[{"data":1,"prerenderedAt":51},["ShallowReactive",2],{"artwork-xi-ge-yuan-tiao-tu-yi-ming-290230":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":27,"zanCount":28,"manualWeight":28,"mainColor":29,"tagLinks":30},290230,"xi-ge-yuan-tiao-tu-yi-ming-290230","溪阁远眺图","宋","佚名","藏地不详","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[12,13,14,15,16,17,18,19,20,21],"国画","名画","山水画","楼阁","树木","山石","雾霭","设色","皴法","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc85ecea43c84548c23ba63233f6785.jpg","未知","Xcm*Xcm","",[],5,0,"795548",[31,33,35,37,39,41,43,45,47,49],{"name":12,"slug":32},"guo-hua",{"name":13,"slug":34},"ming-hua",{"name":14,"slug":36},"shan-shui-hua",{"name":15,"slug":38},"lou-ge",{"name":16,"slug":40},"shu-mu",{"name":17,"slug":42},"shan-shi",{"name":18,"slug":44},"wu-ai",{"name":19,"slug":46},"she-se",{"name":20,"slug":48},"cun-fa",{"name":21,"slug":50},"shan-ju",1777535442001]