[{"data":1,"prerenderedAt":108},["ShallowReactive",2],{"subject-zhang-qiao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},4543,"zhang-qiao","长桥","长桥画高清赏析","精选中国历代长桥题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d4011825735bf1683cf234cac3a9ed.jpg",0,4,[14,52,73,86],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":44,"material":45,"size":46,"collection":47,"collections":48,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934","千里江山图卷","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38,39,40,41,42,43],"高清","名画","国画","长卷","青绿山水","设色","工笔","山峦","江河","飞瀑","房舍","林木","渔村","水榭","渔舟","人物","亭台","烟波","曲径","茅屋","游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","",[],1322,12,"795548",{"id":53,"slug":54,"title":55,"dynasty":18,"author":56,"museum":57,"description":58,"tags":59,"thumbUrl":70,"material":47,"size":47,"collection":47,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":51},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","佚名","藏地不详","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,25,60,61,62,28,29,7,63,64,65,66,67,68,69],"书画","山水","界画","水面","船只","远山","楼阁","塔","亭","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],17,{"id":74,"slug":75,"title":76,"dynasty":18,"author":56,"museum":20,"description":77,"tags":78,"thumbUrl":82,"material":45,"size":83,"collection":47,"collections":84,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":51},233011,"zhang-qiao-wo-bo-tu-ye-yi-ming-233011","长桥卧波图页","图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[25,28,62,79,61,7,66,80,69,81,65,63],"册页","舟","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff190bf4877f961e8ce23154aa6cf5beb.jpg","纵23.9厘米，横26.3厘米",[],8,{"id":87,"slug":88,"title":89,"dynasty":90,"author":56,"museum":57,"description":91,"tags":92,"thumbUrl":10,"material":47,"size":47,"collection":47,"collections":104,"showCount":105,"zanCount":106,"manualWeight":11,"mainColor":107},225333,"fu-shi-hui-86-yi-ming-225333","浮世绘86","不详","霜雪覆满天地，寒色里晕开远山暖粉余霞。长桥曲曲折折跨过冬水，蓝波似镜映着冷冽天光。旅人裹紧行囊，驮马踏着残雪桥面缓缓行去，将孤旅的身影揉进清寒暮色里。\n\n茅庐积雪厚重，矮松孑然独立在檐侧，枝桠托着薄雪静看往来行客。冷调与暖柔的色块交织，把冬夜将临的寂寥熨帖成温柔的风物诗。笔底藏着旅人的羁愁，也藏着雪乡的安闲清冷，将冬旅的况味晕染在纸间，冷寂又带着治愈的烟火余温。",[93,94,95,96,7,97,98,99,100,28,101,102,103],"浮世绘","雪景","冬季","雪山","茅庐","矮松","旅人","驮马","寂寥","羁愁","安闲",[],7,1,"BDBDBD",1777535757138]