[{"data":1,"prerenderedAt":93},["ShallowReactive",2],{"subject-feng-xue":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3566,"feng-xue","风雪","风雪画高清赏析","精选中国历代风雪题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a55565acfa6d636154553884665f4c8.jpg",0,4,[14,45,64,77],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},290058,"ba-qiao-feng-xue-tu-xia-gui-290058","灞桥风雪图","宋","夏圭","藏地不详","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36,37],"名画","国画","书画","立轴","水墨","山水","皴法","小桥","古道","枯树","楼阁","马匹","人物","行书","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf383bfeca5b213ba1fc05bc62d43a90.jpg","未知","Xcm*Xcm","",[],39,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":18,"author":49,"museum":20,"description":50,"tags":51,"thumbUrl":61,"material":41,"size":41,"collection":41,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":44},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","李山","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[52,23,24,25,53,27,54,29,37,36,55,28,56,7,57,58,59,60],"高清","长卷","设色","印章","松杉","山峰","庭院","树木","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],22,{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":20,"description":70,"tags":71,"thumbUrl":74,"material":39,"size":40,"collection":41,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":44},290463,"feng-xue-shi-hua-tu-ce-gao-feng-han-290463","风雪诗画图册","清","高凤翰","高凤翰（1683—1749年），字西园，号南村，自号南阜山人，山东胶州人。曾任安徽歙县县丞，去官后流寓扬州。擅画山水、花卉。山水师法宋人，近赵令穰、郭熙一派。55岁左右，右手病疫改用左手，更号“尚左生”刻印“丁巳残人”。其画具有宋人雄浑之神，元人静逸之气。秦祖永《桐荫论画》评道：“离奇超妙，脱尽笔墨畦径，法备趣足，虽不规规于法，而实不离于法。”",[24,25,72,27,54,73,7,36,55],"册","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f78f50f33fd0518e35fac4c088348b5.jpg",[],13,{"id":78,"slug":79,"title":80,"dynasty":68,"author":81,"museum":82,"description":83,"tags":84,"thumbUrl":10,"material":89,"size":90,"collection":41,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":41},220674,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220674","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。",[52,24,25,37,72,36,28,85,86,87,27,7,54,88,55],"明月","老树","孤舟","文字","水墨,设色,纸本,册页","18×34.5厘米",[],1,1777535759497]