[{"data":1,"prerenderedAt":1808},["ShallowReactive",2],{"artist-zhu-da-574":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},574,"zhu-da-574","朱耷","清","1626年—约1705年","原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。 明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。","","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],129,"Z",363,[18,45,61,72,88,97,110,122,140,150,160,173,182,191,200,211,222,233,243,250,261,270,278,285,293,303,312,324,336,353,367,376,388,399,409,421,443,453,462,470,480,488,496,504,512,520,528,537,549,561,570,578,590,600,611,629,637,649,657,666,679,689,700,710,725,734,742,751,759,768,776,789,798,807,815,825,832,844,852,858,866,874,882,890,899,905,911,918,924,934,941,950,960,967,974,982,992,999,1005,1012,1020,1029,1035,1042,1050,1058,1066,1074,1081,1090,1099,1107,1113,1119,1128,1137,1144,1152,1161,1168,1176,1183,1192,1200,1207,1216,1224,1232,1239,1246,1254,1262,1270,1276,1284,1291,1299,1306,1312,1320,1330,1339,1347,1355,1363,1370,1380,1388,1397,1406,1415,1424,1432,1442,1453,1460,1469,1478,1486,1494,1504,1517,1526,1533,1540,1551,1559,1566,1573,1580,1586,1598,1608,1618,1627,1634,1641,1649,1659,1669,1678,1684,1690,1697,1703,1709,1715,1721,1727,1735,1745,1751,1760,1768,1774,1780,1789,1799],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":43,"mainColor":44},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","私人收藏","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[25,26,27,28,29,30,31,32,33,34,35],"高清","国画","书画","立轴","水墨","写意","花鸟","鸟","芭蕉","山石","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","纸本,水墨","182.5×49cm","花鸟画精选",[39],1374,11,0,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":8,"author":7,"museum":49,"description":50,"tags":51,"thumbUrl":56,"material":57,"size":58,"collection":11,"collections":59,"showCount":60,"zanCount":43,"manualWeight":43,"mainColor":44},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","北京故宫博物院","此图为朱耷71岁所作。全幅景致简洁，绘一只白猫蹲于石巅上拱背缩身，与山石浑然合成一体。它闭目养神，全然无心观赏四周荷花、兰花等俏丽的景致。作者显然运用了象征隐喻的手法，将客观的意象与主观的意识作了巧妙而含蓄的结合。他以心静如水的猫暗喻自己在清王朝统治下不闻不问，远离世俗的隐遁行为。图中荷叶及无名花草以墨气淋漓的泼墨法绘成，与白描勾勒，寥寥数笔的猫、石形成视觉上的黑白对比，不同色调的深浅变化，丰富了画面的空间层次，从而使全卷既充实又空灵。",[26,27,52,29,53,54,55,30],"长卷","猫","孤石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纸本，水墨","纵34厘米，横218厘米",[],656,{"id":62,"slug":63,"title":64,"dynasty":8,"author":7,"museum":22,"description":65,"tags":66,"thumbUrl":68,"material":37,"size":11,"collection":39,"collections":69,"showCount":70,"zanCount":71,"manualWeight":43,"mainColor":44},216942,"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[25,26,27,28,29,30,67,54],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[39],610,4,{"id":73,"slug":74,"title":75,"dynasty":8,"author":7,"museum":76,"description":77,"tags":78,"thumbUrl":82,"material":83,"size":84,"collection":11,"collections":85,"showCount":86,"zanCount":87,"manualWeight":43,"mainColor":44},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","藏地不详","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[25,79,26,29,28,31,80,54,81,55],"名画","荷","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg","未知","Xcm*Xcm",[],519,2,{"id":89,"slug":90,"title":91,"dynasty":8,"author":7,"museum":22,"description":92,"tags":93,"thumbUrl":94,"material":37,"size":11,"collection":39,"collections":95,"showCount":96,"zanCount":43,"manualWeight":43,"mainColor":44},218421,"he-tang-tu-zhu-da-218421","荷塘图","泼墨荷叶恣肆铺陈，浓墨处似沉云压顶，淡晕间若轻烟漫散，笔触枯润交错里藏着自然野趣。