[{"data":1,"prerenderedAt":77},["ShallowReactive",2],{"artwork-you-ju-tu-juan-qian-xuan-221711":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":36,"zanCount":37,"manualWeight":38,"mainColor":39,"tagLinks":40},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","元","钱选","北京故宫博物院","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29],"高清","名画","国画","书画","长卷","设色","工笔","书法","印章","山水","树木","房屋","小船","山石","松树","远山","近水","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纸本，设色","纵27厘米, 横115.9厘米","山水画精选",[33,35],"设色画精选",76,1,0,"795548",[41,43,45,47,49,51,53,55,57,59,61,63,65,67,69,71,73,75],{"name":12,"slug":42},"gao-qing",{"name":13,"slug":44},"ming-hua",{"name":14,"slug":46},"guo-hua",{"name":15,"slug":48},"shu-hua",{"name":16,"slug":50},"chang-juan",{"name":17,"slug":52},"she-se",{"name":18,"slug":54},"gong-bi",{"name":19,"slug":56},"shu-fa",{"name":20,"slug":58},"yin-zhang",{"name":21,"slug":60},"shan-shui",{"name":22,"slug":62},"shu-mu",{"name":23,"slug":64},"fang-wu",{"name":24,"slug":66},"xiao-chuan",{"name":25,"slug":68},"shan-shi",{"name":26,"slug":70},"song-shu",{"name":27,"slug":72},"yuan-shan",{"name":28,"slug":74},"jin-shui",{"name":29,"slug":76},"mao-wu",1777535400305]