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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。",[23,24,25,28,27,63,26,30,31,32,33,7,36,35,34,37,64,65,38,44,43,39,66,40],"风俗画","牛","马","商贩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米","宋画精选",[70,49,51],858,6,{"id":75,"slug":76,"title":77,"dynasty":78,"author":79,"museum":80,"description":81,"tags":82,"thumbUrl":92,"material":93,"size":94,"collection":49,"collections":95,"showCount":96,"zanCount":97,"manualWeight":11,"mainColor":54},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","清","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。",[23,83,24,84,25,27,26,28,30,31,32,33,7,36,35,85,34,44,38,86,40,87,88,89,90,91],"名画","书画","河道","码头","货船","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 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（今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[83,24,84,25,152,27,26,28,130,31,30,33,7,34,153,110,154],"青绿","亭台","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3","山水画精选",[157],208,1,{"id":162,"slug":163,"title":164,"dynasty":58,"author":59,"museum":102,"description":165,"tags":166,"thumbUrl":171,"material":27,"size":172,"collection":70,"collections":173,"showCount":174,"zanCount":175,"manualWeight":11,"mainColor":54},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,83,24,84,25,26,28,167,27,30,110,7,31,168,36,37,109,34,38,44,169,170],"白描","店铺","民俗","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 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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。",[184,185,186,187,188,189,135,190,191,192,7,193,194,195,196],"印象派","油画","光影","色彩明快","笔触细碎","海面","雪山","建筑群","城堡","天空","云朵","岩石","午后","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa941d4cf8ef5e9c54d2075b9540d6dd3.jpg","未知","Xcm*Xcm","油画精选",[200],167,"BDBDBD",{"id":205,"slug":206,"title":207,"dynasty":58,"author":208,"museum":80,"description":209,"tags":210,"thumbUrl":213,"material":68,"size":214,"collection":70,"collections":215,"showCount":216,"zanCount":217,"manualWeight":11,"mainColor":54},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","马麟","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,83,24,84,25,27,26,129,130,211,32,7,30,109,212,42,40,34],"柳树","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[70,157,51],130,3,{"id":219,"slug":220,"title":221,"dynasty":18,"author":222,"museum":223,"description":224,"tags":225,"thumbUrl":231,"material":47,"size":232,"collection":157,"collections":233,"showCount":234,"zanCount":73,"manualWeight":11,"mainColor":203},219124,"jin-jiang-tu-juan-sun-zhi-219124","锦江图卷","孙枝","天津博物馆","孙枝，明，字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人，生卒年不详。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳",[23,24,25,152,27,130,129,226,109,227,7,34,153,138,228,42,229,230],"山峦","岛屿","水面","远岫","近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c919032926458bb7688a31b9f9ffdb.jpg","37X595cm",[157],128,{"id":236,"slug":237,"title":238,"dynasty":78,"author":239,"museum":240,"description":241,"tags":242,"thumbUrl":246,"material":247,"size":248,"collection":157,"collections":249,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":203},219759,"shan-shui-si-jing-zhi-qiu-kun-can-219759","山水四景之秋","髡残","大英博物馆","髡[kūn]残（1612年-1692年），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[23,24,84,130,128,129,243,132,33,226,134,244,34,7,109,131,245],"枯树","云雾","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e29d3f4bec003b725d9d06422d2ffca.jpg","纸本,设色","纵31.8cm 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方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,24,84,25,128,129,245,130,273,274,132,275,131,228,276,30,229,277,134,278,279,280,243,281,7,282,283,284],"树","老树","梅","渔船","岸","枝干","花","松树","岸滩","山间","草木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纸本，墨笔","纵30cm，横52.8cm",[157,289],"水墨画精选",111,{"id":292,"slug":293,"title":294,"dynasty":78,"author":295,"museum":60,"description":296,"tags":297,"thumbUrl":300,"material":301,"size":302,"collection":49,"collections":303,"showCount":304,"zanCount":160,"manualWeight":11,"mainColor":54},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","焦秉贞","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。",[23,24,84,25,27,26,28,130,30,31,33,7,34,133,32,298,299],"田野","城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","绢本，设色","58.5×544cm",[49,51],93,{"id":306,"slug":307,"title":308,"dynasty":78,"author":309,"museum":102,"description":310,"tags":311,"thumbUrl":313,"material":47,"size":314,"collection":49,"collections":315,"showCount":304,"zanCount":160,"manualWeight":11,"mainColor":316},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","仿宋院本金陵图","杨大章","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