[{"data":1,"prerenderedAt":533},["ShallowReactive",2],{"subject-che":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1407,"che","车","车画高清赏析","精选中国历代车题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb0cf353281f35d0331ea93c39db6379.jpg",0,39,[14,59,74,91,111,130,145,160,174,189,202,217,227,240,253,263,273,286,296,309,325,336,348,358,368,377,387,401,417,429,443,454,464,473,482,494,501,510,522],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":50,"material":51,"size":52,"collection":53,"collections":54,"showCount":56,"zanCount":57,"manualWeight":11,"mainColor":58},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","清明上河图","宋","张择端","北京故宫博物院","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,7,42,43,44,45,46,47,48,49],"高清","国画","书画","长卷","界画","工笔","设色","人物","楼阁","小桥","流水","船","马","牛","树木","街市","店铺","桥梁","城墙","河流","码头","货船","行人","商贩","房屋","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[53,55],"水墨画精选",8462,106,"795548",{"id":60,"slug":61,"title":62,"dynasty":18,"author":19,"museum":63,"description":64,"tags":65,"thumbUrl":69,"material":70,"size":70,"collection":70,"collections":71,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":58},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","藏地不详","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,26,27,28,66,30,31,32,33,34,35,36,37,38,67,7,68,42,47,43,45],"白描","商铺","轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg","",[],368,3,{"id":75,"slug":76,"title":77,"dynasty":78,"author":79,"museum":63,"description":80,"tags":81,"thumbUrl":87,"material":70,"size":70,"collection":70,"collections":88,"showCount":89,"zanCount":90,"manualWeight":11,"mainColor":58},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","晋","顾恺之","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,82,24,25,26,66,83,30,35,7,84,85,86],"名画","临摹","印章","书法","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],175,4,{"id":92,"slug":93,"title":94,"dynasty":18,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":106,"material":107,"size":108,"collection":53,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":58},218629,"pan-che-tu-jiang-can-218629","盘车图","江参","美国弗利尔美术馆","寒林覆雪，枝桠虬曲如铁线，在凛风中舒展筋骨。山峦以淡墨晕染，层叠间透着清寂，山脚却藏烟火暖意——几辆盘车缓行于雪泥道上，牛蹄踏雪留痕，车轮碾过碎雪，车旁人物裹衣呵气，似在抵御严寒。远处村落隐于林麓，屋舍错落，炊烟轻袅，与苍茫山色相映。笔墨细腻处见功力：枯树皴擦显苍劲，盘车结构精准，人物动态鲜活；而雪景朦胧与山峦雄浑，又营造出阔远意境。整幅画于萧瑟冬日，融旅途艰辛与人间烟火于一炉，写实功底见古画本色，诗意留白引观者遐思，尽显冬日山水间的生活韵致与苍茫之美。",[24,82,25,29,99,100,101,102,103,104,7,36,30,105],"皴法","山水","山石","枯树","老树","古道","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1548d14d9bbde0476e8e9f354f0095f2.jpg","绢本,设色","30x24",[53],124,{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":117,"description":118,"tags":119,"thumbUrl":124,"material":107,"size":125,"collection":126,"collections":127,"showCount":128,"zanCount":129,"manualWeight":11,"mainColor":58},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","明","唐寅","台北故宫博物院","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,25,100,120,99,121,122,37,102,47,7,35,123,84,104,42,29],"水墨","雪","山","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米","山水画精选",[126],89,1,{"id":131,"slug":132,"title":133,"dynasty":18,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":139,"material":140,"size":141,"collection":53,"collections":142,"showCount":144,"zanCount":129,"manualWeight":11,"mainColor":58},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","佚名","上海博物馆","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,82,24,25,26,27,28,29,30,31,33,7,34,37,40,138],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