[{"data":1,"prerenderedAt":195},["ShallowReactive",2],{"subject-xi-jian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},414,"xi-jian","溪涧","溪涧画高清赏析","精选中国历代溪涧题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab12133c279b1a4d9b7293c39d5928e.jpg",0,8,[14,43,77,98,118,141,157,180],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":41,"manualWeight":11,"mainColor":42},219426,"xue-jing-tu-guo-xi-219426","雪景图","宋","郭熙","台北故宫博物院","画中主景偏右半边，雪锋层叠，陡壑悬瀑，作高远景致，其间布列茅舍、溪桥、楼阁、瀑泉、林木等。左半边则绘溪涧蜿蜒，沙渚渔舟，遥山旷渺，作平远景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[23,24,25,26,27,28,29,30,7,31,32,33,34],"国画","山水画","雪景","茅舍","溪桥","楼阁","瀑泉","林木","渔舟","远山","沙渚","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","设色,绢本","194.3x111.1","宋画精选",[38],484,2,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":69,"material":70,"size":71,"collection":72,"collections":73,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":76},220795,"you-jian-han-song-tu-zhou-ni-zan-220795","幽涧寒松图轴","元","倪瓒","北京故宫博物院","《倪瓒幽涧寒松图轴》是元代画家倪瓒创作的一幅纸本水墨画。\n此幅是为友人周逊学所作，并题五言诗：“秋暑多病暍，征夫怨行路。瑟瑟幽涧松，清荫满庭户。寒泉溜崖石，白云集朝暮。怀哉如金玉，周子美无度。息景以桥对，笑言思与晤。”\n倪瓒清高持节，一生不仕，他“白眼视俗物，清言屈时英。富贵乌足道，所思垂今名。不仅自己抱守出世的生活态度，而且对朋友们的入世为官也坚决反对。此幅一为友人赠别，更是劝友人“罢”征路，“息”仕思，含有强烈的“招隐之意”。平远画溪涧幽谷，山石依次渐远，二株松树挺立于杳无人迹的涧底寒泉，意境荒寒，超然出尘，似乎暗寓着仕途的险恶和归隐的自得。构图不用常见的“一河两岸”两段式章法，但画幅上方和其大多数作品一样，留出大片空白，让观者分不清哪里是水，哪里是天。山石墨色清淡，笔法秀峭，渴笔侧锋作折带皴，干净利落而富于变化。松树取萧疏之态，笔力劲拔。倪瓒此幅，笔墨无多但意境深幽，“疏而不简”，“简而不少”。他的这种笔简形具，注重抒写性灵的画格被后人称之为“逸品”。到了明代，更是“江南人家以有无为清浊”，其清标高格，在历代文人士大夫心目中始终被尊为“高士中的高士”。\n此幅作品简淡超逸，虽未署年款，但从书法由竖长变为扁方以及名款和画风来看，当是晚年之作。",[52,23,53,54,55,7,56,57,58,59,34,60,61,62,63,64,65,66,67,68],"高清","水墨","山水","松树","幽谷","寒泉","小桥","山石","折带皴","渴笔","逸品","荒寒","超然出尘","简淡超逸","意境深幽","招隐之意","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c44e7f6172187fb1022fb560336ac0.jpg","纸本，水墨","纵59.7cm，横50.4cm","山水画精选",[72,74],"水墨画精选",101,"BDBDBD",{"id":78,"slug":79,"title":80,"dynasty":47,"author":81,"museum":20,"description":82,"tags":83,"thumbUrl":92,"material":93,"size":94,"collection":95,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":42},290416,"hua-xi-yu-yin-zhou-wang-meng-290416","花溪渔隐轴","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[84,23,85,86,53,54,34,87,88,30,89,90,68,91,7],"名画","书画","立轴","流水","孤舟","山居","渔乐","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5204529040d8f0ef17bf6db6a77301ce.jpg","纸本,水墨","129x58.3cm","",[],29,{"id":99,"slug":100,"title":101,"dynasty":102,"author":103,"museum":20,"description":104,"tags":105,"thumbUrl":112,"material":113,"size":114,"collection":72,"collections":115,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":76},222409,"shi-xie-shan-tu-zhou-zhang-hong-222409","石屑山图轴","明","张宏","冈峦挺立，层层起伏；溪涧湍急，林阴茂密。山径蜿蜒而上，将峻峰林木连成一气。点画竹林，笔墨浓淡乾湿相间，产生光影浮动的效果，表现出炎炎夏日的气氛。全图用笔工细，构景繁复。竹林的笔墨浓淡乾湿相间，产生光影浮动的效果，将炎炎夏日的气氛尽表无遗。画成于1613年（万历四十一年），时作者三十七岁。青壮之年，笔墨即甚为纯熟，其成就为时人所推崇。