[{"data":1,"prerenderedAt":48},["ShallowReactive",2],{"artwork-si-ji-ping-an-tu-li-kan-231405":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":21,"material":22,"size":23,"collection":24,"collections":25,"showCount":26,"zanCount":27,"manualWeight":27,"mainColor":28,"tagLinks":29},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","元","李衎","台北故宫博物院","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[12,13,14,15,16,17,18,19,20],"名画","国画","书画","立轴","水墨","墨竹","竹","石","竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg","绢本,水墨","131.4 x 51.1cm","",[],24,0,"795548",[30,32,34,36,38,40,42,44,46],{"name":12,"slug":31},"ming-hua",{"name":13,"slug":33},"guo-hua",{"name":14,"slug":35},"shu-hua",{"name":15,"slug":37},"li-zhou",{"name":16,"slug":39},"shui-mo",{"name":17,"slug":41},"mo-zhu",{"name":18,"slug":43},"zhu",{"name":19,"slug":45},"shi",{"name":20,"slug":47},"zhu-sun",1777535414890]