[{"data":1,"prerenderedAt":284},["ShallowReactive",2],{"subject-xiao-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},7513,"xiao-se","萧瑟","萧瑟画高清赏析","精选中国历代萧瑟题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18be764439c984fd5a481fb6ad8dc72.jpg",0,18,[14,43,60,77,92,104,121,136,150,163,178,190,202,215,231,241,254,269],{"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},289341,"han-lin-ping-ye-tu-li-cheng-289341","寒林平野图","宋","李成","台北故宫博物院","图绘萧瑟的隆冬平野中，长松亭立，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。该图正是李成最擅长表现的场景。",[23,24,25,26,27,28,29,30,31,32,33,34,7],"国画","名画","书画","立轴","水墨","山水","寒林","平野","枯树","老树","皴法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a367dd49badf8d7559fae79a915a52.jpg","未知","Xcm*Xcm","",[],240,5,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":56,"material":36,"size":37,"collection":38,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":59},288455,"jiang-shan-xue-ji-tu-wang-wei-288455","江山雪霁图","唐","王维","藏地不详","图绘峰峦层叠，长松杂树，瀑布由山腰奔腾而下，隐入林中。中景山脚平陂，古木耸立，房舍寺院；左侧白雪覆山，小径曲折通向远处，农夫相间往来，石岩之前溪流潺缓，注入冬湖，近岸又有板桥一座。近景高树参天，坡石伏岸，竹篱房舍隐见。此图构思成熟，笔法谨严认真，多以细秀圆润笔作皴画石，一丝不苟，再加以平衬染渲，点缀勾提。显示出一种清静、纯洁、寒意袭人的气氛。细微处，可见篱栅圈地，旅人穿山而行，更是增添了一种盎然生机。",[23,52,53,27,54,31,29,55,7],"长卷","山水画","雪景","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec14c9886abbd9d04a89c8b10683b62.jpg",[],96,"37474F",{"id":61,"slug":62,"title":63,"dynasty":18,"author":64,"museum":49,"description":65,"tags":66,"thumbUrl":74,"material":36,"size":37,"collection":38,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":42},290493,"qiu-jiang-mi-du-tu-guo-xi-290493","秋江觅渡图","郭熙","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[24,23,53,67,33,32,68,69,70,71,72,7,73],"设色","秋江","渡口","远山","江岸","烟波","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bb3c54ae0c2dc5c4f7d3a36485b611.jpg",[],61,{"id":78,"slug":79,"title":80,"dynasty":18,"author":81,"museum":49,"description":82,"tags":83,"thumbUrl":89,"material":36,"size":37,"collection":38,"collections":90,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":42},288549,"qiu-tang-tu-zhao-ling-rang-288549","秋塘图","赵令穰","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[23,24,27,55,84,85,86,87,88,7],"枯柳","池塘","疏林","雾霭","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0e139577d1c0981134a129ca84c66.jpg",[],46,{"id":93,"slug":94,"title":95,"dynasty":96,"author":97,"museum":49,"description":98,"tags":99,"thumbUrl":100,"material":36,"size":37,"collection":38,"collections":101,"showCount":102,"zanCount":103,"manualWeight":11,"mainColor":42},289347,"gu-mu-han-ya-tu-luo-zhi-chuan-289347","古木寒鸦图","元","罗稚川","罗稚川 江西临川人。元代著名画家。生卒年不详，大致生活于元代前期。\n生卒年不详，大致生活于元代前期。据元代虞集（1272-1348）《空山歌》载，他于“弱冠”之年，曾见罗稚川“挥翰甚风流”，从虞氏生年（1272）下推，大约在1292年时罗稚川尚在世。虞集记载了罗氏早年生涯：“忆昔侍郎镇成都，将佐盈庭宾客趋；锦官城外笳鼓发，驷马桥边高盖车。”据此，罗稚川曾是南宋时镇守四川成都的年轻将领。理宗端平三年（1236）金兵陷成都，特别是宋亡，彻底改变了他的人生道路，他开始了隐居生活。宋亡，入元不仕，以诗画自娱。",[23,27,28,31,55,54,7,26,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29982bf2593c2e7d2d3c6f8160d10cb9.jpg",[],39,1,{"id":105,"slug":106,"title":107,"dynasty":108,"author":109,"museum":49,"description":110,"tags":111,"thumbUrl":118,"material":36,"size":37,"collection":38,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":42},288024,"zhong-qiu-shi-yi-tu-li-zhou-chen-mei-288024","中秋诗意图立轴","清","陈枚","陈枚，字载东，号殿抡，晚号枝窝头陀，娄县（今上海市松江）人。