[{"data":1,"prerenderedAt":54},["ShallowReactive",2],{"artwork-xian-nv-cheng-luan-tu-ye-yi-ming-234013":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":23,"material":24,"size":25,"collection":26,"collections":27,"showCount":28,"zanCount":29,"manualWeight":29,"mainColor":30,"tagLinks":31},234013,"xian-nv-cheng-luan-tu-ye-yi-ming-234013","仙女乘鸾图页","宋","佚名","北京故宫博物院","图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。此图线条工谨精细，如春蚕吐丝，柔中见刚，与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。",[12,13,14,15,16,17,18,19,20,21,22],"国画","名画","书画","册","扇面","工笔","设色","美人","鸾鸟","明月","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","绢本，设色","纵25.3厘米，横26.2厘米","",[],29,0,"BDBDBD",[32,34,36,38,40,42,44,46,48,50,52],{"name":12,"slug":33},"guo-hua",{"name":13,"slug":35},"ming-hua",{"name":14,"slug":37},"shu-hua",{"name":15,"slug":39},"ce",{"name":16,"slug":41},"shan-mian",{"name":17,"slug":43},"gong-bi",{"name":18,"slug":45},"she-se",{"name":19,"slug":47},"mei-ren",{"name":20,"slug":49},"luan-niao",{"name":21,"slug":51},"ming-yue",{"name":22,"slug":53},"yin-zhang",1777535411867]