[{"data":1,"prerenderedAt":150},["ShallowReactive",2],{"subject-ting-zhu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1673,"ting-zhu","汀渚","汀渚画高清赏析","精选中国历代汀渚题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce9945d3cb968fe75a0a8b58ec710ec.jpg",0,5,[14,42,86,114,135],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","宋","佚名","台北故宫博物院","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[23,24,25,26,27,28,29,30,7,31,32,33],"高清","国画","设色","工笔","册页","花鸟","芦苇","白鹭","飞鸟","水泽","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","绢本,设色","25x25.5cm","宋画精选",[37,39],"花鸟画精选",77,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":78,"material":79,"size":80,"collection":81,"collections":82,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":41},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","明","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,25,50,26,51,52,53,54,55,56,57,58,59,60,29,61,62,63,7,64,65,66,67,68,69,70,71,72,73,74,75,76,77],"山水","孤舟","渔乐","竹","渔夫","远山","云雾","流水","岸","树","草","小船","岸石","枯树","渔人","舟楫","烟波","浅滩","丛竹","近岸","远岫","霭气","水域","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米","山水画精选",[81,83],"水墨画精选",48,1,{"id":87,"slug":88,"title":89,"dynasty":90,"author":91,"museum":20,"description":92,"tags":93,"thumbUrl":107,"material":108,"size":109,"collection":110,"collections":111,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":113},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","元","李士行","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,24,94,95,96,33,50,97,98,99,100,101,102,7,57,103,104,105,106],"名画","长卷","山水画","树石","矮屋","小桥","行人","马","渔舟","皴法","书法","印章","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","册","该幅31x117.4公分","",[],24,"BDBDBD",{"id":115,"slug":116,"title":117,"dynasty":118,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":132,"material":110,"size":110,"collection":110,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":113},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","清","王原祁","藏地不详","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[23,24,95,96,123,25,103,124,125,126,102,7,127,128,129,130,104,105,131],"文人画","平湖","山峦","村居","江水","秋暮","幽寂淡远","清旷","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],8,{"id":136,"slug":137,"title":138,"dynasty":139,"author":19,"museum":120,"description":140,"tags":141,"thumbUrl":146,"material":147,"size":148,"collection":110,"collections":149,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":41},230677,"yuan-ting-zhu-lu-si-wen-yu-ding-yi-ming-230677","元 汀渚鹭鸶纹玉顶","不详","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[142,143,144,7,145],"玉石","雕刻","鹭鸶","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca95d62d7096ec12604ba0ee88d7847d.jpg","未知","Xcm*Xcm",[],1777535751824]