[{"data":1,"prerenderedAt":440},["ShallowReactive",2],{"subject-cheng-qiang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},865,"cheng-qiang","城墙","城墙画高清赏析","精选中国历代城墙题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6cdbc0d095925bc485bfcbd36c66cc7.jpg",0,30,[14,59,86,99,119,139,153,168,182,199,211,227,241,256,276,294,311,321,333,343,351,359,370,381,389,397,404,413,421,431],{"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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7,41,42,43,44,45,46,47,48,49],"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","车","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":63,"author":64,"museum":65,"description":66,"tags":67,"thumbUrl":78,"material":79,"size":80,"collection":81,"collections":82,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":58},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","明","朱邦","大英博物馆","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,68,24,25,69,27,29,28,70,31,71,30,35,72,73,74,75,76,77,37,40,7],"名画","立轴","宫城","宫殿","驴","建筑","城池","仪仗","官员","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","绢本,设色","高170厘米，宽110.8厘米","人物画精选",[81,83],"设色画精选",192,5,{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":20,"description":21,"tags":90,"thumbUrl":95,"material":51,"size":52,"collection":96,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":58},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,68,24,25,26,28,27,29,30,31,32,33,34,35,36,91,38,92,47,42,40,93,45,94,73,7],"树","商铺","舟楫","车马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg","",[],181,{"id":100,"slug":101,"title":102,"dynasty":103,"author":104,"museum":105,"description":106,"tags":107,"thumbUrl":113,"material":79,"size":114,"collection":81,"collections":115,"showCount":116,"zanCount":117,"manualWeight":11,"mainColor":118},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","仿宋院本金陵图","清","杨大章","台北故宫博物院","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,26,29,28,108,27,30,31,32,33,37,35,36,47,109,110,111,112,7,45,39,42,40],"临摹","街道","市集","船只","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[81,83],93,1,"37474F",{"id":120,"slug":121,"title":122,"dynasty":103,"author":123,"museum":20,"description":124,"tags":125,"thumbUrl":133,"material":134,"size":135,"collection":81,"collections":136,"showCount":137,"zanCount":117,"manualWeight":11,"mainColor":138},238124,"kang-xi-nan-xun-tu-juan-wang-hui-238124","康熙南巡图卷","王翚","康熙皇帝是清朝入关以后的第二代皇帝，在位期间，为了解民情，视察河防，尤其是为平息江南地区民众的反清情绪，从康熙二十三年（1684年）到康熙四十六年（1707年）间，曾经有过6次南巡的盛举。每次南巡，皇帝一行从京师出发，时而车骑，时而舟船，一直抵达浙江的绍兴。出巡活动浩浩荡荡，兴师动众，地方官员迎来送往，花费惊人。《红楼梦》作者曹雪芹的祖父曹寅当时任江宁织造，曾数次接驾。曹雪芹在小说中借凤姐之口说：“说起当年太祖皇帝仿舜巡的故事，比一部书还热闹……只预备接驾一次，把银子花的像淌海水似的！”可见其豪华排场。\n在康熙二十八年（1689年）第二次南巡结束后，根据皇帝的命令，由曹寅之弟曹筌任“《南巡图》监画”，征召画家开始绘制《康熙南巡图》。该图共十二巨卷，详细描绘了整个南巡过程。十二卷图现已不复完整，尚存九卷，第一、第九、第十、第十一、第十二卷藏于北京故宫博物院；第二、第四卷现藏法国巴黎的吉美博物馆；第三、第七卷现藏美国纽约的大都会艺术博物馆。\n《康熙南巡图》十二卷是由著名画家王翚领衔主绘的，参与绘制的画家还有冷枚、王云、杨晋等，全图历时六年方告完成。",[29,28,27,30,31,71,35,126,127,37,7,109,128,129,75,130,131,74,132],"队列","旗帜","庭院","建筑群","骑兵","步兵","门楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edf3f1428ff622207f310b8322c2e7d.jpg","绢本，设色","纵67.8厘米，横1400至2600厘米",[81,83],77,"BDBDBD",{"id":140,"slug":141,"title":142,"dynasty":103,"author":143,"museum":20,"description":144,"tags":145,"thumbUrl":147,"material":148,"size":149,"collection":81,"collections":150,"showCount":151,"zanCount":152,"manualWeight":11,"mainColor":138},216933,"bing-xi-tu-zhang-wei-bang-216933","冰嬉图","张为邦","这幅图像描绘了 龙射天球。在画的右侧，在人群的包围下，是皇帝的华丽冰床。在冰面上，旗手和弓箭手间隔排列，在冰面上绕圈滑行，游行队伍蜿蜒成龙的形状。冰面上有一道门，上面挂着一个球，叫做天球。当队伍走到这一步时，他们转过身来，向球射箭，射中者会得到奖励。