[{"data":1,"prerenderedAt":357},["ShallowReactive",2],{"subject-cheng-zhen":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1393,"cheng-zhen","城镇","城镇画高清赏析","精选中国历代城镇题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2369b612c63db4d4809f238f9bdb851a.jpg",0,23,[14,45,79,102,136,151,168,183,193,211,224,234,244,259,272,282,291,302,310,319,328,340,348],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},225894,"antibes-seen-from-the-salis-garden-1888-mo-nai-225894","Antibes seen from the Salis Garden, 1888","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。",[23,24,25,26,27,28,29,7,30,31,32,33,34,35,36,37],"油画","印象派","点彩","光影捕捉","色彩交融","树","湖水","天空","花园","山石","水面","建筑","枝叶","远景","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66591dc12d3fde82a8664f11526e454f.jpg","未知","Xcm*Xcm","油画精选",[41],102,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":70,"material":71,"size":72,"collection":73,"collections":74,"showCount":76,"zanCount":77,"manualWeight":11,"mainColor":78},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","清","焦秉贞","北京故宫博物院","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[54,55,56,57,58,59,60,61,62,63,64,65,66,67,68,69,7],"高清","国画","书画","长卷","设色","工笔","界画","山水","人物","楼阁","流水","船只","树木","亭","小桥","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","绢本，设色","58.5×544cm","人物画精选",[73,75],"设色画精选",93,1,"795548",{"id":80,"slug":81,"title":82,"dynasty":49,"author":83,"museum":20,"description":84,"tags":85,"thumbUrl":96,"material":97,"size":98,"collection":99,"collections":100,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":44},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","佚名","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[54,55,57,58,59,61,86,65,34,66,87,88,89,7,90,91,92,93,94,95],"岛屿","灯塔","港口","帆船","海面","山峦","植被","房屋","海岸线","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg","纸本,设色","","山水画精选",[99],48,{"id":103,"slug":104,"title":105,"dynasty":106,"author":107,"museum":20,"description":108,"tags":109,"thumbUrl":133,"material":98,"size":98,"collection":98,"collections":134,"showCount":135,"zanCount":77,"manualWeight":11,"mainColor":78},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","明","黄向坚","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[54,55,57,110,111,112,113,114,115,116,117,118,119,120,121,122,123,124,125,126,127,7,128,129,130,131,132],"纸本设色","山水画","纪游山水","皴法","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","飞瀑","山溪","村落","屋宇","危桥","古道","白云","松杉","远山","船舶","万里寻亲","忠孝情怀","丛林","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],36,{"id":137,"slug":138,"title":139,"dynasty":106,"author":83,"museum":140,"description":141,"tags":142,"thumbUrl":146,"material":147,"size":148,"collection":98,"collections":149,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":78},232913,"huang-he-di-tu-yi-ming-232913","黄河地图","美国大都会艺术博物馆","考虑到黄河洪水的持续威胁，对该河流系统的研究和管理是清朝宫廷的首要任务之一。 这幅具有纪念意义的地图生动地说明了控制黄河航道的复杂性及其对流域内众多城镇的潜在影响。 该地图绘制于康熙皇帝（1662-1722 年在位）聘请耶稣会传教士团队对其帝国进行全面调查的时期，反映了引入欧洲技术之前本土地图制作的最高水平。 事实上，该地图的吸引力不在于其制图准确性，而在于其对地形特征的图像处理。 