[{"data":1,"prerenderedAt":47},["ShallowReactive",2],{"artwork-lu-yan-tu-zhou-bian-shou-min-222802":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":21,"material":22,"size":23,"collection":23,"collections":24,"showCount":25,"zanCount":26,"manualWeight":26,"mainColor":27,"tagLinks":28},222802,"lu-yan-tu-zhou-bian-shou-min-222802","芦雁图轴","清","边寿民","藏地不详","芦雁 边氏芦雁图形象生动，造型极为准确，摆脱了前人繁细的表现手法，删繁就简，形神兼备。其在雁的喙间、足部略施赭黄，使墨彩达到了和谐的统一。他认为画不可拾前人，而要得前人意。并根据纸墨的特点，大胆落墨，显示了其绘画上的深厚功力。边寿民用写竹法绘芦苇，浓淡、枯润、疏密兼面有之，多以赭墨绘滩头、芦苇，雅淡有致，深得遗貌取神的妙趣。后来擅长芦雁的画家，如薜怀、程璋等人，皆仿苇间居士大意，可见其对后世影响之深。\n边寿民善画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江淮；画意粗豪苍浑。飞鸣、潜动、食宿，曲尽其态；并以墨竹法写芦，疏而道劲，间作山水，鳞介之屑，亦有意趣。善画芦雁，倾注了其一生的心血。与芦雁有关的画作，堪称思想性与艺术性的代表。传世芦雁作品形式众多，有《芦雁图》册、《芦雁图》轴及《芦雁图》手卷等。\n边寿民具有典型的“在野”文人画审美观念，又与下层平民有较多接触，作品中自然混合着“高雅”和“通俗”双重因素，形成一种特殊的审美品格，这就是：以“典雅”为魂魄，以“清高”为气血，以“明白晓畅”为躯体。此外，还画过大量 画风有两种类型，一类是泼墨写意，多用于画芦雁；另一类是干笔淡墨勾皴，多用于画杂物。",[12,13,14,15,16,17,18,19,20],"高清","国画","水墨","写意","芦","雁","水","立轴","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269e93d8e4723c6b4ddb0e7d66b5c983.jpg","纸本，设色","",[],13,0,"F48FB1",[29,31,33,35,37,39,41,43,45],{"name":12,"slug":30},"gao-qing",{"name":13,"slug":32},"guo-hua",{"name":14,"slug":34},"shui-mo",{"name":15,"slug":36},"xie-yi",{"name":16,"slug":38},"lu-1428",{"name":17,"slug":40},"yan-893",{"name":18,"slug":42},"shui",{"name":19,"slug":44},"li-zhou",{"name":20,"slug":46},"yin-zhang",1777535426214]