[{"data":1,"prerenderedAt":48},["ShallowReactive",2],{"artwork-xuan-shi-tu-li-fu-tang-231529":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":21,"material":22,"size":23,"collection":24,"collections":25,"showCount":26,"zanCount":27,"manualWeight":27,"mainColor":28,"tagLinks":29},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","清","李复堂","旅顺博物馆","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[12,13,14,15,16,17,18,19,20],"高清","国画","书画","水墨","写意","萱草","孤石","印章","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","纸本墨笔","74X60cm","",[],12,0,"795548",[30,32,34,36,38,40,42,44,46],{"name":12,"slug":31},"gao-qing",{"name":13,"slug":33},"guo-hua",{"name":14,"slug":35},"shu-hua",{"name":15,"slug":37},"shui-mo",{"name":16,"slug":39},"xie-yi",{"name":17,"slug":41},"xuan-cao",{"name":18,"slug":43},"gu-shi",{"name":19,"slug":45},"yin-zhang",{"name":20,"slug":47},"hua-niao",1777535427262]