[{"data":1,"prerenderedAt":1612},["ShallowReactive",2],{"subject-zhi-bei":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},411,"zhi-bei","植被","植被画高清赏析","精选中国历代植被题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc70c6e8a735805307b8dd497a2e4c85.jpg",8,131,[14,50,75,90,102,124,146,164,179,194,208,220,234,251,265,281,295,306,320,331,342,353,369,380,393,410,421,430,441,451,467,495,508,522,536,546,560,572,583,593,605,615,626,639,655,665,674,683,694,705,717,728,740,753,764,775,793,803,813,823,834,846,858,872,882,897,907,916,929,941,951,960,968,977,984,992,999,1009,1023,1032,1048,1056,1066,1077,1088,1097,1118,1125,1148,1161,1170,1180,1192,1213,1227,1237,1245,1258,1267,1275,1287,1297,1307,1317,1330,1338,1347,1355,1369,1383,1391,1407,1419,1429,1441,1448,1460,1468,1476,1484,1494,1501,1514,1531,1540,1556,1567,1579,1588,1597,1604],{"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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,7],"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","云雾","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":56,"description":57,"tags":58,"thumbUrl":68,"material":69,"size":70,"collection":71,"collections":72,"showCount":73,"zanCount":74,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","明","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。",[23,24,25,59,27,28,29,30,60,61,62,35,63,38,64,7,65,66,67],"立轴","人物","楼阁","小桥","山石","建筑","山峦","溪流","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 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时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,95,26,30,96,28,63,35,227,115,171,228,172,229,7],"渔船","舟楫","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[42,71,143],232,{"id":235,"slug":236,"title":237,"dynasty":54,"author":238,"museum":239,"description":240,"tags":241,"thumbUrl":246,"material":247,"size":248,"collection":248,"collections":249,"showCount":250,"zanCount":48,"manualWeight":48,"mainColor":49},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","藏地不详","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,154,28,112,96,30,35,63,62,115,242,114,60,243,172,229,244,7,245],"孤舟","茅屋","峭壁","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg","纸本，设色","",[],230,{"id":252,"slug":253,"title":254,"dynasty":54,"author":255,"museum":79,"description":256,"tags":257,"thumbUrl":260,"material":261,"size":262,"collection":71,"collections":263,"showCount":264,"zanCount":145,"manualWeight":48,"mainColor":49},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","沈周","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,24,25,111,112,96,186,258,187,115,63,114,259,188,66,7],"云","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 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14.6公分",[71],66,{"id":321,"slug":322,"title":323,"dynasty":106,"author":324,"museum":79,"description":325,"tags":326,"thumbUrl":329,"material":112,"size":248,"collection":71,"collections":330,"showCount":319,"zanCount":163,"manualWeight":48,"mainColor":123},219004,"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","高克恭","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。",[23,24,25,112,96,30,35,38,327,115,63,7,328],"烟雨","朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg",[71],{"id":332,"slug":333,"title":334,"dynasty":54,"author":335,"museum":79,"description":336,"tags":337,"thumbUrl":338,"material":28,"size":339,"collection":71,"collections":340,"showCount":341,"zanCount":48,"manualWeight":48,"mainColor":123},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,26,28,96,30,62,61,35,63,172,158,64,7,65,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[71,143],64,{"id":343,"slug":344,"title":345,"dynasty":54,"author":346,"museum":79,"description":347,"tags":348,"thumbUrl":350,"material":118,"size":248,"collection":71,"collections":351,"showCount":352,"zanCount":163,"manualWeight":48,"mainColor":123},214613,"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。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董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[24,25,302,112,96,349,30,31,35,36,157,202,65,7],"书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[71],62,{"id":354,"slug":355,"title":356,"dynasty":106,"author":357,"museum":79,"description":358,"tags":359,"thumbUrl":365,"material":40,"size":366,"collection":248,"collections":367,"showCount":368,"zanCount":48,"manualWeight":48,"mainColor":123},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。",[95,24,25,26,28,27,29,30,155,349,360,361,186,362,242,35,172,363,60,32,38,364,7],"行书","篆书","水","渡口","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8413a90a26c7bd60b40a95db035e8aca.jpg","纵21.6厘米，横480.6厘米",[],61,{"id":370,"slug":371,"title":372,"dynasty":18,"author":211,"museum":20,"description":373,"tags":374,"thumbUrl":376,"material":40,"size":377,"collection":248,"collections":378,"showCount":379,"zanCount":48,"manualWeight":48,"mainColor":49},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[95,24,25,26,27,28,29,96,30,31,32,35,97,61,62,115,63,7,133,375],"人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg","纵55.6厘米，横323.2厘米",[],54,{"id":381,"slug":382,"title":383,"dynasty":150,"author":384,"museum":385,"description":386,"tags":387,"thumbUrl":390,"material":118,"size":248,"collection":71,"collections":391,"showCount":392,"zanCount":163,"manualWeight":48,"mainColor":123},219914,"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图","王鉴","南京博物院","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。",[24,25,95,112,96,59,111,30,35,115,242,63,388,38,389,157,7],"河岸","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[71],50,{"id":394,"slug":395,"title":396,"dynasty":150,"author":397,"museum":239,"description":398,"tags":399,"thumbUrl":407,"material":190,"size":248,"collection":71,"collections":408,"showCount":409,"zanCount":48,"manualWeight":48,"mainColor":123},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","佚名","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,24,26,28,29,30,272,245,64,35,400,401,402,403,404,65,7,36,405,406],"灯塔","港口","帆船","城镇","海面","海岸线","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[71],48,{"id":411,"slug":412,"title":413,"dynasty":106,"author":285,"museum":79,"description":414,"tags":415,"thumbUrl":417,"material":175,"size":418,"collection":248,"collections":419,"showCount":420,"zanCount":163,"manualWeight