[{"data":1,"prerenderedAt":600},["ShallowReactive",2],{"subject-zhou-ji":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},492,"zhou-ji","舟楫","舟楫画高清赏析","精选中国历代舟楫题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3da4503c9ba10ee636301952a75b630.jpg",1,36,[14,56,83,106,129,145,166,187,205,219,241,259,272,289,301,333,350,361,371,384,398,411,421,431,444,453,463,476,492,504,515,530,547,558,572,581],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":46,"material":47,"size":48,"collection":49,"collections":50,"showCount":52,"zanCount":53,"manualWeight":54,"mainColor":55},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,7,43,44,45],"高清","国画","长卷","工笔","设色","界画","临摹","人物","楼阁","小桥","流水","树木","商铺","船只","街市","车马","建筑","庭院","行人","市集","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm","人物画精选",[49,51],"设色画精选",11185,132,0,"795548",{"id":57,"slug":58,"title":59,"dynasty":60,"author":61,"museum":62,"description":63,"tags":64,"thumbUrl":74,"material":75,"size":76,"collection":77,"collections":78,"showCount":81,"zanCount":82,"manualWeight":54,"mainColor":55},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","宋","李唐","台北故宫博物院","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,65,25,66,67,27,68,34,69,33,70,7,71,72,73],"名画","山水","皴法","山石","渔船","瀑布","远山","近岸","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","绢本","纵49.7厘米，横186.7厘米","宋画精选",[77,79,80],"山水画精选","水墨画精选",232,2,{"id":84,"slug":85,"title":86,"dynasty":60,"author":87,"museum":88,"description":89,"tags":90,"thumbUrl":100,"material":101,"size":102,"collection":103,"collections":104,"showCount":105,"zanCount":54,"manualWeight":54,"mainColor":55},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷","张择端","北京故宫博物院","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,65,24,91,25,26,28,27,30,31,32,33,92,93,94,95,37,35,96,97,98,7,41,38,39,99],"书画","船","马","牛","树","房屋","河流","桥梁","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg","绢本，淡设色","纵24.8厘米，横528厘米","",[],181,{"id":107,"slug":108,"title":109,"dynasty":110,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":125,"material":126,"size":103,"collection":103,"collections":127,"showCount":128,"zanCount":54,"manualWeight":54,"mainColor":55},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","唐","王维","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[65,24,115,29,116,25,117,118,66,119,33,7,30,120,121,122,123,124],"壁画","拓本","山水画","文人画","亭台楼榭","饮酒","弈棋","投壶","田园","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg","纸本",[],134,{"id":130,"slug":131,"title":132,"dynasty":60,"author":133,"museum":134,"description":135,"tags":136,"thumbUrl":139,"material":140,"size":141,"collection":77,"collections":142,"showCount":143,"zanCount":144,"manualWeight":54,"mainColor":55},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","马麟","辽宁省博物馆","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,65,24,91,25,27,26,67,66,137,32,36,30,97,138,7,41,34],"柳树","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","绢本设色","纵41.7、横323厘米",[77,79,51],130,3,{"id":146,"slug":147,"title":148,"dynasty":18,"author":149,"museum":150,"description":151,"tags":152,"thumbUrl":160,"material":47,"size":161,"collection":79,"collections":162,"showCount":163,"zanCount":164,"manualWeight":54,"mainColor":165},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","天津博物馆","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。