[{"data":1,"prerenderedAt":70},["ShallowReactive",2],{"artwork-hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329":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},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","明","沈士充","台北故宫博物院","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27],"高清","国画","书画","册","设色","水墨","山水","皴法","小桥","流水","枯树","松树","竹林","山石","建筑","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","","69.4x52.5厘米","山水画精选",[31,33],"设色画精选",39,0,"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},"guo-hua",{"name":14,"slug":43},"shu-hua",{"name":15,"slug":45},"ce",{"name":16,"slug":47},"she-se",{"name":17,"slug":49},"shui-mo",{"name":18,"slug":51},"shan-shui",{"name":19,"slug":53},"cun-fa",{"name":20,"slug":55},"xiao-qiao",{"name":21,"slug":57},"liu-shui",{"name":22,"slug":59},"ku-shu",{"name":23,"slug":61},"song-shu",{"name":24,"slug":63},"zhu-lin",{"name":25,"slug":65},"shan-shi",{"name":26,"slug":67},"jian-zhu",{"name":27,"slug":69},"xiao-jing",1777535407919]