奇崛湖石以焦墨勾廓、泼墨晕肌理，造型古拙却含灵动之气。瘦劲荷茎斜出，点染水草丛生，留白处似漾开涟漪，又像无尽空寂。整幅画以水墨浓淡干湿，写尽荷塘清寒与孤傲，墨色流转间藏着画家内心幽微与超脱，观之如临秋塘，凉意浸肤，心绪随之沉潜。",[25,26,27,29,80,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabe1cc52c0e7642c48fe19fea003a080.jpg",[39],412,{"id":98,"slug":99,"title":100,"dynasty":8,"author":7,"museum":49,"description":101,"tags":102,"thumbUrl":105,"material":106,"size":107,"collection":11,"collections":108,"showCount":109,"zanCount":43,"manualWeight":43,"mainColor":44},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[26,29,28,31,54,80,103,104,55],"水鸟","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纸本，墨笔","纵127厘米，横46厘米",[],336,{"id":111,"slug":112,"title":113,"dynasty":8,"author":7,"museum":114,"description":115,"tags":116,"thumbUrl":117,"material":37,"size":118,"collection":39,"collections":119,"showCount":120,"zanCount":121,"manualWeight":43,"mainColor":44},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","上海博物馆","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[26,27,28,29,54,81,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[39],328,1,{"id":123,"slug":124,"title":125,"dynasty":8,"author":7,"museum":22,"description":126,"tags":127,"thumbUrl":135,"material":136,"size":11,"collection":137,"collections":138,"showCount":139,"zanCount":121,"manualWeight":43,"mainColor":44},214378,"shan-shui-tu-ce-zhu-da-214378","山水图册","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[25,26,29,128,129,55,130,34,131,132,133,134],"册","皴法","山水","枯树","水域","孤舟","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg","纸本,设色","山水画精选",[137],324,{"id":141,"slug":142,"title":143,"dynasty":8,"author":7,"museum":76,"description":77,"tags":144,"thumbUrl":147,"material":83,"size":84,"collection":11,"collections":148,"showCount":149,"zanCount":43,"manualWeight":43,"mainColor":44},288502,"yu-jing-xin-zhu-da-288502","鱼镜心",[26,29,67,55,31,145,146,30],"书法","镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bf60f144734e219fe785cbacc5ded.jpg",[],316,{"id":151,"slug":152,"title":153,"dynasty":8,"author":7,"museum":76,"description":154,"tags":155,"thumbUrl":157,"material":11,"size":11,"collection":11,"collections":158,"showCount":159,"zanCount":43,"manualWeight":43,"mainColor":44},237931,"ku-cha-dun-ying-zhou-zhu-da-237931","枯槎蹲鹰轴","大片留白晕开萧索空寂的底色，枯槎以寥寥皴擦写就虬曲老态，墨点留作木疤，沉凝间尽诉岁月剥蚀的沧桑。\n\n蹲立槎头的猛禽，白眼斜睨，倨傲桀骜的神情藏着化不开的孤愤。干湿浓淡的墨色晕染羽翼，蓬松绒羽与锐厉气势相融，利爪紧扣枯木，静穆中暗蓄振翅即发的张力。\n\n整幅画以少胜多，笔墨极简却意蕴沉厚，将孤傲不屈的心绪寄于毫端，清冷禅意与嶙峋风骨跃然纸上，尽显水墨写意的极致妙趣。",[26,29,28,30,55,131,156,32,31],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6320940ea9a227340fd5d2b614e82497.jpg",[],298,{"id":161,"slug":162,"title":163,"dynasty":8,"author":7,"museum":49,"description":164,"tags":165,"thumbUrl":169,"material":37,"size":11,"collection":137,"collections":170,"showCount":171,"zanCount":172,"manualWeight":43,"mainColor":44},218774,"bai-lu-tu-zhu-da-218774","柏鹿图","虬枝如铁，苍柏孑立，似承霜雪之重。白鹿昂首，长颈引向天际，目含清寂，身姿简括却筋骨隐现。墨色浓淡相济，枝干的枯涩与鹿身的柔劲相映，留白处更显空远孤高。画面无喧嚷，唯有冷寂中透出的坚守，恰如画家心境——于乱世中抱守孤洁，以物寄情，将满腔郁勃化入简淡笔墨，自成一派清绝之境。