b7310046b4ea.jpg",[98],"b4a692",1777535695951]