。",[23,24,84,25,27,26,29,28,30,31,32,33,34,65,64,106,108,41,7,153,312,40,168,109,110],"城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[49,51],"37474F",{"id":318,"slug":319,"title":320,"dynasty":78,"author":79,"museum":80,"description":81,"tags":321,"thumbUrl":325,"material":93,"size":94,"collection":141,"collections":326,"showCount":327,"zanCount":175,"manualWeight":11,"mainColor":54},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,83,24,25,26,27,30,31,32,33,7,35,322,323,130,44,88,324,86,41],"城池","田园","古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],88,{"id":329,"slug":330,"title":331,"dynasty":18,"author":19,"museum":332,"description":333,"tags":334,"thumbUrl":336,"material":47,"size":141,"collection":157,"collections":337,"showCount":338,"zanCount":160,"manualWeight":11,"mainColor":54},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","美国弗利尔美术馆","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,84,335,26,27,130,28,30,31,65,133,34,131,33,7],"立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[157],87,{"id":340,"slug":341,"title":342,"dynasty":18,"author":343,"museum":60,"description":344,"tags":345,"thumbUrl":347,"material":47,"size":348,"collection":157,"collections":349,"showCount":350,"zanCount":175,"manualWeight":11,"mainColor":54},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","朱端","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,24,128,27,335,130,129,132,34,195,135,7,30,346,245],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[157],84,{"id":352,"slug":353,"title":354,"dynasty":58,"author":59,"museum":125,"description":355,"tags":356,"thumbUrl":359,"material":141,"size":141,"collection":141,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":54},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,83,24,84,28,26,27,31,110,7,30,228,34,38,357,358],"宫殿","岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],83,{"id":363,"slug":364,"title":365,"dynasty":180,"author":366,"museum":125,"description":367,"tags":368,"thumbUrl":377,"material":198,"size":199,"collection":200,"collections":378,"showCount":361,"zanCount":217,"manualWeight":11,"mainColor":316},225822,"starry-night-1888-fan-gao-225822","Starry Night 1888","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。",[185,369,370,371,372,109,373,110,7,30,374,375,376],"后印象派","厚涂技法","星空","星星","水面倒影","夜晚","灯光","河岸草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9fc3dec81f00cc8603582b4eaf305ab.jpg",[200],{"id":380,"slug":381,"title":382,"dynasty":18,"author":383,"museum":125,"description":384,"tags":385,"thumbUrl":391,"material":47,"size":392,"collection":49,"collections":393,"showCount":361,"zanCount":217,"manualWeight":11,"mainColor":54},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,27,28,26,130,280,31,133,7,131,244,228,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[157,51],78,{"id":437,"slug":438,"title":439,"dynasty":58,"author":440,"museum":125,"description":441,"tags":442,"thumbUrl":445,"material":141,"size":141,"collection":141,"collections":446,"showCount":447,"zanCount":160,"manualWeight":11,"mainColor":54},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,83,24,84,25,152,27,26,130,443,444,34,31,133,32,132,227,7],"山","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],75,{"id":449,"slug":450,"title":451,"dynasty":269,"author":452,"museum":102,"description":453,"tags":454,"thumbUrl":455,"material":247,"size":456,"collection":157,"collections":457,"showCount":447,"zanCount":119,"manualWeight":11,"mainColor":203},219010,"cai-ling-tu-zhao-yong-219010","采菱图","赵雍","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[23,24,128,27,129,403,245,130,280,131,106,34,228,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[157],{"id":459,"slug":460,"title":461,"dynasty":180,"author":181,"museum":125,"description":182,"tags":462,"thumbUrl":470,"material":198,"size":199,"collection":200,"collections":471,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":203},225914,"claude-monet-charing-cross-bridge-1899-mo-nai-225914","Claude Monet - Charing Cross Bridge, 1899",[184,185,110,109,228,7,463,464,465,466,467,468,469],"城市建筑","雾气","光影表现","色彩交融","朦胧感","水面反光","淡色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6473a3064a6e8eaaa03a80c1794abcf5.jpg",[200],66,{"id":474,"slug":475,"title":476,"dynasty":78,"author":429,"museum":60,"description":477,"tags":478,"thumbUrl":479,"material":47,"size":480,"collection":157,"collections":481,"showCount":482,"zanCount":11,"manualWeight":11,"mainColor":54},218383,"han-jiang-sheng-lan-tu-yuan-yao-218383","邗江胜览图","这是一幅纪实性的作品，属袁耀早期作品。在清代中期，扬州作为江南地区的交通枢纽和商业重镇，其繁华发达称冠一时，同时也是当时的文化艺术中心之一。画家采用俯视的角度，将古扬州城北郊的景物尽收眼底。画面中扬州城为群山河流环绕，近景、中景、远景层层展现，气势宏大。