展开卷轴，就是去体验从东海逆流而上到龙门急流的戏码。",[54,55,57,58,143,59,61,144,91,145,7],"青绿","河流","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559ed9e9aa861115d474a474464bb0.jpg","纸本","78 x 1285 厘米",[],34,{"id":152,"slug":153,"title":154,"dynasty":18,"author":19,"museum":20,"description":21,"tags":155,"thumbUrl":165,"material":39,"size":40,"collection":41,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":44},225906,"breakup-of-ice-1880-mo-nai-225906","Breakup of Ice, 1880",[24,23,156,157,158,159,160,161,65,7,30,162,163,34,164],"光影","色彩","笔触","河面","冰块","枯树","冬季","水域","倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f2f52b5a37d62b467b2a2ee5539161d.jpg",[41],26,{"id":169,"slug":170,"title":171,"dynasty":49,"author":172,"museum":20,"description":173,"tags":174,"thumbUrl":10,"material":178,"size":179,"collection":99,"collections":180,"showCount":181,"zanCount":182,"manualWeight":11,"mainColor":44},215147,"min-sheng-yan-chang-tu-juan-hua-xin-pu-sa-bao-215147","闽省盐场图卷-画芯","菩薩保","清朝时期的闽省盐场图卷-画芯是一件著名的文物。它是由清朝时期的画家所作，描绘了当时闽省的盐场景象。闽省盐场图卷-画芯因其精细的绘画技巧和对闽省盐场生产的精确描述而闻名。这件文物被认为是清朝时期艺术史上的重要作品，并被列为国家一级文物保护单位。",[54,55,57,58,59,60,61,144,86,175,176,163,7,34,94,177],"城池","山脉","盐场","绢本,设色","38x860",[99],18,2,{"id":184,"slug":185,"title":186,"dynasty":18,"author":19,"museum":20,"description":21,"tags":187,"thumbUrl":190,"material":39,"size":40,"collection":41,"collections":191,"showCount":192,"zanCount":11,"manualWeight":11,"mainColor":78},226114,"the-seine-at-argenteuil-1877-mo-nai-226114","The Seine at Argenteuil, 1877",[23,24,144,89,188,189,62,7,66,30,156],"花卉","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ccc1310d2965ec2e5c396fd5b0a684.jpg",[41],9,{"id":194,"slug":195,"title":196,"dynasty":106,"author":197,"museum":198,"description":199,"tags":200,"thumbUrl":207,"material":98,"size":208,"collection":98,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":44},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","台北故宫博物院","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[55,201,202,61,144,7,203,204,205,66,206,60],"水墨","册","民居","城楼","舟船","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],7,{"id":212,"slug":213,"title":214,"dynasty":18,"author":83,"museum":20,"description":215,"tags":216,"thumbUrl":222,"material":39,"size":40,"collection":98,"collections":223,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":44},289058,"lambert-doomer-view-of-nantes-yi-ming-289058","Lambert Doomer--View of 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Seashore","以棕褐线条晕开山海乡居图景，近坡荒草萋萋，几株古木虬曲苍劲，疏朗枝桠晕染山野意趣。坡下石桥横跨浅溪，矮屋簇拥钟楼漫出烟火暖意。\n视线铺展至中远景，滨海屋舍错落着融入山岚，海面扁舟轻泊，朦胧远山柔化了天地边界。笔触克制细腻，以极简线条铺陈层次，不着浓丽色彩，却将郊野渔村的松弛日常揉进阔远天地间，藏着古朴写实的质感，把山海乡野的静穆悠远晕在纸面，尽显古典风景绘作里含蓄温柔的自然意趣。",[218,230,61,7,231,66,68,203,32],"素描","海岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadbf5e3a353af94ff6a0b1e0715beafd.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":18,"author":83,"museum":20,"description":238,"tags":239,"thumbUrl":242,"material":39,"size":40,"collection":98,"collections":243,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":44},289322,"fra-bartolomeo-wooded-approach-to-a-town-yi-ming-289322","Fra Bartolomeo--Wooded Approach to a Town","这帧速写以松弛随性的棕调线条，定格郊野往市镇的沿路景致。