[{"data":1,"prerenderedAt":298},["ShallowReactive",2],{"subject-po-mo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},119,"po-mo","泼墨","泼墨画高清赏析","精选中国历代泼墨题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a60329b4bcb24369e09baffb5aa3ca.jpg",0,19,[14,41,58,81,100,119,134,150,161,173,184,196,212,229,239,251,267,275,286],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","明","徐渭","藏地不详","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,25,26,27,28,29,7,30,31,32,33,34],"高清","国画","书画","立轴","水墨","写意","大写意","葡萄","藤蔓","叶子","书法","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg","",[],528,7,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":52,"material":53,"size":54,"collection":36,"collections":55,"showCount":56,"zanCount":57,"manualWeight":11,"mainColor":40},221608,"po-mo-xian-ren-tu-juan-liang-kai-221608","泼墨仙人图卷","宋","梁楷","台北故宫博物院","《泼墨仙人图》可以说是梁楷与画院画风决绝后,在绘画创作中自辟蹊径、独树一帜的具体体现。画面除面、胸部用细笔勾出轮廓外,其他皆用巨笔阔笔横扫,每一笔既有墨色的酣畅,又有水分的淋漓,十分纵肆狂放,已达到旁若无人的程度。从人物造型来看,作者有意夸张其头额部分,几乎占去整个头的三分之二,而把五官挤在下部很小的面积上,垂眉、细眼,鼻扁而大,嘴角下垂,既显得醉态可掬,却又诙谐滑稽,令人发笑,以生动的形象表现了作者的思想和生活态度,极尽嬉笑怒骂之态,从而体现了作品的思想深度。应该说梁楷画的不是“仙人”,而是他自己。",[23,24,25,27,7,50,51],"人物","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da57b80a95a59b5229a6aa6845663ed.jpg","白纸本","48×27公分",[],240,4,{"id":59,"slug":60,"title":61,"dynasty":62,"author":63,"museum":64,"description":65,"tags":66,"thumbUrl":74,"material":75,"size":36,"collection":76,"collections":77,"showCount":78,"zanCount":79,"manualWeight":11,"mainColor":80},216601,"mo-he-si-lian-ping-2-zhang-da-qian-216601","墨荷四联屏-2","民国","张大千","私人收藏","泼墨淋漓间，荷叶以焦墨泼洒，浓黑如漆却层次分明，边缘晕染淡墨朦胧，似雨打荷叶的湿润。荷花留白衬淡墨勾勒，花瓣舒展如凝脂，于浓墨丛中亭亭玉立，清妍脱俗。荷杆挺拔如剑，穿插有致，疏密藏章法。整幅墨韵流转，既有泼墨豪放，又含细腻笔触，将荷塘清幽与生机凝于尺幅。观之如临夏日清池，荷风拂面，心宁气静，尽显文人画雅致风骨，墨色浓淡间藏自然意趣，豪放与婉约相融，尽得笔墨之妙。",[24,27,67,7,68,69,70,71,72,73],"花鸟画","荷花","荷叶","荷杆","清幽","文人画","夏日荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b01bf97167e7cb59dfefbd32f1a87fd.jpg","纸本,设色","花鸟画精选",[76],181,1,"795548",{"id":82,"slug":83,"title":84,"dynasty":45,"author":85,"museum":86,"description":87,"tags":88,"thumbUrl":93,"material":94,"size":95,"collection":96,"collections":97,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":80},221459,"mo-long-juan-chen-rong-221459","墨龙卷","陈容","日本民间","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[23,24,27,89,90,91,92,28,7],"长卷","龙","云","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","绢本墨笔","185.8厘米×106.1厘米","宋画精选",[96,76,98],"水墨画精选",90,{"id":101,"slug":102,"title":103,"dynasty":104,"author":105,"museum":106,"description":107,"tags":108,"thumbUrl":114,"material":115,"size":116,"collection":36,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":40},232899,"xiao-xiang-feng-zhu-tu-li-zhou-li-fang-ying-232899","潇湘风竹图立轴","清","李方膺","南京博物院","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,109,24,25,26,27,28,7,110,111,112,113],"名画","竹子","风竹","孤石","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5644cd4993b2c84cb1ddba935665f65d.jpg","纸本水墨","纵168.3厘米 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