袁耀素以描绘富丽堂皇的宫室楼阁著称，在这幅纪实作品中，却表现出了一种朴素的风貌。但用笔技巧绝无松懈，每一处细节都刻画入微，房屋、树木、舟船、桥梁、人物、车马等具体逼真，情趣生动。",[23,24,84,28,27,26,130,31,34,109,38,7,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","纵165.2厘米，横262.8厘米",[157],65,{"id":484,"slug":485,"title":486,"dynasty":78,"author":487,"museum":60,"description":488,"tags":489,"thumbUrl":491,"material":141,"size":141,"collection":157,"collections":492,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":203},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,25,27,129,130,131,34,109,490,153,7,32],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[157,51],63,{"id":495,"slug":496,"title":497,"dynasty":180,"author":181,"museum":125,"description":182,"tags":498,"thumbUrl":504,"material":198,"size":199,"collection":200,"collections":505,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":203},225946,"houses-of-parliament-effect-of-sunlight-in-the-fog-1899-1901-mo-nai-225946","Houses of Parliament, Effect of Sunlight in the Fog, 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《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,84,25,27,130,109,7,227,629,34,131,245,402,129],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg","花鸟画精选",[631,157,51],47,{"id":635,"slug":636,"title":637,"dynasty":78,"author":638,"museum":125,"description":639,"tags":640,"thumbUrl":642,"material":643,"size":644,"collection":157,"collections":645,"showCount":633,"zanCount":11,"manualWeight":11,"mainColor":54},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,84,551,27,129,130,405,490,641,34,106,7,195,283],"溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[157,646,51],"书法精选",{"id":648,"slug":649,"title":650,"dynasty":148,"author":149,"museum":125,"description":651,"tags":652,"thumbUrl":653,"material":141,"size":141,"collection":141,"collections":654,"showCount":655,"zanCount":11,"manualWeight":11,"mainColor":54},227255,"xian-shan-lou-guan-tu-li-zhao-dao-227255","仙山楼观图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[23,24,25,152,27,28,26,130,31,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],44,{"id":657,"slug":658,"title":659,"dynasty":78,"author":660,"museum":661,"description":662,"tags":663,"thumbUrl":666,"material":667,"size":668,"collection":157,"collections":669,"showCount":670,"zanCount":160,"manualWeight":11,"mainColor":203},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","萧云从","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,84,25,128,129,130,131,34,106,7,135,664,280,665,244,281,38,30],"近水","丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","纸本,水墨","23.81x429.9",[157],43,{"id":672,"slug":673,"title":674,"dynasty":18,"author":675,"museum":60,"description":676,"tags":677,"thumbUrl":679,"material":47,"size":680,"collection":157,"collections":681,"showCount":682,"zanCount":11,"manualWeight":11,"mainColor":54},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[23,83,24,84,573,27,129,678,31,135,280,7,228,131,34,133],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[157],42,{"id":684,"slug":685,"title":686,"dynasty":78,"author":687,"museum":102,"description":688,"tags":689,"thumbUrl":690,"material":247,"size":141,"collection":157,"collections":691,"showCount":692,"zanCount":160,"manualWeight":11,"mainColor":203},214725,"shan-shui-ce-ye-hu-gui-214725","山水册页","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。",[24,130,27,551,443,34,106,7,407,228,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[157],39,{"id":694,"slug":695,"title":696,"dynasty":269,"author":697,"museum":102,"description":698,"tags":699,"thumbUrl":702,"material":47,"size":703,"collection":141,"collections":704,"showCount":705,"zanCount":217,"manualWeight":11,"mainColor":54},290955,"long-zhou-duo-biao-zhou-wu-ting-hui-290955","龙舟夺标轴","吴廷晖","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。他曾先后两次画过《金明池龙舟竞渡图》卷，描绘的是北宋崇宁年间（1102-1106年），每年皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七、八本之多。此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,335,28,27,700,31,130,34,7,133,701],"龙舟","龙舟夺标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfaac7c9f64d3cb8ff91cd3ca0120e38.jpg","124.1x65.6",[],38,{"id":707,"slug":708,"title":709,"dynasty":78,"author":710,"museum":125,"description":711,"tags":712,"thumbUrl":713,"material":141,"size":141,"collection":157,"collections":714,"showCount":715,"zanCount":11,"manualWeight":11,"mainColor":203},239418,"fang-li-cheng-shan-shui-zhou-xu-fang-239418","仿李成山水轴","徐枋","徐枋（1622年5月3日——1694年11月7日） ，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[24,84,335,128,129,29,130,32,33,132,133,243,106,131,34,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[157],37,{"id":717,"slug":718,"title":719,"dynasty":180,"author":181,"museum":125,"description":182,"tags":720,"thumbUrl":725,"material":198,"size":199,"collection":200,"collections":726,"showCount":727,"zanCount":160,"manualWeight":11,"mainColor":316},225932,"garden-at-sainte-adresse-1867-mo-nai-225932","Garden