[{"data":1,"prerenderedAt":97},["ShallowReactive",2],{"subject-jin-shi-qi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3555,"jin-shi-qi","金石气","金石气画高清赏析","精选中国历代金石气题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c5625c27b1bbdd537e79f97528a97f7.jpg",0,4,[14,40,61,78],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},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。",[23,24,25,26,27,28,29,30,31,32,33,7],"国画","山水画","水墨","积墨","皴法","山峦","虬松","石径","流泉","苍浑厚重","浑厚华滋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9425349f2172fa199c0abd1fed94e642.jpg","纸本水墨","",[],63,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":10,"material":52,"size":58,"collection":36,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":39},232785,"zhuan-shu-xu-shi-shuo-wen-zhao-zhi-qian-232785","篆书许氏说文","清","赵之谦","北京故宫博物院","赵之谦篆书许氏说文叙册。纸本，纵32.4cm，横57.5cm。每页10行，行4字。此册篆书节录汉许慎《说文解字叙》一段，末开识云：“方壶属书此册，故露笔痕以见起讫转折之用。”\n从赵之谦识语推测，此册当是为弟子习字用所书范本，上款方壶应为其弟子或爱其书者。此册书法结构谨严，篆法精丽，起讫之处未用藏锋，其意为使弟子易见笔法之踪痕，却获得了一种意外的效果，使之不同于一般篆书之圆润流美，自具特色。同时，此册笔力健劲，使转自如，将北碑书法融于篆书之中，也为赵氏书法之一大特色。本册具体书写时间不详，但从书法风格及为弟子书写范本的情况看，当为赵氏中年以后作品，是赵之谦具有代表性的篆书作品之一。\n释文:黄帝之史仓颉，见鸟兽蹄迒之迹，知分理之可相别异也。初造书契，百官以乂，万民以察，盖取诸夬夬扬于王庭。言文者，宣教明化于王者，朝廷君子所以施禄及下，居德则忌也。仓颉之初作书，盖依类象形，故谓之文。其后形声相益，即谓之字。字者，言孳乳而浸多也。著於竹帛谓之书。书者，如也。以讫五帝三王之世，改易殊体，封于秦山者七十有二代，靡有同焉。周礼八岁（入）小学，保氏教国子先以六书。一曰指事。指事者，视而可识，察而可见，上下是也。二曰象形。象形者，画成其物，随体诘诎，日月是也。三曰形声。形声者，以事为名，取辟相成，江河是也。四曰会意。会意者，比类合谊，以见指撝，武信是也。五曰转注。转注者，建类一首，同意相受，考老是也。六曰假借。假借者，本无其字，依声托事，令长是也。及宣王太史籀著大篆十五篇，与古文或异，至孔子书六经，左邱明述春秋传，皆以古文厥意可得而说。许氏说文叙。",[49,50,51,52,53,7,54,55,56,57],"书法","篆书","墨笔","纸本","册页","中锋用笔","隶书笔意","古朴","浑厚","纵32.4cm，横57.5cm",[],18,{"id":62,"slug":63,"title":64,"dynasty":44,"author":65,"museum":66,"description":67,"tags":68,"thumbUrl":75,"material":36,"size":36,"collection":36,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":39},232796,"shu-fa-ce-ye-wu-chang-shuo-232796","书法册页","吴昌硕","藏地不详","吴昌硕（1844 —1927）原名俊，字昌硕，别号缶庐、苦铁等，浙江安吉人。我国近、现代书画艺术发展过渡时期的关键人物，诗、书、画、印四绝的一代宗师，晚清民国时期著名国画家、书法家、篆刻家，与任伯年、赵之谦、虚谷齐名为清末海派四大家。吴昌硕的艺术别辟蹊径、贵于创造，最擅长写意花卉，他以书法入画，把书法、篆刻的行笔、运刀、章法融入绘画，形成富有金石味的独特画风。他以篆笔写梅兰，狂草作葡萄，所作花卉木石，笔力敦厚老辣、纵横恣肆、气势雄强，构图也近书印的章法布白，虚实相生、主体突出，画面用色对比强烈。",[49,69,70,25,7,71,72,73,74],"册","行书","篆隶笔意","笔力雄健","墨色浓淡","线条苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1f5359a1b1bda2e1890ee62746457.jpg",[],12,{"id":79,"slug":80,"title":81,"dynasty":44,"author":65,"museum":82,"description":83,"tags":84,"thumbUrl":93,"material":36,"size":36,"collection":36,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":96},202448,"shao-yao-tu-zhou-wu-chang-shuo-202448","芍药图轴","上海博物馆","这幅画作以篆籀笔法入画，线条苍劲如铁，暗含篆刻的金石韵味。芍药花瓣晕染饱满鲜活，红妍黄艳与浓墨泼写的叶片相映成趣，艳而不俗；山石以大写意泼墨淡彩勾勒，轮廓粗犷朴拙，与花卉的灵动互补。构图错落疏密有致，尽显文人画的雅致生机，传递出对自然生机的独到体悟与艺术张力。",[23,85,86,87,25,88,89,90,7,91,92],"花鸟","设色","立轴","篆刻","大写意","以书入画","芍药","高清","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc0917ac5899e229f371f49bdbdab88.jpg",[],2,"b7b2a8",1777535758766]