[{"data":1,"prerenderedAt":74},["ShallowReactive",2],{"artwork-gao-yi-tu-zhou-dong-qi-chang-220967":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":35,"zanCount":36,"manualWeight":37,"mainColor":38,"tagLinks":39},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明","董其昌","北京故宫博物院","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28],"高清","国画","书画","立轴","水墨","山水","树木","山石","皴法","行书","题跋","远山","近坡","枯树","坡石","山峦","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米","山水画精选",[32,34],"水墨画精选",88,1,0,"BDBDBD",[40,42,44,46,48,50,52,54,56,58,60,62,64,66,68,70,72],{"name":12,"slug":41},"gao-qing",{"name":13,"slug":43},"guo-hua",{"name":14,"slug":45},"shu-hua",{"name":15,"slug":47},"li-zhou",{"name":16,"slug":49},"shui-mo",{"name":17,"slug":51},"shan-shui",{"name":18,"slug":53},"shu-mu",{"name":19,"slug":55},"shan-shi",{"name":20,"slug":57},"cun-fa",{"name":21,"slug":59},"xing-shu",{"name":22,"slug":61},"ti-ba",{"name":23,"slug":63},"yuan-shan",{"name":24,"slug":65},"jin-po",{"name":25,"slug":67},"ku-shu",{"name":26,"slug":69},"po-shi",{"name":27,"slug":71},"shan-luan",{"name":28,"slug":73},"shu-fa",1777535398820]