笔意纵逸却不失沉稳，每一处线条都藏着内敛的力量，让苍柏与白鹿成为跨越时空的精神载体，静静诉说着那份独属于旧朝遗民的孤傲与怅惘。",[25,26,29,28,30,129,166,167,168,104,54],"兽","鹿","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33c355a23e9081c6ca7d116aca7e485.jpg",[137,39],296,3,{"id":174,"slug":175,"title":176,"dynasty":8,"author":7,"museum":22,"description":177,"tags":178,"thumbUrl":179,"material":37,"size":11,"collection":39,"collections":180,"showCount":181,"zanCount":121,"manualWeight":43,"mainColor":44},216365,"hua-niao-ce-zhu-da-216365","花鸟册","朱耷 (Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[25,26,27,128,29,130,131,54,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[39],282,{"id":183,"slug":184,"title":185,"dynasty":8,"author":7,"museum":76,"description":77,"tags":186,"thumbUrl":188,"material":83,"size":84,"collection":39,"collections":189,"showCount":190,"zanCount":43,"manualWeight":43,"mainColor":44},237935,"za-hua-ce-zhu-da-237935","杂画册",[26,29,128,30,187,54,55],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70d916505230aa21d22544d3ff8bc6d.jpg",[39],256,{"id":192,"slug":193,"title":194,"dynasty":8,"author":7,"museum":22,"description":23,"tags":195,"thumbUrl":197,"material":37,"size":38,"collection":11,"collections":198,"showCount":199,"zanCount":172,"manualWeight":43,"mainColor":44},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4",[25,26,29,30,28,80,196,32,54,31,55],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg",[],229,{"id":201,"slug":202,"title":203,"dynasty":8,"author":7,"museum":22,"description":23,"tags":204,"thumbUrl":208,"material":37,"size":38,"collection":11,"collections":209,"showCount":210,"zanCount":172,"manualWeight":43,"mainColor":44},216910,"hua-niao-si-tiao-ping-3-zhu-da-216910","花鸟四条屏-3",[25,26,29,30,31,32,205,206,54,207,55],"石榴","竹子","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d05c4ff38b209a7f54f7cb2d4ab568.jpg",[],221,{"id":212,"slug":213,"title":214,"dynasty":8,"author":7,"museum":76,"description":215,"tags":216,"thumbUrl":218,"material":11,"size":11,"collection":219,"collections":220,"showCount":221,"zanCount":43,"manualWeight":43,"mainColor":44},237886,"mo-he-zhou-zhu-da-237886","墨荷轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人。明末清初画家，中国画一代宗师。 明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[26,27,28,29,30,217,80,55],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg","水墨画精选",[219],214,{"id":223,"slug":224,"title":225,"dynasty":8,"author":7,"museum":114,"description":226,"tags":227,"thumbUrl":229,"material":37,"size":230,"collection":39,"collections":231,"showCount":232,"zanCount":43,"manualWeight":43,"mainColor":44},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 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“八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。后隐居进贤县介冈及永丰县睦冈等地。顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[26,28,29,257,405,55],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[39,219],{"id":410,"slug":411,"title":412,"dynasty":8,"author":7,"museum":49,"description":413,"tags":414,"thumbUrl":418,"material":37,"size":419,"collection":39,"collections":420,"showCount":14,"zanCount":43,"manualWeight":43,"mainColor":44},218775,"lu-yan-tu-zhu-da-218775","芦雁图","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[25,26,29,28,30,415,416,417,31],"雁","芦苇","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纵221.5厘米，横114.2厘米",[39],{"id":422,"slug":423,"title":424,"dynasty":8,"author":7,"museum":49,"description":425,"tags":426,"thumbUrl":439,"material":373,"size":440,"collection":11,"collections":441,"showCount":442,"zanCount":43,"manualWeight":43,"mainColor":44},231938,"cao-chong-tu-ce-zhu-da-231938","草虫图册","朱耷花鸟画成就特别突出，也最有个性。