[{"data":1,"prerenderedAt":117},["ShallowReactive",2],{"subject-chong-shan-jun-ling":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3215,"chong-shan-jun-ling","崇山峻岭","崇山峻岭画高清赏析","精选中国历代崇山峻岭题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bfe95f54c31280a2923ea9e42867e1.jpg",0,3,[14,43,80],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":41,"manualWeight":11,"mainColor":42},218494,"xue-gang-du-guan-tu-ma-wan-218494","雪岗度关图","元","马琬","北京故宫博物院","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[23,24,25,26,27,28,29,7,30,31,32,33,34,35],"高清","名画","国画","书画","立轴","雪景山水","水墨","积雪","丛树","林木","水榭","长松","荒寒萧索","绢本,设色","125.4厘米，横：57.2厘米","山水画精选",[38],42,1,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":76,"material":77,"size":77,"collection":77,"collections":78,"showCount":79,"zanCount":41,"manualWeight":11,"mainColor":42},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","明","黄向坚","藏地不详","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,25,52,53,54,55,56,57,58,59,7,60,61,62,63,64,65,66,67,68,69,70,71,72,73,74,75],"长卷","纸本设色","山水画","纪游山水","皴法","渴笔干皴","解索皴","没骨法","巉崖陡壁","飞瀑","山溪","村落","屋宇","危桥","古道","白云","松杉","远山","城镇","船舶","万里寻亲","忠孝情怀","丛林","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg","",[],36,{"id":81,"slug":82,"title":83,"dynasty":18,"author":84,"museum":85,"description":86,"tags":87,"thumbUrl":111,"material":112,"size":113,"collection":77,"collections":114,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},232261,"yu-zhen-lan-ting-zhao-meng-fu-232261","玉枕兰亭","赵孟頫","旅顺博物馆","久负盛名的玉枕兰亭序，是缩临《兰亭序》，为携带方便，可以随时展玩。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。这卷玉枕兰亭序高比通常所见的《兰亭》拓本小了将近三倍，但书写自如，气度雍容，不但形模毕肖，那种婉转遒美、玉润珠圆的神韵，简直可与唐代诸公的摹写一争高下。\n赵孟頫不仅有此 《缩本兰亭玉：枕兰亭序》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为笔法位置全然相似，亦当世之名迹也。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种游戏。但赵孟頫是落笔便作千古想的，所以 虽戏写亦如欲刻金石，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[88,89,90,91,92,93,94,95,96,97,98,99,100,101,102,103,104,105,106,7,107,108,109,110],"行书","书法","临摹","笔墨","笔法流畅","结构严谨","章法自然","山阴","茂林","修竹","清流激湍","曲水","流觞","惠风","和风","朗气","清风","暮春","初会","竹林","流水","天朗气清","惠风和畅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103a8a40a8658fb27cde43d28fa23fc0.jpg","纸本墨笔","13.8X32厘米",[],12,"BDBDBD",1777535768675]