[{"data":1,"prerenderedAt":74},["ShallowReactive",2],{"artwork-shan-zhuang-gao-yi-tu-li-zai-222158":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":35,"zanCount":36,"manualWeight":37,"mainColor":38,"tagLinks":39},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","明","李在","台北故宫博物院","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28],"高清","国画","名画","山水画","水墨","云头皴","蟹爪枝","山峦","瀑布","小桥","孤舟","客舍","村居","行旅","楼阁","树木","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","绢本水墨","109.1×188.8cm","山水画精选",[32,34],"水墨画精选",61,1,0,"795548",[40,42,44,46,48,50,52,54,56,58,60,62,64,66,68,70,72],{"name":12,"slug":41},"gao-qing",{"name":13,"slug":43},"guo-hua",{"name":14,"slug":45},"ming-hua",{"name":15,"slug":47},"shan-shui-hua",{"name":16,"slug":49},"shui-mo",{"name":17,"slug":51},"yun-tou-cun",{"name":18,"slug":53},"xie-zhao-zhi",{"name":19,"slug":55},"shan-luan",{"name":20,"slug":57},"pu-bu",{"name":21,"slug":59},"xiao-qiao",{"name":22,"slug":61},"gu-zhou",{"name":23,"slug":63},"ke-she",{"name":24,"slug":65},"cun-ju",{"name":25,"slug":67},"xing-lv",{"name":26,"slug":69},"lou-ge",{"name":27,"slug":71},"shu-mu",{"name":28,"slug":73},"tai-dian",1777535402355]