":48,"mainColor":49},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,25,59,28,96,30,61,35,63,66,243,172,416,7],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],46,{"id":422,"slug":423,"title":424,"dynasty":150,"author":310,"museum":20,"description":425,"tags":426,"thumbUrl":427,"material":190,"size":428,"collection":71,"collections":429,"showCount":420,"zanCount":48,"manualWeight":48,"mainColor":123},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。",[23,95,24,25,26,112,96,30,35,38,32,242,172,275,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[71,45],{"id":431,"slug":432,"title":433,"dynasty":150,"author":434,"museum":20,"description":435,"tags":436,"thumbUrl":437,"material":40,"size":438,"collection":71,"collections":439,"showCount":440,"zanCount":48,"manualWeight":48,"mainColor":49},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","袁耀","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。",[23,24,25,59,82,28,29,96,30,61,62,63,35,38,60,116,64,7,65,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[71,45],44,{"id":442,"slug":443,"title":444,"dynasty":106,"author":445,"museum":108,"description":446,"tags":447,"thumbUrl":448,"material":118,"size":449,"collection":71,"collections":450,"showCount":440,"zanCount":163,"manualWeight":48,"mainColor":123},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","方从义","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。",[23,95,24,25,26,112,30,96,155,360,65,38,35,97,66,172,416,244,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[71],{"id":452,"slug":453,"title":454,"dynasty":54,"author":455,"museum":456,"description":457,"tags":458,"thumbUrl":462,"material":463,"size":464,"collection":71,"collections":465,"showCount":466,"zanCount":48,"manualWeight":48,"mainColor":123},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","辽宁省博物馆","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。",[23,24,25,26,112,30,96,35,63,115,38,155,459,460,461,7],"明代","秋景","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纸本","纵27厘米、横448厘米",[71,143],41,{"id":468,"slug":469,"title":470,"dynasty":471,"author":472,"museum":239,"description":473,"tags":474,"thumbUrl":489,"material":490,"size":491,"collection":492,"collections":493,"showCount":494,"zanCount":48,"manualWeight":48,"mainColor":49},226041,"sunset-on-the-seine-winter-effect-1880-mo-nai-226041","Sunset on the Seine, Winter Effect, 1880","不详","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。",[475,476,477,32,478,34,389,314,479,480,481,482,35,483,484,485,486,487,7,488],"印象派","油画","夕阳","水面倒影","岸边","冬日","天空","波光","水域","光影捕捉","笔触灵动","色彩晕染","冬日景象","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg","未知","Xcm*Xcm","油画精选",[492],40,{"id":496,"slug":497,"title":498,"dynasty":150,"author":499,"museum":239,"description":500,"tags":501,"thumbUrl":505,"material":248,"size":248,"collection":248,"collections":506,"showCount":507,"zanCount":163,"manualWeight":48,"mainColor":49},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","丁观鹏","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[24,59,29,28,60,502,503,504,30,35,63,7],"大象","虎","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],39,{"id":509,"slug":510,"title":511,"dynasty":54,"author":397,"museum":20,"description":512,"tags":513,"thumbUrl":519,"material":40,"size":520,"collection":248,"collections":521,"showCount":507,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,26,28,27,29,30,514,515,32,516,35,116,517,7,518],"古道","山脉","城池","聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":523,"slug":524,"title":525,"dynasty":150,"author":526,"museum":20,"description":527,"tags":528,"thumbUrl":532,"material":247,"size":533,"collection":248,"collections":534,"showCount":535,"zanCount":163,"manualWeight":48,"mainColor":123},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","髡残","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,25,59,30,96,112,28,258,529,530,156,61,63,35,314,171,531,64,7],"洞","流泉","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],38,{"id":537,"slug":538,"title":539,"dynasty":18,"author":540,"museum":239,"description":541,"tags":542,"thumbUrl":543,"material":248,"size":248,"collection":248,"collections":544,"showCount":545,"zanCount":163,"manualWeight":48,"mainColor":49},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)","夏圭","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。",[95,24,25,26,112,96,30,31,32,35,242,34,272,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],35,{"id":547,"slug":548,"title":444,"dynasty":106,"author":445,"museum":549,"description":550,"tags":551,"thumbUrl":557,"material":118,"size":558,"collection":71,"collections":559,"showCount":545,"zanCount":163,"manualWeight":48,"mainColor":123},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","费城艺术博物馆","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。",[24,25,26,112,96,349,360,30,65,38,35,32,62,97,157,7,66,172,552,553,554,555,556,155],"近景","留白","写意","笔墨","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[71],{"id":561,"slug":562,"title":563,"dynasty":150,"author":384,"museum":20,"description":564,"tags":565,"thumbUrl":566,"material":567,"size":568,"collection":71,"collections":569,"showCount":571,"zanCount":48,"manualWeight":48,"mainColor":123},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。",[24,111,112,59,96,186,362,35,157,64,38,97,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纸本，墨笔","纵67.8厘米，横31.3厘米",[71,143,570],"书法精选",34,{"id":573,"slug":574,"title":575,"dynasty":106,"author":576,"museum":239,"description":577,"tags":578,"thumbUrl":580,"material":175,"size":581,"collection":248,"collections":582,"showCount":571,"zanCount":48,"manualWeight":48,"mainColor":49},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,95,24,26,28,96,30,186,35,60,579,504,214,157,7],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":584,"slug":585,"title":586,"dynasty":150,"author":587,"museum":239,"description":588,"tags":589,"thumbUrl":591,"material":248,"size":248,"collection":248,"collections":592,"showCount":571,"zanCount":145,"manualWeight":48,"mainColor":123},224442,"fang-ju-ran-xi-shan-yu-ji-tu-wang-hui-224442","仿巨然溪山雨霁图","王翚","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。",[23,24,25,59,112,96,154,30,186,590,35,38,157,7],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d160e13391e67af2c1ba02073ffad9e.jpg",[],