[{"data":1,"prerenderedAt":69},["ShallowReactive",2],{"artwork-e-pang-gong-tu-juan-wang-wei-232621":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":33,"zanCount":34,"manualWeight":34,"mainColor":35,"tagLinks":36},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","唐","王维","私人收藏","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27],"高清","国画","书画","长卷","设色","青绿","界画","工笔","山水","楼阁","小桥","人物","山石","树木","建筑","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fac5623a6e549db33830a4f701ceb37.jpg","绢本","纵194.5cm，横60.5cm","",[],214,0,"795548",[37,39,41,43,45,47,49,51,53,55,57,59,61,63,65,67],{"name":12,"slug":38},"gao-qing",{"name":13,"slug":40},"guo-hua",{"name":14,"slug":42},"shu-hua",{"name":15,"slug":44},"chang-juan",{"name":16,"slug":46},"she-se",{"name":17,"slug":48},"qing-lv",{"name":18,"slug":50},"jie-hua",{"name":19,"slug":52},"gong-bi",{"name":20,"slug":54},"shan-shui",{"name":21,"slug":56},"lou-ge",{"name":22,"slug":58},"xiao-qiao",{"name":23,"slug":60},"ren-wu",{"name":24,"slug":62},"shan-shi",{"name":25,"slug":64},"shu-mu",{"name":26,"slug":66},"jian-zhu",{"name":27,"slug":68},"yun-qi",1777535394545]