[{"data":1,"prerenderedAt":181},["ShallowReactive",2],{"subject-qing-lv-shan-shui":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2114,"qing-lv-shan-shui","青绿山水","青绿山水画高清赏析","精选中国历代青绿山水题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133d85b7d57ef664bb53943b0569dc8c.jpg",0,7,[14,52,77,105,124,145,160],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":44,"material":45,"size":46,"collection":47,"collections":48,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,7,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43],"高清","名画","国画","长卷","设色","工笔","山峦","江河","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","人物","亭台","烟波","曲径","茅屋","游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","",[],1322,12,"795548",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":68,"material":69,"size":70,"collection":71,"collections":72,"showCount":74,"zanCount":75,"manualWeight":11,"mainColor":76},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）","清","郎世宁","台北故宫博物院","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,25,28,27,7,61,38,62,63,64,65,66,67],"时令图","楼阁","庭院","山水","树木","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg","绢本设色","188.2*102.2cm","山水画精选",[71,73],"设色画精选",91,1,"BDBDBD",{"id":78,"slug":79,"title":80,"dynasty":56,"author":81,"museum":82,"description":83,"tags":84,"thumbUrl":102,"material":47,"size":47,"collection":47,"collections":103,"showCount":104,"zanCount":75,"manualWeight":11,"mainColor":76},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","藏地不详","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[25,85,86,87,27,64,88,89,65,90,91,92,7,93,94,95,96,97,98,99,100,101],"书画","扇面","青绿","流水","孤舟","山石","云雾","亭","设色山水","扇面画","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],53,{"id":106,"slug":107,"title":108,"dynasty":56,"author":109,"museum":58,"description":110,"tags":111,"thumbUrl":119,"material":120,"size":121,"collection":71,"collections":122,"showCount":123,"zanCount":75,"manualWeight":11,"mainColor":76},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[25,85,24,112,7,113,28,27,64,62,114,90,65,38,63,115,116,117,118],"立轴","界画","宫殿","路径","建筑","书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","绢本,设色","43.4×42.3cm",[71],36,{"id":125,"slug":126,"title":127,"dynasty":56,"author":128,"museum":129,"description":130,"tags":131,"thumbUrl":140,"material":141,"size":142,"collection":47,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":51},222963,"hong-lou-meng-88-sun-wen-222963","红楼梦88","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,28,27,7,132,133,134,64,135,65,136,137,138,139],"人物画","美人","仕女","奇石","芭蕉","楼台","园林","红楼梦情节","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81dd96b93bcf696156383a370be35d1.jpg","绢本","纵43.3厘米、横76.5厘米",[],20,{"id":146,"slug":147,"title":148,"dynasty":56,"author":149,"museum":150,"description":151,"tags":152,"thumbUrl":157,"material":120,"size":47,"collection":47,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":51},215977,"di-jian-tu-shuo-cai-hui-ben-26-yi-ming-215977","帝鉴图说彩绘本-26","佚名","法国国家图书馆","画面以山水为底色，蓝绿山峦层叠起伏，云雾似轻柔白练缠绕其间，将远景晕染得缥缈空灵。中部朱檐翠瓦的建筑隐于林树间，飞檐翘角与自然景致相融，透着静谧庄重。近景处人物活动鲜活：或策马扬尘，衣袂随马蹄翻动；或引弓瞄准，姿态劲健；或围聚交谈，神态各异。衣纹线条细腻流畅，色彩明丽却不失古雅，青绿主调衬出场景的生动与厚重。笔墨间既见传统工笔的精致，又含叙事的鲜活感，仿佛一段历史场景徐徐铺展，让观者于方寸间窥见往昔的鲜活片段。",[25,27,28,7,64,62,38,153,154,65,155,156],"马","古道","云","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828163e74e0e92445ca9c725de2ad551.jpg",[],3,{"id":161,"slug":162,"title":163,"dynasty":56,"author":149,"museum":82,"description":164,"tags":165,"thumbUrl":176,"material":177,"size":178,"collection":47,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":76},238880,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238880","清人善巴拉王菩萨像轴","这幅唐卡以饱满构图铺陈神性图景，主尊面生虬髯、怒目圆睁，身着错彩缕金的宝衣法饰，坐于夜叉身上，尽显威赫富足的气度。上方天界祥云缭绕，护法与祖师分置左右，呼应出世净土意涵；下方衬以青绿山水、梵宇花木，烟火意趣与神域庄严相融。画师以天然矿物颜料施色，朱红、石青、石绿浓艳厚重，金线勾饰衣纹宝相纹样，细节处分毫毕现，既恪守藏地造像仪轨，又以鲜活的色彩层次，将招财纳福的祈愿凝于画面，宗教肃穆与审美意趣浑然一体。",[166,167,27,168,169,38,170,171,172,173,7,62,174,175],"唐卡","宗教","矿物颜料","金线勾勒","善巴拉王菩萨","夜叉","护法","祖师","花木","招财纳福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f90c5b9144643927eacb247a4865b2.jpg","未知","Xcm*Xcm",[],2,1777535741925]