[{"data":1,"prerenderedAt":169},["ShallowReactive",2],{"subject-gao-shan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1533,"gao-shan","高山","高山画高清赏析","精选中国历代高山题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae8b35b63bd7dd9d5dae71fbe12ef14.jpg",0,7,[14,44,67,97,113,126,157],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},222195,"ren-wu-gu-shi-tu-gao-shan-liu-shui-chou-ying-222195","人物故事图-高山流水","明","仇英","北京故宫博物院","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,25,26,27,7,28,29,30,31,32,33,34,35,36],"高清","国画","册页","工笔重彩","设色","飞瀑","松林","流水","亭","树木","文人","知音","高山流水","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67ca6c35996e488c7d2585cfe17e4a3.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米","",[],101,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":63,"material":40,"size":40,"collection":40,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":43},235273,"gao-shan-liu-shui-tu-zhou-mei-qing-235273","高山流水图轴","清","梅清","藏地不详","《梅清高山流水图轴》是清代梅清创作的一幅画。\n图绘景象奇伟的山川之貌，陡峭的山石于群峰中傲然而立，如练的瀑布从山壁上飞流而下。\n瀑布与山峦点明高山流水的主题，亦营造出清幽疏旷的意境。\n款题虽言系仿“石田老人笔意”（沈周）之作，但体现出的完全是梅氏晚年粗笔皴擦、焦墨点苔、笔力老健的画风特点。\n款署：“高山流水。\n仿石田老人笔意。\n甲戌中秋前一日，瞿山梅清时年七十有二。\n”钤“矍硎清”白文印、“渊公”朱文印、“老去看山眼倍青”白文印、“天延阁图书”朱文印。\n鉴藏印有“槃斋秘玩”等。\n“甲戌”是清康熙三十三年（1649年），梅清时年72岁。",[24,53,54,55,56,57,7,30,58,59,60,61,62],"书画","立轴","水墨","皴法","山水","松树","岩石","人物","瀑布","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576afd75771412f0b050afdd574d2698.jpg",[],61,1,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":91,"material":92,"size":93,"collection":94,"collections":95,"showCount":96,"zanCount":66,"manualWeight":11,"mainColor":43},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。",[24,76,55,77,78,79,56,7,62,61,80,81,82,83,84,85,58,86,87,88,60,89,90],"山水画","渴笔皴法","写意","界画","山泉","亭台楼阁","房舍","木桥","清江","扁舟","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",[94],57,{"id":98,"slug":99,"title":100,"dynasty":101,"author":102,"museum":50,"description":103,"tags":104,"thumbUrl":108,"material":109,"size":110,"collection":40,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":43},290250,"gao-shan-zhi-yu-tu-ju-ran-290250","高山知遇图","五代十国","巨然","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。\n名下画作有《秋山问道图》《山居图》《萧翼赚兰亭图》《万壑松风图》《层岩丛树图》《秋山图》等传世。",[105,24,76,54,55,56,7,106,30,31,61,32,107],"名画","小桥","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fd1673d01e02f62973c92de006d169.jpg","未知","Xcm*Xcm",[],48,{"id":114,"slug":115,"title":116,"dynasty":18,"author":117,"museum":50,"description":118,"tags":119,"thumbUrl":123,"material":109,"size":110,"collection":40,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","佚名","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[24,76,54,55,56,7,61,120,32,121,122],"溪流","临摹","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg",[],47,{"id":127,"slug":128,"title":129,"dynasty":18,"author":130,"museum":73,"description":131,"tags":132,"thumbUrl":152,"material":153,"size":154,"collection":40,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":43},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","戴进","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,24,76,133,55,134,56,135,136,137,7,138,32,139,140,141,142,143,144,62,59,145,146,147,148,149,150,151],"兼工带写","浅设色","大斧劈皴","夹叶法","点叶法","归舟","山崖","芦苇","枯树","溪桥","村舍","竹林","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","绢本,水墨","纵143 厘米，横81.8 厘米",[],46,{"id":158,"slug":159,"title":160,"dynasty":18,"author":161,"museum":50,"description":162,"tags":163,"thumbUrl":165,"material":109,"size":110,"collection":40,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":168},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,24,53,54,57,55,27,56,7,30,61,164,107,32,122],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],19,"BDBDBD",1777535742580]