[{"data":1,"prerenderedAt":337},["ShallowReactive",2],{"subject-cun-ju":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1066,"cun-ju","村居","村居画高清赏析","精选中国历代村居题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2daab4597786998e7cc1a1fc1a5808fc.jpg",0,19,[14,47,70,90,104,117,129,157,179,200,215,227,237,247,263,281,295,311,323],{"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":44,"zanCount":45,"manualWeight":11,"mainColor":46},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","宋","郭熙","台北故宫博物院","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36],"高清","名画","国画","书画","立轴","水墨","山水","楼阁","小桥","行旅","丛树","印章","临摹","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","绢","纵141.6厘米，横97厘米","宋画精选",[40,42,43],"山水画精选","水墨画精选",472,3,"795548",{"id":48,"slug":49,"title":50,"dynasty":51,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":63,"material":64,"size":65,"collection":66,"collections":67,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":69},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山","明","沈周","藏地不详","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[25,26,56,28,29,36,57,58,7,59,60,61,62,34],"册","山峦","树木","古道","人物","马","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg","未知","Xcm*Xcm","",[],163,"BDBDBD",{"id":71,"slug":72,"title":73,"dynasty":51,"author":74,"museum":20,"description":75,"tags":76,"thumbUrl":84,"material":85,"size":86,"collection":42,"collections":87,"showCount":88,"zanCount":89,"manualWeight":11,"mainColor":46},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,25,24,77,28,78,79,57,80,31,81,82,7,32,30,58,83],"山水画","云头皴","蟹爪枝","瀑布","孤舟","客舍","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","绢本水墨","109.1×188.8cm",[42,43],61,1,{"id":91,"slug":92,"title":93,"dynasty":94,"author":95,"museum":20,"description":96,"tags":97,"thumbUrl":101,"material":64,"size":65,"collection":66,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":46},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","五代十国","董源","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,24,25,29,28,36,57,98,7,99,100,27,26],"林木","田野","雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],33,{"id":105,"slug":106,"title":107,"dynasty":18,"author":108,"museum":53,"description":109,"tags":110,"thumbUrl":114,"material":64,"size":65,"collection":66,"collections":115,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":46},288946,"xiao-xiang-ba-jing-shan-shi-qing-lan-wang-hong-288946","潇湘八景-山市晴岚","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[25,111,77,28,81,112,57,7,58,113,36],"长卷","流水","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4a8b94010aa0146c8a6e135d48a7ec.jpg",[],31,{"id":118,"slug":119,"title":120,"dynasty":18,"author":121,"museum":53,"description":122,"tags":123,"thumbUrl":126,"material":64,"size":65,"collection":66,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":69},288729,"yuan-pu-gui-fan-tu-mu-xi-288729","远浦归帆图","牧溪","法常，南宋画家。