at Sainte-Adresse, 1867",[185,184,721,722,30,723,7,390,386,724],"海滨","花园","海景","晴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F500e17c4c192613c1fd38b341daf09f4.jpg",[200],33,{"id":729,"slug":730,"title":731,"dynasty":78,"author":732,"museum":60,"description":733,"tags":734,"thumbUrl":736,"material":737,"size":141,"collection":141,"collections":738,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":203},234235,"xi-hu-tu-juan-wang-yuan-qi-234235","西湖图卷","王原祁","王原祁（1642—1715）作为名列“四王”之一的“娄东派”领袖，他的山水画在有清一代赢得了无比崇高的声誉，不仅左右了宫廷的山水画风，也成为有清一代文人山水画坛的主流势力。王原祁一生绘制过的西湖图似乎并不多，除了《石渠宝笈》中著录有3幅他的西湖图，其它的记载中并不能找到相关的材料，而实物的流传则更属罕觏。西湖图在王原祁自身的绘画实践中或许并不占有重要的地位。然而在他的西湖图中却显现了某些令人惊异的转变，或许正是这些转变导致了以后西湖图创作的困境。\n《石渠宝笈》著录的三幅王原祁西湖图分别为《西湖图轴》、《西湖十景图卷》以及另一种《西湖十景图卷》，这三幅奉敕应制的作品均只有王原祁本人简单的署衔，而没有标明确切的创作年代。\n据温肇桐《王原祁年表》，可知王原祁升翰林院侍讲学士的时间为康熙四十四年（1705）七月，其年六十四；而充日讲官的时间则是康熙四十七年（1708）四月，其年已六十七矣。至于其由翰林院侍讲学士升转为侍读学士的时间，当在康熙四十七年（1708）二月《佩文斋书画谱》成书之前，因为书中纂辑官员的署衔已标明为“翰林院侍讲学士今转翰林院侍读学士臣王原祁”，可知成书时他已经是侍读学士了。如此，则《西湖图轴》应属其六十四至六十七岁之间所绘，而另两卷十景图则更是六十七岁之后的作品了，无疑都属王原祁在世最后10年间的晚期作品。\n《石渠宝笈》著录的着色《西湖十景图卷》，现今收藏于辽宁省博物馆。这是一件高头大卷，画面从钱塘门开始，将绕西湖一周的景物以长卷的形式向左作平面的伸展，最后结束于涌金门外的问水亭。除了康熙帝钦定的西湖十景在图中有明确的文字标识之外，其它的西湖著名景物也包括其中并标以景点名称。对比清代雍正年间刊刻的《浙江通志》中所附的《西湖图》插图，除了呈现方式有所不同，在描绘的具体景物方面，二图并无大的差异。因此《西湖十景图卷》显然并非出自王原祁的想象臆造而是和《西湖图》插图一样具有实景地图的性质。\n王原祁的家乡是江苏太仓，距离杭州并不算远，他也曾经游历过西湖。清代厉鹗所纂《增修云林寺志》卷六收有王原祁《游韬光，赠山止上人》一诗，然而却并未提到他留有画作，至于具体的游杭时间及其行程更是不得而知了。康熙帝五次巡杭，也没有任何有关王原祁曾经扈驾侍行的记载。所以如果不是旧游时曾经绘制过西湖图的详细画稿，那么王原祁必定是在绘制时参考了《西湖图》之类的实景地图或是他人的画稿，显然以后者的可能性为大。\n作为王原祁这样的文人画宗师，他显然不能容忍自己的画作完全沦为一幅实景地图，所以为了与通常所见的实景地图拉开距离，《西湖十景图卷》在构图上颇费了一番经营，将西湖一周的山水景物特意作平面的延伸，而不是带有实景地图意味的环绕铺陈，画面的下方呈现出大块象征西湖湖水的留白，因此使之更具传统山水画的意蕴。然而细观这卷以黄公望画风为旨归的画作，它与王原祁通常所作的那类文人山水画作的差异无疑还是十分明显的：为了要精确呈现包括西湖十景在内的众多具体的山水景物，无法遗漏或削弱对其中一些景物的描绘，使得王原祁在描绘时，不得不给这些景物以一律的关注，其结果使得全卷呈现出毫无变化的平铺直叙，山峦与树木描绘的节奏也大体相似，完全失去了传统文人山水画在主观营造上的丰富变化。\n事实上，王原祁在山水画的结构方面有极深的研究，这本是他的特长。他在《雨窗漫笔》“论画十则”中对于山水画的结构经营有过一段极为经典的论述：“画中龙脉开合起伏，古法虽备，未经标出，石谷阐明，后学知所矜式。然愚意以为不参‘体用’二字，学者终无入手处。龙脉为画中气势源头，有斜有正，有浑有碎，有断有续，有隐有现，谓之体也……若知有龙脉，而不辨开合起伏，必至拘索失势，知有开合起伏而不本龙脉，是谓顾子失母。故强扭龙脉则生病；开合偪寒浅露则生病；起伏呆重缺漏则生病。且通幅有开合，分股中亦有开合；通幅有起伏，分股中亦有起伏，尤妙在过接映带间，制其有余补其不足，使龙之斜正、浑碎、隐现、断续，活泼泼地于其中，方为真画！如能从此参透，小块积成大块焉，有不臻妙境者乎？”这是借用堪舆学的名词来阐述的文人山水画结构法则，是王原祁通过从长期的绘画实践，从文人山水画体系中总结、提炼出来的规律性因素，它源于自然山水，但又高于自然山水，一旦违背，就会产生各种山水画之“病”。\n如果我们对比王原祁晚年自由状况下描绘的画作，与《西湖十景图》的差异将会十分明显：如辽宁省博物馆收藏的《西岭云霞》作于康熙庚寅（1710），绘制时间与《西湖十景图》（1708年后）大致相近，而且也是王原祁仿黄公望一路的画作。\n只要稍加浏览，就可以发现后图与《西湖十景图》在结构上的巨大差别：后图的山势开合、大小起伏变化多端，丘壑形象丰富生动；而《西湖十景图》山体的开合起伏极不明晰，山峦的大小起伏大体相近，完全没有体现出“宾主历然”的形态，可见为了屈从于对画面实景因素的呈现，王原祁不得不违背了他所总结并且强调要遵行的那一套结构法则。而同样的原因，最终也导致了王原祁在《西湖十景图》表现上的个性风格的削弱与丧失：后图中王原祁极具个性化的层层叠加的山石形象十分明显，这正是他建立的与“龙脉”理论相适应的个人图式。同时在表现这些个性化的图式时，其笔墨的运用随意生动，气势贯通，因而显得变化多端而混沦苍茫，显然描绘时处于较为自由的状态。而在《西湖十景图》中，为了使这幅画图具备可供康熙帝参考的实景特色，王原祁只能牺牲他一贯遵循的传统文人山水画的结构理念，不得不削弱了他个人丰富的笔墨表现，他所强调的“山水画用笔须毛”和自许的“笔端有金刚杵”的精醇笔墨在图中并没有得到充分的展现，大都显得小心翼翼而刻画平板，只是在开头与结尾几笔不涉及具体景物的云水勾勒中，才偶尔显示了他高超的笔墨造诣。\n严格地说，此卷应制的《西湖十景图》并不能符合王原祁自己所说的“活泼泼地”“真画”的要求，它虽然保留了文人画的表面因素，却被抽离了独立的价值。然而它与王原祁自由描绘的文人山水画之间的巨大差异，倒恰恰说明了他的高超之处，他在主体的文人山水画上达到的高度，足以使后人仰止。只是类似《西湖十景图》这样走入误区的文人画式的应制画作，由于具备更多的实用性与可操作性，却更多被王原祁的弟子或再传弟子们加以继承与奉行，而这恐怕并非是王原祁的本意。",[23,24,25,128,129,130,226,735,109,34,7,153,31,32,629],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80e6647336c88be860bc28ce6086696.jpg","纸本，水墨",[],32,{"id":741,"slug":742,"title":743,"dynasty":18,"author":744,"museum":125,"description":745,"tags":746,"thumbUrl":749,"material":141,"size":141,"collection":157,"collections":750,"showCount":751,"zanCount":160,"manualWeight":11,"mainColor":54},238275,"yu-le-tu-zhou-zhang-ling-238275","渔乐图轴","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,84,335,128,129,30,132,33,211,131,747,130,34,7,748],"渔乐","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[157,289],30,{"id":753,"slug":754,"title":755,"dynasty":58,"author":756,"museum":125,"description":757,"tags":758,"thumbUrl":763,"material":141,"size":141,"collection":141,"collections":764,"showCount":765,"zanCount":160,"manualWeight":11,"mainColor":54},227768,"shan-shui-ye-li-tang-227768","山水页","李唐","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,24,84,83,128,129,759,130,31,132,34,131,760,7,38,135,761,762,243,137],"册页","水域","近景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],29,{"id":767,"slug":768,"title":769,"dynasty":78,"author":770,"museum":125,"description":771,"tags":772,"thumbUrl":774,"material":141,"size":141,"collection":141,"collections":775,"showCount":765,"zanCount":11,"manua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Palace, Venice, 