[{"data":1,"prerenderedAt":40},["ShallowReactive",2],{"subject-long-zhou-duo-biao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},14407,"long-zhou-duo-biao","龙舟夺标","龙舟夺标画高清赏析","精选中国历代龙舟夺标题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg",0,1,[14],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","元","吴廷晖","台北故宫博物院","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[23,24,25,26,27,28,29,30,31,32,7],"国画","立轴","界画","设色","龙舟","楼阁","山水","树木","船只","亭","绢本,设色","124.1x65.6","",[],38,3,"795548",1777535822006]