僧，号牧溪，蜀（今四川）人，生卒年不详，其艺术活动主要约在13世纪60－80年代之际。薜居下（乾德初兵部侍郎）之后，宣和间在长沙出家，南宋理宗、度宗时为临安（今杭州）长庆寺僧，与日僧圆尔辨圆（1202—1280）同为径山无准禅师（1178—1249）之法嗣。性英爽，嗜酒。正义爱国，敢于语伤奸相贾似道，遭追捕后，避祸于绍兴丘氏家。至元朝，在天台山万年寺圆寂。法常既是位佛教阐扬者，又是位天才画家。工山水、佛像、人物、龙虎、猿鹤、禽鸟、树石、芦雁等，皆能随笔写成，极有生决心书，墨法蕴藉，幽淡含蓄，形简神完，回味无穷。他继承发扬了石恪、梁楷之水墨简笔法，对沈周、徐渭、八大、“扬州八怪”等均有影响。虽在生时受冷遇，却开后世文士禅僧墨戏之先河，并对日本水墨画之发展产生巨大影响，被誉为“日本画道之大恩人”。",[23,24,25,26,111,28,29,81,124,125,7,113],"老树","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72a6c21acecbf019c1048b0e1f9f786.jpg",[],29,{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":53,"description":135,"tags":136,"thumbUrl":152,"material":153,"size":154,"collection":155,"collections":156,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":69},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","清","佚名","此作为书画合璧手卷，山水以全景铺陈，披麻皴绘峰峦浑厚苍润，茂林修竹遍布丘壑，村居田庐错落溪谷之间，烟波澹澹漾于浅滩，将洞天幽寂出尘的隐逸之境尽皆铺展，尽显林泉高致。\n\n满卷狂草题跋与山水相映，笔势奔放纵逸，枯湿浓淡间墨色富于变化，跌宕的笔意打破山水的静穆，书画相生相融。整体既带着道家洞天的清寂闲雅，又饱含文人以笔遣怀的酣畅意气，把出世雅趣与笔墨风神糅合一处，尽显传统文人的精神意趣。",[23,24,25,26,111,28,29,137,138,139,140,7,141,142,143,144,145,146,147,148,149,150,151],"披麻皴","峰峦","茂林","修竹","田庐","溪谷","浅滩","草书","狂草","道家","隐逸","林泉高致","清寂闲雅","文人意趣","出世雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8597d140b6ab4f6c62fb17633e69fe0.jpg","纸本","26x717","书法精选",[155],{"id":158,"slug":159,"title":160,"dynasty":133,"author":134,"museum":53,"description":161,"tags":162,"thumbUrl":176,"material":66,"size":66,"collection":42,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":69},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[25,163,164,60,29,165,166,167,168,169,7,170,171,172,173,174,175],"工笔","设色","民俗","苗寨","男子","妇人","兵器","山野","青山","花木","小屋","山道","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg",[42],23,{"id":180,"slug":181,"title":182,"dynasty":183,"author":184,"museum":53,"description":185,"tags":186,"thumbUrl":197,"material":64,"size":65,"collection":66,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":69},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","元","钱选","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[23,24,25,111,26,29,164,163,187,81,188,189,190,7,191,192,193,194,34,195,196],"秋江","丹枫","飞鸟","水岸","秋景","斜阳","寒林","行书","待渡","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],18,{"id":201,"slug":202,"title":203,"dynasty":51,"author":204,"museum":20,"description":205,"tags":206,"thumbUrl":210,"material":211,"size":212,"collection":42,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":46},290355,"chun-wu-cun-ju-tu-zhou-ma-shi-290355","春坞村居图轴","马轼","画幅上方的主峰，奇而不觉突兀，山石峭峰直上，远山笼罩在一片迷蒙的雾中，准确而又充分地表达了作者独特的感受，这正是师承郭熙的画山心法，不仅强调自然山水体貌结构的规律，而且还特别去发现和塑造山水优美的艺术形象。“山形面面看”，“山形步步移”，角度不同而呈现千姿百态，又有别于郭熙的画山之奇异画风。观马轼之山，笔力劲爽含蓄、灵活秀润，无雕琢刻画与粗莽恣肆之弊。从构图和立意上，画家着重墨色浓淡变化，笔锋细劲，设色淡雅。人物虽小，但真实具体，各尽其态。山水景物皆以尖劲利落的细笔勾出，山石用小斧劈皴法，坚凝沉着，棱角分明，以皴点加淡青绿色画出半明半暗的效果，很好的表现了峰峦的质感。树亦以小笔勾点而成，整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味，形成了秀逸而不媚弱，清劲而不霸悍的风格。