","绢本设色","纵55.4厘米横124.1厘米",[53,143],"设色画精选",84,{"id":146,"slug":147,"title":148,"dynasty":115,"author":149,"museum":20,"description":150,"tags":151,"thumbUrl":155,"material":156,"size":157,"collection":70,"collections":158,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":159},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞","仇英","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,82,25,152,28,29,30,35,7,104,153,154],"册","美人","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米",[],"BDBDBD",{"id":161,"slug":162,"title":163,"dynasty":164,"author":165,"museum":166,"description":167,"tags":168,"thumbUrl":170,"material":107,"size":171,"collection":126,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":58},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","清","袁耀","大英博物馆","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,25,100,27,99,83,29,30,31,104,169,35,7,101,37,103],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[126],82,{"id":175,"slug":176,"title":177,"dynasty":18,"author":134,"museum":63,"description":178,"tags":179,"thumbUrl":186,"material":70,"size":70,"collection":70,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":58},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,26,83,29,28,66,100,30,180,181,35,31,37,182,183,184,185,42,101,7],"舟船","龙","云雾","旗帜","侍从","神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],54,{"id":190,"slug":191,"title":133,"dynasty":192,"author":134,"museum":63,"description":193,"tags":194,"thumbUrl":197,"material":198,"size":199,"collection":70,"collections":200,"showCount":201,"zanCount":129,"manualWeight":11,"mainColor":58},288513,"zha-kou-pan-che-tu-yi-ming-288513","五代十国","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,82,24,25,27,29,30,31,32,33,195,7,196],"舟","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg","未知","Xcm*Xcm",[],47,{"id":203,"slug":204,"title":205,"dynasty":115,"author":134,"museum":206,"description":207,"tags":208,"thumbUrl":212,"material":107,"size":213,"collection":214,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":58},219620,"ming-ren-lao-zi-chu-guan-tu-yi-ming-219620","明人老子出关图","耶鲁大学艺术博物馆","古松虬劲盘绕城关，苍枝舒展如盖。老子安卧牛车之中，仆从前后相随，道童负囊循山径而来，行旅意态松弛悠然。远景山峦以斧劈皴挥写，雄奇险峻间晕染流岚云雾，晕化开山林的幽深空寂。画作以山水衬行旅，将道家归隐出关的澹然意趣，融于苍阔山景之间，人物刻画细腻生动，山水笔力刚劲爽利，把出世的超脱与山川的雄浑相融，尽显古典山水人物画的雅致意韵，藏着悠远沉静的道家风骨。",[24,25,82,209,29,30,100,31,104,36,7,210,101,99,211],"立轴","树","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b3b3a50865b6183c2ae52a94aaca214.jpg","纵140.3横67.5厘米","人物画精选",[214],43,{"id":218,"slug":219,"title":220,"dynasty":18,"author":221,"museum":63,"description":222,"tags":223,"thumbUrl":224,"material":70,"size":70,"collection":70,"collections":225,"showCount":226,"zanCount":129,"manualWeight":11,"mainColor":58},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","许道宁","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,82,24,25,209,29,100,30,35,7,183,37,123,104,31,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],42,{"id":228,"slug":229,"title":230,"dynasty":18,"author":231,"museum":63,"description":232,"tags":233,"thumbUrl":238,"material":198,"size":199,"collection":70,"collections":239,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":58},288950,"xi-shan-xing-lv-tu-zhu-rui-288950","溪山行旅图","朱锐","朱锐，中国宋代画家。生卒年不详，活动于北宋末南宋初。河北人。原为北宋宣和画院待诏，南渡后又入绍兴画院，任待诏，授迪功郎，赐金带。擅山水，工雪景，师法王维，所画多骡纲、雪猎、盘车、行旅等题材，表现了车辆旅人跋涉于荒寒苍凉的溪山之间的艰辛之状。形象真实，主题鲜明，情景动人。