是一名清朝画家。",[112,23,26,113,67,114,32,115,116,117,7],"高清","工笔","人物","枯藤","古道","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a7bb60651726dc7bcd46e396118a9e.jpg",[],36,{"id":122,"slug":123,"title":124,"dynasty":18,"author":125,"museum":20,"description":126,"tags":127,"thumbUrl":133,"material":36,"size":37,"collection":38,"collections":134,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":42},289872,"lu-yan-tu-zhou-cui-bai-289872","芦雁图轴","崔白","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[23,24,26,128,67,113,129,130,131,7,34,132,55],"花鸟画","雁","芦苇","河滩","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268d051a3a5f1a61e3fc7aa0356935b.jpg",[],35,{"id":137,"slug":138,"title":139,"dynasty":18,"author":140,"museum":20,"description":141,"tags":142,"thumbUrl":144,"material":145,"size":146,"collection":147,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":42},290300,"qiao-mu-tu-xu-dao-ning-290300","乔木图","许道宁","南宋一代的豪纵简硬之笔，虽主要脱胎于李唐，但多少也遥承许道宁的衣钵-《国绘宝鉴》说他：“早年所画俗恶，至中年脱去旧学，稍自检束，行笔简易，风度益著，峰头直皴而下，林木劲硬，自成一家体，至细微处，始人妙理。”《圣朝名画评》渭其画格“所长者二，一林木，二平远，二野水，皆造其妙。”识者以为得李成之气，实际上许道宁在李成基础上自有创造，文同称赞他：“许生虽学李营丘，墨路纵横多自出”。许氏以峰头直皴而下的笔道，画出山势的峭厉瘦硬；以轻灵之笔，画出枯竭的泉水及背后庄严的山脉，令人感受到了强烈的萧条之气。此图以寒林孤秀，树态严凝，展现出林木劲硬的风格。\n许道宁以卖药为主，不直接卖画，有人顾买他的药，必画树石以赠之。这幅可能是其中之一。请看这幅有点怪意的图中右侧的山石，近者显，远者隐。石形棱角突出，石质坚硬；左侧平缓的山坡上，长着几棵秃枝无叶乔木，树枝龙爪型。有两棵并肩相长，树干粗壮挺立，上部摆出动态枝头，扭曲着的躯干，尤如双龙在空中舒展身子，窜向苍茫昊天；中间那棵乔木弯腰弓背，伸展枝头，倾向右侧的岩石，似与远处的那棵乔木交叉重叠。秃枝无叶乔木和光秃无草的山石，这都是隆冬时节的象征。严冬里只有乔木挺立在山岗上，与山石作伴，在接受严冬的考验。这是一幅富有诗意的树石图。此图中乔木落叶而挺拔，山石坚硬而清利，多么像作者峭拔的性格，也是作者的豪放、简硬之笔，在图中得到了充分的体现。",[23,53,27,33,31,143,26,7],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02d67bdf8e318cfcd5d74b0eee68b84.jpg","绢本,水墨","188.6x115","水墨画精选",[147],33,{"id":151,"slug":152,"title":153,"dynasty":18,"author":154,"museum":49,"description":155,"tags":156,"thumbUrl":160,"material":36,"size":37,"collection":38,"collections":161,"showCount":162,"zanCount":11,"manualWeight":11,"mainColor":42},288348,"dong-yan-tu-song-ren-288348","冬雁图","宋人","画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念",[23,113,157,129,130,158,159,7,34],"花鸟","水岸","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa761cc5e3009b435f9f18dc03c7e3b9a.jpg",[],31,{"id":164,"slug":165,"title":166,"dynasty":96,"author":167,"museum":49,"description":168,"tags":169,"thumbUrl":175,"material":36,"size":37,"collection":38,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":42},287548,"xue-xi-xing-lv-tu-zhu-qian-287548","雪溪行旅图","朱迁","鲁端王，朱观，朱健杙、嫡一子，在位时间：1528年—1549年嘉靖七年袭封。二十八年薨。",[23,27,53,54,31,170,171,172,173,7,174,33],"山石","木桥","行旅车","溪流","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7df3005f4a3bf0d11afbba4c6813039.jpg",[],24,{"id":179,"slug":180,"title":181,"dynasty":18,"author":140,"museum":20,"description":182,"tags":183,"thumbUrl":185,"material":186,"size":187,"collection":38,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":42},290299,"hua-xue-jing-zhou-xu-dao-ning-290299","画雪景轴","崇山峻岭，峰峦积雪，百木俱凋，苍松挺立。雪江中，渔夫披簑垂钓，溪畔上，三人围炉饮酒。