{"id":594,"slug":595,"title":596,"dynasty":54,"author":597,"museum":20,"description":598,"tags":599,"thumbUrl":600,"material":601,"size":602,"collection":71,"collections":603,"showCount":604,"zanCount":163,"manualWeight":48,"mainColor":123},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。",[24,25,59,112,96,30,31,35,66,38,157,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d5685508e133e9c63badafd9045c0e.jpg","纸本墨笔","纵95厘米，横36.4厘米",[71,570],33,{"id":606,"slug":607,"title":608,"dynasty":150,"author":587,"museum":20,"description":609,"tags":610,"thumbUrl":611,"material":612,"size":613,"collection":71,"collections":614,"showCount":604,"zanCount":48,"manualWeight":48,"mainColor":123},236331,"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[24,59,112,96,30,186,171,35,36,66,157,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[71,143],{"id":616,"slug":617,"title":618,"dynasty":106,"author":619,"museum":620,"description":621,"tags":622,"thumbUrl":623,"material":175,"size":624,"collection":71,"collections":625,"showCount":604,"zanCount":163,"manualWeight":48,"mainColor":123},221916,"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","陈汝言","美国克利夫兰艺术博物馆","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[23,24,25,112,96,59,186,171,66,157,35,115,63,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[71,143],{"id":627,"slug":628,"title":629,"dynasty":150,"author":630,"museum":631,"description":632,"tags":633,"thumbUrl":635,"material":175,"size":636,"collection":248,"collections":637,"showCount":638,"zanCount":48,"manualWeight":48,"mainColor":49},223065,"hong-lou-meng-51-sun-wen-223065","红楼梦51","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,29,28,27,30,60,61,35,406,63,7,634,96],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38cd2b5c16cda13879fb7099dda2449d.jpg","纵43.3厘米、横76.5厘米",[],32,{"id":640,"slug":641,"title":642,"dynasty":643,"author":644,"museum":645,"description":646,"tags":647,"thumbUrl":651,"material":652,"size":248,"collection":248,"collections":653,"showCount":654,"zanCount":163,"manualWeight":48,"mainColor":123},220555,"xi-ma-la-ya-shan-zhi-lin-xu-bei-hong-220555","喜马拉雅山之林","民国","徐悲鸿","中央美术学院美术馆","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。",[95,476,28,648,35,649,65,481,38,650,172,7],"写实","雪山","森林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797481366c3bd1cdfc248ab635ea0f5c.jpg","布面油彩",[],31,{"id":656,"slug":657,"title":658,"dynasty":106,"author":619,"museum":79,"description":659,"tags":660,"thumbUrl":661,"material":190,"size":662,"collection":71,"collections":663,"showCount":664,"zanCount":163,"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》。",[24,25,26,112,96,30,186,38,35,36,155,7,115,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[71],30,{"id":666,"slug":667,"title":668,"dynasty":150,"author":630,"museum":631,"description":632,"tags":669,"thumbUrl":671,"material":175,"size":636,"collection":248,"collections":672,"showCount":673,"zanCount":48,"manualWeight":48,"mainColor":123},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,25,29,28,27,60,670,579,62,115,30,35,61,634,7,64,26],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],29,{"id":675,"slug":676,"title":677,"dynasty":106,"author":107,"museum":239,"description":678,"tags":679,"thumbUrl":680,"material":248,"size":248,"collection":248,"collections":681,"showCount":682,"zanCount":48,"manualWeight":48,"mainColor":123},232634,"shan-shui-tu-xin-yu-liang-quan-wang-meng-232634","山水图(新雨凉泉)","王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。对明清及近代山水画影响甚大。\n王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。传世的代表作《青卞隐居图》、《春山读书图》，上海博物馆藏；《葛稚川移居图》《夏日山居图》，北京故宫博物院藏；《秋山草堂图》，台北故宫博物院藏。代表作品还有《湘江烟雨图》《深林叠嶂图》等。诗文、史学亦精。今存诗集《草堂雅集》。",[24,25,59,112,96,30,63,35,115,157,7,203,389,202],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85e0e1523a4b570966cee5ed7f642fa5.jpg",[],26,{"id":684,"slug":685,"title":686,"dynasty":150,"author":587,"museum":20,"description":609,"tags":687,"thumbUrl":688,"material":689,"size":690,"collection":71,"collections":691,"showCount":692,"zanCount":48,"manualWeight":48,"mainColor":693},236363,"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[24,25,59,112,96,30,35,63,32,172,173,116,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纸本 ，淡设色","纵63.5cm，横36.3cm",[71,143,570],25,"F48FB1",{"id":695,"slug":696,"title":697,"dynasty":150,"author":630,"museum":631,"description":632,"tags":698,"thumbUrl":702,"material":175,"size":636,"collection":248,"collections":703,"showCount":704,"zanCount":48,"manualWeight":48,"mainColor":123},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[23,24,29,28,27,30,61,62,115,60,114,35,63,289,116,699,700,172,416,7,701],"栏杆","建筑群","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg",[],22,{"id":706,"slug":707,"title":708,"dynasty":54,"author":709,"museum":79,"description":710,"tags":711,"thumbUrl":714,"material":316,"size":715,"collection":248,"collections":716,"showCount":704,"zanCount":163,"manualWeight":48,"mainColor":123},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。",[23,24,25,59,112,96,154,30,156,63,171,66,712,35,65,713,202,7,38],"小屋","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":718,"slug":719,"title":720,"dynasty":471,"author":472,"museum":239,"description":473,"tags":721,"thumbUrl":725,"material":490,"size":491,"collection":492,"collections":726,"showCount":727,"zanCount":48,"manualWeight":48,"mainColor":123},226076,"the-hut-in-trouville-low-tide-1881-mo-nai-226076","The Hut in Trouville, Low Tide, 1881",[475,476,722,486,712,723,724,404,245,7,481],"外光写生","海滩","退潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e1eae68950113e2890ec28ce1dd000.jpg",[492],21,{"id":729,"slug":730,"title":731,"dynasty":150,"author":397,"museum":239,"description":732,"tags":733,"thumbUrl":737,"material":248,"size":248,"collection":248,"collections":738,"showCount":739,"zanCount":48,"manualWeight":48,"mainColor":123},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。",[23,24,25,112,28,30,96,734,63,35,32,34,36,65,38,7,66,133,735,736],"册页","峰岩","飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],19,{"id":741,"slug":742,"title":743,"dynasty":150,"author":744,"museum":745,"description":746,"tags":747,"thumbUrl":749,"material":750,"size":751,"collection":248,"collections":752,"showCount":739,"zanCount":48,"manualWeight":48,"mainColor":248},220730,"xun-qin-tu-5-huang-xiang-jian-220730","寻亲图5","黄向坚","香港中文大学文物馆","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。",[24,26,28,112,30,96,65,38,7,172,748,35,157,202],"近峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ed87cab5ac6282467def950a93b23e.