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",[23,24,25,153,27,66,67,154,97,155,36,34,156,73,157,7,158,159],"青绿","山峦","岛屿","亭台","水面","远岫","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","37X595cm",[79],128,6,"BDBDBD",{"id":167,"slug":168,"title":169,"dynasty":18,"author":170,"museum":62,"description":171,"tags":172,"thumbUrl":181,"material":182,"size":183,"collection":79,"collections":184,"showCount":185,"zanCount":186,"manualWeight":54,"mainColor":55},214534,"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","戴进","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。",[24,91,173,65,174,67,175,176,177,178,32,33,34,154,179,7,180,68],"立轴","水墨","风雨","归舟","孤舟","蓑笠","云雾","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","绢本,水墨","143x81.8",[79],121,5,{"id":188,"slug":189,"title":190,"dynasty":191,"author":192,"museum":88,"description":193,"tags":194,"thumbUrl":200,"material":201,"size":202,"collection":103,"collections":203,"showCount":204,"zanCount":11,"manualWeight":54,"mainColor":165},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","清","石涛","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。",[24,91,25,174,66,67,195,196,197,198,154,97,34,68,179,7,199],"书法","印章","行书","奇峰","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纸本，墨笔","纵42.8厘米，横285.5厘米",[],118,{"id":206,"slug":207,"title":208,"dynasty":60,"author":209,"museum":62,"description":210,"tags":211,"thumbUrl":214,"material":215,"size":216,"collection":77,"collections":217,"showCount":218,"zanCount":54,"manualWeight":54,"mainColor":55},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","赵佶","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,25,26,67,174,27,197,212,196,66,177,213,34,68,7],"楷书","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","绢本，设色","纵30.3厘米，横190.8厘米",[77,79,80],111,{"id":220,"slug":221,"title":222,"dynasty":223,"author":224,"museum":225,"description":226,"tags":227,"thumbUrl":236,"material":237,"size":238,"collection":103,"collections":239,"showCount":240,"zanCount":82,"manualWeight":54,"mainColor":55},228242,"long-zhou-duo-biao-tu-juan-yi-ming-228242","龙舟夺标图卷","元","佚名","藏地不详","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,91,25,28,228,26,229,31,230,92,30,231,232,233,7,234,235],"白描","龙","桥","旗帜","水","宫殿式建筑","龙舟","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba612b814b21c0a85e81089eda6238d.jpg","未知","Xcm*Xcm",[],108,{"id":242,"slug":243,"title":244,"dynasty":60,"author":245,"museum":62,"description":246,"tags":247,"thumbUrl":254,"material":47,"size":255,"collection":77,"collections":256,"showCount":257,"zanCount":54,"manualWeight":54,"mainColor":258},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","江山雪霁图","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,65,24,117,248,27,67,249,250,251,96,34,252,68,31,7,253],"宋代","山","雪","江水","寒林","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[77,79],84,"37474F",{"id":260,"slug":261,"title":262,"dynasty":18,"author":170,"museum":62,"description":263,"tags":264,"thumbUrl":268,"material":182,"size":269,"collection":79,"collections":270,"showCount":271,"zanCount":54,"manualWeight":54,"mainColor":55},219837,"shan-shui-tu-dai-jin-219837","山水图","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,91,65,67,174,27,66,32,33,177,265,34,70,30,68,173,266,154,267,7,199],"亭","溪流","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[79],67,{"id":273,"slug":274,"title":275,"dynasty":191,"author":276,"museum":88,"description":277,"tags":278,"thumbUrl":285,"material":215,"size":286,"collection":103,"collections":287,"showCount":288,"zanCount":54,"manualWeight":54,"mainColor":55},234262,"si-xu-tu-juan-yao-wen-han-234262","四序图卷","姚文瀚","此图卷描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同的享乐生活。