发布日期：2024-02-13 12:42 点击次数：58
北宋 赵佶《花鸟图》
宋画特地趣味技法，留意写实，在写实手段上已臻中国古典写实办法的顶峰。
糊口在北宋的字画抚玩家郭若虚提议：
“画花果草木，自有四时景候，阴阳向背，笋条老嫩，苞萼后先，逮诸园蔬野草，咸有出土体性。画翎毛者，必应常识诸禽形骸名件，自嘴喙、口脸、眼缘、森林、脑毛、披蓑毛，翅有梢翅、有蛤翅，翅邦上有大节末节、大小窝翎，次及六梢，又有料风、掠草、散尾、压磹尾、肚毛、腿袴、尾锥，脚有探爪（三节）、食爪（二节）、撩爪（四节）、托爪（一节）……”
南宋 佚名《绣羽鸣春图》
这险些是主见将画家锻真金不怕火成又名植物学家与鸟类学家，因此，宋东谈编缉下的一鸟一虫、一针一线都有血有肉！
以下是宋代绘图中花鸟草虫与当然界的它们逐个比照，心理可见，写照逼真，宋东谈主于画的理法与情致或可窥其一斑。
似锦篇
碧桃
碧桃图页
碧桃花
开放的碧桃红白相映，枝杈扶疏，娇柔娇媚。《碧桃图页》固然画面上仅绘桃花两枝，但它的似锦簇簇、苞蕾盈枝则融会出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾概述和叶筋，然后填以花青和汁绿。整幅画面赋色清雅，当然活泼，体现了宋代册页画小中见大的风貌！
夜合花
夜合花图页
夜合花
《夜合花图页》中，夜合花一根两枝，右枝花朵金色年华，左枝花朵半开半合，纯洁如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾画概述和筋脉，后用汁绿与花青染之。绿叶穿插向背，档次安排巧妙，画面从简而不只薄。
白蔷薇
宋 马远 白蔷薇图页
白蔷薇
整幅画面虽不复杂，但在主宾、参差、疏密的巧妙安排下，期许满纸，既有枝干斜向孕育的动态好意思，又有凤冠霞帔的静态好意思;双勾枝干的用笔，犹如其山水画中的树木枝干用笔同样平静有劲，再填以凝重的赭色于其中，使枝干显得劲健、古秀，配上敷染允洽、描写精细的绿叶和唯妙多姿的花朵，真让东谈主有隔于载能嗅其香之感。
牡丹
博彩平台对比分析
牡丹图页
粉牡丹
图绘牡丹花后魏紫，花冠硕大，重瓣层叠，娇艳蓬勃，把握以绿叶相衬。花瓣档次丰富，描写入微，先用中锋细笔勾花瓣，然后用胭脂红层层渲染，以浅黄色点花蕊，以花青汁绿染花叶。此图页精工富丽，好意思不堪收，构图丰润，设色艳而不俗。
海棠
海棠蛱蝶图页
海棠花
图中花瓣先以墨笔双勾概述线，中锋行笔，线条圆润通顺。然后在花瓣外侧上部略点胭脂红，有顷以净水将颜色晕染开，终末罩上一层白粉，为海棠花亮丽的色调增添了几多娇媚的意韵。叶片用工致的双勾填色笔法发达，作家字据叶片受光照进度的不同而填染以石绿、墨赭等颜料，从而充分显露出叶片"清如水碧，洁如霜露"的好意思感，炫夸出画家精细的不雅察力和深厚的写实功底。
锦葵
夏卉骈芳图页（锦葵、栀子花、百合）
锦葵
栀子花
百合花
此图发达暖风薰醉，群芳争艳，馥郁的花香似从画面中扑鼻而来。锦葵红艳，栀子纯洁，百合娇黄。画家不仅工致入微地描写出花瓣的丝丝纹理和叶片的缕缕筋脉，而况在设色上也悉力逼真贴切，锦葵用白粉勾染花朵，并着曙红色由花心向外渐次晕染，丰富的色调变化增强了画面的档次感，同期也渲染出鲜花的生命活力。叶片着色虽较轻飘，然用水晕的时期发达出绿色的浅深幻化，炫夸出夏季的无限期许，也衬托出群芳的明媚娇艳。
珍禽篇
瓦雀
宋 瓦雀栖枝图页
瓦雀（麻雀）
麻雀常宿于檐瓦之间，故又名“瓦雀”。《瓦雀栖枝图页》中海棠寥落，果实散挂枝端，树叶已染秋霜，间杂红、黄、绿色，斑斓可儿。瓦雀翎毛描写精细，高度写实，作家把瓦雀的一动一静，尽收于画幅之中！
棕头鸦雀
南宋 林椿 果熟来禽图页 棕头鸦雀
棕头鸦雀
《果熟来禽图页》中寂然的山林木叶泛黄，千里甸甸的果实早已熟透却无东谈主采摘，任由虫儿噬蚀。一只小鸟遽然飞上枝端，冲破了空间的宁静。忽而，它转颈回眸，振翅欲飞，在这获利的季节里，它是否被画面外更为诱东谈主的气象所诱骗呢？
棕头鸦雀
宋 霜篠寒雏图页
文鸟
《霜篠寒雏图页》里5只文鸟集于枯棘上，姿势互异，心理如生。枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。文鸟的描写先勾出概述，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿给与白描法；高低则一笔画出，显得强盛老到。