其画大多缘物抒情，用象征手法表达寓意，将物象人格化，寄托自己的感情。如画鱼、鸟，曾作“白眼向人”之状，抒发愤世嫉俗之情。其花鸟画风，可分为三个时期，50岁以前为僧时属早期，署款“传綮”、“个”、“驴” 、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[26,29,30,128,31,427,428,55,429,430,431,432,433,434,435,436,437,438],"草虫","花卉","写意花鸟","水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","册页","花鸟虫鱼","水墨花卉","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纵26厘米，横41厘米",[],125,{"id":444,"slug":445,"title":446,"dynasty":8,"author":7,"museum":76,"description":447,"tags":448,"thumbUrl":450,"material":11,"size":11,"collection":39,"collections":451,"showCount":452,"zanCount":121,"manualWeight":43,"mainColor":44},236461,"zhu-shi-tu-zhou-zhu-da-236461","竹石图轴","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[26,27,28,29,30,257,449,55,145],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[39,219],123,{"id":454,"slug":455,"title":456,"dynasty":8,"author":7,"museum":76,"description":457,"tags":458,"thumbUrl":459,"material":11,"size":11,"collection":11,"collections":460,"showCount":461,"zanCount":43,"manualWeight":43,"mainColor":44},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[25,26,27,128,29,31,145,266,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],121,{"id":463,"slug":464,"title":465,"dynasty":8,"author":7,"museum":76,"description":77,"tags":466,"thumbUrl":467,"material":83,"size":84,"collection":11,"collections":468,"showCount":469,"zanCount":43,"manualWeight":43,"mainColor":44},283659,"he-fu-tu-zhou-zhu-da-283659","荷凫图轴",[25,79,26,28,29,31,217,54,81,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c68a231a7e3a42dd7d6c86993a9c7f.jpg",[],119,{"id":471,"slug":472,"title":473,"dynasty":8,"author":7,"museum":76,"description":474,"tags":475,"thumbUrl":477,"material":11,"size":11,"collection":11,"collections":478,"showCount":479,"zanCount":43,"manualWeight":43,"mainColor":44},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 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、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[26,27,128,29,130,54,257,544,129],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],94,{"id":550,"slug":551,"title":552,"dynasty":8,"author":7,"museum":553,"description":554,"tags":555,"thumbUrl":556,"material":557,"size":558,"collection":39,"collections":559,"showCount":560,"zanCount":43,"manualWeight":43,"mainColor":44},237408,"song-lu-zhou-zhu-da-237408","松鹿轴","旅顺博物馆","以简淡之笔绘苍松与雌鹿，构图简明，意境寥阔深远。右上自题“乙酉夏日写，八大山人”，钤“八大山人”、“荷园”二印。右下钤收藏印二，其一“大兴刘铨福家世守印”，另一印模糊不辨。乙酉为康熙四十四年，公元1705年，作者时年80岁。",[26,28,29,318,129,319,167,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d36fc960d2f3493e1ebe2d740dd1e76.jpg","纸本墨笔","182cmx88cm",[39],86,{"id":562,"slug":563,"title":64,"dynasty":8,"author":7,"museum":49,"description":564,"tags":565,"thumbUrl":566,"material":373,"size":567,"collection":219,"collections":568,"showCount":569,"zanCount":43,"manualWeight":43,"mainColor":44},236775,"yu-shi-tu-zhou-zhu-da-236775","此画面十分简洁，仅以简练的笔画，画一鱼一石。一湖石座落在画幅的左侧中段，湖石造型奇特，取岌岌可危之势，石中用枯笔皴染又加重墨点，鱼一尾在宽阔河中游弋，把鱼在特定的环境中的动态和神气表现得活灵活现，其造型非常准确而传神。