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[],{"id":754,"slug":755,"title":756,"dynasty":54,"author":346,"museum":20,"description":757,"tags":758,"thumbUrl":760,"material":118,"size":761,"collection":248,"collections":762,"showCount":763,"zanCount":48,"manualWeight":48,"mainColor":123},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。",[24,111,112,59,25,96,35,63,115,38,114,156,186,7,759],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],18,{"id":765,"slug":766,"title":767,"dynasty":471,"author":472,"museum":239,"description":473,"tags":768,"thumbUrl":773,"material":490,"size":491,"collection":492,"collections":774,"showCount":763,"zanCount":48,"manualWeight":48,"mainColor":49},226058,"the-church-at-varengeville-against-the-sunset-1882-mo-nai-226058","The Church at Varengeville, against the Sunset, 1882",[475,476,477,769,35,770,481,7,771,772],"教堂","山坡","光影","色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a86481bb99993e5669b8d70e96742.jpg",[492],{"id":776,"slug":777,"title":778,"dynasty":471,"author":779,"museum":239,"description":780,"tags":781,"thumbUrl":791,"material":490,"size":491,"collection":492,"collections":792,"showCount":763,"zanCount":48,"manualWeight":48,"mainColor":49},225773,"landscape-at-saint-re-my-enclosed-field-with-peasant-fan-gao-225773","Landscape at Saint-Rémy (Enclosed Field with Peasant)","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[476,782,783,784,785,786,515,481,787,36,35,788,789,790,7],"厚涂","笔触奔放","色彩鲜明","田野","农民","云朵","篱笆","土地","灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50c19cf3f69bb5b337d215962d61059.jpg",[492],{"id":794,"slug":795,"title":796,"dynasty":150,"author":797,"museum":239,"description":798,"tags":799,"thumbUrl":800,"material":490,"size":491,"collection":71,"collections":801,"showCount":802,"zanCount":48,"manualWeight":48,"mainColor":123},237997,"shan-shui-ce-qin-zu-yong-237997","山水册","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 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的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,25,59,28,30,96,186,187,32,879,830,7,155,349,360],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":883,"slug":884,"title":885,"dynasty":150,"author":886,"museum":827,"description":887,"tags":888,"thumbUrl":894,"material":248,"size":248,"collection":71,"collections":895,"showCount":857,"zanCount":48,"manualWeight":48,"mainColor":896},203438,"du-fu-shi-yi-tu-zhou-wang-yuan-qi-203438","杜甫诗意图轴","王原祁","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。",[23,59,28,96,30,186,156,63,38,115,35,116,7,531,889,890,891,892,893,866],"沟壑","苔点","林木","溪涧","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2bf256a8bbab7a17077134edcdbbc.jpg",[71],"96724d",{"id":898,"slug":899,"title":900,"dynasty":150,"author":384,"museum":108,"description":901,"tags":902,"thumbUrl":903,"material":463,"size":904,"collection":248,"collections":905,"showCount":906,"zanCount":48,"manualWeight":48,"mainColor":49},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,24,25,59,30,28,96,154,186,187,32,157,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],12,{"id":908,"slug":909,"title":910,"dynasty":106,"author":619,"museum":239,"description":911,"tags":912,"thumbUrl":914,"material":248,"size":248,"collection":248,"collections":915,"showCount":906,"zanCount":48,"manualWeight":48,"mainColor":49},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[23,24,25,59,112,96,30,63,171,35,66,172,913,7,155],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":917,"slug":918,"title":919,"dynasty":471,"author":472,"museum":239,"description":473,"tags":920,"thumbUrl":927,"material":490,"size":491,"collection":492,"collections":928,"showCount":906,"zanCount":48,"manualWeight":48,"mainColor":49},226057,"the-church-at-varengeville-against-the-sunlight-1882-mo-nai-226057","The Church at Varengeville, against the Sunlight, 1882",[475,476,484,486,485,769,35,770,477,481,7,65,921,135,922,923,924,925,926],"远景建筑","暖色调","户外风景","前景花草","远山轮廓","日光效果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121f293ba15199b1f06a2bfa35552aa6.jpg",[492],{"id":930,"slug":931,"title":932,"dynasty":471,"author":472,"museum":239,"description":473,"tags":933,"thumbUrl":939,"material":490,"size":491,"collection":492,"collections":940,"showCount":906,"zanCount":48,"manualWeight":48,"mainColor":123},226056,"the-church-at-varengeville-and-the-gorge-of-les-moutiers-1882-mo-nai-226056","The Church at Varengeville and the Gorge of Les Moutiers, 1882",[475,476,484,934,935,769,770,713,936,790,879,481,7,135,937,938,485],"色彩明快","笔触松散","大海","光影变化","色彩斑斓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9790e4c9e68d356d55de3cdb85e69bf3.jpg",[492],{"id":942,"slug":943,"title":944,"dynasty":150,"author":183,"museum":239,"description":945,"tags":946,"thumbUrl":949,"material":490,"size":491,"collection":248,"collections":950,"showCount":906,"zanCount":48,"manualWeight":48,"mainColor":49},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,25,59,28,27,96,30,154,186,258,187,947,948,115,64,7],"松","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":952,"slug":953,"title":954,"dynasty":150,"author":955,"museum":239,"description":956,"tags":957,"thumbUrl":958,"material":248,"size":248,"collection":248,"collections":959,"showCount":89,"zanCount":48,"manualWeight":48,"mainColor":123},238833,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238833","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”。",[24,25,302,28,30,96,349,155,62,115,35,114,186,362,243,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6eba943f2863483400997f8cce665d.jpg",[],{"id":961,"slug":962,"title":796,"dynasty":150,"author":963,"museum":239,"description":964,"tags":965,"thumbUrl":966,"material":248,"size":248,"collection":248,"collections":967,"showCount":89,"zanCount":48,"manualWeight":48,"mainColor":123},238147,"shan-shui-ce-yun-xi-238147","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。",[24,28,96,302,30,186,362,114,389,202,172,229,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4810f4349a79e4a82ac72927ab0bc5bb.jpg",[],{