[{"data":1,"prerenderedAt":64},["ShallowReactive",2],{"subject-han-yan-13619":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},13619,"han-yan-13619","寒雁","寒雁画高清赏析","精选中国历代寒雁题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12ca6b35db79bb43e21774644a2d1e9.jpg",0,2,[14,42],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},288329,"qiu-lin-han-yan-tu-yi-ming-288329","秋林寒雁图","宋","佚名","藏地不详","此作以平远之法铺陈秋江荒景，几株枯木虬曲苍劲，疏枝错落，枝梢停驻的寒禽为冷寂林梢添了细碎生机。滩涂沙洲以淡墨晕染留白，寒水浅濑间群雁或敛羽休憩，或浮水徐行，柔缓动态消融了江天的寥廓清寒。\n\n笔法简淡清劲，枯木勾勒皴擦兼用，尽显老干苍硬之态，沙洲与寒水以浅墨轻扫，空疏萧散的氛围跃然绢上。将深秋江野的寂寥与灵动相融，在极简景致里晕开幽远秋思，尽显宋代山水小品独有的诗意空寂。",[23,24,25,26,7,27,28,29,30,31,32,33,34],"国画","书画","水墨","老树","秋林","飞鸟","枯木","汀洲","寒秋","山水画","花鸟画","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f521b186b0fa74b7d70366084df0954.jpg","未知","Xcm*Xcm","",[],7,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":10,"material":36,"size":37,"collection":38,"collections":62,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":63},288013,"qiu-lin-han-yan-tu-juan-sun-zhi-288013","秋林寒雁图卷","明","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[50,23,51,32,25,52,27,7,28,53,54,55,56,57,58,59,60,61],"高清","长卷","设色","远山","流水","山居","枯树","秋意","萧瑟","书法","行书","印章",[],"BDBDBD",1777535791553]