通幅以墨渲染水天，更觉阴冷萧瑟。",[23,53,26,54,184,31,29,33,27,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff213122db4f95a5a16f09c320c5b6ab0.jpg","绢本","169.2x103.2",[],17,{"id":191,"slug":192,"title":193,"dynasty":194,"author":195,"museum":49,"description":196,"tags":197,"thumbUrl":199,"material":36,"size":37,"collection":38,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":42},287405,"dong-xuan-zai-shan-shui-tu-dong-qi-chang-287405","董玄宰山水图","明","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[112,23,53,27,31,198,70,7],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cf6d43c47d7ac013037de6945b150e1.jpg",[],10,{"id":203,"slug":204,"title":205,"dynasty":96,"author":206,"museum":49,"description":207,"tags":208,"thumbUrl":212,"material":36,"size":37,"collection":38,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":42},287760,"dong-ya-tu-mu-tu-yi-ming-287760","冬鸦秃木图","佚名","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。",[23,27,209,210,55,28,211,7],"冬景","枯木","荒郊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bed51ad511447d3f429b3f77844600c.jpg",[],9,{"id":216,"slug":217,"title":218,"dynasty":194,"author":219,"museum":49,"description":220,"tags":221,"thumbUrl":227,"material":36,"size":37,"collection":38,"collections":228,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":230},288013,"qiu-lin-han-yan-tu-juan-sun-zhi-288013","秋林寒雁图卷","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[112,23,52,53,27,67,222,223,55,70,224,225,31,88,7,132,226,34],"秋林","寒雁","流水","山居","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12ca6b35db79bb43e21774644a2d1e9.jpg",[],7,"BDBDBD",{"id":232,"slug":233,"title":234,"dynasty":96,"author":206,"museum":49,"description":207,"tags":235,"thumbUrl":238,"material":36,"size":37,"collection":38,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":42},287550,"han-shan-ya-zhen-tu-yi-ming-287550","寒山鸦阵图",[23,53,31,236,237,54,67,7],"鸦群","寒山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b8948524f757de8bffce02cf1c0c4ef.jpg",[],6,{"id":242,"slug":243,"title":244,"dynasty":108,"author":245,"museum":49,"description":246,"tags":247,"thumbUrl":251,"material":36,"size":37,"collection":38,"collections":252,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":42},290429,"shan-shui-quan-jing-shu-hua-ce-qu-da-kun-290429","山水全景书画册","瞿大坤","翟大坤（？-1804）清代画家。字子垕，号雪屏，后病耳，又自号无闻子，本籍浙江嘉兴，寄居吴门（今江苏苏州）。性萧散好书、画，书学十七帖、孙过庭。",[23,25,248,27,28,32,115,224,249,55,250,132,34,7,33],"册","孤舟","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b93a9f53c97def0f39299540a8019d.jpg",[],3,{"id":255,"slug":256,"title":257,"dynasty":258,"author":259,"museum":49,"description":260,"tags":261,"thumbUrl":10,"material":36,"size":37,"collection":38,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":230},232541,"mi-lai-si-85-yue-han-ai-fu-li-te-mi-lai-si-232541","米莱斯85","不详","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[24,262,54,263,31,55,264,265,266,7],"油画","城堡","黄昏","冬日","郊野",[],2,{"id":270,"slug":271,"title":272,"dynasty":258,"author":206,"museum":49,"description":273,"tags":274,"thumbUrl":282,"material":36,"size":37,"collection":38,"collections":283,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":42},288719,"vincent-van-gogh-nursery-on-schenkweg-yi-ming-288719","Vincent van Gogh--Nursery on Schenkweg","枯瘦秃树错落而立，细密笔触晕染出水泽边荒草的萧索蓬松。凝滞的水面晕开景物轮廓，将沉郁静谧揉进每一处线条里。远处屋舍隐在灰调暮色中，寒鸦斜掠长空，把空旷孤寂铺满城郊角落。克制的笔调裹藏着饱满情绪，将无人问津的城郊荒境，晕成带着清冷诗意的日常一隅，静诉着独处时的沉郁安然，让萧瑟荒芜也染上细腻温柔的氛围感。",[275,276,31,55,85,277,278,279,7,280,281],"素描","淡彩","民居","荒草","郊外","秋冬","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5366e8d7509e05852b010c1108615378.jpg",[],1777535721856]