[{"data":1,"prerenderedAt":98},["ShallowReactive",2],{"subject-shan-ling":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4163,"shan-ling","山岭","山岭画高清赏析","精选中国历代山岭题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88982fae3a7fc957b3ec9227a4bfe95.jpg",0,3,[14,46,75],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},231511,"xian-shan-lou-ge-tu-wang-hui-231511","仙山楼阁图","清","王翚","北京故宫博物院","此画描绘的是长松高岭，溪水村舍。由画中题识可知此画是一幅贺寿之作。画中以两株粗朴茂盛的参天巨松压轴，寓意常青不老。画面的远景是连绵的山岭，水溪从山中流出，至低处汇成大河，在山水林木的环抱中隐约可见幽静的楼阁。此画在笔墨表现上宗法黄公望，峰峦层叠，树从浓郁，勾线空灵，苔点细密，皴笔干湿浓淡相映衬，皴擦点染兼用。此画的用墨明洁苍润，得自于董其昌的影响，这幅画气厚力陈，显示王时敏深厚的笔墨功力。\n王时敏的绘画，受到董其昌文人画和“南北宗”理论的极大影响，其作大多致力于摹古，强调以笔墨图式来营造山水结构。他早年师从于董其昌，以古代名家的真还作为临摹粉本，并不局限于一家而习。王时敏的绘画追求平淡天真、苍秀隽逸，重视笔墨中所表达的逸气，即“文人气”。他强调在描绘客观事物的同时，仍要注重心灵抒发和精神表现，这与董其昌及其所提倡的“南北宗”论不谋而合。纵观南宗的文人画脉络，从五代董源、巨然到宋代李成、范宽，苒到元代的黄公望、吴镇、倪瓒、王蒙等，无一不注重文人的内在学识与修养。\n王时敏最大的艺术特点就是“摹古”，注重“笔墨”的运用，以临摹古代名家作品作为绘画的基础。尤其在研习宋元山水作品中的运笔、用墨、造型、结构等各方面时，主张摹古而不拘泥于古人之法，经过摹古举习，结合自身的文化修养，再重新进行艺术创造。王时敏的山水作品早年严格遵照董其吕及南宗各家的艺术风格，形态上比较细腻清秀，如《仿倪瓒山水图轴》等。到了中期，他开始脱离董其昌的笔意，醉心于对黄公望的学习，在这一时期，王时敏个人风格开始逐步形成，如《秋山白云图》《丛林曲涧图轴》等作品皆为代表。晚期则以康熙元年（1662)王时敏71岁为分界点，这一时期其绘画融众家之长于一炉，以黄公望为宗，上溯董源、巨然等南宗诸家，笔墨苍劲浑厚，风格沉稳雄坚，如《仙山楼阅图》《仿杜甫诗意图册》等。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38],"高清","国画","山水画","界画","长松","高岭","溪水","村舍","楼阁","大河","巨松","皴法","水墨","文人画","贺寿","常青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9e00824c0726216aa5aa68aa095974.jpg","纸本墨笔","133.2cmx63.3cm","",[],39,"BDBDBD",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":10,"material":70,"size":71,"collection":42,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},231344,"shan-shui-tu-shen-shan-si-he-tu-yi-ming-231344","山水图（深山饲鹤图）","宋","佚名","台北故宫博物院","此幅绘山岭复叠，村落参差，茅亭敞榭，作荷塘泛舟，竹院饲鹤诸景。本图深得高远之势，又用郭熙笔法画山石，老树。细观之又与传荆浩的庐山图有一定的图式联系，当是南宋人的山水作品。",[55,24,56,57,58,35,34,7,59,60,61,62,63,64,65,66,67,68,69],"名画","书画","山水","立轴","村落","茅亭","荷塘","泛舟","竹院","鹤","山石","老树","小桥","流水","亭","纸本","172.7x81.4",[],24,"795548",{"id":76,"slug":77,"title":78,"dynasty":18,"author":51,"museum":79,"description":80,"tags":81,"thumbUrl":94,"material":70,"size":95,"collection":42,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":45},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[23,24,55,56,82,57,83,84,85,86,87,7,88,89,90,91,92,93,67,31],"设色","城市图","古地图","杭州城","西湖","钱塘江","寺庙","官署","坊巷","桥梁","水道","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],18,1777535768826]