[{"data":1,"prerenderedAt":64},["ShallowReactive",2],{"artwork-fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812":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":32,"zanCount":33,"manualWeight":33,"mainColor":34,"tagLinks":35},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","清","王翚","辽宁省博物馆","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"高清","国画","仿古","皴法","设色","山水","树木","山峦","河流","渔舟","房屋","老树","坡地","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","纸本设色","82cm × 51 cm","山水画精选",[29,31],"设色画精选",131,0,"795548",[36,38,40,42,44,46,48,50,52,54,56,58,60,62],{"name":12,"slug":37},"gao-qing",{"name":13,"slug":39},"guo-hua",{"name":14,"slug":41},"fang-gu",{"name":15,"slug":43},"cun-fa",{"name":16,"slug":45},"she-se",{"name":17,"slug":47},"shan-shui",{"name":18,"slug":49},"shu-mu",{"name":19,"slug":51},"shan-luan",{"name":20,"slug":53},"he-liu",{"name":21,"slug":55},"yu-zhou",{"name":22,"slug":57},"fang-wu",{"name":23,"slug":59},"lao-shu",{"name":24,"slug":61},"po-di",{"name":25,"slug":63},"shui-mian",1777535396463]