[{"data":1,"prerenderedAt":401},["ShallowReactive",2],{"subject-pi-ma-cun":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},384,"pi-ma-cun","披麻皴","披麻皴画高清赏析","精选中国历代披麻皴题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b4542a91b64d87b680c50fed884daf.jpg",0,22,[14,45,71,90,101,128,148,163,178,196,206,226,253,274,290,301,317,330,344,359,373,390],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","五代十国","董源","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。",[23,24,25,26,27,28,29,7,30,31,32,33,34,35],"高清","国画","书画","长卷","山水","水墨","设色","河流","树木","沙洲","孤舟","人物","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","绢本","纵50厘米，横141.4厘米","山水画精选",[39,41],"水墨画精选",763,14,"795548",{"id":46,"slug":47,"title":48,"dynasty":18,"author":19,"museum":49,"description":50,"tags":51,"thumbUrl":65,"material":66,"size":67,"collection":39,"collections":68,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":44},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","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。",[23,24,52,25,53,27,29,7,31,54,30,55,34,56,57,58,59,60,61,62,63,64],"名画","立轴","山石","村落","山峦","植被","溪流","民居","自然景观","传统技法","绢本设色","南派山水","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","绢","纵156厘米，横160厘米",[39,41],422,2,{"id":72,"slug":73,"title":74,"dynasty":18,"author":19,"museum":75,"description":76,"tags":77,"thumbUrl":85,"material":37,"size":86,"collection":39,"collections":87,"showCount":88,"zanCount":89,"manualWeight":11,"mainColor":44},221159,"xi-an-tu-dong-yuan-221159","溪岸图","美国大都会艺术博物馆","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[23,24,25,27,64,7,28,29,78,31,79,80,81,82,83,58,56,57,84],"岩石","流水","瀑布","亭","远山","近树","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[39,41],366,1,{"id":91,"slug":92,"title":93,"dynasty":18,"author":19,"museum":94,"description":95,"tags":96,"thumbUrl":97,"material":37,"size":98,"collection":39,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":44},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","辽宁省博物馆","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,52,25,26,27,79,33,31,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[39,41],309,{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":107,"description":108,"tags":109,"thumbUrl":122,"material":123,"size":124,"collection":39,"collections":125,"showCount":126,"zanCount":89,"manualWeight":11,"mainColor":127},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","清","弘仁","私人收藏","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[24,26,28,110,64,111,7,112,113,114,115,116,117,118,119,120,121],"山水画","折带皴","岩壑","奇松","礁石","涧溪","草堂","清润","冷隽","清逸","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","纸本,水墨","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[39,41],156,"BDBDBD",{"id":129,"slug":130,"title":131,"dynasty":132,"author":133,"museum":49,"description":134,"tags":135,"thumbUrl":142,"material":143,"size":144,"collection":39,"collections":145,"showCount":146,"zanCount":147,"manualWeight":11,"mainColor":127},218761,"shan-shui-tu-wu-zhen-218761","山水图","元","吴镇","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[23,52,24,28,27,7,54,136,35,137,120,138,139,140,141],"林木","印章","禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u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湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,52,24,25,53,28,29,64,7,27,156,157,35,78,158,31,58,159,34],"山","水","松树","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],72,{"id":164,"slug":165,"title":166,"dynasty":105,"author":167,"museum":20,"description":168,"tags":169,"thumbUrl":173,"material":174,"size":175,"collection":39,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":127},237575,"shan-shui-zhou-wang-shi-min-237575","山水轴","王时敏","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[52,24,25,53,28,27,170,136,58,171,159,7,172],"峰峦","小桥","点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纸本，墨笔","纵135厘米，横63厘米",[39,41],62,{"id":179,"slug":180,"title":181,"dynasty":105,"author":182,"museum":49,"description":183,"tags":184,"thumbUrl":192,"material":143,"size":193,"collection":41,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":44},219383,"qiu-shan-tu-wang-jian-219383","秋山图","王鉴","层岩叠嶂如涛涌，披麻皴笔细腻摹写山骨纹理，墨色晕染间丘壑纵深自现。