[{"data":1,"prerenderedAt":156},["ShallowReactive",2],{"subject-shan-yan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},719,"shan-yan","山岩","山岩画高清赏析","精选中国历代山岩题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0f95a83f63ddd9e9c560ccf39766dba.jpg",0,7,[14,40,65,90,109,124,143],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","宋","李唐","台北故宫博物院","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[23,24,25,26,27,28,29,30,7,31,32],"高清","名画","国画","书画","水墨","皴法","人物","老树","山水","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","绢本,设色","22.4x23.8","宋画精选",[36],81,"795548",{"id":41,"slug":42,"title":43,"dynasty":18,"author":44,"museum":20,"description":45,"tags":46,"thumbUrl":58,"material":59,"size":60,"collection":36,"collections":61,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":39},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","萧照","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,25,24,47,31,48,49,50,51,52,53,7,54,55,56,57,28],"立轴","设色","楼阁","孤舟","流水","浅滩","远渚","峭壁","行人","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","绢本","纵179.3cm，横112.7cm",[36,62,63],"山水画精选","设色画精选",35,{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":83,"material":84,"size":85,"collection":86,"collections":87,"showCount":88,"zanCount":89,"manualWeight":11,"mainColor":39},287795,"shan-hai-bai-ling-tu-juan-tang-hu-gui-fan-shou-tu-yi-ming-287795","山海百灵图卷·唐胡瓌蕃兽图","明","佚名","藏地不详","此卷以苍莽山野为底，百兽珍灵错落游走于松石崖瀑间。工笔勾勒兼施晕染，各色异兽形神鲜活，或奔腾驰跃，或安卧林间，灵动宛然。布景疏密有致，岩壑古拙、松竹清隽，铺展幽旷林泉秘境，将山野生机尽数铺陈。画风古雅沉静，写生功力扎实，将百兽百态与林泉野趣相融，暗合山海灵韵，复刻出上古灵囿的鲜活图景，尽显古典畜兽画的雅致意趣。",[23,25,74,48,75,76,77,78,79,7,80,81,82],"长卷","工笔","兽","异兽","走兽","山林","古松","草木","蕃兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcedb0accde94bc9300918503d78dc9e.jpg","未知","Xcm*Xcm","",[],30,2,{"id":91,"slug":92,"title":93,"dynasty":94,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":104,"material":105,"size":86,"collection":86,"collections":106,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":108},214391,"shan-shui-tu-ce-7-zhu-da-214391","山水图册-7","清","朱耷","私人收藏","淡墨皴染的山峦线条如篆般凝练，丘壑间藏着远意。疏枝横斜，墨色浓淡交织出枯荣之态，似在风中低语清愁。山间屋舍隐现，似有烟火却又疏离，与冷寂景致相融。画面简而不空，虚实处见真意，笔墨间凝着孤高遗世的心境。留白处似有风过，拂过山水也撩动思绪。每一笔浑然天成，将深藏的孤寂与超脱化作纸上清辉，引人沉入这简淡却深沉的意境，触摸那份无声的倾诉。墨韵里的枯荣、景致中的疏离，皆成心迹的写照，让观画者在简淡中读懂那份超脱尘俗的孤高与清愁。",[23,25,27,99,28,31,100,101,7,102,30,103],"册","树","石","枯藤","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad63b7cc181b0c3145c798fa4c811082.jpg","纸本,水墨",[],16,"BDBDBD",{"id":110,"slug":111,"title":112,"dynasty":94,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":119,"material":120,"size":121,"collection":86,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":108},220290,"huang-shan-tu-ce-36-hong-ren-220290","黄山图册-36","弘仁","北京故宫博物院","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,25,24,26,99,28,27,48,31,117,118,7],"亭","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6829f0cca6aa95fd925c0332e8917236.jpg","纸本","21.5x18.3厘米",[],13,{"id":125,"slug":126,"title":127,"dynasty":94,"author":70,"museum":71,"description":128,"tags":129,"thumbUrl":140,"material":86,"size":86,"collection":86,"collections":141,"showCount":142,"zanCount":11,"manualWeight":11,"mainColor":108},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,25,26,99,27,48,28,31,7,130,50,131,132,133,134,135,51,136,137,138,52,139],"溪流","树木","亭阁","远山","近石","房屋","小桥","近树","远峰","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],10,{"id":144,"slug":145,"title":146,"dynasty":94,"author":147,"museum":114,"description":148,"tags":149,"thumbUrl":152,"material":153,"size":86,"collection":86,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":108},234744,"huang-shan-tu-ce-jiang-zhu-234744","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[25,26,27,99,31,28,150,7,131,151],"孤石","流云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925e10595371feb8002f66e4475bbc24.jpg","纸本，设色",[],3,1777535742703]