[{"data":1,"prerenderedAt":99},["ShallowReactive",2],{"subject-lun-dao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4139,"lun-dao","论道","论道画高清赏析","精选中国历代论道题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e2d076740b9bf0b6ffda59a11b9da0.jpg",0,5,[14,40,58,74,85],{"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":38,"zanCount":11,"manualWeight":11,"mainColor":39},288349,"fang-ma-yuan-dong-tian-lun-dao-tu-yi-ming-288349","仿马远洞天论道图","宋","佚名","藏地不详","此作截取山林一角取景，虬松盘桓苍劲，松萝垂拂摇曳，尽显古木苍莽野趣。幽壑洞天深处，二人相对清谈，逸韵飘然恍如世外。右下角山道之上，负杖策蹇的行者缓行而来，似赴雅约，动静之间，让画面生出悠远意趣。\n\n笔墨承袭院体风骨，山石以硬劲水墨皴擦，棱线清刚利落，林木晕染秀润柔和，虚实相映间，铺展出林泉高隐的悠然意境，将文人林下谈玄、寄情丘山的雅逸襟怀尽数铺陈，空灵雅致，尽显宋画小品的隽永韵味。",[23,24,25,26,27,28,29,30,31,7,32],"扇面","国画","名画","水墨","皴法","山水","古松","山石","人物","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f673a57d4c4662982d4368a198aef3.jpg","未知","Xcm*Xcm","",[],52,"F48FB1",{"id":41,"slug":42,"title":43,"dynasty":44,"author":19,"museum":20,"description":45,"tags":46,"thumbUrl":54,"material":36,"size":36,"collection":36,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":57},232696,"song-yin-lun-dao-tu-zhou-yi-ming-232696","松荫论道图轴","元","画作以层叠飞瀑串起幽深山峦，古松虬曲苍劲，斜探山坳。松荫下二人对坐，一人垂耳静聆，一人挥袖长谈，雅意暗生。山石以斧劈皴勾勒晕染，尽显雄浑厚朴，山林以浓淡墨色分出虚实层次，铺就空寂清远的山野氛围。\n\n整幅以动衬静，飞瀑流泉的喧腾，更衬出松下晤谈的安谧超脱，将林下隐逸的雅趣融于丘壑间，尽显萧散简远的山水意韵，把出世林下的风流逸致，尽数绘于绢素之上。",[47,24,48,49,26,27,28,31,50,51,52,53,7],"高清","书画","立轴","松","瀑布","岩石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a886a55177591ac8990b09ff254c510.jpg",[],21,"795548",{"id":59,"slug":60,"title":61,"dynasty":18,"author":19,"museum":62,"description":63,"tags":64,"thumbUrl":10,"material":70,"size":71,"collection":36,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":57},223454,"shan-po-lun-dao-tu-ye-yi-ming-223454","山坡论道图页","北京故宫博物院","这幅画站在山中间，有几根竹枝。 左侧像桃花。 一个和尚和一个男人隐约出现； 一个和尚和一个男人在客厅里说话，画着一个拿着棍子听着的男孩，他身后是树。",[47,24,65,26,27,66,28,31,67,68,30,69,7],"设色","册","枯树","竹","印章","绢本，水墨","20X20",[],17,{"id":75,"slug":76,"title":61,"dynasty":18,"author":19,"museum":62,"description":77,"tags":78,"thumbUrl":80,"material":81,"size":82,"collection":36,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":57},234000,"shan-po-lun-dao-tu-ye-yi-ming-234000","这幅画描绘了山中一块平坦的地方，有几根竹枝。 左侧形似桃花，隐隐现出屋脊； 一个僧人和一个人坐在石头上，坐着说话，画的右边，一个男孩站着，拿着棍子听着，身后岩石上的树枝细细弯曲。 这幅画的风格与夏圭相似。",[24,48,66,26,65,31,28,68,79,69,27,7],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","绢本设色","20X20cm",[],11,{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":20,"description":91,"tags":92,"thumbUrl":95,"material":34,"size":35,"collection":36,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":98},287442,"qiu-jiang-lun-dao-tu-ding-yun-peng-287442","秋江论道图","明","丁云鹏","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,24,48,65,28,31,93,53,94,69,27,7],"树木","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa9414f96ce5c74dd7c82367b21521f.jpg",[],6,"BDBDBD",1777535752309]