[{"data":1,"prerenderedAt":61},["ShallowReactive",2],{"artwork-jiang-gan-xue-ji-tu-juan-wang-wei-232622":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":25,"material":26,"size":27,"collection":28,"collections":29,"showCount":30,"zanCount":31,"manualWeight":32,"mainColor":33,"tagLinks":34},232622,"jiang-gan-xue-ji-tu-juan-wang-wei-232622","江干雪霁图卷","唐","王维","藏于日本民间","王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。\n王维（701－761），字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。",[12,13,14,15,16,17,18,19,20,21,22,23,24],"高清","名画","国画","书画","长卷","水墨","皴法","山水","雪山","江河","枯树","飞鸟","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627ae19f708849d303e0326ebd7204c5.jpg","纸本","纵31.3厘米，横207.3厘米","",[],183,1,0,"BDBDBD",[35,37,39,41,43,45,47,49,51,53,55,57,59],{"name":12,"slug":36},"gao-qing",{"name":13,"slug":38},"ming-hua",{"name":14,"slug":40},"guo-hua",{"name":15,"slug":42},"shu-hua",{"name":16,"slug":44},"chang-juan",{"name":17,"slug":46},"shui-mo",{"name":18,"slug":48},"cun-fa",{"name":19,"slug":50},"shan-shui",{"name":20,"slug":52},"xue-shan",{"name":21,"slug":54},"jiang-he",{"name":22,"slug":56},"ku-shu",{"name":23,"slug":58},"fei-niao",{"name":24,"slug":60},"jian-zhu",1777535394985]