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物神态栩栩如生，可谓作者画作之精品。",[23,24,26,25,71,29,51,52,75,76,7,77,78,79],"柳树","孤石","围栏","鞍马","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d033fc39e58455d7dde55b9f5c0f61.jpg","绢本","纵161厘米，横103厘米","山水画精选",[83,85,63],"人物画精选",904,{"id":88,"slug":89,"title":90,"dynasty":91,"author":92,"museum":93,"description":94,"tags":95,"thumbUrl":102,"material":103,"size":104,"collection":61,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":66},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","元","赵孟頫","北京故宫博物院","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,96,49,25,26,97,98,51,29,28,99,7,100,101],"书画","行书","书法","秋景","流水","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","绢本，设色","纵23.6厘米，横59厘米",[61,63],206,2,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":46,"description":114,"tags":115,"thumbUrl":118,"material":119,"size":120,"collection":121,"collections":122,"showCount":123,"zanCount":124,"manualWeight":11,"mainColor":39},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","明","仇英","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[23,24,96,49,26,25,29,52,116,7,117,98,101,97],"山石","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","白纸本","纵22厘米、横311厘米","",[],167,1,{"id":126,"slug":127,"title":128,"dynasty":44,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":144,"material":59,"size":145,"collection":61,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":66},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","沈铨","私人收藏","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,133,24,96,49,26,25,117,134,52,116,135,136,137,138,75,139,7,57,140,141,142,143],"名画","花鸟","荷花","仙鹤","禽鸟","花卉","松树","岩石","孔雀","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[61,63],166,{"id":149,"slug":150,"title":151,"dynasty":44,"author":152,"museum":46,"description":153,"tags":154,"thumbUrl":160,"material":161,"size":121,"collection":121,"collections":162,"showCount":163,"zanCount":124,"manualWeight":11,"mainColor":39},214859,"xie-sheng-ce-5-hua-yan-214859","写生册-5","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,96,155,25,156,29,157,158,30,159,7],"册","兼工带写","老树","孤舟","孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401460e042e0e8b8e2745377def9863.jpg","纸本,设色",[],165,{"id":165,"slug":166,"title":167,"dynasty":44,"author":168,"museum":169,"description":170,"tags":171,"thumbUrl":174,"material":33,"size":121,"collection":85,"collections":175,"showCount":176,"zanCount":177,"manualWeight":11,"mainColor":66},219491,"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","佚名","美国弗利尔美术馆","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[24,96,25,26,29,157,172,173,7,30],"器","斗茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[85],153,4,{"id":179,"slug":180,"title":181,"dynasty":44,"author":45,"museum":93,"description":182,"tags":183,"thumbUrl":186,"material":103,"size":187,"collection":61,"collections":188,"showCount":189,"zanCount":124,"manualWeight":11,"mainColor":66},238125,"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[49,26,25,51,75,7,29,116,184,185],"兽","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[61],138,{"id":191,"slug":192,"title":193,"dynasty":44,"author":45,"museum":46,"description":194,"tags":195,"thumbUrl":204,"material":33,"size":205,"collection":61,"collections":206,"showCount":207,"zanCount":177,"manualWeight":11,"mainColor":39},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","三羊开泰图","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,196,24,26,25,50,197,198,184,199,200,201,7,202,203],"清代","写实","羊","梅","竹","石","植物","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","横60厘米 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有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[26,25,29,52,312,7,313,314],"草屋","庭院","人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506aab7253e1dccbdeebb1a3e5f16af2.jpg","纵三二·二厘米 横四二·三厘米",[85,63],96,{"id":320,"slug":321,"title":17,"dynasty":18,"author":168,"museum":322,"description":323,"tags":324,"thumbUrl":325,"material":33,"size":326,"collection":35,"collections":327,"showCount":318,"zanCount":124,"manualWeight":11,"mainColor":66},215141,"mu-niu-tu-yi-ming-215141","日本大阪市立美术馆","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[23,24,26,25,29,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[35,61],{"id":329,"slug":330,"title":331,"dynasty":332,"author":333,"museum":334,"description":335,"tags":336,"thumbUrl":339,"material":121,"size":121,"collection":121,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":39},220554,"song-ren-pi-ma-chang-xiao-shi-yi-xu-bei-hong-220554","宋人匹马长啸诗意","民国","徐悲鸿","中央美术学院美术馆","以浓淡干湿的墨色晕染出骏马的遒劲筋骨，鬃尾以狂放泼墨扫就，翻卷如疾风吹过，将骏马桀骜昂扬的神采尽皆彰显。背景柳丝荒草以淡墨虚笔铺陈，留白烘托出马的苍劲雄浑，虚实相生间，旷野清寂与骏马长嘶的氛围感扑面而来，仿佛能听见振鬣嘶鸣的回响，将诗意化为鲜活的视觉意象。写实造型与写意笔墨浑然相融，既见骏马剽悍俊朗的体态，又尽显旷远灵动的意境，把旷野孤马的豪迈洒脱诠释得淋漓尽致。",[23,24,228,337,51,7,338],"写意","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604243463a321fc532bc209c6152f12.jpg",[],94,{"id":343,"slug":344,"title":17,"dynasty":112,"author":345,"museum":46,"description":346,"tags":347,"thumbUrl":349,"material":33,"size":350,"collection":85,"collections":351,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":66},216954,"mu-niu-tu-dai-jin-216954","戴进","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[133,24,96,203,25,228,348,29,27,75,7],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[85],93,{"id":354,"slug":355,"title":356,"dynasty":357,"author":358,"museum":359,"description":360,"tags":361,"thumbUrl":374,"material":375,"size":376,"collection":377,"collections":378,"showCount":379,"zanCount":124,"manualWeight":11,"mainColor":66},226128,"the-walk-woman-with-a-parasol-1875-mo-nai-226128","The Walk, Woman with a Parasol, 1875","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。",[133,362,363,364,365,366,29,367,368,369,7,370,371,372,373],"油画","印象派","光影捕捉","色彩明快","笔触松散","女人","小孩","阳伞","野花","天空","白云","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92562d4acde1d47bedde33e1a21f4038.jpg","未知","Xcm*Xcm","油画精选",[377],89,{"id":381,"slug":382,"title":383,"dynasty":18,"author":384,"museum":385,"description":386,"tags":387,"thumbUrl":390,"material":33,"size":121,"collection":85,"collections":391,"showCount":379,"zanCount":107,"manualWeight":11,"mainColor":39},219576,"hua-shan-huo-lang-tu-li-song-219576","画扇货郎图","李嵩","圣路易斯艺术博物馆","《货郎图》把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。该画作对了解宋代风俗也具有重大价值。",[24,26,25,155,29,388,52,389,159,139,7],"货郎担","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf12b7ebb458d226c09221c94572f4e8.jpg",[85],{"id":393,"slug":394,"title":395,"dynasty":71,"author":72,"museum":46,"description":396,"tags":397,"thumbUrl":398,"material":33,"size":399,"collection":85,"collections":400,"showCount":401,"zanCount":107,"manualWeight":11,"mainColor":66},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,133,24,96,26,25,29,51,52,7,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[85],87,{"id":403,"slug":404,"title":405,"dynasty":44,"author":168,"museum":93,"description":406,"tags":407,"thumbUrl":418,"material":33,"size":419,"collection":85,"collections":420,"showCount":421,"zanCount":107,"manualWeight":11,"mainColor":66},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,26,25,408,49,29,409,410,411,52,7,412,413,414,415,416,417],"界画","宫殿","仪仗","祭祀","台阶","灯笼","队伍","仪式","旗帜","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[85,63],85,{"id":423,"slug":424,"title":425,"dynasty":18,"author":426,"museum":46,"description":427,"tags":428,"thumbUrl":430,"material":81,"size":431,"collection":35,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":66},221597,"feng-yu-gui-mu-tu-li-di-221597","风雨归牧图","李迪","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[23,133,24,96,26,25,27,184,28,7,429],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[35,85,63],82,{"id":435,"slug":436,"title":375,"dynasty":357,"author":437,"museum":359,"description":438,"tags":439,"thumbUrl":452,"material":375,"size":376,"collection":377,"collections":453,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":455},225779,"wei-zhi-fan-gao-225779","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。",[362,440,441,442,7,371,372,52,443,444,445,446,447,448,449,450,451],"厚涂","后印象派","田野","干草堆","小屋","花朵","农田","绿色植被","蓝色天空","白色云朵","黄色田野","红色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdceef6ff3c08517124bb6ddea4f490de.jpg",[377],81,"0D904F",{"id":457,"slug":458,"title":459,"dynasty":44,"author":168,"museum":46,"description":460,"tags":461,"thumbUrl":463,"material":33,"size":464,"collection":61,"collections":465,"showCount":466,"zanCount":124,"manualWeight":11,"mainColor":66},219761,"lin-wang-yuan-hua-niao-tu-yi-ming-219761","临王渊花鸟图","王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[24,96,203,26,25,462,200,134,117,138,100,30,7,137],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c785004791e5277ea86d862f6b70ee1.jpg","160.2x83.7厘米",[61],79,{"id":468,"slug":469,"title":470,"dynasty":357,"author":358,"museum":359,"description":360,"tags":471,"thumbUrl":477,"material":375,"size":376,"collection":377,"collections":478,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":66},226039,"study-of-a-figure-outdoors-facing-right-1886-mo-nai-226039","Study 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。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,96,133,203,196,26,25,548,549,29,51,550,551,52,7,552,553,554,555],"中西合璧技法","写实风格","弓箭","射猎场景","小径","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],71,{"id":561,"slug":562,"title":563,"dynasty":357,"author":564,"museum":359,"description":565,"tags":566,"thumbUrl":570,"material":375,"size":376,"collection":377,"collections":571,"showCount":572,"zanCount":124,"manualWeight":11,"mainColor":573},225660,"rembrandt-harmensz-van-rijn-070-lun-bo-lang-225660","Rembrandt Harmensz.van Rijn - 070","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van 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是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[24,96,228,25,29,27,28,7,98,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[61],{"id":645,"slug":646,"title":647,"dynasty":357,"author":358,"museum":359,"description":360,"tags":648,"thumbUrl":656,"material":375,"size":376,"collection":377,"collections":657,"showCount":658,"zanCount":11,"manualWeight":11,"mainColor":66},225898,"argenteuil-late-afternoon-1872-mo-nai-225898","Argenteuil, Late Afternoon, 1872",[363,362,497,365,366,53,649,52,285,650,651,652,371,7,569,653,654,487,655],"帆船","烟囱","倒影","傍晚","船只","工厂建筑","余晖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc7885977dc6034e2c69f48a941935d.jpg",[377],61,{"id":660,"slug":661,"title":662,"dynasty":18,"author":663,"museum":664,"description":665,"tags":666,"thumbUrl":669,"material":33,"size":670,"collection":121,"collections":671,"showCount":672,"zanCount":673,"manualWeight":11,"mainColor":66},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","阎次平","南京博物院","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,133,24,96,49,228,26,348,27,29,515,28,75,7,487,667,668],"土地","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","35x99.7x4",[],59,3,{"id":675,"slug":676,"title":677,"dynasty":332,"author":333,"museum":334,"description":678,"tags":679,"thumbUrl":680,"material":121,"size":121,"collection":121,"collections":681,"showCount":682,"zanCount":124,"manualWeight":11,"mainColor":39},220549,"san-ma-tu-xu-bei-hong-220549","三马图","此作融贯中西绘艺，古松虬枝苍劲，以传统笔墨铺就清旷郊野底色，皴擦点染间尽显古木沉雄苍浑的气韵。三马姿态各殊，白马静立垂眸，神气温驯柔润；黑马昂首徐行，筋骨舒展俊朗；幼驹灵动跃动，尽显稚拙生机。