有《盘车图》传世。",[24,234,120,99,235,104,102,101,236,7,237],"山水画","雪景","屋舍","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5e368d045f07f690c0d3294e3aae4.jpg",[],{"id":241,"slug":242,"title":243,"dynasty":18,"author":244,"museum":117,"description":245,"tags":246,"thumbUrl":248,"material":249,"size":250,"collection":214,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":159},219642,"bing-zhu-ye-you-tu-zhang-qi-han-219642","秉烛夜游图","张齐翰","郊野暮色初降，古木虬枝蓊郁如盖，树下士人衣袂翩然，正执言相候。另一侧马车徐行，驭者控缰缓驱，车中友人将赴夜宴。\n\n整作设色清隽沉稳，青绿山石晕染柔润，苍劲古木搭配浅翠新叶，晕开暮色沉沉的静谧氛围。人物情态宛然细腻，车马细节写实雅致，以工兼写的笔意，将名士耽恋良辰的风雅意趣融于尺幅之间。构图疏密得宜，平淡之中尽显悠然古意，藏着对林下风流的追慕，把及时行乐的雅致文心，晕染在这一方绢素之上。",[24,29,28,30,210,7,247,100,104],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853bce87cb4001a500cdc5e8979a6aa0.jpg","绢本","28.2x26.5",[214],33,{"id":254,"slug":255,"title":256,"dynasty":115,"author":134,"museum":63,"description":257,"tags":258,"thumbUrl":260,"material":70,"size":70,"collection":70,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":58},223622,"hu-jia-shi-ba-pai-tu-juan-yi-ming-223622","胡笳十八拍图卷","这是诗书画合一的叙事长卷，以古雅绢本为底，绘图配书，徐徐铺展蔡文姬的半生流离。画面里车马辚辚、城郭乡野、人物衣冠皆贴合古制，细节里藏着乱世羁旅的沉郁。每段题笔与场景呼应，将去国的怆然、归汉别子的两难尽数渲染，笔致朴拙温婉，把《胡笳十八拍》里的哀恸与深情具象为可视的场景，让文辞的悲戚落在人物的眉眼、步履之间，带着旧绢的温润底色，诉尽乱世女子的飘零宿命，让千年前的家国离愁跨越岁月，静静铺陈在卷上。",[23,82,24,25,26,29,28,66,30,35,31,183,259,100,37,7],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a822cce9a1c19b42a164c7a30f03db9.jpg",[],32,{"id":264,"slug":265,"title":266,"dynasty":18,"author":267,"museum":63,"description":268,"tags":269,"thumbUrl":270,"material":271,"size":70,"collection":70,"collections":272,"showCount":262,"zanCount":129,"manualWeight":11,"mainColor":159},218113,"bai-miao-ren-wu-tu-ce-1-li-gong-lin-218113","白描人物图册-1","李公麟","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,82,24,25,152,66,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2d350df6ea3393f1fa4448450695ce.jpg","纸本,水墨",[],{"id":274,"slug":275,"title":276,"dynasty":164,"author":277,"museum":63,"description":278,"tags":279,"thumbUrl":283,"material":70,"size":70,"collection":70,"collections":284,"showCount":285,"zanCount":129,"manualWeight":11,"mainColor":58},224344,"xiao-pin-1-qiao-gu-224344","小品1","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,24,25,209,29,28,30,35,280,281,282,101,211,7],"鹤","鱼","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],26,{"id":287,"slug":288,"title":94,"dynasty":18,"author":289,"museum":63,"description":290,"tags":291,"thumbUrl":293,"material":70,"size":70,"collection":70,"collections":294,"showCount":295,"zanCount":11,"manualWeight":11,"mainColor":58},227415,"pan-che-tu-jiang-guan-dao-227415","江贯道","江贯道是北宋时期的画家，他名叫江参，贯道是他的字。 江贯道的山水画风格融合了董源、巨然的画风，擅画远山丛丛，水天一色。 清初的王鉴很喜欢江贯道的画风，临仿了多幅他的作品。 从清初四王的风格来看，他们都有强大的摹古能力，尤其是宋元名家的风格特征已经深深地烙印在他们的作品之中。",[24,82,25,100,29,99,292,103,36,7,30,122,104,31],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7232f33445e065218724fbbeadf8b1e2.jpg",[],25,{"id":297,"slug":298,"title":299,"dynasty":18,"author":300,"museum":135,"description":301,"tags":302,"thumbUrl":305,"material":107,"size":306,"collection":214,"collections":307,"showCount":308,"zanCount":129,"manualWeight":11,"mainColor":159},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,82,24,25,26,29,28,303,85,84,30,100,304,210,31,211,7],"行书","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[214],23,{"id":310,"slug":311,"title":312,"dynasty":164,"author":313,"museum":314,"description":315,"tags":316,"thumbUrl":321,"material":249,"size":322,"collection":70,"collections":323,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":159},222926,"hong-lou-meng-51-sun-wen-222926","红楼梦51","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",[23,28,29,27,30,31,181