苍劲林木错落排布，疏密交织出层次，高挑的针叶林与低矮杂木掩映着屋舍，细碎的线条刻画出枝干的苍劲质感。河畔与小径上的渺小人物，为静谧郊野晕开烟火暖意。\n\n大片留白的郊野路面以浅淡走线引导视线向深景漫溯，没有厚重明暗铺陈，仅以简练线条就铺展出郊野的开阔松弛。带着鲜活的写生临场感，将趋近市镇时悠然松弛的乡野日常，用朴素笔调细腻定格，尽显速写捕捉瞬间氛围的动人魅力。",[230,218,66,7,240,241,62],"郊外","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7771ebc772f07343051e6678ac839053.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":18,"author":83,"museum":20,"description":248,"tags":249,"thumbUrl":257,"material":39,"size":40,"collection":98,"collections":258,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":44},288783,"pieter-cornelisz-kunst-allegorical-figure-faith-yi-ming-288783","Pieter Cornelisz Kunst--Allegorical Figure (Faith)","###\n这幅钢笔版画以细腻线条刻画出信仰的化身，华冠层袍缀满珠络蕾丝，每一处褶皱都尽显精工雅致。女子左手紧握苦像长杆，圣光自基督身形间淌落，右手抬起似在颂赞虔心。脚下流云将她托于尘世之上，远景河畔小城炊烟轻绕、舟楫漾波，平和俗世恰好衬出信仰的超然澄澈。\n\n排线铺陈出明暗层次，精准区分衣料的柔润与饰件的冷硬，带着北方文艺复兴版画的典型特质，将信仰的庄严肃穆融于写实笔触间，静静诉说信仰对俗世的庇佑与指引。",[250,251,252,253,254,255,256,7,144,89],"宗教画","人物画","白描","基督教","十字架","耶稣","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8567fac4f1d9db10758aba587352404c.jpg",[],{"id":260,"slug":261,"title":262,"dynasty":18,"author":83,"museum":20,"description":263,"tags":264,"thumbUrl":270,"material":39,"size":40,"collection":98,"collections":271,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":44},288738,"sebastiaen-vrancx-estates-general-leaving-troy-yi-ming-288738","Sebastiaen Vrancx--Estates General Leaving Troy","淡墨排线晕开港口烟火，左侧港湾商船错列，攒动的人群里满是临行前的喧嚷，挑担的妇人与牵稚童的旅人混在人流中，将离乡的仓促藏在松弛的笔触里。右侧行人结伴缓行，肩扛头顶的行囊写满行路的奔波，神态真切鲜活。下方手书小字似随行心绪随笔，潦草却带着滚烫的情绪余温。\n\n整幅画作以速写式的松弛笔触，将口岸市井的喧闹与远行的沉郁揉合，把这场远行的鲜活图景凝在细腻的笔痕之中，朴拙的纪实质感让离别与市井烟火气跨越时光留存。",[230,265,266,7,88,65,267,268,269],"历史画","人物群像","线描","手绘","出行场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b6403254c6788b27581b4a93f48439.jpg",[],{"id":273,"slug":274,"title":275,"dynasty":106,"author":83,"museum":20,"description":276,"tags":277,"thumbUrl":279,"material":280,"size":98,"collection":98,"collections":281,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},216639,"xuan-da-shan-xi-san-zhen-tu-18-yi-ming-216639","宣大山西三镇图-18","万历三十一年秘阁本",[54,55,58,143,61,7,241,278,59],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00011b5a40115817f0ded61e3d3fc622.jpg","设色,绢本",[],{"id":283,"slug":284,"title":285,"dynasty":106,"author":83,"museum":20,"description":286,"tags":287,"thumbUrl":289,"material":178,"size":98,"collection":98,"collections":290,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},216561,"xuan-da-shan-xi-san-zhen-tu-79-yi-ming-216561","宣大山西三镇图-79","明万历三十一年秘阁本",[54,55,58,59,60,143,61,7,241,278,62,288,91],"帐篷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e458a5cd7d81db81ab1444446c1083c.jpg",[],{"id":292,"slug":293,"title":294,"dynasty":106,"author":83,"museum":20,"description":286,"tags":295,"thumbUrl":300,"material":178,"size":98,"collection":98,"collections":301,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},216547,"xuan-da-shan-xi-san-zhen-tu-95-yi-ming-216547","宣大山西三镇图-95",[54,296,297,298,299,202,60,201,63,7],"明代","典籍","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ca421335adc63384e9958e361ec96a.