[{"data":1,"prerenderedAt":51},["ShallowReactive",2],{"artwork-yu-yin-tu-zha-shi-biao-290006":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":22,"material":23,"size":24,"collection":25,"collections":26,"showCount":27,"zanCount":28,"manualWeight":28,"mainColor":29,"tagLinks":30},290006,"yu-yin-tu-zha-shi-biao-290006","渔隐图","清","査士标","藏地不详","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[12,13,14,15,16,17,18,19,20,21],"高清","扇面","国画","水墨","山水","孤舟","渔隐","书法","印章","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be58bb9d81bb2794a634ee2dc2ac48.jpg","未知","Xcm*Xcm","",[],8,0,"BDBDBD",[31,33,35,37,39,41,43,45,47,49],{"name":12,"slug":32},"gao-qing",{"name":13,"slug":34},"shan-mian",{"name":14,"slug":36},"guo-hua",{"name":15,"slug":38},"shui-mo",{"name":16,"slug":40},"shan-shui",{"name":17,"slug":42},"gu-zhou",{"name":18,"slug":44},"yu-yin",{"name":19,"slug":46},"shu-fa",{"name":20,"slug":48},"yin-zhang",{"name":21,"slug":50},"shu-mu",1777535433822]