游行过程中还包括杂技表演，如倒立、舞剑、腾空、中国旗帜和鹰心。",[23,28,29,26,30,146,31,37,127,73,7,32],"冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b093624e4bb931e68fd779aaf95d99.jpg","纸本,设色","36.5x563",[81],72,2,{"id":154,"slug":155,"title":156,"dynasty":103,"author":157,"museum":158,"description":159,"tags":160,"thumbUrl":163,"material":164,"size":165,"collection":96,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":58},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段","徐扬","辽宁省博物馆","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,24,25,26,28,29,27,30,31,32,33,161,37,47,7,38,45,162,111,92,43],"亭","河道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg","设色 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虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,68,24,26,29,28,30,31,32,92,110,7,35,174,175,108,176],"书法","印章","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],45,{"id":183,"slug":184,"title":185,"dynasty":63,"author":186,"museum":187,"description":188,"tags":189,"thumbUrl":196,"material":148,"size":197,"collection":96,"collections":198,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":138},220011,"dong-zhuang-tu-ce-zhi-dong-cheng-shen-zhou-220011","东庄图册之东城","沈周","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,68,24,25,190,191,192,193,31,32,37,7,194,195],"册","水墨","皴法","山水","民居","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e337d9ab671c3c1794f7a4f8e3e804.jpg","纵28.6厘米，横33厘米",[],{"id":200,"slug":201,"title":202,"dynasty":103,"author":203,"museum":204,"description":205,"tags":206,"thumbUrl":209,"material":96,"size":96,"collection":96,"collections":210,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":138},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","藏地不详","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,26,29,27,28,193,31,71,7,207,208,37,73],"寺庙","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],{"id":212,"slug":213,"title":214,"dynasty":63,"author":215,"museum":105,"description":216,"tags":217,"thumbUrl":223,"material":79,"size":96,"collection":224,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":138},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱谷","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,25,190,191,29,32,33,218,47,37,193,175,219,73,220,221,222,7],"孤舟","村落","河岸","小船","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg","山水画精选",[224],29,{"id":228,"slug":229,"title":230,"dynasty":103,"author":231,"museum":232,"description":233,"tags":234,"thumbUrl":237,"material":148,"size":238,"collection":224,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":58},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","私人收藏","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[24,25,69,29,193,27,235,218,31,32,33,37,47,111,7,222,236],"明月","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[224],18,{"id":242,"slug":243,"title":244,"dynasty":103,"author":245,"museum":204,"description":246,"tags":247,"thumbUrl":253,"material":96,"size":96,"collection":81,"collections":254,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":138},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","平定苗疆战图册","佚名","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[248,249,28,192,190,193,30,35,31,195,37,250,251,7,252],"清代","白描","军队","兵器","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[81],12,{"id":257,"slug":258,"title":259,"dynasty":103,"author":260,"museum":204,"description":261,"tags":262,"thumbUrl":273,"material":191,"size":96,"collection":96,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":138},216815,"zhan-zheng-tong-ban-hua-27-lang-shi-ning-216815","战争铜版画-27","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[103,263,264,265,266,267,7,268,269,270,271,37,73,272],"铜版画","战争题材","线条刻画","明暗表现","山地","堡垒","士兵","战斗场景","岩石","防御工事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f63a98aae9e9d6cf6bab4da81450b9.jpg",[],3,{"id":277,"slug":278,"title":279,"dynasty":103,"author":245,"museum":20,"description":280,"tags":281,"thumbUrl":290,"material":291,"size":292,"collection":96,"collections":293,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":138},233071,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233071","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[24,190,29,28,27,30,31,7,75,127,282,73,283,284,285,286,287,288,289],"群体人物","清代风格","服饰多样","场景宏大","宫廷建筑","军事仪仗","人物众多","建筑细致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ec37a2a10976e8014a06c5d64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