[{"data":1,"prerenderedAt":63},["ShallowReactive",2],{"artwork-qi-ying-sheng-hui-tu-yi-ming-219537":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":25,"material":26,"size":27,"collection":28,"collections":29,"showCount":32,"zanCount":33,"manualWeight":34,"mainColor":35,"tagLinks":36},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","明","佚名","辽宁省博物馆","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[12,13,14,15,16,17,18,19,20,21,22,23,24],"高清","国画","长卷","设色","人物画","工笔","文人雅集","松树","案几","笔墨纸砚","书法","士大夫","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","绢本,设色","纵47横344厘米","人物画精选",[28,30,31],"设色画精选","书法精选",76,1,0,"795548",[37,39,41,43,45,47,49,51,53,55,57,59,61],{"name":12,"slug":38},"gao-qing",{"name":13,"slug":40},"guo-hua",{"name":14,"slug":42},"chang-juan",{"name":15,"slug":44},"she-se",{"name":16,"slug":46},"ren-wu-hua",{"name":17,"slug":48},"gong-bi",{"name":18,"slug":50},"wen-ren-ya-ji",{"name":19,"slug":52},"song-shu",{"name":20,"slug":54},"an-ji",{"name":21,"slug":56},"bi-mo-zhi-yan",{"name":22,"slug":58},"shu-fa",{"name":23,"slug":60},"shi-da-fu",{"name":24,"slug":62},"xian-shi",1777535400329]