1908",[184,185,357,109,7,228,186,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ce41eef3a0c7b260a50254889ff61a.jpg",[200],"0D904F",{"id":808,"slug":809,"title":810,"dynasty":180,"author":181,"museum":125,"description":182,"tags":811,"thumbUrl":816,"material":198,"size":199,"collection":200,"collections":817,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":203},225906,"breakup-of-ice-1880-mo-nai-225906","Breakup of Ice, 1880",[184,185,186,256,812,813,814,243,7,299,193,815,760,38,259],"笔触","河面","冰块","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f2f52b5a37d62b467b2a2ee5539161d.jpg",[200],{"id":819,"slug":820,"title":821,"dynasty":78,"author":594,"museum":60,"description":822,"tags":823,"thumbUrl":824,"material":825,"size":826,"collection":141,"collections":827,"showCount":828,"zanCount":11,"manualWeight":11,"mainColor":203},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,27,25,129,130,405,34,38,7,109,244,629,133,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","彩绘","纵32厘米，横210厘米",[],25,{"id":830,"slug":831,"title":832,"dynasty":180,"author":181,"museum":125,"description":182,"tags":833,"thumbUrl":838,"material":198,"size":199,"collection":200,"collections":839,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":54},226093,"the-port-at-argenteuil-1872-mo-nai-226093","The Port at Argenteuil, 1872",[184,185,465,523,834,835,34,527,30,109,7,524,228,194,193,38,836,837,187],"堤岸","小路","阳光","外光写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2728ccad7694cf240bd131badab46f68.jpg",[200],24,{"id":842,"slug":843,"title":844,"dynasty":58,"author":845,"museum":102,"description":846,"tags":847,"thumbUrl":849,"material":47,"size":850,"collection":51,"collections":851,"showCount":840,"zanCount":11,"manualWeight":11,"mainColor":203},218874,"shui-xie-he-xiang-tu-ma-yong-zhong-218874","水榭荷香图","马永忠","这幅画描绘了一座水上宫殿，高耸入云，周围是垂柳树，岩石和宫殿的边框用青绿涂抹。",[23,24,84,27,28,551,31,848,444,34,7,133,33],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6285e4bd1b8792b86fd7d346f2b0a86c.jpg","25.3x31.1",[51],{"id":853,"slug":854,"title":855,"dynasty":58,"author":856,"museum":125,"description":857,"tags":858,"thumbUrl":862,"material":141,"size":141,"collection":141,"collections":863,"showCount":864,"zanCount":11,"manualWeight":11,"mainColor":203},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","宋人","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[83,24,84,25,128,129,130,859,860,7,861,135,664,245],"江帆","山市","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],22,{"id":866,"slug":867,"title":868,"dynasty":78,"author":594,"museum":60,"description":869,"tags":870,"thumbUrl":871,"material":301,"size":872,"collection":141,"collections":873,"showCount":874,"zanCount":160,"manualWeight":11,"mainColor":203},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,84,25,27,26,28,30,31,32,33,133,65,34,357,419,108,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],21,{"id":876,"slug":877,"title":878,"dynasty":58,"author":594,"museum":102,"description":879,"tags":880,"thumbUrl":882,"material":115,"size":883,"collection":141,"collections":884,"showCount":874,"zanCount":160,"manualWeight":11,"mainColor":54},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[24,573,27,129,131,34,109,132,881,134,135,664,7,228],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],{"id":886,"slug":887,"title":888,"dynasty":180,"author":181,"museum":125,"description":182,"tags":889,"thumbUrl":893,"material":198,"size":199,"collection":200,"collections":894,"showCount":874,"zanCount":11,"manualWeight":11,"mainColor":203},226076,"the-hut-in-trouville-low-tide-1881-mo-nai-226076","The Hut in Trouville, Low Tide, 1881",[184,185,837,501,890,891,892,189,7,138,193],"小屋","海滩","退潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e1eae68950113e2890ec28ce1dd000.jpg",[200],{"id":896,"slug":897,"title":898,"dynasty":78,"author":594,"museum":899,"description":900,"tags":901,"thumbUrl":902,"material":115,"size":903,"collection":141,"collections":904,"showCount":874,"zanCount":11,"manualWeight":11,"mainColor":54},223467,"guang-zhou-cheng-zhu-jiang-tan-jing-tu-1-yi-ming-223467","广州城珠江滩景图1","大英图书馆","广州珠江江滩水运及岸边建筑之景",[23,25,27,26,33,7,38,390,86,135,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f82929b09229b6b39367371aa46380.jpg","75×800厘米",[],{"id":906,"slug":907,"title":908,"dynasty":18,"author":909,"museum":102,"description":910,"tags":911,"thumbUrl":912,"material":47,"size":913,"collection":157,"collections":914,"showCount":915,"zanCount":160,"manualWeight":11,"mainColor":54},219415,"shan-shui-zhou-zhao-xun-219415","山水轴","赵洵","这幅山水轴铺展江南景致，笔墨温润雅致。远处山峦以淡墨皴染，层叠间透出苍莽的韵致；江面烟波浩渺，行舟点点如萍，或扬帆或泊岸，尽得水天之趣。近景林麓葱郁，村舍错落隐于浓荫，亭台与民居相映，几处人物或漫步小径、或聚于檐下，情态悠然。笔墨兼工带写，树木枝干苍劲，叶色层次丰富；山石用细皴勾勒，晕染出温润质感。画面左上方题字与钤印相映，添文人雅趣。