[{"data":1,"prerenderedAt":58},["ShallowReactive",2],{"artwork-tao-yuan-ming-shi-yi-tu-shi-tao-229002":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":25,"material":26,"size":26,"collection":26,"collections":27,"showCount":28,"zanCount":29,"manualWeight":29,"mainColor":30,"tagLinks":31},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图","清","石涛","藏地不详","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。\n与 、 、 合称“清初四僧”。\n早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[12,13,14,15,16,17,18,19,20,21,22,23,24],"国画","书画","册","设色","山水","行书","书法","印章","皴法","山崖","茅屋","树木","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg","",[],13,0,"BDBDBD",[32,34,36,38,40,42,44,46,48,50,52,54,56],{"name":12,"slug":33},"guo-hua",{"name":13,"slug":35},"shu-hua",{"name":14,"slug":37},"ce",{"name":15,"slug":39},"she-se",{"name":16,"slug":41},"shan-shui",{"name":17,"slug":43},"xing-shu",{"name":18,"slug":45},"shu-fa",{"name":19,"slug":47},"yin-zhang",{"name":20,"slug":49},"cun-fa",{"name":21,"slug":51},"shan-ya",{"name":22,"slug":53},"mao-wu",{"name":23,"slug":55},"shu-mu",{"name":24,"slug":57},"ren-wu",1777535425916]