[{"data":1,"prerenderedAt":101},["ShallowReactive",2],{"artwork-qing-ming-shang-he-tu-sun-hu-222686":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":44,"zanCount":45,"manualWeight":46,"mainColor":47,"tagLinks":48},222686,"qing-ming-shang-he-tu-sun-hu-222686","清明上河图","清","孙祜","台北故宫博物院","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,37],"高清","工笔","设色","界画","长卷","风俗","人物","楼阁","小桥","流水","船只","树木","房屋","市集","车马","城郭","街道","商铺","行人","河流","桥梁","庭院","建筑","自然景观","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","绢本","纵35．6厘米，横1152．8厘米","人物画精选",[41,43],"设色画精选",333,5,0,"795548",[49,51,53,55,57,59,61,63,65,67,69,71,73,75,77,79,81,83,85,87,89,91,93,95,97,99],{"name":12,"slug":50},"gao-qing",{"name":13,"slug":52},"gong-bi",{"name":14,"slug":54},"she-se",{"name":15,"slug":56},"jie-hua",{"name":16,"slug":58},"chang-juan",{"name":17,"slug":60},"feng-su",{"name":18,"slug":62},"ren-wu",{"name":19,"slug":64},"lou-ge",{"name":20,"slug":66},"xiao-qiao",{"name":21,"slug":68},"liu-shui",{"name":22,"slug":70},"chuan-zhi",{"name":23,"slug":72},"shu-mu",{"name":24,"slug":74},"fang-wu",{"name":25,"slug":76},"shi-ji",{"name":26,"slug":78},"che-ma",{"name":27,"slug":80},"cheng-guo",{"name":28,"slug":82},"jie-dao",{"name":29,"slug":84},"shang-pu",{"name":30,"slug":86},"xing-ren",{"name":31,"slug":88},"he-liu",{"name":32,"slug":90},"qiao-liang",{"name":33,"slug":92},"ting-yuan",{"name":34,"slug":94},"jian-zhu",{"name":35,"slug":96},"zi-ran-jing-guan",{"name":36,"slug":98},"jiao-tong-gong-ju",{"name":37,"slug":100},"shi-ji-chang-jing",1777535393747]