[{"data":1,"prerenderedAt":56},["ShallowReactive",2],{"artwork-jiang-ting-shan-se-zhou-ni-zan-220787":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":23,"material":24,"size":25,"collection":26,"collections":27,"showCount":29,"zanCount":30,"manualWeight":31,"mainColor":32,"tagLinks":33},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","元","倪瓒","台北故宫博物院","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[12,13,14,15,16,17,18,19,20,21,22],"国画","书画","立轴","水墨","山水","亭","树","竹","石","皴法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","纸本,水墨","94.7x43.7","山水画精选",[26,28],"水墨画精选",236,2,0,"BDBDBD",[34,36,38,40,42,44,46,48,50,52,54],{"name":12,"slug":35},"guo-hua",{"name":13,"slug":37},"shu-hua",{"name":14,"slug":39},"li-zhou",{"name":15,"slug":41},"shui-mo",{"name":16,"slug":43},"shan-shui",{"name":17,"slug":45},"ting",{"name":18,"slug":47},"shu",{"name":19,"slug":49},"zhu",{"name":20,"slug":51},"shi",{"name":21,"slug":53},"cun-fa",{"name":22,"slug":55},"yin-zhang",1777535394308]