[{"data":1,"prerenderedAt":257},["ShallowReactive",2],{"subject-qian-tan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},924,"qian-tan","浅滩","浅滩画高清赏析","精选中国历代浅滩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733fd33e8ff74794355bde213038abf5.jpg",0,10,[14,65,90,124,142,160,176,193,216,242],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":56,"material":57,"size":58,"collection":59,"collections":60,"showCount":62,"zanCount":63,"manualWeight":11,"mainColor":64},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","明","丁玉川","台北故宫博物院","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,7,46,47,48,49,50,51,52,53,54,55],"高清","国画","设色","山水","工笔","孤舟","渔乐","竹","渔夫","远山","云雾","流水","岸","树","草","芦苇","小船","岸石","枯树","汀渚","渔人","舟楫","烟波","丛竹","近岸","远岫","霭气","水域","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米","山水画精选",[59,61],"水墨画精选",48,1,"795548",{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":20,"description":71,"tags":72,"thumbUrl":83,"material":84,"size":85,"collection":86,"collections":87,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":64},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","宋","萧照","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,73,74,26,25,75,28,34,7,76,77,78,79,80,81,82],"名画","立轴","楼阁","远渚","山岩","峭壁","行人","烟岚","径路","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","绢本","纵179.3cm，横112.7cm","宋画精选",[86,59,88],"设色画精选",35,{"id":91,"slug":92,"title":93,"dynasty":94,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":117,"material":118,"size":119,"collection":120,"collections":121,"showCount":122,"zanCount":11,"manualWeight":11,"mainColor":123},223385,"gu-dai-shen-xian-shi-ba-dong-yi-ming-223385","古代神仙十八洞","清","佚名","藏地不详","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。",[23,73,24,99,100,101,26,102,103,104,105,106,107,108,7,109,110,111,112,113,114,115,116],"书画","长卷","水墨","披麻皴","峰峦","茂林","修竹","村居","田庐","溪谷","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",[120],29,"BDBDBD",{"id":125,"slug":126,"title":127,"dynasty":69,"author":95,"museum":128,"description":129,"tags":130,"thumbUrl":136,"material":137,"size":138,"collection":139,"collections":140,"showCount":141,"zanCount":63,"manualWeight":11,"mainColor":64},223447,"han-ting-luo-yan-tu-zhou-yi-ming-223447","寒汀落雁图轴","北京故宫博物院","图为寒冬枯树滩、野鸭、黑乌鸦、野雁。 老树枯干，几只黑乌鸦没能栖息； 野鸭在浅滩上成群结队，踱步，或觅食； 接吻雁扇动着翅膀飞了起来，以“一”字形飞向天涯。 这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[23,24,74,101,25,41,131,7,132,133,26,134,135],"鸿雁","寒林","水面","雪地","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","绢本，水墨","125.9＊92.6cm","花鸟画精选",[139,61],27,{"id":143,"slug":144,"title":145,"dynasty":146,"author":147,"museum":96,"description":148,"tags":149,"thumbUrl":154,"material":155,"size":156,"collection":157,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":64},287700,"yan-ai-qiu-she-tu-zhao-gan-287700","烟霭秋涉图","五代十国","赵幹","山谷间流水潺潺，五名行旅提挽裤脚，相继涉水渡溪，背后的树木已呈枯黄，后岭复重重环抱，此境益为幽深绝尘。旧传此幅为赵干之作。",[23,73,24,74,26,25,135,41,150,151,152,7,153,82],"山石","秋景","人物","烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc055bd98f69af8f1859b5cbed4321.jpg","未知","Xcm*Xcm","",[],19,{"id":161,"slug":162,"title":163,"dynasty":94,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":173,"material":157,"size":157,"collection":59,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":123},236730,"shan-shui-ce-hua-yan-236730","山水册","华嵒","美国弗瑞尔美术馆","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,101,25,82,168,169,170,26,150,171,7,172],"册","书法","印章","杂草","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fa25e4caf6ad41e71fda95c25e82d.jpg",[59,88],12,{"id":177,"slug":178,"title":179,"dynasty":94,"author":95,"museum":96,"description":180,"tags":181,"thumbUrl":191,"material":157,"size":157,"collection":157,"collections":192,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":123},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,99,168,101,25,82,26,77,182,28,183,184,32,185,186,34,187,188,189,7,190],"溪流","树木","亭阁","近石","房屋","小桥","近树","远峰","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":94,"author":197,"museum":96,"description":198,"tags":199,"thumbUrl":213,"material":157,"size":157,"collection":157,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":123},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","王翚","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[23,24,73,74,200,101,102,150,201,202,203,204,205,206,7,207,208,209,210,211,212],"山水画","崖壁","山谷","林木","屋舍","溪涧","乱石","静谧","闲雅","雄浑","秀逸","清旷","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],6,{"id":217,"slug":218,"title":219,"dynasty":220,"author":221,"museum":96,"description":222,"tags":223,"thumbUrl":238,"material":155,"size":156,"collection":239,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":123},225991,"on-the-cliff-at-pourville-1882-mo-nai-225991","On the Cliff at Pourville, 1882","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[73,224,225,226,227,228,229,230,231,232,233,234,235,7,236,237],"印象派","油画","光影捕捉","色彩融合","笔触松散","悬崖","海滩","水洼","岩石","苔藓","天空","海岸线","海水","云层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd5caab6c9a2e9966804884f6e8426.jpg","油画精选",[239],4,{"id":243,"slug":244,"title":245,"dynasty":220,"author":246,"museum":96,"description":247,"tags":248,"thumbUrl":254,"material":155,"size":156,"collection":157,"collections":255,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":256},232141,"houses-by-the-seaside-musee-d-orsay-france-de-jia-232141","Houses by the Seaside - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[225,224,25,249,250,186,251,7,252,253],"海滨","沙滩","蓝天","小丘","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796427ed2b0b9fc9fbe635484d3f14f.jpg",[],"37474F",1777535734020]