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":106,"author":83,"museum":20,"description":286,"tags":306,"thumbUrl":308,"material":178,"size":98,"collection":98,"collections":309,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},216526,"xuan-da-shan-xi-san-zhen-tu-115-yi-ming-216526","宣大山西三镇图-115",[54,55,56,58,59,143,61,62,278,307,288,124,7,176],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ca1d28f212d5d352e4b1123162d5b.jpg",[],{"id":311,"slug":312,"title":313,"dynasty":106,"author":83,"museum":20,"description":314,"tags":315,"thumbUrl":317,"material":178,"size":98,"collection":98,"collections":318,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},216487,"xuan-da-shan-xi-san-zhen-tu-156-yi-ming-216487","宣大山西三镇图-156","这幅图以图文相映的形式呈现，左侧小楷详陈地理与防御脉络，右侧青绿设色晕染山峦，线条古朴苍劲。城池关隘以方框标识，道路蜿蜒串联其间，营帐、行旅等细节点缀，生动还原边镇风貌。画面兼具军事地理的实用记录与传统舆图的艺术意趣，青绿山水的沉稳色调与简洁勾勒相得益彰，既展现明代边镇防御体系的严谨，又蕴含舆图特有的审美韵味，是研究当时边防与视觉文化的珍贵遗存。",[54,55,56,58,143,298,61,62,278,124,34,144,316,66,7,176,241],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96e02a74cc0ae838f3b8ea7447a235a.jpg",[],{"id":320,"slug":321,"title":322,"dynasty":106,"author":83,"museum":20,"description":323,"tags":324,"thumbUrl":326,"material":178,"size":98,"collection":98,"collections":327,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},216451,"xuan-da-shan-xi-san-zhen-tu-193-yi-ming-216451","宣大山西三镇图-193","青绿晕染的山峦如黛，勾勒出边关雄浑的地貌轮廓；简洁的符号错落分布，标注着关隘与聚落的空间脉络。左页墨笔题跋字迹古朴，与右页彩绘舆图相映成趣，图文交织间，似能窥见明代边关的军事布局与地理风貌。线条勾勒精准，色彩晕染雅致，既为舆图提供清晰的空间指引，又蕴含传统绘画的审美意趣。画面古朴厚重，信息丰富，是研究明代边关防御体系与地理认知的珍贵视觉遗存，尽显历史与艺术交融的独特魅力。",[54,55,56,202,58,143,60,61,176,7,124,325],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff304e795bade27682222e88d5f988257.jpg",[],{"id":329,"slug":330,"title":331,"dynasty":106,"author":83,"museum":20,"description":332,"tags":333,"thumbUrl":338,"material":178,"size":98,"collection":98,"collections":339,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},216448,"xuan-da-shan-xi-san-zhen-tu-190-yi-ming-216448","宣大山西三镇图-190","这幅舆图以传统山水绘法铺展边疆图景，山峦用青绿晕染，勾勒出起伏的地理骨架；城池关隘以方框标注，道路蜿蜒其间，清晰呈现边防节点的布局。画面将军事信息与自然地貌相融，既保留了舆图的实用参考性，又兼具绘画的艺术韵致。古朴的设色与简练的线条，传递出明代边疆防御的战略思路，每个标注的城邑都似静默的哨卡，诉说着当时三镇边防的严密与重要性。它是军事舆图与传统绘画结合的范例，于山水间见兵防，于古卷中窥历史，尽显那个时代对边疆治理的重视与舆图创作的独特风貌。",[54,55,58,60,59,61,7,334,278,91,144,175,241,335,336,337,176],"桥梁","关隘","堡垒","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edeb88f61867148d34a99f59519fd2e.jpg",[],{"id":341,"slug":342,"title":343,"dynasty":106,"author":83,"museum":20,"description":344,"tags":345,"thumbUrl":346,"material":178,"size":98,"collection":98,"collections":347,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},216419,"xuan-da-shan-xi-san-zhen-tu-222-yi-ming-216419","宣大山西三镇图-222","这幅舆图以代州城为核心铺展，蓝线勾勒的城池规整有致，周边堡垒星列棋布，青绿山水环绕其间，道路如脉络串联诸地。左侧蝇头小楷详述地理沿革与防务信息，图文互证，兼具实用与艺术之韵。线条简练精准，色彩淡雅层次分明，城池的庄严与山水的灵秀相映成趣，文字的严谨与图像的生动互补生辉。它不仅是明代边疆地理认知的载体，更尽显古人舆图绘制的精湛技艺，虽佚名却饱含历史厚重感，将边疆防务的规整与自然山水的意趣巧妙融合，堪称明代舆图艺术的精妙之作。",[54,55,58,60,61,175,176,241,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9d7aa29df86ec8f1fe1359358eed58.jpg",[],{"id":349,"slug":350,"title":351,"dynasty":106,"author":83,"museum":20,"description":352,"tags":353,"thumbUrl":355,"material":17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