[{"data":1,"prerenderedAt":219},["ShallowReactive",2],{"subject-xian-yi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},164,"xian-yi","闲逸","闲逸画高清赏析","精选中国历代闲逸题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec6e943e5aeb17565689cfe26ef9099.jpg",0,12,[14,41,62,81,104,121,135,147,166,179,191,206],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":36,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},234383,"yin-zhen-shi-er-yue-jing-xing-le-tu-dan-pian-yi-ming-234383","胤禛十二月景行乐图单片","清","佚名","藏地不详","满池荷田田铺展，夏意随水汽漫过错落亭台。凭栏雅士闲赏菡萏，凌波画舫载着清趣缓行，庭院间仆从往来忙活，处处漾着松弛鲜活的意趣。\n设色柔润明丽，界画工细严整，人物情态鲜活入微，将消夏雅集的日常铺陈开来。笔底藏着雅致心思，把盛夏水乡的闲逸日常勾勒得细腻生动，尽显升平安逸的烟火意趣。",[23,24,25,26,27,28,29,30,31,32,33,7,34],"国画","界画","设色","工笔","人物","楼阁","荷花","流水","画舫","庭院","消夏","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508d9ece16a44c74182184ecba879fff.jpg","",[],311,2,"795548",{"id":42,"slug":43,"title":44,"dynasty":18,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":55,"material":56,"size":57,"collection":58,"collections":59,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":40},218491,"ting-qin-tu-yu-lan-218491","听琴图","喻兰","幽篁入镜，琴音似萦。室内雅集间，主人横琴而坐，指下弦动；侧畔听者凝神，眉宇间尽是悠然。侍女轻持乐器侍立，案上文玩罗列，红萼点缀其间，更添几分雅致。窗外竹影婆娑，与镜中幽林相映，虚实交织间，尽显文人闲逸之趣。笔墨细腻，器物精描，人物神态宛然，将一段琴韵中的闲适时光，凝于绢素之上，引人沉醉于这清寂又温暖的雅境里。",[23,48,26,25,27,49,50,51,52,53,34,7,54],"名画","侍女","乐器","琴","竹","文玩","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79ea1cf75ecae2ee4a8c203cf5dc219.jpg","绢本,设色","88x41.7","人物画精选",[58],67,1,{"id":63,"slug":64,"title":65,"dynasty":18,"author":66,"museum":20,"description":67,"tags":68,"thumbUrl":76,"material":56,"size":77,"collection":58,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":80},218288,"qiu-lin-dui-yin-tu-ren-yi-218288","秋林对吟图","任颐","秋林如染，丹红似火的枝桠与橙黄若霞的树冠交叠，墨绿深影衬出沉郁，青蓝树影添了清奇。虬曲树干上斑驳树瘤如岁月印记，苍劲中藏着灵动。林间两人对吟，衣袂轻扬间似有清声随林风漫溢，闲逸之态与秋林绚烂相映成趣。笔墨兼具工致与写意，树色浓淡、枝干皴擦透着自然生机；人物简笔勾勒，更显文人雅集的悠然。整卷将秋的浓郁与人文之趣融于一体，观之如临其境，仿佛触到林风温润，听见诗句回响。",[69,23,25,70,71,27,72,30,73,26,74,7,75],"高清","秋景","秋林","山水","写意","文人雅集","虬干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74afa578b5504f46957f28934b0ca53.jpg","144x77.5",[58],66,"BDBDBD",{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":87,"description":88,"tags":89,"thumbUrl":99,"material":100,"size":101,"collection":36,"collections":102,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":40},290999,"ju-bei-wan-yue-zhou-ma-yuan-290999","举杯玩月轴","宋","马远","台北故宫博物院","风格独特，富有诗意画。水能表现出在不同环境气候下的种种形态。其花鸟作品善于在自然环境中描绘花鸟的神情野趣。",[48,23,90,91,72,27,92,93,94,95,96,97,7,98],"立轴","水墨","明月","松","枯树","山石","雾","饮酒","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde301ff84b5c3a8dfe486393212f2ca.jpg","绢本,水墨","205.6x104.1",[],51,{"id":105,"slug":106,"title":107,"dynasty":108,"author":109,"museum":87,"description":110,"tags":111,"thumbUrl":116,"material":117,"size":118,"collection":36,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":80},290872,"song-yin-qin-ruan-zhou-chou-ying-290872","松阴琴阮轴","明","仇英","本幅绘高士二人，对坐松林泉石之间，一人拨阮，另一人停琴聆听。全画构景清旷，笔墨简赅，人物衣纹用游丝描，石用披麻皴，于仇画中极为罕见，殆有意迴避院体鲜丽精巧的面目，转而追求文徵明式简淡、雅逸的格调。 幅左篆书款署嘉靖己酉（一五四九），时仇英约五十六岁。