[{"data":1,"prerenderedAt":69},["ShallowReactive",2],{"artwork-jiao-yin-pin-yan-tu-zhou-ren-yi-233677":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":33,"zanCount":34,"manualWeight":34,"mainColor":35,"tagLinks":36},233677,"jiao-yin-pin-yan-tu-zhou-ren-yi-233677","蕉荫品砚图轴","清","任颐","北京故宫博物院","砚，“文房四宝”之一，是古代文人书桌必备之物。用料讲究，造型精美的砚台兼具实用性和赏鉴把玩的特性，因此热衷收藏品赏砚台的文人雅士也大有人在，比如宋代大文人苏轼就是“嗜砚成癖”。\n任颐此图画一文士双手捧砚，神态专注，旁边的童子还在整理一摞石砚。虽然没有明确写画的是谁，但是从人物装扮来看，很可能表现的就是苏轼品砚的故事。画风清爽，线条顿挫曲折，极富表现力，人物形象很是传神。\n任颐（1840—1896年），初名润，字小楼，后字伯年，浙江绍兴人，后寓上海。“海派”代表画家。以卖画为生，擅长人物、肖像、花鸟、山水。其人物师法陈洪绶、费丹旭、任熊等人，花鸟画取法陈洪绶、陈淳、徐渭、朱耷，笔墨简逸放纵，设色明净，形成兼工带写、明快清新的格调。他的绘画发轫于民间，又继承传统，融汇诸家之长，还吸收了西画速写、设色诸法，从而形成丰姿多彩、新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。任颐与任熊、任熏、任预有着师承关系，画风一脉相承，并称为“海上四任”。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27],"国画","立轴","设色","人物","芭蕉","砚台","文人","长袍","兼工带写","笔墨","服饰","蕉叶","古代服饰","品砚场景","设色人物","传统笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071954fcb7937f196c6fc0f481688551.jpg","纸本设色","155.5cm×43.5cm","",[],31,0,"BDBDBD",[37,39,41,43,45,47,49,51,53,55,57,59,61,63,65,67],{"name":12,"slug":38},"guo-hua",{"name":13,"slug":40},"li-zhou",{"name":14,"slug":42},"she-se",{"name":15,"slug":44},"ren-wu",{"name":16,"slug":46},"ba-jiao",{"name":17,"slug":48},"yan-tai",{"name":18,"slug":50},"wen-ren",{"name":19,"slug":52},"chang-pao",{"name":20,"slug":54},"jian-gong-dai-xie",{"name":21,"slug":56},"bi-mo",{"name":22,"slug":58},"fu-shi",{"name":23,"slug":60},"jiao-ye",{"name":24,"slug":62},"gu-dai-fu-shi",{"name":25,"slug":64},"pin-yan-chang-jing",{"name":26,"slug":66},"she-se-ren-wu",{"name":27,"slug":68},"chuan-tong-bi-mo",1777535410932]