[{"data":1,"prerenderedAt":126},["ShallowReactive",2],{"subject-fu-ren":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2725,"fu-ren","妇人","妇人画高清赏析","精选中国历代妇人题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b76f64bd004b29cefb888f59a058590.jpg",0,6,[14,39,65,86,99,114],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":37,"manualWeight":11,"mainColor":38},221493,"ku-lou-huan-xi-tu-li-song-221493","骷髅幻戏图","宋","李嵩","北京故宫博物院","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。\n此《骷髅幻戏图》为扇面册页，左侧署有李嵩的名款，画面有“信公珍赏”“会侯珍藏”等多方收藏印章。 [1] 画面中心人物是一戴幞头、穿透明纱袍的大骷髅，席地而坐，左腿曲折着地，左手按左大腿，右腿弓起，右肘支右膝，坐姿十分舒适自便。右手提控一小骷髅，应为提线木偶（傀儡），上下牙列开张，似在说笑。小骷髅即提线木偶（傀儡）右脚着地，左脚抬起，两臂做招手状，很是活泼。小骷髅对面为一小儿，其左手与双足俱着地，昂首伸右臂，似要伸手抓小骷髅，顽皮而好奇。小儿身后为一青年妇人，双手伸出似作阻拦状，表情看似有些干着急。大骷髅身后安坐一青年妇人，半袒胸，怀抱中小儿正食其乳。目光安详，稍侧身，正注视着眼前之事。人物描画十分生动细致，仿佛能听见他们各自的声音。特别是骷髅的造型十分精准。\n对幅有王玄真书黄公望《醉中天》曲：\n没半点皮和肉，有一担苦和愁。傀儡儿还将丝线抽，寻一个小样子把冤 家逗。识破个羞那不羞？呆兀自五里已单堠。\n曲末题署： 至正甲午春三月十日大痴道人作，弟子休休王玄真书，右寄醉中天。\n画幅之核心主题，当为生死转化及其因果轮回。画家将画一分为二，生死各半。左边画一大骷髅，头戴朴头，身着色衣，关节以线穿连，为艺人的演戏傀儡，含有死之意；右边则画一小儿，手足着地，仰首伸臂，带有生之欲。生死既分，却又互相吸引，故画幅中央被大骷髅戏弄的小骷髅，面向小儿，作躬身招呼状。此是戏中之戏，亦是精心之笔。啸髅躯架刻画准确，小儿动态神气表现生动，大骷髅身後，一妇人袒胸露乳，喂哺幼儿，神色不安地注视着骷髅戏婴之情景，与画幅右边神情恐惧、伸手阻拦那趴地小儿的另一妇人恰成对照，呈现一种静与动、思与行的对立。\n此图还存在着三重幻戏结构：一是两个操控，即大骷髅对于小骷髅的操控，无形之手对于大骷髅的操控；二是交相生发的幻术结构，甚至观图者也会不自觉地落入其中；三是各种背反之表现，尤其是观者明、当局者迷，令人难忘。\n构图的黑白市置上，画家将示死气之骷髅衬于密线重墨组成的墩子、货担之前，增添了阴森、黑暗及恐怖的气氛；同时，却将表现生的小儿置于简写的土地及大片空白的背景上，加强了晴朗、光明及欣喜的感觉。\n单纯从笔墨技法上看，李嵩发挥了自己擅于勾勒、界画之才能，线条坚韧扎实，墨色精致细腻。衣纹用线劲利，或纤柔、或飘动、或挺拔，皆依形态动作而生变化。器物用笔工整严细，笔笔送到，不见轻率浮滑。骨骼、肌肤用笔略有差别，前者刚健，凝重，后者圆转，富于弹性。至于浓淡设色，基本为层层渲染，渐次加深浓重程度，直至轮廓空间毕现方止。染工严谨、古雅，颇具宋朝院体画之特色。",[23,24,25,26,27,28,7,29,30],"高清","设色","工笔","人物","骷髅","孩童","器物","怪诞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b944972848e948075643620ba0a8fb.jpg","绢本","纵27厘米，横26.3厘米","",[],175,2,"BDBDBD",{"id":40,"slug":41,"title":42,"dynasty":43,"author":44,"museum":45,"description":46,"tags":47,"thumbUrl":61,"material":34,"size":34,"collection":62,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":38},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","清","佚名","藏地不详","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[48,25,24,26,49,50,51,52,7,53,54,55,56,57,58,59,60],"国画","山水","民俗","苗寨","男子","兵器","村居","山野","青山","花木","小屋","山道","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg","山水画精选",[62],23,{"id":66,"slug":67,"title":68,"dynasty":43,"author":69,"museum":45,"description":70,"tags":71,"thumbUrl":81,"material":34,"size":34,"collection":34,"collections":82,"showCount":83,"zanCount":84,"manualWeight":11,"mainColor":85},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","禹之鼎","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,48,72,24,25,73,49,26,74,75,76,77,78,79,28,7,80],"书画","皴法","小桥","流水","柳树","桃花","茅屋","垂钓","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],19,1,"795548",{"id":87,"slug":88,"title":89,"dynasty":90,"author":44,"museum":45,"description":91,"tags":92,"thumbUrl":95,"material":96,"size":97,"collection":34,"collections":98,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":38},289314,"francesco-fontebasso-two-standing-male-figures-and-seated-woman-with-a-child-yi-ming-289314","Francesco Fontebasso--Two Standing Male Figures and Seated Woman with a Child","不详","淡墨晕染勾勒明暗层次，画面动静交织富有张力。左侧老者宽袍垂坠，褶皱凝练利落，捻须垂眸，肃穆持重的气度藏在沉稳姿态里。身侧武士挺拔英武，手按腰侧远眺侦伺，锐利目光暗含警觉。下方母子柔化了刚硬氛围，母亲仰头舒展神态松弛，孩童依偎身侧亲昵和暖，与上方两人的紧绷感形成鲜明对冲。\n画师以极简笔触捕捉人物性情，淡墨晕染区分衣物质感，老者裘绒的厚重与武士劲装的利落形成反差，明暗铺陈间将不同身份的人物神韵尽数勾勒。虽为速写却形神兼备，寥寥数笔定格充满叙事感的瞬间，尽显扎实的写实功底与精妙的神态把控力。",[93,94,52,7,28],"素描","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511e8691b59d6dbfd98aee08fe6cdd17.jpg","未知","Xcm*Xcm",[],{"id":100,"slug":101,"title":102,"dynasty":103,"author":44,"museum":45,"description":104,"tags":105,"thumbUrl":111,"material":96,"size":97,"collection":34,"collections":112,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":113},254469,"tao-huang-you-fu-ren-bao-ying-yong-yi-ming-254469","陶黄釉妇人抱婴俑","汉","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[106,107,108,109,26,7,110],"汉代","陶","黄釉","俑","抱婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ba7797187240977ff9a4f6fed66a.jpg",[],"37474F",{"id":115,"slug":116,"title":117,"dynasty":43,"author":44,"museum":45,"description":118,"tags":119,"thumbUrl":10,"material":124,"size":34,"collection":34,"collections":125,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},215135,"er-shi-si-xiao-tu-ce-1-yi-ming-215135","二十四孝图册-1","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,48,24,120,25,26,121,7,28,122,123],"册","老者","狗","兰","纸本,设色",[],1777535746213]