[{"data":1,"prerenderedAt":242},["ShallowReactive",2],{"subject-fang-she":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1069,"fang-she","房舍","房舍画高清赏析","精选中国历代房舍题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6fb1526619db47d8310052d99c12eb.jpg",0,14,[14,52,88,106,127,144,169,183,195,201,212,221,227,236],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":44,"material":45,"size":46,"collection":47,"collections":48,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,31,32,7,33,34,35,36,37,38,39,40,41,42,43],"高清","名画","国画","长卷","青绿山水","设色","工笔","山峦","江河","飞瀑","林木","渔村","水榭","长桥","渔舟","人物","亭台","烟波","曲径","茅屋","游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","",[],1322,12,"795548",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":81,"material":82,"size":83,"collection":84,"collections":85,"showCount":86,"zanCount":87,"manualWeight":11,"mainColor":51},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","元","吴镇","台北故宫博物院","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[25,61,62,63,64,65,66,67,68,69,70,71,7,72,73,74,75,76,77,78,38,79,80],"山水画","水墨","渴笔皴法","写意","界画","皴法","高山","远山","瀑布","山泉","亭台楼阁","木桥","清江","扁舟","松树","丛林","山谷","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米","山水画精选",[84],57,1,{"id":89,"slug":90,"title":91,"dynasty":92,"author":93,"museum":58,"description":94,"tags":95,"thumbUrl":101,"material":102,"size":103,"collection":47,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":51},290879,"chun-you-wan-gui-tu-zhou-chou-ying-290879","春游晚归图轴","明","仇英","本幅画夜幕低垂中，主仆四人春游归来。边角式的布局虽源于南宋院画，但取意则与明初戴进的「春游晚归」相近。惟仇作烘染细腻，人物情态生动，较戴进描写更加细致详实",[25,96,29,28,61,38,7,97,98,99,100],"立轴","树木","山石","春游","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b904ecf120414f9ce0182de0f6afa95.jpg","绢本,设色","145.5x76.5",[],54,{"id":107,"slug":108,"title":109,"dynasty":92,"author":93,"museum":58,"description":110,"tags":111,"thumbUrl":123,"material":102,"size":124,"collection":47,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":51},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","秋江待渡图","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[25,61,29,28,112,113,30,114,115,38,7,116,117,118,119,120,121,122],"山水","秋水","树林","孤舟","村庄","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],44,{"id":128,"slug":129,"title":130,"dynasty":18,"author":131,"museum":20,"description":132,"tags":133,"thumbUrl":139,"material":45,"size":140,"collection":141,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":51},223361,"hui-chang-jiu-lao-tu-juan-yi-ming-223361","会昌九老图卷","佚名","此卷描绘的是唐会昌五年（845年）白居易居洛阳香山时与友人的“尚齿”之会。虽以人物为题材，但建筑部分不论整体还是细部都描绘得准确精微，水榭、房舍、板桥、河堤、护栏、石凳乃至屋内的陈设交代得一清二楚，可谓“咸取砖木诸匠本法，略不相背”，几乎可以按图构建。画家不仅对建筑的构造和做法至详至悉，而且已经开始注意通过高超的写实技巧和一定程度的透视画法在二维平面上更为真实地表现建筑物三维空间的立体感和通透感，达到使观者“望之中虚，若可蹑足”的艺术效果。尤为重要的是，图中的建筑采用北宋的界画手法，匀细的线条有利于刻画建筑物复杂的结构和构件的细部，这种水墨白描的建筑画法延续至元代并发展到了极致。",[23,24,25,26,65,134,62,38,135,136,7,137,138],"白描","楼阁","小桥","文人雅集","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ade434f61458b68f926c3828411c458.jpg","纵40cm，横69cm","书法精选",[141],24,{"id":145,"slug":146,"title":147,"dynasty":148,"author":149,"museum":150,"description":151,"tags":152,"thumbUrl":163,"material":164,"size":165,"collection":47,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":168},235277,"ren-wu-gu-shi-ce-fan-xue-yi-235277","人物故事册","清","范雪仪","藏地不详","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[25,28,29,153,38,154,155,97,156,7,157,158,159,160,161,162],"册","马","建筑","庭院","自然景物","人物故事","清代","传统绘画","细致描绘","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e04d9b86aa624995c2610e7741712a.jpg","未知","Xcm*Xcm",[],20,"BDBDBD",{"id":170,"slug":171,"title":172,"dynasty":148,"author":173,"museum":174,"description":175,"tags":176,"thumbUrl":178,"material":179,"size":180,"collection":47,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":47},220685,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220685","凤阿山房图册","吴历,朱彝尊,陆遵等","香港中文大学文物馆","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[25,177,153,28,66,112,7,97],"书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b570da58db06cb48597aa6831a63471.