[{"data":1,"prerenderedAt":51},["ShallowReactive",2],{"artwork-liu-xi-fan-zhou-tu-yi-ming-290111":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":27,"zanCount":28,"manualWeight":28,"mainColor":29,"tagLinks":30},290111,"liu-xi-fan-zhou-tu-yi-ming-290111","柳溪泛舟图","宋","佚名","藏地不详","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[12,13,14,15,16,17,18,19,20,21],"名画","国画","扇面","设色","山水","流水","垂柳","孤舟","渔乐","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F075deba13b9008b0add339c52436ef4a.jpg","未知","Xcm*Xcm","",[],8,0,"BDBDBD",[31,33,35,37,39,41,43,45,47,49],{"name":12,"slug":32},"ming-hua",{"name":13,"slug":34},"guo-hua",{"name":14,"slug":36},"shan-mian",{"name":15,"slug":38},"she-se",{"name":16,"slug":40},"shan-shui",{"name":17,"slug":42},"liu-shui",{"name":18,"slug":44},"chui-liu",{"name":19,"slug":46},"gu-zhou",{"name":20,"slug":48},"yu-le",{"name":21,"slug":50},"gong-bi",1777535433817]