[{"data":1,"prerenderedAt":48},["ShallowReactive",2],{"artwork-tong-qin-tu-zhou-yu-zhi-ding-237367":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},237367,"tong-qin-tu-zhou-yu-zhi-ding-237367","桐禽图轴","清","禹之鼎","北京故宫博物院","本幅左上自题：“余摹蓝田叔先生《得子图》非一本矣。乙亥立秋后二日，偶于京邸，因秋实老堂翁谈及故园风景，又属（嘱）写此幅，感其嗜痂，不知愧耳。广陵禹之鼎识。”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。乙亥为清康熙三十四年（1695年），禹之鼎时年49岁。从自题中得知画家此年寓居京师。\n此图用大写意法画桐树几枝，引来两只飞鸟栖息。树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n自题中的“蓝田叔”指明末清初著名的山水画家蓝瑛，虽然目前尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。",[12,13,14,15,16,17,18,19,20],"国画","立轴","水墨","花鸟","飞鸟","桐树","禽鸟","写意","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c514f9fac1228a658eb652771f0d0.jpg","纸本","纵109.5厘米，横48厘米","花鸟画精选",[24],15,0,"BDBDBD",[30,32,34,36,38,40,42,44,46],{"name":12,"slug":31},"guo-hua",{"name":13,"slug":33},"li-zhou",{"name":14,"slug":35},"shui-mo",{"name":15,"slug":37},"hua-niao",{"name":16,"slug":39},"fei-niao",{"name":17,"slug":41},"tong-shu",{"name":18,"slug":43},"qin-niao",{"name":19,"slug":45},"xie-yi",{"name":20,"slug":47},"yin-zhang",1777535422916]