,35,37,317,7,318,319,320],"庭院","屋顶","壁画","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7467e4bee40568e154c15ea74b0e48.jpg","纵43.3厘米、横76.5厘米",[],22,{"id":326,"slug":327,"title":328,"dynasty":18,"author":329,"museum":63,"description":330,"tags":331,"thumbUrl":333,"material":70,"size":70,"collection":70,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":58},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","晋文公复国图","李唐","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,82,24,25,26,66,28,99,30,35,31,37,101,84,85,332,7],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],17,{"id":337,"slug":338,"title":339,"dynasty":164,"author":340,"museum":20,"description":341,"tags":342,"thumbUrl":344,"material":156,"size":345,"collection":70,"collections":346,"showCount":347,"zanCount":11,"manualWeight":11,"mainColor":58},222867,"shi-gong-ci-tu-ce-06-leng-mei-222867","十宫词图册06","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,82,24,25,152,28,29,30,31,317,7,343,85,303,84],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168968a1c5eb89201c2550c1aad92216.jpg","纵33.1厘米，横29.3厘米",[],16,{"id":349,"slug":350,"title":351,"dynasty":164,"author":352,"museum":63,"description":353,"tags":354,"thumbUrl":355,"material":70,"size":70,"collection":70,"collections":356,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":58},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","禹之鼎","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,26,29,66,30,100,195,36,7,103,292,31,33,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],12,{"id":359,"slug":360,"title":361,"dynasty":115,"author":362,"museum":20,"description":363,"tags":364,"thumbUrl":365,"material":249,"size":366,"collection":70,"collections":367,"showCount":357,"zanCount":11,"manualWeight":11,"mainColor":58},222428,"pan-che-tu-ce-li-xi-yan-222428","盘车图册","李希颜","李希颜，字愚庵，河南郏县人，生平不详，明代儒学家，他性格严峻，品行修养高，博览群书。朱元璋当了皇帝以后，因人推荐，亲自书写了诏书，把李希颜召进宫殿，选定他做王子们的教师。这些王子就是后来被皇帝分封的十位藩王。\n李希颜向十位小王子讲授尧舜禹商汤，行大仁、仗大义的道理与事迹，这些小王子，难免有不听教导、顽皮的时候。李希颜执教严厉，虽然是王子，有不服教育或不认真学习的，他照样用笔管打他们的脑门。打得多了，脑门上便留下了痕迹。有一天，朱元璋抚摸着小王子被打的伤痕，十分生气。马皇后知道原因后，大声的反问说：“哪里有用尧、舜的标准，来教训你儿子，反使你发脾气的?” 朱元璋听了这话，立刻止了气语，平静了下来。以后一直很尊敬他、善待他。",[23,24,100,29,99,31,101,37,7,104,169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9345d506d0d1b7e6d586a3fc76f70f47.jpg","12.7×17.1cm",[],{"id":369,"slug":370,"title":371,"dynasty":115,"author":134,"museum":63,"description":372,"tags":373,"thumbUrl":374,"material":70,"size":70,"collection":70,"collections":375,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":58},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,25,26,29,28,30,35,7,47,259,183,100,37,85,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],8,{"id":378,"slug":379,"title":380,"dynasty":115,"author":134,"museum":63,"description":381,"tags":382,"thumbUrl":384,"material":198,"size":199,"collection":70,"collections":385,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":159},238566,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238566","明人升平翊赞图并书赞册","此作以工笔重彩铺陈神霄盛会，青蓝穹庐托举赤霞朝日，仙山石崖凌云而起。诸天神将乘云拥簇，旌旗飘曳宝光流转，衣袂灵动飞扬，尽显仪卫雍容肃穆。下方仙官稽首仰望，祥云缠裹山峦，疏密布局层次分明。