[{"data":1,"prerenderedAt":121},["ShallowReactive",2],{"subject-yu-yin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},624,"yu-yin","渔隐","渔隐画高清赏析","精选中国历代渔隐题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3bf780d83f58bfd6275a32ae1bb2039.jpg",0,6,[14,46,65,81,97,106],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","明","仇英","北京故宫博物院","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7],"高清","国画","书画","名画","立轴","设色","工笔","山水","树木","房屋","田野","流水","孤舟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","绢本，设色","纵126.5cm，横66.cm。","山水画精选",[40,42],"设色画精选",156,2,"BDBDBD",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":59,"material":60,"size":61,"collection":62,"collections":63,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":45},287544,"hua-xi-yu-yin-wang-meng-287544","花溪渔隐","元","王蒙","台北故宫博物院","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[26,24,25,27,55,30,34,35,7,56,31,57,36,58],"水墨","山峦","屋舍","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373c447b94d504da403c02a1b7ece0b1.jpg","纸本,水墨","129x58.3cm","",[],42,{"id":66,"slug":67,"title":68,"dynasty":50,"author":69,"museum":52,"description":70,"tags":71,"thumbUrl":75,"material":76,"size":77,"collection":62,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":80},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135","秋江渔隐图","吴镇","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[26,24,25,27,55,30,35,7,72,73,34,32,58,36,74],"山石","松树","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg","绢本,水墨","189.1x88.5",[],34,"795548",{"id":82,"slug":83,"title":84,"dynasty":85,"author":86,"museum":52,"description":87,"tags":88,"thumbUrl":91,"material":92,"size":93,"collection":62,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":96},290770,"qing-jiang-yu-yin-zhou-yi-ming-290770","清江渔隐轴","宋","佚名","该幅画渔舟四叶浮于江。岸边，复有渔夫张罟捕鱼。林麓间，可见楼宇相参，旅人策蹇。中景主峰耸立，饶具压顶的气势。",[24,27,89,74,30,34,35,7,31,56,90],"山水画","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c5e292a2daa5b253a162f3fd0e9034.jpg","绢本,设色","151.5x111.1",[],23,"37474F",{"id":98,"slug":99,"title":100,"dynasty":50,"author":51,"museum":52,"description":53,"tags":101,"thumbUrl":103,"material":60,"size":61,"collection":62,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":45},290418,"hua-xi-yu-yin-zhou-wang-meng-290418","花溪渔隐轴",[26,24,25,27,55,30,34,35,102,72,31,36,74,7],"屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef55dc634c63946416c5b1d78e818ccc.jpg",[],17,{"id":107,"slug":108,"title":109,"dynasty":110,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":116,"material":117,"size":118,"collection":62,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":45},290006,"yu-yin-tu-zha-shi-biao-290006","渔隐图","清","査士标","藏地不详","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[23,115,24,55,30,35,7,58,36,31],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be58bb9d81bb2794a634ee2dc2ac48.jpg","未知","Xcm*Xcm",[],8,1777535746265]