\n马轼在艺术表现上沁入较多自由清新的气息，如这幅画的山石皴法，固然还可看出传统画法“斧劈皴”的痕迹，但他并不拘泥于前人，而是带有更多的写实意味，用笔细腻沉着，苍秀挺峭，表现了山川苍劲之势和沉着浑厚之气，赋予作品浓郁的生活气息。整个画面的布局上，运用虚实相生的手法，远景山树迷茫，峰峦朦胧，与烟雾相交融，含蓄而更富有真实感。近景大石居中，林树细笔攒簇，柔韧坚挺，更突出了近山的耸拔气象。而茅舍间点缀了正在悠然耕作的人，左峰角小石间似湍湍流动的溪水，使画面的气氛更生动，又营造了画面恬静适淡的意境。马轼是一位宫廷画家，此画在一定程度上也暗示了作者对那种终日应酬、荣辱萦怀的世俗生活的厌倦。从这一个意义上看，《春坞村居图》不但以优美抒情的笔墨描绘了一个自然朴实的春日村居，同时，电是抒发了作者歆羡村居无忧无虑又简单惬意的田园生活及远离世俗的思想情怀。",[25,77,27,28,36,57,58,7,207,208,31,112,209],"云雾","山石","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7824d0b618148eddd22cf4a3670ea444.jpg","绢本,设色","178.6x112.1",[42],17,{"id":216,"slug":217,"title":218,"dynasty":18,"author":219,"museum":53,"description":220,"tags":221,"thumbUrl":224,"material":64,"size":65,"collection":66,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":46},289800,"tao-yuan-ming-yin-gui-tu-li-gong-lin-289800","陶渊明隐归图","李公麟","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,111,25,24,26,28,164,60,29,58,7,222,147,194,62,223,196],"田园","归隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05298e088d2ce0b4073db83257a7a7d7.jpg",[],13,{"id":228,"slug":229,"title":230,"dynasty":133,"author":231,"museum":53,"description":232,"tags":233,"thumbUrl":235,"material":64,"size":65,"collection":66,"collections":236,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":69},288216,"fang-song-ren-shan-shui-shan-mian-huang-yi-288216","仿宋人山水扇面","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[234,25,26,28,29,35,34,62,208,98,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f7d52323cf8c88c5daffeb8ccd391e.jpg",[],{"id":238,"slug":239,"title":240,"dynasty":183,"author":241,"museum":53,"description":242,"tags":243,"thumbUrl":244,"material":64,"size":65,"collection":66,"collections":245,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":46},290091,"bi-shui-qing-feng-tu-ke-luo-ban-chen-ru-yan-290091","碧水青峰图（珂罗版）","陈汝言","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,25,28,29,36,58,208,30,31,112,189,7,62,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b976009316fccb78256bb4148d32cb9.jpg",[],11,{"id":248,"slug":249,"title":250,"dynasty":133,"author":134,"museum":53,"description":251,"tags":252,"thumbUrl":260,"material":66,"size":66,"collection":66,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":69},230328,"wu-yi-shan-shi-ba-jing-tu-yi-ming-230328","武夷山十八景图","此作用淡墨浅绛绘就，清润雅致。山石以披麻皴写就，勾勒皴擦间尽显武夷丹霞奇秀之姿。\n左上巉岩叠嶂，山居隐于林麓水湄；右上平畴村舍错落，江帆远渡，晕开烟火野趣。左下危峰兀立，碧水蜿蜒，渔舟泛波，尽显山水灵动；右下云岚轻笼丘壑，村居散缀林间，愈见幽寂淡远。\n四段连幅铺展武夷胜景，将山川雄奇与村居闲逸融为一体，笔致松秀空灵，意境萧散简远，把武夷兼具的灵秀清旷与烟火意趣娓娓铺陈，尽显淡和天真的山水逸致。",[23,25,26,77,28,164,137,208,112,81,7,253,254,255,256,257,258,259],"江帆","渔舟","云岚","丘壑","灵秀","幽寂","萧散简远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185ab886df08516e1561df96b6282fe9.jpg",[],10,{"id":264,"slug":265,"title":266,"dynasty":133,"author":267,"museum":53,"description":268,"tags":269,"thumbUrl":278,"material":66,"size":66,"collection":66,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":69},235777,"qing-chu-liu-da-jia-ji-ce-she-se-shan-shui-ye-wang-hui-235777","清初六大家集册-设色山水页","王翚","此作以淡设色晕染出郊野冬末的闲静图景。