[{"data":1,"prerenderedAt":80},["ShallowReactive",2],{"subject-chun-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},7636,"chun-se","春色","春色画高清赏析","精选中国历代春色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg",0,3,[14,44,67],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},287350,"min-jiang-chun-se-tu-shi-tao-287350","岷江春色图","清","石涛","藏地不详","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7],"高清","国画","书画","山水画","水墨","设色","皴法","山峦","树木","屋舍","孤舟","书法","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff493d294fe1e9a424e15c0a58ebbf15b.jpg","未知","Xcm*Xcm","",[],32,"BDBDBD",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":10,"material":62,"size":63,"collection":40,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","宋","佚名","北京故宫博物院","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[24,53,54,55,28,27,29,56,57,58,59,60,61,7],"扇面","册页","工笔","山水","柳","溪","云","树","流水","绢本淡设色","纵23.4厘米，横24厘米",[],16,"795548",{"id":68,"slug":69,"title":70,"dynasty":48,"author":49,"museum":20,"description":71,"tags":72,"thumbUrl":77,"material":38,"size":39,"collection":40,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":66},290236,"liu-xi-chun-se-tu-yi-ming-290236","柳溪春色图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,53,24,73,26,28,74,75,76,7],"名画","柳树","溪流","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb40b39ccd657ea05d0275059be3c109.jpg",[],11,1777535769126]