[{"data":1,"prerenderedAt":72},["ShallowReactive",2],{"subject-nan-pai-shan-shui":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},946,"nan-pai-shan-shui","南派山水","南派山水画高清赏析","精选中国历代南派山水题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc108a3697c756f50df7a5a947b0e252.jpg",0,2,[14,52],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":44,"material":45,"size":46,"collection":47,"collections":48,"showCount":50,"zanCount":12,"manualWeight":11,"mainColor":51},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","五代十国","董源","台北故宫博物院","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,7,43],"高清","国画","名画","书画","立轴","山水","设色","披麻皴","树木","山石","河流","村落","人物","山峦","植被","溪流","民居","自然景观","传统技法","绢本设色","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","绢","纵156厘米，横160厘米","山水画精选",[47,49],"水墨画精选",422,"795548",{"id":53,"slug":54,"title":55,"dynasty":18,"author":19,"museum":56,"description":57,"tags":58,"thumbUrl":66,"material":67,"size":68,"collection":47,"collections":69,"showCount":70,"zanCount":12,"manualWeight":11,"mainColor":71},221155,"xiao-xiang-tu-dong-yuan-221155","潇湘图","北京故宫博物院","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,24,59,26,60,61,29,43,28,62,63,64,35,65,7],"长卷","山水画","水墨","沙洲","苇渚","渔舟","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg","绢本","纵50厘米，横141.4厘米",[47,49],204,"BDBDBD",1777535780765]