[{"data":1,"prerenderedAt":72},["ShallowReactive",2],{"artwork-nv-xiao-jing-tu-juan-yi-ming-223408":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":35,"manualWeight":35,"mainColor":36,"tagLinks":37},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","宋","佚名","台北故宫博物院","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28],"高清","国画","长卷","工笔","设色","白描","人物","庭院","树木","楼阁","芭蕉","柳树","桌椅","美人","孤石","亭","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","绢","纵43.8厘米，横823.7厘米","",[],34,0,"795548",[38,40,42,44,46,48,50,52,54,56,58,60,62,64,66,68,70],{"name":12,"slug":39},"gao-qing",{"name":13,"slug":41},"guo-hua",{"name":14,"slug":43},"chang-juan",{"name":15,"slug":45},"gong-bi",{"name":16,"slug":47},"she-se",{"name":17,"slug":49},"bai-miao",{"name":18,"slug":51},"ren-wu",{"name":19,"slug":53},"ting-yuan",{"name":20,"slug":55},"shu-mu",{"name":21,"slug":57},"lou-ge",{"name":22,"slug":59},"ba-jiao",{"name":23,"slug":61},"liu-shu",{"name":24,"slug":63},"zhuo-yi",{"name":25,"slug":65},"mei-ren",{"name":26,"slug":67},"gu-shi",{"name":27,"slug":69},"ting",{"name":28,"slug":71},"shu-fa",1777535409719]