创作者以西方写实技法晕染皮毛肌肉，精准还原骏马的光影层次与质感肌理，又以东方写意笔墨捕捉马匹灵动神韵，将鞍马题材的意趣与写实表现力相融，让骏马的蓬勃生气跃然纸上，尽显精湛笔力与贯通东西的审美意趣。",[24,25,51,139,7,76,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6df961ea9771a654e3dbac5c726ff8b.jpg",[],58,{"id":684,"slug":685,"title":686,"dynasty":112,"author":168,"museum":687,"description":688,"tags":689,"thumbUrl":691,"material":33,"size":692,"collection":85,"collections":693,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":66},218516,"fang-li-tang-cai-wei-tu-yi-ming-218516","仿李唐采薇图","大英博物馆","这一页是模仿李唐画的伯夷和叔齐在首阳山上爬行的故事，以浙派画家的风格画出服装图案，并加上项元汴的募捐图案。",[24,25,462,348,29,690,157,116,172,300,55,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fcd4411154c6a9a5705445bf616bd6.jpg","30.7x28.6",[85],{"id":695,"slug":696,"title":697,"dynasty":44,"author":698,"museum":699,"description":700,"tags":701,"thumbUrl":706,"material":707,"size":708,"collection":121,"collections":709,"showCount":710,"zanCount":11,"manualWeight":11,"mainColor":39},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图","任颐","天津博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,196,24,96,25,337,134,702,703,704,52,257,445,705,7],"母鸡","小鸡","桃花","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","纸本设色","150cmx40cm",[],56,{"id":712,"slug":713,"title":714,"dynasty":44,"author":45,"museum":93,"description":182,"tags":715,"thumbUrl":718,"material":103,"size":187,"collection":61,"collections":719,"showCount":710,"zanCount":11,"manualWeight":11,"mainColor":66},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图",[23,26,25,51,75,29,7,140,52,716,717],"红叶","原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg",[61,63],{"id":721,"slug":722,"title":723,"dynasty":44,"author":724,"museum":213,"description":725,"tags":726,"thumbUrl":729,"material":730,"size":731,"collection":85,"collections":732,"showCount":710,"zanCount":11,"manualWeight":11,"mainColor":39},219832,"ren-wu-ce-ye-ren-xiong-219832","人物册页","任熊","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,25,155,29,157,727,728,185,268,7],"儿童","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4150ff29e9c640b589400940438db8.jpg","纸本","27.2x34.3厘米",[85],{"id":734,"slug":735,"title":736,"dynasty":91,"author":92,"museum":737,"description":738,"tags":739,"thumbUrl":741,"material":59,"size":742,"collection":83,"collections":743,"showCount":744,"zanCount":124,"manualWeight":11,"mainColor":66},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","美国大都会艺术博物馆","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,133,24,96,49,740,25,26,29,51,100,52,7,116,668,57],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[83],55,{"id":746,"slug":747,"title":748,"dynasty":357,"author":358,"museum":359,"description":360,"tags":749,"thumbUrl":755,"material":375,"size":376,"collection":377,"collections":756,"showCount":744,"zanCount":11,"manualWeight":11,"mainColor":39},226038,"study-of-a-figure-outdoors-facing-left-1886-mo-nai-226038","Study of a Figure Outdoors, Facing Left, 1886",[363,472,750,473,29,241,7,751,371,752,753,474,754,373],"色彩光影","花草","云朵","伞","绿色伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fe05e594f193a91bd5fa324ae02e5d.jpg",[377],{"id":758,"slug":759,"title":760,"dynasty":18,"author":426,"museum":737,"description":761,"tags":762,"thumbUrl":765,"material":81,"size":766,"collection":35,"collections":767,"showCount":769,"zanCount":11,"manualWeight":11,"mainColor":66},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,24,133,763,26,25,256,198,184,29,7,500,764],"扇面","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[35,61,768],"水墨画精选",54,{"id":771,"slug":772,"title":773,"dynasty":112,"author":774,"museum":46,"description":775,"tags":776,"thumbUrl":779,"material":161,"size":780,"collection":85,"collections":781,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":66},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,96,26,25,627,29,51,28,55,116,7,53,101,777,778],"侍从","经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[85],53,{"id":784,"slug":785,"title":17,"dynasty":18,"author":168,"museum":46,"description":786,"tags":787,"thumbUrl":797,"material":33,"size":798,"collection":35,"collections":799,"showCount":800,"zanCount":11,"manualWeight":11,"mainColor":66},219014,"mu-niu-tu-yi-ming-219014","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,96,228,25,26,49,27,184,515,52,7,116,217,57,55,788,348,587,789,790,791,792,552,793,794,795,796],"淡墨","野趣","平远构图","草木","坡岸","幼兽","动态","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[35],52,{"id":802,"slug":803,"title":804,"dynasty":357,"author":358,"museum":359,"description":360,"tags":805,"thumbUrl":813,"material":375,"size":376,"collection":377,"collections":814,"showCount":815,"zanCount":124,"manualWeight":11,"mainColor":573},225937,"giverny-the-rosarium-of-monet-mo-nai-225937","Giverny, the Rosarium of Monet",[363,362,364,806,807,808,7,52,809,371,580,581,810,811,812],"色彩晕染","笔触轻快","玫瑰","垂柳","户外景致","自然光影","色彩融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99235da26b7da38ff6b2e94c739a94b7.jpg",[377],51,{"id":817,"slug":818,"title":819,"dynasty":332,"author":333,"museum":820,"description":821,"tags":822,"thumbUrl":823,"material":707,"size":121,"collection":121,"collections":824,"showCount":825,"zanCount":11,"manualWeight":11,"mainColor":39},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","中国现当代美术文献研究中心","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[23,133,24,228,25,337,29,51,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],50,{"id":827,"slug":828,"title":829,"dynasty":357,"author":437,"museum":359,"description":438,"tags":830,"thumbUrl":831,"material":375,"size":376,"collection":377,"collections":832,"showCount":833,"zanCount":124,"manualWeight":11,"mainColor":66},225803,"roses-1889-fan-gao-225803","Roses 1889",[362,441,440,25,808,503,143,7,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d3a60614fba5855055438203fb970b.jpg",[377],49,{"id":835,"slug":836,"title":837,"dynasty":112,"author":838,"museum":359,"description":839,"tags":840,"thumbUrl":843,"material":375,"size":376,"collection":121,"collections":844,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":39},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[763,25,228,337,134,76,704,841,842,7],"鱼","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],47,{"id":847,"slug":848,"title":849,"dynasty":91,"author":850,"museum":851,"description":852,"tags":853,"thumbUrl":855,"material":33,"size":121,"collection":85,"collections":856,"showCount":845,"zanCount":11,"manualWeight":11,"mainColor":573},219396,"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","赵雍","上海龙美术馆","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,25,26,29,51,28,55,854,7],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg",[85],{"id":858,"slug":859,"title":860,"dynasty":357,"author":437,"museum":359,"description":438,"tags":861,"thumbUrl":868,"material":375,"size":376,"collection":377,"collections":869,"showCount":870,"zanCount":124,"manualWeight":11,"mainColor":39},225717,"bleaching-ground-at-scheveningen-1882-fan-gao-225717","Bleaching Ground at Scheveningen 1882",[362,197,29,7,371,862,863,864,865,866,867],"建筑群","木栅栏","晾晒物","土路","多云","粗犷笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2523837246725860aa9e6b5694db722.jpg",[377],45,{"id":872,"slug":873,"title":874,"dynasty":91,"author":850,"museum":46,"description":875,"tags":876,"thumbUrl":877,"material":33,"size":878,"collection":121,"collections":879,"showCount":880,"zanCount":11,"manualWeight":11,"mainColor":66},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,133,96,203,26,25,51,28,116,7,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],44,{"id":882,"slug":883,"title":884,"dynasty":357,"author":437,"museum":359,"description":438,"tags":885,"thumbUrl":894,"material":375,"size":376,"collection":377,"collections":895,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":66},225776,"les-vessenots-in-auvers-1890-fan-gao-225776","Les Vessenots in Auvers 1890",[362,441,886,887,888,889,442,890,488,631,52,616,371,57,7,891,892,581,893],"笔触粗犷","色彩鲜艳","设色明快","厚涂法","花田","山丘","农舍","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d96b48c7f50705bc820c7d8d46b723.jpg",[377],43,{"id":898,"slug":899,"title":900,"dynasty":112,"author":901,"museum":46,"description":902,"tags":903,"thumbUrl":905,"material":25,"size":906,"collection":63,"collections":907,"showCount":896,"zanCount":11,"manualWeight":11,"mainColor":39},219459,"chun-geng-tu-lu-zhi-219459","春耕图","陆治","枯木疏枝间，春信暗生。农人执缰牵牛，缓步林间，牛蹄轻踏新萌的草色，似触到泥土苏醒的温度。前景孩童与幼畜嬉戏，憨态跃然纸上，为静谧春郊注入活泼意趣。笔墨简洁雅致，线条勾勒传神，枯树虬枝的苍劲与嫩草的轻软相映，尽显初春田园的质朴生机。画面未着浓艳色彩，却以日常劳作与嬉戏的细节，铺展耕读人家的恬淡岁月，于简淡中藏真趣，于寻常处蕴温情，让人沉浸在那份悠然自得的春日氛围里。",[24,96,203,26,25,27,29,299,7,101,904],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc445f537eb335e6d015ab4d279241.jpg","59.4x30厘米",[63],{"id":909,"slug":910,"title":911,"dynasty":112,"author":912,"museum":213,"description":913,"tags":914,"thumbUrl":920,"material":161,"size":921,"collection":121,"collections":922,"showCount":896,"zanCount":124,"manualWeight":11,"mainColor":39},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,25,915,55,134,139,157,7,30,916,117,57,199,56,917,918,919],"青绿","兔子","小景","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg","纵31.2 厘米 横48.3 厘米",[],{"id":924,"slug":925,"title":926,"dynasty":357,"author":358,"museum":359,"description":360,"tags":927,"thumbUrl":932,"material":375,"size":376,"collection":377,"collections":933,"showCount":934,"zanCount":124,"manualWeight":11,"mainColor":39},225925,"field-of-yellow-irises-at-giverny-1887-mo-nai-225925","Field of Yellow Irises at Giverny, 1887",[363,362,442,928,7,929,371,893,138,583,447,930,931,807],"黄色鸢尾花","树林","户外风景","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efacf5197b0328112515b63a23a001a.jpg",[377],42,{"id":936,"slug":937,"title":938,"dynasty":357,"author":358,"museum":359,"description":360,"tags":939,"thumbUrl":944,"material":375,"size":376,"collection":377,"collections":945,"showCount":934,"zanCount":124,"manualWeight":11,"mainColor":39},225919,"clifftop-walk-at-pourville-1882-mo-nai-225919","Clifftop Walk at Pourville, 1882",[363,362,940,7,751,941,649,29,942,371,372,943],"悬崖","海面","红伞","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593a704065c57261364648fc51c0db54.jpg",[377],{"id":947,"slug":948,"title":949,"dynasty":18,"author":426,"museum":359,"description":950,"tags":951,"thumbUrl":952,"material":121,"size":121,"collection":121,"collections":953,"showCount":954,"zanCount":124,"manualWeight":11,"mainColor":66},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,24,133,96,49,26,25,348,198,184,28,157,7,57,117,98,101,116,792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],40,{"id":956,"slug":957,"title":958,"dynasty":44,"author":168,"museum":359,"description":959,"tags":960,"thumbUrl":961,"material":121,"size":121,"collection":61,"collections":962,"showCount":963,"zanCount":11,"manualWeight":11,"mainColor":66},228932,"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 献茧","水岸错落萦回，古木蓊郁成荫，苍劲虬枝与素白繁花相互衬映，朱栏屋舍半隐林间，雅致内敛。左侧人物衣袂端整，正依礼徐行，暗合亲蚕仪典的肃穆庄重。\n\n整幅设色雅致柔和，工细写实。画师以精微笔触绘就林木的疏密层次，淡彩晕染出郊苑春日的温润静谧，将亲蚕礼的礼制深意融于幽阒雅致的园景间。既尽显宫廷院画的精谨考究，又于静谧景致里铺陈出古雅典正的氛围，让仪礼的庄重与苑囿的恬澹相融共生。",[24,49,25,26,29,52,285,7,854],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa2e1fd7862ef0f7939adee4b190d2.jpg",[61,83],38,{"id":965,"slug":966,"title":967,"dynasty":357,"author":437,"museum":359,"description":438,"tags":968,"thumbUrl":972,"material":375,"size":376,"collection":377,"collections":973,"showCount":963,"zanCount":11,"manualWeight":11,"mainColor":66},225777,"lilac-bush-fan-gao-225777","Lilac Bush",[362,441,969,970,971,7,371,52,138,582,25,579],"丁香","灌木丛","小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aca7c17fd0984074c350a66306c0d18.jpg",[377],{"id":975,"slug":976,"title":977,"dynasty":357,"author":437,"museum":359,"description":438,"tags":978,"thumbUrl":986,"material":375,"size":376,"collection":377,"collections":987,"showCount":963,"zanCount":11,"manualWeight":11,"mainColor":66},225745,"field-with-flowers-near-arles-1888-fan-gao-225745","Field with Flowers near Arles 1888",[133,362,440,979,980,441,442,890,981,52,285,371,7,982,450,983,984,985],"笔触奔放","色彩鲜明","鸢尾花","蓝色花朵","绿色植物","远处村落","灰绿天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff988daf1ea44d4e2547ee09167ba6043.jpg",[377],{"id":989,"slug":990,"title":991,"dynasty":357,"author":437,"museum":359,"description":438,"tags":992,"thumbUrl":997,"material":375,"size":376,"collection":377,"collections":998,"showCount":963,"zanCount":11,"manualWeight":11,"mainColor":66},225739,"ebene-bei-auvers-1890-neue-pinakothek-munich-fan-gao-225739","Ebene bei Auvers 1890 Neue Pinakothek Munich",[362,440,442,7,752,371,52,443,370,993,994,995,980,996],"田块","乡村","自然风景","笔触明显","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6b2bf0e73b570a5f05957088622f0.jpg",[377],{"id":1000,"slug":1001,"title":1002,"dynasty":44,"author":168,"museum":93,"description":1003,"tags":1004,"thumbUrl":1007,"material":103,"size":121,"collection":83,"collections":1008,"showCount":1009,"zanCount":124,"manualWeight":11,"mainColor":66},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,133,49,25,26,55,29,51,1005,54,52,7,1006],"骆驼","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[83,85,63],37,{"id":1011,"slug":1012,"title":1013,"dynasty":44,"author":45,"museum":46,"description":1014,"tags":1015,"thumbUrl":1017,"material":730,"size":1018,"collection":121,"collections":1019,"showCount":1009,"zanCount":11,"manualWeight":11,"mainColor":39},231527,"shi-jun-quan-jin-chi-xian-lang-shi-ning-231527","十骏犬金翅猃","郎世宁生于意大利，清康熙末年进入宫廷，郎世宁的《十犬图》轴十幅，每幅纵246.6厘米，横163.9厘米，由台北故宫博物院藏。