[{"data":1,"prerenderedAt":64},["ShallowReactive",2],{"artwork-qing-lv-shan-shui-juan-wang-jian-218435":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":33,"mainColor":34,"tagLinks":35},218435,"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","清","王鉴","北京故宫博物院","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"高清","国画","书画","长卷","青绿","设色","山水","皴法","山峦","树木","溪流","村庄","云雾","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","绢本,设色","纵23厘米，横198.7厘米","山水画精选",[29],109,1,0,"BDBDBD",[36,38,40,42,44,46,48,50,52,54,56,58,60,62],{"name":12,"slug":37},"gao-qing",{"name":13,"slug":39},"guo-hua",{"name":14,"slug":41},"shu-hua",{"name":15,"slug":43},"chang-juan",{"name":16,"slug":45},"qing-lv",{"name":17,"slug":47},"she-se",{"name":18,"slug":49},"shan-shui",{"name":19,"slug":51},"cun-fa",{"name":20,"slug":53},"shan-luan",{"name":21,"slug":55},"shu-mu",{"name":22,"slug":57},"xi-liu",{"name":23,"slug":59},"cun-zhuang",{"name":24,"slug":61},"yun-wu",{"name":25,"slug":63},"ting-tai",1777535397501]