[{"data":1,"prerenderedAt":57},["ShallowReactive",2],{"artwork-liu-xi-chun-fang-tu-ma-he-zhi-289378":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":29,"zanCount":30,"manualWeight":30,"mainColor":31,"tagLinks":32},289378,"liu-xi-chun-fang-tu-ma-he-zhi-289378","柳溪春舫图","宋","马和之","台北故宫博物院","图绘崖壁柳荫，溪水垂柳，船坞码头，湖水盈盈，舂舫一艘，高士独游，妙诗新间，赞喻河山。这是马和之的一幅传世山水画代表作。款署“和之”。钤印一，模糊不可识。收传印记，有“朱之赤鉴赏”、“晴窗宝玩”、“子京”、“墨林山人”、“蕉林”及清乾隆诸玺等。\n这幅《柳溪春舫图》的特点是“简逸”而神旷，图中的山只画悬崖峭壁一面，只见山势高大，而毫无挺拔之感；画柳，不管是峭壁上的柳荫，还是溪边的垂柳，同样感到有随风飘逸之感；画水，水波纹轻轻波动，也有飘逸之感；画舫，在水上也显得轻快飘逸；画人，高士独自游览，轻松愉快；船工轻轻摇橹，船只就能随水推进。总之，这是作者在此画中体现了他的运笔使转灵活无一直经的板重之笔，这是作者来自于仿吴道子法，谓“蚂蝗描”的笔法，这种画法上的“简逸”，其实不仅仅可以理解为技巧的外形描述，还可以理解为一种新的技法意识观念的开始。图为当时南宋初，画家都以繁密写实为多见，所以不足为奇。要是像马和之那样简逸倒是一奇，如果简逸而又意趣，那就更是奇怪之至了。这幅可算是他的“简逸”画风的一作吧。",[12,13,14,15,16,17,18,19,20,21,22,23],"国画","名画","山水画","设色","垂柳","流水","孤舟","人物","楼阁","山石","印章","春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9657dea8e4aeb1713baaff8a6dca12c9.jpg","绢本,设色","36.7x51.4","",[],13,0,"795548",[33,35,37,39,41,43,45,47,49,51,53,55],{"name":12,"slug":34},"guo-hua",{"name":13,"slug":36},"ming-hua",{"name":14,"slug":38},"shan-shui-hua",{"name":15,"slug":40},"she-se",{"name":16,"slug":42},"chui-liu",{"name":17,"slug":44},"liu-shui",{"name":18,"slug":46},"gu-zhou",{"name":19,"slug":48},"ren-wu",{"name":20,"slug":50},"lou-ge",{"name":21,"slug":52},"shan-shi",{"name":22,"slug":54},"yin-zhang",{"name":23,"slug":56},"chun-jing",1777535425173]