\n此图是画位在浙江省长兴县境的石屑山，出于实景观照，画家心领意会，取山川精华，以灵动的笔墨描绘图成。该幅画赠君俞先生，君俞姓唐，晋陵人（江苏武进），与董其昌也有交往，在1623年（天启三年）时，将自己珍藏的王蒙《谷口春耕》图（此图现藏本院），赠与董其昌。",[52,23,86,54,106,107,108,7,109,110,58,87,28,30,111],"工笔","设色","冈峦","竹林","山径","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2366fe87404a34b33bfe3b976ed33aeb.jpg","白纸本","201.3x55.2公分；全幅 79.8公",[72,116],"设色画精选",15,{"id":119,"slug":120,"title":121,"dynasty":122,"author":123,"museum":124,"description":125,"tags":126,"thumbUrl":137,"material":95,"size":95,"collection":72,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":140},203438,"du-fu-shi-yi-tu-zhou-wang-yuan-qi-203438","杜甫诗意图轴","清","王原祁","上海博物馆","笔墨苍劲浑厚，层层皴染间尽显丘壑深度。峰峦叠嶂如聚，云雾缭绕似带，将远山推向幽深；近处松石挺秀，溪流蜿蜒穿涧，山间屋舍隐于林麓，动静相宜。既承北宗山水的雄健骨力，又融南宗笔墨的温润韵致，把杜诗中的沉郁意境凝于尺幅，在严谨构图中藏生机流动，足见画家对传统山水的精研与创新。",[52,86,107,34,54,127,55,59,128,87,129,130,131,132,133,134,30,7,135,136],"山","云雾","树木","路径","植被","峰峦","沟壑","苔点","山路","丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2bf256a8bbab7a17077134edcdbbc.jpg",[72],13,"96724d",{"id":142,"slug":143,"title":144,"dynasty":18,"author":145,"museum":20,"description":146,"tags":147,"thumbUrl":152,"material":153,"size":154,"collection":95,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":76},221427,"sui-gu-xian-chou-yan-su-221427","邃谷仙俦","燕肃","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[52,23,85,148,53,107,54,59,129,149,34,150,7,151],"册","溪流","古木","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a40a76ca3da825b71a02dad0c2b328c.jpg","扇","40.2x66.3",[],11,{"id":158,"slug":159,"title":160,"dynasty":122,"author":161,"museum":162,"description":163,"tags":164,"thumbUrl":177,"material":95,"size":95,"collection":95,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":76},224472,"liang-chang-shan-guan-tu-zhou-wang-hui-224472","良常山馆图轴","王翚","藏地不详","此作用笔精谨秀润，以巍峨主峰撑起画面骨架，山石以披麻皴层层皴染，尽显苍劲浑厚，崖壁高耸险峻，尽显自然雄奇之态。山谷间林木蓊郁，屋舍幽藏于林麓之间，溪涧蜿蜒穿流于乱石浅滩，烘托出世外幽居的静谧闲雅。\n\n画作兼得北宋山水的雄浑格局与元人笔墨的秀逸温润，将山野林泉的朴茂生机与文人幽居的雅趣相融，于规整中见灵动，笔墨间尽抒山水清旷之美，尽显正统山水画的雅致意韵。",[52,23,84,86,24,53,165,59,166,167,30,168,7,169,170,171,172,173,174,175,176],"披麻皴","崖壁","山谷","屋舍","乱石","浅滩","静谧","闲雅","雄浑","秀逸","清旷","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcfa06a3c8190e72183fd3cb7d83.jpg",[],6,{"id":181,"slug":182,"title":183,"dynasty":122,"author":184,"museum":162,"description":185,"tags":186,"thumbUrl":193,"material":93,"size":95,"collection":95,"collections":194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":76},215603,"tian-xia-ming-shan-tu-23-yi-ming-215603","天下名山图-23","佚名","笔墨晕染出山川灵秀风骨，峰峦叠嶂隐于烟霞缥缈间，溪涧蜿蜒绕林麓。线条苍劲古拙，墨色浓淡藏虚实相生之妙，尽显清代山水含蓄韵致。每一笔触似诉名山千年底蕴，烟岚浮动中，松涛阵阵可闻，飞瀑流泉如见。虽佚名，却以自然之笔绘就天地大美，观者于尺幅间神游万仞，心寄烟霞，沉醉于那份古朴静谧的山水诗意里，不知归处。",[84,23,85,54,53,187,132,188,7,189,190,191,192,171],"山川","烟霞","林麓","飞瀑","松涛","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6a0b9248f3d7c0896470902e898923.jpg",[],1777535738284]