[{"data":1,"prerenderedAt":109},["ShallowReactive",2],{"subject-shan-cun":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},710,"shan-cun","山村","山村画高清赏析","精选中国历代山村题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730d08505db1d860f7b3744f4751f982.jpg",0,5,[14,43,61,79,93],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},289658,"xue-hou-shan-cun-tu-li-cheng-289658","雪后山村图","宋","李成","藏地不详","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35],"名画","国画","书画","立轴","水墨","山水画","皴法","雪景","雪山","枯树","房屋","流水","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0607d079de16ecca9ed7e4b968863dce.jpg","未知","Xcm*Xcm","",[],55,"795548",{"id":44,"slug":45,"title":46,"dynasty":18,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":58,"material":37,"size":38,"collection":39,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":42},288420,"shan-cun-gui-qi-tu-yan-ci-yu-288420","山村归骑图","阎次于","台北故宫博物院","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,51,27,29,52,53,54,7,55,56,57],"山水","山石","树木","云雾","马","印章","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4996dfe72e1b851417cc3efdcb3e355c.jpg",[],29,{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":74,"material":39,"size":39,"collection":75,"collections":76,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":78},201967,"shan-cun-tu-zhou-yan-zai-201967","山村图轴","清","严载","上海博物馆","画面中山峦层叠，以细腻皴法勾勒石质纹理，青绿设色晕染出淡雅气韵。近处坡岸之上，几株苍松姿态虬劲，旁侧村落屋舍错落，围栏半掩，似有隐逸之趣。水域开阔，与远山相映，虚实之间尽显江南山村的宁静悠远。整幅画作笔墨温婉，意境清幽，将自然山水与人文居所相融，传递出文人画特有的恬淡诗意与对田园生活的向往。",[51,70,29,71,7,72,73],"设色","松树","工笔","高清","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ea477bb6b05806d80e069fe85c8180.jpg","山水画精选",[75],16,"968368",{"id":80,"slug":81,"title":82,"dynasty":83,"author":84,"museum":67,"description":85,"tags":86,"thumbUrl":88,"material":39,"size":39,"collection":75,"collections":89,"showCount":90,"zanCount":91,"manualWeight":11,"mainColor":92},201412,"shan-cun-qing-ji-tu-zhou-dong-qi-chang-201412","山村清霁图轴","明","董其昌","霁色初开的山村，岚气渐散。远山层叠，以披麻皴轻敷淡染，墨色空灵；近树虬劲，枝干如篆籀游走，尽显“以书入画”之韵。溪流潺潺穿林而过，屋舍隐于草木间，错落有致。画面布局疏密得宜，远近层次分明，笔墨疏淡却见苍劲，意境清远静谧，似藏悠然世外的田园诗意，引人沉醉于这文人画的逸趣与空灵之境。",[24,51,29,27,26,53,33,87,7,73],"溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf451b18255921a261ff14211ab61fd.jpg",[75],13,1,"b6a98f",{"id":94,"slug":95,"title":96,"dynasty":65,"author":97,"museum":20,"description":98,"tags":99,"thumbUrl":105,"material":37,"size":38,"collection":39,"collections":106,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},288134,"shan-cun-yu-jing-tu-wang-yuan-qi-288134","山村雨景图","王原祁","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[24,25,26,27,51,29,7,100,101,34,102,53,33,103,104,56],"雨景","小桥","山峦","蓑笠","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294c5e833fb6388c6d67ccaaee06df6d.jpg",[],12,"BDBDBD",1777535752198]