[{"data":1,"prerenderedAt":70},["ShallowReactive",2],{"artwork-heng-shan-jing-ai-tu-wu-li-220403":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":34,"zanCount":35,"manualWeight":35,"mainColor":36,"tagLinks":37},220403,"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","清","吴历","北京故宫博物院","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27],"高清","名画","国画","书画","长卷","水墨","皴法","山水","树木","云雾","河流","孤舟","远山","近山","植被","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纸本,设色","纵22.8厘米，横157.3厘米","山水画精选",[31,33],"设色画精选",46,0,"BDBDBD",[38,40,42,44,46,48,50,52,54,56,58,60,62,64,66,68],{"name":12,"slug":39},"gao-qing",{"name":13,"slug":41},"ming-hua",{"name":14,"slug":43},"guo-hua",{"name":15,"slug":45},"shu-hua",{"name":16,"slug":47},"chang-juan",{"name":17,"slug":49},"shui-mo",{"name":18,"slug":51},"cun-fa",{"name":19,"slug":53},"shan-shui",{"name":20,"slug":55},"shu-mu",{"name":21,"slug":57},"yun-wu",{"name":22,"slug":59},"he-liu",{"name":23,"slug":61},"gu-zhou",{"name":24,"slug":63},"yuan-shan",{"name":25,"slug":65},"jin-shan",{"name":26,"slug":67},"zhi-bei",{"name":27,"slug":69},"xi-liu",1777535405993]