左下角「剑光阁」、「华氏明伯」两印，均华云所有，故此画应是仇英为华氏所作",[23,48,112,90,113,91,27,114,50,115,7],"书画","白描","松树","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ccceac39e78de66c277baf5ea414e1.jpg","白纸本","54.9×28.4",[],33,{"id":122,"slug":123,"title":124,"dynasty":108,"author":109,"museum":20,"description":125,"tags":126,"thumbUrl":130,"material":131,"size":132,"collection":36,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":40},289611,"ren-wu-gu-shi-ce-chou-ying-289611","人物故事册","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”。",[23,127,25,128,26,72,27,114,129,30,7],"册","青绿","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f11f6d7c4c8cd8fe72e4bdca237d88.jpg","未知","Xcm*Xcm",[],27,{"id":136,"slug":137,"title":138,"dynasty":18,"author":19,"museum":20,"description":139,"tags":140,"thumbUrl":144,"material":131,"size":132,"collection":36,"collections":145,"showCount":146,"zanCount":61,"manualWeight":11,"mainColor":80},272873,"ci-xiu-yu-zhi-ti-tong-yin-wan-he-tu-gua-ping-yi-ming-272873","刺绣御制题桐荫玩鹤图挂屏","此作将刺绣工艺与文人雅趣相融，松石苍劲雅致，蓝调山石以绣线晕出层叠肌理，晕染出空寂清逸的山居意趣。近景林下两位高士相对而坐，一人拨弦、一人凝神静赏，将林下雅集的悠然氛围尽显。\n\n绣线设色温婉沉静，米底配青蓝绣线，将水墨淡彩的雅致晕染尽致。题诗以针代笔，走线细腻还原笔墨意趣，完美复刻文人题咏的书卷气。整幅以绣为画，得国画留白写意之妙，把文人寄情山水、乐享雅集的审美意趣尽数铺展，是诗、绣、画三者相融的佳品，尽显东方传统雅致美学。",[141,142,112,25,72,114,27,143,7],"刺绣","挂屏","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca190663de32fd118433b415c91cade2.jpg",[],25,{"id":148,"slug":149,"title":150,"dynasty":151,"author":152,"museum":153,"description":154,"tags":155,"thumbUrl":161,"material":36,"size":36,"collection":162,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},202889,"xi-zhou-nong-di-tu-zhou-pu-ru-202889","溪舟弄笛图轴","近代","溥儒","上海博物馆","嶙峋山石旁，苍松虬枝横斜，松间藤蔓轻垂，点缀些许金黄。清溪之上，两艘扁舟缓行，一舟中人持笛吹奏，另一舟者静坐聆听，意态闲适。笔墨细腻雅致，山石以淡墨皴擦出纹理，松针勾勒细密灵动，人物情态鲜活。整体意境空灵悠远，将文人雅士寄情山水的闲逸之趣尽显无遗。",[23,72,98,156,93,157,27,158,159,160,7,69],"孤舟","溪流","工写结合","笔墨雅致","寄情山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0935b615268d83091310caffb8d913e5.jpg","山水画精选",[162],17,"b7ad9f",{"id":167,"slug":168,"title":169,"dynasty":85,"author":170,"museum":87,"description":171,"tags":172,"thumbUrl":175,"material":131,"size":132,"collection":36,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":178},289836,"xian-mang-tu-ma-he-zhi-289836","闲忙图","马和之","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[69,23,27,25,173,72,7,174],"老树","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9ce9b5b5499701d91ac08f9b00b615.jpg",[],15,"37474F",{"id":180,"slug":181,"title":182,"dynasty":108,"author":183,"museum":20,"description":184,"tags":185,"thumbUrl":188,"material":131,"size":132,"collection":36,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":40},288239,"shan-shui-shi-yi-tu-chen-hong-shou-288239","山水诗意图","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[69,23,112,113,91,186,27,187,173,174,7],"人物画","古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc232101689df0dea0bedb27a18b48ad3.jpg",[],14,{"id":192,"slug":193,"title":194,"dynasty":108,"author":19,"museum":20,"description":195,"tags":196,"thumbUrl":203,"material":36,"size":36,"collection":36,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":40},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[48,23,112,90,25,26,27,197,198,199,200,7,201,202],"马","飞鸟","芦荻","郊野","写实","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],11,{"id":207,"slug":208,"title":209,"dynasty":85,"author":19,"museum":20,"description":210,"tags":211,"thumbUrl":215,"material":131,"size":132,"collection":36,"collections":216,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":218},289568,"jiang-shan-fei-niao-tu-yi-ming-289568","江山飞鸟图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[23,48,212,91,198,173,95,213,214,27,7],"山水画","江水","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec350e5d692b211df8cd206de5edc7.jpg",[],8,"F48FB1",1777535729447]