[{"data":1,"prerenderedAt":53},["ShallowReactive",2],{"artwork-wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351":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":30,"mainColor":31,"tagLinks":32},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","明","唐寅","北京故宫博物院","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[12,13,14,15,16,17,18,19,20,21],"高清","国画","书画","立轴","设色","工笔","人物","美人","饰品","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","绢本，设色","纵124.7厘米，横63.6厘米","人物画精选",[25,27],"设色画精选",332,6,0,"795548",[33,35,37,39,41,43,45,47,49,51],{"name":12,"slug":34},"gao-qing",{"name":13,"slug":36},"guo-hua",{"name":14,"slug":38},"shu-hua",{"name":15,"slug":40},"li-zhou",{"name":16,"slug":42},"she-se",{"name":17,"slug":44},"gong-bi",{"name":18,"slug":46},"ren-wu",{"name":19,"slug":48},"mei-ren",{"name":20,"slug":50},"shi-pin",{"name":21,"slug":52},"yi-mao",1777535393754]