[{"data":1,"prerenderedAt":58},["ShallowReactive",2],{"artwork-yun-shan-yin-ju-tu-gong-xian-219708":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":24,"material":25,"size":26,"collection":27,"collections":28,"showCount":29,"zanCount":30,"manualWeight":31,"mainColor":32,"tagLinks":33},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","清","龚贤","美国大都会艺术博物馆","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[12,13,14,15,16,17,18,19,20,21,22,23],"国画","立轴","水墨","皴法","山水","云山","茅屋","松树","山石","溪流","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg","纸本,水墨","","山水画精选",[27],134,1,0,"795548",[34,36,38,40,42,44,46,48,50,52,54,56],{"name":12,"slug":35},"guo-hua",{"name":13,"slug":37},"li-zhou",{"name":14,"slug":39},"shui-mo",{"name":15,"slug":41},"cun-fa",{"name":16,"slug":43},"shan-shui",{"name":17,"slug":45},"yun-shan",{"name":18,"slug":47},"mao-wu",{"name":19,"slug":49},"song-shu",{"name":20,"slug":51},"shan-shi",{"name":21,"slug":53},"xi-liu",{"name":22,"slug":55},"shu-fa",{"name":23,"slug":57},"yin-zhang",1777535396373]