[{"data":1,"prerenderedAt":58},["ShallowReactive",2],{"artwork-zhu-qin-tu-quan-juan-zhao-ji-221343":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":30,"zanCount":31,"manualWeight":31,"mainColor":32,"tagLinks":33},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","宋","赵佶","美国大都会艺术博物馆","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[12,13,14,15,16,17,18,19,20,21,22,23],"高清","国画","书画","长卷","工笔","设色","书法","印章","花鸟","竹","孤石","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","绢本设色","画心纵33.8厘米，横55.5厘米","宋画精选",[27,29],"竹石精选",107,0,"BDBDBD",[34,36,38,40,42,44,46,48,50,52,54,56],{"name":12,"slug":35},"gao-qing",{"name":13,"slug":37},"guo-hua",{"name":14,"slug":39},"shu-hua",{"name":15,"slug":41},"chang-juan",{"name":16,"slug":43},"gong-bi",{"name":17,"slug":45},"she-se",{"name":18,"slug":47},"shu-fa",{"name":19,"slug":49},"yin-zhang",{"name":20,"slug":51},"hua-niao",{"name":21,"slug":53},"zhu",{"name":22,"slug":55},"gu-shi",{"name":23,"slug":57},"qin-niao",1777535397594]