[{"data":1,"prerenderedAt":155},["ShallowReactive",2],{"subject-xian-jing":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2307,"xian-jing","仙境","仙境画高清赏析","精选中国历代仙境题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg",0,8,[14,49,68,85,99,114,125,145],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":41,"size":42,"collection":43,"collections":44,"showCount":46,"zanCount":47,"manualWeight":11,"mainColor":48},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","明","仇英","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7],"高清","国画","书画","立轴","青绿","设色","工笔","山水","人物","楼阁","小桥","树木","山石","云雾","建筑","植被","山峦","溪流","绢本 设色","纵175厘米，横66.7厘米","山水画精选",[43,45],"设色画精选",1533,15,"795548",{"id":50,"slug":51,"title":52,"dynasty":53,"author":54,"museum":55,"description":56,"tags":57,"thumbUrl":62,"material":63,"size":64,"collection":65,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":48},232624,"hai-tian-xu-ri-tu-juan-li-zhao-dao-232624","海天旭日图卷","唐","李昭道","美国大都会艺术博物馆","此卷以青绿为主调，山峰勾以全绿，所画人物细小如豆，亭台楼阁、海浪舟桥，无不形象生动，尤其画幅中上方有一金龙，腾云驾雾，整个局面宏伟壮阔、气势不凡。",[23,24,27,28,58,29,30,59,39,37,36,60,34,61,7],"长卷","云","岛屿","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc0164cbe171565b2c95e35e12fa8cf.jpg","绢本","47.1 x 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1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[24,77,29,28,63,78,7,32,35,79,80,30,81],"界画","蓬莱仙岛","云海","大海","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],50,{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":74,"description":89,"tags":90,"thumbUrl":94,"material":95,"size":96,"collection":65,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":48},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,91,24,25,26,29,27,28,30,32,33,92,31,93,36,7],"名画","流水","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg","未知","Xcm*Xcm",[],48,{"id":100,"slug":101,"title":102,"dynasty":103,"author":104,"museum":105,"description":106,"tags":107,"thumbUrl":109,"material":110,"size":111,"collection":65,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":48},290866,"peng-lai-xian-hui-zhou-zhao-da-heng-290866","蓬莱仙会轴","宋","赵大亨","台北故宫博物院","与卫松曾同为赵伯驹、赵伯骕家仆，侍候赵氏兄弟作画，生卒年不详。",[24,91,77,108,28,32,93,39,31,81,7],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a7a3f49e465910b9499299b136f5e0.jpg","绢本,水墨","54.2x86.4",[],33,{"id":115,"slug":116,"title":117,"dynasty":72,"author":118,"museum":74,"description":119,"tags":120,"thumbUrl":122,"material":65,"size":65,"collection":65,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":48},235991,"li-shan-bi-shu-tu-zhou-yuan-yao-235991","骊山避暑图轴","袁耀","《袁江袁耀画集》是25年 出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。\n他擅画山水、楼台、师法宋人。\n山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[24,91,77,26,30,32,7,121,29,28],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],31,{"id":126,"slug":127,"title":128,"dynasty":72,"author":129,"museum":74,"description":130,"tags":131,"thumbUrl":142,"material":95,"size":96,"collection":65,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":48},241961,"kong-que-shi-qian-zhu-bao-peng-lai-xian-jing-pen-jing-yi-ming-241961","孔雀石嵌珠宝蓬莱仙境盆景","佚名","以孔雀石叠作仙山基座，皴染出海上洞天的嵯峨灵秀。金为枝干，缀满红蓝宝石、粉碧玺作仙苑珍果，朱红珊瑚立成丹林玉树，攒珍珠为琼花缀枝，玛瑙雕琢成芝草瑶葩。鎏金仙人造像衣袂飘然，灵鹤瑞禽驻足其间，把缥缈的仙家胜境凝缩在方寸之中。诸般珍宝巧嵌互衬，将极致工巧与道家寻仙的浪漫遐想融为一体，尽显清宫御作的奢华雅致，是陈设珍玩里的精工佳构。",[132,133,134,135,136,7,30,34,31,137,138,139,35,140,141],"清代","嵌珠宝","雕刻","玉石","珠宝","灵芝","盆景","瑞兽","嵌饰工艺","盆景艺术","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc8ff59c8d887945606129714c16be4d.jpg",[],24,{"id":146,"slug":147,"title":148,"dynasty":149,"author":129,"museum":74,"description":150,"tags":151,"thumbUrl":152,"material":95,"size":96,"collection":65,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":48},290402,"qiong-lou-xian-ju-tu-yi-ming-290402","琼楼仙居图","元","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,91,25,77,27,28,30,32,33,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc36addf53ace8021929aefb755ec324.jpg",[],14,1777535738267]