[{"data":1,"prerenderedAt":57},["ShallowReactive",2],{"artwork-hao-liang-qiu-shui-tu-li-tang-221578":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":23,"material":24,"size":25,"collection":26,"collections":27,"showCount":30,"zanCount":31,"manualWeight":32,"mainColor":33,"tagLinks":34},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","宋","李唐","天津博物馆","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[12,13,14,15,16,17,18,19,20,21,22],"高清","国画","书画","长卷","山水","水墨","皴法","人物","树木","岩石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","绢本","纵24厘米，横114.5厘米","宋画精选",[26,28,29],"山水画精选","设色画精选",93,1,0,"795548",[35,37,39,41,43,45,47,49,51,53,55],{"name":12,"slug":36},"gao-qing",{"name":13,"slug":38},"guo-hua",{"name":14,"slug":40},"shu-hua",{"name":15,"slug":42},"chang-juan",{"name":16,"slug":44},"shan-shui",{"name":17,"slug":46},"shui-mo",{"name":18,"slug":48},"cun-fa",{"name":19,"slug":50},"ren-wu",{"name":20,"slug":52},"shu-mu",{"name":21,"slug":54},"yan-shi",{"name":22,"slug":56},"liu-shui",1777535398452]