整体意境平和悠远，如诗中田园，将自然之美与人间烟火融于一卷，尽显江南水乡的温婉与生机。",[24,27,129,335,130,34,7,30,38,135,664,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1a28851fde1e54756a28f63c3e8510.jpg","156.4x44.9厘米",[157],20,{"id":917,"slug":918,"title":919,"dynasty":58,"author":920,"museum":125,"description":921,"tags":922,"thumbUrl":925,"material":198,"size":199,"collection":141,"collections":926,"showCount":927,"zanCount":11,"manualWeight":11,"mainColor":54},287318,"xian-shan-tai-xie-tu-juan-zhao-bo-ju-287318","仙山台榭图卷","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,84,25,28,152,27,26,130,31,32,33,923,924,7],"仙山","台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01f4b5acfb3873ec5468ae4addbdf22c.jpg",[],19,{"id":929,"slug":930,"title":931,"dynasty":180,"author":181,"museum":125,"description":182,"tags":932,"thumbUrl":936,"material":198,"size":199,"collection":200,"collections":937,"showCount":927,"zanCount":11,"manualWeight":11,"mainColor":203},226123,"the-thames-below-westminster-mo-nai-226123","The Thames below Westminster",[185,184,933,86,7,934,935,228],"泰晤士河","城市风光","雾景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7a68edc082d6bad8fa14400e41a54a.jpg",[200],{"id":939,"slug":940,"title":941,"dynasty":18,"author":222,"museum":60,"description":942,"tags":943,"thumbUrl":944,"material":737,"size":141,"collection":141,"collections":945,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":203},234242,"shan-shui-juan-sun-zhi-234242","山水卷","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,84,25,128,27,129,403,402,130,226,109,7,34,106,280,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],18,{"id":948,"slug":949,"title":950,"dynasty":180,"author":594,"museum":125,"description":951,"tags":952,"thumbUrl":955,"material":141,"size":141,"collection":141,"collections":956,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":203},225302,"fu-shi-hui-26-yi-ming-225302","浮世绘26","清月垂悬远山之巅，将夜色晕成柔润水色。暖黄沙洲缓缓铺展，与幽蓝河湾错落相拥。石拱桥静卧水面，行人缓行其上，把清寂夜色揉进浅淡烟火气。\n\n右侧山坞间的屋舍藏在深翠林木中，檐角轻挑月色，几艘渔船系在浅滩，随波轻晃。画面冷暖色调交织碰撞，晕开静谧诗意，将水乡月夜的闲趣铺陈开来，带着日式风物独有的侘寂清宁，把寻常烟火揉进朦胧月色里，绘就一方松弛悠然的夜泊小景。",[953,27,130,32,33,954,31,34,7,30],"浮世绘","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a1b573bd1eedc319d19e2075a3be6b.jpg",[],{"id":958,"slug":959,"title":960,"dynasty":78,"author":961,"museum":962,"description":963,"tags":964,"thumbUrl":965,"material":247,"size":966,"collection":157,"collections":967,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":54},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。",[24,84,335,27,130,28,954,132,31,32,33,34,106,7,312,135,664],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[157],{"id":969,"slug":970,"title":971,"dynasty":58,"author":594,"museum":102,"description":972,"tags":973,"thumbUrl":974,"material":975,"size":976,"collection":141,"collections":977,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":203},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,128,129,25,130,524,31,106,131,34,109,135,244,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","纸本","28.6x44.1公分",[],17,{"id":980,"slug":981,"title":982,"dynasty":58,"author":594,"museum":125,"description":983,"tags":984,"thumbUrl":986,"material":141,"size":141,"collection":141,"collections":987,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":54},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,24,84,130,28,27,26,985,228,7,135,31,629,133,34],"长桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":989,"slug":990,"title":991,"dynasty":78,"author":732,"museum":125,"description":992,"tags":993,"thumbUrl":995,"material":141,"size":141,"collection":141,"collections":996,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":203},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","西湖十景图卷","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,24,25,27,130,129,133,31,32,33,407,34,7,227,994],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":998,"slug":999,"title":354,"dynasty":58,"author":594,"museum":125,"description":1000,"tags":1001,"thumbUrl":1002,"material":141,"size":141,"collection":141,"collections":1003,"showCount":978,"zanCount":11,"manualWeight":11,"mainColor":54},223657,"jin-ming-chi-zheng-biao-tu-yi-ming-223657","此作用精工界画描摹池苑盛景，朱红飞檐沿水铺展，虹桥凌波串联洲屿，殿台廊榭的斗拱榫卯分毫毕现。\n\n水面之上楼船列阵、彩旗微漾，竞渡健儿挥棹如飞，争标嬉水的喧闹仿佛冲破古绢。城垣垂柳轻拂水岸，往来小艇点缀烟波，将皇家游赏的闲逸与赛事的紧张相融，定格下汴京春日的鲜活盛景。