画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[24,26,25,197,184,1016,751,140,7],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],{"id":1021,"slug":1022,"title":1023,"dynasty":71,"author":1024,"museum":359,"description":1025,"tags":1026,"thumbUrl":1029,"material":121,"size":121,"collection":121,"collections":1030,"showCount":1009,"zanCount":107,"manualWeight":11,"mainColor":39},226713,"huo-lang-tu-ye-li-sheng-226713","货郎图页","李昇","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,133,24,96,1027,26,25,29,1028,389,52,7,116],"册页","货担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":1032,"slug":1033,"title":1034,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1035,"thumbUrl":1043,"material":375,"size":376,"collection":377,"collections":1044,"showCount":1009,"zanCount":11,"manualWeight":11,"mainColor":39},225905,"blue-house-in-the-outskirts-of-giverny-mo-nai-225905","Blue House in the Outskirts of 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永兴弟任薰舜琴写”，钤“任薰”白文方印。",[24,203,25,26,29,1064,28,201,1065,1066,1067,7,1068,300],"芝","篮子","拐杖","柳叶","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[85],{"id":1073,"slug":1074,"title":1075,"dynasty":44,"author":238,"museum":359,"description":1076,"tags":1077,"thumbUrl":1078,"material":121,"size":121,"collection":61,"collections":1079,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":66},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","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。",[24,96,203,25,26,29,51,117,55,28,57,7,56,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[61,85,63],36,{"id":1082,"slug":1083,"title":1084,"dynasty":18,"author":168,"museum":46,"description":1085,"tags":1086,"thumbUrl":1088,"material":33,"size":1089,"collection":35,"collections":1090,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":39},218853,"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[23,24,25,26,81,198,7,28,1087,184],"牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329bebc3a227441ca972027caf511e53.jpg","22.6x23.8",[35,63],{"id":1092,"slug":1093,"title":1094,"dynasty":91,"author":168,"museum":1095,"description":1096,"tags":1097,"thumbUrl":1100,"material":33,"size":121,"collection":85,"collections":1101,"showCount":1080,"zanCount":11,"manualWeight":11,"mainColor":39},218474,"shi-jia-mo-ni-dan-sheng-tu-yi-ming-218474","释迦摩尼诞生图","九州国立博物馆","云气如缕，托着衣袂翩跹的神众于天际凝眸；地面上，朱廊环伺，侍从衣纹细腻如波，簇拥着殿内新生的静谧。中央光晕轻笼，似能触到佛陀诞生的圣洁——青绿与赭红交织的图景里，古绢斑驳晕染出岁月的虔诚。右侧仪仗缓步，衣饰繁复与左侧侍从清雅相映，皆向那神圣核心汇聚。线条流转间，佛教庄严与世俗鲜活融于一帧，每一笔都似低语着千年信仰的温度，让悠远的故事在古画的肌理中静静流淌。",[24,96,627,26,25,408,29,1098,1099,7,740],"楼阁","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761dda8b2dede2e9e29009830b74880b.jpg",[85],{"id":1103,"slug":1104,"title":1105,"dynasty":112,"author":774,"museum":699,"description":1106,"tags":1107,"thumbUrl":1108,"material":1109,"size":1110,"collection":83,"collections":1111,"showCount":1112,"zanCount":11,"manualWeight":11,"mainColor":66},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,133,24,96,203,627,26,25,29,55,139,140,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg","纸本，设色","140.7×58cm",[83,63],35,{"id":1114,"slug":1115,"title":1116,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1117,"thumbUrl":1121,"material":375,"size":376,"collection":377,"collections":1122,"showCount":1123,"zanCount":11,"manualWeight":11,"mainColor":66},225744,"farmhouse-in-a-wheatfield-fan-gao-225744","Farmhouse 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couples square Saint-Pierre May 1887",[362,363,1036,1184,580,1185,52,970,1186,7,371,1187,1188,1189,1190,365],"短笔触","石径","情侣","花树","春季","休闲场景","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ae313a4f30faca5121342445f1d07.jpg",[377],{"id":1194,"slug":1195,"title":1196,"dynasty":44,"author":1197,"museum":359,"description":1198,"tags":1199,"thumbUrl":1202,"material":121,"size":121,"collection":121,"collections":1203,"showCount":1158,"zanCount":124,"manualWeight":11,"mainColor":39},224292,"teng-hua-ru-ji-zhou-xu-you-224292","籐花乳鸡轴","许佑","柔蔓紫藤垂挂如紫霞流泻，淡紫花瓣晕染柔和，间衬嫩绿叶色，将春日柔媚尽藏枝桠。下方浅草茸茸，数只乳鸡或低头啄食，或相互依偎，茸毛蓬松鲜活，憨态尽显，灵动稚拙的模样似要跃出纸面。\n\n整作笔墨秀润清逸，工细兼具写意，将藤花的柔雅与雏鸡的生机相融，动静相映，把乡野间寻常的春日小景，晕染出恬和悠然的闲趣，平和雅致间满溢鲜活生机。",[24,203,25,26,101,134,1200,1201,7],"紫藤","乳鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada398b14092fd03535ab4dce02ea007.jpg",[],{"id":1205,"slug":1206,"title":1207,"dynasty":332,"author":333,"museum":334,"description":1208,"tags":1209,"thumbUrl":1211,"material":121,"size":121,"collection":121,"collections":1212,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":39},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[23,24,96,203,25,228,29,157,1210,76,7],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],30,{"id":1215,"slug":1216,"title":1217,"dynasty":357,"author":362,"museum":359,"description":1218,"tags":1219,"thumbUrl":1224,"material":375,"size":376,"collection":121,"collections":1225,"showCount":1226,"zanCount":11,"manualWeight":11,"mainColor":66},230599,"ren-jian-le-yuan-you-hua-230599","人间乐园","这片异色天地满溢诡谲幻想，左侧的异形建筑糅合血肉、植被与塔楼，盘旋的飞鸟撕碎静谧，仿佛是从意识裂隙中生长出的荒诞造物。右侧蓝紫色尖峰虬曲怪诞，悬垂的装饰为冷峻山体添上妖异气息。\n\n地面之上，温驯大象与异兽错落在青绿原野，打破现实的秩序边界。隐喻与狂想揉进笔触，违背常理的视觉符号编织出朦胧迷幻的幻梦，引观者坠入超验秘境，在怪诞共生的图景里，触摸脱离俗世逻辑的奇幻美学底色。",[362,25,627,55,184,1220,1221,1222,117,52,202,7,1223],"龙","象","猴","奇幻场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F473effe115c5ad9cd1bb2a47ae38513f.jpg",[],29,{"id":1228,"slug":1229,"title":1230,"dynasty":332,"author":333,"museum":334,"description":1231,"tags":1232,"thumbUrl":1233,"material":121,"size":121,"collection":121,"collections":1234,"showCount":1226,"zanCount":11,"manualWeight":11,"mainColor":39},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[23,24,96,25,228,539,197,29,51,7,52,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":1236,"slug":1237,"title":1238,"dynasty":44,"author":309,"museum":46,"description":1239,"tags":1240,"thumbUrl":1244,"material":121,"size":121,"collection":61,"collections":1245,"showCount":1246,"zanCount":124,"manualWeight":11,"mainColor":39},238259,"shu-hua-you-niao-er-shi-zhang-ce-zhang-ruo-ai-238259","书画有鸟二十章册","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,96,155,25,26,268,1241,7,116,101,1242,1243,134],"雉鸡","楷书","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3660f3d2f11d187fa12faa414f7f4d28.jpg",[61,63],28,{"id":1248,"slug":1249,"title":1250,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1251,"thumbUrl":1254,"material":375,"size":376,"collection":377,"collections":1255,"showCount":1246,"zanCount":11,"manualWeight":11,"mainColor":66},226033,"spring-effect-at-giverny-1890-mo-nai-226033","Spring Effect at Giverny, 1890",[363,362,1252,372,52,7,370,1253,364,806,473],"蓝天","草垛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5feeca46118ff746e45155368ac83d.jpg",[377],{"id":1257,"slug":1258,"title":1259,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1260,"thumbUrl":1264,"material":375,"size":376,"collection":377,"collections":1265,"showCount":1246,"zanCount":124,"manualWeight":11,"mainColor":66},225976,"lilacs-grey-weather-1872-mo-nai-225976","Lilacs, Grey Weather, 1872",[363,362,486,1261,473,1262,7,29,1263,52,143,373],"色彩柔和","丁香花","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eff6cb19a54cfe382ff656d4163ff23.jpg",[377],{"id":1267,"slug":1268,"title":789,"dynasty":332,"author":333,"museum":1269,"description":1270,"tags":1271,"thumbUrl":1273,"material":121,"size":121,"collection":121,"collections":1274,"showCount":1275,"zanCount":124,"manualWeight":11,"mainColor":39},220534,"ye-qu-xu-bei-hong-220534","龙美术馆西岸馆","浓墨挥写古柳老干，苍劲朴拙尽显岁月沉凝，细枝柔条以淡墨轻曳，疏密间漾开清寂野趣。两只喜鹊俊挺灵动，兼工带写勾勒翎羽，黑白分明，于枯寂枝桠间栖息顾盼，鲜活之气跃然纸上。右下角赭色杂草与附生的青绿藤蔓相映，为萧索冬景晕染几分暖意生机。\n\n画作融写意的苍浑与工笔的精细于一体，将郊野冬日的清寂与生命的灵动相融，萧索底色晕染盎然生趣，寥寥笔墨勾勒出疏淡雅致的野间意韵。",[24,228,25,157,117,134,75,1272,7],"柳条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab67d6ee5f9c13333af53cc3a7868c6c.jpg",[],27,{"id":1277,"slug":1278,"title":1279,"dynasty":44,"author":1280,"museum":359,"description":1281,"tags":1282,"thumbUrl":1284,"material":121,"size":121,"collection":121,"collections":1285,"showCount":1286,"zanCount":11,"manualWeight":11,"mainColor":39},239213,"you-you-lu-ming-tu-zhou-lu-hui-239213","呦呦鹿鸣图轴","陆恢","此作以工写兼济之法绘就，卧鹿为画面主体，鹿角挺拔，皮毛晕染细腻，斑点疏密自然，姿态娴静悠然，尽显鹿的温驯灵秀。配景中虬曲古藤悬垂淡紫花串，笔意苍劲写意；奇石皴法朴拙厚重，下方溪涧涓涓，衬出山野静幽氛围。设色清雅柔和，淡彩晕染间诗意盎然，呼应主题悠然意境，尽显海派兼容并蓄的创作特色，将山野生机与雅致意趣相融，古韵悠然。",[133,24,203,25,26,348,1283,184,116,52,1154,100,1200,7],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43fd5674ee1a1fb40a59d9cab601e009.jpg",[],26,{"id":1288,"slug":1289,"title":1290,"dynasty":44,"author":45,"museum":93,"description":1291,"tags":1292,"thumbUrl":1295,"material":81,"size":1296,"collection":121,"collections":1297,"showCount":1286,"zanCount":11,"manualWeight":11,"mainColor":66},232969,"ma-shu-tu-zhou-lang-shi-ning-232969","马术图轴","阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。\n这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。",[24,25,26,203,29,51,52,716,7,1006,1293,1294,416],"队列","骑手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18456d0c6c09531fcea8bf1ed82b8c13.jpg","纵223.4厘米，横426.2厘米",[],{"id":1299,"slug":1300,"title":1301,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1302,"thumbUrl":1309,"material":375,"size":376,"collection":377,"collections":1310,"showCount":1286,"zanCount":11,"manualWeight":11,"mainColor":573},226129,"the-walkers-1865-mo-nai-226129","The Walkers, 1865",[362,363,472,29,1303,582,552,52,7,1304,1305,1306,1307,497,1308],"男女","长裙","帽子","手杖","自然光","自然场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd069aa2c1877d5b4c0c049e835ddd4ce.jpg",[377],{"id":1312,"slug":1313,"title":1314,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1315,"thumbUrl":1318,"material":375,"size":376,"collection":377,"collections":1319,"showCount":1286,"zanCount":11,"manualWeight":11,"mainColor":573},225972,"le-pave-de-chailly-in-the-forest-of-fontainebleau-1865-mo-nai-225972","Le Pavé de Chailly in the Forest of Fontainebleau, 1865",[362,363,1316,7,52,371,497,1317],"森林","林间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe037e49f2a138f86a3909b8375abdc81.jpg",[377],{"id":1321,"slug":1322,"title":1323,"dynasty":112,"author":1324,"museum":46,"description":1325,"tags":1326,"thumbUrl":1329,"material":161,"size":1330,"collection":83,"collections":1331,"showCount":1286,"zanCount":124,"manualWeight":11,"mainColor":39},219470,"shan-shui-tu-gu-ning-yuan-219470","山水图","顾凝远","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,96,203,228,25,348,101,97,55,616,1327,52,299,488,1328,792,7],"云雾","小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[83],{"id":1333,"slug":1334,"title":1335,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1336,"thumbUrl":1337,"material":375,"size":376,"collection":377,"collections":1338,"showCount":1339,"zanCount":11,"manualWeight":11,"mainColor":66},226121,"the-summer-poppy-field-1875-mo-nai-226121","The Summer, Poppy Field, 