[{"data":1,"prerenderedAt":72},["ShallowReactive",2],{"subject-fei":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},8105,"fei","飞","飞画高清赏析","精选中国历代飞题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1baaeaf7f25126adf970cbdc055a876.jpg",0,3,[14,38,56],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},241394,"qi-jue-zhou-zhao-zhi-chen-241394","七绝轴","清","赵之琛","南京博物院","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。\n竹，是中国古代画家最为喜爱的绘画题材之一。由于竹有着挺拔、有节、虚心向上、耐寒不凋等习性特点，中国古代画家常常以之作为精神的写照和人格的象征，不论是梅、兰、竹、菊的“四君子”，还是松、竹、梅的“岁寒三友”，萧萧修篁都赫然位列其间。至于修竹与瘦石的结合，更是自宋元以降历代文人画家的拿手好戏，在中国古代的绘画史上，擅写竹石的画家俯拾皆是，不胜枚举。\n关于竹的画法，一般可分为两类：一类是双勾填色，一类是水墨写意（也有以色代墨者）。前者立足于画，致力于形态；后者立足于写，强调的是风神。赵孟頫所谓“石如飞白木如籀，写竹也应八法通；若也有人能会此，须知书画本来同”云云，即是以枯木竹石作为例证，来阐释中国画尤其是文人画的书法性原则的。不过，赵之琛的这幅《双勾竹石图》里竹子的画法却用的是双勾。画面下方的土坡上修篁三竿，亭亭玉立，直冲画外，竹叶繁茂，左右纷披，昂抑错落，姿态优美，尤其浅淡的汁绿渲染，更使得整个竹子显生机勃发，清气盎然。\n从总体上看，赵之琛对竹子竿、节、叶的形态皆能准确的把握，法度谨严，笔法工细，位置的穿插安排，自然合理，疏密有度，颇见功力与匠心。在竹子的前端，画家画有湖石一方，玲珑剔透，瘦峭崛立，此亦中国文人画的惯用手法，其作用一则为了与修竹相互映衬，另一则为了稳定画面。需要引起注意的是，赵之琛笔下的这块湖石形态独特，重心前倾，在构图上显得颇为奇险，而画家却能处险不惊，化险为夷，实属难能可贵。湖石的四周另有茅草随意点缀，益发有助于画面的和谐和自然。",[23,24,25,26,27,28,29,7,30,31],"书法","隶书","篆书","立轴","笔墨","寒景","清风","泉","清景","纸本","131.5×60.5cm","书法精选",[34],19,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":42,"museum":43,"description":44,"tags":45,"thumbUrl":51,"material":52,"size":52,"collection":52,"collections":53,"showCount":54,"zanCount":11,"manualWeight":11,"mainColor":55},202444,"mei-que-tu-zhou-chen-shu-202444","梅鹊图轴","陈书","上海博物馆","画面以老梅新枝与喜鹊构景，暗合“喜上眉梢”的吉祥寓意。虬曲梅干以浓墨行书笔意挥洒，苍劲中见灵秀；疏枝间梅花或含苞或绽放，淡墨点染与细笔勾勒相济，清雅逸致。两只喜鹊栖于枝上，一昂首鸣叫、一侧耳倾听，姿态生动传神；羽毛以兼工带写之法绘就，墨色浓淡相宜，质感细腻。整幅以水墨为主调，笔墨兼具刚柔，既有文人画的书卷气，又不失自然生机，将梅花的傲寒之姿与喜鹊的欢悦之态相融，传递出新春将至的喜悦氛围，尽显画家对生活意趣的精妙捕捉与深厚笔墨功底。",[46,47,48,49,50,7],"国画","花鸟","水墨","兼工带写","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ec7753ac3a66caff00e281939681804.jpg","",[],2,"bfb09b",{"id":57,"slug":58,"title":59,"dynasty":60,"author":61,"museum":43,"description":62,"tags":63,"thumbUrl":68,"material":52,"size":52,"collection":52,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},201248,"mei-hua-shan-niao-tu-zhou-chen-hong-shou-201248","梅花山鸟图轴","明","陈洪绶","老梅枝干虬曲盘纡，笔法刚劲如铁线勾勒，墨色浓淡交错间，尽显苍古之姿。山石以简括线条勾勒轮廓，皴擦点染兼具，肌理质感毕现。山鸟栖于枝间，造型小巧灵动，羽色轻淡却神形毕肖，为画面添生机。整体画风奇逸古雅，工写结合，清雅意韵溢于纸间，营造出静谧悠远的文人画境。",[64,46,47,65,48,66,50,67,7],"名画","工笔","皴法","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb30d1544dc55f0ba41bf23603999cf.jpg",[],1,"928268",1777535770480]