[{"data":1,"prerenderedAt":103},["ShallowReactive",2],{"subject-lou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2019,"lou","楼","楼画高清赏析","精选中国历代楼题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb953175d24141d5d066e9529bc86f4e2.jpg",0,4,[14,42,63,82],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗","清","石涛","北京故宫博物院","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[23,24,25,26,27,28,29,7,30,31,32,33,34,35],"书画","书法","行书","水墨","印章","雨","云","青山","洲","树影","落日","明月","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg","","书法精选",[38],15,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":18,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":58,"material":59,"size":60,"collection":37,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":41},240146,"wang-wen-zhi-shi-zhou-wang-wen-zhi-240146","王文治诗轴","王文治","藏地不详","王文治（1730—1802），字禹卿，号梦楼，江苏丹徒人。工书法，以风韵胜。有《梦楼诗集》《快雨堂题跋》，清代书法家、诗人。\n曾随翰林侍读全魁至琉球。乾隆二十五年进士，授编修，擢侍读，官至云南临安知府。罢归，自此无意仕进。不到五十岁，即究心佛学。有《梦楼诗集》《快雨堂题跋》。",[23,24,50,25,26,27,51,34,52,7,53,54,55,56,57],"立轴","夕阳","风","露","林","山","池","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c69947ad47c602df83f34bd3c1ae3e7.jpg","未知","Xcm*Xcm",[],3,{"id":64,"slug":65,"title":66,"dynasty":18,"author":67,"museum":68,"description":69,"tags":70,"thumbUrl":77,"material":78,"size":79,"collection":37,"collections":80,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":37},220700,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220700","凤阿山房图册","吴历,朱彝尊,陆遵等","香港中文大学文物馆","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[71,72,23,73,25,74,24,27,55,75,34,7,76],"高清","国画","册","楷书","竹","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d90d3bc41658b1878f3e8c47ba62d2.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],2,{"id":83,"slug":84,"title":85,"dynasty":18,"author":86,"museum":47,"description":87,"tags":88,"thumbUrl":100,"material":59,"size":60,"collection":37,"collections":101,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":41},240479,"fa-shi-shan-shi-zhou-yi-ming-240479","法式善诗轴","佚名","此作用笔灵动秀雅，提按顿挫富于变化，牵丝映带自然舒展，字字顾盼生姿，行气贯通流畅。以行书书自作诗篇，笔墨与诗意相融无间，将古寺林泉的清寂禅意诉诸笔端。\n\n章法排布疏密得宜，正文大字萧散简远，落款小字清雅端凝，二者相映成趣，尽显文人逸致。整幅作品意韵悠长，笔墨间漫溢出幽淡出尘的林下之风，尽显书写者的文人修养，是极具韵致的行书佳构。",[24,25,50,26,27,89,90,91,92,93,94,95,96,97,7,98,99],"红墙","古寺","楼阁","花","孤石","江湖","钟磬","僧","家","路","书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3491ad0f926bdea271c18da54c29375b.jpg",[],1,1777535760795]