[{"data":1,"prerenderedAt":64},["ShallowReactive",2],{"artwork-yi-ju-tu-juan-yu-zhi-ding-224359":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":27,"material":28,"size":28,"collection":28,"collections":29,"showCount":30,"zanCount":31,"manualWeight":31,"mainColor":32,"tagLinks":33},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","清","禹之鼎","藏地不详","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26],"高清","国画","长卷","设色","白描","人物","山水","舟","牛","车","老树","枯藤","楼阁","流水","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg","",[],12,0,"795548",[34,36,38,40,42,44,46,48,50,52,54,56,58,60,62],{"name":12,"slug":35},"gao-qing",{"name":13,"slug":37},"guo-hua",{"name":14,"slug":39},"chang-juan",{"name":15,"slug":41},"she-se",{"name":16,"slug":43},"bai-miao",{"name":17,"slug":45},"ren-wu",{"name":18,"slug":47},"shan-shui",{"name":19,"slug":49},"zhou-454",{"name":20,"slug":51},"niu",{"name":21,"slug":53},"che",{"name":22,"slug":55},"lao-shu",{"name":23,"slug":57},"ku-teng",{"name":24,"slug":59},"lou-ge",{"name":25,"slug":61},"liu-shui",{"name":26,"slug":63},"gu-dao",1777535427551]