1875",[133,362,363,486,365,473,442,52,29,371,372,751,7,501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f20bbfbf4cd1e444441aaf2510ffd5b.jpg",[377],25,{"id":1341,"slug":1342,"title":1343,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1344,"thumbUrl":1346,"material":375,"size":376,"collection":377,"collections":1347,"showCount":1339,"zanCount":11,"manualWeight":11,"mainColor":39},225942,"haystacks-in-the-sunlight-midday-1890-mo-nai-225942","Haystacks in the Sunlight, Midday, 1890",[363,362,1036,497,25,443,442,52,616,501,1345,7,995,582,587],"影子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f9f843795f535a24dbb0c3700c5fc2.jpg",[377],{"id":1349,"slug":1350,"title":1351,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1352,"thumbUrl":1353,"material":375,"size":376,"collection":377,"collections":1354,"showCount":1339,"zanCount":11,"manualWeight":11,"mainColor":66},225936,"giverny-willow-and-roses-mo-nai-225936","Giverny, Willow and Roses",[363,362,497,365,579,75,808,7,52,583,580],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60310cdeb9847ff1032969cee026600.jpg",[377],{"id":1356,"slug":1357,"title":1358,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1359,"thumbUrl":1363,"material":375,"size":376,"collection":377,"collections":1364,"showCount":1339,"zanCount":124,"manualWeight":11,"mainColor":66},225866,"verliefde-paartjes-in-het-park-voyer-argenson-te-asnie-res-fan-gao-225866","Verliefde paartjes in het park Voyer Argenson te Asnières",[133,362,441,1360,1172,1186,52,552,7,138,1361,29,1362,373],"点彩技法","雨伞","花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ded1246c4dd49a367c9b025b00469a.jpg",[377],{"id":1366,"slug":1367,"title":1368,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1369,"thumbUrl":1379,"material":375,"size":376,"collection":377,"collections":1380,"showCount":1339,"zanCount":11,"manualWeight":11,"mainColor":39},225855,"the-white-orchard-april-fan-gao-225855","The white orchard (April - )",[362,441,1370,1371,7,442,1372,589,1373,979,1374,1375,553,1376,373,667,1377,931,1378],"果树","白色花朵","树木枝干","春天","色彩明亮","风景","开花植物","农耕痕迹","写实表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816cb6097e57fb16f3a062018db540fa.jpg",[377],{"id":1382,"slug":1383,"title":1384,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1385,"thumbUrl":1387,"material":375,"size":376,"collection":377,"collections":1388,"showCount":1339,"zanCount":11,"manualWeight":11,"mainColor":66},225846,"the-pink-orchard-march-fan-gao-225846","The pink orchard (March - )",[362,441,440,579,1386,7,371,271,445,583],"开花的树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f828d98b67bb184451d36d834e8b6df.jpg",[377],{"id":1390,"slug":1391,"title":1392,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1393,"thumbUrl":1401,"material":375,"size":376,"collection":377,"collections":1402,"showCount":1339,"zanCount":11,"manualWeight":11,"mainColor":66},225746,"first-steps-after-millet1890-fan-gao-225746","First Steps, after Millet1890",[441,362,462,979,365,29,727,1394,313,1395,1396,1397,863,1398,1399,1400,7],"成人","开花树木","晾衣绳","白布","手推车","农具","小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e831cbbc2dbd8b2062721b5f7278c73.jpg",[377],{"id":1404,"slug":1405,"title":1406,"dynasty":112,"author":1407,"museum":687,"description":1408,"tags":1409,"thumbUrl":1412,"material":33,"size":1413,"collection":85,"collections":1414,"showCount":1339,"zanCount":11,"manualWeight":11,"mainColor":573},219572,"xia-zhen-yi-xiang-chen-yuan-219572","夏真逸像","陈远","作品有作者自跋：“真逸处士夏君既衣之九年，其子璇陈中复氏图游旧之景，而小像于其中。一日，携示九灵山人，求为赞。予虽不识处，然言述以铭其墓矣，焉春可辞？公侯于蠛蠓，政布家庭而直，功名于秕糠。是盖艺和义以为基，家孝又而象乡者也。当其云弄泉以、游戏、即丘壑而相辛。但见清却松林之风华，夺云锦之裳，而不知泽被民物光焕朝章者，消逝各梦而同床也邪！”作品有明代揭汯题跋：“温温之客，翼翼之恭。慈惠之至，孝友之隆。誉流搢绅，安林壑。幅巾消摇，自有其乐。豫章揭汯”。 明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[23,24,96,29,25,26,139,55,616,7,52,1410,1411],"长袍","持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[85],{"id":1416,"slug":1417,"title":1418,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1419,"thumbUrl":1421,"material":375,"size":376,"collection":377,"collections":1422,"showCount":1423,"zanCount":11,"manualWeight":11,"mainColor":66},226093,"the-port-at-argenteuil-1872-mo-nai-226093","The Port at Argenteuil, 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1875",[363,362,472,365,366,1453,442,52,371,752,29,7,370,1454],"罂粟花","开阔远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916e7e81bab1e39385498ba042fde79e.jpg",[377],{"id":1458,"slug":1459,"title":1460,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1461,"thumbUrl":1465,"material":375,"size":376,"collection":377,"collections":1466,"showCount":1467,"zanCount":11,"manualWeight":11,"mainColor":39},226115,"the-seine-at-bougival-in-the-evening-1870-mo-nai-226115","The Seine at Bougival in the Evening, 1870",[362,363,364,53,1462,1463,285,52,7,489,1464,806,473],"晚霞","小船","黄昏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce56a972635315838112f6d9f26c2f8d.jpg",[377],21,{"id":1469,"slug":1470,"title":1471,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1472,"thumbUrl":1473,"material":375,"size":376,"collection":377,"collections":1474,"showCount":1467,"zanCount":11,"manualWeight":11,"mainColor":39},225934,"giverny-mo-nai-225934","Giverny",[362,363,1375,299,7,371,752,52,442,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0800caf2567818f4cbe8a82dad1c4f0.jpg",[377],{"id":1476,"slug":1477,"title":1478,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1479,"thumbUrl":1481,"material":375,"size":376,"collection":377,"collections":1482,"showCount":1467,"zanCount":11,"manualWeight":11,"mainColor":66},225829,"the-flowering-orchard1888-fan-gao-225829","The Flowering 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at Argenteuil, 1872",[363,362,649,569,651,488,52,7,29,371,1497,854,497,579],"红屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48dce699643e52336f1f3c03f6f79c9.jpg",[377],20,{"id":1502,"slug":1503,"title":1504,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1505,"thumbUrl":1507,"material":375,"size":376,"collection":377,"collections":1508,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":573},225963,"lete-mo-nai-225963","LEte",[362,363,497,1261,579,7,52,29,371,442,1506,582,501],"夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3debc71e3df4458856f20b475ccc6ad4.jpg",[377],{"id":1510,"slug":1511,"title":1512,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1513,"thumbUrl":1516,"material":375,"size":376,"collection":377,"collections":1517,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":66},225901,"at-the-meadow-vetheuil-1881-mo-nai-225901","At the Meadow, Vetheuil, 1881",[362,363,930,7,1514,1515,486],"女性人物","马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf4aa6988ad63bd6f199f6e70c45add.jpg",[377],{"id":1519,"slug":1520,"title":1521,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1522,"thumbUrl":1525,"material":375,"size":376,"collection":377,"collections":1526,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":39},225735,"de-heuvel-van-montmartre-met-steengroeve-fan-gao-225735","De heuvel van Montmartre met steengroeve",[362,441,440,500,1523,488,29,77,1524,7,371,971,863,1053,667,52],"风车","采石场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e03ff0fe13bdf430a25b8a0496e9a.jpg",[377],{"id":1528,"slug":1529,"title":1530,"dynasty":44,"author":168,"museum":93,"description":1531,"tags":1532,"thumbUrl":1537,"material":1538,"size":1539,"collection":121,"collections":1540,"showCount":1500,"zanCount":124,"manualWeight":11,"mainColor":39},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[23,196,1533,1534,25,198,184,117,28,1120,1535,30,7,751,1536],"广绣","刺绣","太阳","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":1542,"slug":1543,"title":17,"dynasty":18,"author":168,"museum":1544,"description":1545,"tags":1546,"thumbUrl":1547,"material":33,"size":121,"collection":61,"collections":1548,"showCount":1500,"zanCount":11,"manualWeight":11,"mainColor":66},219261,"mu-niu-tu-yi-ming-219261","奈良国立博物馆","近景处，牧童束发短衣，执绳牵挽，牛犊低首啃青，蹄下草石错落，野趣盎然。远山含黛，云气轻笼，几株松影点缀坡岸，右上角枯枝疏梅，添得清寂。笔墨简淡却意韵悠长：牧童衣纹用线简练传神，牛身墨色晕染浑厚，山水以淡墨渲染出空濛之境。绢本的古雅色泽，更衬出田园生活的静谧悠然。右上角题字与钤印，融诗画于一体，尽显宋人“以物寄情”的审美意趣——不刻意雕琢，却于寻常景致中藏着对自然与生活的深情观照。",[23,133,24,25,203,26,29,27,55,616,52,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37ea1289e3fa5c09c47ae388263d40f.jpg",[61],{"id":1550,"slug":1551,"title":1023,"dynasty":91,"author":168,"museum":359,"description":1552,"tags":1553,"thumbUrl":1554,"material":121,"size":121,"collection":121,"collections":1555,"showCount":1556,"zanCount":124,"manualWeight":11,"mainColor":66},228231,"huo-lang-tu-ye-yi-ming-228231","垂柳拂岸，水石叠映，郊野间四人围坐雅聚。三两货郎架上，瓷瓶茶器、文玩雅陈罗列琳琅。\n\n画中雅士姿态松弛自在，或俯身辨赏器物，或围坐笑谈，货郎静立一旁，氛围悠然闲逸。笔触工细秀润，设色清雅柔和，将文人耽于雅玩、寄情林泉的日常情态细细铺展。市井雅货与郊野清景相融，尽显古淡天真的隐逸意趣，将元代文人的赏玩雅好，定格成一方悠然古雅的片刻景致。",[23,24,25,26,1027,29,172,75,76,7,487],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3654df41463c4282c2769d25d0ba8ecb.jpg",[],19,{"id":1558,"slug":1559,"title":1560,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1561,"thumbUrl":1568,"material":375,"size":376,"collection":377,"collections":1569,"showCount":1556,"zanCount":11,"manualWeight":11,"mainColor":66},225981,"luncheon-on-the-grass-central-panel-1865-mo-nai-225981","Luncheon on the Grass, Central panel, 1865",[362,363,486,365,1562,29,7,52,1563,1564,1565,1566,369,373,1307,1567],"笔触自由","野餐布","水果","酒瓶","糕点","聚餐场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08b581439bc662f65016c45b8908070.jpg",[377],{"id":1571,"slug":1572,"title":1573,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1574,"thumbUrl":1577,"material":375,"size":376,"collection":377,"collections":1578,"showCount":1556,"zanCount":11,"manualWeight":11,"mainColor":66},225750,"garden-with-butterflies-1889-fan-gao-225750","Garden with butterflies 1889",[362,441,440,979,1575,588,7,270,202,1576],"色彩浓郁","草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fd199a6ed2579950996617568558994.jpg",[377],{"id":1580,"slug":1581,"title":1582,"dynasty":44,"author":168,"museum":359,"description":1583,"tags":1584,"thumbUrl":1586,"material":33,"size":121,"collection":121,"collections":1587,"showCount":1556,"zanCount":11,"manualWeight":11,"mainColor":66},216703,"hong-lou-meng-fu-tu-ce-24-yi-ming-216703","红楼梦赋图册-24","棕榈亭亭映庭院，假山叠石间草木葱茏。白衣女子凭栏而立，衣袂翩跹若携幽风；红衣少女执物凝睇，裙裾轻飏带几分灵动。远处屋舍隐于绿意，檐角与淡月相映，清辉洒落添了几分幽然。笔墨细腻勾勒人物温婉情态，设色清雅晕染景致雅致氛围，将红楼女儿的柔婉与大观园的诗意融于一纸，似能触碰到那段诗意盎然却暗蕴怅惘的时光，尽显古典画作的娴静之美与含蓄情致。",[23,24,96,155,25,26,29,1098,76,1585,138,7],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feccf0d59b22fc7b69f069573afdb614b.jpg",[],{"id":1589,"slug":1590,"title":1591,"dynasty":18,"author":168,"museum":359,"description":1592,"tags":1593,"thumbUrl":1594,"material":121,"size":121,"collection":121,"collections":1595,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":39},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,763,24,96,25,348,55,29,75,100,76,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],18,{"id":1598,"slug":1599,"title":1600,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1601,"thumbUrl":1606,"material":375,"size":376,"collection":377,"collections":1607,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":66},225941,"haystacks-at-the-end-of-the-summer-morning-effect-1890-mo-nai-225941","Haystacks at the End of the Summer, Morning Effect, 1890",[362,363,1602,1603,1604,1036,443,442,52,616,1605,7,502],"外光","光影变化","色彩层次","晨光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c08853c311e2c54278ddd3e0b835759.jpg",[377],{"id":1609,"slug":1610,"title":1611,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1612,"thumbUrl":1613,"material":375,"size":376,"collection":377,"collections":1614,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":66},225916,"claude-monet-the-house-among-the-roses-1925-mo-nai-225916","Claude Monet -The House among the Roses, 1925",[363,362,25,808,7,371,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060e674ca2c196be5d4d77e986633f04.jpg",[377],{"id":1616,"slug":1617,"title":1618,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1619,"thumbUrl":1622,"material":375,"size":376,"collection":377,"collections":1623,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":573},225842,"the-garden-at-the-asylum-at-saint-remy-fan-gao-225842","The garden at the asylum at Saint Remy",[362,441,25,1620,1621,580,552,52,751,285,7,371,1173,581,1395,865,970,313],"厚重笔触","色彩浓烈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cf7757baff05fbba965fb0a000e802.jpg",[377],{"id":1625,"slug":1626,"title":1627,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1628,"thumbUrl":1630,"material":375,"size":376,"collection":377,"collections":1631,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":573},225758,"ha-user-in-auvers1-fan-gao-225758","Häuser in Auvers1",[362,441,440,488,1629,650,52,7,442,971,287,371,752],"茅草屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdabe4af1ff762195deae71c5eec1f91.jpg",[377],{"id":1633,"slug":1634,"title":1635,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1636,"thumbUrl":1639,"material":375,"size":376,"collection":377,"collections":1640,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":66},225757,"green-field-1889-fan-gao-225757","Green Field 1889",[441,362,440,979,365,442,1637,488,371,752,7,202,1638],"柏树","乡村景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d65c08f6c36af04b692061c139fc88f.jpg",[377],{"id":1642,"slug":1643,"title":1644,"dynasty":44,"author":1645,"museum":46,"description":1646,"tags":1647,"thumbUrl":1649,"material":1650,"size":1651,"collection":121,"collections":1652,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":39},222861,"hua-shi-ba-xue-shi-tu-juan-sun-hu-222861","画十八学士图卷","孙祜","孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。