[{"data":1,"prerenderedAt":66},["ShallowReactive",2],{"artwork-dong-ting-she-yue-juan-wang-hui-234180":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":32,"zanCount":33,"manualWeight":33,"mainColor":34,"tagLinks":35},234180,"dong-ting-she-yue-juan-wang-hui-234180","洞庭赊月卷","清","王翚","北京故宫博物院","对于唐寅，虽然王翚多有临仿，但效果并不尽如人意。唐寅创造的极富线条感的皴法，是以长披麻皴兼以长斧劈皴为主，逐渐摆脱斧劈皴的侧锋用笔，并延长它们，加上线条性，挺劲中含柔和，且皴法简练，中锋与侧锋兼施，我们且称之为“长条斧劈皴”。反观王翚笔下的唐寅，用笔迅疾，冗笔过多；用墨水分较大，使得线条重叠涣漫，有时会形成线条堆叠出的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[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","设色","山水","皴法","行书","书法","孤舟","飞鸟","流水","树木","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纸本，设色","纵23.2厘米，横83.3厘米","",[],7,0,"BDBDBD",[36,38,40,42,44,46,48,50,52,54,56,58,60,62,64],{"name":12,"slug":37},"gao-qing",{"name":13,"slug":39},"guo-hua",{"name":14,"slug":41},"shu-hua",{"name":15,"slug":43},"chang-juan",{"name":16,"slug":45},"shui-mo",{"name":17,"slug":47},"she-se",{"name":18,"slug":49},"shan-shui",{"name":19,"slug":51},"cun-fa",{"name":20,"slug":53},"xing-shu",{"name":21,"slug":55},"shu-fa",{"name":22,"slug":57},"gu-zhou",{"name":23,"slug":59},"fei-niao",{"name":24,"slug":61},"liu-shui",{"name":25,"slug":63},"shu-mu",{"name":26,"slug":65},"jiang-an",1777535437430]