[{"data":1,"prerenderedAt":226},["ShallowReactive",2],{"subject-shi-jing-1049":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1049,"shi-jing-1049","石径","石径画高清赏析","精选中国历代石径题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071490e412f20699878bcb5f822f7b83.jpg",0,10,[14,40,65,93,117,141,160,178,198,214],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},220580,"lin-an-shan-se-huang-bin-hong-220580","临安山色","民国","黄宾虹","中国现当代美术文献研究中心","这幅山水以积墨技法铺陈，干皴湿染往复叠加，墨色浓淡交融，将山峦苍浑厚重的质感全然托出。虬松盘峙崖间，石径沿幽谷蜿蜒伸入山霭，流泉隐没在层叠墨韵里，虚实相映间晕染出山川氤氲灵秀。画作追慕北宋笔墨精神，褪去刻露浮躁，以浑厚华滋的气韵糅合江南山水的温润与沉雄，笔底带着金石苍茫之气，尽显晚年山水“黑密厚重”的美学意趣，将山川静穆苍莽的生机风骨藏在每一处墨色层次之中。",[23,24,25,26,27,28,29,7,30,31,32,33],"国画","山水画","水墨","积墨","皴法","山峦","虬松","流泉","苍浑厚重","浑厚华滋","金石气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9425349f2172fa199c0abd1fed94e642.jpg","纸本水墨","",[],63,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":60,"material":36,"size":36,"collection":36,"collections":61,"showCount":62,"zanCount":63,"manualWeight":11,"mainColor":64},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","明","谢环","藏地不详","【文物现状】现藏美国克利夫兰美术馆 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香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[49,23,50,51,52,53,54,55,56,7,57,58,59],"高清","长卷","设色","工笔","人物","亭","树木","仙鹤","庭院","器","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],43,2,"795548",{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":46,"description":71,"tags":72,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":64},225751,"garden-with-courting-couples-square-saint-pierre-may-1887-fan-gao-225751","Garden with courting couples square Saint-Pierre May 1887","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[73,74,75,76,77,7,55,78,79,80,81,82,83,84,85,86],"油画","印象派","点彩","短笔触","花园","灌木丛","情侣","草地","天空","花树","春季","休闲场景","人物互动","色彩明快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ae313a4f30faca5121342445f1d07.jpg","未知","Xcm*Xcm","油画精选",[90],31,{"id":94,"slug":95,"title":96,"dynasty":97,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":109,"material":110,"size":111,"collection":112,"collections":113,"showCount":115,"zanCount":116,"manualWeight":11,"mainColor":39},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","元","方从义","台北故宫博物院","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[49,23,102,25,27,103,28,55,7,104,105,106,107,108],"书画","山水","云雾","平坡","树林","墨色","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","纸本","91.3x63.5厘米","山水画精选",[112,114],"水墨画精选",20,1,{"id":118,"slug":119,"title":120,"dynasty":121,"author":122,"museum":123,"description":124,"tags":125,"thumbUrl":136,"material":137,"size":138,"collection":36,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":64},222914,"hong-lou-meng-39-sun-wen-222914","红楼梦39","清","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[49,23,52,51,53,126,57,55,127,128,129,130,131,132,7,133,134,135],"楼阁","芭蕉","花卉","栏杆","假山","荷塘","建筑构件","盆栽","服饰","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81d8ebc876dfac37bba56c0223ea663.jpg","绢本","纵43.3厘米、横76.5厘米",[],17,{"id":142,"slug":143,"title":144,"dynasty":145,"author":146,"museum":147,"description":148,"tags":149,"thumbUrl":155,"material":156,"size":157,"collection":36,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":39},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","宋","佚名","北京故宫博物院","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[150,23,151,51,152,52,103,126,55,57,7,129,153,154],"宋画","册","界画","孤石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","绢本、设色","纵23.6厘米，横24.9厘米",[],11,{"id":161,"slug":162,"title":163,"dynasty":121,"author":164,"museum":46,"description":165,"tags":166,"thumbUrl":175,"material":36,"size":36,"collection":36,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":39},235333,"shan-shui-ce-wen-dian-235333","山水册","文点","此作用淡墨晕染出雪裹层峦，借留白铺就天地间清寒素净的冬景。古长城依山逶迤，枯木虬枝褪去繁叶，苍劲风骨愈显。山涧寒水无波，两位白衣行人缓步石径，渺小身影衬出天地空阔辽寂。\n笔墨松秀简淡，以细笔轻勾城堞枝桠，淡墨扫出山雪轮廓，不着重色便勾勒出粉妆玉砌的清寂氛围，将边塞冬雪的荒寒冷冽，糅合文人踏山寻幽的雅兴，静穆淡逸间尽显林下高致，悠悠古意漫溢画面，引人沉湎在这片空寂萧疏的冬日山水之中。",[23,25,151,103,167,168,169,170,171,53,7,172,173,174],"冬景","雪景","古长城","枯木","寒水","清寂","空阔","文人雅兴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf514b9b2447cf0febf73a2d4ab4e464.jpg",[],5,{"id":179,"slug":180,"title":181,"dynasty":121,"author":182,"museum":46,"description":183,"tags":184,"thumbUrl":196,"material":36,"size":36,"collection":36,"collections":197,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":64},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","李寅","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[49,185,23,102,186,103,51,27,187,188,189,190,191,192,193,53,194,195,7],"名画","立轴","山","雪","车","树","房屋","岩石","溪流","骆驼","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":121,"author":202,"museum":203,"description":204,"tags":205,"thumbUrl":212,"material":25,"size":36,"collection":36,"collections":213,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},215636,"yu-zhi-geng-zhi-tu-17-kang-xi-215636","御制耕织图-17","康熙","哈佛艺术博物馆","画面分左右两帧，左帧织作场景鲜活，人物理丝纺线各尽其职，器具陈设、竹篱屋舍皆细致入微；右帧人物对谈于佳木石径间，似是劳作间隙的闲适。线条清劲流畅，墨色温润有致，将耕织日常与清雅意境相融。无直白说教，却以细腻笔触还原民生本真，既显匠作之精，亦藏对稼穑织纴的体恤。尺幅间凝注着对苍生的关切，让寻常劳作晕染出温厚的人文底色，尽显笔墨与情怀的交织。",[49,23,185,102,151,206,25,53,207,208,209,55,7,210,211,154],"白描","耕织","劳作","屋舍","器具","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F759e7ad4ce0935187896b3d603b46f52.jpg",[],{"id":215,"slug":216,"title":217,"dynasty":121,"author":218,"museum":219,"description":220,"tags":221,"thumbUrl":223,"material":36,"size":36,"collection":36,"collections":224,"showCount":116,"zanCount":11,"manualWeight":11,"mainColor":225},202518,"lv-gai-lou-xiao-xia-tu-zhou-pan-gong-shou-202518","绿盖楼消夏图轴","潘恭寿","上海博物馆","层峦秀逸，林木蓊郁，几座轩榭藏于翠色间，檐角轻挑，似邀山风入席。山涧溪流曲折而下，石径蜿蜒穿林，偶见苔痕覆石，野趣横生。笔墨细腻，皴擦结合，山石的苍劲与草木的柔润相映成趣；设色淡雅，以水墨为骨，淡赭点染枝叶，清逸中透着生机。整幅画将消夏的清幽闲适融入山水林泉，尽显文人雅士寄情自然的意趣。",[23,103,126,222,25,51,27,186,55,7,49],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9400d33892d35a7642d4c93fc1f96a6.jpg",[],"c7bcb5",1777535733908]