[{"data":1,"prerenderedAt":54},["ShallowReactive",2],{"artwork-tu-wan-zhen-xiang-sha-fu-233750":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":23,"material":24,"size":25,"collection":26,"collections":27,"showCount":28,"zanCount":29,"manualWeight":29,"mainColor":30,"tagLinks":31},233750,"tu-wan-zhen-xiang-sha-fu-233750","屠婉贞像","清","沙馥","北京故宫博物院","屠婉贞出身名门，是清代画家屠倬的孙女，嫁给清宗室毓本为妻。题跋中称赞她可媲美赵孟頫的夫人管道昇，刺绣技艺高超，又善丹青，同时还是一位慈母，训导子课。屠婉贞的脸部由民间画工绘制，衣纹和古玩器具由海派画家沙馥补画，并有吴昌硕、杨岘等题跋。\n虽然社会对女子的限制仍然非常多，但赵琰哲认为，明清女子的活动空间在不断拓展，如蹴鞠、投壶、舞剑、音律、看戏听曲等用以深闺消遣，或者节日游园、逛庙会，或者结社唱和，饮酒赋诗，写字作画。因此，明末清初江南地区出现了很多擅长诗文书画的才女，才与德变得同样重要。在这种氛围中，绘画与女子的关系变得更为紧密：一方面江南地区女性独幅肖像出现，意味着女性拥有了独立成像的权利，画中女子不再是作为艳俗的仕女画供男子赏玩，而是体现出女性的自我独立与自我肯定；另一方面，女性也亲身参与到绘画活动中。",[12,13,14,15,16,17,18,19,20,21,22],"国画","书画","设色","工笔","人物","花瓶","水仙","椅子","桌子","行书","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00a43a0b7d9438f3a47839e5dd81676.jpg","纸本设色","133.3×32.8厘米","",[],4,0,"BDBDBD",[32,34,36,38,40,42,44,46,48,50,52],{"name":12,"slug":33},"guo-hua",{"name":13,"slug":35},"shu-hua",{"name":14,"slug":37},"she-se",{"name":15,"slug":39},"gong-bi",{"name":16,"slug":41},"ren-wu",{"name":17,"slug":43},"hua-ping",{"name":18,"slug":45},"shui-xian",{"name":19,"slug":47},"yi-zi",{"name":20,"slug":49},"zhuo-zi",{"name":21,"slug":51},"xing-shu",{"name":22,"slug":53},"ti-ba",1777535450462]