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赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[23,26,126,55,25,127,77,128,129,130,131,78,132,30,133,134,135,7,136,137],"山水画","披麻皴","写意","孤舟","垂钓","草堂","芦苇","湖水","远山","文人","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],30,{"id":142,"slug":143,"title":144,"dynasty":18,"author":145,"museum":20,"description":146,"tags":147,"thumbUrl":150,"material":38,"size":39,"collection":40,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":44},289776,"ying-xue-du-shu-tu-sheng-mao-289776","映雪读书图","盛懋","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[76,24,23,26,25,28,27,35,112,31,148,30,149,7],"枯树","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a45a1b0d9b15b1568e84d320c9c1ac9.jpg",[],27,{"id":154,"slug":155,"title":156,"dynasty":18,"author":19,"museum":20,"description":21,"tags":157,"thumbUrl":160,"material":38,"size":39,"collection":40,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":44},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）",[76,23,24,25,26,27,158,78,33,112,159,135,7,28],"瀑布","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],26,{"id":164,"slug":165,"title":166,"dynasty":167,"author":168,"museum":169,"description":170,"tags":171,"thumbUrl":172,"material":173,"size":40,"collection":40,"collections":174,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":102},220470,"shi-shang-du-shu-ren-yi-220470","石上读书","清","任颐","美国大都会艺术博物馆","画面以瘦透皱漏的太湖石为布景，雅士踞坐石侧，展卷潜读，神情悠然沉谧，全然沉浸于书卷意趣之中。\n\n设色清雅柔和，衣纹勾勒简练劲挺，将文士宽袍博带的闲适姿态尽显。太湖石以淡墨晕染，辅以皴擦勾勒出空灵剔透的质感，虚实相生间衬出幽寂安闲的氛围。整幅扇面构图疏密得当，把文人幽居耽书的雅静意趣铺陈开来，尽显精妙的笔墨格调。",[23,54,94,55,77,35,98,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e528abdd16572b6722a32a318064bf1.jpg","纸本水墨",[],{"id":176,"slug":177,"title":178,"dynasty":49,"author":179,"museum":180,"description":181,"tags":182,"thumbUrl":183,"material":82,"size":184,"collection":64,"collections":185,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":44},218512,"shu-xia-du-shu-tu-yi-ming-218512","树下读书图","佚名","大英博物馆","这幅画描绘了一个坐在树下溪边读书的高士，这种风格在明代的浙江画派、戴进和吴伟中很流行，但这幅画的笔法与吴伟相似，略显疲软。",[76,23,54,26,55,35,78,159,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F385b9aeb644037ac90a0878724f211a4.jpg","127.5x77.8",[64],{"id":187,"slug":188,"title":189,"dynasty":49,"author":190,"museum":20,"description":191,"tags":192,"thumbUrl":194,"material":38,"size":39,"collection":40,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":44},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从","萧云从(1596～1673) 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宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[76,23,24,94,55,35,95,148,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b823851ea7923b11a2ee16d1934de8d.jpg",[],21,{"id":206,"slug":207,"title":208,"dynasty":90,"author":209,"museum":20,"description":210,"tags":211,"thumbUrl":217,"material":38,"size":39,"collection":40,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":102},288385,"shan-guan-du-shu-tu-liu-song-nian-288385","山馆读书图","刘松年","描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[76,24,23,54,55,212,35,111,29,213,214,215,34,113,7,216],"界画","书房","童子","行书","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed6fe2292944c59304920fb2612397.jpg",[],19,{"id":221,"slug":222,"title":189,"dynasty":49,"author":190,"museum":51,"description":223,"tags":224,"thumbUrl":225,"material":226,"size":227,"collection":40,"collections":228,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":44},222840,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-222840","萧云从的山水画风格多样，但贯穿其中的基本风貌是笔墨多方折而枯瘦，且在方折的骨体中加入一些皴擦，略有渲染，显得笔墨丰富而灵活。