[{"data":1,"prerenderedAt":55},["ShallowReactive",2],{"artwork-jiao-yuan-mu-ma-tu-lang-shi-ning-222792":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":30,"mainColor":31,"tagLinks":32},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图","清","郎世宁","北京故宫博物院","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[12,13,14,15,16,17,18,19,20,21,22],"高清","工笔","设色","马","柳树","人物","草地","岩石","树木","红叶","原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg","绢本，设色","纵51.2厘米，横166厘米","花鸟画精选",[26,28],"设色画精选",56,0,"795548",[33,35,37,39,41,43,45,47,49,51,53],{"name":12,"slug":34},"gao-qing",{"name":13,"slug":36},"gong-bi",{"name":14,"slug":38},"she-se",{"name":15,"slug":40},"ma",{"name":16,"slug":42},"liu-shu",{"name":17,"slug":44},"ren-wu",{"name":18,"slug":46},"cao-di",{"name":19,"slug":48},"yan-shi",{"name":20,"slug":50},"shu-mu",{"name":21,"slug":52},"hong-ye",{"name":22,"slug":54},"yuan-ye",1777535403604]