[{"data":1,"prerenderedAt":97},["ShallowReactive",2],{"subject-bao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2192,"bao","豹","豹画高清赏析","精选中国历代豹题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec1ef34e711b82cb7952373234b9e0a.jpg",0,4,[14,42,68,83],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},216676,"long-bao-tu-yi-ming-216676","龙豹图","清","佚名","私人收藏","龙豹图是清朝时期的一幅画作，画中描绘了龙和豹子在一起的情景。这幅画通常被认为是一幅象征着力量、权威和尊严的画作。它的作者不详，因此被称为佚名。这幅画通常被收藏在博物馆或私人收藏家手中。",[23,24,25,26,27,28,29,30,7,31,32,33,34],"高清","名画","国画","书画","设色","工笔","水墨","龙","兽","山石","草木","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29cbd30f1bf0791c595f6774cc1116d.jpg","绢本,设色","87x82cm","花鸟画精选",[38],306,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":19,"museum":47,"description":48,"tags":49,"thumbUrl":61,"material":62,"size":63,"collection":64,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":41},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷","宋","北京故宫博物院","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,25,24,26,50,28,27,51,52,31,53,7,54,55,56,57,32,58,59,60],"长卷","人物","山水","虎","鹰","蛇","兔","树木","飞鸟","神仙","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","绢本，设色","纵53.3厘米，横533厘米","",[],80,1,{"id":69,"slug":70,"title":71,"dynasty":72,"author":19,"museum":73,"description":74,"tags":75,"thumbUrl":78,"material":79,"size":80,"collection":64,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":41},288161,"hu-bao-huan-le-tu-yi-ming-288161","虎豹欢乐图","明","藏地不详","这幅作品以视觉错构的巧思见长，将古松山石的轮廓与虎豹身形虚实相融。水墨晕染下，苍劲松枝与嶙峋岩峦，恰好勾勒出憨态可掬的虎豹形象，打破了走兽画的写实桎梏。\n\n画家以兼工带写的笔法，把兽类的灵动憨稚藏于山林肌理间，不见森然凶戾，反显天真谐趣。留白铺就林涧幽寂底色，苍润墨色晕出山野苍莽质感，观者需在虚实掩映间辨形寻味，让山林野趣与巧思创意浑然一体，尽显小品画作的别致意趣。",[23,25,29,53,7,76,31,77,26],"松树","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753705f41366ef970406282d0414ec02.jpg","未知","Xcm*Xcm",[],14,{"id":84,"slug":85,"title":86,"dynasty":87,"author":19,"museum":73,"description":88,"tags":89,"thumbUrl":94,"material":79,"size":80,"collection":64,"collections":95,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":96},278506,"tong-bi-niu-zhui-shui-bao-tu-an-yin-yi-ming-278506","铜鼻钮追水豹图案印","汉","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[90,91,92,93,31,7],"印章","铜制","篆刻","青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6357beee4ad49ee7dbf68952a4a84c8a.jpg",[],"BDBDBD",1777535757353]