[{"data":1,"prerenderedAt":353},["ShallowReactive",2],{"subject-yu-chuan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},489,"yu-chuan","渔船","渔船画高清赏析","精选中国历代渔船题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9114cd21f1e61ed9b2c254388cf115b.jpg",0,21,[14,48,85,108,126,147,161,171,183,194,208,226,239,251,263,277,292,302,319,332,343],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":45,"zanCount":46,"manualWeight":11,"mainColor":47},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","宋","李唐","台北故宫博物院","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37],"高清","国画","名画","长卷","山水","皴法","设色","山石","树木","流水","瀑布","舟楫","远山","近岸","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","绢本","纵49.7厘米，横186.7厘米","宋画精选",[41,43,44],"山水画精选","水墨画精选",232,2,"795548",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":78,"material":79,"size":80,"collection":43,"collections":81,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":84},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","元","赵雍 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另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,57,26,58,28,59,27,60,61,62,63,30,64,7,65,66,67,68,69,70,71,72,73,74,75,76,77],"书画","水墨","印章","树","老树","孤舟","梅","水面","人物","远岫","岸","茅屋","枝干","花","松树","枯树","岸滩","船只","山间","草木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纸本，墨笔","纵30cm，横52.8cm",[43,44],111,3,"BDBDBD",{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":91,"description":92,"tags":93,"thumbUrl":100,"material":101,"size":102,"collection":103,"collections":104,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":47},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","明","谢时臣","美国克利夫兰艺术博物馆","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,57,26,27,29,28,65,94,32,62,95,96,31,30,7,68,97,98,99],"小桥","蓑笠","楼阁","云雾","风雨","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","绢本,设色","40.3×425.4","人物画精选",[103,105],"设色画精选",91,4,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":122,"material":123,"size":123,"collection":123,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":84},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","清","溥儒","藏地不详","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,24,58,117,29,27,118,62,32,65,30,119,31,120,7,121],"白描","柳树","渔乐","河岸","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg","",[],29,{"id":127,"slug":128,"title":129,"dynasty":130,"author":131,"museum":114,"description":132,"tags":133,"thumbUrl":141,"material":142,"size":143,"collection":144,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":47},225904,"beach-at-e-tretat-1883-mo-nai-225904","Beach at étretat, 1883","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[134,135,136,137,138,7,139,140,65],"油画","印象派","海滩","悬崖","海浪","海洋","沙滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedad24bdfead5f97755a80d15dac8987.jpg","未知","Xcm*Xcm","油画精选",[144],25,{"id":148,"slug":149,"title":150,"dynasty":52,"author":151,"museum":20,"description":152,"tags":153,"thumbUrl":155,"material":156,"size":157,"collection":123,"collections":158,"showCount":159,"zanCount":160,"manualWeight":11,"mainColor":47},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","唐棣","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,57,25,27,29,28,119,62,95,7,65,31,30,154,64],"烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","绢","纵160.1 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op het strand van Les Saintes-Maries-de-la-Mer","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[134,246,7,140,138,247,189,217,166],"厚涂","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700fd713b0bd9fb93f5bcfee3f2233c0.jpg",[144],13,{"id":252,"slug":253,"title":254,"dynasty":18,"author":255,"museum":114,"description":256,"tags":257,"thumbUrl":260,"material":123,"size":123,"collection":123,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":47},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","佚名","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 