[{"data":1,"prerenderedAt":73},["ShallowReactive",2],{"artwork-wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":35,"zanCount":36,"manualWeight":36,"mainColor":37,"tagLinks":38},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","清","汪之瑞","浙江省博物馆","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28],"国画","山水","水墨","皴法","立轴","小桥","山石","老树","树木","山崖","云雾","溪流","苔点","书法题跋","印章","枯笔","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纸本，水墨","纵：136厘米，横：56.7厘米","山水画精选",[32,34],"水墨画精选",20,0,"BDBDBD",[39,41,43,45,47,49,51,53,55,57,59,61,63,65,67,69,71],{"name":12,"slug":40},"guo-hua",{"name":13,"slug":42},"shan-shui",{"name":14,"slug":44},"shui-mo",{"name":15,"slug":46},"cun-fa",{"name":16,"slug":48},"li-zhou",{"name":17,"slug":50},"xiao-qiao",{"name":18,"slug":52},"shan-shi",{"name":19,"slug":54},"lao-shu",{"name":20,"slug":56},"shu-mu",{"name":21,"slug":58},"shan-ya",{"name":22,"slug":60},"yun-wu",{"name":23,"slug":62},"xi-liu",{"name":24,"slug":64},"tai-dian",{"name":25,"slug":66},"shu-fa-ti-ba",{"name":26,"slug":68},"yin-zhang",{"name":27,"slug":70},"ku-bi",{"name":28,"slug":72},"xie-yi",1777535417756]