[{"data":1,"prerenderedAt":78},["ShallowReactive",2],{"subject-dong-fang-shuo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},11993,"dong-fang-shuo","东方朔","东方朔画高清赏析","精选中国历代东方朔题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e267163df01561040829268550d04.jpg",0,4,[14,37,57,69],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":30,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},289886,"dong-fang-shuo-da-ke-nan-dong-qi-chang-289886","东方朔答客难","明","董其昌","藏地不详","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,24,25,26,27,28,7,29],"高清","书法","长卷","行书","印章","字帖","答客难","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8161550aa6d1879774d035652f465e5a.jpg","未知","Xcm*Xcm","",[],9,"BDBDBD",{"id":38,"slug":39,"title":40,"dynasty":41,"author":42,"museum":20,"description":43,"tags":44,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":54,"showCount":55,"zanCount":11,"manualWeight":11,"mainColor":56},269047,"ke-si-dong-fang-shuo-tou-tao-tu-yi-ming-269047","缂丝东方朔偷桃图","元","佚名","此图题材取自东方朔偷桃的典故。画面表现东方朔从仙界偷桃后疾走之状，人物的胡须和飘曳的衣裾，显出疾走的动态。东方朔手持偷摘的蟠桃，回首环顾，面露窃喜，其偷桃得手后的得意之情和担心被仙吏发现的微妙心理被刻画得惟妙惟肖。画面上方祥云缭绕中累累仙桃悬垂枝头，下方配以灵芝、水仙和竹石，以谐音寓意“芝仙祝寿”。画面钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”和“秘殿珠林”印5方。\n此幅缂丝图以蓝和浅蓝为主调，配有石青、月白、瓦灰等色。运用平缂、木梳戗等缂织技法。以平缂作色块平涂，在纹样边缘或二色相遇处则使用勾缂进行勾勒，或以长短戗进行调色过渡。寿石用深蓝、蓝和浅蓝三晕色戗缂，以突出山石的立体感。尤以合色线技法颇有特色，如东方朔的手指缝用黑、白二色丝；灵芝的茎部用石青和米色丝表现茎干的糙涩感。整幅作品设色简洁，气韵生动",[45,46,47,48,49,7,50,51,52,53],"缂丝","国画","人物","设色","神话","偷桃","仙桃","桃枝","云",[],8,"795548",{"id":58,"slug":59,"title":60,"dynasty":61,"author":42,"museum":20,"description":62,"tags":63,"thumbUrl":67,"material":31,"size":32,"collection":33,"collections":68,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":56},269132,"zhu-gen-diao-dong-fang-shuo-shan-zi-yi-ming-269132","竹根雕东方朔山子","清","依循竹根天然肌理随形施艺，长髯老者宽袍曳身，眉眼弯起，似正为窃得仙桃窃喜，神态诙谐灵动，将老者顽童心性描摹入微。旁侧怪石借竹节走势层叠皴染，盘虬花枝缠附于座底，将材料天趣与刀工巧思相融，粗粝竹色衬出古朴雅致。\n刀工写意凝练，寥寥数刀便塑出袍角褶皱起伏，人物身形舒展不羁，整体错落有致，把仙家超脱与山野意趣揉合一处，尽显文房雅玩的闲趣意韵。",[64,65,47,7,66],"竹根雕","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3330d8b2e90b0ddc00a7de546197de.jpg",[],{"id":70,"slug":71,"title":72,"dynasty":61,"author":42,"museum":20,"description":73,"tags":74,"thumbUrl":76,"material":31,"size":32,"collection":33,"collections":77,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},269131,"zhu-gen-diao-dong-fang-shuo-yi-ming-269131","竹根雕东方朔","这件竹雕依循竹根天然肌理施艺，人物面相圆和，长髯垂胸，神色诙谐又自带飘然仙气。袒胸露腹的体态随性不羁，衣褶线条写意舒展，顺着竹材走势自然晕开，将材质原生质感与造型设计相融无间。\n\n右手轻提花篮，仙果隐现其中，暗合东方朔偷桃的轶闻雅趣，左侧虬曲枯木与底座一体成型，更衬出人物疏放气质。雕刻工巧兼具写意，把传说里随性脱尘的仙翁形象刻画得形神兼备，尽显传统竹雕工艺的精妙匠心，藏着文玩雅物的闲趣意涵。",[65,64,75,47,7],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6963e97209f3b1557b0e07dbc38568ba.jpg",[],1777535761313]