[{"data":1,"prerenderedAt":52},["ShallowReactive",2],{"artwork-dou-niu-tu-dai-song-218623":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":22,"material":23,"size":24,"collection":25,"collections":26,"showCount":27,"zanCount":28,"manualWeight":29,"mainColor":30,"tagLinks":31},218623,"dou-niu-tu-dai-song-218623","斗牛图","唐","戴嵩","台北故宫博物院","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[12,13,14,15,16,17,18,19,20,21],"名画","国画","书画","长卷","水墨","设色","牛","兽","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纸本,水墨","纵44厘米，横40.8厘米","花鸟画精选",[25],140,4,0,"BDBDBD",[32,34,36,38,40,42,44,46,48,50],{"name":12,"slug":33},"ming-hua",{"name":13,"slug":35},"guo-hua",{"name":14,"slug":37},"shu-hua",{"name":15,"slug":39},"chang-juan",{"name":16,"slug":41},"shui-mo",{"name":17,"slug":43},"she-se",{"name":18,"slug":45},"niu",{"name":19,"slug":47},"shou",{"name":20,"slug":49},"xing-shu",{"name":21,"slug":51},"yin-zhang",1777535396175]