[{"data":1,"prerenderedAt":49},["ShallowReactive",2],{"artwork-fei-quan-gu-shu-tu-wen-zheng-ming-231565":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":22,"material":23,"size":23,"collection":23,"collections":24,"showCount":25,"zanCount":26,"manualWeight":26,"mainColor":27,"tagLinks":28},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","明","文徴明","藏地不详","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[12,13,14,15,16,17,18,19,20,21],"高清","国画","书画","山水","设色","皴法","古树","飞泉","山石","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg","",[],14,0,"795548",[29,31,33,35,37,39,41,43,45,47],{"name":12,"slug":30},"gao-qing",{"name":13,"slug":32},"guo-hua",{"name":14,"slug":34},"shu-hua",{"name":15,"slug":36},"shan-shui",{"name":16,"slug":38},"she-se",{"name":17,"slug":40},"cun-fa",{"name":18,"slug":42},"gu-shu",{"name":19,"slug":44},"fei-quan",{"name":20,"slug":46},"shan-shi",{"name":21,"slug":48},"shu-mu",1777535424565]