[{"data":1,"prerenderedAt":93},["ShallowReactive",2],{"subject-zhe-dai-cun":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3454,"zhe-dai-cun","折带皴","折带皴画高清赏析","精选中国历代折带皴题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg",0,3,[14,47,76],{"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":45,"manualWeight":11,"mainColor":46},220092,"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","清","弘仁","私人收藏","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[23,24,25,26,27,7,28,29,30,31,32,33,34,35,36,37,38],"国画","长卷","水墨","山水画","皴法","披麻皴","岩壑","奇松","礁石","涧溪","草堂","清润","冷隽","清逸","书法","行书","纸本,水墨","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm","山水画精选",[41,43],"水墨画精选",156,1,"BDBDBD",{"id":48,"slug":49,"title":50,"dynasty":51,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":71,"material":72,"size":73,"collection":41,"collections":74,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":46},220795,"you-jian-han-song-tu-zhou-ni-zan-220795","幽涧寒松图轴","元","倪瓒","北京故宫博物院","《倪瓒幽涧寒松图轴》是元代画家倪瓒创作的一幅纸本水墨画。\n此幅是为友人周逊学所作，并题五言诗：“秋暑多病暍，征夫怨行路。瑟瑟幽涧松，清荫满庭户。寒泉溜崖石，白云集朝暮。怀哉如金玉，周子美无度。息景以桥对，笑言思与晤。”\n倪瓒清高持节，一生不仕，他“白眼视俗物，清言屈时英。富贵乌足道，所思垂今名。不仅自己抱守出世的生活态度，而且对朋友们的入世为官也坚决反对。此幅一为友人赠别，更是劝友人“罢”征路，“息”仕思，含有强烈的“招隐之意”。平远画溪涧幽谷，山石依次渐远，二株松树挺立于杳无人迹的涧底寒泉，意境荒寒，超然出尘，似乎暗寓着仕途的险恶和归隐的自得。构图不用常见的“一河两岸”两段式章法，但画幅上方和其大多数作品一样，留出大片空白，让观者分不清哪里是水，哪里是天。山石墨色清淡，笔法秀峭，渴笔侧锋作折带皴，干净利落而富于变化。松树取萧疏之态，笔力劲拔。倪瓒此幅，笔墨无多但意境深幽，“疏而不简”，“简而不少”。他的这种笔简形具，注重抒写性灵的画格被后人称之为“逸品”。到了明代，更是“江南人家以有无为清浊”，其清标高格，在历代文人士大夫心目中始终被尊为“高士中的高士”。\n此幅作品简淡超逸，虽未署年款，但从书法由竖长变为扁方以及名款和画风来看，当是晚年之作。",[56,23,25,57,58,59,60,61,62,63,27,7,64,65,66,67,68,69,70,37],"高清","山水","松树","溪涧","幽谷","寒泉","小桥","山石","渴笔","逸品","荒寒","超然出尘","简淡超逸","意境深幽","招隐之意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c44e7f6172187fb1022fb560336ac0.jpg","纸本，水墨","纵59.7cm，横50.4cm",[41,43],101,{"id":77,"slug":78,"title":79,"dynasty":18,"author":19,"museum":80,"description":81,"tags":82,"thumbUrl":89,"material":90,"size":90,"collection":90,"collections":91,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":92},201234,"mei-hua-mao-wu-tu-zhou-hong-ren-201234","梅花茅屋图轴","上海博物馆","画面以干笔淡墨勾勒，山峦叠嶂间，几椽茅屋隐于梅枝疏影下，小桥横架溪上，流水潺潺。山石用折带皴，线条刚劲如铁，尽显冷峻之态；梅枝以简练笔触点染，暗香浮动。笔墨简淡却意蕴深远，清冷孤绝的意境中，藏着画家超然物外的心境，尽显新安画派高古简远之韵。仿佛山风携梅香漫溢，溪水伴松涛轻吟，引人步入那片静谧绝尘的天地。",[23,25,83,7,57,84,62,85,86,63,87,88],"干笔","茅屋","流水","梅","书画","立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a26e219c0f533bbc57d7cbb6f53b1f.jpg","",[],"b9aa96",1777535766659]