[{"data":1,"prerenderedAt":105},["ShallowReactive",2],{"subject-xiao-jing-1624":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1624,"xiao-jing-1624","小景","小景画高清赏析","精选中国历代小景题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg",0,4,[14,41,60,88],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":37,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","宋","惠崇","台北故宫博物院","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[23,24,25,26,27,28,29,30,31,32,33,7],"高清","名画","国画","书画","设色","工笔","飞鸟","孤石","老树","花鸟","秋野","绢本,水墨","23.7x24.9","宋画精选",[36,38],"花鸟画精选",76,"795548",{"id":42,"slug":43,"title":44,"dynasty":18,"author":19,"museum":45,"description":46,"tags":47,"thumbUrl":54,"material":55,"size":56,"collection":36,"collections":57,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":40},221251,"yan-tu-hui-chong-221251","雁图","日本京都国立博物馆","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,24,25,26,48,27,49,29,50,51,30,52,7,53],"水墨","雁","水","芦苇","宋画","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[36,38,58],"设色画精选",61,{"id":61,"slug":62,"title":63,"dynasty":64,"author":65,"museum":66,"description":67,"tags":68,"thumbUrl":80,"material":81,"size":82,"collection":83,"collections":84,"showCount":85,"zanCount":86,"manualWeight":11,"mainColor":87},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","明","姚绶","上海博物馆","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[25,27,69,70,32,71,31,72,73,74,29,75,76,77,7,78,79],"青绿","山水","松树","草地","石头","兔子","溪流","梅","坡地","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg","纸本,设色","纵31.2 厘米 横48.3 厘米","",[],43,1,"BDBDBD",{"id":89,"slug":90,"title":91,"dynasty":18,"author":19,"museum":92,"description":93,"tags":94,"thumbUrl":100,"material":101,"size":102,"collection":83,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":40},221318,"sha-ting-yan-shu-tu-hui-chong-221318","沙汀烟树图","辽宁省博物馆","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[23,25,48,70,95,96,97,98,29,7,99],"行书","印章","沙岸","树木","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f44e1b10f5849bbce3c7e94e0ad3cb.jpg","绢本","纵24cm，横25cm",[],33,1777535758509]