[{"data":1,"prerenderedAt":110},["ShallowReactive",2],{"subject-qi-shu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3874,"qi-shu","漆书","漆书画高清赏析","精选中国历代漆书题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e06d86f797680d46d9d80a553a1685.jpg",0,8,[14,41,56,66,76,86,94,102],{"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":39,"zanCount":11,"manualWeight":11,"mainColor":40},222708,"mei-hua-tu-zhou-jin-nong-222708","梅花图轴","清","金农","藏地不详","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,24,25,26,27,28,29,30,31,32,7],"高清","国画","立轴","水墨","写意","梅","枝干","孤石","印章","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg","纸本","61cmx33cm","花鸟画精选",[36,38],"设色画精选",77,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":18,"author":19,"museum":20,"description":45,"tags":46,"thumbUrl":49,"material":50,"size":51,"collection":52,"collections":53,"showCount":54,"zanCount":55,"manualWeight":11,"mainColor":40},239933,"jin-nong-xiang-he-jing-zhou-jin-nong-239933","金农相鹤经轴","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[47,25,32,48,7,26],"清代","隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b3656d42a4a75794538d78fd3eb256.jpg","未知","Xcm*Xcm","",[],49,1,{"id":57,"slug":58,"title":59,"dynasty":18,"author":19,"museum":60,"description":21,"tags":61,"thumbUrl":10,"material":34,"size":63,"collection":52,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":40},222704,"shu-fa-li-zhou-jin-nong-222704","书法立轴","上海朵云轩",[23,47,32,25,7,48,62,31],"文字","122×45cm",[],28,{"id":67,"slug":68,"title":69,"dynasty":18,"author":19,"museum":20,"description":70,"tags":71,"thumbUrl":72,"material":50,"size":51,"collection":52,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":75},230241,"xiang-he-jing-jin-nong-230241","相鹤经","本幅摘录《相鹤经》，书于乾隆十七年（1752年），金农时年66岁。作品横划扁平粗壮，起笔、收笔处着意直切成形，直划、长撇、勾划等细劲锋利，体势方厚、凝重，浓黑的墨色与字间的空白形成鲜明的对比，视觉效果强烈，为金农“漆书”的典型风格。",[23,32,48,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b63214b9fe5a26d832c5db18b7cd625.jpg",[],15,"795548",{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":20,"description":45,"tags":80,"thumbUrl":83,"material":50,"size":51,"collection":52,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":75},230239,"qi-shu-sheng-zhong-jiao-shi-ji-ye-jin-nong-230239","漆书盛仲交事迹页",[23,32,81,7,48,82,47,62],"书画","册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc594439da4b050225b4bde7e8d8f82cf.jpg",[],14,{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":20,"description":45,"tags":90,"thumbUrl":91,"material":50,"size":51,"collection":52,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":40},241039,"lu-yu-zhou-jin-nong-241039","录语轴",[25,32,48,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcda2797e759145c4309370f78080f8e2.jpg",[],13,{"id":95,"slug":96,"title":97,"dynasty":18,"author":19,"museum":20,"description":45,"tags":98,"thumbUrl":99,"material":50,"size":51,"collection":52,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":40},240378,"zhou-li-zhi-fang-pian-zhou-jin-nong-240378","周礼职方篇轴",[32,48,7,25,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f611b02cde43ff11be74bd622f04353.jpg",[],11,{"id":103,"slug":104,"title":105,"dynasty":18,"author":19,"museum":20,"description":45,"tags":106,"thumbUrl":108,"material":50,"size":51,"collection":52,"collections":109,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":75},230240,"qi-shu-tao-xiu-shi-qing-yi-lu-mo-ben-jin-nong-230240","漆书陶秀寔清异录（摹本）",[23,32,7,25,48,26,107,31],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0fb7392e84c663d10f1cf126c872e8.jpg",[],1777535738874]