[{"data":1,"prerenderedAt":63},["ShallowReactive",2],{"artwork-fang-ni-shan-shui-shan-dong-qi-chang-237849":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":31,"zanCount":32,"manualWeight":32,"mainColor":33,"tagLinks":34},237849,"fang-ni-shan-shui-shan-dong-qi-chang-237849","仿倪山水扇","明","董其昌","藏地不详","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"国画","书画","扇面","水墨","皴法","临摹","印章","山水","远山","近石","枯树","房屋","平远","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55363912779a99f9f5b63f43afe6bd85.jpg","未知","Xcm*Xcm","",[],16,0,"BDBDBD",[35,37,39,41,43,45,47,49,51,53,55,57,59,61],{"name":12,"slug":36},"guo-hua",{"name":13,"slug":38},"shu-hua",{"name":14,"slug":40},"shan-mian",{"name":15,"slug":42},"shui-mo",{"name":16,"slug":44},"cun-fa",{"name":17,"slug":46},"lin-mo",{"name":18,"slug":48},"yin-zhang",{"name":19,"slug":50},"shan-shui",{"name":20,"slug":52},"yuan-shan",{"name":21,"slug":54},"jin-shi-462",{"name":22,"slug":56},"ku-shu",{"name":23,"slug":58},"fang-wu",{"name":24,"slug":60},"ping-yuan-621",{"name":25,"slug":62},"shui-mian",1777535421669]