林木葱茏却带秋意，松针攒簇似含霜，杂树疏枝显萧疏，溪畔谷侧隐见茅舍几间，小径蜿蜒穿林渡涧，流水潺潺石上轻响。笔墨皴擦点染兼备，古雅清润，气韵浑成，将秋日山林的静谧深远与文人栖居的悠然意趣融于尺幅之间，尽显传统山水的笔墨神韵与诗意栖居之境。",[52,24,25,53,110,28,7,64,185,186,187,188,79,189,141,190,191],"层岩叠嶂","山林","茅舍","小径","秋意","悠然","文人栖居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4187b4bef912c8599d2b17b363609c.jpg","111.1x48.3",[41],52,{"id":197,"slug":198,"title":199,"dynasty":18,"author":152,"museum":49,"description":200,"tags":201,"thumbUrl":202,"material":143,"size":203,"collection":39,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":127},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,28,29,27,81,156,31,78,35,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[39],47,{"id":207,"slug":208,"title":209,"dynasty":210,"author":211,"museum":153,"description":212,"tags":213,"thumbUrl":223,"material":144,"size":144,"collection":144,"collections":224,"showCount":225,"zanCount":11,"manualWeight":11,"mainColor":127},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","明","赵左","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,53,110,29,28,7,214,215,33,216,116,31,217,54,218,82,219,220,221,222],"工笔","写意","垂钓","芦苇","湖水","文人","读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],30,{"id":227,"slug":228,"title":229,"dynasty":105,"author":230,"museum":153,"description":231,"tags":232,"thumbUrl":247,"material":248,"size":249,"collection":250,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":127},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","佚名","此作为书画合璧手卷，山水以全景铺陈，披麻皴绘峰峦浑厚苍润，茂林修竹遍布丘壑，村居田庐错落溪谷之间，烟波澹澹漾于浅滩，将洞天幽寂出尘的隐逸之境尽皆铺展，尽显林泉高致。\n\n满卷狂草题跋与山水相映，笔势奔放纵逸，枯湿浓淡间墨色富于变化，跌宕的笔意打破山水的静穆，书画相生相融。整体既带着道家洞天的清寂闲雅，又饱含文人以笔遣怀的酣畅意气，把出世雅趣与笔墨风神糅合一处，尽显传统文人的精神意趣。",[23,52,24,25,26,28,27,7,170,233,234,235,236,237,238,239,240,241,242,243,244,245,246],"茂林","修竹","村居","田庐","溪谷","浅滩","草书","狂草","道家","隐逸","林泉高致","清寂闲雅","文人意趣","出世雅趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8597d140b6ab4f6c62fb17633e69fe0.jpg","纸本","26x717","书法精选",[250],29,{"id":254,"slug":255,"title":256,"dynasty":257,"author":258,"museum":94,"description":259,"tags":260,"thumbUrl":271,"material":62,"size":272,"collection":144,"collections":273,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":44},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548","秋窗读易图","宋","刘松年","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,110,261,214,262,7,263,29,264,265,266,54,31,267,219,268,269,270,120,137],"扇面","斧劈皴","青绿","夹叶法","书斋","湖光水色","童子","读书场景","清幽","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":275,"slug":276,"title":277,"dynasty":105,"author":278,"museum":153,"description":279,"tags":280,"thumbUrl":287,"material":144,"size":144,"collection":144,"collections":288,"showCount":289,"zanCount":89,"manualWeight":11,"mainColor":127},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","王翚","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[23,52,24,110,53,7,281,29,54,136,282,283,284,242,285,286],"兼工带写","茅庐","清溪","山谷","清寂","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],17,{"id":291,"slug":292,"title":293,"dynasty":105,"author":167,"museum":153,"description":294,"tags":295,"thumbUrl":298,"material":144,"size":144,"collection":144,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":44},224426,"fang-huang-zi-jiu-bi-yi-wang-shi-min-224426","仿黄子久笔意","此作用笔苍润松秀，以干笔皴擦勾勒山峦肌理，墨色层染清和淡雅，复刻出元人山水的萧散意趣。画面取高远平远结合之景，主峰巍峨矗立，山间留白以烟岚晕染，将重山包裹得灵动悠然。溪渚蜿蜒穿林而过，村居错落藏于茂林幽谷，坡岸林木扶疏，点染出江南山水温润清和之态。整体气息淡逸空灵，既追摹原作的简远苍浑，又融入自身温厚娴静的笔致，将文人寄情林泉、追慕古意的襟怀，尽藏在这尺幅江山之中。",[23,24,25,53,27,296,64,7,31,79,297,156,171],"临摹","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1003f8fca3fdf7c2b59be1131c6e8ea9.jpg",[],13,{"id":302,"slug":303,"title":304,"dynasty":105,"author":230,"museum":153,"description":305,"tags":306,"thumbUrl":314,"material":144,"size":144,"collection":144,"collections":315,"showCount":316,"zanCount":11,"manualWeight":11,"mainColor":127},230328,"wu-yi-shan-shi-ba-jing-tu-yi-ming-230328","武夷山十八景图","此作用淡墨浅绛绘就，清润雅致。山石以披麻皴写就，勾勒皴擦间尽显武夷丹霞奇秀之姿。\n左上巉岩叠嶂，山居隐于林麓水湄；右上平畴村舍错落，江帆远渡，晕开烟火野趣。左下危峰兀立，碧水蜿蜒，渔舟泛波，尽显山水灵动；右下云岚轻笼丘壑，村居散缀林间，愈见幽寂淡远。\n四段连幅铺展武夷胜景，将山川雄奇与村居闲逸融为一体，笔致松秀空灵，意境萧散简远，把武夷兼具的灵秀清旷与烟火意趣娓娓铺陈，尽显淡和天真的山水逸致。",[23,24,25,110,28,29,7,54,79,33,235,307,308,309,310,311,312,313],"江帆","渔舟","云岚","丘壑","灵秀",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