[{"data":1,"prerenderedAt":72},["ShallowReactive",2],{"artwork-yun-shan-mo-xi-tu-juan-mi-you-ren-221485":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":35,"zanCount":36,"manualWeight":37,"mainColor":38,"tagLinks":39},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","宋","米友仁","北京故宫博物院","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27],"高清","国画","书画","长卷","水墨","山水画","皴法","米点皴","行书","印章","云","山","树木","远山","近树","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纸本，墨笔","纵21.4厘米，横195.8厘米","宋画精选",[31,33,34],"山水画精选","水墨画精选",87,1,0,"BDBDBD",[40,42,44,46,48,50,52,54,56,58,60,62,64,66,68,70],{"name":12,"slug":41},"gao-qing",{"name":13,"slug":43},"guo-hua",{"name":14,"slug":45},"shu-hua",{"name":15,"slug":47},"chang-juan",{"name":16,"slug":49},"shui-mo",{"name":17,"slug":51},"shan-shui-hua",{"name":18,"slug":53},"cun-fa",{"name":19,"slug":55},"mi-dian-cun",{"name":20,"slug":57},"xing-shu",{"name":21,"slug":59},"yin-zhang",{"name":22,"slug":61},"yun",{"name":23,"slug":63},"shan",{"name":24,"slug":65},"shu-mu",{"name":25,"slug":67},"yuan-shan",{"name":26,"slug":69},"jin-shu",{"name":27,"slug":71},"shui-ti",1777535398901]