布局巧妙，境界幽曲，将人物、山水、楼台亭阁、春夏秋冬的不同树木花卉及其景色容于一卷。精心刻划，形象生动，笔墨工细，赋彩随类，颇为自然。人物虽小，然曲尽各种姿态，形神俱备，景物虽繁，然疏密有度，为烘托人物的各种游乐活动而恰到好处。确是精心经营的佳作。\n姚文瀚，号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画，《石渠宝笈》著录其曾作《仿清明上河图》卷，文瀚于群工角艺之时，胸具别裁，画成缩本，乾隆喜而题诗并注：“此卷较择端原本尺幅纵横倍减，而临摹毕肖，人物益小，尤见精能。”尝画《梧阴清暇图》轴、《春朝婴戏图》轴、《岁朝欢喜图》轴、《观音像》轴、《文殊像》轴等。乾隆十七年（1752）尝作《仿宋人文会图》卷，二十六年（1761）作《紫光阁锡宴图》卷。\n传世作品有《四序图》卷，绢本，设色，描绘宫廷仕女春游、纳凉、游湖、赏雪四季不同之悠闲生活、构思巧妙，意境幽曲，刻画细腻，形象生动，笔墨工整，设色典雅。此作人物虽小，然曲尽姿态，形神兼备，现藏故宫博物院。",[23,24,25,27,26,28,30,31,66,34,279,7,40,68,156,280,281,39,282,283,284],"荷花","池塘","路径","园林","草木","游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932487c9f43ccf74b8dc4bf3654f4db3.jpg","纵31．5厘米，横318厘米",[],55,{"id":290,"slug":291,"title":292,"dynasty":18,"author":293,"museum":294,"description":295,"tags":296,"thumbUrl":297,"material":75,"size":298,"collection":79,"collections":299,"showCount":300,"zanCount":11,"manualWeight":54,"mainColor":55},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","山水图卷","凌必正","旅顺博物馆","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[23,24,25,27,67,26,66,265,32,33,31,34,68,96,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[79,80],53,{"id":302,"slug":303,"title":304,"dynasty":18,"author":305,"museum":62,"description":306,"tags":307,"thumbUrl":328,"material":329,"size":330,"collection":79,"collections":331,"showCount":332,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[23,24,27,66,26,177,308,309,310,71,179,33,311,95,312,313,314,315,316,317,318,7,319,320,321,72,158,322,323,324,283,325,326,327],"渔乐","竹","渔夫","岸","草","芦苇","小船","岸石","枯树","汀渚","渔人","烟波","浅滩","丛竹","霭气","水域","坡岸","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[79,80],48,{"id":334,"slug":335,"title":336,"dynasty":18,"author":337,"museum":338,"description":339,"tags":340,"thumbUrl":346,"material":47,"size":347,"collection":49,"collections":348,"showCount":349,"zanCount":54,"manualWeight":54,"mainColor":55},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","大英博物馆","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,91,174,67,27,66,33,177,341,30,342,308,314,343,344,315,34,7,318,345],"渔父","老树","枯藤","溪谷","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[49,79],41,{"id":351,"slug":352,"title":353,"dynasty":60,"author":224,"museum":354,"description":355,"tags":356,"thumbUrl":358,"material":103,"size":103,"collection":77,"collections":359,"showCount":349,"zanCount":54,"manualWeight":54,"mainColor":360},201746,"xi-shan-tu-juan-yi-ming-201746","溪山图卷","上海博物馆","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。",[24,66,25,174,67,179,68,357,266,199,7,23],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e50403cbfddbda8fae18d4254da81a2.jpg",[77],"82786f",{"id":362,"slug":363,"title":364,"dynasty":60,"author":365,"museum":225,"description":366,"tags":367,"thumbUrl":368,"material":103,"size":103,"collection":103,"collections":369,"showCount":370,"zanCount":11,"manualWeight":54,"mainColor":55},227695,"