[{"data":1,"prerenderedAt":482},["ShallowReactive",2],{"subject-an-bian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},420,"an-bian","岸边","岸边画高清赏析","精选中国历代岸边题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265d0afac2428981d2cd8ce7d1e93e4b.jpg",0,27,[14,50,79,91,112,127,143,159,191,205,230,246,260,276,288,305,316,328,351,366,378,388,401,414,428,442,457],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":40,"material":41,"size":42,"collection":43,"collections":44,"showCount":47,"zanCount":48,"manualWeight":11,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","宋","马麟","辽宁省博物馆","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38,39],"高清","名画","国画","书画","长卷","设色","工笔","皴法","山水","柳树","小桥","船只","人物","河流","舟楫","行人","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","绢本设色","纵41.7、横323厘米","宋画精选",[43,45,46],"山水画精选","设色画精选",130,3,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":72,"material":73,"size":74,"collection":75,"collections":76,"showCount":77,"zanCount":78,"manualWeight":11,"mainColor":49},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","五代十国","黄筌","大英博物馆","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[23,25,24,26,29,28,59,60,61,62,63,64,7,65,66,67,68,69,70,71],"立轴","枯木","水禽","飞鸟","白鹅","水面","老树","枯枝","山石","水泊","禽鸟","水畔","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","绢本,设色","纵148横107厘米","花鸟画精选",[75,45],123,2,{"id":80,"slug":81,"title":82,"dynasty":54,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":88,"material":73,"size":89,"collection":45,"collections":90,"showCount":77,"zanCount":78,"manualWeight":11,"mainColor":49},218927,"dai-du-tu-guan-tong-218927","待渡图","关仝","台北故宫博物院","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[23,25,26,31,30,87,67,39,36,38,7],"水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[45],{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":84,"description":97,"tags":98,"thumbUrl":104,"material":105,"size":106,"collection":45,"collections":107,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":111},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","元","盛懋","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[23,25,87,30,59,99,31,39,67,100,62,64,101,7,102,103],"书法","孤舟","远山","芦苇","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","白纸本","纵112.5厘米，横46.3厘米",[45,108],"水墨画精选",114,1,"BDBDBD",{"id":113,"slug":114,"title":115,"dynasty":18,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":123,"material":73,"size":124,"collection":45,"collections":125,"showCount":126,"zanCount":48,"manualWeight":11,"mainColor":49},218579,"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","马远","私人收藏","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[24,25,26,87,28,30,120,31,36,35,100,39,101,121,122,7],"边角山水","岩石","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa886c296b26cb11f3bfc2ae180ea3d33.jpg","27x94.5cm",[45],110,{"id":128,"slug":129,"title":130,"dynasty":18,"author":131,"museum":84,"description":132,"tags":133,"thumbUrl":139,"material":73,"size":140,"collection":75,"collections":141,"showCount":142,"zanCount":78,"manualWeight":11,"mainColor":49},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","佚名","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[23,25,24,26,29,28,134,62,135,136,137,138,7,69],"雁","池塘","树","草","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[75],52,{"id":144,"slug":145,"title":146,"dynasty":147,"author":148,"museum":84,"description":149,"tags":150,"thumbUrl":155,"material":73,"size":156,"collection":45,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":49},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","明","戴进","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[23,25,26,24,28,30,31,35,151,65,152,101,7,39,153,154],"流水","孤石","垂钓","蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[45,46],48,{"id":160,"slug":161,"title":162,"dynasty":163,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":185,"material":186,"size":187,"collection":188,"collections":189,"showCount":190,"zanCount":11,"manualWeight":11,"mainColor":49},226041,"sunset-on-the-seine-winter-effect-1880-mo-nai-226041","Sunset