[{"data":1,"prerenderedAt":55},["ShallowReactive",2],{"artwork-yu-le-tu-juan-jing-hao-226545":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":24,"material":25,"size":25,"collection":25,"collections":26,"showCount":27,"zanCount":28,"manualWeight":28,"mainColor":29,"tagLinks":30},226545,"yu-le-tu-juan-jing-hao-226545","渔乐图卷","宋","荆浩","藏地不详","荆浩（约850-？），五代后梁最具影响的山水画家，博通经史，并长于文章。字浩然，沁水（一说为山西，一说为河南济源）。士大夫出身，后梁时期因避战乱，曾隐居于太行山洪谷，故自号“洪谷子”。擅画山水，常携笔摹写山中古松。所作云中山顶，能画出四面峰峦的雄伟气势。自称兼得吴道子用笔及项容用墨之长，创造水晕墨章的表现技法。亦工佛像，曾在汴京（今河南开封）双林院作有壁画。是中国山水画发展过程中具有重要影响的画家之一。\n\n存世《匡庐图》。其他均已失传。至于目前传为荆浩所作的五幅画——美国纳尔逊美术馆收藏的《雪景山水图》、日本大阪市立美术馆收藏的《江山瑞霭图》、台湾故宫博物院收藏的《渔乐图》等，其真伪都存有争议。\n\n荆浩不仅创造了笔墨并重的北派山水画，被后世尊为北方山水画派之祖，还为后人留下著名的山水画理论《笔法记》，以假 托在神镇山遇一老翁，在互相问答中提出了气、韵、思、景、笔、墨的所谓绘景“六要”，是古代山水画理论中的经典之作，比更早时期南齐谢赫的“六法论”有所发展，具有更高的理论价值。",[12,13,14,15,16,17,18,19,20,21,22,23],"高清","国画","书画","长卷","水墨","皴法","山水","树木","岩石","河流","渔舟","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd4a6217abf7c4e35efebb8fee6960f.jpg","",[],26,0,"BDBDBD",[31,33,35,37,39,41,43,45,47,49,51,53],{"name":12,"slug":32},"gao-qing",{"name":13,"slug":34},"guo-hua",{"name":14,"slug":36},"shu-hua",{"name":15,"slug":38},"chang-juan",{"name":16,"slug":40},"shui-mo",{"name":17,"slug":42},"cun-fa",{"name":18,"slug":44},"shan-shui",{"name":19,"slug":46},"shu-mu",{"name":20,"slug":48},"yan-shi",{"name":21,"slug":50},"he-liu",{"name":22,"slug":52},"yu-zhou",{"name":23,"slug":54},"yuan-shan",1777535413413]