[{"data":1,"prerenderedAt":388},["ShallowReactive",2],{"subject-liu-bai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},78,"liu-bai","留白","留白画高清赏析","精选中国历代留白题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f5e84fe841cdd46f8330ca4574a4e3.jpg",0,24,[14,43,63,90,120,138,160,179,194,207,218,231,243,254,266,277,288,298,311,324,338,352,362,376],{"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":40,"zanCount":41,"manualWeight":11,"mainColor":42},221665,"han-jiang-du-diao-tu-ma-yuan-221665","寒江独钓图","宋","马远","日本京都国立博物馆","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[23,24,25,26,7,27,28,29,30,31,32],"高清","名画","国画","水墨","一角构图","人物","孤舟","蓑笠","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米","宋画精选",[36,38,39],"山水画精选","设色画精选",495,6,"795548",{"id":44,"slug":45,"title":46,"dynasty":18,"author":19,"museum":47,"description":48,"tags":49,"thumbUrl":57,"material":58,"size":59,"collection":36,"collections":60,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":42},221539,"xue-tan-shuang-lu-tu-ma-yuan-221539","雪滩双鹭图","台北故宫博物院","此图描绘雪后郊野水滨的景色。全图用笔苍劲有力，景物及白鹭皆以粗笔写出，不加刻意修饰却十分形象，白鹭的神态较为生动。全图构图严谨、造型生动、诗意盎然，为马远画中精品。\n画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应\n此图为江湖小景，梅枝斜出崖上。梅取折枝，并特别突出远折枝”成为它的突出风貌。图中近景的山石，以浓墨大斧劈勾皴点染， 远的山、水以淡墨勾染， 约略朦胧间自然拉开了空间远近的透视关系。梅树枝干虬曲，俯伸的拖枝一直探向水面，水边的几只鹭， 实际上是作为点缀物。画面境界十分幽远开阔。\n此图远处画雪山，空漯一片，近置溪流，冰棱历历，岸边枯荻老树参差，有数只白鹭闲憩，一样卷缩畏寒，表现了中国画习见的荒寒境界。此图亦体现出马远绘画简而刚的特点，山色溪涧皆在烟色微茫中，树取一枝，石取一角，溪出一湾。简率中透露出清旷之旨。用笔草草，只在写意，如树枝虬曲之态勾勒极为生动。\n此图以特写镜头式描绘双鹭在雪滩上栖息的情景。画中左侧上方画有巨石一角，下方还有奇石曲壁，在巨石与奇石之间伸出曲臂老梅一枝及一簇竹丛；在下边的水塘枯苇中有一对白鹭，一只藏在背风的石边苇子中，披着一身白羽，扭头张望，另一只在枯树干边缩颈御寒，虽然图中未见纷飞的雪花，确从老梅枝上的积雪及芦苇中的几处余雪，可见是雪后的河滩边，融雪更比下雪寒。一对白鹭或以静静栖息越冬，或已疲劳后同到雪滩来休息，在画面的上面有一对山雀在梅枝头，一只在俯首瞰视，一只刚落停枝头，发出喳喳叫声，因此引起苇塘中的白鹭昂首张望。但另一只毫无反映，只顾自己静静的酣睡。\n此图以禽鸟为山水之衬景，是融花鸟于山水及诗境的特殊表现形式。此图实景集中于左边角，崖壁与崎岖的石岸，配合着高悬其上的枯树，形成一个开阔的空间，将雪滩和白鹭涵纳其中，远山简单数笔，用淡墨烘出，空漾一片，写出了严寒的景象。\n此图与其他作品一样，在笔墨的运用上也很成功。作者用硬如曲铁的笔触来画树石，山石用浓墨勾出，以大斧劈及小斧劈画出石质坚硬，老梅枝曲枝有疏有密，又显苍老；芦苇用细笔淡墨画之。尤其对白鹭的描绘，在绢素本色上留白，淡墨轻勾，只有嘴及双腿用浓墨细笔画之，仔细观察羽毛绒绒，神态逼真，而且图中不只是一对可见的白鹭，主要是描写鹭鸟在雪滩上栖息时的静态。在梅枝头上的一对山雀，冬雪之后主要是描写他们在秃梅枝之问飞动栖伫的情况。上下两种鸟的姿态，是动静对比，也是画面上色差的对比。网右下方石际有马远款字。曾经明安桂坡、项元汴藏。",[23,25,50,24,26,51,7,52,53,54,55,56],"书画","皴法","雪景","滩涂","鹭鸟","枯树","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87344f3b4cf68fea492a2b2e78463c8c.jpg","绢本","纵60厘米，横38厘米",[36,61,39],"花鸟画精选",70,{"id":64,"slug":65,"title":66,"dynasty":67,"author":68,"museum":69,"description":70,"tags":71,"thumbUrl":84,"material":85,"size":86,"collection":87,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":42},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","元","倪瓒","北京故宫博物院","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[25,50,72,26,73,74,7,75,76,77,55,78,79,80,81,82,83],"立轴","山水","干笔皴擦","淡墨","远岫","林亭","房屋","山石","流水","题跋","行书","