[{"data":1,"prerenderedAt":45},["ShallowReactive",2],{"artwork-xian-mang-tu-ma-he-zhi-289836":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":20,"material":21,"size":22,"collection":23,"collections":24,"showCount":25,"zanCount":26,"manualWeight":26,"mainColor":27,"tagLinks":28},289836,"xian-mang-tu-ma-he-zhi-289836","闲忙图","宋","马和之","台北故宫博物院","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[12,13,14,15,16,17,18,19],"高清","国画","人物","设色","老树","山水","闲逸","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9ce9b5b5499701d91ac08f9b00b615.jpg","未知","Xcm*Xcm","",[],15,0,"37474F",[29,31,33,35,37,39,41,43],{"name":12,"slug":30},"gao-qing",{"name":13,"slug":32},"guo-hua",{"name":14,"slug":34},"ren-wu",{"name":15,"slug":36},"she-se",{"name":16,"slug":38},"lao-shu",{"name":17,"slug":40},"shan-shui",{"name":18,"slug":42},"xian-yi",{"name":19,"slug":44},"qi",1777535422561]