[{"data":1,"prerenderedAt":49},["ShallowReactive",2],{"artwork-liu-yan-tu-sheng-chang-nian-221857":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":27,"zanCount":28,"manualWeight":28,"mainColor":29,"tagLinks":30},221857,"liu-yan-tu-sheng-chang-nian-221857","柳燕图","元","盛昌年","台北故宫博物院","本幅无作者款识，右侧有“廷晖”残印半方及康有为、王季迁藏印。\n整幅画面构图繁密，洋溢着一派春和景明的气象。\n图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。\n山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非 家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[12,13,14,15,16,17,18,19,20],"高清","国画","水墨","立轴","花鸟","柳","燕","飞鸟","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","绢本设色","75.9x25.5","水墨画精选",[24,26],"竹石精选",61,0,"795548",[31,33,35,37,39,41,43,45,47],{"name":12,"slug":32},"gao-qing",{"name":13,"slug":34},"guo-hua",{"name":14,"slug":36},"shui-mo",{"name":15,"slug":38},"li-zhou",{"name":16,"slug":40},"hua-niao",{"name":17,"slug":42},"liu",{"name":18,"slug":44},"yan-1035",{"name":19,"slug":46},"fei-niao",{"name":20,"slug":48},"xie-yi",1777535402357]