\n周鲲字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。\n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。",[24,96,49,25,26,97,101,157,52,1648,7],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070705f270ed15cd0e1471e60583dd9b.jpg","設色,青綠,描金","39×1138.2",[],{"id":1654,"slug":1655,"title":1656,"dynasty":44,"author":1657,"museum":46,"description":1658,"tags":1659,"thumbUrl":1661,"material":1662,"size":1663,"collection":83,"collections":1664,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":39},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,49,25,55,348,29,51,198,54,52,117,116,7,515,1660,1120],"牧民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg","立轴，纸本，设色","112.2×53cm",[83,63],{"id":1666,"slug":1667,"title":1668,"dynasty":112,"author":1669,"museum":93,"description":1670,"tags":1671,"thumbUrl":1672,"material":161,"size":1673,"collection":61,"collections":1674,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":39},216927,"hua-niu-shan-ye-zhang-hong-216927","画牛扇页","张宏","张宏（1577—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[24,763,228,27,75,29,184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccc76923873475685601e9d35f19f81.jpg","纵17.6cm，横61.8cm",[61],{"id":1676,"slug":1677,"title":1678,"dynasty":357,"author":1679,"museum":359,"description":1680,"tags":1681,"thumbUrl":1689,"material":375,"size":376,"collection":121,"collections":1690,"showCount":1691,"zanCount":11,"manualWeight":11,"mainColor":66},232276,"wei-lian-a-dao-fu-bu-ge-luo-2-wei-lian-a-dao-fu-bu-ge-luo-232276","威廉·阿道夫·布格罗2","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n1875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[362,1682,197,25,29,1683,241,7,52,100,1684,1685,1686,1687,1304,497,1688,553],"新古典主义","天使","芦苇","翅膀","花环","裸足","田园场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967a547850493b6d8e640c4dd6471c11.jpg",[],17,{"id":1693,"slug":1694,"title":1695,"dynasty":357,"author":168,"museum":359,"description":1696,"tags":1697,"thumbUrl":1699,"material":375,"size":376,"collection":121,"collections":1700,"showCount":1691,"zanCount":11,"manualWeight":11,"mainColor":66},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,25,26,538,51,29,1698,199,100,217,285,313,52,1120,268,184,368,77,7],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":1702,"slug":1703,"title":1704,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1705,"thumbUrl":1710,"material":375,"size":376,"collection":377,"collections":1711,"showCount":1691,"zanCount":11,"manualWeight":11,"mainColor":573},225935,"giverny-roses-and-waterlilies-mo-nai-225935","Giverny, Roses and Waterlilies",[363,362,364,365,366,1706,811,808,1707,75,488,7,1708,202,580,52,143,1709,589],"户外写生","睡莲","池塘","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966ae20ecd5dd7785816cc86e135faa.jpg",[377],{"id":1713,"slug":1714,"title":1715,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1716,"thumbUrl":1719,"material":375,"size":376,"collection":377,"collections":1720,"showCount":1691,"zanCount":11,"manualWeight":11,"mainColor":66},225778,"long-grass-with-butterflies1890-fan-gao-225778","Long Grass with Butterflies1890",[133,362,441,7,1717,270,1718,25],"长草","自然风光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F453cb745ef0582cef77e3e57a4b826a7.jpg",[377],{"id":1722,"slug":1723,"title":1724,"dynasty":44,"author":1725,"museum":1726,"description":1727,"tags":1728,"thumbUrl":1729,"material":103,"size":1730,"collection":121,"collections":1731,"showCount":1691,"zanCount":124,"manualWeight":11,"mainColor":66},222804,"yang-tu-zhao-fu-222804","羊图","赵福","日本京都国立博物馆","此画绘制了五只羊在野外寻吃玩耍的情景，岸上、河边水草丰富。一棵树静立河边，虬枝绿叶，生机勃勃。远处河面广阔，一片苍茫。",[23,24,96,25,26,184,198,28,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcfa0a17edf603e84901a66ac413fa.jpg","24.8×25cm",[],{"id":1733,"slug":1734,"title":1735,"dynasty":44,"author":45,"museum":46,"description":1736,"tags":1737,"thumbUrl":1738,"material":103,"size":1739,"collection":121,"collections":1740,"showCount":1691,"zanCount":11,"manualWeight":11,"mainColor":66},222757,"ba-jun-tu-lang-shi-ning-222757","八骏图","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,24,96,26,25,197,51,29,75,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18259a63d2ee470b9f3c7082a755b51.jpg","139.3公分，横：80.2公分",[],{"id":1742,"slug":1743,"title":1744,"dynasty":332,"author":333,"museum":334,"description":1745,"tags":1746,"thumbUrl":1748,"material":1749,"size":121,"collection":121,"collections":1750,"showCount":1691,"zanCount":11,"manualWeight":11,"mainColor":39},220558,"yin-du-niu-xu-bei-hong-220558","印度牛","以大块沉郁油色铺就水牛躯体，敦实厚重的轮廓尽显巨兽的慵懒与野性张力，它们静卧滩涂，将午后倦怠松弛尽数揉进肌理笔触里。水泽漾着柔润的灰调波光，沿岸枯苇舒展浅黄身姿，暖调砂土托衬出郊野湿暖的呼吸感。作者将西式光影色块与东方写意意境相融，以松弛笔触晕染出郊野静穆氛围，没有刻意雕琢的繁复细节，却把自然野趣的质朴生机晕开在画布之上，让观者仿佛踏入这方慵懒午后的水畔郊原，呼吸裹挟着水汽的暖柔野风。",[362,25,197,27,184,7,854,1747],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0501893091f8b1be6af1a55908721b.jpg","油彩",[],{"id":1752,"slug":1753,"title":1754,"dynasty":44,"author":1755,"museum":359,"description":1756,"tags":1757,"thumbUrl":1760,"material":375,"size":376,"collection":121,"collections":1761,"showCount":1762,"zanCount":11,"manualWeight":11,"mainColor":39},290984,"liu-yin-tong-xi-zhou-jin-ting-biao-290984","柳阴童戏轴","金廷标","金廷标，清代画家。字士揆，乌程（今浙江湖州）人。鸿子。能绍父艺，亦工写真，并能妙绘人物仕女及花卉。善取影，白描尤工。亦能界画。清朝乾隆二十五年（1760）南巡进白描罗汉册，称旨。命入内廷供奉。所绘写意秋果及人物，皆得高宗题咏。入直数载，卒於京寓。《石渠宝芨》著录了他81幅作品。",[24,203,25,26,29,727,75,55,100,7,1758,101,1759],"童趣","童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9efb9d08aafc3fa05ecf0b670c66e2.jpg",[],16,{"id":1764,"slug":1765,"title":1766,"dynasty":357,"author":168,"museum":359,"description":1767,"tags":1768,"thumbUrl":1771,"material":375,"size":376,"collection":121,"collections":1772,"showCount":1762,"zanCount":11,"manualWeight":11,"mainColor":66},230543,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-yue-ping-yi-ming-230543","室町时代 日月山水图屏风-月屏","浅金晕染出朦胧夜气，以青绿为主调铺展山野幽境。挺秀松林错落坡巅，笔墨清简勾勒出苍古意态。浅滩茅庐半隐于草色间，坡岸随色块开合错落，墨笔轻绘竹叶、草叶，疏朗雅致。\n\n整体以平远构图铺陈，删繁就简，用色块晕染出月夜山野的清寂淡远，将东方禅意融于侘寂风物中，于简淡空灵里，尽显静穆古雅的山水幽趣，藏着独属于山野夜色的宁谧安然。",[23,25,915,55,538,139,728,7,1769,1770,216],"月亮","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4805b1904a7c472e2a9775631e4451df.jpg",[],{"id":1774,"slug":1775,"title":1776,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1777,"thumbUrl":1779,"material":375,"size":376,"collection":377,"collections":1780,"showCount":1762,"zanCount":11,"manualWeight":11,"mainColor":39},226120,"the-spring-at-vetheuil-1881-mo-nai-226120","The Spring at Vetheuil, 1881",[363,362,806,364,569,651,52,891,488,1778,371,7,1188],"尖顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b5ff7e7c862b0d520f2742223eb3f86.jpg",[377],{"id":1782,"slug":1783,"title":1784,"dynasty":44,"author":1785,"museum":1786,"description":1787,"tags":1788,"thumbUrl":1796,"material":81,"size":1797,"collection":121,"collections":1798,"showCount":1762,"zanCount":11,"manualWeight":11,"mainColor":39},222941,"hong-lou-meng-66-sun-wen-222941","红楼梦66","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",[23,26,25,29,51,1789,52,488,416,777,1790,1791,243,1792,1793,994,7,285,1794,410,1795,1190],"轿子","官员","百姓","抬轿","行旅","传统服饰","骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3077a0780ad3e7dda59e8ad480e3a44f.jpg","纵43.3厘米、横76.5厘米",[],{"id":1800,"slug":1801,"title":1802,"dynasty":332,"author":1803,"museum":1269,"description":1804,"tags":1805,"thumbUrl":1809,"material":121,"size":121,"collection":121,"collections":1810,"showCount":1762,"zanCount":11,"manualWeight":11,"mainColor":39},220509,"bo-gu-tu-huang-jun-bi-220509","博古图","黄君璧","松林烟霭漫卷，清寂林泉间漾出幽远雅致。两位文士围坐展卷品赏，案头砚池、杯盏错落，文士姿态悠然松弛，静享观画雅趣。松下童子提壶候立，动静之间衬出林下闲寂氛围。\n\n画师笔触清润秀逸，松干皴苍劲朴拙，松针细密劲挺晕染出郁郁古意，远景林麓以淡墨晕开，揉出水墨空濛的山水诗意，敷色浅柔明净，将文人雅集的疏放意兴与林泉栖居的静穆旨趣相融，尽绘传统文人藏于日常雅事中的清远襟怀。",[24,25,26,29,1806,1152,139,55,7,53,1807,1808,52],"文人","石桌","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3e093fa547734000991435aa3f94c3.jpg",[],{"id":1812,"slug":1813,"title":1814,"dynasty":44,"author":168,"museum":46,"description":1815,"tags":1816,"thumbUrl":1817,"material":33,"size":121,"collection":121,"collections":1818,"showCount":1762,"zanCount":11,"manualWeight":11,"mainColor":39},215197,"sheng-ping-le-shi-tu-ce-8-yi-ming-215197","升平乐事图册-8","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,25,26,29,117,199,52,7,159,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc9282a4057d1e6a797c906811623e0.jpg",[],{"id":1820,"slug":1821,"title":1822,"dynasty":357,"author":1679,"museum":359,"description":1823,"tags":1824,"thumbUrl":1829,"material":375,"size":376,"collection":121,"collections":1830,"showCount":1831,"zanCount":11,"manualWeight":11,"mainColor":66},232575,"wei-lian-a-dao-fu-bu-ge-luo-190-wei-lian-a-dao-fu-bu-ge-luo-232575","威廉·阿道夫·布格罗190","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[1682,362,197,25,1683,1685,1825,1826,7,1154,202,445,1827,582,497,1828],"卷发","石质平台","箭囊","裸体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189aa6cf41c5a116086c984ea337ce2.jpg",[],15,{"id":1833,"slug":1834,"title":1835,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1836,"thumbUrl":1839,"material":375,"size":376,"collection":377,"collections":1840,"showCount":1831,"zanCount":11,"manualWeight":11,"mainColor":66},226062,"the-corner-of-the-garden-at-montgeron-1876-mo-nai-226062","The Corner of the Garden at Montgeron, 1876",[363,362,486,812,473,580,445,52,53,7,373,202,569,1362,1837,1838],"枝叶","远处山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff78807d085e323ef89840ba9bf872ac0.jpg",[377],{"id":1842,"slug":1843,"title":1844,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1845,"thumbUrl":1847,"material":375,"size":376,"collection":377,"collections":1848,"showCount":1831,"zanCount":11,"manualWeight":11,"mainColor":66},225968,"landscape-at-port-villez-1885-mo-nai-225968","Landscape at Port-Villez, 1885",[362,363,1846,53,500,52,7,497],"风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b6e90f99acd46db67c3ab23c30ee95.jpg",[377],{"id":1850,"slug":1851,"title":1852,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1853,"thumbUrl":1859,"material":375,"size":376,"collection":377,"collections":1860,"showCount":1831,"zanCount":11,"manualWeight":11,"mainColor":573},225827,"the-church-in-auvers-sur-oise-view-from-the-chevet-1890-fan-gao-225827","The Church in Auvers-sur-Oise, View from the Chevet 1890",[133,362,441,889,1854,979,1855,1856,1857,1858,7,371],"色彩对比","教堂","哥特式建筑","行人","乡间小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda6fc7de76665df1bd32b8d2baa96ff.jpg",[377],{"id":1862,"slug":1863,"title":1864,"dynasty":44,"author":1785,"museum":1786,"description":1787,"tags":1865,"thumbUrl":1866,"material":81,"size":1797,"collection":121,"collections":1867,"showCount":1831,"zanCount":11,"manualWeight":11,"mainColor":66},222922,"hong-lou-meng-47-sun-wen-222922","红楼梦47",[23,133,24,96,26,25,915,348,55,29,139,100,140,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe50334dece69d0f491084550a4d5b.jpg",[],{"id":1869,"slug":1870,"title":1871,"dynasty":44,"author":168,"museum":1872,"description":1873,"tags":1874,"thumbUrl":1875,"material":730,"size":121,"collection":121,"collections":1876,"showCount":1831,"zanCount":11,"manualWeight":11,"mainColor":573},216851,"xi-xiang-ji-tu-ce-26-yi-ming-216851","西厢记图册-26","法国国家图书馆","亭畔松枝轻曳，远山含黛，近水漾着粼粼波光，铺展一派江南雅致。