on the Seine, Winter Effect, 1880","不详","莫奈","藏地不详","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[168,169,170,36,171,172,173,174,7,175,176,177,39,178,179,180,181,182,183,184],"印象派","油画","夕阳","水面倒影","小船","枯树","雾气","冬日","天空","波光","水域","光影捕捉","笔触灵动","色彩晕染","冬日景象","植被","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg","未知","Xcm*Xcm","油画精选",[188],40,{"id":192,"slug":193,"title":194,"dynasty":18,"author":195,"museum":84,"description":196,"tags":197,"thumbUrl":200,"material":201,"size":202,"collection":43,"collections":203,"showCount":204,"zanCount":11,"manualWeight":11,"mainColor":111},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","包山十景册","高克明","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[24,25,26,198,28,30,199,31,32,178,7,39],"册","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","纸本","30.2x31.8厘米",[43,45,108],32,{"id":206,"slug":207,"title":208,"dynasty":163,"author":209,"museum":165,"description":210,"tags":211,"thumbUrl":227,"material":186,"size":187,"collection":188,"collections":228,"showCount":229,"zanCount":110,"manualWeight":11,"mainColor":111},225727,"by-the-seine-1887-fan-gao-225727","By the Seine 1887","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[169,212,213,214,136,36,215,35,176,7,216,217,218,219,220,221,222,223,224,225,226],"后印象派","笔触明显","色彩明快","沙滩","光影表现","户外场景","自然景观","人物活动","绿色植物","蓝色水体","黄色沙地","蓝天白云","河岸风光","动态笔触","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d6cb3c9107504f4e656a3b855bad2f.jpg",[188],28,{"id":231,"slug":232,"title":233,"dynasty":95,"author":131,"museum":165,"description":234,"tags":235,"thumbUrl":242,"material":186,"size":187,"collection":243,"collections":244,"showCount":245,"zanCount":110,"manualWeight":11,"mainColor":49},290163,"liu-min-tu-yi-ming-290163","流民图","此作以长卷铺展流民迁徙的群像。左侧农妇骑牛抱子，随行孩童或驱牛牵犬，涉水流民肩扛行囊、拖家带口，步履仓促间满是疲色。右侧岸上乡邻伫立眺望，神情怅惘，默默送别远去的乡人。\n画师以苍劲白描勾勒身形，衣纹顿挫利落，将流民的凄苦与不舍刻画入微，憨拙写实的水牛，与孩童懵懂嬉闹的情态，反衬出成人背井离乡的愁绪。淡墨晕染水岸山石，荒寂江野烘托出离乱氛围，未刻意渲染悲戚，却以日常迁徙细节，道尽乱世生民的辛酸，藏着对苍生疾苦的深切共情。",[23,25,27,236,87,28,237,238,36,7,239,240,241],"人物画","牛","孩童","流民","民生疾苦","民俗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6114084f09029b5f13855ef6b5090d.jpg","",[],26,{"id":247,"slug":248,"title":249,"dynasty":18,"author":250,"museum":165,"description":251,"tags":252,"thumbUrl":258,"material":243,"size":243,"collection":243,"collections":259,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":49},227970,"shan-shui-yu-min-tu-zhou-li-an-zhong-227970","山水渔民图轴","李安忠","此作用水墨晕开冬日江乡的清寂荒寒。远山以淡墨轻扫轮廓，留白处尽作积雪，混茫一色，恰似天地裹素，将冬雪的冷冽淡远铺陈开来。近岸枯木虬枝盘曲，残叶寥寥，苍劲身姿暗合寒林萧索。江心扁舟一叶，渔翁独垂，渺小身影衬得天地愈发寥廓幽远，尽现江湖幽隐之趣。\n\n全图以虚代实，留白藏雪，笔墨简淡清润，将禅意隐逸融在冷寂山水间，把雅致心境晕染在空蒙淡远的意境中，尽显小景山水的诗意品格。",[23,24,25,26,59,87,31,30,100,173,101,67,64,39,253,7,71,178,254,255,256,257],"渔舟","近树","山石皴染","水墨山水","宋代山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8929430587ae14a05c4c22f92b4e3c90.jpg",[],{"id":261,"slug":262,"title":263,"dynasty":264,"author":265,"museum":266,"description":267,"tags":268,"thumbUrl":271,"material":272,"size":273,"collection":243,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":111},223057,"hong-lou-meng-182-sun-wen-223057","红楼梦182","清","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,26,27,29,28,35,269,31,39,270,7],"船","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d4b98e1d2c02477657bf80b0a7cefc.jpg","绢本","纵43.3厘米、横76.5厘米",[],24,{"id":277,"slug":278,"title":279,"dynasty":18,"author":195,"museum":84,"description":280,"tags":281,"thumbUrl":284,"material":73,"size":285,"collection":75,"collections":286,"showCount":287,"zanCount":11,"manualWeight":11,"mainColor":111},219936,"qiu-lin-shui-niao-tu-gao-ke-ming-219936","秋林水鸟图","图绘柳岸水边,凫雁或飞或憩,地上与柳树上两只山鹊或觅食或远眺.