[{"data":1,"prerenderedAt":270},["ShallowReactive",2],{"subject-ji-mo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},95,"ji-mo","积墨","积墨画高清赏析","精选中国历代积墨题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4686603adc4b2ff54977912a749d19c.jpg",0,19,[14,41,64,85,100,115,128,139,150,166,178,189,203,216,223,231,240,249,259],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},233970,"shan-shui-ce-gong-xian-233970","山水册","清","龚贤","北京故宫博物院","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[23,24,25,26,27,28,29,30,31,32,7],"国画","水墨","山水","皴法","册","山","树","房屋","云雾","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fe2dfc70ed8a77ffac3d0fb8c75a90.jpg","纸本，墨笔","纵22.2厘米，横33.2厘米","山水画精选",[36],65,1,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":58,"material":59,"size":60,"collection":60,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},220580,"lin-an-shan-se-huang-bin-hong-220580","临安山色","民国","黄宾虹","中国现当代美术文献研究中心","这幅山水以积墨技法铺陈，干皴湿染往复叠加，墨色浓淡交融，将山峦苍浑厚重的质感全然托出。虬松盘峙崖间，石径沿幽谷蜿蜒伸入山霭，流泉隐没在层叠墨韵里，虚实相映间晕染出山川氤氲灵秀。画作追慕北宋笔墨精神，褪去刻露浮躁，以浑厚华滋的气韵糅合江南山水的温润与沉雄，笔底带着金石苍茫之气，尽显晚年山水“黑密厚重”的美学意趣，将山川静穆苍莽的生机风骨藏在每一处墨色层次之中。",[23,50,24,7,26,51,52,53,54,55,56,57],"山水画","山峦","虬松","石径","流泉","苍浑厚重","浑厚华滋","金石气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9425349f2172fa199c0abd1fed94e642.jpg","纸本水墨","",[],63,"BDBDBD",{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":68,"description":69,"tags":70,"thumbUrl":79,"material":80,"size":81,"collection":36,"collections":82,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":40},222609,"yi-dao-fei-quan-gong-xian-222609","一道飞泉","辽宁省博物馆","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[71,72,23,73,74,24,7,25,75,76,77,78],"高清","名画","书画","立轴","流水","树木","山石","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[36,83],"水墨画精选",59,{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":89,"description":90,"tags":91,"thumbUrl":96,"material":97,"size":60,"collection":36,"collections":98,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":40},220283,"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","美国克利夫兰艺术博物馆","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[71,23,73,74,25,7,26,92,31,76,93,94,77,95],"山峰","溪流","瀑布","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg","纸本,水墨",[36],48,{"id":101,"slug":102,"title":103,"dynasty":18,"author":19,"museum":104,"description":105,"tags":106,"thumbUrl":110,"material":34,"size":111,"collection":36,"collections":112,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":63},222621,"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2","藏地不详","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[71,72,23,73,107,7,26,24,25,76,77,31,108,109],"长卷","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg","纵28.8厘米，横404.1厘米",[36,83,113],"书法精选",23,{"id":116,"slug":117,"title":118,"dynasty":119,"author":46,"museum":120,"description":121,"tags":122,"thumbUrl":10,"material":60,"size":60,"collection":36,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":127},202825,"shan-shui-zhou-huang-bin-hong-202825","山水轴","近代","上海博物馆","这幅山水轴笔墨苍劲浑厚，意境幽远深沉。上部山峦层叠，以浓淡干湿的墨色皴擦点染，山体纹理交错，尽显雄奇厚重之态；山脚下溪流蜿蜒，屋舍隐于苍松翠柏间，岸边亭台小巧，林木错落有致，一派静谧的山居气象。画家运用积墨与破墨技法，墨色层次丰富，线条刚柔相济，既承传统山水的笔墨精髓，又融入个人对自然的深刻体悟，画面气韵生动，于苍莽中见清幽，引人步入林泉之境，心生向往。",[23,25,26,24,78,123,76,51,93,7,124,71],"屋舍","破墨",[36],21,"c2beb2",{"id":129,"slug":130,"title":131,"dynasty":119,"author":46,"museum":120,"description":132,"tags":133,"thumbUrl":135,"material":60,"size":60,"collection":36,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":138},202869,"kan-shu-tu-zhou-huang-bin-hong-202869","勘书图轴","这幅画以浑厚华滋的笔墨勾勒山水之韵，山峦层叠，皴擦与积墨交织，山石纹理苍劲古拙。山间云雾氤氲，似将峰峦轻笼，显深远之境。近景处松枝挺拔，亭台隐于林麓间，溪水绕石而过，静谧中藏生机。笔墨浓淡相宜，干湿互济，尽显自然灵秀与文人意趣，是画家晚年山水的典型风貌，于质朴中见深邃，于厚重中显清逸。",[23,25,24,26,7,78,134,77,31,71],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd938673ed4b5cb9ebb8ccb397d562c68.jpg",[36],16,"b5af99",{"id":140,"slug":141,"title":142,"dynasty":119,"author":46,"museum":120,"description":143,"tags":144,"thumbUrl":146,"material":60,"size":60,"collection":36,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":149},202809,"han-lin-wan-shan-tu-zhou-huang-bin-hong-202809","寒林晚山图轴","笔墨沉厚华滋，积墨层层晕染山峦，皴擦点染交织出山石苍劲肌理。寒林枝干虬曲古拙，溪流蜿蜒，飞瀑潺潺，屋舍隐于林麓间，添静谧生趣。远山云雾氤氲，虚实相生，苍茫幽深的晚山意境跃然纸上，尽显传统山水的浑厚气韵与文人雅趣。",[23,25,24,26,7,145,94,123,93,31,71],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfffa3f4b895034bf9d496806e1f4b65.jpg",[36],15,"bcbdae",{"id":151,"slug":152,"title":153,"dynasty":18,"author":154,"museum":120,"description":155,"tags":156,"thumbUrl":162,"material":60,"size":60,"collection":36,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},203144,"fang-gu-shan-shui-tu-ce-wang-yuan-qi-203144","仿古山水图册","王原祁","笔墨苍劲浑厚，山峦层叠间蕴古法之韵。山石以干笔积墨皴擦，纹理厚重朴拙；草木葱茏处见生机流动。构图疏密有致，远近景层次分明，追摹传统山水之余，亦融个人笔墨意趣，尽显“熟不甜、生不涩”的格调。山间林木错落，小径隐现，似藏隐逸之趣，整体气息古雅沉静，耐人寻味。",[25,157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