[{"data":1,"prerenderedAt":63},["ShallowReactive",2],{"subject-yu-jia":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3824,"yu-jia","渔家","渔家画高清赏析","精选中国历代渔家题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg",0,1,[14],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":56,"size":57,"collection":58,"collections":59,"showCount":61,"zanCount":12,"manualWeight":11,"mainColor":62},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","明","丁玉川","台北故宫博物院","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48,49,50,51,52,53,54,55,7],"高清","国画","设色","山水","工笔","孤舟","渔乐","竹","渔夫","远山","云雾","流水","岸","树","草","芦苇","小船","岸石","枯树","汀渚","渔人","舟楫","烟波","浅滩","丛竹","近岸","远岫","霭气","水域","坡岸","草木","舟船","垂钓","绢","纵270厘米、横174.4厘米","山水画精选",[58,60],"水墨画精选",48,"795548",1777535819250]