[{"data":1,"prerenderedAt":53},["ShallowReactive",2],{"artwork-ku-mu-zhu-shi-tu-wu-zhen-220777":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":22,"material":23,"size":24,"collection":25,"collections":26,"showCount":28,"zanCount":29,"manualWeight":30,"mainColor":31,"tagLinks":32},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","元","吴镇","浙江省博物馆","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[12,13,14,15,16,17,18,19,20,21],"高清","名画","国画","水墨","皴法","写意","枯木","竹","石","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纸本","纵103.3厘米 横33.3厘米","水墨画精选",[25,27],"竹石精选",156,1,0,"795548",[33,35,37,39,41,43,45,47,49,51],{"name":12,"slug":34},"gao-qing",{"name":13,"slug":36},"ming-hua",{"name":14,"slug":38},"guo-hua",{"name":15,"slug":40},"shui-mo",{"name":16,"slug":42},"cun-fa",{"name":17,"slug":44},"xie-yi",{"name":18,"slug":46},"ku-mu",{"name":19,"slug":48},"zhu",{"name":20,"slug":50},"shi",{"name":21,"slug":52},"lan",1777535395682]