[{"data":1,"prerenderedAt":150},["ShallowReactive",2],{"subject-yuan-hou":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2995,"yuan-hou","猿猴","猿猴画高清赏析","精选中国历代猿猴题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg",0,8,[14,41,63,77,91,110,125,133],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","宋","佚名","北京故宫博物院","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[23,24,25,26,27,28,29,30,7,31,32,33],"高清","名画","国画","书画","扇面","工笔","设色","印章","树木","果实","兽","绢本,设色","纵25厘米，横25.6厘米","花鸟画精选",[36],79,2,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":18,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":54,"material":55,"size":56,"collection":57,"collections":58,"showCount":60,"zanCount":61,"manualWeight":11,"mainColor":62},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","刘松年","台北故宫博物院","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[23,24,25,49,50,28,29,51,52,7,53],"宗教","人物画","罗汉","僧人","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a28b401aad44e929fc003a7cb38ace.jpg","绢本","纵117公分，横55.8公分","宋画精选",[57,36,59],"设色画精选",71,1,"795548",{"id":64,"slug":65,"title":66,"dynasty":18,"author":67,"museum":46,"description":68,"tags":69,"thumbUrl":73,"material":34,"size":74,"collection":57,"collections":75,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":40},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","易元吉","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,25,24,28,70,29,71,7,72,33,31],"水墨","古木","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[57],46,{"id":78,"slug":79,"title":80,"dynasty":18,"author":67,"museum":20,"description":81,"tags":82,"thumbUrl":87,"material":34,"size":88,"collection":36,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":40},218749,"qun-yuan-shi-guo-tu-yi-yuan-ji-218749","群猿拾果图","《群猿拾果图》为北宋画家易元吉所作。本幅无作者款识，右侧题签：“易元吉群猿拾果”。对开乾隆题诗：“好静工引气，能吟更善缘。栖枝坠岸穗，拾果倒空悬。岂必问其数，亦惟顺厥天。尧牵宝星，可以悟难前。 ”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,24,25,26,83,28,29,70,7,32,84,72,85,86],"册","树枝","树叶","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[36],22,{"id":92,"slug":93,"title":94,"dynasty":18,"author":67,"museum":95,"description":96,"tags":97,"thumbUrl":105,"material":55,"size":106,"collection":107,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":62},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","藏地不详","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,24,25,98,29,99,28,100,101,102,103,7,72,104,30],"长卷","青绿","山水","树","红叶","獐","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321","",[],20,{"id":111,"slug":112,"title":113,"dynasty":18,"author":67,"museum":95,"description":114,"tags":115,"thumbUrl":120,"material":121,"size":122,"collection":107,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":62},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[25,24,26,116,28,29,117,7,118,31,72,119],"宋画","立轴","猴","枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg","未知","Xcm*Xcm",[],13,{"id":126,"slug":127,"title":17,"dynasty":18,"author":19,"museum":95,"description":128,"tags":129,"thumbUrl":131,"material":107,"size":107,"collection":107,"collections":132,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":40},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[24,25,26,27,29,33,7,101,130,32,30],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":134,"slug":135,"title":136,"dynasty":137,"author":138,"museum":139,"description":140,"tags":141,"thumbUrl":145,"material":107,"size":107,"collection":146,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":149},201526,"luo-han-tu-zhou-ding-yun-peng-201526","罗汉图轴","明","丁云鹏","上海博物馆","画面中罗汉群像神态鲜活，或趺坐凝思，或展卷细品，或对坐论道，衣纹线条细腻流畅，尽显清寂禅韵。小僧执杖随侍，猿猴献果添趣，细节处见生动。山石枯树以淡墨皴染，营造清幽意境，人物刻画入微，白描功底深厚。整体氛围静谧悠远，将禅林雅集的悠然之态展现得淋漓尽致。",[25,26,117,49,142,143,28,7,144,72,23],"人物","白描","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c78f83522bd2fc7e8ce8d92e256e35.jpg","人物画精选",[146],6,"b4a793",1777535738847]