衣袂飘飘的男女执手相对，眉目间似凝千言万语；侧旁侍女捧物而立，神情温婉；仆从牵马携箱，或推车随行，细节处漫溢生活烟火。设色淡雅清润，线条细腻流畅，人物神态鲜活传神，将古典故事里的缱绻情愫与世俗意趣相融。笔墨间藏着旧时文人的审美韵致，每一帧都似在低语那段流传千年的风月佳话，观者于山水草木与人物互动里，触摸到古典叙事的温柔脉搏。",[24,25,26,155,29,241,284,51,28,55,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c5a0d094fa4292c6d9f6fce2d4d3b.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":357,"author":1881,"museum":359,"description":1882,"tags":1883,"thumbUrl":1888,"material":375,"size":376,"collection":121,"collections":1889,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":39},231807,"ming-qing-ri-ben-gu-hua-fen-ben-zhuo-yao-juan-he-guo-xiao-zhai-231807","明清日本古画粉本-捉妖卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,1884,25,49,29,216,7,1885,1886,1887],"古画","民居","猫","粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5900c3a3fda86d8ad4b7a8c7ca938.jpg",[],14,{"id":1892,"slug":1893,"title":1894,"dynasty":357,"author":168,"museum":359,"description":1895,"tags":1896,"thumbUrl":1898,"material":375,"size":376,"collection":121,"collections":1899,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":39},230544,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-yi-ping-yi-ming-230544","室町时代 浜松图屏风-第一屏","这幅以金箔为底，晕染出柔婉的烟云水色，垂柳枝条袅袅垂落，拂过细劲勾勒的粼粼水波。群鸟灵动错落，或栖于柳梢私语，或掠波振翅，或静立汀渚理羽，将幽寂水岸的春日生机尽数铺陈。墨色苍润的汀渚点缀浅滩，华贵金底晕开朦胧柔美的氛围感，工细的笔致揉合写意的松弛，将雅致闲静的水岸意趣，揉进富丽又清寂的和风意境里，静中藏动，尽显幽闲雅致的东方意韵。",[23,133,25,26,1897,134,117,75,1120,185,30,7],"金箔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de117802efd0cb25b10b9881d05f169.jpg",[],{"id":1901,"slug":1902,"title":1903,"dynasty":18,"author":613,"museum":359,"description":1904,"tags":1905,"thumbUrl":1906,"material":121,"size":121,"collection":121,"collections":1907,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":66},227968,"niu-tu-li-tang-227968","牛图","此作用边角构图铺展意境，淡墨晕染出山峦烟岚空蒙的朦胧质感，远山隐于虚淡暮色之中，将山野荒陂的清寂悠远铺陈开来。\n\n坡岸间三头水牛成为画面生机所在，两头抵角嬉闹，憨态尽显，另一头闲步缓行，悠然自得，将乡野牧歌的松弛意趣揉入淡远山水间。笔墨苍简疏朗，舍去繁复勾勒，以极简笔意烘托出空灵静谧的氛围感，尽显宋人简淡野逸之美，平朴画面藏着悠然禅意，将山野闲趣融于山水烟岚之中。",[23,24,25,55,27,184,348,1006,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74b8ed2232c30132e78af099212babd.jpg",[],{"id":1909,"slug":1910,"title":1911,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1912,"thumbUrl":1914,"material":375,"size":376,"collection":377,"collections":1915,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":66},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",[363,362,472,364,806,1463,649,53,569,651,52,1913,7,371,29],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19734cf7c3fb1f269ec7e8c284ca0e.jpg",[377],{"id":1917,"slug":1918,"title":1919,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1920,"thumbUrl":1924,"material":375,"size":376,"collection":377,"collections":1925,"showCount":1890,"zanCount":11,"manualWeight":11,"mainColor":66},225998,"poplars-at-giverny-sunrise-1888-mo-nai-225998","Poplars at Giverny, Sunrise, 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)",[133,362,25,217,100,158,417,7,29,488,52,979,441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg",[377],{"id":1934,"slug":1935,"title":1936,"dynasty":44,"author":1937,"museum":359,"description":1938,"tags":1939,"thumbUrl":1943,"material":121,"size":121,"collection":121,"collections":1944,"showCount":1945,"zanCount":11,"manualWeight":11,"mainColor":66},238215,"duan-yang-gu-shi-ce-zhi-xi-cai-si-xu-yang-238215","端阳故事册之系彩丝","徐扬","青树环拥的雅致小院里，圆月窗恰似一方天然画框，框住了端阳时分的脉脉温情。长者正凝神为孩童臂间系上彩丝，衣袂褶皱轻缓舒展，案头粽果陈置妥帖，笔触细腻熨帖，将日常亲昵揉入节俗意趣。\n\n浅淡的设色晕染出初夏江南的温润，没有喧嚷，只余下静谧的亲昵，把驱邪纳福的古俗，化作寻常烟火里的温柔定格。整幅画以恬淡笔调铺陈，将旧时光里的端午暖意晕开，清雅柔润的笔触复刻出古人节俗里的细腻温情，淡而不寡，静中含暖，藏着中式传统里独有的含蓄浪漫。",[24,96,155,25,26,29,285,52,7,313,1940,1151,1941,1942],"圆形门","彩丝","传统节日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe199907d720d98cd1598507dc1929ae9.jpg",[],13,{"id":1947,"slug":1948,"title":1949,"dynasty":357,"author":1950,"museum":359,"description":1951,"tags":1952,"thumbUrl":1954,"material":375,"size":376,"collection":121,"collections":1955,"showCount":1945,"zanCount":11,"manualWeight":11,"mainColor":66},231753,"mu-ma-tu-ping-feng-di-yi-ping-zhang-gu-chuan-deng-bo-231753","牧马图屏风第一屏","长谷川等伯","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,24,96,538,25,26,51,29,28,728,7,185,1953],"牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":1957,"slug":1958,"title":1959,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1960,"thumbUrl":1961,"material":375,"size":376,"collection":377,"collections":1962,"showCount":1945,"zanCount":11,"manualWeight":11,"mainColor":66},226134,"the-willow-the-roses-and-the-waterlilies-at-giverny-mo-nai-226134","The Willow, the Roses and the Waterlilies at Giverny",[363,472,364,365,366,809,808,7,501,502,500,1308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb850dd4bb15b61b25b76b86d6f388c1.jpg",[377],{"id":1964,"slug":1965,"title":1966,"dynasty":357,"author":358,"museum":359,"description":360,"tags":1967,"thumbUrl":1969,"material":375,"size":376,"collection":377,"collections":1970,"showCount":1945,"zanCount":11,"manualWeight":11,"mainColor":39},226101,"the-promenade-near-argenteuil-1873-mo-nai-226101","The Promenade near Argenteuil, 1873",[133,363,362,364,806,366,1968,373,7,370,52,29,159,1361,442,371,752,552,365,1706],"自然光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf67664132c0d436c714a15e4b669099.jpg",[377],{"id":1972,"slug":1973,"title":1974,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1975,"thumbUrl":1976,"material":375,"size":376,"collection":377,"collections":1977,"showCount":1945,"zanCount":11,"manualWeight":11,"mainColor":39},225837,"the-rocks-1888-fan-gao-225837","The Rocks 1888",[362,440,25,140,52,7,371,500,583,979,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79cffec417f3bb76b470a36fbff7867a.jpg",[377],{"id":1979,"slug":1980,"title":1981,"dynasty":357,"author":437,"museum":359,"description":438,"tags":1982,"thumbUrl":1985,"material":375,"size":376,"collection":377,"collections":1986,"showCount":1945,"zanCount":11,"manualWeight":11,"mainColor":66},225775,"le-train-bleu-fan-gao-225775","Le Train Bleu",[362,441,440,25,299,7,1983,371,1984,417],"火车","建筑物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67fa431c05eebb0eac2e0f883cc96e8e.jpg",[377],{"id":1988,"slug":1989,"title":1990,"dynasty":44,"author":1991,"museum":359,"description":1992,"tags":1993,"thumbUrl":1995,"material":121,"size":121,"collection":121,"collections":1996,"showCount":1945,"zanCount":124,"manualWeight":11,"mainColor":39},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","关槐","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,96,203,25,55,348,728,28,53,7,716,1994,101,98,97],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":1998,"slug":1999,"title":2000,"dynasty":44,"author":1725,"museum":1726,"description":2001,"tags":2002,"thumbUrl":2003,"material":103,"size":2004,"collection":121,"collections":2005,"showCount":1945,"zanCount":11,"manualWeight":11,"mainColor":66},222803,"you-tu-zhao-fu-222803","犹图","图绘院落一角，湖石耸立，形状奇特，石上方一树枝伸出，白花朵朵点缀枝头；湖石四周杂草丛生，前方二只狗相互对望，淡黄色毛浓密，体格健壮。技法上，狗的毛发以细皴绘制，惟妙惟肖，湖石以深蓝色晕染，更显立体感。",[23,24,26,25,184,76,269,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876d1b2cf62983e4ca8dfa4acb71cb2c.jpg","24.4×24cm",[],{"id":2007,"slug":2008,"title":2009,"dynasty":18,"author":168,"museum":46,"description":2010,"tags":2011,"thumbUrl":2013,"material":33,"size":2014,"collection":85,"collections":2015,"showCount":1945,"zanCount":124,"manualWeight":11,"mainColor":39},219601,"liu-tang-hu-du-tu-yi-ming-219601","柳塘呼犊图","画上是清澈的小溪旁，杨柳垂荫、青草茂密。一阵风来，将柳絮吹得犹如满天纷飞的绿雪。树下一名驼了背脊、衣衫褴履的老牧人，正眯着眼、掩面伫着木杖打盹。牛喝足了水，迎着风，使尽全力，「哞－哞－」地叫着：像是要提醒老牧人，也像在呼唤顽皮、跑远的小牛：该回家罗！\n如诗般的江南风光、如歌般的田园生活，不只令现今的都会人心生向往，也是许多的在朝为官 的宋代士大夫们，对于「故乡」最美好的记忆。当他们告老还乡时，最大的心愿之一，莫过于徜佯在这片青草地上，伴随着自在悠闲的牛儿，作一名安闲平凡的牧人。正如一位北宋诗人所说的：「人生愿望无数，能达成的又有多少呢？我想，若能拥有百亩良田以及一只牛的陪伴，也就心满意足了吧！」",[23,24,133,96,155,25,26,256,27,29,28,2012,185,7],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f94cf9b5d56f49c5f99cdb42a8ad360.jpg","纵24.9厘米 横26.6厘米",[85],{"id":2017,"slug":2018,"title":2019,"dynasty":112,"author":2020,"museum":359,"description":2021,"tags":2022,"thumbUrl":2023,"material":121,"size":121,"collection":121,"collections":2024,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":66},239212,"bai-ma-tu-juan-xu-bao-239212","百马图卷","许宝","《百马图卷》作者明代 许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,49,25,26,348,51,184,52,116,7,57,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],12,{"id":2027,"slug":2028,"title":2029,"dynasty":112,"author":168,"museum":359,"description":2030,"tags":2031,"thumbUrl":2032,"material":81,"size":121,"collection":121,"collections":2033,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":66},236288,"wang-zi-yuan-hua-niao-ce-yi-ming-236288","王子元花鸟册","此作绘深秋江渚之景，三只鸿雁动静相生，意趣盎然。空中一雁振翅斜掠，翅羽纤毫毕现，破空之势尽显野逸灵动。滩涂之上，一雁引颈远眺似在呼朋，另一雁垂首理羽，姿态闲柔温婉。淡赭晕染寒波，朦胧空濛间尽显水天荒寒，枯墨写就的芦荻萧疏苍劲，笔致老辣苍拙。\n整幅以精细写实勾勒禽鸟情态，又以写意晕染烘托秋渚清寂氛围，将鸿雁的生机动静与江滩的幽寂融为一体，在方寸间晕染出深秋荒寒的幽远诗意，尽显写生花鸟的雅致意趣。",[24,96,155,25,26,228,117,200,134,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b64e9e0eda11266daa257b7e6202a3.jpg",[],{"id":2035,"slug":2036,"title":17,"dynasty":91,"author":168,"museum":359,"description":2037,"tags":2038,"thumbUrl":2039,"material":121,"size":121,"collection":121,"collections":2040,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":66},227897,"mu-niu-tu-yi-ming-227897","此作用色古雅沉静，青绿晕染山峦坡岸，暖黄绢底晕开春日郊野的温润柔意。垂柳为画面主角，柔婉笔意写出枝条，柳丝如烟似雾，随风轻曳，将江南春野的柔媚尽数晕开。\n坡岸浅滩间，牛群闲散啃食，寥寥数笔便勾勒出憨态，野趣横生。整体简淡疏朗，无繁复皴染，以写意笔调铺展田园意韵，将郊原恬适安宁的春日氛围缓缓晕开，带着萧散淡远的悠然意趣，观之如临春日郊野，身心皆浸在松弛静谧之中。",[23,24,25,55,29,27,75,1006,157,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9473190e7c32d42ef3f7cf7f0e2429ac.jpg",[],{"id":2042,"slug":2043,"title":2044,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2045,"thumbUrl":2046,"material":375,"size":376,"collection":377,"collections":2047,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":39},226135,"the-willows-1880-mo-nai-226135","The Willows, 1880",[363,362,498,497,75,7,370,488,569,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feedb0a03d3fd84140051faf71cf682a5.jpg",[377],{"id":2049,"slug":2050,"title":2051,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2052,"thumbUrl":2056,"material":375,"size":376,"collection":377,"collections":2057,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":66},226071,"the-gadren-at-giverny-1927-mo-nai-226071","The Gadren at Giverny, 1927",[363,364,806,473,1706,811,931,580,7,52,138,890,1154,371,285,581,2053,2054,2055,583],"红色叶树","黄色花卉","红色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6889c12a63ee3040e48b55b02b36c8.jpg",[377],{"id":2059,"slug":2060,"title":2061,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2062,"thumbUrl":2065,"material":375,"size":376,"collection":377,"collections":2066,"showCount":2025,"zanCount":11,"manualWeight":11,"mainColor":39},226056,"the-church-at-varengeville-and-the-gorge-of-les-moutiers-1882-mo-nai-226056","The Church at Varengeville and the Gorge of Les Moutiers, 