[{"data":1,"prerenderedAt":127},["ShallowReactive",2],{"subject-shan-shi-jing-guan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2927,"shan-shi-jing-guan","山石景观","山石景观画高清赏析","精选中国历代山石景观题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed28aa2f9c150b73b313c757a0820177.jpg",0,4,[14,49,79,98],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":40,"material":41,"size":42,"collection":43,"collections":44,"showCount":46,"zanCount":47,"manualWeight":11,"mainColor":48},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","宋","马世荣","台北故宫博物院","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38,39],"高清","国画","扇面","设色","工笔","兽","猿","鹿","岩石","树木","山石","宋代绘画","花鸟兽类","细腻笔触","自然景物","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","绢本,设色","26.6x26.6cm","花鸟画精选",[43,45],"宋画精选",100,1,"BDBDBD",{"id":50,"slug":51,"title":52,"dynasty":18,"author":53,"museum":20,"description":54,"tags":55,"thumbUrl":10,"material":74,"size":75,"collection":76,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":48},221386,"bao-shan-shi-jing-ce-fan-kuan-221386","包山十景册","范宽","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,24,56,57,58,59,60,61,62,33,63,64,65,66,31,37,67,68,69,70,71,72,7,73],"书画","古画","册","水墨","皴法","山水","老树","孤石","亭","山峦","枯树","传统绘画","水墨山水","山间景物","山水景观","石质山体","树木景观","皴笔","绢本","30.2x31.8","",[],36,{"id":80,"slug":81,"title":82,"dynasty":83,"author":84,"museum":20,"description":85,"tags":86,"thumbUrl":93,"material":94,"size":95,"collection":76,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":48},216094,"tai-ping-le-shi-tu-ce-2-dai-jin-216094","太平乐事图册-2","明","戴进","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,26,58,87,88,89,33,90,32,91,7,92],"人物","牛","树","民俗活动","地面路径","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3763cc4bb201a1b8b86ddc7581cfe77c.jpg","纸本,设色","22.8x22cm",[],14,{"id":99,"slug":100,"title":101,"dynasty":102,"author":103,"museum":104,"description":105,"tags":106,"thumbUrl":122,"material":123,"size":124,"collection":76,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":48},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","不详","佚名","藏地不详","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[107,108,26,109,32,33,110,87,111,112,113,114,115,7,116,117,118,119,120,121],"浮世绘","木刻","瀑布","流水","建筑","小屋","水域","浴场场景","植物","人物活动","传统建筑","自然景观","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg","未知","Xcm*Xcm",[],11,1777535758188]