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garden (June - )","不详","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。",[132,133,134,135,136,29,137,138,139,54,140,141,142,143,144,145,7,33,146,147,148,149,150,151,152],"油画","后印象派","厚涂","笔触","色彩","花园","草地","花卉","房屋","栅栏","绿植","户外","自然景观","庭院","蓝花","田园","植物","花丛","绿色调","田园风光","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51956f5c386825806a76df15e92eff54.jpg","油画精选",[154],68,{"id":158,"slug":159,"title":160,"dynasty":66,"author":161,"museum":112,"description":162,"tags":163,"thumbUrl":167,"material":168,"size":169,"collection":75,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":78},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7","任颐","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,26,32,27,29,28,164,165,55,33,166,7,146,139],"飞鸟","树枝","粉花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg","绢本，设色","149 x 61 cm",[],21,{"id":173,"slug":174,"title":175,"dynasty":66,"author":176,"museum":112,"description":177,"tags":178,"thumbUrl":187,"material":119,"size":120,"collection":75,"collections":188,"showCount":189,"zanCount":61,"manualWeight":11,"mainColor":78},230210,"hua-niao-ce-ye-lang-shi-ning-230210","花鸟册页","郎世宁","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,25,26,179,28,29,180,181,32,182,183,33,7,34,35,184,185,186],"册页","中西合璧","写实","树","花枝","书法","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],17,{"id":191,"slug":192,"title":193,"dynasty":18,"author":194,"museum":195,"description":196,"tags":197,"thumbUrl":203,"material":75,"size":75,"collection":39,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":206},201603,"duan-wu-ji-jing-tu-zhou-chen-gua-201603","端午即景图轴","陈栝","上海博物馆","淡赭底色上，端午景致徐徐铺展：菖蒲劲挺如剑，艾草丛生于岸，白花团簇绽放，红蕊点缀其间，石体以水墨晕染，轮廓柔婉却藏苍润。花卉勾勒细腻入微，花瓣层次与枝叶脉络皆清晰可见，设色清雅脱俗，既显自然生机，又蕴文人雅韵。构图疏密相宜，上下景致呼应，笔墨间流露工致灵动之态，传递出端午时节的清和宁静。",[25,32,28,29,198,199,200,7,201,202,23],"皴法","菖蒲","艾草","红蕊","石体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193610bbe92c5f0fc82878dedeb24fec.jpg",[39],5,"a79271",{"id":208,"slug":209,"title":210,"dynasty":66,"author":92,"museum":112,"description":211,"tags":212,"thumbUrl":219,"material":119,"size":120,"collection":75,"collections":220,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},258174,"xuan-de-kuan-ji-lan-you-bai-hua-yu-zao-wen-pan-yi-ming-258174","宣德款祭蓝釉白花鱼藻纹盘","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[213,214,215,7,216,217,218],"清代","陶瓷","祭蓝釉","鱼","藻","鱼藻纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69dc1fe5b891fb439724e5f415f9347.jpg",[],{"id":222,"slug":223,"title":224,"dynasty":66,"author":92,"museum":112,"description":225,"tags":226,"thumbUrl":232,"material":119,"size":120,"collection":75,"collections":233,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":234},258147,"yong-zheng-kuan-dong-qing-you-bai-hua-wu-fu-wen-wan-yi-ming-258147","雍正款冬青釉白花五蝠纹碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[66,214,227,7,228,229,230,231],"冬青釉","蝙蝠纹","五蝠","碗","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd472845ec4bdbd9c83d029a49b1954.jpg",[],"37474F",{"id":236,"slug":237,"title":238,"dynasty":18,"author":92,"museum":112,"description":211,"tags":239,"thumbUrl":243,"material":119,"size":120,"collection":75,"collections":244,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},257461,"ji-lan-you-bai-hua-he-lian-wen-zhang-jing-ping-yi-ming-257461","祭蓝釉白花荷莲纹长颈瓶",[31,214,215,7,240,241,242],"荷","莲","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56570a2fc5b59fa237250dd8bfa5153e.jpg",[],{"id":246,"slug":247,"title":248,"dynasty":18,"author":92,"museum":112,"description":211,"tags":249,"thumbUrl":251,"material":119,"size":120,"collection":75,"collections":252,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":234},256385,"ji-lan-you-bai-hua-yu-lian-wen-pan-yi-ming-256385","祭蓝釉白花鱼莲纹盘",[214,31,215,7,216,241,250,242],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e40814b58ed14d7a4248faff827bcbb.jpg",[],1777535726142]