\n\n设色调和古雅，笔致细腻写实，带着宋画特有的雅致沉静，让千年前的升平跃然眼前，将彼时的游观雅趣与竞技热络尽数藏在绢素方寸间，尽显入微观察力与写实传神的宋画魅力。",[23,24,83,28,27,26,31,32,33,42,30,407,34,153,38,760,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd85e658915ce503fbd031386625d9a8.jpg",[],{"id":1005,"slug":1006,"title":1007,"dynasty":78,"author":1008,"museum":570,"description":1009,"tags":1010,"thumbUrl":1012,"material":115,"size":1013,"collection":141,"collections":1014,"showCount":978,"zanCount":160,"manualWeight":11,"mainColor":203},222915,"hong-lou-meng-40-sun-wen-222915","红楼梦40","孙温","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",[23,83,24,84,26,27,28,30,31,32,33,34,1011,7,39,130],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f172211be0327e73b3aba472fcf1de.jpg","纵43.3厘米、横76.5厘米",[],{"id":1016,"slug":1017,"title":1018,"dynasty":78,"author":1019,"museum":125,"description":1020,"tags":1021,"thumbUrl":1024,"material":198,"size":199,"collection":141,"collections":1025,"showCount":1026,"zanCount":11,"manualWeight":11,"mainColor":203},290475,"za-hua-ce-luo-pin-290475","杂画册","罗聘","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[24,551,128,130,7,358,1022,1023],"塔楼","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce5e3fdebc1112a48f4c4011f611388.jpg",[],16,{"id":1028,"slug":1029,"title":1030,"dynasty":78,"author":626,"museum":60,"description":627,"tags":1031,"thumbUrl":1032,"material":115,"size":141,"collection":141,"collections":1033,"showCount":1026,"zanCount":11,"manualWeight":11,"mainColor":54},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷",[83,24,84,25,128,27,130,280,31,32,33,132,133,245,34,106,7,135,664,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":1035,"slug":1036,"title":1037,"dynasty":78,"author":569,"museum":125,"description":1038,"tags":1039,"thumbUrl":1040,"material":141,"size":141,"collection":141,"collections":1041,"showCount":1026,"zanCount":11,"manualWeight":11,"mainColor":203},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[23,24,84,25,128,130,129,443,444,735,131,34,7,245,403,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":1043,"slug":1044,"title":1045,"dynasty":18,"author":594,"museum":20,"description":1046,"tags":1047,"thumbUrl":1048,"material":115,"size":1049,"collection":157,"collections":1050,"showCount":1026,"zanCount":11,"manualWeight":11,"mainColor":54},223362,"hui-ji-shan-tu-shou-juan-quan-juan-yi-ming-223362","会稽山图手卷全卷","图绘绍兴会稽山景色。远处山峦起伏，满山苍翠；数条河流将群山隔开，河面修长平静，数只船只来往忙碌；近处数座房屋座落于山脚河岸边，背山面水，景色优美，为宜居胜地。技法上，以细皴绘山脉，线条柔和，层次清晰。",[23,24,25,83,573,128,129,226,109,7,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c41ff2d27b892270217b7097c0f66a.jpg","49.2×712.2",[157],{"id":1052,"slug":1053,"title":1054,"dynasty":269,"author":594,"museum":125,"description":1055,"tags":1056,"thumbUrl":1060,"material":141,"size":141,"collection":141,"collections":1061,"showCount":1062,"zanCount":11,"manualWeight":11,"mainColor":54},230922,"jiang-cheng-ye-po-tu-yi-ming-230922","江城夜泊图","此作用淡墨晕染出夜色江天，远山隐在朦胧烟霭之中，虚渺苍茫，将夜的空寂晕染开来。江面舟船错落排布，屋舍、桅杆细节宛然，朴拙写实又不失写意松弛。淡墨轻扫江面，微波暗藏，静中藏动。\n\n没有星月铺陈，却处处浸着夜的宁谧，泊舟暂歇的安然藏在错落舟楫之间，带着元画特有的简淡萧散气质。寥寥笔墨便将羁旅的淡寂揉入江南夜色，仿佛能听见细浪拍舷，触到晚风裹着的水汽凉意，以简驭繁，把江城夜色的柔静与行旅安闲融成清寂悠远的诗画意境。",[24,1057,128,129,130,7,1058,38,1059],"扇面","桅杆","江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79119bd59edd2dd5c8ff285ff75b5330.jpg",[],15,{"id":1064,"slug":1065,"title":1066,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1067,"thumbUrl":1075,"material":198,"size":199,"collection":200,"collections":1076,"showCount":1062,"zanCount":160,"manualWeight":11,"mainColor":203},225969,"late-afrternoon-vetheuil-1880-mo-nai-225969","Late Afrternoon, Vetheuil, 1880",[83,184,185,1068,187,1069,109,1070,1071,7,1072,34,193,194,1073,373,111,191,529,1074],"光影变化","笔触灵动","小镇","教堂","山坡","午后光线","波光粼粼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9713978577222b76bdeb6e2d34ac97c.jpg",[200],{"id":1078,"slug":1079,"title":1080,"dynasty":18,"author":594,"museum":125,"description":1081,"tags":1082,"thumbUrl":1083,"material":141,"size":141,"collection":141,"collections":1084,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":203},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[24,84,335,128,27,129,130,31,34,132,33,245,38,109,243,135,136,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],14,{"id":1087,"slug":1088,"title":1089,"dynasty":78,"author":1090,"museum":60,"description":1091,"tags":1092,"thumbUrl":1094,"material":1095,"size":1096,"collection":141,"collections":1097,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":54},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷","王翚","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,25,128,26,130,513,109,7,34,38,407,32,1093,298,358,245],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纸本设色","纵39.3cm 横198.4cm",[],{"id":1099,"slug":1100,"title":1101,"dynasty":78,"author":1102,"museum":399,"description":1103,"tags":1104,"thumbUrl":1105,"material":141,"size":141,"collection":157,"collections":1106,"showCount":1085,"zanCount":11,"manualWeight":11,"mainColor":1107},202117,"xue-jing-shan-shui-zhou-qian-shu-202117","雪景山水轴","钱恕","画面铺展一派素净雪境，远山如银砌，淡墨晕染出雪的层叠厚重；近景枯树虬枝裹雪，山石以皴擦显肌理，屋舍隐于皑皑间，小桥横卧流水，水面泊着归舟，似有行人踏雪，静谧中藏着生活气息。