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舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,66,47,48,24,26,25,27,30,7],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg","",[34],195,{"id":72,"slug":73,"title":74,"dynasty":18,"author":19,"museum":63,"description":75,"tags":76,"thumbUrl":78,"material":79,"size":80,"collection":68,"collections":81,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":84},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴","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。",[47,48,24,25,26,27,28,30,7,77],"弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg","未知","Xcm*Xcm",[],158,2,"795548",{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":20,"description":91,"tags":92,"thumbUrl":98,"material":99,"size":100,"collection":34,"collections":101,"showCount":103,"zanCount":104,"manualWeight":11,"mainColor":84},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","唐","阎立本","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[23,47,48,93,25,26,27,94,95,96,30,7,97],"长卷","犬","树木","山石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纸本，墨笔","纵32厘米，横208厘米",[34,102],"设色画精选",150,3,{"id":106,"slug":107,"title":108,"dynasty":109,"author":110,"museum":20,"description":111,"tags":112,"thumbUrl":118,"material":119,"size":120,"collection":34,"collections":121,"showCount":122,"zanCount":83,"manualWeight":11,"mainColor":84},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","明","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[23,66,47,48,25,26,27,113,7,114,115,116,117],"武将","树","石阶","远山","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","绢本设色","纵198厘米，横236厘米",[34,102],145,{"id":124,"slug":125,"title":126,"dynasty":127,"author":128,"museum":129,"description":130,"tags":131,"thumbUrl":135,"material":68,"size":68,"collection":68,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":38},220516,"zhong-kui-hui-jian-tu-pu-xin-she-220516","钟馗挥剑图","民国","溥心畬","龙美术馆西岸馆","画面以枯松开篇，老干蟠曲、松枝萧疏，晕染出清寂古雅的氛围。红袍钟馗虬髯戟张，怒目圆睁，按佩剑挺立，威仪赫赫震慑鬼魅。身旁青面小鬼敛神吹笛，戏谑间更衬出钟馗的刚正威严。\n\n笔墨极具文人意趣，线条凝练古拙，设色清雅沉静，红袍醒目却不俗艳，淡墨勾勒松枝小鬼，尽显空灵雅致。整作以极简笔意，将钟馗的凛然正气与幽寂古意相融，寄寓驱邪安良的传统意涵，尽显雅致国风意蕴。",[47,26,25,27,132,7,133,134,97],"老树","剑","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a4169a576aae56350305e55cb3aa56.jpg",[],126,{"id":139,"slug":140,"title":141,"dynasty":109,"author":142,"museum":20,"description":143,"tags":144,"thumbUrl":145,"material":119,"size":68,"collection":34,"collections":146,"showCount":147,"zanCount":37,"manualWeight":11,"mainColor":38},236158,"han-xin-xiang-zhou-yi-ming-236158","韩信像轴","佚名","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[66,47,48,24,25,26,27,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1956b8da97887c124abf6a3d65a946c6.jpg",[34,102],118,{"id":149,"slug":150,"title":151,"dynasty":152,"author":153,"museum":154,"description":155,"tags":156,"thumbUrl":161,"material":162,"size":163,"collection":34,"collections":164,"showCount":166,"zanCount":37,"manualWeight":11,"mainColor":84},220366,"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","元","颜辉","美国克利夫兰艺术博物馆","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[23,66,47,48,93,157,158,27,159,7,160],"白描","水墨","明月","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","绢本,水墨","24.8X240.3",[34,165],"水墨画精选",104,{"id":168,"slug":169,"title":170,"dynasty":109,"author":142,"museum":154,"description":171,"tags":172,"thumbUrl":177,"material":26,"size":68,"collection":34,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":84},219244,"zeng-zhang-tian-wang-xiang-yi-ming-219244","增长天王像","青面怒目，须髯戟张，增长天王的威严扑面而来。铠甲错金缀彩，纹饰繁复如锦，每一处云纹、兽首皆精雕细琢，尽显庄重华贵。手中长剑横陈，寒光隐现，似欲斩断世间烦恼；身侧旌旗飘曳，彩带翻飞，裹挟着风雷之势。周围护法形象各异，或嗔目咆哮，或持械拱卫，动静之间，张力十足。色彩沉厚而不失明艳，线条刚劲又含灵动，将护法神祇的勇猛与神圣刻画得入木三分，仿佛能感受到那份震慑邪魔、守护正法的磅礴力量。整幅画作既保留了宗教造像的庄严法度，又以细腻笔触赋予形象鲜活生命力，尽显传统绘画的精湛技艺与精神内涵。",[23,47,25,26,173,174,27,7,175,51,176],"重彩","宗教","祥云","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d8acda20c1ab0fd65a2786e1df0fa2.jpg",[34],100,{"id":181,"slug":182,"title":183,"dynasty":109,"author":142,"museum":20,"description":143,"tags":184,"thumbUrl":185,"material":119,"size":68,"collection":34,"collections":186,"showCount":187,"zanCount":83,"manualWeight":11,"mainColor":84},236160,"zhang-fei-xiang-zhou-yi-ming-236160","张飞像轴",[47,24,26,27,25,7,30,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc798faf4f2e36c88656db7ea294b9113.jpg",[34,102],97,{"id":189,"slug":190,"title":191,"dynasty":89,"author":192,"museum":63,"description":193,"tags":194,"thumbUrl":195,"material":54,"size":196,"collection":34,"collections":197,"showCount":198,"zanCount":37,"manualWeight":11,"mainColor":84},218434,"jie-bo-tu-juan-zhao-gong-you-218434","掲钵图卷","赵公佑","残卷斑驳，却凝萃着盛唐绘画的磅礴气象。画面中神祇与魔众的对峙张力十足，线条流转如行云流水，虽历经岁月褪色，朱红与墨色的交织仍显古雅厚重。人物动态鲜活，或持械交锋，或肃立说法，神态各异间铺展叙事脉络。构图疏密有致，虚实相生，既见个体形象的精谨刻画，亦有整体场景的宏阔铺陈。笔墨间藏着唐代画坛的雄浑笔力与细腻情思，即便残损处也似时光留痕，诉说着千年之前的艺术风华，堪称研究唐代宗教绘画与叙事艺术的珍贵遗存。