[{"data":1,"prerenderedAt":57},["ShallowReactive",2],{"artwork-qing-shan-bai-yun-shan-mian-wang-hui-233232":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":24,"material":25,"size":26,"collection":27,"collections":28,"showCount":29,"zanCount":30,"manualWeight":30,"mainColor":31,"tagLinks":32},233232,"qing-shan-bai-yun-shan-mian-wang-hui-233232","青山白云扇面","清","王翚","北京故宫博物院","王翚自称「于青绿法，静悟三十年，始尽其妙」（王翚《清晖画跋》），可见其青绿山水不仅是他对色墨融合技法的探索，亦融入了其个人的人生体验。王翚画山水不为「南宗」所囿，有集「南北宗」画家之大成，《读画辑略》称「画分南北二宗至石谷合而为一」，恽寿平亦称「古今来笔墨之至龃龉不能相入者，石谷则罗而致之笔端，融洽而出，神哉技乎」。\n（张庚《国朝画徵录》卷中）集多家笔法之大成的特点在其青绿山水中有突出体现，如王翚三十八岁（一六六九年）所作《青山白云图》扇题识中说：「尝见高尚书《夏麓晴云》、赵承旨《潇湘水云》、方羽士《奇峰出云》，此写《青山白云图》，参用三家笔意，而设色兼施僧繇没骨法，不知得以古人神韵否？」此外，王翚在设色上强调「轻」、「清」，他在《清晖画跋》中言：「凡设青绿，体要严重，气要轻清，得力全在渲晕……皴擦不可多，厚在神气，不在多也，气愈清则愈厚。」强调着色本身要实，气韵要虚。",[12,13,14,15,16,17,18,19,20,21,22,23],"国画","书画","扇面","设色","水墨","山水","青山","白云","树木","山石","皴法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d74d1c3b7e9d91f8a42a81093d1e944.jpg","纸本设色","纵：22.9，横：23.9厘米","",[],15,0,"BDBDBD",[33,35,37,39,41,43,45,47,49,51,53,55],{"name":12,"slug":34},"guo-hua",{"name":13,"slug":36},"shu-hua",{"name":14,"slug":38},"shan-mian",{"name":15,"slug":40},"she-se",{"name":16,"slug":42},"shui-mo",{"name":17,"slug":44},"shan-shui",{"name":18,"slug":46},"qing-shan",{"name":19,"slug":48},"bai-yun",{"name":20,"slug":50},"shu-mu",{"name":21,"slug":52},"shan-shi",{"name":22,"slug":54},"cun-fa",{"name":23,"slug":56},"yin-zhang",1777535423138]