小小尺幅内作全幅花鸟,气韵悠远,秋意盎然",[23,25,26,198,28,31,282,283,39,64,30,7],"秋林","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cfd1d3015da9ffdea2e6f7cf2a880f.jpg","26.5x26.6",[75],22,{"id":289,"slug":290,"title":291,"dynasty":264,"author":292,"museum":293,"description":294,"tags":295,"thumbUrl":300,"material":301,"size":302,"collection":243,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":111},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","北京故宫博物院","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,25,27,87,29,296,103,35,297,151,39,102,62,298,31,37,153,299,7,32,154,100],"白描","渔船","渔乐","渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纸本，设色","纵23厘米，横352.2厘米",[],18,{"id":306,"slug":307,"title":308,"dynasty":147,"author":309,"museum":310,"description":311,"tags":312,"thumbUrl":314,"material":243,"size":243,"collection":243,"collections":315,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":111},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","陆治","美国弗利尔美术馆","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,25,26,27,28,31,99,199,30,39,36,313,7,103],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":317,"slug":318,"title":319,"dynasty":163,"author":164,"museum":165,"description":166,"tags":320,"thumbUrl":325,"material":186,"size":187,"collection":188,"collections":326,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":49},226031,"small-boat-on-the-small-branch-of-the-seine-at-argenteuil-1872-mo-nai-226031","Small Boat on the Small Branch of the Seine at Argenteuil, 1872",[168,169,321,179,181,172,322,36,64,323,39,7,324,176,35],"外光写生","帆船","倒影","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19734cf7c3fb1f269ec7e8c284ca0e.jpg",[188],14,{"id":329,"slug":330,"title":331,"dynasty":147,"author":131,"museum":332,"description":333,"tags":334,"thumbUrl":348,"material":243,"size":243,"collection":75,"collections":349,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":350},203448,"liao-an-fu-yi-tu-zhou-yi-ming-203448","蓼岸凫鹥图轴","上海博物馆","画面绘水岸一隅，两只凫鸟或卧或立，羽色以墨线勾勒后晕染，层次分明，神态闲适。旁侧芙蓉花叶舒展，嫣红花瓣点缀翠叶间，笔触细腻写实。坡岸肌理自然，设色清雅温润。整体工笔技法与淡彩晕染结合，尽显明代花鸟画的温婉意趣，于静谧中藏生机，仿佛能闻水畔风轻，观禽鸟闲憩，传递出自然恬淡之美。",[23,25,29,28,335,336,337,7,338,339,340,341,342,343,344,345,69,346,347],"花鸟","鸭子","蓼草","植物","花卉","水波纹","明代风格","写实","细腻线条","色彩淡雅","自然景物","草木","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa612682152b5052e292541a9c8ca0d.jpg",[75],"877054",{"id":352,"slug":353,"title":354,"dynasty":95,"author":131,"museum":355,"description":356,"tags":357,"thumbUrl":362,"material":201,"size":363,"collection":243,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":49},232804,"xi-luan-cong-xiao-tu-juan-yi-ming-232804","溪峦丛笑图卷","芝加哥艺术博物馆","以全景长卷铺展乡野嬉游盛景，浅溪漾波晕开两岸烟火。左畔村姑骑牛安坐，身侧稚童相随嬉闹；溪水中赤身孩童或逐犬泅水，或呼伴作乐，村人潮间呼喝相和，憨态尽显。右岸坡上乡老士人驻足笑望，眉眼舒展满是欣然。\n\n画师以淡墨晕染溪山底色，铁线白描勾勒身形，将众生欢悦鲜活尽数铺陈，无庙堂端肃，唯存乡野间的自在热络，将村野里乐天肆意的日常意趣定格绢素，尽显民间生活的淳朴真淳。",[23,25,27,28,87,29,35,238,358,237,151,39,121,359,178,360,7,361],"成人","溪岸","嬉戏","水中活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ae0bc4fce28f14af3c4a14d32f99bc.jpg","29x130cm",[],13,{"id":367,"slug":368,"title":369,"dynasty":18,"author":131,"museum":293,"description":370,"tags":371,"thumbUrl":373,"material":374,"size":375,"collection":243,"collections":376,"showCount":377,"zanCount":11,"manualWeight":11,"mainColor":111},223509,"liu-xi-diao-ting-tu-yi-ming-223509","柳溪钓艇图","绘江南小景，坡岸垂柳杂树，茅舍隐然，河中渔舟横陈，船头一翁垂钓",[23,25,372,87,31,103,32,100,151,101,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40fa66204fb50d3e262d289a18d3643.jpg","绢本，设色","23*24.8cm",[],