"id":969,"slug":970,"title":971,"dynasty":150,"author":972,"museum":239,"description":973,"tags":974,"thumbUrl":975,"material":248,"size":248,"collection":248,"collections":976,"showCount":89,"zanCount":48,"manualWeight":48,"mainColor":123},234607,"shan-shui-wan-shan-zhang-zhi-wan-234607","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[24,25,853,112,96,30,63,35,36,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae5a3cdcc988cabf533cc71a232dc36d.jpg",[],{"id":978,"slug":979,"title":980,"dynasty":150,"author":384,"museum":827,"description":828,"tags":981,"thumbUrl":982,"material":190,"size":832,"collection":248,"collections":983,"showCount":89,"zanCount":48,"manualWeight":48,"mainColor":123},216982,"fang-song-yuan-shan-shui-ce-5-wang-jian-216982","仿宋元山水册-5",[23,24,111,734,28,96,112,186,362,62,35,156,36,116,171,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869a411b8f05c5295dbd50546c1ce7f4.jpg",[],{"id":985,"slug":986,"title":987,"dynasty":150,"author":587,"museum":239,"description":988,"tags":989,"thumbUrl":990,"material":248,"size":248,"collection":248,"collections":991,"showCount":101,"zanCount":48,"manualWeight":48,"mainColor":693},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。",[23,24,25,30,112,96,154,31,35,63,38,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42c82dcbca07f113bc6bb5f1e5aee9.jpg",[],{"id":993,"slug":994,"title":954,"dynasty":150,"author":955,"museum":239,"description":956,"tags":995,"thumbUrl":996,"material":248,"size":248,"collection":248,"collections":997,"showCount":998,"zanCount":48,"manualWeight":48,"mainColor":123},238832,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238832",[24,28,30,96,302,63,35,36,172,416,38,289,202,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],9,{"id":1000,"slug":1001,"title":1002,"dynasty":471,"author":472,"museum":239,"description":473,"tags":1003,"thumbUrl":1007,"material":490,"size":491,"collection":492,"collections":1008,"showCount":998,"zanCount":163,"manualWeight":48,"mainColor":123},226117,"the-seine-at-vetheuil-3-1879-mo-nai-226117","The Seine at Vetheuil 3, 1879",[475,476,771,772,1004,32,34,60,1005,769,35,481,273,1006,64,7],"笔触","村庄","倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4230a1310934af7a33c7e702131decd3.jpg",[492],{"id":1010,"slug":1011,"title":1012,"dynasty":471,"author":472,"museum":239,"description":473,"tags":1013,"thumbUrl":1021,"material":490,"size":491,"collection":492,"collections":1022,"showCount":998,"zanCount":48,"manualWeight":48,"mainColor":49},226014,"rocks-at-belle-ile-1886-mo-nai-226014","Rocks at Belle-ile, 1886",[475,476,1014,157,713,1015,1016,1017,7,1018,1019,1020],"点彩","海水","海浪","海岸","自然风光","海景","岩石地貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c713360af4804f6d4e334dcce4a870.jpg",[492],{"id":1024,"slug":1025,"title":1026,"dynasty":471,"author":472,"museum":239,"description":473,"tags":1027,"thumbUrl":1030,"material":490,"size":491,"collection":492,"collections":1031,"showCount":998,"zanCount":48,"manualWeight":48,"mainColor":49},226006,"port-domois-1886-mo-nai-226006","Port-Domois, 1886",[95,476,475,771,1028,713,1015,1029,770,7,1019,157],"色彩丰富","礁石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ecb494f4f6ecfdf596d79f06f7bee0.jpg",[492],{"id":1033,"slug":1034,"title":1035,"dynasty":471,"author":779,"museum":239,"description":780,"tags":1036,"thumbUrl":1046,"material":490,"size":491,"collection":492,"collections":1047,"showCount":998,"zanCount":48,"manualWeight":48,"mainColor":49},225743,"farm-with-stacks-of-peat-november-fan-gao-225743","Farm with stacks of peat (November - )",[476,1037,1038,1039,1040,785,481,1041,1042,1043,1044,1045,789,634,7],"后印象派","厚重笔触","农舍","泥炭堆","乡村景观","暗沉色调","表现主义风格","自然景物","乡村建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520506924402f42250cb9d9fecbce29e.jpg",[492],{"id":1049,"slug":1050,"title":1051,"dynasty":150,"author":886,"museum":239,"description":1052,"tags":1053,"thumbUrl":1054,"material":248,"size":248,"collection":248,"collections":1055,"showCount":998,"zanCount":48,"manualWeight":48,"mainColor":123},224386,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-224386","仿黄子久晴峦霁翠卷","此作为娄东派仿古山水精品，师法黄子久笔意，以长卷铺展丘壑，山峦层叠萦回，林舍洲渚错落排布，兼具深远、平远之致，尽显江南山水的萧散淡远。\n用笔以干笔枯墨反复皴擦，间以淡墨晕染，笔墨苍浑厚润，元气内蕴，既恪守子久浅绛山水的简淡天真，又融入自身沉郁苍秀的笔法。画家经年经营此卷，于简淡中藏深秀，朴拙内含妍密，草木华滋，气象浑穆，尽显清初正统山水画追摹元人、讲求笔墨理气的创作旨趣，将黄公望平淡萧散的山水意韵，化为自身苍厚浑沦的笔墨境界。",[23,24,25,26,112,96,30,65,35,36,114,66,62,157,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff59f30a03d2837ac808debeb392d61.jpg",[],{"id":1057,"slug":1058,"title":1059,"dynasty":150,"author":1060,"museum":1061,"description":1062,"tags":1063,"thumbUrl":1064,"material":85,"size":248,"collection":248,"collections":1065,"showCount":998,"zanCount":48,"manualWeight":48,"mainColor":123},216882,"qian-long-nan-xun-zhu-bi-tu-ye-23-qian-wei-cheng-216882","乾隆南巡驻跸图页-23","钱维城","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,28,82,29,61,30,35,114,289,64,63,7,701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e17e24d7a01156a64477cff6db0527d.jpg",[],{"id":1067,"slug":1068,"title":1069,"dynasty":471,"author":472,"museum":239,"description":473,"tags":1070,"thumbUrl":1075,"material":490,"size":491,"collection":492,"collections":1076,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":123},226125,"the-thaw-at-vetheuil-1880-mo-nai-226125","The Thaw at Vetheuil, 1880",[475,476,820,486,1071,32,1072,35,172,481,1006,1073,1074,388,7],"笔触短促","冰块","雪景","冬末","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55195edd30bfd323bf193de1dafa4677.jpg",[492],{"id":1078,"slug":1079,"title":1080,"dynasty":471,"author":472,"museum":239,"description":473,"tags":1081,"thumbUrl":1086,"material":490,"size":491,"collection":492,"collections":1087,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},226075,"the-house-among-the-roses-1925-1926-mo-nai-226075","The House among the Roses, 