[{"data":1,"prerenderedAt":63},["ShallowReactive",2],{"artwork-hua-niao-tu-li-zhou-li-shan-232892":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":32,"mainColor":33,"tagLinks":34},232892,"hua-niao-tu-li-zhou-li-shan-232892","花鸟图立轴","清","李鱓","藏地不详","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"高清","国画","书画","立轴","水墨","写意","荷花","荷叶","鹭鸟","花鸟","芦苇","水草","鸟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","纸本","56.4x104cm","",[],51,0,"BDBDBD",[35,37,39,41,43,45,47,49,51,53,55,57,59,61],{"name":12,"slug":36},"gao-qing",{"name":13,"slug":38},"guo-hua",{"name":14,"slug":40},"shu-hua",{"name":15,"slug":42},"li-zhou",{"name":16,"slug":44},"shui-mo",{"name":17,"slug":46},"xie-yi",{"name":18,"slug":48},"he-hua",{"name":19,"slug":50},"he-ye",{"name":20,"slug":52},"lu-niao",{"name":21,"slug":54},"hua-niao",{"name":22,"slug":56},"lu-wei",{"name":23,"slug":58},"shui-cao",{"name":24,"slug":60},"niao",{"name":25,"slug":62},"yin-zhang",1777535404665]