[{"data":1,"prerenderedAt":417},["ShallowReactive",2],{"artist-zhang-da-qian-4411":3},{"artist":4,"artworks":17},{"id":5,"slug":6,"name":7,"dynasty":8,"birthAndDeath":9,"shortDesc":10,"longDesc":11,"coverUrl":12,"tags":13,"workNumber":14,"initial":15,"showCount":16},4411,"zhang-da-qian-4411","张大千","民国","1898年5月10日－1983年4月2日","张大千（1898年5月10日－1983年4月2日），本名张正权，后改名张援、张喧、张爰，小名季，字季爰，法号大千，别署大千居士、下里港人、斋名大风堂、大风起兮，中华民国当代知名艺术家，出生于四川内江，祖籍广东番禺。因其诗、书、画与齐白石、溥心畲齐名，故又并称为“南张北齐”和「南张北溥」。与黄君璧、溥心畲以“渡海三家”齐名。廿多岁便蓄着一把大胡子，成为张大千日后的特有标志。曾与齐白石、徐悲鸿、黄君璧、黄宾虹、溥心畲、郎静山等及西班牙立体派画家毕卡索交流切磋。\n二次大战结束之后，多次在世界各地办画展，包括法国巴黎、英国伦敦、瑞士日内瓦、印度新德里、比利时、希腊、西班牙、新加坡、泰国、德国、巴西、美国及香港等地。 1958年，以写意画《秋海棠》被纽约国际艺术学会选为世界大画家，并荣获金奖。 1974年，获美国加州太平洋大学名誉人文博士学位。\n张大千1949年离开中国大陆以后旅居世界各地。 1976年后定居台北市。 1983年，台北故居捐给国立故宫博物院成立「张大千先生纪念馆」。","","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg",[],20,"Z",246,[18,42,54,64,77,97,108,124,140,159,169,180,191,212,230,245,258,269,279,290,301,312,320,330,338,348,357,367,375,382,391,399,408],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":36,"material":11,"size":11,"collection":11,"collections":37,"showCount":38,"zanCount":39,"manualWeight":40,"mainColor":41},220495,"zhang-da-qian-lin-mo-dun-huang-bi-hua-wan-tang-ji-le-pu-sa-er-shen-xiang-heng-pi-zhang-da-qian-220495","张大千临摹敦煌壁画晚唐伎乐菩萨二身像横批","四川博物院","两位伎乐菩萨乘云飞渡，左者擎磬抬手，身姿劲挺，青绿朱红的飘带随风夭矫。右者怀拥弦乐，眉眼柔婉，暖橙长裙如流火舒展。\n\n配色沿用壁画古雅石色，石青与朱砂晕染出厚重的岁月质感，婉转游丝勾勒出菩萨丰腴端丽的体态，复刻出晚唐飞天雍容灵动的神韵，将佛国伎乐的缥缈清姿凝于素纸，让千年前的敦煌雅韵重绽华彩，尽显东方佛境的空灵曼妙。",[25,26,27,28,29,30,31,32,33,34,35],"高清","国画","书画","横批","临摹","敦煌","壁画","设色","人物","宗教","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6710f185c0c825ce5735949a2356da6.jpg",[],735,5,0,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":8,"author":7,"museum":22,"description":46,"tags":47,"thumbUrl":50,"material":11,"size":11,"collection":11,"collections":51,"showCount":52,"zanCount":53,"manualWeight":40,"mainColor":41},220496,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-gong-yang-pu-sa-xiang-zhang-da-qian-220496","张大千临摹敦煌壁画初唐供养菩萨像","此作还原初唐造像典雅风骨，菩萨面庞莹润温婉，眉眼低垂自带静穆慈悲。华美发髻缀满宝饰，璎珞飘带线条细劲流畅，晕色承袭敦煌古制，石青、朱砂配色厚重明艳，尽显大唐华贵雍容。