邹喆是明末清初画坛“金陵八家”、是明末清初的重要绘画流派。八家为龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥和谢荪。他们都住在南京，隐居不仕，以书画为生，有时聚在一起，以诗酒自娱，且以“师造物”为主张，多取材于南京、江淮一带的实景，因而形成画派。 自父客游江苏金陵（今南京）后，遂寄居该地。邹喆出身绘画世家，山水工稳而有古气，也作很少的山水小册，有简淡清逸之趣。兼长水墨花卉，勾勒傅染，有元代王渊风格。画大松奇秀，特别令人珍惜。与龚贤、樊圻、高岑、吴宏、叶欣、胡慥、谢荪为金陵八家。传世作品有：《松林僧话图》轴，现藏上海博物馆﹔《山水》册页，为《金陵诸家册》之一，藏故宫博物院﹔《云岳水村图》轴，藏南京博物院。

《山水图》扇页

 《山水图》

《山水图》扇页，清，邹喆绘，金笺，设色，纵16.6cm，横51.9cm。

扇页有自题：“庚子春月写似子玄词宗。石城邹喆。”钤 “邹喆”、“方鲁”白文印二方。“庚子”是清顺治十七年（1660年）。

邹喆作为民间的职业画家，与金陵画派的龚贤、樊圻、叶欣等人有许多共同之处，并称“金陵八家”。他们在艺术上承袭古人的传统，但是反对泥古不化，反对把山水画艺术降低为单纯的皴擦点染的笔墨技术。他们主张在继承传统的基础上，师法自然造化，所以常用画笔表现身边的山形地貌。

此作即是以俯瞰式的构图，绘南京万木峥嵘的春天景致。作品布局平稳开阔，颇具气势；用笔尖劲，工写结合，墨与色富于浓淡变化，是邹氏的精心之作。

山船白岸图

立轴，绢本，纵175匣米，横46厘米。沈阳博物馆藏。此图为清代画家邹喆作品，以高远构图，上画峰峦耸立，山脊绵延； 中画云林烟谷，两侧古松相照，其间屋舍深藏；下画林间人家，孤舟泊岸，流水无声。笔墨工稳，简淡超逸，清新明丽。

云峦水村图

纸本设色，纵154.2厘米，横47厘米。南京博物馆藏。此画结构工稳而有古气，用笔爽利挺劲，画山峰高耸，山脚下是近邻江边的沙渚，上有几间渔舍和杂树；远处晨雾轻笼，对岸的景色一片迷朦，树枝挺秀之姿却透露出勃勃生机，江水澄碧，画面上气氛清冷寒肃，却仍是一种可游可居之景，在清寂之外具有一种清朗澄净之美。

美。

崇山萧寺图

扇面，纵17．9厘米，横54．3厘米。南通博物馆藏。写崇山峻岭山坳问，寺院深藏，山脚下水竹村居，溪回路曲，板桥横跨。用笔粗犷苍劲，但有清淡超逸之致。

 在中国画史上指龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等八人。他们从事绘画艺术活动的时间主要在明末天启、崇祯到清初康熙年间，是生产或寄居在金陵的八位画家。他们的特点：不爱摹古之风的影响，且能人人生活经历和大自然环境中得到启示，作品的写实性较强，有着不同程度的创造。他们的画法主要是继承五代、两宋时期的传统。并有所发展和变化。他们大都隐居不仕，往来于江淮之间，以卖画为生。他们又常常聚一在起，以诗文书画相与酬唱。

 Zou Zhe, a painter of the Qing Dynasty, was born and died in an unknown year. The character Fanglu is from Wuxian County, Jiangsu Province. When I was young, I traveled to Jinling with my father. His paintings belong to his father, whose landscape is stable and antique, rich in simple and elegant taste. Also long ink flowers, outline the application of color to render the physique of Wang Yuan of the Yuan Dynasty. One of the Eight Families in Jinling.

