[{"data":1,"prerenderedAt":112},["ShallowReactive",2],{"subject-yu-fu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1417,"yu-fu","渔父","渔父画高清赏析","精选中国历代渔父题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd2860a1eb8926ac34342857390fe72.jpg",0,4,[14,42,70,94],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":38,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},228011,"yu-fu-tu-wu-zhen-228011","渔父图","元","吴镇","藏地不详","《渔父图》是元代画家 创作的绢本墨笔画，现藏于北京故宫博物院。\n《渔父图》画远山丛树，流泉曲水，老树平坡。\n坡旁溪水一泓，小舟闲泊。\n一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。\n笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。\n坡旁水泽，小舟闲泊。\n一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。\n对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。\n并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。\n”下钤二印。\n图上有清人王铎诗题。\n吴镇的父亲在宋朝是抗金的将军，其叔父与赵孟頫是至交。\n吴镇秉性孤傲，从不愿意与权势者来往，不愿意做官，也很少卖画，不是卖不掉，而是不愿意卖。\n渔、樵、耕、读是古代文人最爱追求的生活方式，“渔父”的形象是清高、隐士的代名词，特别是在元朝，渔父形象大量出现在文学作品、绘画艺术中，成为文人们的感情寄托。\n吴镇对渔父题材更是情有独钟，但他并不是主要歌颂渔父形象，更多是将渔父形象置于某种背景中，营造出一种空无的境界。\n渔父之意对吴镇而言，是一种超然的生活姿态。\n渔父之“父”又作“甫”，是对老年男子的称呼。\n老年人历经沧桑，明于得失，归心淡泊，古称人老之后不归禅则归道，隐含着超脱之情。\n吴镇那种“曲直知有节”不肯傍人篱落的思想也从他画的众多的《渔父图》中反映出来。\n从“至元二年秋八月“判断，是吴镇五十七岁时的作品。\n《渔父图》中的渔父也和竹子一样，是一个象征意义的形象，透露了元代社会的某些侧面的现实情况。\n《渔父图》是将画者的心襟气象与关乎画面自身形式规范的内在结构有机结合起来的典范之作，其所描绘的场景并未脱离视觉真实，但它注重的已不再是真实物象本身，而是借此传达画家对于宇宙韵律的体吾与把握，进而表现陶冶于自然之中、与天地同体的人格境界。\n据题画诗，可以体悟到吴镇想要云游于天地云水之间、超脱而归于自然的“渔隐”心理。\n墨分五色，而“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。\n画山水选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。\n画中载酒船头、垂钓湖面的渔者，沉迷于水天朗月之间，融合在宇宙的秩序和节奏之中，云雾山岚、西风芦荻、水波鱼跃皆与人心息息相通，主观情调与自然景象的交流互渗构成了超出于画面自然山水本身的艺术灵境。\n《渔父图》无论远景、近景均如沐浴在水中，给人“水墨淋漓幛犹湿”之感，但由于渔船与渔父皆以细笔勾出，与湿笔大点大染的山石树木形成鲜明的线面对比、因面画面充溢的湿重之气并没有使人产生闷塞之感。\n此外，吴镇的《渔父图》皆用笔苍劲有力，诗与画交相辉映，形成迷蒙幽深、自由无限的艺术境界。\n故宫博物院研究馆员 ：画中的构图严整精练，置景平奇相间，把处于静态的树木坡石处理得颇有动感，近坡、渔翁、远山三组景物在结构上顾盼自如。\n北京故宫博物院所藏《渔父图》上有清人王铎题诗，此卷曾经明人詹僖，清人吴荣光、潘正炜收藏，现收藏于北京故宫博物院。\n217年9月6日—2月5日，北京故宫博物院举办赵孟頫书画特展，其中《渔父图》为展出珍品之一。\n吴镇（128—154），字仲圭，号梅花道人、梅沙弥，嘉兴人。\n相传吴镇年轻时喜结交豪侠一流的人物，后隐居乡里，以卖卜为生，并吟诗写字作画以消遣，诗书画逐渐有名之后，兼以卖画为生。\n吴镇擅画水墨山水，师法巨然，间学马远、夏主的斧劈皴和刮铁皴，擅用湿墨表现山川林木郁茂景色。\n与 、 、王蒙合称“元四家”。\n传世作品有《双桧平远图》《渔父图》《墨梅图》等。",[23,24,25,26,27,28,29,7,30,31,32,33,34,35,36],"高清","国画","水墨","皴法","立轴","山水","孤舟","枯树","老树","山石","远山","水面","树木","岸边植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03dd03517bdc35106836bd25b858314f.jpg","",[],90,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":65,"material":38,"size":38,"collection":38,"collections":66,"showCount":67,"zanCount":68,"manualWeight":11,"mainColor":69},228983,"tao-yuan-tu-shi-tao-228983","桃源图","清","石涛","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,50,51,52,28,25,26,53,54,55,56,35,57,58,59,60,61,7,62,33,63,64],"书画","长卷","设色","山峦","云雾","村落","房屋","飞鸟","流水","小径","人家","桃花","溪流","近景","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],57,1,"BDBDBD",{"id":71,"slug":72,"title":73,"dynasty":74,"author":75,"museum":76,"description":77,"tags":78,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":41},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","明","朱邦","大英博物馆","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[24,50,25,26,52,28,58,29,7,64,31,79,80,81,82,83,35,84,85,86],"渔乐","小船","枯藤","溪谷","岸石","舟楫","渔人","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","绢本,设色","159.5X100.5cm","人物画精选",[90,92],"山水画精选",41,{"id":95,"slug":96,"title":97,"dynasty":98,"author":99,"museum":100,"description":101,"tags":102,"thumbUrl":106,"material":107,"size":108,"collection":38,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":111},290940,"xue-xi-yu-fu-zhou-xu-dao-ning-290940","雪溪渔父轴","宋","许道宁","台北故宫博物院","许道宁 北宋画家。生卒年不详，约970年-1052年。活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅山水，师法李成，初于汴京（今河南开封）端门前卖药，以画吸引顾客，渐为人所知。多写林木、野水、秋江、雪景、寒林、渔浦等，并点缀行旅、野渡、捕鱼等人物，行笔简快，峰峦峭拔，林木劲硬，人称能得李成之气。宋朝人张士逊曾写诗称赞说：“李成谢世范宽死，唯有长安许道宁。”黄庭坚激赏他醉后所作的画。在《答王道济寺丞观许道宁山水图》诗中写道：“往逢醉许在长安，蛮溪大砚磨松烟。忽呼绢素翻砚水，久不下笔或经年。异时踏门闯白首，巾冠欹斜更索酒。举杯意气欲翻盆，倒卧虚樽即八九。醉拾枯笔墨淋浪，势若山崩不停手。数尺江山万里遥。满堂风物冷萧萧。”生动地展示了许道宁醉中作画的神情举止，见出他画技的高超。",[103,24,27,25,28,104,30,105,58,26,7],"名画","雪景","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f27de3f670f6cff184316c4bfa2242.jpg","绢本,水墨","169x110",[],21,"37474F",1777535758278]