[{"data":1,"prerenderedAt":114},["ShallowReactive",2],{"subject-song-shan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},5738,"song-shan","松杉","松杉画高清赏析","精选中国历代松杉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",0,4,[14,55,78,97],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":49,"material":50,"size":50,"collection":50,"collections":51,"showCount":52,"zanCount":53,"manualWeight":11,"mainColor":54},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","明","黄向坚","藏地不详","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,7,42,43,44,45,46,47,48],"高清","国画","长卷","纸本设色","山水画","纪游山水","皴法","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","飞瀑","山溪","村落","屋宇","危桥","古道","白云","远山","城镇","船舶","万里寻亲","忠孝情怀","丛林","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg","",[],36,1,"795548",{"id":56,"slug":57,"title":58,"dynasty":59,"author":60,"museum":20,"description":61,"tags":62,"thumbUrl":10,"material":50,"size":50,"collection":50,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":77},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","宋","李山","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,63,24,64,25,65,66,29,67,68,69,70,7,71,48,72,73,74],"名画","书画","水墨","设色","书法","行书","印章","山水","风雪","庭院","树木","山石",[],22,"BDBDBD",{"id":79,"slug":80,"title":81,"dynasty":18,"author":82,"museum":83,"description":84,"tags":85,"thumbUrl":92,"material":93,"size":94,"collection":50,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":77},290498,"shan-shui-xiao-jing-zhou-xiang-sheng-mo-290498","山水小景轴","项圣谟","台北故宫博物院","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,86,70,65,66,29,87,88,7,89,90,67,69,91],"立轴","山峦","云雾","屋舍","水渚","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea20af0bdde11306224e82a8f221a5e.jpg","纸本,设色","106.6x24.3",[],20,{"id":98,"slug":99,"title":100,"dynasty":101,"author":102,"museum":103,"description":104,"tags":105,"thumbUrl":109,"material":50,"size":50,"collection":110,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":113},201386,"song-shan-you-ju-tu-zhou-cheng-sui-201386","松杉幽居图轴","清","程邃","上海博物馆","画面山峦层叠，以渴笔焦墨皴擦勾勒，线条苍劲老辣，山石质感厚重。近处古松虬枝盘曲，杉树挺秀，掩映着几间茅舍，溪畔碎石错落，草木疏朗，尽显清幽雅致。笔墨简练却意境深远，渴墨的枯涩与焦墨的浓黑交织，营造出静谧淡远的氛围，暗含文人隐居山林的恬淡心境。整幅画风格朴拙沉雄，于简淡中见苍劲，是清初山水画中颇具个性的佳作。",[24,70,106,107,29,7,108,86,23],"渴笔","焦墨","幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476824c25e64fa1a099b6c6fd7e7a5a0.jpg","山水画精选",[110],3,"a89988",1777535759676]