[{"data":1,"prerenderedAt":151},["ShallowReactive",2],{"subject-yu-zhe":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1267,"yu-zhe","渔者","渔者画高清赏析","精选中国历代渔者题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcd1fdc0543c41745cec4d2712012de.jpg",0,7,[14,44,59,84,100,115,131],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":36,"material":37,"size":38,"collection":39,"collections":40,"showCount":41,"zanCount":42,"manualWeight":11,"mainColor":43},288540,"qiu-jiang-yu-ting-tu-xu-dao-ning-288540","秋江渔艇图","宋","许道宁","藏地不详","此画将一望无际的山峰罗列于江岸，挺拔陡峭，险峻之极。山头用竖直细线皴出，也就是肺胃的“峰头直皴而下”，用笔之挺劲突出了岩石坚硬锋利的质感。山坡上，楼阁精致，树木峥嵘；两山间，潺潺的溪流由近及远婉转地汇入江中。平静的江面上有一窄小的木桥，两位行者正从桥上走过；江中几只渔舟游弋，上面忙碌的人像是在捕鱼。所有的景物都被描绘得既自然又贴切，显得那么和谐。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35],"高清","名画","国画","长卷","水墨","山水画","皴法","山水","江河","孤舟","枯树","行旅","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11d66b790819b514ce094377a357ca9.jpg","未知","Xcm*Xcm","",[],71,1,"795548",{"id":45,"slug":46,"title":47,"dynasty":18,"author":48,"museum":20,"description":49,"tags":50,"thumbUrl":56,"material":37,"size":38,"collection":39,"collections":57,"showCount":58,"zanCount":42,"manualWeight":11,"mainColor":43},288939,"xiao-xiang-ba-jing-yu-cun-luo-zhao-wang-hong-288939","潇湘八景-渔村落照","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[25,51,24,26,27,30,52,53,32,54,55,7,29],"书画","渔村","夕阳","老树","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc3334d2253ee018f96ae13d2a02c85.jpg",[],49,{"id":60,"slug":61,"title":62,"dynasty":63,"author":64,"museum":65,"description":66,"tags":67,"thumbUrl":78,"material":79,"size":80,"collection":81,"collections":82,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":43},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","明","吴伟","北京故宫博物院","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,25,51,68,69,70,29,30,71,72,32,7,73,74,75,76,77],"立轴","水墨画","写意","松","溪","流水","山","石","渔乐","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","绢本,水墨","纵122.8厘米，横75厘米","山水画精选",[81,83],"人物画精选",{"id":85,"slug":86,"title":87,"dynasty":88,"author":89,"museum":20,"description":90,"tags":91,"thumbUrl":96,"material":37,"size":38,"collection":39,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":99},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴","元","王蒙","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。",[25,27,68,30,29,92,93,77,73,32,94,95,7],"层峦","山石","亭阁","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg",[],43,"BDBDBD",{"id":101,"slug":102,"title":103,"dynasty":18,"author":104,"museum":20,"description":105,"tags":106,"thumbUrl":112,"material":37,"size":38,"collection":39,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":43},289455,"dai-xue-gui-yu-tu-liang-kai-289455","戴雪归渔图","梁楷","梁楷，生于1150年，父亲梁端，祖父梁扬祖，曾祖梁子美皆为宋朝大臣。东平须城（今山东东平）人，南宋画家。南渡后流寓钱塘（今浙江杭州）。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。他喜好饮酒，酒后的行为不拘礼法，人称是“梁风（疯）子”。\n梁楷传世的作品包含了《六祖伐竹图》《李白行吟图》《泼墨仙人图》《八高僧故事图卷》等，但以《泼墨仙人图》最为有名。",[25,107,27,30,54,108,109,110,7,111],"扇面","飞鸟","蓑笠","雪景","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b8b1f2538144ea090b404283cfbe23.jpg",[],17,{"id":116,"slug":117,"title":118,"dynasty":88,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":126,"material":127,"size":128,"collection":39,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":99},290939,"qiu-lin-diao-ting-tu-ma-wan-290939","秋林钓艇图","马琬","台北故宫博物院","该幅画秋林钓艇，马琬以章草题款，笔法工整。幅上另有陶宗仪隶书题识，正方结字与方笔折刀法，显见魏晋隶书影响。马氏章草与陶氏隶书均以规矩均整见长，充分反映元代之复古书风，与明初云间书家之于古法中求变，颇异其趣。 释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[24,25,51,68,27,30,123,32,73,124,7,35,125,95],"秋林","茅舍","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","纸本,水墨","92x38",[],13,{"id":132,"slug":133,"title":134,"dynasty":135,"author":136,"museum":20,"description":137,"tags":138,"thumbUrl":148,"material":37,"size":38,"collection":39,"collections":149,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":99},289949,"shan-shui-ren-wu-juan-shi-tao-289949","山水人物卷","清","石涛","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,25,24,26,27,51,125,139,30,140,32,33,141,73,142,143,144,145,7,146,147,95,29],"行书","人物","山峦","怪石","幽林","隐士","僧人","隐逸","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823a172113e0e371319b858615943f8.jpg",[],10,1777535742803]