\n\n设色浓丽沉厚，冷暖撞色晕染出仙灵玄虚之气，人物刻画精微生动，将升平赞贺的祥瑞意蕴凝于尺幅，尽显道释绘画的工致精妙，把神境恢宏气象铺展于绢素之上，带着庄重华美的古雅气韵。",[24,25,152,29,28,30,100,181,383,211,210,101,31,7],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cc9ce683acc8f68f43092e035d2500.jpg",[],7,{"id":388,"slug":389,"title":390,"dynasty":164,"author":391,"museum":63,"description":392,"tags":393,"thumbUrl":398,"material":198,"size":199,"collection":70,"collections":399,"showCount":400,"zanCount":11,"manualWeight":11,"mainColor":159},240845,"shi-zhou-li-fang-ying-240845","诗轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[25,209,303,85,84,394,195,395,396,397,35,7],"雨","湖","田","渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],6,{"id":402,"slug":403,"title":404,"dynasty":405,"author":134,"museum":63,"description":406,"tags":407,"thumbUrl":414,"material":198,"size":199,"collection":70,"collections":415,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":58},254583,"tao-huang-lv-you-niu-che-yi-ming-254583","陶黄绿釉牛车","隋","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[408,409,410,411,36,7,412,413],"隋代","陶瓷","黄绿釉","陶塑","雕刻","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85adab79ec4e3926a4ae958c38b81795.jpg",[],5,{"id":418,"slug":419,"title":420,"dynasty":164,"author":421,"museum":63,"description":422,"tags":423,"thumbUrl":427,"material":70,"size":70,"collection":70,"collections":428,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":58},224291,"xue-ling-pan-che-tu-li-yin-224291","雪岭盘车图","李寅","《清李寅雪岭盘车图》是由清代画家 所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,82,24,25,209,100,29,99,122,121,7,210,47,123,424,30,425,102,426],"溪流","骆驼","石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":18,"author":329,"museum":117,"description":433,"tags":434,"thumbUrl":440,"material":107,"size":441,"collection":70,"collections":442,"showCount":416,"zanCount":11,"manualWeight":11,"mainColor":58},218155,"wen-ji-gui-han-tu-ce-8-li-tang-218155","文姬归汉图册-8","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[82,24,25,152,29,28,99,30,35,36,7,104,435,37,436,437,438,439],"土坡","服饰","历史场景","宋代","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb6ffaf894a25f6f8dd74b66d18417a.jpg","50.7x39.7",[],{"id":444,"slug":445,"title":446,"dynasty":447,"author":134,"museum":63,"description":448,"tags":449,"thumbUrl":452,"material":198,"size":199,"collection":70,"collections":453,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":159},225353,"fu-shi-hui-108-yi-ming-225353","浮世绘108","不详","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。",[450,66,120,30,153,7,210,451],"浮世绘","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e7649a2a734db08def0be5c57d0c4d.jpg",[],{"id":455,"slug":456,"title":457,"dynasty":447,"author":458,"museum":63,"description":459,"tags":460,"thumbUrl":462,"material":198,"size":199,"collection":70,"collections":463,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":159},231789,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-2-zhi-shou-jing-231789","文永贺茂祭图卷 双纸-2","直寿敬","此作兼具叙事性与文人意趣，左侧行书题字舒展清雅，朱印古拙端方，文气沉静。右侧绘祭典出行渡河的鲜活图景，设色柔雅清淡，线条细腻写实。渡头牛车浮于水面，驭牛者神色专注，车中人物姿态安然，桥上、船间行人衣着各异，神态鲜活松弛，将祭典沿途的市井烟火铺陈开来。\n\n画作以平实笔致描摹民俗日常，未作浓墨重彩渲染，却细致捕捉了旧时祭典出行的悠然氛围，还原出古早祭典的鲜活世情，带着和风古画独有的温婉写实质感，于静卷之中重现往昔祭典的鲜活意趣，尽显对世俗日常的细致体察。",[23,24,26,29,28,85,84,30,36,7,461],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F791f054a22b874944cc9cc95a1c08b15.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":164,"author":134,"museum":468,"description":469,"tags":470,"thumbUrl":471,"material":107,"size":70,"collection":70,"collections":472,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":58},215951,"di-jian-tu-shuo-cai-hui-ben-59-yi-ming-215951","帝鉴图说彩绘本-59","法国国家图书馆","画面以层叠山峦为远景，青绿晕染间透着清逸古雅；近景苍松虬劲，枝桠舒展如盖。朱红车轮的马车居于中央，帷幔轻垂，车内人物端坐，车旁仆从牵马引行，马匹姿态昂扬，蹄下似有生风。前方小吏奔跑引路，衣袂翻飞间显出行进的匆忙与生动。色彩以蓝绿为主调，辅以暖红点缀，对比和谐又不失明艳。