[{"data":1,"prerenderedAt":49},["ShallowReactive",2],{"artwork-liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":21,"material":22,"size":23,"collection":24,"collections":25,"showCount":26,"zanCount":27,"manualWeight":28,"mainColor":29,"tagLinks":30},233791,"liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791","蓼汀鱼藻图轴","清","恽寿平","北京故宫博物院","该幅是恽氏触景生情的写生之作。构图简洁无远、中、近景之分，仅绘青山园池的一隅：蓼花、翠竹与湖石构筑出典雅平和的意境，数尾游鱼惬意的神态又为全幅平添了几分生机和意趣。恽寿平在《瓯香馆集补遗画跋》曾言：“以古人为师犹未能臻妙，必进而师抚造化，庶几极妍尽态而为大雅之宗。” 此图便体现了他这种在传统的绘画之外，更注重师法自然的美学思想。在表现技法上，恽寿平采用的是他出古入新创制的“没骨”画风，即不用笔勾勒物象的轮廓线，而全以色彩点染而成。竹、芦、蓼叶及水藻施以浓淡不同的花青、淡赭、浅红等，每片叶均一笔撇出，缺少轮廓线的束缚，物象更具摇曳多姿的生动性。湖石以淡花青为主调，施用大量的水分晕染，没有干笔勾线，枯笔皴擦，湖石固然失去了石体坚硬的质感，但其玲珑剔透的秀润之美倍增。",[12,13,14,15,16,17,18,19,20],"国画","设色","工笔","花鸟","孤石","鱼","蓼草","水草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纸本，设色","纵135厘米，横62.6厘米","",[],162,1,0,"BDBDBD",[31,33,35,37,39,41,43,45,47],{"name":12,"slug":32},"guo-hua",{"name":13,"slug":34},"she-se",{"name":14,"slug":36},"gong-bi",{"name":15,"slug":38},"hua-niao",{"name":16,"slug":40},"gu-shi",{"name":17,"slug":42},"yu",{"name":18,"slug":44},"liao-cao",{"name":19,"slug":46},"shui-cao",{"name":20,"slug":48},"zao-lei",1777535395491]