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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[24,51,26,28,27,78,79,80,81,82,83,84,85,7],"白描","人物","竹","鹅","动物","植物","清代","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg","未知","Xcm*Xcm",[],37,{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":97,"description":98,"tags":99,"thumbUrl":108,"material":36,"size":36,"collection":109,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":112},202889,"xi-zhou-nong-di-tu-zhou-pu-ru-202889","溪舟弄笛图轴","近代","溥儒","上海博物馆","嶙峋山石旁，苍松虬枝横斜，松间藤蔓轻垂，点缀些许金黄。清溪之上，两艘扁舟缓行，一舟中人持笛吹奏，另一舟者静坐聆听，意态闲适。笔墨细腻雅致，山石以淡墨皴擦出纹理，松针勾勒细密灵动，人物情态鲜活。整体意境空灵悠远，将文人雅士寄情山水的闲逸之趣尽显无遗。",[24,100,101,102,103,104,79,7,105,106,107,50],"山水","皴法","孤舟","松","溪流","笔墨雅致","寄情山水","闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0935b615268d83091310caffb8d913e5.jpg","山水画精选",[109],17,"b7ad9f",{"id":114,"slug":115,"title":116,"dynasty":95,"author":19,"museum":97,"description":117,"tags":118,"thumbUrl":10,"material":36,"size":36,"collection":64,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":124},203046,"pu-tao-tang-lang-tu-zhou-qi-bai-shi-203046","葡萄螳螂图轴","画面中墨叶泼洒淋漓，浓淡相间见层次；粉紫葡萄以点簇手法绘就，颗颗饱满鲜活，似欲滴露。一只红螳螂攀于枝间，纤毫毕现，翅脉分明，与写意蔬果形成鲜明对比。白石老人以工写结合之法，将平凡蔬果与生灵化为妙趣横生的图景，墨色的豪放与设色的细腻相映成趣，动静相生间尽显对自然生灵的热爱与捕捉细节的功力，于质朴中见巧思，平凡景物里藏生活真味。",[24,52,119,7,120,121,50],"水墨设色","葡萄","螳螂",[64],8,"c9beaf",{"id":126,"slug":127,"title":128,"dynasty":73,"author":129,"museum":97,"description":130,"tags":131,"thumbUrl":136,"material":36,"size":36,"collection":64,"collections":137,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":138},202027,"ying-zhi-tu-zhou-ren-xun-202027","鹰雉图轴","任薰","苍松老干虬枝，松针如戟，一只雄鹰敛翅踞于枝端，目光如炬，气势沉雄；地面雉鸡羽色明丽，红冠白羽与灰褐翎毛相映，昂首翘尾，似与高枝雄鹰形成微妙对峙。笔墨上，鹰的羽翼以浓墨粗线勾勒，兼施晕染，尽显猛禽刚劲；雉鸡翎羽工细描摹与写意点染结合，层次细腻；松干皴擦出苍古质感，松针细劲利落。整幅工写相济，设色雅致，于生动写实中流露笔墨意趣，禽鸟情态毕肖，草木风骨尽显，藏海派花鸟灵动与苍劲之韵。",[24,52,7,103,132,133,28,26,134,135,50],"鹰","雉鸡","笔墨","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a8ba76335df4330595aedf8ab9cb21.jpg",[64],"b6996d",{"id":140,"slug":141,"title":142,"dynasty":45,"author":143,"museum":97,"description":144,"tags":145,"thumbUrl":151,"material":36,"size":36,"collection":64,"collections":152,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":153},201354,"hua-niao-shan-zhou-zhi-mian-201354","花鸟扇","周之冕","扇面构图疏密得宜，右侧芭蕉展叶，山石皴染有致，禽鸟或栖于枝巅、或啄食坡地，神态鲜活；左侧林木扶疏，花草点缀其间，动静相生。画家以独创的钩花点叶法绘之，花瓣用细劲线条勾勒，叶片以墨色点染，浓淡交错，设色清雅而生机盎然。笔墨兼具工致与写意之趣，禽鸟的灵动、花叶的鲜活跃然纸上，尽显自然野趣与精湛功底，为明代花鸟扇面的典范之作。",[146,52,147,7,148,149,150,135,50],"扇面","钩花点叶","山石","芭蕉","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe61b6b447c872ecf309f7e311f38f5b7.jpg",[64],"d6dcd6",1777535742313]