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1882",[475,476,484,934,713,404,402,7,481,923,485,1185,1186,1187,483,245,1188,1084,1189],"自然光影","海岸景观","明亮天气","山坡植被","风景写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0824c37911c3c410cd4f9a4c0ecfb7c.jpg",[492],{"id":1193,"slug":1194,"title":1195,"dynasty":150,"author":1196,"museum":239,"description":1197,"tags":1198,"thumbUrl":1211,"material":112,"size":248,"collection":248,"collections":1212,"showCount":1147,"zanCount":48,"manualWeight":48,"mainColor":123},216836,"zhan-zheng-tong-ban-hua-11-lang-shi-ning-216836","战争铜版画-11","郎世宁","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。",[1199,1200,1201,30,63,35,60,579,1132,502,1133,1202,1135,1203,1204,1205,157,7,1206,1207,1208,1209,1210],"铜版画","清代","战争","丘陵","山地","军队行进","动物","战争场景","铜制","版画技法","历史题材","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c367603fd518661a182a9b31ba22bc.jpg",[],{"id":1214,"slug":1215,"title":1216,"dynasty":150,"author":1217,"museum":20,"description":1218,"tags":1219,"thumbUrl":1225,"material":247,"size":248,"collection":248,"collections":1226,"showCount":280,"zanCount":48,"manualWeight":48,"mainColor":49},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[24,1220,30,28,96,186,948,35,38,61,64,7,65,244,202,1221,1222,1223,1224],"仿古","平台","枝叶","云气","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":1228,"slug":1229,"title":1230,"dynasty":150,"author":397,"museum":20,"description":1231,"tags":1232,"thumbUrl":1234,"material":137,"size":1235,"collection":248,"collections":1236,"showCount":280,"zanCount":48,"manualWeight":48,"mainColor":49},234905,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234905","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。",[24,25,302,28,30,349,360,155,96,63,35,97,115,38,1233,202,60,36,157,7],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc038be5466895a672399e0b9fd52138e.jpg","25.7×33厘米",[],{"id":1238,"slug":1239,"title":796,"dynasty":54,"author":1240,"museum":239,"description":1241,"tags":1242,"thumbUrl":1243,"material":248,"size":248,"collection":248,"collections":1244,"showCount":280,"zanCount":48,"manualWeight":48,"mainColor":123},234869,"shan-shui-ce-zhao-pu-234869","赵璞","此作用笔苍劲老辣，层岩以枯笔皴擦出硬朗棱角，数道飞瀑以留白衬出奔涌之势，仿佛可听泠泠泉声。崖侧枯木虬曲，下方杂树蓊郁，动静相生，晕染出山林幽寂之态。\n左侧题诗笔墨清隽，诗画相映，将林泉高致寄于尺幅间。整体画风简淡萧散，以极简笔墨勾勒出山川空灵之美，把文人隐逸襟怀融于山水烟岚中，观之如临幽壑，暗合林下高逸之趣。",[24,25,302,112,96,30,171,35,63,244,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38b6bbf651ae63cb2e41e8a0ad19e10.jpg",[],{"id":1246,"slug":1247,"title":1248,"dynasty":150,"author":1196,"museum":239,"description":1197,"tags":1249,"thumbUrl":1256,"material":112,"size":248,"collection":248,"collections":1257,"showCount":280,"zanCount":48,"manualWeight":48,"mainColor":123},216781,"zhan-zheng-tong-ban-hua-64-lang-shi-ning-216781","战争铜版画-64",[1200,1199,1250,1251,30,35,32,65,7,60,1252,1133,1138,1137,1253,1254,1255,135],"中西合璧风格","战争题材","马匹","写实技法","历史场景","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fe0cfecd110f3a024825bafa4e1cfb.jpg",[],{"id":1259,"slug":1260,"title":1261,"dynasty":150,"author":1262,"museum":239,"description":1263,"tags":1264,"thumbUrl":1265,"material":490,"size":491,"collection":248,"collections":1266,"showCount":219,"zanCount":48,"manualWeight":48,"mainColor":123},238511,"xun-xing-ji-cheng-shi-hua-ce-jiang-pu-238511","巡行纪程诗画册","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[24,25,302,28,30,349,360,65,35,64,483,634,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F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公余探胜图卷-一分段","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。",[23,24,28,30,26,1282,272,157,35,481,245,1283,258,713,405,156,7,1284,60,96],"海","沙滩","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":1288,"slug":1289,"title":1290,"dynasty":150,"author":1291,"museum":239,"description":1292,"tags":1293,"thumbUrl":1295,"material":248,"size":248,"collection":248,"collections":1296,"showCount":122,"zanCount":48,"manualWeight":48,"mainColor":123},237867,"shan-shui-tu-ce-jin-xue-jian-237867","山水图册","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》",[24,25,302,112,28,30,96,62,115,65,35,785,32,7,172,552,1294],"田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143db4af058fe90f4e3815f655e91d60.jpg",[],{"id":1298,"slug":1299,"title":1300,"dynasty":54,"author":1301,"museum":239,"description":1302,"tags":1303,"thumbUrl":1305,"material":490,"size":491,"collection":248,"collections":1306,"showCount":122,"zanCount":48,"manualWeight":48,"mainColor":123},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504","山水花卉册","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。",[24,25,302,360,28,30,32,35,65,479,1304,112,349,1044,136,63,7,483,172,552],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],{"id":1308,"slug":1309,"title":1310,"dynasty":150,"author":397,"museum":20,"description":1311,"tags":1312,"thumbUrl":1314,"material":247,"size":1315,"collection":248,"collections":1316,"showCount":122,"zanCount":48,"manualWeight":48,"mainColor":123},233050,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233050","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[24,28,29,96,302,60,30,35,63,62,1133,1131,634,1313,65,7],"战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f63223c1ea273ea7c8fd79807a62ff0.jpg","长55.6厘米，宽91.1厘米。",[],{"id":1318,"slug":1319,"title":1320,"dynasty":471,"author":1321,"museum":239,"description":1322,"tags":1323,"thumbUrl":1327,"material":490,"size":491,"collection":248,"collections":1328,"showCount":122,"zanCount":48,"manualWeight":48,"mainColor":1329},232282,"a-er-ma-9-lao-lun-si-a-er-ma-ta-de-ma-232282","阿尔玛9","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[476,28,648,60,1324,115,157,650,1325,66,35,7,1326,771,135],"美人","蕨类","古典人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5cf8a0e4a3bd32e7ccfd573b94e151c.jpg",[],"37474F",{"id":1331,"slug":1332,"title":796,"dynasty":150,"author":1333,"museum":239,"description":1334,"tags":1335,"thumbUrl":1336,"material":248,"size":248,"collection":248,"collections":1337,"showCount":294,"zanCount":48,"manualWeight":48,"mainColor":123},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。",[24,25,302,112,28,30,156,63,38,36,35,31,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb01ddef5faace5b120a79ec8e46e5.jpg",[],{"id":1339,"slug":1340,"title":1341,"dynasty":150,"author":1342,"museum":239,"description":1343,"tags":1344,"thumbUrl":1345,"material":248,"size":248,"collection":248,"collections":1346,"showCount":294,"zanCount":48,"manualWeight":48,"mainColor":123},239201,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239201","三大名山十二图册","徐枋","左幅行书题跋笔力苍劲疏朗，与右侧山水相映成趣。此帧以干笔皴擦写层岩峻岭，峰峦奇崛高峙，飞泉自崖壁奔涌而下，汇作浅溪环山蜿蜒。坡岸林木蓊郁，掩映山居古寺，满幅幽寂清远。\n\n全作用水墨晕染出山川氤氲之气，笔墨简淡苍秀，不事秾丽，尽显静穆萧散的林下之风。