[{"data":1,"prerenderedAt":65},["ShallowReactive",2],{"artwork-chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":33,"zanCount":34,"manualWeight":34,"mainColor":35,"tagLinks":36},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","元","高克恭","北京故宫博物院","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"高清","国画","山水画","立轴","皴法","设色","山","云","树","屋舍","小桥","流水","飞鸟","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纸本设色","纵138.1厘米，横58.5厘米","宋画精选",[29,31,32],"山水画精选","设色画精选",32,0,"795548",[37,39,41,43,45,47,49,51,53,55,57,59,61,63],{"name":12,"slug":38},"gao-qing",{"name":13,"slug":40},"guo-hua",{"name":14,"slug":42},"shan-shui-hua",{"name":15,"slug":44},"li-zhou",{"name":16,"slug":46},"cun-fa",{"name":17,"slug":48},"she-se",{"name":18,"slug":50},"shan",{"name":19,"slug":52},"yun",{"name":20,"slug":54},"shu",{"name":21,"slug":56},"wu-she",{"name":22,"slug":58},"xiao-qiao",{"name":23,"slug":60},"liu-shui",{"name":24,"slug":62},"fei-niao",{"name":25,"slug":64},"ta",1777535410624]