[{"data":1,"prerenderedAt":158},["ShallowReactive",2],{"subject-ceng-luan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},558,"ceng-luan","层峦","层峦画高清赏析","精选中国历代层峦题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30f562bea16efef1e107021a889453e4.jpg",0,7,[14,50,73,92,109,123,135],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","宋","李成","辽宁省博物馆","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38,39,40],"高清","国画","名画","书画","长卷","山水","皴法","设色","茂林","远山","树木","山石","云雾","淡墨","绢本","丛林","溪流","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米","宋画精选",[44,46,47],"山水画精选","水墨画精选",144,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":66,"material":67,"size":68,"collection":69,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴","元","王蒙","藏地不详","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。",[24,59,60,28,29,7,34,33,61,62,63,64,65],"水墨","立轴","流水","孤舟","亭阁","印章","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg","未知","Xcm*Xcm","",[],43,"BDBDBD",{"id":74,"slug":75,"title":76,"dynasty":77,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":86,"material":87,"size":88,"collection":46,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":49},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","清","王翚","南京博物院","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,82,30,29,7,83,33,39,34,84,35,85],"山水画","山峰","秋景","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","纸本,设色","142x66.1cm",[46],40,1,{"id":93,"slug":94,"title":95,"dynasty":18,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":105,"material":69,"size":69,"collection":69,"collections":106,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},202651,"qiu-shan-xiao-si-tu-juan-yi-ming-202651","秋山萧寺图卷","佚名","上海博物馆","秋意浸染的山水长卷中，层峦叠嶂次第铺展。近山嶙峋，以细密皴法勾勒山石肌理，草木葱茏间隐现萧寺屋宇；远山含烟，墨色渐淡融入天际，与开阔河面相映成趣。河面如镜，几叶扁舟轻泛，岸边林木疏朗，秋意萧疏却不失生机。笔墨细腻处见严谨，雄浑间藏气韵，将秋日山水的清寂悠远与自然野趣完美融合，尽显宋画山水的雅致风骨与意境之美。",[24,28,29,27,100,101,102,103,7,104,23],"秋山","萧寺","扁舟","林木","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58eda14d30dd31cd65ccc33e29b11079.jpg",[],33,"000000",{"id":110,"slug":111,"title":112,"dynasty":77,"author":96,"museum":56,"description":113,"tags":114,"thumbUrl":120,"material":67,"size":68,"collection":69,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":49},251908,"fei-cui-guang-su-ceng-luan-song-cui-tu-cha-ping-yi-ming-251908","翡翠光素层峦耸翠图插屏","这方插屏以天然玉色成画，烟紫底色如暮春山岚漫卷，朦胧柔润间晕开片片翠色，仿如苍松层峦隐现其中，恰似淡墨山水晕染的空幽画境。\n未施一刀一凿，全然借由玉料原生色带铺展景致，将玉石的天生灵韵与文人山水意趣相融，如见烟霭层峰，自带沉静澹远的林下之风，尽显天然造物的隽秀雅致，是将璞玉天工与传统审美合二为一的妙品，晕染出空寂悠远的山水诗意。",[115,116,117,118,119,28,7],"玉石","器","清代","光素","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffba6bcbfeaf060657af8495591c8e4c.jpg",[],4,{"id":124,"slug":125,"title":126,"dynasty":77,"author":127,"museum":56,"description":128,"tags":129,"thumbUrl":132,"material":67,"size":68,"collection":69,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":72},290219,"ceng-luan-song-cui-tu-li-zhou-wang-wu-tian-290219","层峦耸翠图立轴","王无忝","王无忝，字夙夜，孟津人。康熙庚戌进士，由行人历官金华知府。",[23,24,26,130,59,28,29,7,33,131,64],"扇面","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d97b8f5361358aac4612e99cb71f2bc.jpg",[],2,{"id":136,"slug":137,"title":138,"dynasty":77,"author":139,"museum":140,"description":141,"tags":142,"thumbUrl":155,"material":30,"size":156,"collection":69,"collections":157,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":72},238267,"shan-shui-ce-zhang-yan-238267","山水册","张演","台北故宫博物院","此作取边角之景入画，左畔危岩嶙峋，古松蟠曲苍劲，近处长林掩映茅庐，幽人徐行篱边，似正沉醉林泉意趣。\n开面湖水空阔澄澈，汀渚错落，远岸松列如黛。层叠山峦浮沉在烟岚薄雾间，暮光轻抹远山天际，晕开一抹暖红，糅合了冷寂山光与温柔暮色。\n笔墨温润雅致，以浅绛设色晕染山石，细劲皴笔写出岩体质感，淡墨烘染烟霭，将江南水山的空濛静穆尽数铺展，尽显林泉高隐的悠然澹泊之境，藏着传统文人寄情丘壑的隐逸襟怀。",[24,30,29,143,144,28,145,34,35,146,33,147,32,148,149,150,151,152,153,7,154],"册","工笔","松树","人物","河流","小筑","水面","近石","远峰","植被","人物活动","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F531c43ef944af0c19c1b03b7a21cf4bc.jpg","37.1x31.7",[],1777535742420]