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伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[24,25,55,53,103,60,132,56,133,134,31,135,136,137,138,139,7,77,140],"山","竹子","房屋","平远构图","题款","枯笔","淡墨","疏林","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","纸本","90.1x30 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赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,54,26,52,25,94,246,27,58,247,7,74,248,73,249,193,250,251,252,162],"工笔","垂钓","芦苇","湖水","文人","读书","恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],30,{"id":257,"slug":258,"title":46,"dynasty":88,"author":259,"museum":173,"description":260,"tags":261,"thumbUrl":263,"material":37,"size":37,"collection":37,"collections":264,"showCount":12,"zanCount":109,"manualWeight":11,"mainColor":83},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","吴宏","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,118,54,25,52,53,55,74,59,205,30,57,73,75,7,262],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],{"id":266,"slug":267,"title":268,"dynasty":18,"author":269,"museum":270,"description":271,"tags":272,"thumbUrl":275,"material":276,"size":277,"collection":37,"collections":278,"showCount":279,"zanCount":11,"manualWeight":11,"mainColor":42},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","张渥","辽宁省博物馆","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[51,23,24,118,92,25,273,53,102,103,60,55,274,74,7,30,57,178,31],"白描","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纸本墨笔","纵27.4、横81.2厘米",[],20,{"id":281,"slug":282,"title":283,"dynasty":18,"author":47,"museum":48,"description":284,"tags":285,"thumbUrl":286,"material":180,"size":181,"collection":37,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":83},290831,"xi-shan-gao-yi-zhou-wang-meng-290831","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[24,54,55,53,52,119,57,177,205,7,161,102,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660a5fbcc2acc542b720d3d43b3f5381.jpg",[],19,{"id":290,"slug":291,"title":292,"dynasty":293,"author":294,"museum":295,"description":296,"tags":297,"thumbUrl":10,"material":37,"size":37,"collection":38,"collections":299,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":300},202941,"cao-tang-qiu-se-tu-zhou-pu-ru-202941","草堂秋色图轴","近代","溥儒","上海博物馆","画面以淡逸设色晕染秋意，草堂藏于林木间，屋内人影闲坐，尽显隐居之闲适。溪流潺潺绕岸，小桥横卧其上，山石以细腻皴法勾勒肌理，松枝苍劲挺拔，枯藤缠绕老树，秋之清寂与生机交织。笔墨兼工带写，将山水之秀与文人之闲凝于尺幅，淡彩轻敷中透出悠远宁静的意境，尽显传统书画的雅致韵致。",[24,55,52,30,57,298,177,53,7,51],"枯藤",[38],"c1b8a4",{"id":302,"slug":303,"title":304,"dynasty":150,"author":305,"museum":173,"description":306,"tags":307,"thumbUrl":310,"material":180,"size":181,"collection":37,"collections":311,"showCount":312,"zanCount":109,"manualWeight":11,"mainColor":42},289843,"cao-tang-ke-hua-tu-he-quan-289843","草堂客话图","何荃","此画用笔精细，画中景物从大到小一丝不乱，工整雅致，是典型的南宋绘画风格。",[51,24,23,118,308,246,52,55,309,30,57,178,102,103,7,274],"扇面","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febceed3a2a19798d09537bf2b6dc631a.jpg",[],18,{"id":314,"slug":315,"title":316,"dynasty":18,"author":47,"museum":173,"description":317,"tags":318,"thumbUrl":319,"material":180,"size":181,"collection":37,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":83},290445,"song-xi-cao-tang-tu-ke-luo-ban-wang-meng-290445","松溪草堂图（珂罗版）","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[51,23,24,118,54,25,55,205,7,73,57,53,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb63d1ed84535a0fde14be3711c5d4f.jpg",[],17,{"id":323,"slug":324,"title":214,"dynasty":88,"author":215,"museum":173,"description":325,"tags":326,"thumbUrl":327,"material":180,"size":181,"collection":37,"collections":328,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":83},288213,"shan-yin-cao-tang-tu-xu-gu-288213","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[51,24,118,92,25,55,7,74,219,103,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f7f94852af7e7a30ef59206740d623.jpg",[],15,{"id":331,"slug":332,"title":333,"dynasty":293,"author":294,"museum":295,"description":334,"tags":335,"thumbUrl":338,"material":37,"size":37,"collection":37,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":341},203110,"cao-tang-xian-ju-tu-zhou-pu-ru-203110","草堂闲居图轴","画面以淡设色铺陈山水，松竹苍秀，溪流绕石潺潺，小桥横卧其上，草堂隐于林麓之侧，屋内人影悠然，尽显幽居闲致。笔墨清逸雅致，山石以皴法勾勒肌理，树木枝干挺劲，叶色点染细腻，远山轻描如烟霭，近景浓淡相宜。整体意境静谧悠远，藏文人雅士寄情林泉的淡泊心境，尽展传统山水的诗意格调与笔墨韵味。",[24,55,52,53,7,336,77,30,54,337],"松竹","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca64ace45b822e0e091150299008d413.jpg",[],3,"d2c0a2",{"id":343,"slug":344,"title":345,"dynasty":88,"author":202,"museum":295,"description":346,"tags":347,"thumbUrl":348,"material":37,"size":37,"collection":38,"collections":349,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":350},201281,"song-shan-cao-tang-tu-zhou-wang-hui-201281","嵩山草堂图轴","近景林木扶疏，山石错落，小桥连岸，茅亭隐于其间；草堂依林而建，窗明几净似有书香溢出。中景水面浩渺，与远景层叠山峦呼应，笔墨清润雅致。山石以皴法写就，肌理分明；树木枝干虬劲，墨色浓淡相衬，既得传统山水之章法，又含自然野趣，勾勒出文人栖居的静谧天地，尽显寄情林泉的闲适意韵。",[24,118,54,55,25,53,30,74,73,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ca6fa256f3e038fc027fbc76a802b3.jpg",[38],"a99f98",1777535719145]