[{"data":1,"prerenderedAt":69},["ShallowReactive",2],{"artwork-cang-zhou-qu-tu-shen-zhou-218406":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":34,"zanCount":35,"manualWeight":36,"mainColor":37,"tagLinks":38},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","明","沈周","北京故宫博物院","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26],"高清","国画","书画","长卷","水墨","皴法","山水","孤石","小桥","流水","孤舟","老树","亭","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","绢本,设色","纵30.1厘米，横400.2厘米","人物画精选",[30,32,33],"山水画精选","设色画精选",877,7,0,"BDBDBD",[39,41,43,45,47,49,51,53,55,57,59,61,63,65,67],{"name":12,"slug":40},"gao-qing",{"name":13,"slug":42},"guo-hua",{"name":14,"slug":44},"shu-hua",{"name":15,"slug":46},"chang-juan",{"name":16,"slug":48},"shui-mo",{"name":17,"slug":50},"cun-fa",{"name":18,"slug":52},"shan-shui",{"name":19,"slug":54},"gu-shi",{"name":20,"slug":56},"xiao-qiao",{"name":21,"slug":58},"liu-shui",{"name":22,"slug":60},"gu-zhou",{"name":23,"slug":62},"lao-shu",{"name":24,"slug":64},"ting",{"name":25,"slug":66},"shu-fa",{"name":26,"slug":68},"xing-shu",1777535392872]