chun-shan-tu-juan-zhao-bo-su-227695","春山图卷","赵伯骕","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。",[23,65,24,91,25,153,27,66,26,67,154,34,156,32,33,7,96,179,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],39,{"id":372,"slug":373,"title":374,"dynasty":191,"author":375,"museum":225,"description":376,"tags":377,"thumbUrl":381,"material":47,"size":103,"collection":79,"collections":382,"showCount":383,"zanCount":11,"manualWeight":54,"mainColor":165},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,27,26,67,66,34,68,32,33,265,378,30,93,379,281,316,380,7,158],"飞鸟","茅屋","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[79],35,{"id":385,"slug":386,"title":387,"dynasty":60,"author":388,"museum":225,"description":389,"tags":390,"thumbUrl":395,"material":103,"size":103,"collection":103,"collections":396,"showCount":397,"zanCount":54,"manualWeight":54,"mainColor":55},227599,"qiu-jiang-yu-ting-tu-yuan-se-xu-dao-ning-227599","秋江渔艇图（原色）","许道宁","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",[23,65,24,91,25,174,67,66,154,391,34,316,251,179,314,7,30,392,393,394],"山峰","岸坡","秋江","渔艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47cf3d4177d2091033e8ed520bc3298.jpg",[],34,{"id":399,"slug":400,"title":401,"dynasty":191,"author":402,"museum":88,"description":403,"tags":404,"thumbUrl":407,"material":201,"size":408,"collection":80,"collections":409,"showCount":410,"zanCount":54,"manualWeight":54,"mainColor":55},224537,"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","程正揆","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[23,24,91,25,174,66,67,68,34,97,32,96,71,405,70,7,154,406],"近水","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[80],33,{"id":412,"slug":413,"title":414,"dynasty":223,"author":415,"museum":225,"description":416,"tags":417,"thumbUrl":418,"material":103,"size":103,"collection":103,"collections":419,"showCount":420,"zanCount":11,"manualWeight":54,"mainColor":55},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","盛懋","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,91,27,174,66,177,33,30,380,68,26,7,315,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],32,{"id":422,"slug":423,"title":424,"dynasty":60,"author":425,"museum":225,"description":426,"tags":427,"thumbUrl":428,"material":103,"size":103,"collection":103,"collections":429,"showCount":430,"zanCount":54,"manualWeight":54,"mainColor":55},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明隐归图全卷","李公麟","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,91,25,228,27,30,66,265,32,33,177,34,31,195,196,40,7,283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],22,{"id":432,"slug":433,"title":434,"dynasty":191,"author":435,"museum":88,"description":436,"tags":437,"thumbUrl":439,"material":440,"size":441,"collection":103,"collections":442,"showCount":443,"zanCount":54,"manualWeight":54,"mainColor":165},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,25,174,26,228,196,30,69,33,34,313,378,308,66,7,326,438,138,137,178,177],"渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纸本，设色","纵23厘米，横352.2厘米",[],18,{"id":445,"slug":446,"title":447,"dynasty":60,"author":224,"museum":225,"description":448,"tags":449,"thumbUrl":450,"material":103,"size":103,"collection":103,"collections":451,"showCount":452,"zanCount":54,"manualWeight":54,"mainColor":55},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