[{"data":1,"prerenderedAt":51},["ShallowReactive",2],{"artwork-mu-dan-tu-juan-wang-yuan-233810":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},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","元","王渊","北京故宫博物院","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[12,13,14,15,16,17,18,19,20,21],"国画","名画","书画","长卷","水墨","工笔","花鸟","牡丹","印章","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纸本","纵37.7cm、横61.6cm","",[],49,0,"BDBDBD",[31,33,35,37,39,41,43,45,47,49],{"name":12,"slug":32},"guo-hua",{"name":13,"slug":34},"ming-hua",{"name":14,"slug":36},"shu-hua",{"name":15,"slug":38},"chang-juan",{"name":16,"slug":40},"shui-mo",{"name":17,"slug":42},"gong-bi",{"name":18,"slug":44},"hua-niao",{"name":19,"slug":46},"mu-dan",{"name":20,"slug":48},"yin-zhang",{"name":21,"slug":50},"ti-ba",1777535405114]