其笔墨间的雄浑与细腻，既显宗教题材的庄严神圣，又含世俗绘画的生动意趣，是盛唐艺术兼容并蓄精神的鲜活注脚。",[23,47,48,93,26,174,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076f4968eb11391f30728e56d3fad1d8.jpg","27.4x109.4",[34],80,{"id":200,"slug":201,"title":202,"dynasty":18,"author":19,"museum":63,"description":203,"tags":204,"thumbUrl":205,"material":68,"size":68,"collection":68,"collections":206,"showCount":207,"zanCount":37,"manualWeight":11,"mainColor":84},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,66,47,48,25,26,27,28,7,29,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],71,{"id":209,"slug":210,"title":211,"dynasty":18,"author":212,"museum":213,"description":214,"tags":215,"thumbUrl":217,"material":54,"size":218,"collection":34,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":38},216968,"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","台北故宫博物院","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[47,48,49,26,25,27,216,29,7,30],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[34],67,{"id":222,"slug":223,"title":224,"dynasty":225,"author":226,"museum":227,"description":228,"tags":229,"thumbUrl":231,"material":232,"size":233,"collection":234,"collections":235,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":38},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","宋","龚开","美国弗瑞尔美术馆","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[23,47,93,157,158,27,230,28,7,30],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纸本","纵32.8厘米，横169.5厘米","宋画精选",[234,236,102],"山水画精选",59,{"id":239,"slug":240,"title":241,"dynasty":152,"author":153,"museum":242,"description":243,"tags":244,"thumbUrl":250,"material":251,"size":68,"collection":34,"collections":252,"showCount":253,"zanCount":11,"manualWeight":11,"mainColor":38},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","私人收藏","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[66,47,48,93,157,158,27,245,7,51,97,52,246,247,248,249,25],"鬼神","行书","篆书","楷书","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg","纸本,水墨",[34],58,{"id":255,"slug":256,"title":257,"dynasty":109,"author":258,"museum":63,"description":259,"tags":260,"thumbUrl":267,"material":79,"size":80,"collection":68,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":84},287413,"jie-bo-tu-juan-chou-ying-287413","揭钵图卷","仇英","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。",[23,66,47,93,26,25,27,174,261,262,263,7,264,265,52,97,266],"佛教","佛陀","神兽","战马","写经","战争场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932dc5ed50526f84734c179fdbbe4024.jpg",[],51,{"id":271,"slug":272,"title":273,"dynasty":18,"author":274,"museum":213,"description":275,"tags":276,"thumbUrl":280,"material":281,"size":282,"collection":68,"collections":283,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":38},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴","姚文瀚","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[23,47,24,174,25,26,27,29,175,51,7,97,277,173,278,95,279],"清代","神像","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 设色","114.5x66.5厘米",[],48,{"id":286,"slug":287,"title":288,"dynasty":225,"author":142,"museum":289,"description":290,"tags":291,"thumbUrl":292,"material":26,"size":293,"collection":68,"collections":294,"showCount":295,"zanCount":37,"manualWeight":11,"mainColor":84},220244,"rui-guang-ta-si-tian-wang-xiang-2-yi-ming-220244","瑞光塔四天王像2","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[47,174,27,26,25,160,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05475f86835101e8ca6e59527097d99.jpg","42.5X123厘米",[],47,{"id":297,"slug":298,"title":299,"dynasty":225,"author":142,"museum":289,"description":290,"tags":300,"thumbUrl":302,"material":26,"size":293,"collection":68,"collections":303,"showCount":295,"zanCount":37,"manualWeight":11,"mainColor":84},220243,"rui-guang-ta-si-tian-wang-xiang-3-yi-ming-220243","瑞光塔四天王像3",[174,301,27,160,7,26,25],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6520b33166666ff109398c72410528.jpg",[],{"id":305,"slug":306,"title":307,"dynasty":18,"author":308,"museum":63,"description":309,"tags":310,"thumbUrl":312,"material":68,"size":68,"collection":68,"collections":313,"showCount":314,"zanCount":11,"manualWeight":11,"mainColor":38},224233,"zhong-kui-wu-chang-shuo-224233","钟馗","吴昌硕","此作跳出钟馗惯常的狞厉驱邪范式，以写意之笔勾勒出闲散疏朗的别样风神。淡墨晕染衣袍，寥寥数笔便将宽袍缓带的慵懒姿态写尽，腰间佩剑暗藏威仪，却无肃杀之气。钟馗抬首凝望丝线上的小虫，神情松弛淡然，全然不见捉鬼镇邪的刚猛，更似幽居世外的逸士。\n\n左侧题诗与画意相得益彰，篆籀笔法的题字朴拙雄劲，和简淡的人物形成视觉张力，尽显诗画合璧的文人意趣，将民间俗神化为寄寓闲情逸致的文人心象，笔墨间满是随性自在的雅逸格调。",[23,47,48,26,158,27,7,246,97,311],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb6298ff111c592b2ddf649923c616.jpg",[],45,{"id":316,"slug":317,"title":318,"dynasty":319,"author":320,"museum":63,"description":321,"tags":322,"thumbUrl":326,"material":79,"size":80,"collection":327,"collections":328,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":330},225658,"rembrandt-harmensz-van-rijn-068-lun-bo-lang-225658","Rembrandt Harmensz.van Rijn - 068","不详","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。",[66,323,324,27,325,7],"油画","历史画","士兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b414dcd4ca7fe8af3037124474e2d35.jpg","油画精选",[327],42,"37474F",{"id":332,"slug":333,"title":334,"dynasty":109,"author":335,"museum":63,"description":336,"tags":337,"thumbUrl":338,"material":232,"size":339,"collection":68,"collections":340,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":84},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图","钱毂","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,66,47,48,93,157,158,25,27,230,160,7,51,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":342,"slug":343,"title":344,"dynasty":345,"author":142,"museum":63,"description":346,"tags":347,"thumbUrl":352,"material":68,"size":68,"collection":353,"collections":354,"showCount":355,"zanCount":37,"manualWeight":11,"mainColor":330},242942,"shou-mian-wen-ge-yi-ming-242942","兽面纹戈","商","这件古物是玉与铜的精妙合璧，玉援浸着灰白斑驳的包浆，刃锋虽历经千年，依旧隐藏着往昔征伐的肃杀锐气。铜内满铸兽面饕餮纹饰，双目突出、线条狞厉庄重，带着商代特有的狞厉美学风格。\n\n它兼具兵器的实战属性与礼器的神性威严，将王权的威仪与神权的崇拜凝铸其上。