","金明池争标图","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[23,24,65,28,27,26,31,32,33,7,30,378,34,156,39,323,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],17,{"id":454,"slug":455,"title":456,"dynasty":18,"author":224,"museum":225,"description":457,"tags":458,"thumbUrl":460,"material":237,"size":238,"collection":103,"collections":461,"showCount":462,"zanCount":54,"manualWeight":54,"mainColor":165},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。",[24,91,173,27,26,67,66,30,31,34,40,71,179,96,7,459,316,380,156],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],15,{"id":464,"slug":465,"title":466,"dynasty":18,"author":224,"museum":354,"description":467,"tags":468,"thumbUrl":472,"material":103,"size":103,"collection":79,"collections":473,"showCount":474,"zanCount":54,"manualWeight":54,"mainColor":475},201738,"shan-shui-juan-yi-ming-201738","山水卷","此卷山水烟波浩渺，层峦叠嶂间透着清逸之气。近看岩石皴法细密，纹理毕现；树木枝繁叶茂，姿态各异。中景水面开阔，几叶扁舟悠然泛波，岸边村落隐约，似有炊烟袅袅。远景山峦淡远，云雾缭绕，与天际相融。笔墨细腻温婉，线条流畅自然，于疏密有致的构图中，勾勒出一派宁静悠远的江南景致，尽显山水之灵秀，引人入胜。",[66,25,67,174,7,406,154,469,470,471,23],"烟水","古雅","江南","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffe9d6db5e55aa3dfda1fab032340ae.jpg",[79],13,"000000",{"id":477,"slug":478,"title":479,"dynasty":480,"author":224,"museum":225,"description":481,"tags":482,"thumbUrl":489,"material":103,"size":103,"collection":103,"collections":490,"showCount":491,"zanCount":54,"manualWeight":54,"mainColor":165},231694,"jiang-hu-shi-qi-ying-yi-die-shi-er-yue-tu-juan-yi-ming-231694","江户时期 英一蝶十二月图卷","不详","这幅长卷铺陈出鲜活的市井浮生，水岸舟楫往来摇荡，市肆街巷串联起岁时日常。茶寮酒幌招展，宾客围坐言笑晏晏；贩夫走卒穿行长街，挑担叫卖的身影生动鲜活。亭台掩映在松柳浓荫，屋舍错落间见邻里闲话的松弛意趣。\n\n淡墨轻敷晕染出水色天光，线条细腻灵动勾勒众生百态，将岁时里的烟火温热与雅致闲情尽数揉入长卷，把日常俗事绘成温柔的时代剪影，让百年前的俗世风物宛在眼前。",[23,24,25,27,174,30,7,235,483,484,485,199,156,34,486,487,488],"市肆","街巷","茶寮","市井生活","烟火气","闲情雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169b830ee82cd17c77c2038154101eb1.jpg",[],10,{"id":493,"slug":494,"title":495,"dynasty":191,"author":496,"museum":354,"description":497,"tags":498,"thumbUrl":500,"material":103,"size":103,"collection":79,"collections":501,"showCount":502,"zanCount":54,"manualWeight":54,"mainColor":503},201688,"fu-wang-meng-jiang-shan-qian-li-tu-juan-wang-hui-201688","抚王蒙江山千里图卷","王翚","这幅长卷以细腻笔触铺展千里江山，山峦叠嶂间林木葱郁，江河烟波浩渺，舟楫点点穿梭水面，村落隐于山麓林麓间，尽显江南山水的灵秀与旷远。画家承袭王蒙笔意，以繁复而不失条理的皴法勾勒山石肌理，线条灵动且富有层次，墨色浓淡相宜，既再现原作苍莽气象，又融入自身对山水的体悟，营造出深远静谧的意境，堪称仿古山水的典范之作。",[66,25,67,29,357,499,7,406,23],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc68c2eba467ae572cd264bda564355.jpg",[79],8,"ad9168",{"id":505,"slug":506,"title":507,"dynasty":60,"author":224,"museum":225,"description":508,"tags":509,"thumbUrl":512,"material":103,"size":103,"collection":103,"collections":513,"showCount":514,"zanCount":54,"manualWeight":54,"mainColor":55},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","远水扬帆图","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,65,24,91,117,75,27,510,67,34,137,379,68,157,511,30,71,313,499,7,392,283],"兼工带写","帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],7,{"id":516,"slug":517,"title":518,"dynasty":480,"author":224,"museum":225,"description":519,"tags":520,"thumbUrl":528,"material":103,"size":103,"collection":103,"collections":529,"showCount":164,"zanCount":54,"manualWeight":54,"mainColor":165},225428,"fu-shi-hui-186-yi-ming-225428","浮世绘186","淡晕米黄铺就朦胧天色，墨色薄云舒卷柔化天际。