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],2,{"id":184,"slug":185,"title":186,"dynasty":148,"author":187,"museum":58,"description":188,"tags":189,"thumbUrl":192,"material":28,"size":193,"collection":47,"collections":194,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":168},238268,"shan-shui-ce-zhang-yan-238268","山水册","张演","此作以平远之法铺展江南水村之景，清润雅致。田埂蜿蜒间，二人策杖闲话，意态悠然；右侧山居敞轩，有人凭栏远望，静享林泉之趣。河流萦回穿绕，板桥轻跨水面，岩岫间林木错落，青绿点染枝叶，浅赭晕染山石田垄，色调柔和温婉。远景烟波浩渺，淡墨晕染出水天濛濛之态，融天地于清和之中。全画笔致秀润，将幽居雅集的日常铺陈开来，尽显水乡闲适安恬的林下之风，把文人心中的栖居理想化作眼前实景，意韵悠长。",[25,177,153,28,66,112,136,190,38,97,98,191,7],"流水","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ee377a2f16098478fd47e47cf80ba9.jpg","37.1x31.7",[],{"id":196,"slug":197,"title":172,"dynasty":148,"author":173,"museum":174,"description":175,"tags":198,"thumbUrl":199,"material":179,"size":180,"collection":47,"collections":200,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":47},220683,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220683",[25,177,153,28,112,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec59ac120c5e1926d40db140711b150.jpg",[],{"id":202,"slug":203,"title":172,"dynasty":148,"author":173,"museum":174,"description":175,"tags":204,"thumbUrl":210,"material":179,"size":180,"collection":47,"collections":211,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":47},220679,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220679",[23,25,177,205,206,207,208,112,7,209,28,153],"书法","行书","楷书","印章","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3768d79d2a3a21660a05601bd9f102d6.jpg",[],{"id":213,"slug":214,"title":172,"dynasty":148,"author":173,"museum":174,"description":175,"tags":215,"thumbUrl":219,"material":179,"size":180,"collection":47,"collections":220,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":47},220678,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220678",[23,25,177,153,206,205,62,216,7,217,218,135],"山","飞鸟","梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4664e2523a2dbad88d786c8e0652e07.jpg",[],{"id":222,"slug":223,"title":172,"dynasty":148,"author":173,"museum":174,"description":175,"tags":224,"thumbUrl":225,"material":179,"size":180,"collection":47,"collections":226,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":47},220671,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220671",[23,25,177,205,206,62,112,7,97,208,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee32a51dd9354be4ce1d39b0c64be86.jpg",[],{"id":228,"slug":229,"title":172,"dynasty":148,"author":173,"museum":174,"description":175,"tags":230,"thumbUrl":234,"material":179,"size":180,"collection":47,"collections":235,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":47},220667,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220667",[23,25,177,153,206,112,7,231,232,28,205,233],"竹","风","诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb5d306472da16e58bf92fd53e38f0.jpg",[],{"id":237,"slug":238,"title":172,"dynasty":148,"author":173,"museum":174,"description":175,"tags":239,"thumbUrl":240,"material":179,"size":180,"collection":47,"collections":241,"showCount":87,"zanCount":11,"manualWeight":11,"mainColor":47},220663,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220663",[23,25,177,153,206,207,208,112,7,97,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950fa477171240f877d2b8e2dfd88a9f.jpg",[],1777535725981]