菩萨持香具安坐莲台，姿态松弛悠然，舒展的莲瓣层次分明，既有宗教造像的庄严端凝，又带着东方古典的柔润气韵，完美复刻敦煌壁画的堂皇雅致，让千年古韵跃然绢上。",[25,29,30,31,34,32,48,33,49],"工笔","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42ad28d51906c73465cc7295981261.jpg",[],577,3,{"id":55,"slug":56,"title":57,"dynasty":8,"author":7,"museum":22,"description":58,"tags":59,"thumbUrl":61,"material":11,"size":11,"collection":11,"collections":62,"showCount":63,"zanCount":40,"manualWeight":40,"mainColor":41},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[25,26,27,29,30,48,32,34,33,60,35],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],304,{"id":65,"slug":66,"title":67,"dynasty":8,"author":7,"museum":68,"description":69,"tags":70,"thumbUrl":73,"material":11,"size":11,"collection":11,"collections":74,"showCount":75,"zanCount":76,"manualWeight":40,"mainColor":41},220502,"xiu-zhu-shi-nv-zhang-da-qian-220502","修竹仕女","龙美术馆西岸馆","画面里仕女黛眉轻蹙，腮凝新荔，手托香腮作沉思状，发髻簪花，温婉娴静的闺怨之态呼之欲出。衣纹勾勒秀劲舒展，青蓝衣袍配朱红卷草纹饰，浓丽雅致，尽显东方女性柔婉仪态。\n\n左侧修竹以淡墨写意挥就，笔致清劲挺秀，竹影扶疏间衬出仕女的幽寂怅惘，柔媚人物与清逸修竹相映成趣，将传统工笔的细腻与写意的简淡融为一体，晕染出清远雅致的古典意境，把闺中女子的缱绻情思藏进幽篁清影之中。",[26,32,48,33,71,72],"美人","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ed3ebfb17697cfd9745a87b1dadc6.jpg",[],247,2,{"id":78,"slug":79,"title":80,"dynasty":8,"author":7,"museum":81,"description":82,"tags":83,"thumbUrl":91,"material":92,"size":11,"collection":93,"collections":94,"showCount":95,"zanCount":96,"manualWeight":40,"mainColor":41},216600,"mo-he-si-lian-ping-3-zhang-da-qian-216600","墨荷四联屏-3","私人收藏","泼墨淋漓处，荷叶如层云翻涌，浓淡干湿交织出万千层次，苍劲中透着灵动。几朵白莲亭亭玉立，瓣尖以淡墨轻勾，与墨叶的雄浑形成柔刚相映之趣。茎秆以劲挺线条穿引画面，似有清风暗度，摇曳生姿。留白如薄雾轻笼，晕染出荷塘的清幽野逸，笔意纵逸却不失雅致，疏朗中藏生机。墨色的晕化与线条的利落交织，将荷塘的静谧与鲜活凝于尺幅，仿佛能嗅到花叶间浮动的淡香，尽显墨荷的神韵与风骨。",[26,27,84,85,86,87,88,89,90],"水墨","写意","屏条","荷花","荷叶","墨色","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca7db73862a36d7500f1fd596d38685.jpg","纸本,设色","花鸟画精选",[93],229,1,{"id":98,"slug":99,"title":100,"dynasty":8,"author":7,"museum":22,"description":101,"tags":102,"thumbUrl":105,"material":11,"size":11,"collection":11,"collections":106,"showCount":107,"zanCount":53,"manualWeight":40,"mainColor":41},220499,"zhang-da-qian-lin-mo-dun-huang-bi-hua-shi-jia-shuo-fa-tu-zhang-da-qian-220499","张大千临摹敦煌壁画释迦说法图","主尊释迦端立莲台，朱红袈裟线条劲挺饱满，晕染柔和自然，尽显慈悲庄严。胁侍眷属仪容秀雅，衣饰华丽繁复，璎珞飘带灵动舒展，各持礼器法物，神态虔敬肃穆。背景宝树垂饰精巧，华盖仪仗规整庄严，整体色彩浓丽明妍，还原敦煌盛唐遗韵。\n\n此作以精妙笔墨复刻石窟古画，既保留原作雄浑厚重的西域风貌，又融入细腻笔情墨趣，让千年壁画神采跃然绢上，尽显传统工笔重彩的典雅华滋，是临摹敦煌壁画中的精品。",[25,26,29,30,31,34,32,33,103,104],"莲花","华盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e6e538e6e12a841cd7a62f448f4e64.jpg",[],207,{"id":109,"slug":110,"title":111,"dynasty":8,"author":7,"museum":81,"description":112,"tags":113,"thumbUrl":120,"material":92,"size":11,"collection":93,"collections":121,"showCount":122,"zanCount":96,"manualWeight":40,"mainColor":123},216601,"mo-he-si-lian-ping-2-zhang-da-qian-216601","墨荷四联屏-2","泼墨淋漓间，荷叶以焦墨泼洒，浓黑如漆却层次分明，边缘晕染淡墨朦胧，似雨打荷叶的湿润。