[{"data":1,"prerenderedAt":243},["ShallowReactive",2],{"subject-an-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},890,"an-shi","岸石","岸石画高清赏析","精选中国历代岸石题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78879fa8f474134f8f92d0bb821c680f.jpg",0,12,[14,41,83,106,122,141,151,165,181,196,210,230],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","明","吕纪","台北故宫博物院","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[23,24,25,26,27,28,29,30,31,32,33,7],"高清","名画","国画","工笔","设色","花鸟","水禽","芦苇","花卉","明月","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","绢本,设色","纵177.2厘米，横107.3厘米","花鸟画精选",[37],64,"795548",{"id":42,"slug":43,"title":44,"dynasty":18,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":75,"material":76,"size":77,"collection":78,"collections":79,"showCount":81,"zanCount":82,"manualWeight":11,"mainColor":40},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,25,27,48,26,49,50,51,52,53,54,55,56,57,58,30,59,7,60,61,62,63,64,65,66,67,68,69,33,70,71,72,73,74],"山水","孤舟","渔乐","竹","渔夫","远山","云雾","流水","岸","树","草","小船","枯树","汀渚","渔人","舟楫","烟波","浅滩","丛竹","近岸","远岫","霭气","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米","山水画精选",[78,80],"水墨画精选",48,1,{"id":84,"slug":85,"title":86,"dynasty":18,"author":87,"museum":88,"description":89,"tags":90,"thumbUrl":101,"material":35,"size":102,"collection":103,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":40},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","大英博物馆","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[25,91,92,93,27,48,55,49,94,95,96,50,59,97,98,7,99,63,62,100],"书画","水墨","皴法","渔父","人物","老树","枯藤","溪谷","树木","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm","人物画精选",[103,78],41,{"id":107,"slug":108,"title":109,"dynasty":110,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":119,"material":35,"size":120,"collection":78,"collections":121,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":40},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","宋","杨安道","藏地不详","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[23,25,24,115,27,48,49,7,116,55,117,118,50],"扇面","山峦","印章","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg","",[78],{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":20,"description":128,"tags":129,"thumbUrl":136,"material":27,"size":137,"collection":78,"collections":138,"showCount":139,"zanCount":140,"manualWeight":11,"mainColor":40},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","元","赵雍","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,25,130,24,131,93,27,48,49,99,132,55,133,134,59,116,7,135],"山水画","立轴","山石","房屋","松树","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 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开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,25,91,27,26,93,48,95,159,55,158,189,190,73,191,192,7],"桃花","茅屋","孩童","妇人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],19,{"id":197,"slug":198,"title":199,"dynasty":185,"author":200,"museum":112,"description":201,"tags":202,"thumbUrl":206,"material":120,"size":120,"collection":120,"collections":207,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":209},237879,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237879","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[25,27,48,203,93,204,49,205,55,53,7,99,50],"仿古","册","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d62a312a70c8a4d5387a7961afd06.jpg",[],17,"BDBDBD",{"id":211,"slug":212,"title":213,"dynasty":126,"author":214,"museum":215,"description":216,"tags":217,"thumbUrl":226,"material":35,"size":120,"collection":120,"collections":227,"showCount":228,"zanCount":11,"manualWeight":11,"mainColor":229},218202,"shan-shui-tu-er-yi-ming-218202","山水图(二)","佚名","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[24,25,91,131,27,93,48,132,99,49,55,53,218,219,220,33,7,63,221,222,223,224,225],"近树","苍劲枝干","层叠山峦","自然景致","传统山水画","水墨设色","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe726c81cec33fed8eceda24249fa80ff.jpg",[],5,"37474F",{"id":231,"slug":232,"title":233,"dynasty":185,"author":234,"museum":112,"description":235,"tags":236,"thumbUrl":240,"material":120,"size":120,"collection":120,"collections":241,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":209},234210,"xiang-jiang-chang-he-tu-juan-wang-chen-234210","湘江唱和图卷","王宸","王宸（1720—1797）字子凝，一字紫凝，一作子冰，号蓬心，一作蓬薪，又号蓬樵，晚署老蓬仙、蓬樵老、潇湘翁、柳东居士、莲柳居士，自称蒙叟、玉虎山樵、退官衲子，江苏太仓人。王时敏六世孙，王原祁曾孙。官衔有的说是乾隆二十五年举人，官永州太守，但也有一说是乾隆年进士，官居永州知府。\n书法似颜真卿，多藏古碑刻。山水承家学，以元四家为宗，而深得黄公望法。枯毫重墨，气味荒古，脱略形似，仿王绂尤得神髓 。王宸中年的画，乾皴中尚有润泽之趣。到了晚年则枯而且秀 ，山石都在形似间。著有《绘林伐材》、《蓬心诗钞》，卒年七十八岁。与王玖、王愫、王昱合称小四王。",[23,25,91,237,92,93,238,239,48,49,99,7,55,205],"长卷","行书","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde05bc6dbfab643b6def47925a554166.jpg",[],4,1777535730249]