[{"data":1,"prerenderedAt":88},["ShallowReactive",2],{"subject-bi-li-xiong-jian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},274,"bi-li-xiong-jian","笔力雄健","笔力雄健画高清赏析","精选中国历代笔力雄健题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fe65e4f45e24b9ce45eae2222a6825.jpg",0,4,[14,33,57,74],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":28,"size":29,"collection":29,"collections":30,"showCount":31,"zanCount":11,"manualWeight":11,"mainColor":32},220608,"cong-qun-zhong-zhong-lai-dao-qun-zhong-zhong-qu-qi-bai-shi-220608","从群众中来到群众中去","民国","齐白石","中央美术学院美术馆","这幅书法以魏碑笔法入行，用笔厚重雄强，线条苍朴老辣，结体大开大合，极具视觉冲击力。大字顶天立地，笔墨酣畅淋漓，将质朴的口号化为震撼的视觉力量，尽显沉浑豪迈的气魄。下方小字题款灵动舒缓，与大字形成动静对比，刚柔并济，既有金石篆刻的古拙意趣，又饱含热忱的时代情怀，将文人笔墨筋骨与革命精神融为一体，是艺术与时代共鸣的精彩典范。",[23,24,25,26,27,7],"书法","立轴","篆书","水墨","飞白","纸本水墨","",[],50,"BDBDBD",{"id":34,"slug":35,"title":36,"dynasty":37,"author":38,"museum":39,"description":40,"tags":41,"thumbUrl":52,"material":53,"size":54,"collection":29,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":32},232813,"han-shan-zi-pang-ju-shi-shi-huang-ting-jian-232813","寒山子庞居士诗","宋","黄庭坚","台北故宫博物院","《寒山子庞居士诗帖》是唐代隐士寒山劝戒诗与居士庞蕴诗偈，庞蕴（？—1808），唐代著名禅者。字道玄。世称庞居士、庞翁。湖南衡阳人。曾参谒石头希迁，颇有领悟。遗有《庞居士语录》。《寒山子庞居士诗帖》是黄庭坚晚年杰作，落笔奇伟，点画用笔的“沉着痛快”，笔笔似自空中蕩漾而來，充滿飞动之势。结体舒展大度，气宇轩昂，其个性特点十分显著。\n纵观《寒山子庞居士诗》帖，用笔凝练有力、遒劲郁拔，而神闲意株，尤得秦篆中实、汉隶俊俏笔意。行笔曲折顿挫，如同逆水撑舟，力能扛鼎。正如清初诗人冯班《钝吟杂录》所评：“笔从画中起，回笔至左顿腕，实画至右住处，却又跳转，正如阵云之遇风，往而却回也。”结体奇特，几乎每一字都有一些夸张的长画，并尽力送出，形成中宫紧收、四边发散的结字风格。章法富有创造性，经常运用移位的方法打破单字之间的界限，使线条形成新的组合。通篇大气磅礴，笔墨淋漓。清康有力曾评曰：“宋人之书，吾尤爱山谷，虽昂藏郁拔，而神闲意称，入门自媚。若其笔法，瘦劲婉通，则自篆隶。”\n黄庭坚的书法，大抵行书结字修长，中宫紧抱，聚而不散，用笔夸张，如长枪大戟，一波三折，摇电而行，韵味绵长；草书更在形式上突破，挪腾跳跃、奇崛放纵，大有超张迈素之势。山谷书风独特而强烈，故今天被认为是[宋四家]中最自我、最叛逆的一家。但我们不妨再看看他的学书经历。他自己曾说：[余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱。晚得苏才翁、子美书观之，乃得古人毛意。其后又得张长史、僧怀素墨迹，乃窥笔法之妙。]又说[元褡间书，笔意痴钝，用笔多不到，晚入峡见长年荡桨，乃悟笔法。]显而易见，他的叛逆完全是在三个基础上的创变和超越。这三个基础就是：一、有选择、善反思地师古人；二、以敏锐的观察力师造化；三、通过[窥]、[悟]而师吾心。此时他已脱 去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[42,23,43,44,45,46,47,48,49,50,7,51],"高清","行书","宋代","中锋行笔","笔画劲健","墨色变化","章法布局","印章","墨书","笔画舒展","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","纸本","29.1x213.8cm",[],21,{"id":58,"slug":59,"title":60,"dynasty":61,"author":62,"museum":63,"description":64,"tags":65,"thumbUrl":71,"material":29,"size":29,"collection":29,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":32},232796,"shu-fa-ce-ye-wu-chang-shuo-232796","书法册页","清","吴昌硕","藏地不详","吴昌硕（1844 —1927）原名俊，字昌硕，别号缶庐、苦铁等，浙江安吉人。我国近、现代书画艺术发展过渡时期的关键人物，诗、书、画、印四绝的一代宗师，晚清民国时期著名国画家、书法家、篆刻家，与任伯年、赵之谦、虚谷齐名为清末海派四大家。吴昌硕的艺术别辟蹊径、贵于创造，最擅长写意花卉，他以书法入画，把书法、篆刻的行笔、运刀、章法融入绘画，形成富有金石味的独特画风。他以篆笔写梅兰，狂草作葡萄，所作花卉木石，笔力敦厚老辣、纵横恣肆、气势雄强，构图也近书印的章法布白，虚实相生、主体突出，画面用色对比强烈。",[23,66,43,26,67,68,7,69,70],"册","金石气","篆隶笔意","墨色浓淡","线条苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1f5359a1b1bda2e1890ee62746457.jpg",[],12,{"id":75,"slug":76,"title":77,"dynasty":61,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":85,"material":29,"size":29,"collection":29,"collections":86,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":87},203094,"shi-gao-ce-wang-duo-203094","诗稿册","王铎","上海博物馆","墨色如晕染的烟霞，枯笔似皴裂的古木，涨墨若积雨的云团，笔势如奔马脱缰，纵横捭阖间尽显雄健气象。线条粗细交错，结体欹侧开合，字行顾盼生姿，疏密有致中藏着章法妙趣。诗稿的笔痕浸透着文人的胸臆，每一笔都是心迹的流露，朱红印章点缀其间，添几分古朴雅韵。笔墨与心性交融，尽显书家风骨与才情。",[43,82,47,7,83,49,23,84,42],"草书","册页","枯润对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a192ba482a4845e0276f2544d2b653.jpg",[],"ae9b80",1777535759072]