唯独鱼眼一圈一点，眼珠顶着眼圈，即眼珠点在眼眶的上方，一副白眼向天的神情，形象洗练，造型夸张，表情奇特，构图大胆、新奇。由于画面仅有的怪石、鱼，又画在左侧和下端，而右侧的空白处，作者以自题款署及清王澍题记加以补白，对使整幅作品起到了平衡的作用。\n王澍题记：“八大山人挟忠义激发之气形于翰墨，故其作画不求形似，但取其意于苍茫寂历之间，意画即心，此所谓神韵者也。”\n八大山人的画不少是没有记年，但从风格及款署的习惯，可以判断是那一个时期的作品。如此《鱼石图》轴，款署“八大山人”，据考证他59岁至80岁，用“八大山人”署名，是“八大期”。依据《鱼石图》的特点和署名写法可以判断为晚年时期的作品。",[26,27,29,28,54,67,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1465c1b39b489696b27be749224da061.jpg","纵58.3厘米，横48.6厘米",[219],85,{"id":571,"slug":572,"title":540,"dynasty":8,"author":7,"museum":76,"description":573,"tags":574,"thumbUrl":575,"material":11,"size":11,"collection":137,"collections":576,"showCount":577,"zanCount":43,"manualWeight":43,"mainColor":44},235165,"shan-shui-ce-zhu-da-235165","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[26,27,128,29,129,130,131,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[137,219],84,{"id":579,"slug":580,"title":581,"dynasty":8,"author":7,"museum":49,"description":582,"tags":583,"thumbUrl":584,"material":585,"size":586,"collection":587,"collections":588,"showCount":589,"zanCount":43,"manualWeight":43,"mainColor":44},240331,"zhu-da-lan-ting-xu-zhou-zhu-da-240331","朱耷兰亭序轴","此轴为朱耷节录《兰亭序》，内容有些微差异，如“暮春”后省略“之初”二字，“此地有”写为“此地迺”等。\n款署：“八大山人”，款下钤“在芙山房”、“八大山人”白方印两方。引首钤“黄竹园”白方。\n本幅左下角钤张大千鉴藏印“藏之大千”白方。外签为张大千题：“八大山人临兰亭。大风堂永远供养。”下钤“大千”朱方等二印。知此轴曾为张大千旧藏。左裱边有题跋三则，第一跋后钤“夔文书画金石”朱方。\n八大山人为清代著名书画家朱耷的别号。朱耷中晚年，在书画作品款署中多使用“八大山人”，直至去世。这幅行书立轴不是单纯的对《兰亭序》临写和模仿，而加入了作者的创作。它继承了八大山人“淳朴圆润，自成一格”之风，正如跋语所评，其“圆健古厚，专用中锋，如印印泥，如锥画沙，布白分行，具有天趣”，堪称其率性之作。",[145,238,28,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d801377852347170dfbb129c60a62a.jpg","纸本，行书","纵174.5厘米，横52.1厘米","书法精选",[587],80,{"id":591,"slug":592,"title":593,"dynasty":8,"author":7,"museum":594,"description":595,"tags":596,"thumbUrl":597,"material":136,"size":11,"collection":137,"collections":598,"showCount":599,"zanCount":43,"manualWeight":43,"mainColor":44},219756,"shan-shui-tu-zhu-da-219756","山水图","大英博物馆","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[25,26,27,29,30,129,130,131,34,362],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[137],75,{"id":601,"slug":602,"title":603,"dynasty":8,"author":7,"museum":49,"description":604,"tags":605,"thumbUrl":607,"material":106,"size":608,"collection":39,"collections":609,"showCount":610,"zanCount":87,"manualWeight":43,"mainColor":44},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[26,27,28,29,30,606,104,145,55],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[39],74,{"id":612,"slug":613,"title":473,"dynasty":8,"author":7,"museum":49,"description":614,"tags":615,"thumbUrl":626,"material":106,"size":627,"collection":11,"collections":628,"showCount":610,"zanCount":43,"manualWeight":43,"mainColor":44},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","此图是朱耷80岁所作。风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[26,29,28,30,476,187,54,31,616,617,618,34,619,620,429,430,621,622,623,624,625],"水墨写意","枯枝","孤鸟","枝条","墨笔","山石禽鸟","杨柳枝条","浴禽","水墨山石","写意禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323d4fc355eb966f9589caed04ec16f5.jpg","纵119厘米，横58.4厘米",[],{"id":630,"slug":631,"title":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·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 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