[{"data":1,"prerenderedAt":129},["ShallowReactive",2],{"subject-qian-she-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1093,"qian-she-se","浅设色","浅设色画高清赏析","精选中国历代浅设色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbba2c443b2b6e43a0dfe40e72c7eb9cb.jpg",0,4,[14,52,89,111],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":43,"material":44,"size":45,"collection":46,"collections":47,"showCount":50,"zanCount":11,"manualWeight":11,"mainColor":51},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","宋","马远","台北故宫博物院","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[23,24,25,26,27,7,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42],"高清","国画","书画","工笔","水墨","边角构图","行书","印章","册页","明月","竹子","山石","人物","酒具","桌子","远山","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","绢本设色","纵25.5厘米，横25.7厘米","宋画精选",[46,48,49],"山水画精选","水墨画精选",220,"795548",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":20,"description":58,"tags":59,"thumbUrl":83,"material":84,"size":85,"collection":86,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":51},222039,"feng-yu-gui-zhou-tu-dai-jin-222039","风雨归舟图","明","戴进","在布局上，作者采用中轴线构图，高山置于画面右边。近景处，树木、山崖、归舟相互依照；中景处，芦苇、枯树、溪桥、村舍、竹林、远山错综而不杂乱；远景处，高山重叠，远山迷蒙，在雾气中若隐\n若现。画中虽然表现的是雨景，但景物自近而远，层次清楚明晰，将雨中急归之心表现得淋漓尽致。画面近处的岩石和归舟，一静一动，对比鲜明，使构图统一中有了变化，更加突出风雨归舟的主题。横跨两岸的溪桥使得左轻右重的景物连成一个整体。溪桥上冒雨赶路的农夫，被作者刻画得惟妙惟肖，一个个显示出匆忙急切的神态。中景处的芦苇更是突出了风势的狂猛劲厉。\n该图章法新奇独特而巧妙，笔墨兼工带写，显出豪放洒脱而湿润空的意境，成功表现了风雨交加的自然景色和特定环境中的人物情态。图中树石用笔刚劲犀利，气势雄壮，以大斧劈带水墨破刷出的山石，生动地表现出瘦硬多棱角的特征，强烈地显示了山石的质感和立体感，并运用虚实相生的手法，刻画出雨中山川的神奇境界和耸拔气象。近岸树木作者用了夹叶法和点叶法，芦苇和竹林用了撇笔介字点，一笔一画，笔笔到位，刻画出狂风中摇曳的形象。狂风大雨用大笔挥扫，增添了画面的气势，从豪纵的笔势之中，可以看出画家愤笔疾挥的饱满激情。\n画中戴进成功运用浅设色而水墨苍劲淋漓的技法，以横刮阔笔扫出狂风大雨， 所画斜风骤雨、树枝弯曲、逆舟雨伞，最充分地表现出狂风暴雨的运动感。作者对墨的浓淡干湿变化应用自如，雨暴风狂的气象于指腕间飒然而起，充分显示了画家的深湛功力和注重观察自然的可贵精神。",[23,24,60,61,27,7,62,63,64,65,66,67,68,69,70,71,72,73,74,38,75,76,77,78,79,80,81,82],"山水画","兼工带写","皴法","大斧劈皴","夹叶法","点叶法","高山","归舟","树木","山崖","芦苇","枯树","溪桥","村舍","竹林","岩石","狂风","骤雨","农夫","豪放洒脱","湿润空濛","急切","匆忙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33f9516f633907b22ad111e8d5e3ee4.jpg","绢本,水墨","纵143 厘米，横81.8 厘米","",[],46,{"id":90,"slug":91,"title":92,"dynasty":18,"author":93,"museum":20,"description":94,"tags":95,"thumbUrl":104,"material":105,"size":106,"collection":48,"collections":107,"showCount":108,"zanCount":109,"manualWeight":11,"mainColor":110},218704,"he-ting-shui-ge-tu-yi-ming-218704","荷汀水阁图","佚名","一个有学问的人在水榭里看荷花，一个渔夫在沙滩上扭动渔网。远处的山和湖各占一半，使画面平静而清晰。笔法是夏圭的遗产，所以这可能是一位大师的作品。",[23,24,96,25,97,27,62,98,99,100,101,102,68,38,103,7],"名画","册","山水","楼阁","汀洲","荷花","水","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60861a88d925828376c2dde8d09dbee.jpg","绢本,设色","22.9x23.6",[48],16,1,"BDBDBD",{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":126,"material":86,"size":86,"collection":86,"collections":127,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":110},238229,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238229","仿王翬山水册","清","曹夔音","藏地不详","此作用笔苍秀老辣，以披麻皴晕染山峦肌理，石骨硬朗不失温润质感。近溪错落排布屋舍林木，寥寥数笔点染出山居清寂之趣，远山晕以浅黛，虚实相映，晕染出空濛淡远的秋山氛围。\n\n整幅追摹古贤笔意，将林下幽居的静穆诗意融于尺幅之间，题跋诗文与绘景相得益彰，尽显文人画诗画交融的雅致意趣。笔墨间浸透着内敛沉静的古雅格调，铺陈出秋日山居萧散淡远的悠悠意境，观之如临其境，仿若可闻溪声林籁，沉潜于幽寂山居的澹泊况味中。",[24,25,98,97,27,62,34,68,120,121,38,122,123,124,7,125],"河流","云雾","近景","亭台","书法","传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a306cc9ec5feefb9c0dd7065e0a00b.jpg",[],10,1777535757531]