[{"data":1,"prerenderedAt":155},["ShallowReactive",2],{"subject-tong-shu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},786,"tong-shu","桐树","桐树画高清赏析","精选中国历代桐树题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb581973f2b8a56084dee8b14525e5f.jpg",0,8,[14,45,64,81,96,115,132,142],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","明","沈周","北京故宫博物院","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36],"国画","书画","名画","立轴","水墨","设色","皴法","山水","鹤","山石","树木","人物","溪流","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 ，设色","纵123.8cm，横62.6cm","",[],116,1,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":18,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":57,"material":58,"size":59,"collection":60,"collections":61,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":44},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","仇英","台北故宫博物院","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[23,25,24,26,53,28,27,29,34,54,55,7,32,56],"工笔","文人","童子","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","纸本,设色","279.5x100","人物画精选",[60,62],"设色画精选",59,{"id":65,"slug":66,"title":67,"dynasty":18,"author":68,"museum":20,"description":69,"tags":70,"thumbUrl":76,"material":77,"size":78,"collection":40,"collections":79,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":44},222345,"tong-yin-qing-meng-tu-zhou-tang-yin-222345","桐荫清梦图轴","唐寅","本幅行书自题七绝诗一首：“十里桐阴覆紫苔，先生闲试醉眠来；此生已谢功名念，清梦应无到古槐。唐寅画。”钤“吴趋”朱文圆印、“唐寅私印”白文方印、“唐阿大”朱文方印。鉴藏印有“松莲鑑定”白文方印、“东吴王莲泾藏书画记”朱文长方印等。\n《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。\n未见著录。",[71,23,24,26,27,72,34,7,73,74,75],"高清","写意","孤石","草丛","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f74a6824f94c71cbee55f1249e612.jpg","纸本，水墨","纵62厘米，横30.9厘米",[],43,{"id":82,"slug":83,"title":84,"dynasty":18,"author":85,"museum":86,"description":87,"tags":88,"thumbUrl":92,"material":40,"size":40,"collection":40,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":95},228322,"tong-xia-shou-jiao-tu-chen-hong-shou-228322","桐下授教图","陈洪绶","藏地不详","此作用笔古拙苍劲，古桐盘屈虬结，苔痕覆着老干，轻烟柔云缠绕枝梢，晕染出幽绝尘寰的林下氛围。\n凭几高士神色恬然，似正开示妙义，下方弟子敛衽跪坐，垂首凝神聆听，将闻道的敬慕全然藏于姿态之中。侍童静立侧旁，案头瓶花清隽雅致，衬出雅静出尘的文聚意境。\n线条清圆凝练，设色淡静沉稳，人物造型奇崛古雅，带着独有的变形意趣，把魏晋林下清谈的萧散高逸，收于尺幅之间，尽显静穆古雅的晚明文人意韵。",[71,23,24,26,28,53,34,7,89,90,91],"怪石","花卉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab28a2765a4b73f109df837ac62eabb.jpg",[],34,"795548",{"id":97,"slug":98,"title":99,"dynasty":18,"author":49,"museum":50,"description":100,"tags":101,"thumbUrl":110,"material":111,"size":112,"collection":40,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":95},290869,"tong-yin-zhou-jing-tu-zhou-chou-ying-290869","桐阴昼静图轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[25,23,26,102,28,53,30,7,103,104,105,106,107,108,109],"青绿","流水","瀑布","亭","山峦","书法","印章","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8163886d5a7378a788f41f5a260d606.jpg","未知","Xcm*Xcm",[],21,{"id":116,"slug":117,"title":118,"dynasty":119,"author":120,"museum":20,"description":121,"tags":122,"thumbUrl":126,"material":127,"size":128,"collection":129,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":44},237367,"tong-qin-tu-zhou-yu-zhi-ding-237367","桐禽图轴","清","禹之鼎","本幅左上自题：“余摹蓝田叔先生《得子图》非一本矣。乙亥立秋后二日，偶于京邸，因秋实老堂翁谈及故园风景，又属（嘱）写此幅，感其嗜痂，不知愧耳。广陵禹之鼎识。”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。乙亥为清康熙三十四年（1695年），禹之鼎时年49岁。从自题中得知画家此年寓居京师。\n此图用大写意法画桐树几枝，引来两只飞鸟栖息。树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n自题中的“蓝田叔”指明末清初著名的山水画家蓝瑛，虽然目前尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。",[23,26,27,123,124,7,125,72,108],"花鸟","飞鸟","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c514f9fac1228a658eb652771f0d0.jpg","纸本","纵109.5厘米，横48厘米","花鸟画精选",[129],15,{"id":133,"slug":134,"title":135,"dynasty":119,"author":136,"museum":86,"description":137,"tags":138,"thumbUrl":140,"material":111,"size":112,"collection":40,"collections":141,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":44},238039,"tong-yin-ren-wu-shan-ye-fei-yi-geng-238039","桐荫人物扇页","费以耕","费以耕（ ？—1870 ）清代画家。字馀伯，乌程（今浙江吴兴）人。费丹旭长子。画承家学，仕女幽静，兼工花鸟。同治九年（1870）为张鸣珂画锺进士像，侧耳作听琴状，傍坐一女郎，膝置一琴，拔铉抚弄，秀媚天成。与张熊交往甚密",[23,24,139,53,28,34,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff387618c61f8edf2ffbee13f840c466c.jpg",[],{"id":143,"slug":144,"title":145,"dynasty":119,"author":146,"museum":86,"description":147,"tags":148,"thumbUrl":153,"material":111,"size":112,"collection":40,"collections":154,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":95},247092,"qian-long-kuan-ti-hong-xi-tong-tu-mei-hua-shi-he-yi-ming-247092","乾隆款剔红洗桐图梅花式盒","佚名","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[119,149,150,151,7,34,152,91],"漆器","剔红","雕刻","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14f1fad2392e8b9812a033b160102fe7.jpg",[],1777535738605]