Zou Chao is the "Eight Schools of Jinling" in the late Ming and early Qing dynasties, and an important painting school in the late Ming and early Qing dynasties. The eight families are Gong Xian, Fan Fan, Gao Qin, Zou Chao, Wu Hong, Ye Xin, Hu Kuo and Xie Sun. They all lived in Nanjing, lived in seclusion, lived on calligraphy and painting, sometimes gathered together, entertained themselves with poetry and wine, and advocated "Teacher's Creation", mostly based on the real scenery of Nanjing and Jianghuai, thus forming a school of painting. Since his father visited Jinling (now Nanjing) in Jiangsu Province, he has settled there. Zou Chao was born in a painting family. His landscapes are stable and ancient. He also makes very few landscapes brochures, which are simple and elegant. It has the style of Wang Yuan in Yuan Dynasty. It is especially cherished to draw a wonderful picture of Dasong. With Gong Xian, Fan Ban, Gao Qin, Wu Hong, Ye Xin, Hu Kuo and Xie Sun, there are eight families in Jinling. The works handed down from generation to generation include: the axis of Songlin Monk Dialect Picture, which is now in the Shanghai Museum; the page of Shanshui, which is one of the Jinling Family Books, the Palace Museum; and the axis of Yunyue Water Village Picture, which is in the Nanjing Museum.

Landscape Map

"Landscape Map" Fan Page, Qing, Zou Chao Painting, Gold Paper, Colour Setting, 16.6 cm in length and 51.9 cm in transverse.

The fan page has its own title: "Gengzi Spring Moon is like Zixuanci Zong. Zou Chao, Shicheng." Bian "Zou Chao" and "Fang Lu" printed in white. "Gengzi" was the seventeenth year of Shunzhi in Qing Dynasty (1660).

Zou Tao, as a folk professional painter, has much in common with Gong Xian, Fan Bian and Ye Xin of Jinling School of Painting, and is also known as the "Eight Schools of Jinling". They inherited the tradition of the ancients in art, but opposed to the mud of the ancients, opposed to reducing the art of landscape painting to a pure brush and ink technology. They advocated that on the basis of inheriting the tradition, they should learn from nature, so they often use brushes to show the mountain topography around them.

This is an overlooking composition of the spring scenery of Wanmurong in Nanjing. The layout of the work is smooth and open, with great momentum; it is Zou's meticulous work that combines vigorous pen tips with handwriting, rich in changes in ink and color.

White Bank Map of Mountain Boat

Vertical axis, silk, 175 box meters in length, 46 cm in transverse. Shenyang Museum Collection. This picture is the work of the Qing Dynasty painter Zou Zhe, with a high composition, the top painted peaks, ridges stretching; the Chinese paintings of Yunlin smoke valley, two sides of ancient pine photographs, while the houses are deep hidden; the next paintings of forest homes, boats moored ashore, flowing silently. The brush and ink work is steady, simple and elegant, fresh and bright.

Yunluan Water Village Map

Paper color, 154.2 cm in length and 47 cm in transverse. Nanjing Museum Collection. The structure of the painting is stable and ancient, with a crisp and vigorous brush and a towering peak. At the foot of the mountain, there are several fishing houses and miscellaneous trees near the riverside of Shazhu. In the distant morning mist cage, the scenery on the other side is hazy, while the branches of the painting show vigor and vitality. The water is clear and clear. The atmosphere on the painting is cold and solemn, but it is still a kind of travelable and inhabitable landscape, with a clear and clear outside silence. The beauty of clarity.

Beauty.

Map of Xiao Temple in Chongshan

Fan, 17.9 cm in length and 54.3 cm in transverse. Nantong Museum Collection. Write about mountains, mountains and depressions, monasteries deep in Tibet, the foot of the mountain water bamboo village dwelling, streams loop, Banqiao across. The brush is rough and vigorous, but it is light and super-easy.