[{"data":1,"prerenderedAt":67},["ShallowReactive",2],{"artwork-xiao-xiang-bai-yun-tu-dong-qi-chang-220955":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":27,"material":28,"size":29,"collection":30,"collections":31,"showCount":33,"zanCount":34,"manualWeight":34,"mainColor":35,"tagLinks":36},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","明","董其昌","辽宁省博物馆","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26],"高清","国画","书画","长卷","水墨","行书","皴法","山","云","树木","房屋","村落","溪流","远山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米","山水画精选",[30,32],"水墨画精选",74,0,"BDBDBD",[37,39,41,43,45,47,49,51,53,55,57,59,61,63,65],{"name":12,"slug":38},"gao-qing",{"name":13,"slug":40},"guo-hua",{"name":14,"slug":42},"shu-hua",{"name":15,"slug":44},"chang-juan",{"name":16,"slug":46},"shui-mo",{"name":17,"slug":48},"xing-shu",{"name":18,"slug":50},"cun-fa",{"name":19,"slug":52},"shan",{"name":20,"slug":54},"yun",{"name":21,"slug":56},"shu-mu",{"name":22,"slug":58},"fang-wu",{"name":23,"slug":60},"cun-luo",{"name":24,"slug":62},"xi-liu",{"name":25,"slug":64},"yuan-shan",{"name":26,"slug":66},"yun-wu",1777535400633]