10,{"id":379,"slug":380,"title":381,"dynasty":18,"author":131,"museum":165,"description":382,"tags":383,"thumbUrl":385,"material":243,"size":243,"collection":243,"collections":386,"showCount":387,"zanCount":11,"manualWeight":11,"mainColor":49},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,24,25,26,372,87,28,296,35,384,136,151,7],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],9,{"id":389,"slug":390,"title":391,"dynasty":163,"author":164,"museum":165,"description":166,"tags":392,"thumbUrl":398,"material":186,"size":187,"collection":188,"collections":399,"showCount":400,"zanCount":11,"manualWeight":11,"mainColor":49},226116,"the-seine-at-petit-gennevilliers-1872-mo-nai-226116","The Seine at Petit-Gennevilliers, 1872",[169,168,36,64,34,7,393,394,35,395,323,324,176,178,396,397,322],"房屋","烟雾","桅杆","波纹","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8193fd09c9f0a056d35f69a8edc3cdd1.jpg",[188],6,{"id":402,"slug":403,"title":404,"dynasty":147,"author":405,"museum":165,"description":406,"tags":407,"thumbUrl":411,"material":186,"size":187,"collection":243,"collections":412,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":111},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[25,26,198,199,28,31,36,39,313,7,408,87,99,345,409,67,183,178,101,410],"淡彩","传统技法","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],4,{"id":415,"slug":416,"title":417,"dynasty":18,"author":131,"museum":293,"description":418,"tags":419,"thumbUrl":425,"material":272,"size":426,"collection":243,"collections":427,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":111},234024,"liu-tang-du-shu-tu-ye-yi-ming-234024","柳堂读书图页","画湖岸风光，院落间散落着小屋和房屋，四周苍松翠柳环绕。 书生专心在室内学习，孩子们在户外陪伴。 栅栏坡度平缓，碎石散落，草丛稀疏。 对岸，丛林幽幽，溪水蜿蜒。 作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[24,25,26,420,29,28,30,31,384,421,39,422,423,424,7,393],"册页","堂屋","松树","石头","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":429,"slug":430,"title":431,"dynasty":163,"author":432,"museum":165,"description":433,"tags":434,"thumbUrl":440,"material":186,"size":187,"collection":243,"collections":441,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":111},232037,"de-jia-21-de-jia-232037","德加21","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[169,168,28,35,435,178,7,101,176,436,437,438,439],"马","风景","户外","骑马者","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d13ba0f77e0cf152aa023fa77e48b9.jpg",[],{"id":443,"slug":444,"title":445,"dynasty":163,"author":446,"museum":165,"description":447,"tags":448,"thumbUrl":455,"material":186,"size":187,"collection":243,"collections":456,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":49},230630,"rembrandt-harmensz-van-rijn-0264-lun-bo-lang-230630","Rembrandt Harmensz.van Rijn - 0264","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[24,169,342,449,450,36,100,35,451,7,64,452,453,454],"光影","风车","土坡","阴天","小路","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafb0a6acaea1e1258860532ccb80f30e.jpg",[],{"id":458,"slug":459,"title":460,"dynasty":163,"author":131,"museum":165,"description":461,"tags":462,"thumbUrl":480,"material":243,"size":243,"collection":243,"collections":481,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":111},225359,"fu-shi-hui-115-yi-ming-225359","浮世绘115","这幅版画以明媚春景入画，岛屿错落于澄澈水色间，漫山樱花如云似雪，苍松点缀翠色，晕染出融融春意。回环山径上踏青游人缓步徐行，渡头与岸畔人影攒动，乌篷船静泊水面，波痕轻漾晕开清浅蓝调。屋舍错落花林间，木桥勾连水岸，将春日郊野的鲜活烟火铺陈开来。\n\n用色明快柔婉，石青铺就水天，砂黄晕染坡岸，粉白樱枝与深松翠影相映成趣，带着日式版画独有的装饰意趣。构图疏密得宜，将踏青的闲雅盛景定格，把市井闲情与春日诗意揉为一处，尽显雅致悠然的和风美学。",[463,464,28,31,33,151,34,393,39,35,465,466,467,7,468,469,470,471,472,178,473,38,37,474,475,476,477,478,479],"浮世绘","木刻","岛屿","湖泊","路径","开花植物","海湾","行船","屋舍","步道","绿植","堤岸","林间小路","水岸人家","花树","远岛","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89971454455ccd323ecef04635e7d4f.jpg",[],1777535716530]