以枯淡之笔写胸中丘壑，寄寓遗世独立的清冷襟怀，将江南山水清灵与沉郁心境相融，是文人山水画以意驭笔、以画明心的佳构。",[24,25,302,112,30,349,155,96,171,35,97,115,172,913,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb501577a0aef1916a65468140f42c8f.jpg",[],{"id":1348,"slug":1349,"title":796,"dynasty":150,"author":1350,"museum":239,"description":1351,"tags":1352,"thumbUrl":1353,"material":248,"size":248,"collection":248,"collections":1354,"showCount":294,"zanCount":48,"manualWeight":48,"mainColor":123},234344,"shan-shui-ce-jin-ting-biao-234344","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。",[24,302,112,28,96,30,63,35,66,157,7,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16e8dd964b884c9dda7d01940026e604.jpg",[],{"id":1356,"slug":1357,"title":1358,"dynasty":150,"author":397,"museum":20,"description":1359,"tags":1360,"thumbUrl":1366,"material":463,"size":1367,"collection":248,"collections":1368,"showCount":294,"zanCount":48,"manualWeight":48,"mainColor":123},233056,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233056","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[24,25,302,29,28,1200,60,579,1132,65,35,1361,1134,157,1137,1362,63,7,1363,1364,406,1365],"烟雾","硝烟","骑兵","步兵","尘土","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64df6dfd321f04704fdaee3f6d80a08.jpg","纵55.3cm，横90.3cm",[],{"id":1370,"slug":1371,"title":1372,"dynasty":18,"author":1373,"museum":1374,"description":1375,"tags":1376,"thumbUrl":1380,"material":118,"size":1381,"collection":248,"collections":1382,"showCount":294,"zanCount":48,"manualWeight":48,"mainColor":123},217967,"shi-liu-ying-zhen-tu-20-fan-long-217967","十六应真图-20","梵隆","美国弗利尔美术馆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,25,1377,112,1378,60,503,1379,30,157,7],"白描","宗教","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70102ab60c4542a4a81ec3c625fb424.jpg","30.5x1062.5",[],{"id":1384,"slug":1385,"title":1386,"dynasty":150,"author":1060,"museum":1061,"description":1062,"tags":1387,"thumbUrl":1389,"material":85,"size":248,"collection":248,"collections":1390,"showCount":294,"zanCount":48,"manualWeight":48,"mainColor":123},216886,"qian-long-nan-xun-zhu-bi-tu-ye-17-qian-wei-cheng-216886","乾隆南巡驻跸图页-17",[23,24,25,28,82,302,61,1388,35,634,7],"院落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf13386efa5fd0d71534217e6efa4e7.jpg",[],{"id":1392,"slug":1393,"title":1394,"dynasty":150,"author":1196,"museum":239,"description":1197,"tags":1395,"thumbUrl":1405,"material":112,"size":248,"collection":248,"collections":1406,"showCount":294,"zanCount":48,"manualWeight":48,"mainColor":123},216829,"zhan-zheng-tong-ban-hua-13-lang-shi-ning-216829","战争铜版画-13",[1200,1199,648,1206,1136,60,1252,65,32,35,406,1396,1138,1397,1398,63,7,1135,1399,1400,1131,1401,1203,1402,1403,1404,1141],"军营","武器","队列","阵列","旌旗","营帐群","人群","军阵","兵士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a29802c212af21ea1589e6b4d414ea.jpg",[],{"id":1408,"slug":1409,"title":1270,"dynasty":150,"author":397,"museum":20,"description":1271,"tags":1410,"thumbUrl":1417,"material":463,"size":1145,"collection":248,"collections":1418,"showCount":145,"zanCount":48,"manualWeight":48,"mainColor":123},233088,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233088",[24,28,29,96,60,30,1131,406,1135,63,35,36,1200,1411,1412,1134,1398,1413,1206,7,64,1414,1363,1415,1416,65,133],"动态人物","服饰","山地地形","兵卒","冲锋","厮杀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d6a64826b195a545f09cca147c93b8.jpg",[],{"id":1420,"slug":1421,"title":1422,"dynasty":150,"author":1423,"museum":239,"description":1424,"tags":1425,"thumbUrl":1426,"material":137,"size":1427,"collection":248,"collections":1428,"showCount":145,"zanCount":48,"manualWeight":48,"mainColor":123},223261,"yan-shan-ba-jing-tu-8-ju-yong-die-cui-zhang-ruo-cheng-223261","燕山八景图-8-居庸叠翠","张若澄","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,24,28,96,30,65,171,35,36,115,62,7,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc343a62b6d8555ef1d8fb230e44efd87.jpg","34.7cm，横40.3cm",[],{"id":1430,"slug":1431,"title":1432,"dynasty":150,"author":1196,"museum":239,"description":1197,"tags":1433,"thumbUrl":1439,"material":112,"size":248,"collection":248,"collections":1440,"showCount":145,"zanCount":48,"manualWeight":48,"mainColor":123},216825,"zhan-zheng-tong-ban-hua-24-lang-shi-ning-216825","战争铜版画-24",[1199,1434,648,1435,30,60,1138,1436,65,63,35,1437,116,38,7,1438,1134],"蚀刻","中西合璧","战斗","堡垒","军事防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Chaix--The So-Called Stables of Maecenas at Tivoli","以细密排线铺陈出幽邃的洞窟残迹，风化的拱券刻满时光剥蚀的纹路，荒弃木架攀附壁间晕开颓败古意。叠瀑从洞窟深处奔涌而下，分阶砸向深谷，水流的柔润和石质粗粝形成强烈对冲，明暗排布让水汽仿佛顺着纸面漫溢而出。\n\n边角野木虬枝肆意滋长，将人工造物彻底揉入山野荒境，将荒废古迹与自然生息缠织一处。沉郁苍劲的氛围里，既写尽古建残败的寂寥，又借飞瀑生机打破死寂，苍凉与鲜活在画面共生，勾勒出时间冲刷下人文与自然交融的沉静图景。",[1082,1454,1455,1456,171,66,157,7,1457],"版画","素描","山洞","建筑遗迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18162a71e43b6092490550f46361d04.jpg",[],{"id":1461,"slug":1462,"title":849,"dynasty":150,"author":1463,"museum":239,"description":1464,"tags":1465,"thumbUrl":1466,"material":490,"size":491,"collection":248,"collections":1467,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":123},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。",[853,24,25,95,30,112,96,186,362,35,531,38,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bf8d1665857abceae309b89a5e6a08.jpg",[],{"id":1469,"slug":1470,"title":1471,"dynasty":150,"author":397,"museum":239,"description":1472,"tags":1473,"thumbUrl":1474,"material":248,"size":248,"collection":248,"collections":1475,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":49},238600,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238600","平定两金川得胜图册","以全景式构图铺展川西峡谷战事，苍劲线条勾勒出雄峙山峦，崖间错落的碉楼精准还原战地险隘风貌。画中兵将排布错落有致，或攀崖仰攻碉楼，或于谷口列阵集结，细节生动复刻出平叛攻坚的肃杀场面。