[{"data":1,"prerenderedAt":59},["ShallowReactive",2],{"artwork-shan-shui-ce-shan-ting-yue-se-ye-wang-hui-237380":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":25,"material":26,"size":27,"collection":27,"collections":28,"showCount":29,"zanCount":30,"manualWeight":30,"mainColor":31,"tagLinks":32},237380,"shan-shui-ce-shan-ting-yue-se-ye-wang-hui-237380","山水册-山亭月色页","清","王翚","台北故宫博物院","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[12,13,14,15,16,17,18,19,20,21,22,23,24],"国画","水墨","册","山水画","山亭","枯树","明月","山石","流水","茅舍","皴法","印章","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc323859920ccdeb03fb34af9ce6a88ad.jpg","纸本","",[],5,0,"BDBDBD",[33,35,37,39,41,43,45,47,49,51,53,55,57],{"name":12,"slug":34},"guo-hua",{"name":13,"slug":36},"shui-mo",{"name":14,"slug":38},"ce",{"name":15,"slug":40},"shan-shui-hua",{"name":16,"slug":42},"shan-ting",{"name":17,"slug":44},"ku-shu",{"name":18,"slug":46},"ming-yue",{"name":19,"slug":48},"shan-shi",{"name":20,"slug":50},"liu-shui",{"name":21,"slug":52},"mao-she",{"name":22,"slug":54},"cun-fa",{"name":23,"slug":56},"yin-zhang",{"name":24,"slug":58},"qing-you-550",1777535444052]