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纸本水墨","纵87.3厘米，横31.4厘米","",[],46,{"id":91,"slug":92,"title":93,"dynasty":67,"author":94,"museum":95,"description":96,"tags":97,"thumbUrl":113,"material":114,"size":115,"collection":38,"collections":116,"showCount":117,"zanCount":118,"manualWeight":11,"mainColor":119},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","方从义","费城艺术博物馆","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[25,50,98,26,51,99,82,73,100,101,102,103,104,105,56,106,107,108,109,7,110,111,81,112],"长卷","书法","山峦","云雾","树木","河流","小桥","亭台","植被","溪流","远山","近景","写意","笔墨","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","纸本,水墨","24.8x108cm",[38],35,1,"BDBDBD",{"id":121,"slug":122,"title":123,"dynasty":18,"author":19,"museum":124,"description":125,"tags":126,"thumbUrl":135,"material":87,"size":87,"collection":87,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":42},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","藏地不详","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,24,25,50,127,26,51,128,7,129,80,130,131,132,133,134],"花鸟","斧劈皴","竹","溪石","鸳鸯","静谧","雅致","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],32,{"id":139,"slug":140,"title":141,"dynasty":142,"author":143,"museum":47,"description":144,"tags":145,"thumbUrl":154,"material":155,"size":156,"collection":38,"collections":157,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":119},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴","清","董邦达","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,25,73,26,146,51,72,100,102,147,148,107,101,78,56,149,150,151,152,108,109,7,110,153],"设色","瀑布","亭","丛林","谷地","小径","苔点","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","白纸本","180.2x71.9厘米",[38,158],"水墨画精选",26,{"id":161,"slug":162,"title":163,"dynasty":67,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":174,"material":175,"size":87,"collection":39,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":178},219242,"han-lin-ji-xue-tu-chao-xian-jin-zhi-219242","寒林霁雪图","朝鲜·金禔","美国克利夫兰艺术博物馆","雪裹层岩，寒林疏枝横斜，墨色皴擦间晕开雪后空濛。左侧屋舍隐于林麓，似藏暖意；远岫如黛横陈，天际淡远，水面孤舟轻泛，更添清寂。笔意简淡却见深致，绢素上留白与墨韵交织，凝住霁雪后的清冷静谧——风过寒枝的微吟，雪落远山的轻响，仿佛都在这山水间流转，尽显空远之趣与隐者般的安然。每一处线条都藏着细腻心思，将雪霁后的天地凝作一幅清绝画卷，让观者沉湎于这份独有的静谧与悠远。",[23,24,25,50,73,26,51,7,168,169,170,76,29,171,172,132,173],"寒林","层岩","屋舍","雪霁","清寂","悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2991e912331c63c1479894bce4fc0cd.jpg","绢本,设色",[39],21,"37474F",{"id":180,"slug":181,"title":182,"dynasty":183,"author":184,"museum":185,"description":186,"tags":187,"thumbUrl":190,"material":87,"size":87,"collection":38,"collections":191,"showCount":192,"zanCount":11,"manualWeight":11,"mainColor":193},203294,"shan-shui-ce-hong-ren-203294","山水册","明","弘仁","上海博物馆","画面以简淡笔墨绘山水之姿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