棕头鸦雀
秋树鸜鹆图页
鸜鹆（鸲鹆）
图绘秋日里一只鸜鹆栖于桐树之上，利爪紧持枝干，扭颈规避似在谛听。鸜鹆眼神尖锐，身形丰润，尾翼整洁，羽毛黑亮，而树叶则满布虫蚀，拘挛蜷曲，颜料枯黄。构图奇崛突兀，迥特殊品。鸟为纯黑一色，故全身齐用墨染，然不同部位之毛羽的质感、档次均发达无遗，何啻“墨分五色”辛勤！古东谈主墨法之妙于此见之。蚀朽的树叶在画家精熟的技法下“化老套为神奇”，勾描晕染，档次丰富。中国工笔画常写病叶，原因在此。而此图之叶号称极致。
白头翁
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白头丛竹图页
白头翁
图绘小竹数竿，高昂嫩绿，两只白头鹎栖于枝端，一只折腰梳理羽毛，一只遥视前列。竹用双钩填彩画法，文字缜密严谨，色调千里着。山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，描写准确，富余毛绒的质感。
绣眼
南宋 林椿 果熟来禽 图页 绣眼
绣眼
小鸟的动态用细劲柔软的笔致勾画，蓬松的羽毛则以浑融的墨色晕染，木叶的枯萎、残损、锈斑，果子上被虫儿叮咬的踪影都被逐个描写出来，可见画家从当然景致中"摄集花形鸟态"的精熟的写生智商。在构图上删繁就简，明洁奇巧，既保持了画院花鸟画"要物形不改"状物精微的写实精神，又发达出作家蕴藉空灵的审好意思追求。设色轻敷淡染，黄绿的叶子、淡红的果实、鹅黄的小鸟，分外和洽明丽。
绶带鸟
乌桕文禽图页 宋，绢本
绶带鸟
图写雪后溪边，天色晦冥，老梅初放。树栖绶带鸟一对，毛羽鲜艳。自来图写文禽，多置之明媚春光中，此幅独以肃杀冬景反衬之，极具匠心。树下溪流湍急，水花飞溅，岸石上障翳积雪。画家以水墨烘染阴天，以白粉发达积雪，以通顺的弧线描写活水，齐具功力。最为私有的是为了发达溪岸岩石为水冲蚀而造成的蜂窝之状，另创皴法，前此未见。
野鸭
宋 溪芦野鸭图页
野鸭
图绘溪边芦苇、茨菰丛生，枝繁叶茂，勃勃期许。雄鸭在岸边单足直立小憩；雌鸭于水中总结梳羽，姿态陶然，气度雍容。此图意在发达一种随和平稳的敌视，应是南宋画院点缀升平之作。构图老练简练，画面左中部为芦苇所荫蔽，给东谈主安全之感；右上方则留出一派水面，启东谈主设计，以免封闭。敷色精细写实，雄鸭毛羽的发达尤见功力。今颜色虽已暗旧，尚可想见往时斑斓生辉之状。
山鹊
松涧山禽图页 宋，绢本
山鹊
此图绘参天的古松下，山溪波折奔流，水花飞溅，四对山鹊姿态互异，或飞呜，或回旋，或啄食与山涧和树石之上，形象活泼。图顶用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾画概述，进而用淡青色破染，使画面富余立体感。此图用笔强盛，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品如故明黔宁王沐琳和项元汴保藏。
树麻雀
驯禽俯啄图页
以GDP为基础的经济比较一直被用来衡量国家的经济实力和地位。然而，这种方法存在着明显的局限性，尤其是在跨国比较中。统计数据显示，中国的经济规模已超过美国，但西方国家却对此持怀疑态度。这是因为GDP统计受到汇率波动和物价差异的影响，无法准确反映实际情况。
树麻雀
一只麻雀站在浅蓝色的敞口瓷罐上，瓷罐内有白米，麻雀雀不食，却折腰啄罐沿。《驯禽俯啄图》以极其从简的构图和精细的笔触，敷陈着一个蕴含深意的故事。
麻雀的腿上系着红绳，绳端拴着一个圆环，这个圆环应该是套在主东谈主手上用的——这是一只已被擒获豢养的鸟。固然瓷罐里的白米关于麻雀来说，意味着它已无谓再阻拦觅食，便可竟日衣食无忧，但与此同期却失去了解放。被擒获的麻雀不食白米，所抒发的等于一种对解放糊口向往。
赤麻鸭
南宋 寒塘凫侣 图页 赤麻鸭
赤麻鸭
图左侧塘岸土坡，白梅一枝斜出，枝上梅花怒放，枝下茶花、水仙开放。一对野鸭嬉戏于水中，睥睨生姿，逗东谈主喜爱。对岸土坡败苇寥落，两只蓝色的小鸟前后相随飞向边远，随之视去画有尽而意无尽。
环颈雉
南宋 李迪 枫鹰逐雉 图轴 环颈雉
环颈雉
