[{"data":1,"prerenderedAt":48},["ShallowReactive",2],{"artwork-tao-hua-shuang-ji-tu-ren-yi-223229":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},223229,"tao-hua-shuang-ji-tu-ren-yi-223229","桃花双鸡图","清","任颐","私人收藏","这图在徐小仓的传世的花鸟画作品中亦属上品。任氏所创用的以侧锋塑方形物象的画法，也与“侧取媚”的书学理论息息相通。因这种造型特征，能使欣赏者得到清新愉悦的观感而不陷于艰深的笔墨意境之中。这一点，在徐祥的作品中也得到了很好的体观。至于坡石的勾勒，坡草的节奏和用色方法，这些都与任伯年的作风一脉相承，置诸伯年作品中，几乎是可以混人耳目的。徐祥的自运之处，在于画面的整体布局，此作构图饱满，充溢三角而稍留空虚之地，使画面丰满而不滞塞。桃枝的穿插层层叠错，相当繁杂，这一点，固可以目之为“琐碎”，但反思之，这种变简单为繁茂，变孤清为热闹的画法，恰恰是符合徐小仓作为一个平民画家的本色的，雅俗共赏是未尝可以轻易非议的。款识：海上徐小仓写。钤印：徐祥之印。\n通观全作，设色淡雅，用笔以方峻的侧锋铺点为主，枝叉的转折，桃叶的分布，树干的盘旋出节，均与任伯年如出一辙；雄鸡的造型也取三角形，有棱有角，古人论书尝云“侧取媚”，意即侧锋出笔则姿态婀娜。",[12,13,14,15,16,17,18,19,20],"高清","国画","书画","名画","设色","水墨","花鸟","桃花","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa59cfc11c1f09f6b7195be05c9967f.jpg","纸本设色","138×68厘米","",[],37,0,"BDBDBD",[30,32,34,36,38,40,42,44,46],{"name":12,"slug":31},"gao-qing",{"name":13,"slug":33},"guo-hua",{"name":14,"slug":35},"shu-hua",{"name":15,"slug":37},"ming-hua",{"name":16,"slug":39},"she-se",{"name":17,"slug":41},"shui-mo",{"name":18,"slug":43},"hua-niao",{"name":19,"slug":45},"tao-hua",{"name":20,"slug":47},"ji",1777535408589]