[{"data":1,"prerenderedAt":46},["ShallowReactive",2],{"subject-yun-tou-cun":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3803,"yun-tou-cun","云头皴","云头皴画高清赏析","精选中国历代云头皴题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg",0,1,[14],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":39,"size":40,"collection":41,"collections":42,"showCount":44,"zanCount":12,"manualWeight":11,"mainColor":45},222158,"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","明","李在","台北故宫博物院","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[23,24,25,26,27,7,28,29,30,31,32,33,34,35,36,37,38],"高清","国画","名画","山水画","水墨","蟹爪枝","山峦","瀑布","小桥","孤舟","客舍","村居","行旅","楼阁","树木","苔点","绢本水墨","109.1×188.8cm","山水画精选",[41,43],"水墨画精选",61,"795548",1777535817138]