画崖石旁老枫树一株，树槎丫上一鹰斜立规避下视，欲捕草丛中惊逃的雉鸡，雉鸡急奔草丛中避藏，心理活泼，风格郑重，是传世宋画中萧疏的巨幅佳作。
苍鹰
南宋 李迪 枫鹰逐雉 图轴 苍鹰（幼鸟）
苍鹰（幼鸟）
灰伯劳
南宋 李迪 雪树寒禽 图轴 灰伯劳
灰伯劳
此图写竹叶覆雪，轻染薄雪的棘树上，栖息着一只伯劳。山坡以粗笔勾出，写一丛衰草，更添雪意。双钩写竹、树干，敷色渲染。雀鸟以没骨及钩勒相集合绘出，写实活泼。此画是作家晚年的用心之作。
鹊鸲
南宋 水墨百花 图卷 鹊鸲
鹊鸲
黑脸噪鹛
北宋 翠竹翎毛 图轴 黑脸噪鹛
黑脸噪鹛
画中寒雪初飘，一对雉鸡蹲伏坡石上。翠竹数竿，山鸟三两成群，栖于枝杈间，另有一鸟振翅欲飞，千里寂的画面中又添具活泼之趣。竹以双钩为之，竹叶全用战笔。此帧文字古朴，雄雉胸腹间微有异样，系原画绢防止，经后东谈主补笔者。
领雀嘴鹎
北宋 赵佶 写生珍禽 图卷 杏苑春声 领雀嘴鹎
领雀嘴鹎
《写生珍禽图》是徽宗写生花鸟画的典范，笔调朴质简逸，全用水墨，对景写生，不管禽鸟、花卉均形神兼备。画卷共分事十二段，每段接缝处有宋徽宗的双螭印，共十一方。图中鸟之羽毛，用淡墨轻擦出形，又以较浓墨覆染，再以浓墨点染要点的头尾、羽梢等部位，层叠描写，反应鸟羽松软的质感、丰富的厚度以及斑斓的颜色。
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北宋 赵佶 写生珍禽 图卷 熏风鸟语 画眉
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北宋 赵佶 写生珍禽 图卷 舜花笑日 戴胜
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北宋 赵佶 写生珍禽 图卷 疏枝唤雨 珠颈斑鸠
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北宋 赵佶 写生珍禽 图卷 古翠娇红 太平
太平（十二红）
化蝶篇
菜粉蝶
宋 白菜草虫
菜粉蝶
《白菜草虫》中，画家松懈地将白菜、蝗虫、粉蝶与蜻蜓安排在四个边缘，但互相间的相干，既活泼地反应出当然界生物的常态，也充满了奥妙的张力，教东谈主印象深切！宋代画家趣味写生，草虫又易于体现造化的精微，因此画中关于粉蝶、蝗虫、蜻蜓的描写，不管一须一脚，都相配仔细，有如将大当然捧在手中翻阅同样，相配兴趣。
凤蝶
南宋 李安忠 晴春蝶戏 图页
uG环球捕鱼身形雍容丽都的凤蝶、娇小素净的粉蝶等蛱蝶和胡蜂，或平展双翼，或振翅遨游，在明媚的春光下宛若俏丽的花团漫天开放，《晴春蝶戏图页》形象活泼地体现出“蝶戏”的创作东题。
在蜂、蝶的塑造上，勾画与渲染打成一派，先以极细而淡的线条勾画概述，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而后光丰富，展现出蛱蝶翅翼的鲜艳之好意思！
南宋 李安忠 晴春蝶戏 图页 马兜铃凤蝶（丝带凤蝶）细节
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南宋 李安忠 晴春蝶戏 图页 金斑蝶
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南宋 李安忠 晴春蝶戏 图页 玉带凤蝶
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南宋 李安忠 晴春蝶戏 图页 菜粉蝶
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南宋 李安忠 晴春蝶戏 图页 灰蝶
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蛱蝶
南宋 李安忠 晴春蝶戏 图页 二尾蛱蝶
二尾蛱蝶
读宋代的花鸟画，就像读一首最意蕴有味的小诗美高梅apk下载，让东谈主千里醉，让东谈主心醉。宋代的工笔花鸟画，将田地和情味行动绘图的灵魂，以诗意的笔触将咱们带进了细密细腻、玩味无尽的艺术宇宙！
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