荷花留白衬淡墨勾勒，花瓣舒展如凝脂，于浓墨丛中亭亭玉立，清妍脱俗。荷杆挺拔如剑，穿插有致，疏密藏章法。整幅墨韵流转，既有泼墨豪放，又含细腻笔触，将荷塘清幽与生机凝于尺幅。观之如临夏日清池，荷风拂面，心宁气静，尽显文人画雅致风骨，墨色浓淡间藏自然意趣，豪放与婉约相融，尽得笔墨之妙。",[26,84,114,115,87,88,116,117,118,119],"花鸟画","泼墨","荷杆","清幽","文人画","夏日荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b01bf97167e7cb59dfefbd32f1a87fd.jpg",[93],181,"795548",{"id":125,"slug":126,"title":127,"dynasty":8,"author":7,"museum":128,"description":129,"tags":130,"thumbUrl":134,"material":135,"size":11,"collection":136,"collections":137,"showCount":139,"zanCount":53,"manualWeight":40,"mainColor":41},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","藏地不详","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[26,27,131,84,132,133,33,49,85],"册","草书","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg","纸本,水墨","人物画精选",[136,138],"水墨画精选",156,{"id":141,"slug":142,"title":143,"dynasty":8,"author":7,"museum":22,"description":144,"tags":145,"thumbUrl":156,"material":11,"size":11,"collection":11,"collections":157,"showCount":158,"zanCount":96,"manualWeight":40,"mainColor":41},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[25,26,27,146,32,147,148,149,150,151,152,153,29,154,155],"青绿","山水","山峰","峭壁","瀑布","云雾","树木","山间小屋","皴法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],152,{"id":160,"slug":161,"title":162,"dynasty":8,"author":7,"museum":81,"description":163,"tags":164,"thumbUrl":166,"material":92,"size":11,"collection":93,"collections":167,"showCount":168,"zanCount":96,"manualWeight":40,"mainColor":41},216602,"mo-he-si-lian-ping-1-zhang-da-qian-216602","墨荷四联屏-1","墨色淋漓间，荷叶或浓泼如积云，或淡染似流烟，焦墨勾筋见骨，湿笔晕染含情。荷花亭亭，瓣尖带露，留白处凝清韵；含苞待放者敛藏生机，似语未发。荷茎挺秀如剑，线条刚劲中藏柔婉，穿插交错成疏密有致的骨架。整幅画笔墨纵横却不失雅致，浓淡干湿互映成趣，于水墨交融间透出清逸出尘之态，仿佛能闻荷风送香，见碧波微动，尽显君子之姿与自然之妙，令人观之忘俗，沉醉于这份静谧与生机。",[26,27,84,165,87,88,85],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a911d419cf2bdb27af6f664cf482a33.jpg",[93],151,{"id":170,"slug":171,"title":172,"dynasty":8,"author":7,"museum":22,"description":173,"tags":174,"thumbUrl":177,"material":11,"size":11,"collection":11,"collections":178,"showCount":179,"zanCount":96,"manualWeight":40,"mainColor":41},220492,"zhang-da-qian-liu-yin-shi-nv-tu-zhang-da-qian-220492","张大千柳荫仕女图","仕女眉如远黛，眼含幽绪，樱唇轻抿，鬓发匀整服帖。素色襦裙配云纹领饰，雅致端方，手倚苍润湖石，身姿柔婉，似在春荫下凝伫遐思。