[{"data":1,"prerenderedAt":139},["ShallowReactive",2],{"subject-die-zhang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1130,"die-zhang","叠嶂","叠嶂画高清赏析","精选中国历代叠嶂题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ff365ad12c2a5d1466abae1bcba27be.jpg",0,6,[14,46,67,88,111,127],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},226701,"ceng-yan-cong-shu-tu-ju-ran-226701","层岩丛树图","五代十国","巨然","台北故宫博物院","此图描绘了江南雨后山林烟岚浮动的自然景象，画中峰峦耸峙，丛林茂密，山路深曲，充满清新潮湿的气息。作者用独特的画法表现出一种秀逸、静寂、朦胧的美，是一幅具有代表性的山水画作。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36,37],"高清","名画","国画","书画","立轴","水墨","皴法","山水","层岩","丛树","山石","树木","山峦","林木","岩峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4699ce8ccb516e2fed794a4a198591.jpg","绢","纵144.1厘米，横55.4厘米","",[],201,2,"795548",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":20,"description":52,"tags":53,"thumbUrl":59,"material":60,"size":61,"collection":62,"collections":63,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":45},220812,"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","元","王蒙","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[23,25,26,27,28,30,29,54,7,55,56,34,33,57,58],"深林","小桥","流水","人物","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","纸本,设色","68.7x42.5","山水画精选",[62,64],"水墨画精选",122,1,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":83,"material":84,"size":85,"collection":62,"collections":86,"showCount":87,"zanCount":44,"manualWeight":11,"mainColor":45},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","宋","江参","私人收藏","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[25,76,77,7,78,79,80,56,81,82],"山水画","秋林","松树","枫树","飞鸟","楼阁","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","绢本,设色","168.7x96.3cm",[62],98,{"id":89,"slug":90,"title":91,"dynasty":50,"author":92,"museum":93,"description":94,"tags":95,"thumbUrl":105,"material":106,"size":107,"collection":62,"collections":108,"showCount":109,"zanCount":66,"manualWeight":11,"mainColor":110},220846,"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","赵孟頫","上海博物馆","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[23,25,26,96,28,97,98,30,29,99,7,100,56,101,34,102,80,103,104],"长卷","行书","书法","烟江","山峰","云气","孤舟","河流","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","绢本","49·8x413.9cm",[62,64],82,"BDBDBD",{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":122,"material":123,"size":124,"collection":62,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":110},236391,"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","清","王翚","北京故宫博物院","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[25,26,27,28,29,30,33,34,120,121,7],"亭","重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纸本墨笔","纵129.7cm，横44.1cm",[62,64],24,{"id":128,"slug":129,"title":130,"dynasty":115,"author":131,"museum":93,"description":132,"tags":133,"thumbUrl":135,"material":41,"size":41,"collection":41,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":138},202561,"yan-jiang-die-feng-tu-zhou-wu-qing-yun-202561","烟江叠峰图轴","吴庆云","画面以水墨晕染出烟江浩渺之态，叠嶂层峦随云雾隐现，山石皴擦刚柔相济，枯树虬枝点缀崖间，添几分清寂萧瑟。江面上孤舟泛波，与远空飞鸟相映；崖畔亭阁依势而建，藏于林木间，虚实相生。笔墨融传统皴法与晕染之妙，烟霞朦胧处显深远空间，枯荣交织中含自然意趣，尽显山水幽远之韵。",[25,28,30,29,102,80,120,81,134,33,99,7,23],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc08c11046a1600524047345f6f4d59d.jpg",[],3,"9e9286",1777535746149]