[{"data":1,"prerenderedAt":79},["ShallowReactive",2],{"artwork-si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":36,"zanCount":37,"manualWeight":38,"mainColor":39,"tagLinks":40},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","明","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[12,13,14,15,16,17,18,19,20,21,22,7,23,24,25,26,27,28,29],"高清","国画","水墨","立轴","山水","竹","烟雨","流水","石块","草丛","皴法","传统","水墨山水","植物","自然景观","写意","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","纸本墨笔","48X123cm","山水画精选",[33,35],"水墨画精选",54,1,0,"BDBDBD",[41,43,45,47,49,51,53,55,57,59,61,63,65,67,69,71,73,75,77],{"name":12,"slug":42},"gao-qing",{"name":13,"slug":44},"guo-hua",{"name":14,"slug":46},"shui-mo",{"name":15,"slug":48},"li-zhou",{"name":16,"slug":50},"shan-shui",{"name":17,"slug":52},"zhu",{"name":18,"slug":54},"yan-yu",{"name":19,"slug":56},"liu-shui",{"name":20,"slug":58},"shi-kuai",{"name":21,"slug":60},"cao-cong",{"name":22,"slug":62},"cun-fa",{"name":7,"slug":64},"ming",{"name":23,"slug":66},"chuan-tong",{"name":24,"slug":68},"shui-mo-shan-shui",{"name":25,"slug":70},"zhi-wu",{"name":26,"slug":72},"zi-ran-jing-guan",{"name":27,"slug":74},"xie-yi",{"name":28,"slug":76},"bi-mo",{"name":29,"slug":78},"xuan-ran",1777535404115]