近处村居错落，枯木虬枝苍劲秀逸，行人缓行、归牛徐步，将乡居日常的松弛意趣藏在萧疏林木间。远景汀洲浅渚横陈，留白铺就空濛水色，淡墨晕出山峦轮廓，晕染出水天相融的清旷悠远。\n\n笔墨秀雅温润，枯笔写寒林兼具苍劲与灵秀，布景疏密相宜，师法宋元山水的悠远意境，又揉进清逸文人意趣，将质朴村居晕染出安恬诗意，把晚冬将醒的温软氛围藏在尺幅间，尽显幽宁淡远的田园雅韵，让观者沉浸在松弛舒缓的乡野意趣里。",[25,164,29,56,270,7,271,272,57,273,274,222,275,276,277],"枯木","牛","行人","汀洲","枯笔","乡野","幽宁淡远","松弛意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbcd207b115ac6aba7c462930f45e56.jpg",[],9,{"id":282,"slug":283,"title":284,"dynasty":133,"author":285,"museum":53,"description":286,"tags":287,"thumbUrl":292,"material":66,"size":66,"collection":66,"collections":293,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":69},224398,"xia-shan-xin-ji-tu-juan-wang-yuan-qi-224398","夏山新霁图卷","王原祁","此作用笔苍浑老辣，以高远之势立主峰于画面中央，层岩皴擦间兼具披麻皴的松灵与解索皴的遒劲，将夏山的浑厚肌理尽数铺展。留白处晕染汀洲水泽，虚实相映里，尽显新霁后的空润明净。\n\n林木穿插错落，点叶苍劲灵动，或浓或淡的墨色晕染出晴日照彻后的鲜润翠色，林麓间的村居隐于茂树之下，添了几分悠然野趣。整体气息秀润沉雄，既有元人山水的萧散松灵，又自具醇厚静穆的意蕴，将初晴夏山的空明雅致融于笔墨开合之间。",[25,111,77,28,36,137,288,208,98,7,273,289,290,291],"解索皴","水泽","雨后初晴","野趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601a1fd4574bcc15ec15daea92f0dd66.jpg",[],8,{"id":296,"slug":297,"title":298,"dynasty":133,"author":285,"museum":53,"description":299,"tags":300,"thumbUrl":309,"material":66,"size":66,"collection":66,"collections":310,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":69},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,25,111,77,301,164,36,302,57,7,254,303,304,305,306,307,62,34,308],"文人画","平湖","汀渚","江水","秋暮","幽寂淡远","清旷","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":312,"slug":313,"title":314,"dynasty":133,"author":134,"museum":53,"description":315,"tags":316,"thumbUrl":321,"material":64,"size":65,"collection":66,"collections":322,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":46},272990,"hei-qi-bian-huang-di-dong-yang-xiu-shan-shui-tu-wei-ping-yi-ming-272990","黑漆边黄地东洋绣山水图围屏","这组围屏以水乡暮色铺陈画面，河道蜿蜒贯穿四扇屏间，渔舟轻泛江心，渔人垂竿独钓。两岸茂林错落，黛瓦村舍枕水而居，石板曲巷牵起烟火人家。\n\n天际晕染的柔霞将暮色晕开，水色天光揉作青黛与粉紫，波心倒影随浪轻摇，把江南水乡的温婉诗意尽数铺展。屏下部髹漆黑地饰浅金绣纹，雅致装饰与上部氤氲山水呼应，绣艺绘景相融，将静谧悠然的乡野意趣凝于屏间，如收纳一方烟霞江南，尽显东方雅致意韵。",[25,317,318,319,29,112,81,7,58,164,320],"漆器","围屏","绣画","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7b1b1ac6643cafa95a5365de26fbbc.jpg",[],{"id":324,"slug":325,"title":326,"dynasty":133,"author":327,"museum":53,"description":328,"tags":329,"thumbUrl":335,"material":66,"size":66,"collection":66,"collections":336,"showCount":45,"zanCount":11,"manualWeight":11,"mainColor":69},238906,"fang-song-yuan-shan-shui-ce-dong-gao-238906","仿宋元山水册","董诰","此作用笔清润淡远，以淡墨晕染出山林野居之境。层叠奇峰或峻削如戟，或浑厚苍莽，以宋元古法皴擦出山石肌理，古意盎然。\n\n水泽之畔，村居错落隐于茂林修竹间，草木俯仰生姿，尽显幽谧生机。滩头水榭凌波而立，一叶扁舟随波徐行，渔者垂坐船头，野逸闲淡的意趣扑面而来。\n\n画面以留白衬出水色空濛，不见浓墨重彩，只以简淡笔墨铺陈出萧散清远的林泉之境，将寄情山水的雅意藏于每一处勾勒晕染之中。",[25,26,56,28,36,29,330,331,7,332,81,320,289,333,334],"奇峰","茂林修竹","亭","野逸闲淡","萧散清远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dae855bd383daac77f5cf6c0db70c0.jpg",[],1777535721129]