[{"data":1,"prerenderedAt":41},["ShallowReactive",2],{"subject-fang-qing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5813,"fang-qing","放晴","放晴画高清赏析","精选中国历代放晴题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",0,1,[14],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":37,"size":37,"collection":37,"collections":38,"showCount":39,"zanCount":12,"manualWeight":11,"mainColor":40},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷","宋","米友仁","藏地不详","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7],"高清","国画","书画","长卷","水墨","皴法","印章","行书","篆书","山水","山峦","云雾","秋景","雨后","",[],20,"BDBDBD",1777535830695]