[{"data":1,"prerenderedAt":75},["ShallowReactive",2],{"artwork-heng-shan-qing-ai-tu-wu-li-301856":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":36,"mainColor":37,"tagLinks":38},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图","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。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29],"高清","名画","国画","书画","长卷","山水","水墨","皴法","山峦","树木","流水","孤舟","飞鸟","屋舍","江岸","行书","印章","晴霭","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",[33],30,0,"BDBDBD",[39,41,43,45,47,49,51,53,55,57,59,61,63,65,67,69,71,73],{"name":12,"slug":40},"gao-qing",{"name":13,"slug":42},"ming-hua",{"name":14,"slug":44},"guo-hua",{"name":15,"slug":46},"shu-hua",{"name":16,"slug":48},"chang-juan",{"name":17,"slug":50},"shan-shui",{"name":18,"slug":52},"shui-mo",{"name":19,"slug":54},"cun-fa",{"name":20,"slug":56},"shan-luan",{"name":21,"slug":58},"shu-mu",{"name":22,"slug":60},"liu-shui",{"name":23,"slug":62},"gu-zhou",{"name":24,"slug":64},"fei-niao",{"name":25,"slug":66},"wu-she",{"name":26,"slug":68},"jiang-an",{"name":27,"slug":70},"xing-shu",{"name":28,"slug":72},"yin-zhang",{"name":29,"slug":74},"qing-ai",1777535411274]