[{"data":1,"prerenderedAt":126},["ShallowReactive",2],{"subject-yu-ren":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},648,"yu-ren","渔人","渔人画高清赏析","精选中国历代渔人题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff363b74448c365847f5194197f0fb6b0.jpg",0,4,[14,40,88,110],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},288327,"ze-pan-ji-feng-tu-xia-gui-288327","泽畔疾风图","宋","夏圭","藏地不详","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,25,26,27,28,29,7,30,31,32],"扇面","国画","水墨","山水","山峦","古树","孤舟","疾风","孤寂","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc829033f8e29113ad506ff1513a0ed9.jpg","未知","Xcm*Xcm","",[],50,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":79,"material":80,"size":81,"collection":82,"collections":83,"showCount":85,"zanCount":86,"manualWeight":11,"mainColor":87},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。",[49,24,50,26,51,29,52,53,54,55,56,57,58,59,60,61,62,63,64,65,7,66,67,68,69,70,71,72,73,74,75,76,77,78],"高清","设色","工笔","渔乐","竹","渔夫","远山","云雾","流水","岸","树","草","芦苇","小船","岸石","枯树","汀渚","舟楫","烟波","浅滩","丛竹","近岸","远岫","霭气","水域","坡岸","草木","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米","山水画精选",[82,84],"水墨画精选",48,1,"795548",{"id":89,"slug":90,"title":91,"dynasty":44,"author":92,"museum":93,"description":94,"tags":95,"thumbUrl":104,"material":105,"size":106,"collection":107,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":87},220444,"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","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。",[24,96,25,32,50,26,57,29,97,98,99,52,62,100,101,63,102,66,7,103],"书画","渔父","人物","老树","枯藤","溪谷","树木","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","绢本,设色","159.5X100.5cm","人物画精选",[107,82],41,{"id":111,"slug":112,"title":113,"dynasty":114,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":123,"material":36,"size":36,"collection":36,"collections":124,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":125},202704,"fang-zhao-song-xue-shan-shui-tu-zhou-shi-zhen-202704","仿赵松雪山水图轴","清","施震","上海博物馆","画面层峦叠嶂，山石以皴法勾勒，纹理苍劲，尽显丘壑之姿。山间飞瀑倾泻，云雾缭绕，添空灵悠远之韵。崖畔松枝虬劲，掩映茅舍，似藏隐逸之趣。近景水岸，老松挺立，渔人持竿独钓，意境悠然恬淡。笔墨雅致，设色清淡，承古意而融己情，将山水之静谧与文人之旷达尽纳其中，观之如入幽境，心随景远。",[24,26,32,119,120,7,121,25,50,122,49],"松树","瀑布","茅舍","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0771ce65ff67e2af2435f9f2b0213b6.jpg",[],"b08c71",1777535759026]