[{"data":1,"prerenderedAt":54},["ShallowReactive",2],{"artwork-she-se-shan-shui-shan-ye-zhao-zuo-234842":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":23,"material":24,"size":25,"collection":26,"collections":27,"showCount":28,"zanCount":29,"manualWeight":29,"mainColor":30,"tagLinks":31},234842,"she-se-shan-shui-shan-ye-zhao-zuo-234842","设色山水扇页","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],"国画","扇面","设色","山水","皴法","老树","山石","人物","远山","近景","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40447eb24194def73a273649f11f6185.jpg","未知","Xcm*Xcm","",[],16,0,"BDBDBD",[32,34,36,38,40,42,44,46,48,50,52],{"name":12,"slug":33},"guo-hua",{"name":13,"slug":35},"shan-mian",{"name":14,"slug":37},"she-se",{"name":15,"slug":39},"shan-shui",{"name":16,"slug":41},"cun-fa",{"name":17,"slug":43},"lao-shu",{"name":18,"slug":45},"shan-shi",{"name":19,"slug":47},"ren-wu",{"name":20,"slug":49},"yuan-shan",{"name":21,"slug":51},"jin-jing",{"name":22,"slug":53},"fang-wu",1777535421825]