旁侧垂柳柔丝纷披，如烟似雾，晕开融融春意，墨竹清劲萧疏，与柳条柔媚相映成趣。\n\n笔墨清圆秀润，设色淡雅明净，细劲线条勾勒出人物妍丽温婉的体态，淡墨晕染出柳色空濛，将闺中女子的闲愁静穆烘托恰到好处，诗画相融，尽现雅致恬和的古典意韵。",[25,26,27,165,32,48,33,71,175,176,155],"柳树","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe418926e4c8fcd1998df4816716ffb22.jpg",[],150,{"id":181,"slug":182,"title":183,"dynasty":8,"author":7,"museum":184,"description":185,"tags":186,"thumbUrl":12,"material":188,"size":11,"collection":11,"collections":189,"showCount":190,"zanCount":40,"manualWeight":40,"mainColor":41},220489,"zhu-mei-zhang-da-qian-220489","竹梅","The Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[25,26,27,131,84,187,72,155,90],"梅","Ink and colour on paper",[],126,{"id":192,"slug":193,"title":194,"dynasty":8,"author":7,"museum":81,"description":195,"tags":196,"thumbUrl":206,"material":92,"size":207,"collection":208,"collections":209,"showCount":211,"zanCount":40,"manualWeight":40,"mainColor":41},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[25,197,26,27,84,32,85,154,147,198,199,200,150,152,201,151,202,203,204,205],"名画","流水","孤舟","小桥","山石","房屋","古道","急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm","山水画精选",[208,210],"设色画精选",123,{"id":213,"slug":214,"title":215,"dynasty":8,"author":7,"museum":22,"description":216,"tags":217,"thumbUrl":227,"material":11,"size":11,"collection":11,"collections":228,"showCount":229,"zanCount":96,"manualWeight":40,"mainColor":41},220491,"zhang-da-qian-yang-xiong-du-shu-tu-zhang-da-qian-220491","张大千杨雄读书图","此作用淡墨铺就清寂意境，右侧枯木虬劲苍古，枝桠错落间漫出萧索秋意。嶙峋湖石立在一旁，苔痕轻缀，晕开幽幽古意。\n\n榻上主人眉目疏朗静和，正浸在书卷意趣里神游，身侧侍童垂首伫立，一室安闲自适。案头笔墨横陈，暗合读书主题。\n\n左上角题笔行书舒展雅致，书画相映，文气暗生。全幅以水墨淡绘，摒去浓丽敷色，以极简笔触勾勒人物情态与周遭景致，将贤士沉湎诗书、物我两忘的静穆心境，晕染得淋漓尽致，尽显林下雅逸风流。",[25,26,27,165,84,48,33,218,219,220,221,222,223,224,225,226],"孤石","老树","典籍","笔","墨","纸","砚","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb9c04228945a41faa0f8502855c33b.jpg",[],108,{"id":231,"slug":232,"title":233,"dynasty":8,"author":7,"museum":234,"description":235,"tags":236,"thumbUrl":242,"material":11,"size":11,"collection":11,"collections":243,"showCount":244,"zanCount":53,"manualWeight":40,"mainColor":41},220504,"mo-gao-ku-152-hao-tang-dai-zhu-guang-guan-yin-di-58-hao-lin-mo-ben-zhang-da-qian-220504","莫高窟152号唐代珠光观音第58号临摹本","國立故宮博物院","静穆安和的观音结跏趺坐莲台，垂敛双目，神容慈悲恬然。朱砂覆肩贴身，金线勾缠的璎珞臂钏层层叠叠，朱红宝色点缀其间，华贵不失清雅。头光晕染出青绿鎏金的柔和渐变，褪去窟壁千年斑驳，以明丽鲜亮的色彩复刻唐风遗韵。\n\n笔底既恪守古制风骨，又融个人意趣，将敦煌造像的庄严端凝晕化为绢上温润神采。