[{"data":1,"prerenderedAt":555},["ShallowReactive",2],{"subject-shan-lu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},415,"shan-lu","山路","山路画高清赏析","精选中国历代山路题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeed885a6f5e36fce657d12384866c98.jpg",0,40,[14,53,81,99,116,134,149,164,183,195,207,220,235,247,259,273,285,298,315,325,344,356,365,379,389,402,413,422,435,446,457,468,479,486,493,502,510,525,537,547],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":43,"material":44,"size":45,"collection":46,"collections":47,"showCount":50,"zanCount":51,"manualWeight":11,"mainColor":52},221389,"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","宋","范宽","台北故宫博物院","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38,39,40,41,42],"高清","国画","水墨画","立轴","皴法","雨点皴","山水","山石","瀑布","树木","行旅","溪流","小桥","云雾","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","绢本","纵206.3厘米，横103.3厘米","宋画精选",[46,48,49],"山水画精选","水墨画精选",2630,15,"795548",{"id":54,"slug":55,"title":56,"dynasty":57,"author":58,"museum":59,"description":60,"tags":61,"thumbUrl":73,"material":74,"size":75,"collection":48,"collections":76,"showCount":78,"zanCount":79,"manualWeight":11,"mainColor":80},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元","王蒙","北京故宫博物院","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,62,24,63,26,64,27,29,65,66,67,35,68,69,70,7,71,72],"名画","书画","设色","人物","马","牛","流水","松树","岩石","房屋","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纸本，设色","纵139厘米，横58厘米",[48,77],"设色画精选",385,2,"BDBDBD",{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":59,"description":87,"tags":88,"thumbUrl":93,"material":94,"size":95,"collection":48,"collections":96,"showCount":97,"zanCount":98,"manualWeight":11,"mainColor":52},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","明","戴进","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,62,63,26,64,27,29,65,69,30,89,90,68,91,7,92],"茅屋","竹子","亭","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","绢本,设色","172.2x107",[48],244,3,{"id":100,"slug":101,"title":102,"dynasty":103,"author":104,"museum":20,"description":105,"tags":106,"thumbUrl":112,"material":94,"size":113,"collection":48,"collections":114,"showCount":115,"zanCount":79,"manualWeight":11,"mainColor":52},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","唐","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,24,63,107,64,29,65,108,30,32,109,33,7,110,111],"青绿","楼阁","古道","云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[48],220,{"id":117,"slug":118,"title":119,"dynasty":120,"author":121,"museum":59,"description":122,"tags":123,"thumbUrl":128,"material":129,"size":130,"collection":48,"collections":131,"showCount":132,"zanCount":133,"manualWeight":11,"mainColor":80},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","清","郎世宁","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[124,24,62,63,64,92,65,29,66,125,126,69,127,70,7],"清代","虎","兽","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","绢本，设色","纵258.5厘米，横171.9厘米",[48,77],131,1,{"id":135,"slug":136,"title":137,"dynasty":120,"author":138,"museum":139,"description":140,"tags":141,"thumbUrl":144,"material":145,"size":146,"collection":48,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":80},222619,"shan-shui-tu-gong-xian-222619","山水图","龚贤","藏地不详","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[23,24,142,27,26,29,30,32,143,7],"水墨","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纸本水墨","纵110厘米，横50厘米",[48,49],124,{"id":150,"slug":151,"title":152,"dynasty":18,"author":153,"museum":20,"description":154,"tags":155,"thumbUrl":159,"material":160,"size":161,"collection":46,"collections":162,"showCount":163,"zanCount":79,"manualWeight":11,"mainColor":52},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","马远","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,24,62,63,142,64,27,65,156,157,127,30,7,158],"驴","雪山","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[46,48,49],118,{"id":165,"slug":166,"title":137,"dynasty":85,"author":167,"museum":20,"description":168,"tags":169,"thumbUrl":178,"material":179,"size":180,"collection":48,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":80},214729,"shan-shui-tu-qian-gu-214729","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,63,26,142,27,170,72,29,30,32,91,69,171,172,36,7,173,174,175,176,177],"题字","山峰","小径","林间","峭壁","层岩","古木","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","纸本,水墨","117.6x24.6",[48],55,{"id":184,"slug":185,"title":186,"dynasty":85,"author":187,"museum":20,"description":188,"tags":189,"thumbUrl":190,"material":191,"size":192,"collection":48,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":80},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[24,63,26,142,64,29,30,127,65,71,7,70,34,27,72],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","纸本,设色","184.3x59厘米",[48,77],51,{"id":196,"slug":197,"title":198,"dynasty":120,"author":199,"museum":59,"description":200,"tags":201,"thumbUrl":203,"material":191,"size":204,"collection":48,"collections":205,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":80},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,63,29,158,127,71,7,68,202,91,142,64,27,26,72],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[48],44,{"id":208,"slug":209,"title":210,"dynasty":120,"author":211,"museum":212,"description":213,"tags":214,"thumbUrl":216,"material":179,"size":217,"collection":48,"collections":218,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":52},219710,"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","戴本孝","美国大都会艺术博物馆","《天台异松图》清 戴本孝 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,63,306,64,27,483,72,29,35,68,32,532,66,65,533,71,534,7],"村庄","石桥","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35dde4c19bf31999408a992d8a81474.jpg",[],{"id":538,"slug":539,"title":540,"dynasty":120,"author":121,"museum":139,"description":514,"tags":541,"thumbUrl":545,"material":142,"size":232,"collection":232,"collections":546,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":80},216792,"zhan-zheng-tong-ban-hua-55-lang-shi-ning-216792","战争铜版画-55",[516,542,517,92,29,70,32,65,520,543,7,174,34,544,521,518],"雕刻","旗帜","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c5971384ad44b8656acf718f1ffc8ed.jpg",[],{"id":548,"slug":549,"title":550,"dynasty":120,"author":319,"museum":139,"description":551,"tags":552,"thumbUrl":553,"material":179,"size":232,"collection":232,"collections":554,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":80},215622,"tian-xia-ming-shan-tu-3-yi-ming-215622","天下名山图-3","皴笔如鳞，勾勒出山峦嶙峋筋骨，层叠峰峦间藏着远近纵深感。前景溪流如带，绕乱石轻吟，几株古木枝桠虬曲，苍劲中透着疏朗。中景屋舍隐于林麓，或临流筑居，或倚山而卧，烟火气与林泉意趣悄然相融。远景峰峦愈显巍峨，留白处似有云雾流转，将视野引向天际。整幅画以线为骨，墨色分阶，布局疏密得宜：山石的厚重、流水的灵动、树木的姿态、屋宇的闲静，交织成一幅兼具雄浑与清幽的山水图景，尽显传统笔墨的意韵悠长与自然山水的灵秀之美。",[24,63,506,142,29,27,306,171,32,71,91,34,70,7,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38434c15960d0719926ca3fa4cffd52.jpg",[],1777535711647]