铜色覆着斑驳锈蚀，玉晕晕染着时光肌理，静静诉说着那个尚武崇神的时代底色，厚重的历史质感扑面而来。",[348,349,7,350,351],"商代","青铜器","兽面纹","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4360c456d93624b7c98c0a0c6431cd89.jpg","青铜器精选",[353],40,{"id":357,"slug":358,"title":359,"dynasty":225,"author":226,"museum":360,"description":361,"tags":362,"thumbUrl":366,"material":251,"size":367,"collection":234,"collections":368,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":84},220089,"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12","美国弗利尔美术馆","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[47,66,48,93,157,27,363,28,364,365,30,7],"帐篷","羊","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg","全卷30.6X770厘米",[234],39,{"id":371,"slug":372,"title":373,"dynasty":18,"author":142,"museum":63,"description":374,"tags":375,"thumbUrl":377,"material":79,"size":80,"collection":68,"collections":378,"showCount":379,"zanCount":11,"manualWeight":11,"mainColor":38},234506,"jin-gua-wu-men-shen-ma-yi-ming-234506","金瓜武门神码","此幅武将门神面如冠玉，三绺长髯飘逸出庄重威严。身着遍饰宝相花纹的黄金锁子甲，朱红衬袍翻卷张扬，宝冠翎羽凌厉飒爽。他一手高擎鎏金瓜锤，一手挽定雕弓，背负劲箭，胯侧黑旗猎猎。\n设色浓丽饱和，朱砂、石青与泥金交相辉映，既有民间年画的明快热烈，又暗含庙堂重彩的规整大气。线条刚柔并济，将武将护宅安邦的凛凛神威凝练于方寸之内，带着质朴醇厚的民间祈福意趣，尽显旧时匠人对阖家平安的真挚祈愿，是民俗美术中极具代表性的工致之作。",[47,48,26,25,376,27,7,30,174],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aef900541f967bea555c81cfa0a3a1a.jpg",[],37,{"id":381,"slug":382,"title":383,"dynasty":384,"author":142,"museum":63,"description":385,"tags":386,"thumbUrl":389,"material":68,"size":68,"collection":353,"collections":390,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":38},243456,"liu-yin-ji-he-wen-jian-yi-ming-243456","鎏银几何纹剑","周","狭长剑身缓缓收聚为锐利剑锋，线条洗练利落，素朴器型暗藏冷冽杀伐之气。周身铜绿晕染，是岁月浸蚀出的斑驳印记，将千年前的兵戈倥偬凝于一身。窄短剑格与素面剑柄利落衔接，浑然一体，尽显规整大气，仿佛依旧能映出古战场上的戈矛交错，缄默承载着尚武年代的征伐荣光，静诉逝去的烽火岁月。",[7,349,387,388],"鎏银","几何纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f86e5e7d5ed680dc6b57604575ba46.jpg",[353],36,{"id":393,"slug":394,"title":395,"dynasty":396,"author":142,"museum":63,"description":397,"tags":398,"thumbUrl":400,"material":68,"size":68,"collection":353,"collections":401,"showCount":402,"zanCount":37,"manualWeight":11,"mainColor":84},242947,"bi-shou-yi-ming-242947","匕首","汉","周身覆满苍绿锈迹，是千年时光镌刻下的痕迹。双茎直连柄首，形制硬朗古拙，刃身起脊收尖，线条利落冷肃，依稀可见当年尚武之风。\n它褪去锋芒，却留存着古匠造器的匠心，斑驳铜色里凝着岁月厚重，静静诉说着曾经的沙场过往，将冷兵器时代的沉肃气质藏于残锈之中，古朴又带着沉郁的历史厚重感。",[349,7,399,396],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3682891e85b6bbbec0bb63d7e4048f.jpg",[353],35,{"id":404,"slug":405,"title":406,"dynasty":152,"author":407,"museum":63,"description":408,"tags":409,"thumbUrl":411,"material":68,"size":68,"collection":68,"collections":412,"showCount":413,"zanCount":37,"manualWeight":11,"mainColor":84},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[47,48,93,26,25,28,27,52,246,97,410,7],"鞍马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],34,{"id":415,"slug":416,"title":417,"dynasty":225,"author":418,"museum":213,"description":419,"tags":420,"thumbUrl":421,"material":422,"size":423,"collection":68,"collections":424,"showCount":413,"zanCount":37,"manualWeight":11,"mainColor":38},232915,"bai-miao-mian-zhou-tu-juan-li-gong-lin-232915","白描免胄图卷","李公麟","《免胄图》卷所绘即为郭子仪率数十骑免胄（徒手不着盔甲）见回纥首领大酋，大酋舍兵下马拜见的情景。图卷左侧是郭子仪所率部将兵骑，仪容镇定，伫立于侧。右侧是入侵关中的回纥兵骑，阵营庞大而惶惶无措。回纥大酋着戎装，携副将滚鞍落马，正单膝跪地作钦服之状，拜见免胄着燕服的郭子仪。郭神情雍穆诚恳，俯身援手以礼相见，体现出从容大度的一代名将风范。\n此卷描绘唐代名将郭子仪说服回纥大破吐蕃一事。关于这一著名战事，《旧唐书》有详细记载。唐太宗广德二年（764），回纥、土蕃西域诸国数十万大军，入侵长安，郭子仪奉命率军镇守泾阳，由于双方兵力悬殊，郭子仪决定亲赴敌营，希望说服回纥将领退兵，郭子仪是大唐名将，颇受蕃将敬重，当郭子仪脱去戎装，单骑来到回纥阵前，回纥统帅药葛罗一见，心悦诚服，下马跪迎，双方言和，药葛罗立即退兵，并发誓不再侵唐。",[23,66,47,48,93,157,27,28,97,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a54c261d4257de502d94fbe837eb3b.jpg","纸本长卷","纵32.3厘米，横223.8厘米",[],{"id":426,"slug":427,"title":428,"dynasty":225,"author":429,"museum":430,"description":431,"tags":432,"thumbUrl":434,"material":251,"size":68,"collection":236,"collections":435,"showCount":413,"zanCount":11,"manualWeight":11,"mainColor":38},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,47,48,93,157,52,27,28,7,95,433],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[236],{"id":437,"slug":438,"title":439,"dynasty":18,"author":440,"museum":63,"description":441,"tags":442,"thumbUrl":443,"material":79,"size":80,"collection":68,"collections":444,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":84},239486,"hua-guan-yu-xiang-zhou-gao-qi-pei-239486","画关羽像轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[47,24,26,158,27,7,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa853648962019cc681189db7b842e6.jpg",[],33,{"id":447,"slug":448,"title":257,"dynasty":152,"author":449,"museum":450,"description":451,"tags":452,"thumbUrl":455,"material":232,"size":456,"collection":68,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":38},221826,"jie-bo-tu-juan-zhu-yu-221826","朱玉","浙江省博物馆","《揭钵图》在佛教题材绘画中青史留名，在中国古代美术史上占有重要地位。清初《佩文斋书画谱》等史籍中明确记载，朱玉《揭钵图》真迹存世仅有两本。对比浙博本和美国本，后者人物线条更加飘逸，几无断笔，面部结构精准，服饰线条洒脱，而浙博本有近半人物线条出现断笔。",[23,47,48,93,157,174,27,160,453,7,454],"老虎","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8239e9d61ec1d53ae4c554166623e90.jpg","27.7x111厘米",[],32,{"id":460,"slug":461,"title":462,"dynasty":18,"author":142,"museum":63,"description":463,"tags":464,"thumbUrl":471,"material":472,"size":473,"collection":34,"collections":474,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":38},215817,"miao-zu-yao-zu-sheng-huo-tu-ce-yi-ming-215817","苗族瑶族生活图册","纺车的轮轴在光影里转动，线缕从指尖漫出，两位女子俯身织作，衣角的纹样随动作轻颤。一旁男子负弓持矛，箭囊贴紧脊背，赤脚的脚掌沾着泥土的温度。