1882",[363,362,364,365,366,1855,500,940,1439,2063,7,371,1994,583,1603,2064,473],"灌木","色彩斑斓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9790e4c9e68d356d55de3cdb85e69bf3.jpg",[377],{"id":2068,"slug":2069,"title":308,"dynasty":44,"author":309,"museum":93,"description":310,"tags":2070,"thumbUrl":2075,"material":59,"size":316,"collection":121,"collections":2076,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":39},236154,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236154",[24,96,155,25,26,29,2071,52,488,416,2072,2073,97,313,7,2074],"园林","古代服饰","对话场景","互动人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcf8e863cb31ba23c03e50a91e6ff93.jpg",[],11,{"id":2079,"slug":2080,"title":2081,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2082,"thumbUrl":2084,"material":375,"size":376,"collection":377,"collections":2085,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":66},225973,"le-pave-de-chailly-1865-mo-nai-225973","Le Pavé de Chailly, 1865",[133,362,363,497,498,579,52,7,2083,417,501,929,583],"落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e64f87bf1a651c620e0cebe294458d.jpg",[377],{"id":2087,"slug":2088,"title":2089,"dynasty":357,"author":437,"museum":359,"description":438,"tags":2090,"thumbUrl":2091,"material":375,"size":376,"collection":377,"collections":2092,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":66},225845,"the-hill-of-montmartre-with-stone-quarry-june-july-fan-gao-225845","The hill of Montmartre with stone quarry (June - July )",[362,441,440,891,1523,1524,752,7,29,865,488,371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a6a394a5351dd148130966e0055f458.jpg",[377],{"id":2094,"slug":2095,"title":2096,"dynasty":44,"author":2097,"museum":46,"description":2098,"tags":2099,"thumbUrl":2104,"material":2105,"size":2106,"collection":121,"collections":2107,"showCount":2077,"zanCount":11,"manualWeight":11,"mainColor":39},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董诰","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,25,26,348,55,155,1006,52,57,184,51,7,299,76,100,552,2100,2101,792,2102,2103],"春景","牧畜","苔点","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","纸本 设色","22.9x26厘米",[],{"id":2109,"slug":2110,"title":2111,"dynasty":44,"author":2112,"museum":359,"description":2113,"tags":2114,"thumbUrl":2115,"material":121,"size":121,"collection":121,"collections":2116,"showCount":2117,"zanCount":11,"manualWeight":11,"mainColor":39},235102,"huai-yin-tu-ce-wang-hui-235102","槐隐图册","王翚","此作用淡墨写就幽居闲意，古槐虬曲苍劲，主干皴擦出斑驳老态，羽状细叶以浓墨点簇，疏密错落间尽显灵动生机。左侧矮墙茅屋半掩于槐荫之下，墙面晕染出岁月漫漶的质感，墙垣顺着坡势蜿蜒，与浅草顽石相融，铺陈出山野幽居的僻静底色。题款小字清雅疏朗，和画面淡远禅意两相呼应。全画布景极简，以疏淡笔墨传递静穆安然的林下之风，将文人归园栖隐的雅趣藏于留白皴擦之中，简淡间意蕴悠长。",[24,228,155,348,157,1770,7,30,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8078c1312dce3ff7506f835fc6f08d03.jpg",[],10,{"id":2119,"slug":2120,"title":2121,"dynasty":18,"author":168,"museum":93,"description":2122,"tags":2123,"thumbUrl":2125,"material":2126,"size":2127,"collection":121,"collections":2128,"showCount":2117,"zanCount":11,"manualWeight":11,"mainColor":66},233019,"song-yin-ce-zhang-tu-ye-yi-ming-233019","松阴策杖图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[24,133,25,26,55,29,1016,28,1152,616,7,2124],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","绢本 设色","28x28.6厘米",[],{"id":2130,"slug":2131,"title":2132,"dynasty":357,"author":1679,"museum":359,"description":1823,"tags":2133,"thumbUrl":2142,"material":375,"size":376,"collection":121,"collections":2143,"showCount":2117,"zanCount":11,"manualWeight":11,"mainColor":573},232581,"wei-lian-a-dao-fu-bu-ge-luo-195-wei-lian-a-dao-fu-bu-ge-luo-232581","威廉·阿道夫·布格罗195",[362,2134,1682,2135,1261,2136,2137,2138,1514,2139,1685,2140,52,7,616,202,2141,373,1190],"写实主义","光影处理","细腻笔触","人物写实","设色典雅","小天使","石凳","蓝色布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf5b38d6d09cfc2cc0507ac0b77a0cb1.jpg",[],{"id":2145,"slug":2146,"title":2147,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2148,"thumbUrl":2151,"material":375,"size":376,"collection":377,"collections":2152,"showCount":2117,"zanCount":11,"manualWeight":11,"mainColor":66},226137,"train-in-the-countryside-1870-mo-nai-226137","Train in the Countryside, 1870",[362,363,994,7,52,29,2149,582,2150],"蒸汽火车","光影描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff666ff1cbb70457d1bf81423a0d2485b.jpg",[377],{"id":2154,"slug":2155,"title":2156,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2157,"thumbUrl":2158,"material":375,"size":376,"collection":377,"collections":2159,"showCount":2117,"zanCount":11,"manualWeight":11,"mainColor":66},226102,"the-promenade-near-limetz-1887-mo-nai-226102","The Promenade near Limetz, 1887",[362,363,442,891,52,29,369,7,371,582,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdd46d15796ddf92b12df0284011959.jpg",[377],{"id":2161,"slug":2162,"title":2163,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2164,"thumbUrl":2171,"material":375,"size":376,"collection":377,"collections":2172,"showCount":2117,"zanCount":11,"manualWeight":11,"mainColor":66},226013,"road-near-giverny-1885-mo-nai-226013","Road near Giverny, 1885",[363,362,807,1374,2165,417,52,500,7,371,2166,2167,2168,2169,2170],"光影效果","乡村风光","弯曲道路","土坡","杂草","远处景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22eb37904a61172dbd792f004d4782bf.jpg",[377],{"id":2174,"slug":2175,"title":2176,"dynasty":357,"author":2177,"museum":359,"description":2178,"tags":2179,"thumbUrl":2181,"material":375,"size":376,"collection":121,"collections":2182,"showCount":2183,"zanCount":11,"manualWeight":11,"mainColor":66},231754,"ming-zhi-nian-chun-mu-you-hua-dong-jing-qian-jing-zhong-231754","明治年春亩油画(东京)","浅井忠","浅井忠，日本画家，1856年6月21日出生于江户（今东京），1907年12月16日卒于京都。",[362,197,25,29,446,892,52,971,7,2180,1373],"劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a866db631edd06bd11d398a0ab2ed2.jpg",[],9,{"id":2185,"slug":2186,"title":2187,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2188,"thumbUrl":2189,"material":375,"size":376,"collection":377,"collections":2190,"showCount":2183,"zanCount":11,"manualWeight":11,"mainColor":66},226067,"the-customs-house-1882-2-mo-nai-226067","The Customs House, 1882-2",[362,363,486,806,940,488,1439,7,1441,583,373,931,473],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddb366bf2b570f259a9218d6b7fbdd5.jpg",[377],{"id":2192,"slug":2193,"title":2194,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2195,"thumbUrl":2199,"material":375,"size":376,"collection":377,"collections":2200,"showCount":2183,"zanCount":11,"manualWeight":11,"mainColor":573},226055,"the-chapel-of-notre-dame-de-grace-honfleur-1864-mo-nai-226055","The Chapel of Notre-Dame-de-Grace, Honfleur, 1864",[362,363,364,365,2196,1855,52,417,285,371,7,286,2197,2198,373],"笔触自然","绿树","小教堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07c708aa1a213c55859624f70d7d71.jpg",[377],{"id":2202,"slug":2203,"title":2204,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2205,"thumbUrl":2211,"material":375,"size":376,"collection":377,"collections":2212,"showCount":2183,"zanCount":11,"manualWeight":11,"mainColor":573},226050,"the-bodmer-oak-1865-mo-nai-226050","The Bodmer Oak, 1865",[363,362,2206,140,7,497,583,2207,2208,2209,2210],"大树","树干","树叶","户外景物","色彩表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46246f7f03d58d43628f780a2c0ed249.jpg",[377],{"id":2214,"slug":2215,"title":2216,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2217,"thumbUrl":2219,"material":375,"size":376,"collection":377,"collections":2220,"showCount":2183,"zanCount":11,"manualWeight":11,"mainColor":66},226004,"poppy-field-near-vetheuil-1879-mo-nai-226004","Poppy Field near Vetheuil, 1879",[362,363,1036,1602,1603,365,2218,29,53,52,285,371,891,7],"罂粟花田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b94a80ea32d3392f12db152b9af3fd1.jpg",[377],{"id":2222,"slug":2223,"title":2224,"dynasty":44,"author":2225,"museum":93,"description":2226,"tags":2227,"thumbUrl":2229,"material":2230,"size":2231,"collection":121,"collections":2232,"showCount":2183,"zanCount":11,"manualWeight":11,"mainColor":39},222645,"shuang-jun-tu-gao-qi-pei-222645","双骏图","高其佩","《清高其佩双骏图轴》是清代画家高其佩创作的一幅国画，系其临终之作。该画描绘画、两匹无拘无束的骏马在尽性滚尘、蹭痒，构图自然且得体。\n《清高其佩双骏图轴》是高其佩的指画精品，系其临终之作。画两匹无拘无束的骏马在尽性滚尘、蹭痒，极为生动。其手法粗放豪爽，画风朴拙野悍。构图自然且得体，似不经意却胜过苦心经营。",[23,24,2228,25,228,51,28,7,184],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab957a64b2087ef2638cc880ff75039.jpg","绢本，淡设色","纵185cm，横131.5cm",[],{"id":2234,"slug":2235,"title":2236,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2237,"thumbUrl":2240,"material":375,"size":376,"collection":377,"collections":2241,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":66},226126,"the-tuileries-study-1876-mo-nai-226126","The Tuileries. Study, 1876",[363,362,486,806,2238,52,7,285,371,2239,29,552,202],"朦胧质感","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0b93ae7d80f2f293399ebebc0b45d.jpg",[377],8,{"id":2244,"slug":2245,"title":2246,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2247,"thumbUrl":2248,"material":375,"size":376,"collection":377,"collections":2249,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":39},226119,"the-small-arm-of-the-seine-at-argenteuil-1872-mo-nai-226119","The Small Arm of the Seine at Argenteuil, 1872",[363,362,497,498,53,487,7,299,29,489,371,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3733f67bd35072bb9486cb255434c1f8.jpg",[377],{"id":2251,"slug":2252,"title":2253,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2254,"thumbUrl":2256,"material":375,"size":376,"collection":377,"collections":2257,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":66},226099,"the-promenade-at-argenteuil-02-1872-mo-nai-226099","The Promenade at Argenteuil 02, 1872",[362,363,1602,497,53,52,971,285,371,7,29,2255,651,569],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e665035f6282e2a502290c2d6608b0f.jpg",[377],{"id":2259,"slug":2260,"title":2261,"dynasty":357,"author":437,"museum":359,"description":438,"tags":2262,"thumbUrl":2263,"material":375,"size":376,"collection":377,"collections":2264,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":66},225858,"tree-fan-gao-225858","Tree",[362,441,440,52,7,370,2207,1994,979,980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10d19a09bd39a5be391af2acf817fdb.jpg",[377],{"id":2266,"slug":2267,"title":2268,"dynasty":44,"author":2269,"museum":46,"description":2270,"tags":2271,"thumbUrl":2272,"material":161,"size":121,"collection":121,"collections":2273,"showCount":2242,"zanCount":11,"manualWeight":11,"mainColor":39},214724,"shan-shui-ce-ye-2-hu-gui-214724","山水册页-2","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,25,155,55,117,158,52,488,7,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbcc1ea5b7a5e184f006d93e6a8178a.jpg",[],{"id":2275,"slug":2276,"title":2277,"dynasty":44,"author":2097,"museum":359,"description":2278,"tags":2279,"thumbUrl":2280,"material":121,"size":121,"collection":121,"collections":2281,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":39},238816,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238816","董诰律宣韶景册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,348,55,52,100,158,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25528e66696459b7fdfd69c8a194a188.jpg",[],{"id":2283,"slug":2284,"title":2285,"dynasty":44,"author":2286,"museum":359,"description":2287,"tags":2288,"thumbUrl":2290,"material":375,"size":376,"collection":121,"collections":2291,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":39},236414,"hua-huang-hong-xian-cai-sang-tu-xiang-ce-yu-yuan-236414","画黄红先采桑图像册","虞沅","虞沅（生卒年不详），字畹之，海虞画苑略作浣之，或作翰之， 江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[24,25,26,155,29,28,30,7,1065,2289],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5360a1d0283c9bf6d7f9dafd9816b6d.jpg",[],{"id":2293,"slug":2294,"title":2295,"dynasty":18,"author":168,"museum":93,"description":2296,"tags":2297,"thumbUrl":2299,"material":2126,"size":2300,"collection":121,"collections":2301,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":39},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,96,763,26,228,2298,75,1708,51,29,55,52,7,57,515,348],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","23.5×25.6cm",[],{"id":2303,"slug":2304,"title":2305,"dynasty":357,"author":1679,"museum":359,"description":1823,"tags":2306,"thumbUrl":2310,"material":375,"size":376,"collection":121,"collections":2311,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":39},232583,"wei-lian-a-dao-fu-bu-ge-luo-197-wei-lian-a-dao-fu-bu-ge-luo-232583","威廉·阿道夫·布格罗197",[362,1682,197,25,29,627,727,2307,7,52,1065,2308,373,616,941,2309],"女性","果实","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7467589f6ff53618818a0f30adf05e.jpg",[],{"id":2313,"slug":2314,"title":2315,"dynasty":357,"author":1950,"museum":359,"description":1951,"tags":2316,"thumbUrl":2318,"material":375,"size":376,"collection":121,"collections":2319,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},231752,"mu-ma-tu-ping-feng-di-er-ping-zhang-gu-chuan-deng-bo-231752","牧马图屏风第二屏",[23,24,96,538,25,26,29,51,184,52,7,185,2317],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4eaf33f4fb0d88855c935dc14bf6b14.jpg",[],{"id":2321,"slug":2322,"title":2323,"dynasty":357,"author":2324,"museum":359,"description":2325,"tags":2326,"thumbUrl":2327,"material":121,"size":121,"collection":121,"collections":2328,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},230482,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-yi-ping-shou-ye-zhang-xin-230482","安土桃山时代 花下游乐图屏风-第一屏","狩野长信","画面留白疏朗，淡赭底色晕开空寂天地，将视线牢牢牵向倚杖的武士。