[{"data":1,"prerenderedAt":70},["ShallowReactive",2],{"artwork-you-gu-tu-kun-can-220430":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":28,"material":29,"size":30,"collection":31,"collections":32,"showCount":34,"zanCount":35,"manualWeight":35,"mainColor":36,"tagLinks":37},220430,"you-gu-tu-kun-can-220430","幽谷图","清","髡残","耶鲁大学艺术博物馆","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27],"高清","国画","书画","立轴","山水","设色","皴法","楼阁","流水","山石","树木","云雾","人物","山谷","松树","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","纸本,设色","143.19 × 59.21","山水画精选",[31,33],"设色画精选",117,0,"795548",[38,40,42,44,46,48,50,52,54,56,58,60,62,64,66,68],{"name":12,"slug":39},"gao-qing",{"name":13,"slug":41},"guo-hua",{"name":14,"slug":43},"shu-hua",{"name":15,"slug":45},"li-zhou",{"name":16,"slug":47},"shan-shui",{"name":17,"slug":49},"she-se",{"name":18,"slug":51},"cun-fa",{"name":19,"slug":53},"lou-ge",{"name":20,"slug":55},"liu-shui",{"name":21,"slug":57},"shan-shi",{"name":22,"slug":59},"shu-mu",{"name":23,"slug":61},"yun-wu",{"name":24,"slug":63},"ren-wu",{"name":25,"slug":65},"shan-gu",{"name":26,"slug":67},"song-shu",{"name":27,"slug":69},"qiao-bi",1777535397125]