淡彩晕染的画面里，线条勾勒出衣料的粗朴与纺车的木质感，人物神态憨实——织者的专注凝在眉尖，行者的笃定藏在步幅里。没有华丽铺陈，却把苗瑶人家的日常摊开：一边是经纬交织的烟火气，一边是山林狩猎的坚韧劲，每一笔都浸着民族生活的鲜活：耕织的柔与狩猎的刚，在画面里融成与土地共生的朴素诗行。",[23,47,49,26,27,465,466,467,7,468,469,470],"苗族","瑶族","纺车","耕织","狩猎","日常生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6551c1bbcba72143b79e6a70a1059321.jpg","纸本,设色","36.5x29.5",[34],{"id":476,"slug":477,"title":478,"dynasty":18,"author":142,"museum":360,"description":479,"tags":480,"thumbUrl":481,"material":54,"size":482,"collection":34,"collections":483,"showCount":484,"zanCount":37,"manualWeight":11,"mainColor":84},218303,"jiang-jun-xiang-yi-ming-218303","将军像","端坐中央的将军身披华彩甲胄，金纹与朱红交织，鎏金饰边在浓艳底色上流转光泽，尽显赫赫威仪。腰间素绳轻垂，柔线与硬甲形成刚柔反差，似藏千军万马之势。两侧武士持械而立，盔明甲亮，虽为陪衬却层次分明，更衬出将军核心地位。\n\n笔触细腻入微，衣纹褶皱间见工笔功底，人物神态刻画传神：将军面容丰腴却眼神锐利，既有武将刚毅，亦含从容气度。色彩浓艳沉稳，传统矿物颜料的厚重感赋予画面历史质感，融写实与装饰于一体。整幅作品精准传递清代武将的身份气场，观者仿佛能触到甲胄的冰冷，感受到那份跨越时空的肃穆与威严。",[23,47,48,24,25,26,27,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0df2c436b06d118039f8c55687f1507.jpg","171.5x127",[34],31,{"id":486,"slug":487,"title":488,"dynasty":319,"author":142,"museum":63,"description":489,"tags":490,"thumbUrl":494,"material":79,"size":80,"collection":68,"collections":495,"showCount":496,"zanCount":11,"manualWeight":11,"mainColor":497},225511,"fu-shi-hui-269-yi-ming-225511","浮世绘269","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[491,26,376,27,50,7,365,51,492,95,493],"浮世绘","建筑局部","夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9477f0c79b912efa6ccb9ab290224577.jpg",[],30,"F48FB1",{"id":499,"slug":500,"title":501,"dynasty":109,"author":258,"museum":63,"description":502,"tags":503,"thumbUrl":504,"material":54,"size":68,"collection":68,"collections":505,"showCount":496,"zanCount":37,"manualWeight":11,"mainColor":84},216284,"er-shi-si-xiao-tu-9-chou-ying-216284","二十四孝图-9","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[66,47,48,49,25,26,27,28,96,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32894195a642c7cf199c48858abc7ce7.jpg",[],{"id":507,"slug":508,"title":509,"dynasty":319,"author":142,"museum":63,"description":510,"tags":511,"thumbUrl":518,"material":79,"size":80,"collection":68,"collections":519,"showCount":520,"zanCount":37,"manualWeight":11,"mainColor":330},231692,"shi-ting-shi-dai-sui-shi-fo-xiang-yi-ming-231692","室町时代 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有许多与三论、密教和净土有关的著作，包括“Kettsujo Ojoshu”。从出身开始，他就擅长艺术，并在醍醐寺和东寺留下了许多白色的图标。",[23,157,24,174,27,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb557f9a0d99f73d9774c80230de36a19.jpg",[],25,{"id":542,"slug":543,"title":61,"dynasty":18,"author":62,"museum":63,"description":64,"tags":544,"thumbUrl":545,"material":68,"size":68,"collection":68,"collections":546,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":38},223090,"shui-hu-ren-wu-ren-xun-223090",[23,47,48,24,26,25,27,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea61dcdc52acaa47132be4176a6acda0.jpg",[],{"id":548,"slug":549,"title":373,"dynasty":18,"author":142,"museum":63,"description":550,"tags":551,"thumbUrl":556,"material":79,"size":80,"collection":68,"collections":557,"showCount":558,"zanCount":11,"manualWeight":11,"mainColor":330},234507,"jin-gua-wu-men-shen-ma-yi-ming-234507","青碧祥云铺满底色，托举起这位威凛武将。他金盔覆顶，面如冠玉，长髯垂胸，宝甲遍饰华纹，红、金、蓝、紫浓艳撞色，尽显华贵威仪。一手紧握金瓜长兵，一手按执玄色令旗，腰间悬弓带箭，朱红飘带缠绕周身，更衬出刚健孔武之姿。\n此作画线刚劲爽利，敷色鲜亮厚重，承续民间年画祈福护宅的意涵，将武将慑邪安宅的威猛正气淋漓铺展，带着民间美术饱满热烈的审美特质，把阖家平安的美好祈愿藏进了精工彩绘之中。",[47,25,26,27,7,30,552,553,554,555],"民间","传统","门神","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdfb6e75f8dbabbcfe55d1e511e0873.jpg",[],24,{"id":560,"slug":561,"title":562,"dynasty":396,"author":142,"museum":63,"description":563,"tags":564,"thumbUrl":566,"material":68,"size":68,"collection":353,"collections":567,"showCount":568,"zanCount":11,"manualWeight":11,"mainColor":84},242962,"zu-yi-ming-242962","镞","它棱线凌厉，锋刃历经岁月洗磨依旧暗藏冷冽锋芒。修长的箭铤覆着苍绿铜锈，如同被时光晕染出斑驳肌理，凝住了千年前战场的金戈余温。整体造型极简克制，无多余纹饰，将实用主义化作古朴美学，藏着汉代军工的沉稳匠心。静默伫立间，仿佛还能窥见当年箭簇破空的飒爽，让冷兵器时代的肃杀气魄，沉淀为沉静的古物风华。",[349,7,399,565],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe75e572dde4fc574536e916483cd8a7a.jpg",[353],23,{"id":570,"slug":571,"title":572,"dynasty":18,"author":142,"museum":63,"description":573,"tags":574,"thumbUrl":586,"material":68,"size":68,"collection":236,"collections":587,"showCount":568,"zanCount":11,"manualWeight":11,"mainColor":38},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[47,25,26,27,29,575,576,577,578,7,579,580,581,582,583,584,585],"民俗","苗寨","男子","妇人","村居","山野","青山","花木","小屋","山道","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg",[236],{"id":589,"slug":590,"title":591,"dynasty":18,"author":592,"museum":63,"description":593,"tags":594,"thumbUrl":596,"material":472,"size":68,"collection":68,"collections":597,"showCount":568,"zanCount":11,"manualWeight":11,"mainColor":598},215668,"bei-jing-dian-pu-zhao-huang-hua-ce-5-zhou-pei-chun-215668","北京店舖招幌画册-5","周培春","画面铺展老北京商铺招幌群像，笔墨晕染市井烟火气。蓝粉相间的仿衣幌似风里轻摆，衣角花纹藏针线温度；牛角幌子线条利落，触得到材质粗粝；腰刀幌排列如阵，红穗飘动带江湖气；麦穗幌垂饱满穗子，质朴裹着麦香；灯笼幌叠彩环，揉暖光入画纸；书“成衣”二字的布幌，黑字红穗透匠人实在。