[{"data":1,"prerenderedAt":46},["ShallowReactive",2],{"artwork-yang-liu-qu-yu-tu-zhou-ren-yi-238963":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":26,"zanCount":27,"manualWeight":27,"mainColor":28,"tagLinks":29},238963,"yang-liu-qu-yu-tu-zhou-ren-yi-238963","杨柳鸲鹆图轴","清","任颐","藏地不详","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[12,13,14,15,16,17,18,19],"国画","立轴","花鸟","水墨","设色","写意","杨柳","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5e4f5fad3781f2b6d9d87d03ee6f2.jpg","纸本","","花鸟画精选",[23,25],"设色画精选",50,0,"BDBDBD",[30,32,34,36,38,40,42,44],{"name":12,"slug":31},"guo-hua",{"name":13,"slug":33},"li-zhou",{"name":14,"slug":35},"hua-niao",{"name":15,"slug":37},"shui-mo",{"name":16,"slug":39},"she-se",{"name":17,"slug":41},"xie-yi",{"name":18,"slug":43},"yang-liu",{"name":19,"slug":45},"niao",1777535404819]