[{"data":1,"prerenderedAt":91},["ShallowReactive",2],{"subject-luo-shen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3162,"luo-shen","洛神","洛神画高清赏析","精选中国历代洛神题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",0,4,[14,47,67,82],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":45,"manualWeight":11,"mainColor":46},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","宋","佚名","美国弗利尔美术馆","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38,39],"高清","名画","国画","书画","长卷","设色","工笔","人物","美人","孤舟","流水","树木","云气","仙禽异兽","飞鸟","怅惘","神话场景","绢本,设色","24.2x310.9","人物画精选",[42],94,2,"BDBDBD",{"id":48,"slug":49,"title":50,"dynasty":51,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":61,"material":62,"size":63,"collection":64,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":46},289948,"luo-shen-fu-juan-zhao-meng-fu-289948","洛神赋卷","元","赵孟頫","藏地不详","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[24,25,26,27,56,57,58,7,59,31,60],"行书","书法","字帖","神话","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8139c393ba42d92a1104b63075d6602a.jpg","未知","Xcm*Xcm","",[],47,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":53,"description":73,"tags":74,"thumbUrl":79,"material":62,"size":63,"collection":64,"collections":80,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":46},287385,"luo-shen-fu-shu-hua-he-bi-juan-shou-juan-dong-qi-chang-287385","洛神赋书画合璧卷手卷","明","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,27,75,26,57,56,7,76,77,60,31,78],"手卷","洛神赋","神话人物","抒情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f190c9c6dafc6a2436407bd792cb11.jpg",[],18,{"id":83,"slug":84,"title":76,"dynasty":51,"author":52,"museum":53,"description":85,"tags":86,"thumbUrl":87,"material":62,"size":63,"collection":64,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":90},287409,"luo-shen-fu-zhao-meng-fu-287409","《洛神赋》用笔精纯、圆润，结体严谨、遒媚，章法平和、潇洒。赵孟頫师法“二王”，得其笔法，又结合自身的特点，其行书呈现出清俊、典雅之风，《洛神赋》亦是将他的审美理想呈现得淋漓尽致。在《洛神赋》中，“中和”之美充斥全篇，对后世书法艺术事业的发展影响深远。",[23,57,56,58,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e30e50d004b8cf4b03d24a4d7493f1.jpg",[],15,"795548",1777535758260]