这些招幌是时光切片，串起旧时京城商铺吆喝与生计日常，观者仿佛踏入百年街巷，听布幌簌簌，闻烟火漫溢，触到那个时代鲜活的商业脉搏。",[47,48,49,26,51,595,7,365],"幌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c786bd396980c4ddb4e45df757d89fe.jpg",[],"FFFFFF",{"id":600,"slug":601,"title":602,"dynasty":152,"author":142,"museum":63,"description":603,"tags":604,"thumbUrl":607,"material":79,"size":80,"collection":68,"collections":608,"showCount":609,"zanCount":11,"manualWeight":11,"mainColor":330},253023,"ni-su-cai-hui-guan-yu-xiang-yi-ming-253023","泥塑彩绘关羽像","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[605,606,174,27,7],"泥塑","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fcfaf86b31fe30d3d7d5640eb085bb8.jpg",[],22,{"id":611,"slug":612,"title":613,"dynasty":152,"author":614,"museum":63,"description":615,"tags":616,"thumbUrl":618,"material":68,"size":68,"collection":68,"collections":619,"showCount":620,"zanCount":11,"manualWeight":11,"mainColor":38},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","王振鹏","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,66,47,48,93,157,25,174,27,160,95,96,7,617,52,97],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],20,{"id":622,"slug":623,"title":224,"dynasty":225,"author":226,"museum":63,"description":624,"tags":625,"thumbUrl":626,"material":68,"size":68,"collection":68,"collections":627,"showCount":620,"zanCount":11,"manualWeight":11,"mainColor":38},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,47,48,93,157,158,27,28,7,97,52,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":629,"slug":630,"title":631,"dynasty":632,"author":633,"museum":63,"description":634,"tags":635,"thumbUrl":636,"material":68,"size":68,"collection":68,"collections":637,"showCount":620,"zanCount":11,"manualWeight":11,"mainColor":84},226704,"su-li-bie-yi-juan-1-zhou-wen-ju-226704","苏李别意卷-1","五代十国","周文矩","该幅是描绘苏武与李陵于荒寒北地殷殷话别的情景。",[47,48,93,26,25,27,28,97,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d99aa3ce15fe27667317bcda79a286.jpg",[],{"id":639,"slug":640,"title":641,"dynasty":384,"author":142,"museum":63,"description":642,"tags":643,"thumbUrl":646,"material":68,"size":68,"collection":353,"collections":647,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":38},244097,"qian-song-shi-jian-yi-ming-244097","嵌松石剑","剑身狭长厚重，铜绿如苍苔覆于刃脊，勾勒出冷硬棱线，暗蕴上古杀伐之气。剑格饰灵动卷云纹，虽松石已佚，仍能窥见往昔错彩镂金的精工巧思。\n\n剑茎分段凸起，搭配圆盘剑首，握持趁手，尽显实用与美学的相融。它褪去了饮血利器的锋芒，斑驳铜锈凝着先秦尚武魂脉，静静诉说千年前金戈铁马的过往，将时代风骨与工艺匠心熔铸为一体。",[349,7,644,645],"嵌松石","周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf5e0a33735c52a3a7ee04d6df49195.jpg",[353],19,{"id":650,"slug":651,"title":652,"dynasty":18,"author":19,"museum":63,"description":653,"tags":654,"thumbUrl":655,"material":68,"size":68,"collection":68,"collections":656,"showCount":648,"zanCount":37,"manualWeight":11,"mainColor":38},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[47,48,93,26,25,27,28,7,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":658,"slug":659,"title":660,"dynasty":345,"author":142,"museum":63,"description":661,"tags":662,"thumbUrl":664,"material":79,"size":80,"collection":68,"collections":665,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":38},226770,"niao-wen-ge-yi-ming-226770","鸟纹戈","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[348,349,7,663,351],"鸟纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72a704889c28345a7d27ad19ebd0932c.jpg",[],{"id":667,"slug":668,"title":669,"dynasty":152,"author":153,"museum":154,"description":670,"tags":671,"thumbUrl":673,"material":674,"size":675,"collection":68,"collections":676,"showCount":648,"zanCount":11,"manualWeight":11,"mainColor":84},221720,"zhong-kui-yu-ye-chu-you-tu-juan-yan-hui-221720","钟馗雨夜出游图卷","画面绘钟馗在鬼族是簇拥下雨夜巡游的情形。画中七个鬼卒，牛头马面，头戴蒙军头盔，类似杂要，正击鼓簇拥钟馗夜游，寄寓了画家蔑视蒙古统治者既仇恨又无赖的心情。\n其笔法浑厚坚实敦朴流畅，不乏宋代院体人物之工细，其造型生动传神，意态舒畅洒脱抒情而又有艺术性和理，不象刘贯通、王绎等人笔下人物之肖象，准确、逼真、刻板而写实。\n画面清旷幽冷，形象深遂含蓄，堪称精品。作为对宋体工致写实画风的承继与元代画风渐显写意抒情之势的前启，颜辉的人物画是承前启后的关捩。",[23,672,157,93,27,230,7,97,52],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c78d99f746b70906b57c0cd5975c505.jpg","绢本水墨","24.8cmx240.3cm",[],{"id":678,"slug":679,"title":680,"dynasty":18,"author":142,"museum":63,"description":681,"tags":682,"thumbUrl":683,"material":79,"size":80,"collection":68,"collections":684,"showCount":685,"zanCount":11,"manualWeight":11,"mainColor":84},288185,"shen-hua-ren-wu-xiang-yi-ming-288185","神话人物像","此作为工笔重彩人物画，主尊武将端坐正中，面相圆阔威严，身着纹饰繁丽的金红铠甲，兽面腹甲凸显悍勇气魄，织金衣纹层次精细，华贵庄重。两侧亲兵持戟肃立，盔缨朱红鲜明，神态恭谨肃穆，衬得主将气场愈发雄浑沉厚。\n设色古雅沉稳，晕染细腻考究，衣甲肌理与配饰细节皆刻画入微，将护法神将的凛凛威仪渲染得淋漓尽致，尽显传统人物画的精湛笔力，古韵悠长，尽显庙堂神像画的庄严厚重之感。",[23,47,24,26,27,516,113,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0577e147b317451fcc1349440d6a9e4d.jpg",[],18,{"id":687,"slug":688,"title":689,"dynasty":319,"author":142,"museum":63,"description":489,"tags":690,"thumbUrl":694,"material":79,"size":80,"collection":68,"collections":695,"showCount":685,"zanCount":11,"manualWeight":11,"mainColor":84},231680,"fu-shi-hui-ping-feng-yi-ming-231680","浮世绘屏风",[23,491,691,26,25,27,454,617,29,555,692,325,693,7],"屏风","战场","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b8fbc85ceb5ed9e8c405e27e3e9b00.jpg",[],{"id":697,"slug":698,"title":699,"dynasty":225,"author":142,"museum":20,"description":700,"tags":701,"thumbUrl":707,"material":119,"size":708,"collection":68,"collections":709,"showCount":685,"zanCount":11,"manualWeight":11,"mainColor":84},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[47,48,93,702,25,26,174,27,703,704,705,28,706,7,51],"临摹","神怪","星宿","牛","龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":711,"slug":712,"title":713,"dynasty":18,"author":714,"museum":63,"description":715,"tags":716,"thumbUrl":718,"material":79,"size":80,"collection":68,"collections":719,"showCount":720,"zanCount":11,"manualWeight":11,"mainColor":38},290564,"fang-tian-wang-xiang-si-zhou-xu-yang-290564","仿天王像（四）轴","徐扬","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[47,24,26,27,174,25,516,527,717,97,702,513,7],"力士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b45427a866bb9f749bab3c76de8c0e.jpg",[],17,{"id":722,"slug":723,"title":724,"dynasty":384,"author":142,"museum":63,"description":725,"tags":726,"thumbUrl":728,"material":68,"size":68,"collection":353,"collections":729,"showCount":730,"zanCount":11,"manualWeight":11,"mainColor":84},243457,"shou-wen-dao-yi-ming-243457","兽纹刀","刀身朴拙厚重，青绿铜锈爬满刃身，是千年时光蚀刻下的痕迹。