[{"data":1,"prerenderedAt":71},["ShallowReactive",2],{"subject-shui-mo-ji-fa":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1073,"shui-mo-ji-fa","水墨技法","水墨技法画高清赏析","精选中国历代水墨技法题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg",0,2,[14,46],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},231938,"cao-chong-tu-ce-zhu-da-231938","草虫图册","清","朱耷","北京故宫博物院","朱耷花鸟画成就特别突出，也最有个性。其画大多缘物抒情，用象征手法表达寓意，将物象人格化，寄托自己的感情。如画鱼、鸟，曾作“白眼向人”之状，抒发愤世嫉俗之情。其花鸟画风，可分为三个时期，50岁以前为僧时属早期，署款“传綮”、“个”、“驴” 、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36,37,38,39],"国画","水墨","写意","册","花鸟","草虫","花卉","印章","写意花鸟","水墨花鸟","草虫题材","花卉题材","写意技法","册页","花鸟虫鱼","水墨花卉","水墨草虫","纸本","纵26厘米，横41厘米","",[],125,"BDBDBD",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":20,"description":52,"tags":53,"thumbUrl":67,"material":40,"size":68,"collection":42,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":45},236484,"shan-shui-ren-wu-ce-guo-fen-ya-236484","山水人物册","明","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[23,24,26,54,55,56,57,58,7,59,60,61,62,63,64,65,66],"山水","人物","蓑笠","竹","渔乐","山水景物","人物形象","竹枝","渔翁形象","山石","水墨渲染","写意风格","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8699a4db2300ad1453fbef0d16cbce1b.jpg","纵38.8厘米，横60.4厘米",[],4,1777535781908]