[{"data":1,"prerenderedAt":72},["ShallowReactive",2],{"artwork-han-jiang-xue-yi-tu-juan-wang-hui-234192":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":34,"zanCount":35,"manualWeight":35,"mainColor":36,"tagLinks":37},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷","清","王翚","北京故宫博物院","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28],"高清","国画","长卷","水墨","工笔","山水","雪景","河流","船只","树木","建筑","飞鸟","小桥","村庄","田野","岸堤","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纸本设色","纵39.3cm 横198.4cm","",[],14,0,"795548",[38,40,42,44,46,48,50,52,54,56,58,60,62,64,66,68,70],{"name":12,"slug":39},"gao-qing",{"name":13,"slug":41},"guo-hua",{"name":14,"slug":43},"chang-juan",{"name":15,"slug":45},"shui-mo",{"name":16,"slug":47},"gong-bi",{"name":17,"slug":49},"shan-shui",{"name":18,"slug":51},"xue-jing",{"name":19,"slug":53},"he-liu",{"name":20,"slug":55},"chuan-zhi",{"name":21,"slug":57},"shu-mu",{"name":22,"slug":59},"jian-zhu",{"name":23,"slug":61},"fei-niao",{"name":24,"slug":63},"xiao-qiao",{"name":25,"slug":65},"cun-zhuang",{"name":26,"slug":67},"tian-ye",{"name":27,"slug":69},"an-di",{"name":28,"slug":71},"yin-zhang",1777535424439]