[{"data":1,"prerenderedAt":72},["ShallowReactive",2],{"artwork-shan-shui-ren-wu-ce-guo-fen-ya-236484":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":35,"manualWeight":35,"mainColor":36,"tagLinks":37},236484,"shan-shui-ren-wu-ce-guo-fen-ya-236484","山水人物册","明","郭汾涯","北京故宫博物院","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28],"国画","水墨","册","山水","人物","蓑笠","竹","渔乐","水墨技法","山水景物","人物形象","竹枝","渔翁形象","山石","水墨渲染","写意风格","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8699a4db2300ad1453fbef0d16cbce1b.jpg","纸本","纵38.8厘米，横60.4厘米","",[],4,0,"BDBDBD",[38,40,42,44,46,48,50,52,54,56,58,60,62,64,66,68,70],{"name":12,"slug":39},"guo-hua",{"name":13,"slug":41},"shui-mo",{"name":14,"slug":43},"ce",{"name":15,"slug":45},"shan-shui",{"name":16,"slug":47},"ren-wu",{"name":17,"slug":49},"suo-li",{"name":18,"slug":51},"zhu",{"name":19,"slug":53},"yu-le",{"name":20,"slug":55},"shui-mo-ji-fa",{"name":21,"slug":57},"shan-shui-jing-wu",{"name":22,"slug":59},"ren-wu-xing-xiang",{"name":23,"slug":61},"zhu-zhi-1692",{"name":24,"slug":63},"yu-weng-xing-xiang",{"name":25,"slug":65},"shan-shi",{"name":26,"slug":67},"shui-mo-xuan-ran",{"name":27,"slug":69},"xie-yi-feng-ge",{"name":28,"slug":71},"cao-mu",1777535450038]