[{"data":1,"prerenderedAt":70},["ShallowReactive",2],{"subject-xi-chi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1515,"xi-chi","鸂鶒","鸂鶒画高清赏析","精选中国历代鸂鶒题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9ccb150dfe564d6120b0228b6813d6.jpg",0,3,[14,38,49],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":36,"zanCount":11,"manualWeight":11,"mainColor":37},287546,"ku-he-xi-chi-zhang-zhong-287546","枯荷鸂鶒","元","张中","台北故宫博物院","该幅虽属设色作品，但以墨为主，鸳鸯略加颜色点染，鲜妍可爱，颇具淡雅之趣。枯荷断茎，画有倒影，为古画中少见。此画题款由左而右书写，极为特别。按理，原来应有“子政为某某人”等字，后经裱褙裁去，故仅存“子政为”三字。\n鸂鶒是一种类似鸳鸯的水禽，体形大于鸳鸯，喜欢雌雄并行，因其紫羽多，故民间俗称“紫鸳鸯”。该幅画通过细腻的笔触，描绘了池塘中一个典型的场景，营造了静谧而又安详的气氛。画面上写深秋荷塘一隅，两只鸂鶒正在近水的堤岸上小憩，雄鸂鶒瞪着炯炯有神的眼睛，威风凛凛地直立着，像是在为一旁卧着的雌鸂鶒站岗放哨。雌鸂鶒匍匐在地,样子有些疲惫，它侧着头向天空眺望着。衬景里，几株蒲草随风摇曳，婀娜多姿；一旁一棵枯荷荷梗弯曲，低垂的荷叶像是一把雨伞，在微风中舒展着身姿；而临近的饱满的莲蓬张扬的样子，又象征着一个收获季节的到来。\n此作的创作方式在继承传统的同时又有独到之处，在细节的处理上颇有新意。鸂鶒的羽毛用干笔点厾之后，再用淡墨用干湿不一的笔触晕染，产生一种蓬松的质感。雄鸂鶒的身上罩着一层淡淡的朱红色，这一鸂鶒特有的体表特征在墨色交融之中，显得更加典雅华丽。雄鸂鶒的头顶羽毛只用一笔写出，简洁明快，立体效果明显。这浓重的一笔与雄鸂鶒脸部大面积的空白在色彩关系上形成强烈对比，使眼睛的位置更加突出，显得烁烁有神。作者用笔的功力相当深厚，像蒲草、荷梗这些长线条的勾勒，劲健洒脱，神完气足,没有丝毫的滞涩感。坡石之间的一蓬青草，笔道沉稳厚重。流畅的水纹线条轻松飘逸，笔势舒缓自然。图的右下边，两棵折断的荷梗在水中反映出依稀的倒影，这样的处理方式在古代绘画中并不多见，可见作者对所描写景物的观察是相当细腻的。说明明代顾复评价张中的绘画“元代写生第一”还是有根据的。\n花鸟画的创作在元代有了实质性的发展，这和创作者审美意识的改变有很大关系。张中“一洗宋人勾勒之痕”，作品别出心裁,注重作品的意境和内涵，对于后人的花鸟画创作有很重要的影响。",[23,24,25,26,27,28,7,29,30],"国画","花鸟","立轴","设色","水墨","枯荷","孤石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce36357745ea50e5585597d63b2104b.jpg","纸本,水墨","96.4x46","花鸟画精选",[34],20,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":18,"author":19,"museum":20,"description":21,"tags":42,"thumbUrl":46,"material":32,"size":33,"collection":34,"collections":47,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":37},290729,"ku-he-xi-chi-zhou-zhang-zhong-290729","枯荷鸂鶒轴",[23,43,25,24,26,44,7,28,29,45,30],"名画","工笔","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ba32a2305da6c22ebd12cfc8bd1891.jpg",[34],16,{"id":50,"slug":51,"title":52,"dynasty":53,"author":54,"museum":55,"description":56,"tags":57,"thumbUrl":64,"material":65,"size":66,"collection":67,"collections":68,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":69},268812,"lan-se-su-duan-zhui-ping-jin-xiu-xi-chi-wen-fang-bu-nan-guan-yi-yi-ming-268812","蓝色素缎缀平金绣鸂鶒纹方补男官衣","清","佚名","藏地不详","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[58,59,60,7,61,62,63],"衣帽","布料","平金绣","刺绣","方补","官衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F272521cfae33411e667a1396dee0db84.jpg","未知","Xcm*Xcm","",[],"2A56C6",1777535770308]