线条细腻勾勒人物衣纹、树木纹理，细节处见匠心——仆从的专注动作、马匹的灵动神态，皆将一段历史场景凝练成鲜活的视觉叙事，尽显清代彩绘的工致与意趣，仿佛能听见车马辚辚的声响，窥见古人行旅的鲜活片段。",[24,29,28,100,30,35,37,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b7337d2cea9bc0f8b6aa4d0279ba4c0.jpg",[],{"id":474,"slug":475,"title":476,"dynasty":164,"author":134,"museum":63,"description":477,"tags":478,"thumbUrl":479,"material":198,"size":199,"collection":70,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":159},237259,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237259","名臣故事邓旭题颂册","右幅绘出行遇雨的场景，人物刻画鲜活灵动，仆从或撑伞趋前护持，或俯身奋力推车，官员抬手作揖，将行路遇雨的日常情态细腻呈现，细节饱满生动。左幅行书题诗笔致舒展俊逸，笔墨苍劲雅致，诗画呼应，将文臣出行的片段娓娓铺陈。整体设色浅淡沉静，工写相融，以细腻笔触勾勒古意日常，兼具纪实质感与文人雅趣，诗画合璧更添悠长意蕴，尽显小品叙事画的精巧意韵。",[24,25,152,29,30,303,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d6fe86cf97d28ebf11581db50b751e.jpg",[],2,{"id":483,"slug":484,"title":485,"dynasty":164,"author":134,"museum":468,"description":486,"tags":487,"thumbUrl":492,"material":107,"size":70,"collection":70,"collections":493,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":58},215988,"di-jian-tu-shuo-cai-hui-ben-18-yi-ming-215988","帝鉴图说彩绘本-18","红柱支起青瓦飞檐，朱墙围合的庭院层次错落。阶前众人或躬身揖让，或垂首静候，衣袂飘飘间尽显古礼之序；门侧卫士执戟肃立，身姿挺拔，守着朝堂的威严。左下角推车人躬身前行，木轮轻转，似把尘世烟火悄悄揉进这庄重画面。画中藏“隐迹待时”之典，贤士韬光的沉静与君臣相期的期许交织，每处细节皆含深意：既有礼制的肃穆之美，亦显贤才处世的智慧，色彩明丽却不失雅致，线条细腻又藏风骨，静静铺展着古代贤士与朝堂间的微妙联结。",[24,25,29,28,27,30,31,317,488,37,7,489,490,318,491,211],"门","台阶","柱","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6a6117e9c0933e7fd172079ffee785.jpg",[],{"id":495,"slug":496,"title":476,"dynasty":164,"author":134,"museum":63,"description":497,"tags":498,"thumbUrl":499,"material":198,"size":199,"collection":70,"collections":500,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":159},237253,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237253","此作为图文合璧之作，右侧设色人物清淡雅致，人物情态鲜活分明，执扇近侍恭谨伫立，僚属俯身拜谒，安驻车舆静立一旁，将贤臣从容自持、礼贤下士的风骨铺展眼前。左侧行书题字笔力清劲舒展，文辞追述先贤仁厚忠直的高风亮节。书画相映，以具象图景与文雅题咏复刻前贤嘉行，既有清代人物画写实细腻的特质，又借笔墨传递出崇仰贤德的意蕴，是兼具叙事性与观赏性的小品佳构。",[24,25,152,29,28,30,7,86,303,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbd39b0ee9c5c32f8b7b364f4d81364.jpg",[],{"id":502,"slug":503,"title":504,"dynasty":164,"author":134,"museum":468,"description":505,"tags":506,"thumbUrl":508,"material":107,"size":70,"collection":70,"collections":509,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":58},215918,"di-jian-tu-shuo-cai-hui-ben-86-yi-ming-215918","帝鉴图说彩绘本-86","青绿晕染的山峦如黛，云雾轻笼处隐现屋舍几重，似有炊烟欲散未散。近景里，牵马的仆从、执礼的士人、倚门的老者衣袂流转，古雅意趣尽显。马匹鬃毛与车舆纹饰细致入微，人物神情鲜活：或躬身问候，或牵缰伫立，动静相宜间似有低语随风轻传。淡赭铺底的绢素上，树木枝叶扶苏，屋舍错落于青溪旁，山水与人物相映成趣。画面既藏自然清幽，又含人间温情，仿佛将一段尘封故事凝于方寸，每处笔触都裹着岁月余韵，引人驻足探寻那些隐于画中的古雅时光。",[24,25,152,29,28,30,35,31,37,100,47,7,101,507],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57c751410f1661fe1cc426f038b210.jpg",[],{"id":511,"slug":512,"title":513,"dynasty":164,"author":134,"museum":63,"description":514,"tags":515,"thumbUrl":520,"material":198,"size":199,"collection":70,"collections":521,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":159},248160,"ti-hong-fan-ren-jin-bao-tu-tao-shi-he-yi-ming-248160","剔红番人进宝图桃式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[516,412,517,30,7,518,519],"漆器","桃式盒","日用具","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4251b26062319a759f3d0aa0d603f026.jpg",[],{"id":523,"slug":524,"title":525,"dynasty":164,"author":134,"museum":63,"description":514,"tags":526,"thumbUrl":531,"material":198,"size":199,"collection":70,"collections":532,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},247911,"ti-hong-shan-shui-ren-wu-tu-dai-lu-ping-he-che-shi-tao-he-yi-ming-247911","剔红山水人物图带炉瓶盒车式套盒",[516,527,412,100,30,7,528,529,530,196],"剔红","炉","瓶","盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77fa2a1c75520ce2ee1e76f222801f4d.jpg",[],1777535711818]