[{"data":1,"prerenderedAt":52},["ShallowReactive",2],{"artwork-hua-hui-shan-shui-ce-yun-shou-ping-233906":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":23,"material":24,"size":24,"collection":24,"collections":25,"showCount":26,"zanCount":27,"manualWeight":27,"mainColor":28,"tagLinks":29},233906,"hua-hui-shan-shui-ce-yun-shou-ping-233906","花卉山水册","清","恽寿平","藏地不详","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[12,13,14,15,16,17,18,19,20,21,22],"国画","清代","册","没骨","设色","印章","柳树","松树","鱼","明月","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45310b0b5b6eed41b29e10791b123347.jpg","",[],110,0,"BDBDBD",[30,32,34,36,38,40,42,44,46,48,50],{"name":12,"slug":31},"guo-hua",{"name":13,"slug":33},"qing-dai",{"name":14,"slug":35},"ce",{"name":15,"slug":37},"mei-gu",{"name":16,"slug":39},"she-se",{"name":17,"slug":41},"yin-zhang",{"name":18,"slug":43},"liu-shu",{"name":19,"slug":45},"song-shu",{"name":20,"slug":47},"yu",{"name":21,"slug":49},"ming-yue",{"name":22,"slug":51},"luo-hua",1777535397426]