[{"data":1,"prerenderedAt":60},["ShallowReactive",2],{"artwork-chun-wu-cun-ju-tu-zhou-ma-shi-290355":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":25,"material":26,"size":27,"collection":28,"collections":29,"showCount":30,"zanCount":31,"manualWeight":31,"mainColor":32,"tagLinks":33},290355,"chun-wu-cun-ju-tu-zhou-ma-shi-290355","春坞村居图轴","明","马轼","台北故宫博物院","画幅上方的主峰，奇而不觉突兀，山石峭峰直上，远山笼罩在一片迷蒙的雾中，准确而又充分地表达了作者独特的感受，这正是师承郭熙的画山心法，不仅强调自然山水体貌结构的规律，而且还特别去发现和塑造山水优美的艺术形象。“山形面面看”，“山形步步移”，角度不同而呈现千姿百态，又有别于郭熙的画山之奇异画风。观马轼之山，笔力劲爽含蓄、灵活秀润，无雕琢刻画与粗莽恣肆之弊。从构图和立意上，画家着重墨色浓淡变化，笔锋细劲，设色淡雅。人物虽小，但真实具体，各尽其态。山水景物皆以尖劲利落的细笔勾出，山石用小斧劈皴法，坚凝沉着，棱角分明，以皴点加淡青绿色画出半明半暗的效果，很好的表现了峰峦的质感。树亦以小笔勾点而成，整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味，形成了秀逸而不媚弱，清劲而不霸悍的风格。\n马轼在艺术表现上沁入较多自由清新的气息，如这幅画的山石皴法，固然还可看出传统画法“斧劈皴”的痕迹，但他并不拘泥于前人，而是带有更多的写实意味，用笔细腻沉着，苍秀挺峭，表现了山川苍劲之势和沉着浑厚之气，赋予作品浓郁的生活气息。整个画面的布局上，运用虚实相生的手法，远景山树迷茫，峰峦朦胧，与烟雾相交融，含蓄而更富有真实感。近景大石居中，林树细笔攒簇，柔韧坚挺，更突出了近山的耸拔气象。而茅舍间点缀了正在悠然耕作的人，左峰角小石间似湍湍流动的溪水，使画面的气氛更生动，又营造了画面恬静适淡的意境。马轼是一位宫廷画家，此画在一定程度上也暗示了作者对那种终日应酬、荣辱萦怀的世俗生活的厌倦。从这一个意义上看，《春坞村居图》不但以优美抒情的笔墨描绘了一个自然朴实的春日村居，同时，电是抒发了作者歆羡村居无忧无虑又简单惬意的田园生活及远离世俗的思想情怀。",[12,13,14,15,16,17,18,19,20,21,22,23,24],"国画","山水画","立轴","水墨","皴法","山峦","树木","村居","云雾","山石","小桥","流水","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7824d0b618148eddd22cf4a3670ea444.jpg","绢本,设色","178.6x112.1","山水画精选",[28],17,0,"795548",[34,36,38,40,42,44,46,48,50,52,54,56,58],{"name":12,"slug":35},"guo-hua",{"name":13,"slug":37},"shan-shui-hua",{"name":14,"slug":39},"li-zhou",{"name":15,"slug":41},"shui-mo",{"name":16,"slug":43},"cun-fa",{"name":17,"slug":45},"shan-luan",{"name":18,"slug":47},"shu-mu",{"name":19,"slug":49},"cun-ju",{"name":20,"slug":51},"yun-wu",{"name":21,"slug":53},"shan-shi",{"name":22,"slug":55},"xiao-qiao",{"name":23,"slug":57},"liu-shui",{"name":24,"slug":59},"fang-wu",1777535420187]