[{"data":1,"prerenderedAt":52},["ShallowReactive",2],{"artwork-zi-teng-tu-wu-chang-shuo-233734":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":29,"mainColor":30,"tagLinks":31},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","清","吴昌硕","北京故宫博物院","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[12,13,14,15,16,17,18,19,20,21],"国画","立轴","设色","写意","花鸟","紫藤","藤蔓","石块","水墨","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米","",[],203,2,0,"BDBDBD",[32,34,36,38,40,42,44,46,48,50],{"name":12,"slug":33},"guo-hua",{"name":13,"slug":35},"li-zhou",{"name":14,"slug":37},"she-se",{"name":15,"slug":39},"xie-yi",{"name":16,"slug":41},"hua-niao",{"name":17,"slug":43},"zi-teng",{"name":18,"slug":45},"teng-wan",{"name":19,"slug":47},"shi-kuai",{"name":20,"slug":49},"shui-mo",{"name":21,"slug":51},"zhuan-shu",1777535394702]