[{"data":1,"prerenderedAt":65},["ShallowReactive",2],{"subject-seng-pao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3082,"seng-pao","僧袍","僧袍画高清赏析","精选中国历代僧袍题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b77fffbd3df97a2f3f4068623a1de4.jpg",0,2,[14,43],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},217073,"ying-zhen-xiang-si-zhou-ding-yun-peng-217073","应真像四轴","明","丁云鹏","台北故宫博物院","用笔实而有力，颇具装饰意味。时年丁云鹏已经67岁了，这是他晚年的风格。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36],"国画","书画","立轴","宗教","人物","白描","水墨","工笔","松树","山石","印章","童子","罗汉","兽","纸本,水墨","141.4x66","人物画精选",[39],25,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":57,"material":58,"size":59,"collection":60,"collections":61,"showCount":62,"zanCount":63,"manualWeight":11,"mainColor":64},220120,"shi-liu-luo-han-tu-di-san-zun-zhe-jin-da-shou-220120","十六罗汉图-第三尊者","宋","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[52,23,25,26,27,53,30,54,7,55,56],"高清","设色","孤石","坐像","光头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5378c1d11a2d6b4a935b3bd48cd307.jpg","绢本,设色","118.8×51.7cm","",[],20,1,"795548",1777535787059]