刀柄以兽纹为饰，浮雕与镂空错落相衔，狞厉兽面带着上古的沉肃威严，线条古拙硬朗，将先民的尚武气魄凝铸其中。\n\n整体浑朴大气，锈蚀之下藏着往昔征伐的荣光，青铜的冷硬质感与斑驳锈色交织，揉合出蛮荒与庄严交融的独特气质，每一处纹路都默诉着久远的兵戎与祭祀往事，是青铜时代工艺精神的鲜活缩影。",[349,7,727,351,645],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d2d02c6c5b1b261ed45304a2b3b63f.jpg",[353],16,{"id":732,"slug":733,"title":734,"dynasty":319,"author":735,"museum":63,"description":736,"tags":7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　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[773,774,7,351,160,775],"宋代","玉石","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d2d9fcf8a8e9816a80a85ecd61e1e7.jpg",[],{"id":779,"slug":780,"title":781,"dynasty":345,"author":142,"museum":63,"description":782,"tags":783,"thumbUrl":784,"material":68,"size":68,"collection":353,"collections":785,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":84},243001,"da-ge-yi-ming-243001","畗戈","修长援锋凛冽依旧，内部兽面纹以绿松石错嵌，眉眼勾连间带着上古狞厉威严。斑驳铜绿覆身，是千年岁月浸蚀下的勋章。它兼具杀伐之利与礼祭之重，铸造规整细腻，纹饰排布严整，将青铜工艺的精湛体现得淋漓尽致，静静诉说着上古邦国征伐与祭祀的厚重过往。",[349,7,348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F655a4a01a0bfd1d474e9159cd355add2.jpg",[353],13,{"id":788,"slug":789,"title":61,"dynasty":18,"author":62,"museum":63,"description":64,"tags":790,"thumbUrl":791,"material":68,"size":68,"collection":68,"collections":792,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":38},223089,"shui-hu-ren-wu-ren-xun-223089",[23,47,48,24,26,25,27,7,30,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":794,"slug":795,"title":796,"dynasty":109,"author":797,"museum":213,"description":798,"tags":799,"thumbUrl":802,"material":472,"size":803,"collection":68,"collections":804,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":38},216086,"tai-ping-le-shi-tu-ce-10-dai-jin-216086","太平乐事图册-10","戴进","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[47,48,49,26,25,27,800,96,801,7],"枯树","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a707f20eadea72e86c7b5f51436569f.jpg","22.8x22cm",[],{"id":806,"slug":807,"title":613,"dynasty":152,"author":142,"museum":808,"description":809,"tags":810,"thumbUrl":10,"material":68,"size":68,"collection":34,"collections":811,"showCount":786,"zanCount":37,"manualWeight":11,"mainColor":812},203432,"bai-miao-jie-bo-tu-juan-yi-ming-203432","上海博物馆","这幅长卷以纯然白描绘就，线条如铁线银钩，刚柔相济。画面铺陈宗教故事场景，神佛、力士、鬼怪等群像错落，神态各异：或怒目执兵，或从容布道，衣袂飘举间尽显动态韵律。核心揭钵处结构紧凑，冲突感暗蕴，周围人物排布层次分明，背景树木山石以简洁皴法衬出，虚实相生。虽无设色，却凭精准线条勾勒服饰纹理、兵器细节，繁而不乱，气韵生动，尽显元代白描人物画的精湛技艺，细节处见匠心，是宗教题材与白描技法结合的经典之作。",[23,47,93,157,174,27,160,95,96,7,175,693],[34],"8f6a38",{"id":814,"slug":815,"title":816,"dynasty":18,"author":817,"museum":808,"description":818,"tags":819,"thumbUrl":821,"material":68,"size":68,"collection":34,"collections":822,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":823},201884,"guan-yu-xiang-zhou-shen-shao-201884","关羽像轴","沈韶","画中关羽端坐正中，面容威肃，长髯垂胸，宽袍厚带尽显武将沉稳气度。身后从者披甲执刀，青龙偃月刀斜倚寒光隐现，更衬主公凛然威仪。线条工细流畅，设色沉敛古雅，人物神情刻画入微——关羽双目微阖却藏锋芒，从者恭谨侍立，细节处见匠心。整体画风庄重肃穆，凝关羽忠义仁勇之姿于绢素，正气满幅。",[25,26,27,7,820,23],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614af2de5f2bd4f175ff2b505c6988b6.jpg",[34],"56361a",{"id":825,"slug":826,"title":827,"dynasty":18,"author":142,"museum":63,"description":828,"tags":829,"thumbUrl":833,"material":68,"size":68,"collection":34,"collections":834,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":38},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","平定苗疆战图册","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[277,157,25,830,49,29,27,28,454,96,95,831,7,832,692],"皴法","军队","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[34],12,{"id":837,"slug":838,"title":839,"dynasty":18,"author":142,"museum":20,"description":840,"tags":841,"thumbUrl":844,"material":845,"size":846,"collection":68,"collections":847,"showCount":835,"zanCount":11,"manualWeight":11,"mainColor":38},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[66,47,48,49,2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足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[565,7,349,399,917,351,365],"铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675970d1ae128879893745def8deb34b.jpg",[],10,{"id":922,"slug":923,"title":924,"dynasty":18,"author":925,"museum":63,"description":926,"tags":927,"thumbUrl":931,"material":79,"size":80,"collection":68,"collections":932,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":38},239359,"lu-bu-tu-juan-ding-guan-peng-239359","卤簿图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,66,47,48,93,25,26,27,928,617,7,929,930,693],"仪仗","礼器","车马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98560f45893d959e7176c71fab282a.jpg",[],{"id":934,"slug":935,"title":936,"dynasty":18,"author":142,"museum":63,"description":937,"tags":938,"thumbUrl":939,"material":68,"size":940,"collection":236,"collections":941,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":38},233098,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233098","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[29,27,28,7,376,25,830,132,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbade98b43e515adc2f6308244833407.jpg","87.3×50cm",[236,165],{"id":943,"slug":944,"title":945,"dynasty":319,"author":735,"museum":63,"description":736,"tags":946,"thumbUrl":948,"material":79,"size":80,"collection":68,"collections":949,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":38},231804,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-juan-he-guo-xiao-zhai-231804","明清日本古画粉本- 