[{"data":1,"prerenderedAt":80},["ShallowReactive",2],{"artwork-jiang-shan-chun-ai-zhou-gao-qi-pei-222659":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":37,"zanCount":38,"manualWeight":39,"mainColor":40,"tagLinks":41},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","清","高其佩","台北故宫博物院","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30],"高清","国画","书画","立轴","设色","山水","山峦","云雾","树木","岩石","河流","孤舟","楼阁","小桥","流水","村庄","皴法","古道","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","绢本设色","241.8x128.1厘米","山水画精选",[34,36],"设色画精选",35,2,0,"795548",[42,44,46,48,50,52,54,56,58,60,62,64,66,68,70,72,74,76,78],{"name":12,"slug":43},"gao-qing",{"name":13,"slug":45},"guo-hua",{"name":14,"slug":47},"shu-hua",{"name":15,"slug":49},"li-zhou",{"name":16,"slug":51},"she-se",{"name":17,"slug":53},"shan-shui",{"name":18,"slug":55},"shan-luan",{"name":19,"slug":57},"yun-wu",{"name":20,"slug":59},"shu-mu",{"name":21,"slug":61},"yan-shi",{"name":22,"slug":63},"he-liu",{"name":23,"slug":65},"gu-zhou",{"name":24,"slug":67},"lou-ge",{"name":25,"slug":69},"xiao-qiao",{"name":26,"slug":71},"liu-shui",{"name":27,"slug":73},"cun-zhuang",{"name":28,"slug":75},"cun-fa",{"name":29,"slug":77},"gu-dao",{"name":30,"slug":79},"ting",1777535409346]