敷色厚艳而不俗，线条匀净柔韧，把观音的圣洁与雍容揉合一处，观之令人心宁神定，尽显东方造像的静美禅意。",[197,26,27,33,34,32,48,29,30,237,238,239,240,241],"观音","莲台","禅意","圣洁","雍容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316b140450a1e3ec56ec1be1b10e6be1.jpg",[],107,{"id":246,"slug":247,"title":248,"dynasty":8,"author":7,"museum":249,"description":250,"tags":251,"thumbUrl":254,"material":255,"size":11,"collection":11,"collections":256,"showCount":257,"zanCount":40,"manualWeight":40,"mainColor":41},220500,"e-mei-jin-ding-heng-pi-zhang-da-qian-220500","峨嵋金顶（横披）","中央美术学院美术馆","云海翻涌将山峦裁出虚实层次，一侧以浅赭勾勒山石，枯涩皴笔尽显崖壁嶙峋苍劲，另一侧以青绿重彩晕染坡峦，层叠笔触晕开蓊郁生机。山巅楼宇隐于翠色之上，在流云间恍若仙阙。\n画作糅合北派山水的雄浑大气与南宗的秀润空灵，打破青绿旧有范式，以色调对冲凸显山川刚柔并济的质感，将峰岳的高华巍峨与清虚空灵凝于尺幅。边角题跋朱印呼应，文气与画韵相融，引观者神游绝顶，揽云听松，坠入烟霞之中。",[26,27,32,146,147,154,148,252,152,253,151],"云海","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bb0493805dbede2bd10a16c58db9f5.jpg","纸本设色",[],88,{"id":259,"slug":260,"title":261,"dynasty":8,"author":7,"museum":68,"description":262,"tags":263,"thumbUrl":266,"material":11,"size":11,"collection":11,"collections":267,"showCount":268,"zanCount":40,"manualWeight":40,"mainColor":41},220501,"song-xia-ya-ji-zhang-da-qian-220501","松下雅集","松石挺劲苍古，蟠曲枝干如虬龙卧云，苔皴晕染尽述岁月风霜。青绿坡岸雅致莹润，一角丹枫点染秋韵，柔化古松沉郁色调。\n\n四位高士或立或坐，宽袍博带，神清骨秀，似正清谈畅叙，襟怀洒落出尘。衣纹线条清隽秀逸，仪态宛然，尽显魏晋林下风流。\n\n画作取法古意，将元人雅逸笔致与青绿浅绛相融，萧散简远中不失精工雅致，把山林雅集的清旷高致晕染纸上，尽显文人士大夫寄情林泉的悠然襟怀。",[26,27,165,32,33,264,265,155],"松","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c213317f505fe7d4d6db612a690ec.jpg",[],70,{"id":270,"slug":271,"title":272,"dynasty":8,"author":7,"museum":68,"description":273,"tags":274,"thumbUrl":276,"material":11,"size":11,"collection":11,"collections":277,"showCount":278,"zanCount":96,"manualWeight":40,"mainColor":41},220503,"he-du-ye-qu-zhang-da-qian-220503","荷堵野趣","这幅画以泼墨泼彩晕染出荷塘野意，那株凌空舒展的巨荷最为夺目，墨色苍浑沉厚，瓣叶如流云狂卷，带着风雨将临的恣肆野逸。下方白荷冰清玉洁，线条柔婉雅致，与浓如泼墨的荷叶形成强烈反差。淡粉烟霞般的底色晕开水汽氤氲，把荷塘缥缈朦胧的夏夜氛围铺陈开来。干湿浓淡的墨色肆意碰撞，笔力雄健不失清雅生机，将荷塘的清寂苍茫与蓬勃野趣融于一体，尽显水墨淋漓的写意之美，满是蓬勃的生命张力。",[26,84,32,87,88,165,85,275],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],69,{"id":280,"slug":281,"title":282,"dynasty":8,"author":7,"museum":283,"description":284,"tags":285,"thumbUrl":287,"material":11,"size":11,"collection":11,"collections":288,"showCount":289,"zanCount":40,"manualWeight":40,"mainColor":41},220490,"fan-zhou-xin-an-jiang-zhang-da-qian-220490","泛舟新安江","Indianapolis 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