[{"data":1,"prerenderedAt":94},["ShallowReactive",2],{"subject-cao-ting":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2503,"cao-ting","草亭","草亭画高清赏析","精选中国历代草亭题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152dae8d3b08aacb00ae93e2cc34a4fa.jpg",0,4,[14,43,63,77],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},287614,"qiu-tang-cao-ting-tu-zhao-zuo-287614","秋塘草亭图","明","赵左","藏地不详","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35],"高清","名画","国画","书画","立轴","青绿","设色","山水","亭","树木","山石","秋景","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg","未知","Xcm*Xcm","",[],18,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":57,"material":58,"size":59,"collection":39,"collections":60,"showCount":61,"zanCount":11,"manualWeight":11,"mainColor":62},287534,"qiu-lin-xiao-yin-zhou-tao-fu-chu-287534","秋林小隐轴","元","陶复初","台北故宫博物院","陶复初，字明本，号介轩，元中叶石曲人。",[25,24,26,27,52,53,30,54,33,32,7,55,56,35],"水墨","皴法","秋林","流水","隐居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048eda2176d397062069842db746f8cb.jpg","纸本,水墨","70x28.7",[],15,"BDBDBD",{"id":64,"slug":65,"title":66,"dynasty":47,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":74,"material":37,"size":38,"collection":39,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":42},289567,"kong-lin-cao-ting-tu-wang-meng-289567","空林草亭图","王蒙","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。",[70,25,52,71,7,30,72,35,73,53],"扇面","老树","书法","幽寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3923a7aafe0088246c1b96db439c1496.jpg",[],14,{"id":78,"slug":79,"title":80,"dynasty":18,"author":81,"museum":82,"description":83,"tags":84,"thumbUrl":89,"material":39,"size":39,"collection":90,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":93},201489,"shan-shui-shan-ye-chen-guan-201489","山水扇页","陈祼","上海博物馆","枯木疏枝斜倚，草亭临流而筑，士人闲坐阶前，或观泉听风，或静思悟道。远山以淡墨晕染，近石用简皴勾勒，线条清劲中见秀逸。树木枝干虬曲，笔墨简练却含苍劲之态；屋宇结构疏朗，尽显文人居所的雅致。整幅画面以水墨为主，意境清寂淡远，传递出古代文人寄情山水、超然物外的闲适心境，于方寸扇面间，藏尽林泉之趣。",[70,52,30,85,7,86,53,87,88,23],"枯树","士人","淡墨","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4858023557dbacf78ce69aece9e686.jpg","山水画精选",[90],3,"dbccb3",1777535760582]