[{"data":1,"prerenderedAt":65},["ShallowReactive",2],{"artwork-shan-shui-hua-hui-tu-ce-shi-tao-228980":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":27,"material":28,"size":28,"collection":28,"collections":29,"showCount":30,"zanCount":31,"manualWeight":32,"mainColor":33,"tagLinks":34},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","清","石涛","藏地不详","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26],"名画","国画","书画","册","水墨","皴法","书法","印章","山水","小桥","流水","孤舟","岩石","树木","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg","",[],39,1,0,"BDBDBD",[35,37,39,41,43,45,47,49,51,53,55,57,59,61,63],{"name":12,"slug":36},"ming-hua",{"name":13,"slug":38},"guo-hua",{"name":14,"slug":40},"shu-hua",{"name":15,"slug":42},"ce",{"name":16,"slug":44},"shui-mo",{"name":17,"slug":46},"cun-fa",{"name":18,"slug":48},"shu-fa",{"name":19,"slug":50},"yin-zhang",{"name":20,"slug":52},"shan-shui",{"name":21,"slug":54},"xiao-qiao",{"name":22,"slug":56},"liu-shui",{"name":23,"slug":58},"gu-zhou",{"name":24,"slug":60},"yan-shi",{"name":25,"slug":62},"shu-mu",{"name":26,"slug":64},"ti-zi",1777535407855]