[{"data":1,"prerenderedAt":102},["ShallowReactive",2],{"subject-wu-1342":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1342,"wu-1342","梧","梧画高清赏析","精选中国历代梧题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2eb661b560b85656260cde864c7e4f.jpg",0,4,[14,48,75,89],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":45,"zanCount":46,"manualWeight":11,"mainColor":47},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","明","仇英","上海博物馆","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,24,25,26,27,28,29,7,30,31,32,33,34,35,36,37,38],"高清","名画","国画","书画","立轴","设色","工笔","竹","亭","人物","山水","流水","山石","树木","飞鸟","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纸本","纵148.8厘米，横57.2厘米","山水画精选",[42,44],"设色画精选",80,1,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":68,"material":69,"size":70,"collection":71,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","梧竹溪堂图页","宋","夏圭","北京故宫博物院","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[25,24,57,58,59,28,60,33,30,7,61,62,34,63,64,65,66,67],"册","行书","水墨","皴法","堂","小桥","树","石","栏杆","建筑","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg","绢本","纵23厘米，横26厘米","",[],20,"795548",{"id":76,"slug":77,"title":78,"dynasty":79,"author":80,"museum":54,"description":81,"tags":82,"thumbUrl":84,"material":69,"size":85,"collection":42,"collections":86,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":74},221701,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-221701","碧梧苍石图轴","元","陆行直","图绘椭圆巨石一块，表面露出花朵般的花纹，左侧二棵梧桐傍石而长，树杆修长，树叶苍翠。技法上，湖石以繁皴密染，树叶勾点兼用，用笔仓劲。陆行直，字季道，洪武时期授予\u0016翰林典籍，书、画皆精。",[23,25,26,27,59,83,63,7,67,58,60],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580b26937d367bc6093e7f1025fa9de.jpg","107x53.2cm",[42,87],"水墨画精选",17,{"id":90,"slug":91,"title":92,"dynasty":18,"author":19,"museum":20,"description":93,"tags":94,"thumbUrl":98,"material":71,"size":71,"collection":42,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":101},201381,"wu-zhu-shu-tang-tu-zhou-chou-ying-201381","梧竹书堂图轴","画面以雅致设色晕染，山峦叠翠间清泉漱石，竹影婆娑，梧桐荫下的书堂内文人凭几闲坐，尽显幽居之趣。笔触细腻工致，山石以皴法勾勒肌理，草木敷淡彩显生机，青绿底色中融入水墨空灵，既见工笔精妍，又含文人淡远意境。整体构图疏密有致，将自然山水的静谧与雅士林下之风相融，尽显吴门画派温婉雅致的审美意趣。",[29,28,33,30,7,95,34,60,96,25,26,27,97,23],"书堂","青绿","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91535d300d29b50bab50ddd2bd3b246e.jpg",[42],2,"a59f92",1777535758365]