[{"data":1,"prerenderedAt":52},["ShallowReactive",2],{"artwork-si-xian-gong-shou-tu-zhou-shang-xi-222155":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":22,"material":23,"size":24,"collection":25,"collections":26,"showCount":28,"zanCount":29,"manualWeight":29,"mainColor":30,"tagLinks":31},222155,"si-xian-gong-shou-tu-zhou-shang-xi-222155","四仙拱寿图轴","明","商喜","台北故宫博物院","《四仙拱寿图》是一张祝寿图，结合了佛、道两教的人物在同一张画。在波涛万顷的海面上，有四位仙人凌波渡海。画面最右边，骑着三足金蟾的是全真教五祖之一的刘海蟾。在他左侧，肩挂葫芦、脚踏在拐杖上的是八仙中的李铁拐。左方两人，一人脚踏蕉叶，一人踩着竹帚，则是唐代的禅僧寒山和拾得。这四人的目光都聚集在画面正中央，骑着仙鹤飞翔的南极仙翁(寿星)。\n画中每位仙人的面部表情，都描写得十分生动，甚至有些夸张，仙人的衣袍随风飘举，衣描用笔方折、顿挫有力，显得相当粗犷，这种风格乃是传承唐代吴道子“吴带当风”的衣描画法，并且受到元代画家颜辉(活动于13世纪后期)的影响。商喜是明初宫廷著名的人物画家，他早年曾经为寺庙殿宇绘制巨幅壁画，《四仙拱寿图》这张巨幅人物图代表他在这方面的艺术成就。15世纪中后期的宫廷画家刘俊、赵麒，也都继承商喜画仙人的传统，但是用笔带有强烈的装饰风格，显示出同一样式在后来的发展。",[12,13,14,15,16,17,18,19,20,21],"高清","国画","书画","立轴","工笔","设色","人物","飞鸟","水","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F952b33a2bd40bdf845ccc85ef17e1b44.jpg","绢本设色","纵98.3、横143.8厘米","人物画精选",[25,27],"水墨画精选",36,0,"795548",[32,34,36,38,40,42,44,46,48,50],{"name":12,"slug":33},"gao-qing",{"name":13,"slug":35},"guo-hua",{"name":14,"slug":37},"shu-hua",{"name":15,"slug":39},"li-zhou",{"name":16,"slug":41},"gong-bi",{"name":17,"slug":43},"she-se",{"name":18,"slug":45},"ren-wu",{"name":19,"slug":47},"fei-niao",{"name":20,"slug":49},"shui",{"name":21,"slug":51},"zhu-shou",1777535408944]