[{"data":1,"prerenderedAt":64},["ShallowReactive",2],{"artwork-zao-chun-tu-guo-xi-231408":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":26,"material":27,"size":28,"collection":29,"collections":30,"showCount":31,"zanCount":32,"manualWeight":33,"mainColor":34,"tagLinks":35},231408,"zao-chun-tu-guo-xi-231408","早春图","宋","郭熙","台北故宫博物院","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[12,13,14,15,16,17,18,19,20,21,22,23,24,25],"高清","国画","名画","书画","立轴","水墨","设色","皴法","山水","山峦","岩石","树木","流水","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨","纵158.3公分，横108.1公分","",[],338,1,0,"795548",[36,38,40,42,44,46,48,50,52,54,56,58,60,62],{"name":12,"slug":37},"gao-qing",{"name":13,"slug":39},"guo-hua",{"name":14,"slug":41},"ming-hua",{"name":15,"slug":43},"shu-hua",{"name":16,"slug":45},"li-zhou",{"name":17,"slug":47},"shui-mo",{"name":18,"slug":49},"she-se",{"name":19,"slug":51},"cun-fa",{"name":20,"slug":53},"shan-shui",{"name":21,"slug":55},"shan-luan",{"name":22,"slug":57},"yan-shi",{"name":23,"slug":59},"shu-mu",{"name":24,"slug":61},"liu-shui",{"name":25,"slug":63},"yun-wu",1777535393724]