编者:曹彦伟",[23,24,57,26,25,29,215,28,258,119,27,62,95,94,32,61,65,217,259,73,7],"雪","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe774b2042f18b3d6124d857164b9550b.jpg",[],12,{"id":264,"slug":265,"title":266,"dynasty":112,"author":267,"museum":114,"description":268,"tags":269,"thumbUrl":274,"material":123,"size":123,"collection":123,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":47},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","王翚","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,26,29,27,28,215,270,31,271,68,272,273,216,7,217],"湖泊","小船","岛屿","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],7,{"id":278,"slug":279,"title":280,"dynasty":112,"author":255,"museum":114,"description":281,"tags":282,"thumbUrl":289,"material":142,"size":143,"collection":123,"collections":290,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":84},272835,"zi-tan-dian-cui-qian-ya-yu-jia-le-cha-ping-yi-ming-272835","紫檀点翠嵌牙渔家乐插屏","此件以紫檀为骨，边框缠枝纹精雕细镂，古意盎然。屏心以墨底铺陈，借点翠晕染山林村居，深浅翠色仿若烟岚覆坡，柔润雅致。象牙巧作人物舟楫，细细勾勒出江南水乡烟火日常：江面扁舟错落，渔翁撒网收获、停舟闲话；堤岸浣洗劳作，田垄俯身耕耘，处处皆是鲜活生机。百宝相嵌之下，莹润翠色与温润牙色在沉深墨底上相映成趣，将水乡渔家乐的太平盛景凝于屏间，尽显嵌作工艺的精妙灵秀，把江南日常的恬暖意趣永恒定格。",[283,284,285,286,287,288,119,65,7,32,96,27,29],"插屏","器","木质","象牙","点翠","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b50f90b76d242ecf4f2fa0eabd1767.jpg",[],6,{"id":293,"slug":294,"title":295,"dynasty":112,"author":296,"museum":114,"description":297,"tags":298,"thumbUrl":300,"material":142,"size":143,"collection":123,"collections":301,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":84},236304,"yu-le-tu-shan-ye-yang-da-zhang-236304","渔乐图扇页","杨大章","杨大章（生卒年不详）清代画家。",[299,215,29,27,65,7,31,119],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6550dd05bbe42c4348a9bd007ebd7e46.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":130,"author":255,"museum":114,"description":306,"tags":307,"thumbUrl":317,"material":123,"size":123,"collection":123,"collections":318,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":84},225428,"fu-shi-hui-186-yi-ming-225428","浮世绘186","淡晕米黄铺就朦胧天色，墨色薄云舒卷柔化天际。开阔水面漾着细微波纹，大小舟楫错落排布，撑篙渔夫俯身控船，带网渔船缓行，远帆静泊，尽显漕运烟火日常。\n\n两岸町屋鳞次栉比，木构白墙衬着暖红阶台，右侧埠头栈台尽显临河商贸的繁茂。整体用色克制雅致，朱红与石青点缀屋舍栏槛，淡墨勾线清隽凝练，将水岸松弛鲜活的日常定格，带着日式版画独有的温润烟火气，静述着旧时河畔的熙攘安闲。",[308,309,29,201,74,310,311,65,31,120,7,219,312,313,34,314,315,316],"浮世绘","木刻","桥梁","建筑","桅杆","码头","船夫","水乡","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6986e11ff27deb142a6863bca6f1452d.jpg",[],{"id":320,"slug":321,"title":322,"dynasty":112,"author":323,"museum":114,"description":324,"tags":325,"thumbUrl":330,"material":142,"size":143,"collection":123,"collections":331,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":84},290985,"liu-tang-xia-yu-gao-zong-yu-ti-zhou-zhang-zong-cang-290985","柳塘夏雨高宗御题轴","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[24,25,326,58,28,327,59,27,328,329,32,62,217,94,233,61,7,204],"立轴","书法","柳塘","夏雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63f5b5760409e528a471071399f414.jpg",[],{"id":333,"slug":334,"title":335,"dynasty":130,"author":255,"museum":114,"description":336,"tags":337,"thumbUrl":341,"material":123,"size":123,"collection":123,"collections":342,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":84},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,57,26,58,338,28,27,62,33,71,339,340,97,30,32,7],"仿古","雪山","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":344,"slug":345,"title":346,"dynasty":112,"author":255,"museum":114,"description":347,"tags":348,"thumbUrl":351,"material":142,"size":143,"collection":123,"collections":352,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":47},261726,"wu-cai-yu-jia-le-tu-bang-chui-ping-yi-ming-261726","五彩渔家乐图棒槌瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[349,350,29,65,7,118,217,119],"陶瓷","五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0873f75c82c78c8f848dc2ce05ed9e14.jpg",[],1777535719783]