当时，松江派绘画风靡画坛，其画多柔曲的线条、秀润的笔墨，萧氏则改用直折的线条、枯瘦爽利的墨色，可谓别具一格。《国朝画征录》评论萧云从的画称：“不专宗法，自成一家，笔亦清快可喜。”道出了萧云从绘画风格的关键所在。他的画并非具体地宗法某一家，但可看出是从宋元画法中演变而来，不宋不元，即宋即元，又明确地表现出萧氏自身的艺术特色。此图虽是描绘雪景，表现手法与平时稍异，但仍可看出萧氏画作的典型特征。\n画面采用高远法构图描绘层岩绝巘。布局丰满，但山间茂密树丛的蓬松枝杈使画面气脉贯通，虽满却不迫塞。山石形廓较为方硬，凹陷处的皴擦笔笔精到；树木刻画亦极工致，用笔细劲清快，描绘树干纹理、树叶形状一丝不苟。地子则巧妙地留白，用以表现大面积山石及树木枝干上的积雪。皑皑白雪在以淡墨晕染的阴郁天空的衬托下愈发显得清寂萧索。但近景的树脚、石隙间偶尔显露出数竿篠竹，树木枝干染以藤黄，树叶则分别施以朱红、汁绿，这一切都使观者在寒冬的肃杀气氛中隐隐感受到蕴藏着的盎然生机，在历代雪景作品中可谓别开生面。这一方面是由于作者有着对自然界的独特感受，同时也昭示着萧云从内心涌动的希望。\n其时，明宗室诸王流亡各地，除弘光、隆武、永历等主要政权外，臣民奉宗室起兵抗清者所在尚多，且颇具声势。萧氏作为明朝遗民，无时无刻不关注着这些复国大事。题识中的“时得三秦好音”似即指此类事件。\n萧云从曾精研杜诗，著有《杜律细》一卷。其诗亦继承杜诗传统，多即事忧时之作，如此画题诗便是一例。诗中“皇旅云腾度渭河”、“将军高唱大风歌”等句更是雄浑奔放，音韵铿锵，与画面相互映照，真切地表现出萧云从作为明代遗民的思想感情。",[76,23,26,25,77,28,27,193,35,31,111,56,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f11d303d9b585f987c4fc189dc35570.jpg","纸本，设色","纵125.3厘米，横47.7厘米",[],{"id":230,"slug":231,"title":232,"dynasty":49,"author":179,"museum":20,"description":233,"tags":234,"thumbUrl":236,"material":38,"size":39,"collection":40,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":102},237828,"zhang-chong-liu-ge-du-shu-shan-ye-yi-ming-237828","张翀柳阁读书扇页","柔丝垂绦的古柳虬劲苍然，将水面草阁半掩其中，似有幽人于阁中静读。淡墨晕染远水空蒙，虚实相映间，漾开江南水岸的温润清寂。\n\n画师以细笔摹写柳条柔媚舒展，老干皴擦苍劲古拙，刚柔相生尽显林木意态。行书题款墨色清雅，与画面浑然相融，将幽居林泉、静享闲读的林下幽思藏于尺幅之中，简淡萧疏，意韵悠长，尽显小品雅致之趣。",[94,23,25,55,27,235,111,35,7,56,28,113],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9111a4ba59046cdd4b28ebbdc0ef377.jpg",[],15,{"id":240,"slug":241,"title":242,"dynasty":90,"author":243,"museum":20,"description":244,"tags":245,"thumbUrl":246,"material":38,"size":39,"collection":40,"collections":247,"showCount":248,"zanCount":11,"manualWeight":11,"mainColor":102},288389,"liu-tang-du-shu-tu-xiao-zhao-288389","柳堂读书图","萧照","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[76,23,24,94,25,27,111,112,159,78,30,113,34,215,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165c71503b97e1026060a1f82efd75a.jpg",[],14,{"id":250,"slug":251,"title":252,"dynasty":49,"author":253,"museum":254,"description":255,"tags":256,"thumbUrl":260,"material":40,"size":40,"collection":40,"collections":261,"showCount":262,"zanCount":43,"manualWeight":11,"mainColor":263},202728,"yuan-ming-yi-shi-tu-juan-li-cui-lan-202728","渊明轶事图卷","李翠兰","上海博物馆","画卷以疏朗白描铺展陶渊明轶事，数段场景连缀成篇：东篱采菊见悠然，松下邀友共浅酌，案前展卷凝沉思，竹下抚琴寄旷怀。人物线条灵动，衣纹流畅，神态各臻其妙，笔墨简淡中藏逸趣。间以行书题跋相映，文图相契，尽显隐士超然物外的生活意趣与精神风骨。",[23,257,35,258,215,259,7,76],"长卷","白描","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48976c41b4e231d775a4baf92358b947.jpg",[],3,"000000",{"id":265,"slug":266,"title":267,"dynasty":167,"author":179,"museum":20,"description":268,"tags":269,"thumbUrl":274,"material":38,"size":39,"collection":40,"collections":275,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":102},261502,"qing-hua-yi-shi-du-shu-ren-wu-tu-gai-guan-yi-ming-261502","青花倚石读书人物图盖罐","青花瓷（blue 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