人物卷",[23,93,157,158,26,27,702,947,7,30],"伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977772ee9845f5249c7c8fc7091771f5.jpg",[],{"id":951,"slug":952,"title":953,"dynasty":319,"author":954,"museum":63,"description":955,"tags":956,"thumbUrl":957,"material":79,"size":80,"collection":68,"collections":958,"showCount":920,"zanCount":11,"manualWeight":11,"mainColor":38},231787,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-1-zhi-shou-jing-231787","文永贺茂祭图卷 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- 木兰","画家题为赫达资，推测为院画家，但其生平不详，画风则继承焦秉贞仕女样式。左幅是文臣梁诗正于乾隆三年(1738)抄录古人诗句，或直接、或间接应和着画面所描绘的女性事迹。画面虽是宫苑仕女图式，但若对照诗句，多流露出颂赞不同妇德的寓意。\n此册十二开，各有签题，描绘西施、秦罗敷、秦弄玉、汉李夫人、卓文君、蔡文姬、吴丽居、寿阳公主、木兰、公孙大娘、红线、红拂女等女性人物。\n此图为木兰",[23,47,25,26,49,27,50,216,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c964f6437576cabbef96a1ffbf0f9c1.jpg","冊","43.8x62.2",[],{"id":1020,"slug":1021,"title":1022,"dynasty":109,"author":1023,"museum":808,"description":1024,"tags":1025,"thumbUrl":1027,"material":232,"size":1028,"collection":68,"collections":1029,"showCount":1008,"zanCount":11,"manualWeight":11,"mainColor":38},221930,"za-hua-ce-guo-xu-221930","杂画册","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,47,48,49,157,158,27,7,1026,30],"器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b83ed8dc0c4e0e40df2ac76f5ce7a48.jpg","纵28.5 厘米横46.5 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Fresco","这幅草稿以灵动精准的线条铺陈群像，粗细变化的炭笔线条勾勒出铠甲的冷硬肌理与肌肉的张力。右侧主将俯身执剑，发力的手臂肌肉块面硬朗利落，与左侧将士的凝神注视形成呼应。\n\n淡墨晕染出暗沉厚重的光影，烘托出古战场时刻的肃穆沉凝，围绕的士卒神态各异，或是屏息凝视，或是交头低语，将事件的戏剧性悄然拉满。作为湿壁画稿，寥寥几笔就把史诗时刻的张力凝聚在纸面，虽未施粉黛，却以极简的明暗层次，让古典英雄的果敢气概跃然纸上，尽显速写稿捕捉瞬间力量的独特魅力。",[1619,1925,324,157,1526,891,7,1935,1936,1937],"戈耳狄俄斯之结","神话事件","壁画草图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4a067baa29ceb32d5d7ad17ddffd36.jpg",[],{"id":1941,"slug":1942,"title":1943,"dynasty":18,"author":142,"museum":63,"description":1944,"tags":1945,"thumbUrl":1947,"material":79,"size":80,"collection":68,"collections":1948,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":38},275760,"mu-hua-pi-gong-yi-ming-275760","木桦皮弓","弓身以桦皮包覆木胎，凝住木质的强韧张力，包浆晕开柔润的古旧色泽，沉敛着经年岁月的摩挲痕迹。弓弦粗粝紧实，顺着弓臂的流畅弧线牵起满蓄的力量感。中段的箍饰勾勒细节，添了几分匠造的精巧。它不再挽箭引弦，却依旧留存着骑射年代里引弓待发的沉雄气魄，是实用武具与手工匠心的相融之物，每一处磨损都在诉说着往昔弯弓射猎的鲜活过往。",[7,1050,1049,1946],"桦皮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327eab611f0933daeedd22ca25dbfeb4.jpg",[],{"id":1950,"slug":1951,"title":1952,"dynasty":18,"author":142,"museum":63,"description":1953,"tags":1954,"thumbUrl":1957,"material":79,"size":80,"collection":68,"collections":1958,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},275755,"dong-yang-qi-jia-yi-ming-275755","东洋漆甲","这套铠甲以朱红丝绦编缀甲片，黑漆底托衬出明艳色泽，鎏金饰件错落点缀，华丽醒目。兜鍪挑幡精巧凌厉，狰狞面甲遮蔽全貌，将肃杀之气拉满。臂腿甲胄分层排布，兼顾防护实用性与视觉威仪。朱红甲片排布齐整工整，既保留防御性能，又将装饰美感贯彻始终。冷硬甲片与柔滑绦绳刚柔并济，将武者的悍勇气度融于精工细作之中，尽显庄重凌厉的甲胄美学，是东洋武具工艺与审美意趣的绝佳缩影。",[1955,1956,7,30],"甲胄","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dceec5fc5a5a5a38aefa6fd85bcb5cd.jpg",[],{"id":1960,"slug":1961,"title":1962,"dynasty":18,"author":142,"museum":63,"description":1963,"tags":1964,"thumbUrl":1967,"material":79,"size":80,"collection":68,"collections":1968,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},275659,"lan-se-duan-tong-ding-tie-kui-yi-ming-275659","蓝色缎铜钉铁盔","铁身凝着岁月晕开的苍朴包浆，冷硬金属之上，鎏金饰件錾纹细腻华贵，消解了兵器肃杀，晕开几分雍容。顶饰累丝鎏金，垂挂黑红羽缨，冷金暖色相撞，于威仪中透出灵动鲜活。护额鎏金饰片纹样繁复，卷草灵纹藏着匠人的巧思，与铁色盔体相映，刚柔相衬。颈间蓝缎护领铜钉齐整排布，柔缎承托冷亮铜钉，将武备实用与雅致审美融为一体，是沙场防具亦是工艺精品，尽显旧时武备工艺的绝妙匠心。",[7,1639,1323,399,1965,1966],"头盔","金属装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd96cf8e6afb0c3542ad5e26888de212.jpg",[],{"id":1970,"slug":1971,"title":1972,"dynasty":18,"author":142,"museum":63,"description":1973,"tags":1974,"thumbUrl":1976,"material":79,"size":80,"collection":68,"collections":1977,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":38},275647,"xiang-bai-qi-kui-jia-yi-ming-275647","镶白旗盔甲","整体以米白为底，朱红勾边、墨绿辅衬，撞色明快规整。甲身满饰铜钉，既加固甲片强化防护，又化作装饰点缀，让冷硬武备生出秩序美感。护肩、护腋形制完备，兼顾实战实用性与仪仗庄重感，线条利落贴合身形。盔顶鎏金宝饰配玄色盔缨，挺拔威严，尽显武士飒爽气场。\n\n它恪守制式规制，将武备实用与礼制美学融为一体，扎实的钉缀工艺尽显匠心。静默伫立间，凝住旧时武士的凛凛威仪，是冷兵器时代武备美学的具象缩影。",[891,7,30,882,1323,1975],"金属饰件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5acd92765bfcf2562ae04586c9ca2c07.jpg",[],{"id":1979,"slug":1980,"title":1981,"dynasty":18,"author":142,"museum":63,"description":1982,"tags":1983,"thumbUrl":1984,"material":79,"size":80,"collection":68,"collections":1985,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},275640,"xiang-huang-qi-kui-jia-yi-ming-275640","镶黄旗盔甲","此甲以明黄缎为地，尽显尊崇身份，朱红绦带勾连起整片甲身，撞色鲜明利落，勾勒出刚劲轮廓。甲面满饰铜泡钉，既加固甲片结构，又让整体熠熠生辉，护肩、护腋贴合身形，兼顾防护性与穿戴灵便度。\n\n头盔鎏金构件配高耸黑缨，冠顶水晶缀饰清透亮眼，将武将骁勇威仪尽数彰显。整套甲胄将礼制等级与实用防护相融，复刻满洲骑射武备规制，铜钉排布齐整，走线细密规整，细节间尽显清代武备的精工造诣，静静诉说着八旗劲旅的往昔飒爽荣光。",[891,7,30,1323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33aa64e185d3ade1210521c4dab5b4aa.jpg",[],{"id":1987,"slug":1988,"title":1989,"dynasty":18,"author":142,"museum":63,"description":1990,"tags":1991,"thumbUrl":1992,"material":79,"size":80,"collection":68,"collections":1993,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},275636,"xiang-hong-qi-kui-jia-yi-ming-275636","镶红旗盔甲","朱红甲身衬以素白绫边，撞色鲜明利落，醒目的配色呼应旗属身份。