开阔水面漾着细微波纹，大小舟楫错落排布，撑篙渔夫俯身控船，带网渔船缓行，远帆静泊，尽显漕运烟火日常。\n\n两岸町屋鳞次栉比，木构白墙衬着暖红阶台，右侧埠头栈台尽显临河商贸的繁茂。整体用色克制雅致，朱红与石青点缀屋舍栏槛，淡墨勾线清隽凝练，将水岸松弛鲜活的日常定格，带着日式版画独有的温润烟火气，静述着旧时河畔的熙攘安闲。",[521,522,27,97,36,98,39,30,34,523,69,438,524,525,7,526,527,44],"浮世绘","木刻","河岸","桅杆","码头","船夫","水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6986e11ff27deb142a6863bca6f1452d.jpg",[],{"id":531,"slug":532,"title":533,"dynasty":223,"author":224,"museum":534,"description":535,"tags":536,"thumbUrl":545,"material":47,"size":103,"collection":103,"collections":546,"showCount":186,"zanCount":54,"manualWeight":54,"mainColor":258},218202,"shan-shui-tu-er-yi-ming-218202","山水图(二)","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[65,24,91,173,27,67,66,68,34,177,33,71,537,538,539,323,315,7,540,541,542,543,544],"近树","苍劲枝干","层叠山峦","自然景致","传统山水画","水墨设色","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe726c81cec33fed8eceda24249fa80ff.jpg",[],{"id":548,"slug":549,"title":550,"dynasty":191,"author":496,"museum":225,"description":551,"tags":552,"thumbUrl":555,"material":237,"size":238,"collection":103,"collections":556,"showCount":557,"zanCount":54,"manualWeight":54,"mainColor":165},237534,"fang-shan-qiao-yan-ju-shan-wang-hui-237534","仿山樵岩居扇","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[553,24,66,67,27,34,96,177,196,32,33,68,316,158,156,7,554],"扇面","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96b2ed25eb13c72ff22e242312452c49.jpg",[],4,{"id":559,"slug":560,"title":561,"dynasty":480,"author":562,"museum":225,"description":563,"tags":564,"thumbUrl":570,"material":237,"size":238,"collection":103,"collections":571,"showCount":82,"zanCount":54,"manualWeight":54,"mainColor":165},231805,"chun-ri-quan-xian-yan-ji-hui-tu-juan-gao-jie-long-jian-231805","春日権现验记绘图卷","高阶隆兼","镰仓时代 传高阶隆兼(活跃于1309-1330年)",[23,25,27,26,30,92,157,231,565,566,567,7,568,524,569],"桨","水波","船篷","划船","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe03d594deae960d2386d712720ade0ef.jpg",[],{"id":573,"slug":574,"title":575,"dynasty":480,"author":224,"museum":225,"description":576,"tags":577,"thumbUrl":579,"material":103,"size":103,"collection":103,"collections":580,"showCount":82,"zanCount":54,"manualWeight":54,"mainColor":55},225325,"fu-shi-hui-72-yi-ming-225325","浮世绘72","满月清辉漫洒天际，将淀川晕作幽蓝琉璃。石构城阁踞于画角，飞檐层叠挑破夜色，旁侧水车静立晕开乡野意趣。水面商船连樯而行，暖棕货舱在冷色水光里格外温软，舟子俯身打理货物，将生计揉进月夜行旅中。\n\n远处浅丘覆着月色晕出的暖黄，林莽间村舍星散，田埂行人三两缓行，将烟火气晕染进清寂夜色。冷暖色调交织糅合，把河畔夜航晕成静谧又鲜活的风物诗，将乡野悠然与市井温热融在一处，晕开旧时光的温柔余韵。",[521,27,28,578,31,33,7,66,34],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab6580c15e0f473bcb0cb9bf4f1c08c.jpg",[],{"id":582,"slug":583,"title":584,"dynasty":480,"author":224,"museum":225,"description":585,"tags":586,"thumbUrl":598,"material":103,"size":103,"collection":103,"collections":599,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":165},225359,"fu-shi-hui-115-yi-ming-225359","浮世绘115","这幅版画以明媚春景入画，岛屿错落于澄澈水色间，漫山樱花如云似雪，苍松点缀翠色，晕染出融融春意。回环山径上踏青游人缓步徐行，渡头与岸畔人影攒动，乌篷船静泊水面，波痕轻漾晕开清浅蓝调。屋舍错落花林间，木桥勾连水岸，将春日郊野的鲜活烟火铺陈开来。\n\n用色明快柔婉，石青铺就水天，砂黄晕染坡岸，粉白樱枝与深松翠影相映成趣，带着日式版画独有的装饰意趣。构图疏密得宜，将踏青的闲雅盛景定格，把市井闲情与春日诗意揉为一处，尽显雅致悠然的和风美学。",[521,522,27,66,32,33,36,96,34,30,155,587,281,138,588,589,590,199,591,323,592,41,7,593,594,595,596,597,72],"湖泊","开花植物","海湾","行船","步道","绿植","堤岸","林间小路","水岸人家","花树","远岛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89971454455ccd323ecef04635e7d4f.jpg",[],1777535712847]