[{"data":1,"prerenderedAt":93},["ShallowReactive",2],{"subject-zhang-song":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1334,"zhang-song","长松","长松画高清赏析","精选中国历代长松题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a2570afa6bcfee74ac75a40e9d5fba.jpg",0,3,[14,44,72],{"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},218494,"xue-gang-du-guan-tu-ma-wan-218494","雪岗度关图","元","马琬","北京故宫博物院","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35],"高清","名画","国画","书画","立轴","雪景山水","水墨","崇山峻岭","积雪","丛树","林木","水榭","荒寒萧索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bfe95f54c31280a2923ea9e42867e1.jpg","绢本,设色","125.4厘米，横：57.2厘米","山水画精选",[39],42,1,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":20,"description":50,"tags":51,"thumbUrl":65,"material":66,"size":67,"collection":68,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":71},231511,"xian-shan-lou-ge-tu-wang-hui-231511","仙山楼阁图","清","王翚","此画描绘的是长松高岭，溪水村舍。由画中题识可知此画是一幅贺寿之作。画中以两株粗朴茂盛的参天巨松压轴，寓意常青不老。画面的远景是连绵的山岭，水溪从山中流出，至低处汇成大河，在山水林木的环抱中隐约可见幽静的楼阁。此画在笔墨表现上宗法黄公望，峰峦层叠，树从浓郁，勾线空灵，苔点细密，皴笔干湿浓淡相映衬，皴擦点染兼用。此画的用墨明洁苍润，得自于董其昌的影响，这幅画气厚力陈，显示王时敏深厚的笔墨功力。\n王时敏的绘画，受到董其昌文人画和“南北宗”理论的极大影响，其作大多致力于摹古，强调以笔墨图式来营造山水结构。他早年师从于董其昌，以古代名家的真还作为临摹粉本，并不局限于一家而习。王时敏的绘画追求平淡天真、苍秀隽逸，重视笔墨中所表达的逸气，即“文人气”。他强调在描绘客观事物的同时，仍要注重心灵抒发和精神表现，这与董其昌及其所提倡的“南北宗”论不谋而合。纵观南宗的文人画脉络，从五代董源、巨然到宋代李成、范宽，苒到元代的黄公望、吴镇、倪瓒、王蒙等，无一不注重文人的内在学识与修养。\n王时敏最大的艺术特点就是“摹古”，注重“笔墨”的运用，以临摹古代名家作品作为绘画的基础。尤其在研习宋元山水作品中的运笔、用墨、造型、结构等各方面时，主张摹古而不拘泥于古人之法，经过摹古举习，结合自身的文化修养，再重新进行艺术创造。王时敏的山水作品早年严格遵照董其吕及南宗各家的艺术风格，形态上比较细腻清秀，如《仿倪瓒山水图轴》等。到了中期，他开始脱离董其昌的笔意，醉心于对黄公望的学习，在这一时期，王时敏个人风格开始逐步形成，如《秋山白云图》《丛林曲涧图轴》等作品皆为代表。晚期则以康熙元年（1662)王时敏71岁为分界点，这一时期其绘画融众家之长于一炉，以黄公望为宗，上溯董源、巨然等南宗诸家，笔墨苍劲浑厚，风格沉稳雄坚，如《仙山楼阅图》《仿杜甫诗意图册》等。",[23,25,52,53,7,54,55,56,57,58,59,60,61,29,62,63,64],"山水画","界画","高岭","溪水","村舍","楼阁","山岭","大河","巨松","皴法","文人画","贺寿","常青","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9e00824c0726216aa5aa68aa095974.jpg","纸本墨笔","133.2cmx63.3cm","",[],39,"BDBDBD",{"id":73,"slug":74,"title":75,"dynasty":76,"author":77,"museum":78,"description":79,"tags":80,"thumbUrl":88,"material":89,"size":90,"collection":68,"collections":91,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":43},288419,"zhang-song-shan-shui-tu-ma-lin-288419","长松山水图","宋","马麟","藏地不详","由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。\n二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[24,25,26,81,7,82,83,57,84,85,29,61,86,87],"山水","山峦","明月","高士","印章","月夜","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32fd310c2f4d050fec2e4b45931b71b.jpg","未知","Xcm*Xcm",[],17,1777535768688]