[{"data":1,"prerenderedAt":63},["ShallowReactive",2],{"artwork-qiu-tang-cao-ting-tu-zhao-zuo-287614":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":32,"mainColor":33,"tagLinks":34},287614,"qiu-tang-cao-ting-tu-zhao-zuo-287614","秋塘草亭图","明","赵左","藏地不详","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"高清","名画","国画","书画","立轴","青绿","设色","山水","亭","树木","山石","秋景","草亭","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg","未知","Xcm*Xcm","",[],18,0,"795548",[35,37,39,41,43,45,47,49,51,53,55,57,59,61],{"name":12,"slug":36},"gao-qing",{"name":13,"slug":38},"ming-hua",{"name":14,"slug":40},"guo-hua",{"name":15,"slug":42},"shu-hua",{"name":16,"slug":44},"li-zhou",{"name":17,"slug":46},"qing-lv",{"name":18,"slug":48},"she-se",{"name":19,"slug":50},"shan-shui",{"name":20,"slug":52},"ting",{"name":21,"slug":54},"shu-mu",{"name":22,"slug":56},"shan-shi",{"name":23,"slug":58},"qiu-jing",{"name":24,"slug":60},"cao-ting",{"name":25,"slug":62},"yin-zhang",1777535419275]