周身满布铜鎏金钉，既稳固甲片结构，又凭鎏金光泽衬出华贵威仪，将实用与装饰精妙融合。\n分体式甲胄护颈、护肩、护胸一应俱全，兼顾防护性能与行动便利，是实战与仪仗兼具的制式甲胄典范。盔顶黑缨飒然飘展，更添武将悍勇气魄。整体工艺规整考究，配色庄重热烈，尽显清代八旗甲胄的典型风貌，凝缩着八旗劲旅曾有的赫赫威仪与荣光。",[891,7,30,1323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2587c01dae319ac1f53f314e219c901b.jpg",[],{"id":1995,"slug":1996,"title":1997,"dynasty":18,"author":142,"museum":63,"description":1998,"tags":1999,"thumbUrl":2001,"material":79,"size":80,"collection":68,"collections":2002,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":38},275635,"zheng-bai-qi-kui-jia-yi-ming-275635","正白旗盔甲","此甲以素白缎面为地，鎏金铜钉如星子错落排布，既牢牢缀合甲片，又凭冷硬金属光泽调和素净底色，于克制中透出威仪。护颈、护肩与身甲严丝合缝，线条硬朗利落，暗合军旅规制的规整肃穆。盔顶矛缨斜挑，带着未褪的沙场肃杀之气。整体形制周正，工艺考究，将实用防御与礼制仪轨相融，藏着劲旅的飒爽风骨，静静诉说着往昔金戈铁马的峥嵘。",[891,7,30,1323,2000],"金属","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13ba36a4bb8f715a4d6916ce4119c8a.jpg",[],{"id":2004,"slug":2005,"title":2006,"dynasty":18,"author":142,"museum":63,"description":2007,"tags":2008,"thumbUrl":2010,"material":79,"size":80,"collection":68,"collections":2011,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":84},275633,"zheng-lan-qi-kui-jia-yi-ming-275633","正蓝旗盔甲","这套盔甲以宝蓝缎面为底，鎏金铜钉错落排布，金蓝撞色醒目威严，既加固甲片结构，更衬出庄重气场。\n\n兜鍪缨顶高耸，护颊贴合轮廓，妥帖护住头颈要害；身甲铺陈齐整，肩甲、腋甲衔接自然，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征伐的悍勇与军功赫赫的主旨融为一体，尽显这类纪实战绘的独特风貌。",[25,49,52,97,27,28,29,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c403ca18a5b22ebe5908d02a4d4ce7d.jpg",[],{"id":6217,"slug":6218,"title":839,"dynasty":18,"author":142,"museum":63,"description":6219,"tags":6220,"thumbUrl":6226,"material":79,"size":80,"collection":68,"collections":6227,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},238628,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238628","全景式构图铺展激烈战事，层叠山峦与苍郁林木间，兵勇鏖战正酣。旌旗猎猎翻卷，人马奔突厮杀，短兵相接的紧张感跃然纸面，细节处将兵卒格斗、奔逃溃退的动态刻画入微，题诗呼应战局，点明智取克敌的战事脉络。\n\n画作以精细线描勾勒山野形貌与人姿马态，写实还原征战场面，兼具纪实性与艺术性。笔墨沉凝肃杀刚劲，将工笔绘法与纪实特质相融，让观者仿若踏入烽烟烈烈的平叛现场，触摸那段金戈铁马的过往。",[66,47,49,25,158,1288,324,6221,29,6222,27,28,7,6223,1180,6224,52,6225],"纪实","林木","旌旗","肃杀","平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbbd2bcfc8379931c4747e16a3b09a1.jpg",[],{"id":6229,"slug":6230,"title":839,"dynasty":18,"author":142,"museum":63,"description":6231,"tags":6232,"thumbUrl":6233,"material":79,"size":80,"collection":68,"collections":6234,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},238626,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238626","采用全景式构图，以层叠山峦铺展战地格局，近景短兵相接，人马错杂，炮火硝烟翻涌，将厮杀的肃杀张力拉满。清兵阵列严整推进，叛军负隅顽抗，草木间尽是兵刃交锋的激烈瞬间，每一处线条都细致勾勒出军士的悍勇与战事的胶着。\n\n右上角题诗点明此战功绩，整体以铜版画的精工笔触复刻战地细节，将纪实性与艺术性相融，鲜活还原平叛战事的热血瞬间，既是承载史实的珍贵载体，亦尽显纪实战绘的写实功力。",[47,25,158,830,29,27,28,95,1084,7,831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd34e921ba1f280789221563ac513dcfb.jpg",[],{"id":6236,"slug":6237,"title":6238,"dynasty":18,"author":142,"museum":63,"description":6239,"tags":6240,"thumbUrl":6241,"material":79,"size":80,"collection":68,"collections":6242,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},234401,"min-ning-yao-de-chong-wei-tu-zhou-yi-ming-234401","旻宁耀德崇威图轴","此作工致细腻，以沉厚绢底衬出主体。骑手明黄锁子棉甲纹饰规整，金饰玄甲错落排布，华贵威仪尽显，盔顶黑缨挺然，更添凛然气势。黑马神骏矫健，油亮鬃毛搭配朱红辔缨，明丽醒目，与整体色调相映。\n\n整作线条匀净精准，设色雍雅厚重。武将面容肃穆沉静，静中暗藏骑猎的飒爽张力，将骑者威严肃穆的气度与鞍马劲健姿态相融，尽显皇家仪卫的庄重堂皇，写实入微又不失庙堂礼制的规整庄重，是清代纪实鞍马肖像画中的精良之作。",[47,48,24,26,25,27,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e81a4a9be8bc69abb9b0c1636169cd.jpg",[],{"id":6244,"slug":6245,"title":3448,"dynasty":109,"author":3449,"museum":63,"description":3450,"tags":6246,"thumbUrl":6248,"material":68,"size":68,"collection":68,"collections":6249,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},233610,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233610",[47,48,109,49,376,26,7,6247,97],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b9a6b13c6828c856882fccc854758e.jpg",[],{"id":6251,"slug":6252,"title":1080,"dynasty":18,"author":142,"museum":20,"description":1081,"tags":6253,"thumbUrl":6254,"material":232,"size":902,"collection":68,"collections":6255,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},233075,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233075",[66,47,26,25,49,27,28,363,433,95,617,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05ad88c16bba83b7e15772ab646f871.jpg",[],{"id":6257,"slug":6258,"title":6259,"dynasty":319,"author":6260,"museum":63,"description":6261,"tags":6262,"thumbUrl":6266,"material":79,"size":80,"collection":68,"collections":6267,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":84},231260,"su-miao-514-xi-fang-231260","素描514","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[1619,1093,27,7,6263,2365,6264,6265],"半身像","明暗","炭笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a881cebb45960a27fa8dcfbfe06f71.jpg",[],{"id":6269,"slug":6270,"title":6271,"dynasty":319,"author":142,"museum":63,"description":6272,"tags":6273,"thumbUrl":6274,"material":79,"size":80,"collection":68,"collections":6275,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":38},230769,"tie-dao-yi-ming-230769","铁刀","这两件残件锈迹层叠，褐赤色泽晕染着岁月的痕迹，原是锋棱毕现的刀身，如今只剩残块，锻打的肌理被锈迹半遮半掩。曾经利落的刃口被时光销蚀磨圆，沉凝的锈色里，依旧能瞥见当年实用器物的厚重质感。残损的形态定格了它的暮年，每一处斑驳都是时光蚀刻的印记，静静沉淀着跨越年月的沧桑，将往昔的烟火风尘凝于方寸之间。",[1639,7,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb25aa13ba045c729c4acf85b6d49e506.jpg",[],{"id":6277,"slug":6278,"title":6279,"dynasty":319,"author":142,"museum":63,"description":6280,"tags":6281,"thumbUrl":6282,"material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