[{"data":1,"prerenderedAt":57},["ShallowReactive",2],{"subject-ju-yin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},6626,"ju-yin","聚饮","聚饮画高清赏析","精选中国历代聚饮题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",0,2,[14,42],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},287755,"yue-xia-ba-bei-tu-ma-yuan-287755","月下把杯图","宋","马远","藏地不详","这幅马远传世精品《月下把杯图》，虽只一开册页，然画面“小中见大”，笔墨颇见生动精逸之境。此构图看似平夷，实则“平中生险”，尽显山涧深峻幽险之气。此图所绘的是十五中秋美景之夜，一轮圆月高挂空中，照的天地是那么的明亮。在这“每逢佳节倍思亲”的美景月下，恰逢远方多年不见的好友佳节来访，这让刚刚还在睹物思友的主人家中，立即增添了极大的精神欢乐。有诗句曰：“得好友来如对月，有奇书读胜观花”，似乎正是这个意境。\n画面上的主人，体态轻盈，举止文雅，面如春风，手中把杯迎友，显得是那么的亲密愉快。旁有四童仆，一侍立待呼，一侍果备用，另一侍酒小童，正在回望另一侍琴上台阶的半隐文童。整幅画面虽只写主仆六人，然内含笔墨神态各异，颇具生动真趣。月下空旷的山林是那么的幽雅静谧，然而月色中，依旧挡不住这欢愉间的良辰和美酒。",[23,24,25,26,27,28,29,30,7,31,32,33],"名画","国画","书画","设色","人物","明月","竹","饮酒器","书法","印章","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5828b63db994147999e5823f6ea3bf59.jpg","未知","Xcm*Xcm","",[],50,1,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":10,"material":37,"size":37,"collection":37,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":41},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","元","唐棣","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[23,24,25,50,26,51,52,53,54,27,7],"立轴","皴法","山水","老树","松",[],21,1777535784501]