[{"data":1,"prerenderedAt":59},["ShallowReactive",2],{"artwork-lin-liu-du-zuo-tu-zhou-fan-kuan-221383":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":24,"material":25,"size":26,"collection":27,"collections":28,"showCount":30,"zanCount":31,"manualWeight":32,"mainColor":33,"tagLinks":34},221383,"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","宋","范宽","台北故宫博物院","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[12,13,14,15,16,17,18,19,20,21,22,23],"高清","国画","书画","名画","立轴","山水","流水","人物","树木","岩石","皴法","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","纸本","156.1x106.3cm","宋画精选",[27,29],"水墨画精选",303,1,0,"795548",[35,37,39,41,43,45,47,49,51,53,55,57],{"name":12,"slug":36},"gao-qing",{"name":13,"slug":38},"guo-hua",{"name":14,"slug":40},"shu-hua",{"name":15,"slug":42},"ming-hua",{"name":16,"slug":44},"li-zhou",{"name":17,"slug":46},"shan-shui",{"name":18,"slug":48},"liu-shui",{"name":19,"slug":50},"ren-wu",{"name":20,"slug":52},"shu-mu",{"name":21,"slug":54},"yan-shi",{"name":22,"slug":56},"cun-fa",{"name":23,"slug":58},"shui-mo",1777535393871]