衣装刻画细致入微，暗纹袍服配朱红镶边，腰间太刀沉敛，悄然点明武者身份，而松弛的姿态却消解了武家肃杀之气。\n\n足畔野草丛生，艳色小花点缀土坡，朴拙的山野景致柔化了硬朗的人物气质，刚健与春日元气相融。寥寥数笔便托出幽寂闲雅的氛围，将春日郊野漫步的松弛闲情晕染开来，带着侘寂的和风雅韵，把山野独游的悠然意趣藏进绢素之中。",[23,24,96,25,29,241,269,7,538,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb29a0cdaa97e0c37df926aa818b14f.jpg",[],{"id":2330,"slug":2331,"title":2332,"dynasty":91,"author":168,"museum":359,"description":2333,"tags":2334,"thumbUrl":2335,"material":121,"size":121,"collection":121,"collections":2336,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},228211,"fang-mu-tu-yi-ming-228211","放牧图","以浓墨点染左侧垂柳，苍润枝叶随性舒展，余下大片淡墨留白铺就水泽，晕染出空濛悠然的郊野暮色。\n\n两头水牛一静一动，一者卧于水间，牧童伏背酣眠，恬然自适；一者垂首浅滩饮水，姿态松弛憨拙。全作以水墨写意，舍去繁缛刻画，以留白烘托萧散悠远的意境，将乡野放牧的日常闲趣，融于简淡笔墨之中，尽显平淡天真的隐逸意趣，把田园野趣与尚简重情的审美完美契合，尽显小品画的灵动生机与悠远情致。",[23,133,24,96,228,26,27,28,185,7,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa8ce8aadda59dc845081b49d325826.jpg",[],{"id":2338,"slug":2339,"title":2340,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2341,"thumbUrl":2347,"material":375,"size":376,"collection":377,"collections":2348,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},226104,"the-railway-bridge-at-argenteuil-1874-2-mo-nai-226104","The Railway Bridge at Argenteuil, 1874 [2]",[363,362,497,2342,1602,2343,53,569,52,7,2344,752,371,2345,487,1994,2346],"色彩并置","铁路桥","蒸汽","桥墩","波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a5be3f8e05a9ef299557cd04e38e64.jpg",[377],{"id":2350,"slug":2351,"title":2352,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2353,"thumbUrl":2356,"material":375,"size":376,"collection":377,"collections":2357,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},226066,"the-customs-house-1882-mo-nai-226066","The Customs House, 1882",[363,362,486,931,473,940,444,2354,7,371,140,2355,1497],"海洋","海岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d927e85e5b3de05817043939c2f33bf.jpg",[377],{"id":2359,"slug":2360,"title":2361,"dynasty":357,"author":437,"museum":359,"description":438,"tags":2362,"thumbUrl":2366,"material":375,"size":376,"collection":377,"collections":2367,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},225789,"orchards-in-blossom-view-of-arles-april-fan-gao-225789","Orchards in blossom, view of Arles (April - )",[362,441,979,980,2363,1395,7,2364,488,2365,371],"果园","黄色野花","塔楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b8dc24448a79bd13da4318ce0d9df6.jpg",[377],{"id":2369,"slug":2370,"title":2371,"dynasty":112,"author":2372,"museum":93,"description":2373,"tags":2374,"thumbUrl":2375,"material":2376,"size":2377,"collection":121,"collections":2378,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},221887,"za-hua-tu-ce-fang-zhao-qian-li-bi-fa-chen-hong-shou-221887","杂画图册-仿赵千里笔法","陈洪绶","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,24,96,155,462,915,25,55,157,76,7,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5478b57693b040ba618e4030c80496.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":2380,"slug":2381,"title":2382,"dynasty":18,"author":168,"museum":93,"description":2383,"tags":2384,"thumbUrl":2385,"material":2126,"size":2386,"collection":121,"collections":2387,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":66},233018,"liu-yuan-xiao-shu-tu-ye-yi-ming-233018","柳院消暑图页","避暑是宋人夏季活动的一件大事。农历四月谓之初夏，五月初五是端午，端午过后，天气便炎热起来。宋代周密所著《武林旧事》是一部十卷本南宋杂史，详述了朝廷典礼﹑山川风俗﹑市肆经纪﹑四时节物﹑教坊乐部等情况﹐是了解南宋城市文化和市民生活的史料。其中就有对临安百姓入夏活动的记载：“盖入夏则游船不复入里湖，多占蒲深柳密宽凉之地，披襟钓水，月上始还。”描述了南宋夏季，人们不再着襦、袄，开始穿着单衫，服装质料上也以轻薄透气为主。\n此画描绘了士人在庭院中避暑纳凉的场景。院中柳树垂阴，古树掩映。画中一士人坐于室内赏景纳凉，其身后站有一双手持扇的仆僮。门前湖面宽阔，荷叶点缀其间，远山云雾变幻莫测。院侧十数株庭花盛开，绿草如茵，有一仆僮正捧盒而来。\n画中坐于室内的士人头戴小冠。“小冠”也称“束髻冠”，是一种束在髻上的发罩，多为皮制，形如手状。《宋书·五行志》曾记载：“晋末皆冠小冠，而衣裳博大，风流相仿，舆台成俗。”士人身穿大袖襕衫，腰间系带。襕衫是一种特别的长衫，其在衫的下裳处施有横襕，代表上衣下裳的含义。宋代时，襕衫常用白色细布，圆领大袖，下摆施以横襕，腰间有褶，为士人、进士、秀才服饰。《宋史·與服志》记载：“襕衫。以白细布为之，圆领大袖，下施横襕为裳，腰间有辟积。进士及国子生、州县生服之。”\n画中共有仆僮两人。士人身后持扇仆僮身穿小袖短衫，下身着长裤，腰间系带。院侧正捧盒归来的仆僮梳双丫髻，身穿小袖长衫，两侧开衩，内着中单，腰间系带，下着长裤，脚穿布鞋。长裤以透明的薄纱为面料，肌肤在薄纱下隐约可见。纱是最古老的丝织物之一，其是一种密度稀疏、轻薄、方孔的平纹织物。由于其轻盈、有孔的特点，通常用来制作夏季服饰。宋时，纺纱技术有了很大的发展，《宋史·地理志二》就有记载：“相州，……贡暗花牡丹花纱。”",[24,133,96,763,25,26,29,75,1098,55,313,52,7,854],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d30c2c6ab3d95c7805d55f6b76dc45.jpg","纵29厘米*横29.2厘米",[],6,{"id":2390,"slug":2391,"title":2392,"dynasty":357,"author":1679,"museum":359,"description":1823,"tags":2393,"thumbUrl":2395,"material":375,"size":376,"collection":121,"collections":2396,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":66},232582,"wei-lian-a-dao-fu-bu-ge-luo-196-wei-lian-a-dao-fu-bu-ge-luo-232582","威廉·阿道夫·布格罗196",[1682,362,25,29,2394,1283,7,52,503,582],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e96a69807e963527c89f3e916aa864.jpg",[],{"id":2398,"slug":2399,"title":2400,"dynasty":357,"author":2401,"museum":359,"description":2402,"tags":2403,"thumbUrl":2405,"material":375,"size":376,"collection":121,"collections":2406,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":573},232284,"a-er-ma-11-lao-lun-si-a-er-ma-ta-de-ma-232284","阿尔玛11","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[362,197,2404,7,929,2207,1837,497],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617c34eb2e58635fc64551c8fdccb4d6.jpg",[],{"id":2408,"slug":2409,"title":2410,"dynasty":357,"author":168,"museum":359,"description":2411,"tags":2412,"thumbUrl":2416,"material":375,"size":376,"collection":121,"collections":2417,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":39},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,49,25,26,29,2413,2414,1098,217,184,1283,139,53,7,285,55,98,2415,314,409,52],"武士","贵族","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":2419,"slug":2420,"title":2421,"dynasty":357,"author":168,"museum":359,"description":2422,"tags":2423,"thumbUrl":2424,"material":375,"size":376,"collection":121,"collections":2425,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":39},231620,"shan-shui-shi-er-tu-ping-li-zhou-yi-ming-231620","山水十二图屏立轴","此作用淡彩浅绛写就江隅小景，近岸老松虬曲苍劲，松叶敷染清润，自有葱茏生机。坡岸浅草萋萋，留白摹写江水空阔，淡墨晕染远岸烟岚，晕化出空濛悠远的淡远意境。\n题句融于画面，“清风松翠，斜日照江”，诗画相映，将闲淡悠然的野趣铺陈开来。笔致秀润温婉，摒弃浓墨重彩，尽显江南水岸的清寂安闲，带着文人画的雅致意趣，将观画人带入幽宁静谧的江渚闲居之境。",[23,24,96,203,25,348,55,139,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da01ef5a5e4c80f11e0cb13cb46b25d.jpg",[],{"id":2427,"slug":2428,"title":2429,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2430,"thumbUrl":2433,"material":375,"size":376,"collection":377,"collections":2434,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":66},226116,"the-seine-at-petit-gennevilliers-1872-mo-nai-226116","The Seine at Petit-Gennevilliers, 1872",[362,363,53,569,653,1913,488,2255,29,2431,651,7,371,854,2346,2432,649],"桅杆","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8193fd09c9f0a056d35f69a8edc3cdd1.jpg",[377],{"id":2436,"slug":2437,"title":2438,"dynasty":357,"author":358,"museum":359,"description":360,"tags":2439,"thumbUrl":2441,"material":375,"size":376,"collection":377,"collections":2442,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":66},226103,"the-railway-bridge-at-argenteuil-1874-mo-nai-226103","The Railway Bridge at Argenteuil, 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像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,96,203,25,26,408,228,29,52,140,313,285,7,2415],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":2493,"slug":2494,"title":2495,"dynasty":357,"author":168,"museum":359,"description":2496,"tags":2497,"thumbUrl":2498,"material":375,"size":376,"collection":121,"collections":2499,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},225459,"fu-shi-hui-217-yi-ming-225459","浮世绘217","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。",[2457,25,26,241,199,76,52,77,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ea63e601dc52690012371a9edbaa5.jpg",[],{"id":2501,"slug":2502,"title":2503,"dynasty":112,"author":168,"museum":359,"description":2504,"tags":2505,"thumbUrl":2506,"material":375,"size":376,"collection":121,"collections":2507,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":66},223547,"xi-ma-tu-quan-juan-yi-ming-223547","洗马图全卷","马官们牵马临溪，或冲浴马身，或在岸边小憩。人物、鞍马分别施以不同色彩，丰富浓郁而又 清丽，做到了色不掩笔。用笔精细，色调浓润，风格清新秀丽。",[23,24,96,49,25,26,55,52,29,51,53,7,1243,98,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc55a22a730b92f31c6715f8624f45ae.jpg",[],{"id":2509,"slug":2510,"title":2511,"dynasty":44,"author":168,"museum":93,"description":2512,"tags":2513,"thumbUrl":2514,"material":25,"size":121,"collection":121,"collections":2515,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},217294,"gu-xiu-wu-shi-san-can-tu-ce-24-yi-ming-217294","顾绣·五十三参图册-24","绣线流转间，铺展一段静谧的参访图景。左页老者衣袂垂落如流云，孩童俯身似与生灵低语；右页长者安坐松石旁，稚童翘首聆听，松针如星点缀枝桠。淡彩晕染的山水间，枯枝与青松相映，浅草覆坡，溪石隐现，处处透着江南绣艺的雅致。顾绣以针代笔，人物服饰的纹理、草木的脉络皆精细入微，连孩童的神态都鲜活灵动。“五十三参”的虔诚与童真相融，绣者将善财童子问道的意趣凝于丝缕，让每一处针脚都藏着对修行与成长的温柔诠释，尽显传统绣艺的含蓄之美。",[1534,25,29,139,116,7,854,299,616],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22e6537ec9fb03e66496040ce71b1b7.jpg",[],{"id":2517,"slug":2518,"title":2519,"dynasty":44,"author":2520,"museum":359,"description":2521,"tags":2522,"thumbUrl":2533,"material":375,"size":376,"collection":121,"collections":2534,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":39},238445,"geng-zhi-tu-ce-mian-yi-238445","耕织图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,25,26,155,408,29,285,2523,1399,313,791,389,2524,159,2525,2526,2527,7,2528,2529,2530,2531,287,2532,1065],"纺织工具","日常劳作","竹棚","木桶","织物","柱子","格子窗","竹帘","木架","绳索","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d37f566a234b1327c9f0ce5f533f64.jpg",[],{"id":2536,"slug":2537,"title":2538,"dynasty":357,"author":1679,"museum":359,"description":1823,"tags":2539,"thumbUrl":2546,"material":375,"size":376,"collection":121,"collections":2547,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":66},232585,"wei-lian-a-dao-fu-bu-ge-luo-199-wei-lian-a-dao-fu-bu-ge-luo-232585","威廉·阿道夫·布格罗199",[362,197,25,2136,29,2307,159,2540,7,552,2541,581,52,140,373,2542,2543,2544,2545],"裸童","黄花","赤脚","衣物褶皱","自然背景","人物刻画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd1eaa7206ac914ecc37acdc1f81d0e.jpg",[],{"id":2549,"slug":2550,"title":2551,"dynasty":357,"author":1679,"museum":359,"description":1823,"tags":2552,"thumbUrl":2554,"material":375,"size":376,"collection":121,"collections":2555,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":66},232577,"wei-lian-a-dao-fu-bu-ge-luo-192-wei-lian-a-dao-fu-bu-ge-luo-232577","威廉·阿道夫·布格罗192",[362,197,25,29,159,1828,7,52,2308,2553,582],"布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff907a691f1fa320855249d1b397c5938.jpg",[],{"id":2557,"slug":2558,"title":2559,"dynasty":357,"author":2560,"museum":359,"description":2561,"tags":2562,"thumbUrl":2569,"material":375,"size":376,"collection":121,"collections":2570,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":39},232535,"mi-lai-si-79-yue-han-ai-fu-li-te-mi-lai-si-232535","米莱斯79","约翰·埃弗里特米莱斯","John 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