[{"data":1,"prerenderedAt":53},["ShallowReactive",2],{"subject-zhuan-shu-bi-yi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},7750,"zhuan-shu-bi-yi","篆书笔意","篆书笔意画高清赏析","精选中国历代篆书笔意题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e30e37665bc4c94708ab11ee2ac7b4.jpg",0,2,[14,37],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":33,"size":33,"collection":33,"collections":34,"showCount":35,"zanCount":11,"manualWeight":11,"mainColor":36},235422,"zi-teng-tu-zhou-wu-chang-shuo-235422","紫藤图轴","清","吴昌硕","藏地不详","《吴昌硕紫藤图轴》是清代画家吴昌硕创作的一幅金笺设色画。\n此图是195年吴昌硕62岁作，为花卉四条屏之末条。\n款：“乙巳（195年）八月八日，安吉吴俊卿拟十三峰草堂”。\n钤“吴俊之印”。\n绘藤叶凌空倚势，宛若龙翔凤舞。\n藤条盘绕回曲，缠石数重。\n作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。\n同时，此画画气不画形，追求书法中气贯神通的审美意趣。\n正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。\n这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。\n挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，条系好春光。\n岁岁花长好，飘（飘）满画堂。\n”的诗境。\n吴昌硕（1844-1927年），原名俊，字俊卿，后更字昌硕，号仓石、苦铁、缶庐等。\n浙江省安吉人，出身书香门第，祖父和父亲都是举人，均作过官。\n吴昌硕在诗文、书法、篆刻等方面也都有很高成就，著有诗文集、印谱，后人刊印的他的印集、画谱、书画作品集也很丰富，其诗书画印都成为世留宝贵的文化遗产。",[23,24,25,26,27,28,7,29,30,31,32],"国画","立轴","花鸟","水墨","设色","写意","枯藤","藤蔓","紫藤花","叶子","",[],108,"BDBDBD",{"id":38,"slug":39,"title":40,"dynasty":18,"author":41,"museum":42,"description":43,"tags":44,"thumbUrl":50,"material":33,"size":33,"collection":33,"collections":51,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":52},202508,"mo-mei-tu-zhou-wu-jun-qing-202508","墨梅图轴","吴俊卿","上海博物馆","墨梅枝干以篆籀笔意挥写，线条如屈铁老干，顿挫沉雄，尽显苍劲古拙之态。花朵圈点结合，墨色浓淡交错，聚散有致，于简括中藏生机。题跋笔墨纵逸，与梅枝相映成趣，书画相融，浑然一体，尽显文人画“书画同源”的意趣。整幅作品气韵生动，笔墨淋漓，既得梅花傲雪风骨，又蕴画家磊落胸襟，是写意花鸟的典范之作。",[26,28,45,7,46,47,24,48,49],"梅花","题跋","文人画","圈花点蕊","高清","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b99983a69fc546e9cd6501f81ac56e.jpg",[],"cac4bb",1777535782259]