[{"data":1,"prerenderedAt":79},["ShallowReactive",2],{"subject-du-tou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1679,"du-tou","渡头","渡头画高清赏析","精选中国历代渡头题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d784cd7dbf19624c481cf6c82fc5fb1.jpg",0,3,[14,42,60],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":38,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},227770,"dai-du-tu-ye-li-tang-227770","待渡图页","宋","李唐","藏地不详","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35,36],"高清","国画","名画","设色","皴法","山水","孤舟","人物","老树","山石","岸坡","树木","远岫","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg","",[],29,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":55,"material":56,"size":57,"collection":38,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},288012,"shan-shui-ren-wu-tu-li-zhou-chen-ji-he-288012","山水人物图立轴","明","陈济和","明朝史学家。字伯载，武进（今属常州）人，陈洽兄。他博学强记，读书过目能诵。口诵手钞，经史百家无不贯通，时称两脚书橱。永乐元年（1403年），明成祖诏修《文献大成》（后改称《永乐大典》），朝廷以布衣召他担任编纂总裁，他却推荐姚广孝及胡严为总裁，自任副手。藩秘库书达数百万卷，浩无端倪。陈济与姚广孝等确定了编写体例，组织了文人学士2000余人参与编写。编写过程中，执笔者凡遇到疑难问题就请教陈济，他应口为之条辩缕析。永乐六年（1408）书成，总辑成22877卷，凡例、目录60卷。陈济被授于左春坊右赞善。陈济任职谨慎无过。帝甚礼重之，凡稽古纂集之事，皆交陈济处置。他在职15年，永乐二十二年（1424年）病逝，享年62岁。陈济学问渊博；平时却十分谦虚，终身危坐手不释卷，他常说：知识和布帛粮食一样贵重，有益于社会。平生著述有：《书传补》、《元史举要》、《通鉴纲目集览正误》《思斋集》等。",[23,24,50,26,28,51,31,52,53,54,7,30,27],"立轴","山崖","红叶","松林","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e150f1bd53592f17e61c25f0a634f6.jpg","未知","Xcm*Xcm",[],11,{"id":61,"slug":62,"title":63,"dynasty":64,"author":65,"museum":66,"description":67,"tags":68,"thumbUrl":75,"material":76,"size":77,"collection":38,"collections":78,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":41},223448,"han-jiang-dai-du-tu-yi-ming-223448","寒江待渡图","元","佚名","美国纳尔逊阿特金斯艺术博物馆","这是一幅典型的、表达入仕愿望的待渡图，幅中烟岚中的台阁象征仕途，待渡人仿佛严阵以待般静立江岸，等待一只前来接引的小舟。另一种说法是：山中俨然而立的是寺观，待渡者相反是要表达出世的愿望。结合它所创作的元代，两种解释似乎都能成立。",[23,24,69,27,26,28,29,54,70,71,7,34,72,36,73,74],"水墨","枯树","寒江","远山","平坡","石矶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e77f66f7f33d72e246016b5833f6c12.jpg","纸本","30x32厘米",[],1777535769350]