墨色晕染层次分明，将川地的崎岖山势烘托得极具张力，以写实笔法记录战事细节，带着纪实绘画的史学厚重感，把平乱战事的宏大叙事收揽于卷内，融战地纪实与古典绘事所长，兼具艺术审美与历史考据价值。",[29,96,112,302,82,30,60,61,35,63,1136,634,1133,1437,66,7,65,516],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e8c406ba78414ebc93a4dd19b806b7.jpg",[],{"id":1477,"slug":1478,"title":796,"dynasty":150,"author":1479,"museum":239,"description":1480,"tags":1481,"thumbUrl":1482,"material":248,"size":248,"collection":248,"collections":1483,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":123},238311,"shan-shui-ce-dong-bang-da-238311","董邦达","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[24,112,111,96,302,186,35,61,38,63,64,7,1223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd359d92ef6d4c0dc7e7de2cfd178eb.jpg",[],{"id":1485,"slug":1486,"title":1487,"dynasty":150,"author":1488,"museum":239,"description":1489,"tags":1490,"thumbUrl":1492,"material":490,"size":491,"collection":248,"collections":1493,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":49},236954,"shan-shui-shan-ye-cao-you-guang-236954","山水扇页","曹有光","曹有光 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Seaside - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[476,475,28,1508,1283,36,1509,1510,1511,7],"海滨","蓝天","浅滩","小丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796427ed2b0b9fc9fbe635484d3f14f.jpg",[],{"id":1515,"slug":1516,"title":1517,"dynasty":471,"author":1505,"museum":239,"description":1506,"tags":1518,"thumbUrl":1529,"material":490,"size":491,"collection":248,"collections":1530,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":49},232119,"de-jia-61-de-jia-232119","德加61",[476,475,785,1519,1520,879,481,7,1521,770,1522,552,135,1523,1524,820,1525,1526,1527,1528],"小路","山丘","土路","远景","田园风光","色彩柔和","蜿蜒小径","起伏地形","植被覆盖","黄昏色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0949e5b0f6254a4e39f02ae0cb9241fd.jpg",[],{"id":1532,"slug":1533,"title":1534,"dynasty":471,"author":1505,"museum":239,"description":1506,"tags":1535,"thumbUrl":1538,"material":490,"size":491,"collection":248,"collections":1539,"showCount":163,"zanCount":48,"manualWeight":48,"mainColor":49},232115,"landscape-with-hills-museum-of-fine-arts-usa-de-jia-232115","Landscape with Hills - - Museum of Fine Arts (USA)",[475,1536,28,1520,65,1082,481,1537,7],"色粉","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61cb16761fddc06ef313c8c45a43f177.jpg",[],{"id":1541,"slug":1542,"title":1471,"dynasty":150,"author":397,"museum":239,"description":1543,"tags":1544,"thumbUrl":1554,"material":490,"size":491,"collection":248,"collections":1555,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":123},238614,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238614","这幅作品以全景式铺陈，将川地层叠山峦与河谷林海尽揽卷中。远景峰峦间隐见戍城，晕染出边地苍茫的战地氛围。近中景人马如潮，骑兵阵列齐整肃然，步卒、辎重依次排布，将士甲胄鲜明、战马昂然，把平叛大军的雄壮声势淋漓展现。\n\n画师以精细写实的线条，将将士的悍勇神态、战马的昂扬体态，还有山野林木的肌理逐一勾勒，纪实感浓厚，把这场平叛战事的雄浑瞬间凝于纸面，尽显军旅征伐的厚重威严。",[95,24,25,302,1199,29,60,579,30,35,157,32,65,1133,1206,7,1545,1546,1547,1548,1549,1550,1131,1551,1552,1553],"山峦叠嶂","人马队列","河流景观","树木丛生","岩石分布","群体人物","山水背景","细致描绘","写实风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d911897dcf091a7b8a49017dd6bc12.jpg",[],{"id":1557,"slug":1558,"title":1471,"dynasty":150,"author":397,"museum":239,"description":1559,"tags":1560,"thumbUrl":1565,"material":248,"size":248,"collection":248,"collections":1566,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":123},238610,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238610","这幅全景铜版画以环形营寨为核心，细密线条铺展出排布规整的帐幕，兵卒往来各司其职，操练值守、打理营务的细节清晰分明。连绵山峦环抱着战地营盘，将整座驻点框入苍茫山野间，零星驻点散落远景，呼应主寨的宏大格局。笔触冷峻写实，既复刻出征讨大军的整肃军容，也以开阔构图烘托出战事之下的雄浑气场，如实定格了平叛战事里的军营实景，兼具纪实的严谨质感与战地的厚重氛围感。",[1561,1562,1133,1136,65,35,60,406,32,63,1563,1138,1131,1135,461,7,1402,1141,1564,1397,1205],"木刻","线描","营寨","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f3a3a919d8a5194982b18d8572bfca.jpg",[],{"id":1568,"slug":1569,"title":796,"dynasty":150,"author":1570,"museum":79,"description":1571,"tags":1572,"thumbUrl":1576,"material":28,"size":1577,"collection":248,"collections":1578,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":123},238267,"shan-shui-ce-zhang-yan-238267","张演","此作取边角之景入画，左畔危岩嶙峋，古松蟠曲苍劲，近处长林掩映茅庐，幽人徐行篱边，似正沉醉林泉意趣。\n开面湖水空阔澄澈，汀渚错落，远岸松列如黛。层叠山峦浮沉在烟岚薄雾间，暮光轻抹远山天际，晕开一抹暖红，糅合了冷寂山光与温柔暮色。\n笔墨温润雅致，以浅绛设色晕染山石，细劲皴笔写出岩体质感，淡墨烘染烟霭，将江南水山的空濛静穆尽数铺展，尽显林泉高隐的悠然澹泊之境，藏着传统文人寄情丘壑的隐逸襟怀。",[24,28,96,302,29,30,156,63,38,60,35,32,172,1573,273,913,1574,7,375,1575,1304],"小筑","远峰","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F531c43ef944af0c19c1b03b7a21cf4bc.jpg","37.1x31.7",[],{"id":1580,"slug":1581,"title":796,"dynasty":150,"author":1570,"museum":79,"description":1582,"tags":1583,"thumbUrl":1586,"material":28,"size":1577,"collection":248,"collections":1587,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":123},238264,"shan-shui-ce-zhang-yan-238264","此作用浅绛设色晕染出幽寂山居。近隅茅舍错落，屋中二人对坐晤谈，周遭嘉木扶苏，枝叶皴染细致，翠色鲜活生机暗涌。中景崖壁逶迤，山道萦回，林木错落嵌于岩隙间。远景危崖以淡墨浅赭晕出肌理，留白处尽显空濛悠远。\n\n构图疏密得宜，笔墨秀润清逸，将林下幽居的雅趣融于尺幅之中，静穆萧散的文人意韵浸透纸面，引观者踏入尘嚣之外的林泉佳处，尽显澹泊出尘的襟怀。",[24,28,302,30,96,63,65,35,36,60,202,156,157,854,7,1584,1574,552,554,1585],"居所","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223801e336f2d1e91f94eb0c474355a2.jpg",[],{"id":1589,"slug":1590,"title":1591,"dynasty":150,"author":1592,"museum":239,"description":1593,"tags":1594,"thumbUrl":1595,"material":490,"size":491,"collection":248,"collections":1596,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236208,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236208","避暑山庄三十六景图书诗成扇","王际华","王际华（1717—1776），字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。\n字秋瑞，一字秋水，号白斋，浙江钱塘人，清朝官吏。乾隆十年一甲三名进士，授编修。十三年，大考翰詹，擢侍读学士、上书房行走。广东旧设两学政，十五年，以侍读程岩督广韶学政，际华督肇高学政，旋用岩议裁并，以忧归。服除，起原官。三迁至侍郎，历工、刑、兵、户、吏诸部。在兵部，疏言：“武乡会试旧例，外场挑双好、单好、合式三类入内场，双、单好列东号，合式列西号。不肖者见列西号，知不能幸中，纷纷求出。即有归号，终日喧哗。请嗣后武乡会试，但挑双、单好，毋更挑合式。”在吏部，疏请在京文武官吏议处，及各部会议外省文武官吏议处，当分别定限，皆如所议。三十四年，迁礼部尚书。三十八年，加太子少傅，调户部尚书。四十一年，卒，赠太子太保，谥文庄。赐其子朝梧内阁中书，官至山东兖沂曹道。",[24,25,853,28,96,30,114,35,36,172,63,7,64,65,891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70dd77a9a5ef11c2c25960e9e480486.jpg",[],{"id":1598,"slug":1599,"title":1591,"dynasty":150,"author":1592,"museum":239,"description":1593,"tags":1600,"thumbUrl":1602,"material":490,"size":491,"collection":248,"collections":1603,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236205,"bi-shu-shan-zhuang-san-shi-liu-jing-tu-shu-shi-cheng-shan-wang-ji-hua-236205",[24,25,853,28,30,96,35,61,63,7,64,289,66,65,891,97,375,29,554,1601],"水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4f10a8164c6e7dd20d82c0cfd297c12.jpg",[],{"id":1605,"slug":1606,"title":1607,"dynasty":150,"author":397,"museum":239,"description":1608,"tags":1609,"thumbUrl":1610,"material":118,"size":248,"collection":248,"collections":1611,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":123},215607,"tian-xia-ming-shan-tu-18-yi-ming-215607","天下名山图-18","这幅白描山水以清劲婉转的线条勾勒天地丘壑。奇峰罗列，或陡峭如削，或层叠如垒，山间林木葱茏，松枝苍劲、杂树扶疏，姿态各显生机。左下角亭台隐于林麓，与自然景致相融；溪流蜿蜒穿涧而过，添几分灵动韵致。笔墨简练却意韵丰厚，构图开合有致，远近层次分明，咫尺间见千里之势。峰峦的雄浑与草木的纤秀相映，静岩与流泉相衬，尽显山川灵秀与人文意趣，于素净线条中藏天地大美。",[24,25,1377,30,63,35,61,115,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205d74ceaf9020f3503fd62295d027ec.jpg",[],1777535703170]