水墨为底，皴染相济，留白与墨色相映成趣，线条简练却勾勒传神，将冬日清寒悠远的意境渲染得淋漓尽致，尽显传统山水的雅致韵味。",[24,128,130,129,32,33,243,106,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2555af5beb68adb6ad9849ab11e9590b.jpg",[157],"b49c81",{"id":1109,"slug":1110,"title":1111,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1112,"thumbUrl":1119,"material":198,"size":199,"collection":200,"collections":1120,"showCount":1121,"zanCount":160,"manualWeight":11,"mainColor":54},225903,"bathers-at-la-grenouillere-1869-mo-nai-225903","Bathers at La Grenouillere, 1869",[83,184,185,499,501,1069,1113,1114,228,7,30,1115,86,34,529,261,836,1116,1117,1118],"户外写生","光色变化","浴者","树荫","夏日","休闲场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84c60ec89242747c19de7147819298f.jpg",[200],13,{"id":1123,"slug":1124,"title":1125,"dynasty":18,"author":1126,"museum":399,"description":1127,"tags":1128,"thumbUrl":1131,"material":141,"size":141,"collection":157,"collections":1132,"showCount":1121,"zanCount":11,"manualWeight":11,"mainColor":1133},203430,"qiu-pu-song-bie-tu-juan-wen-bo-ren-203430","秋浦送别图卷","文伯仁","画面铺展秋浦江天，烟波浩渺间岛屿错落，林木葱茏处隐现亭台。近岸孤舟待发，船帆轻扬，岸边人物揖别，意韵缱绻。远景山峦层叠，云雾氤氲，水色天光交融成一派清旷。笔墨细腻处见工致，山石皴法显肌理，树木点染得法，设色淡雅温润。卷后行书题跋流畅，与画风相得益彰，尽显雅致风神。整卷以景衬情，将送别之怅惘藏于山水幽远，读来如临其境，怅然若失。",[23,24,84,25,27,26,129,403,402,130,132,31,34,33,30,133,1129,228,7,38,1130],"岸边景物","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c20e12301268a7c13276cf69343153.jpg",[157],"c0b095",{"id":1135,"slug":1136,"title":1137,"dynasty":180,"author":1138,"museum":125,"description":1139,"tags":1140,"thumbUrl":1141,"material":141,"size":141,"collection":141,"collections":1142,"showCount":1143,"zanCount":11,"manualWeight":11,"mainColor":203},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,84,551,128,27,129,130,30,31,132,33,131,34,135,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],11,{"id":1145,"slug":1146,"title":1147,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1148,"thumbUrl":1153,"material":198,"size":199,"collection":200,"collections":1154,"showCount":1143,"zanCount":11,"manualWeight":11,"mainColor":54},226051,"the-bridge-at-argenteuil-1874-mo-nai-226051","The Bridge at Argenteuil, 1874",[184,186,256,812,373,109,7,1058,1149,1022,1150,193,194,38,1151,1152,111],"石拱桥","树林","1874","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221d7867ff2d1bca89f685ab2d4e3019.jpg",[200],{"id":1156,"slug":1157,"title":1158,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1159,"thumbUrl":1164,"material":198,"size":199,"collection":200,"collections":1165,"showCount":1143,"zanCount":11,"manualWeight":11,"mainColor":203},226024,"san-giorggio-maggiore-1908-mo-nai-226024","San Giorggio Maggiore, 1908",[185,184,465,501,1160,760,1161,1071,1162,191,1163,193,762,7],"朦胧笔触","小船","钟楼","水面波纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d982d8d320fa2db48e60dd9adcfb75.jpg",[200],{"id":1167,"slug":1168,"title":1169,"dynasty":18,"author":1170,"museum":399,"description":1171,"tags":1172,"thumbUrl":1173,"material":68,"size":1174,"collection":141,"collections":1175,"showCount":1143,"zanCount":11,"manualWeight":11,"mainColor":203},222097,"liang-jiang-ming-sheng-tu-ce-9-shen-zhou-222097","两江名胜图册9","沈周","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,84,551,128,27,28,130,31,32,33,133,7,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5c117a53f6aab2a924fb2e8282cc44.jpg","42.2×23.8厘米",[],{"id":1177,"slug":1178,"title":1179,"dynasty":18,"author":1180,"museum":60,"description":1181,"tags":1182,"thumbUrl":1185,"material":1186,"size":1187,"collection":141,"collections":1188,"showCount":1143,"zanCount":11,"manualWeight":11,"mainColor":54},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意","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。",[23,24,84,551,27,29,130,524,33,34,135,1183,7,1184,760],"芦苇","归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":1190,"slug":1191,"title":1192,"dynasty":78,"author":429,"museum":60,"description":1193,"tags":1194,"thumbUrl":1195,"material":47,"size":1196,"collection":141,"collections":1197,"showCount":1143,"zanCount":11,"manualWeight":11,"mainColor":54},219139,"yang-zhou-si-jing-tu-ping-liu-yong-pu-yuan-yao-219139","扬州四景图-平流涌瀑","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[23,24,83,84,28,27,130,31,33,490,133,34,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc653a6bdb7a5f3f5ea8cd089f68aff1.jpg","纵57厘米，横66.1厘米",[],{"id":1199,"slug":1200,"title":1201,"dynasty":78,"author":710,"museum":125,"description":1202,"tags":1203,"thumbUrl":1205,"material":141,"size":141,"collection":141,"collections":1206,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":203},239216,"cheng-bo-wan-qing-tu-zhou-xu-fang-239216","澄波万顷图轴","以淡墨晕染江天浩渺，远山轻笼烟霭，如黛痕隐在云水之间，江帆凌波点点，衬得万顷澄波愈见空阔辽远。近景危崖层叠皴擦，枯木疏朗错落，崖畔茅亭山居幽藏林间，山巅楼宇凭崖俯瞰大江，尽得林泉高致。\n\n笔墨简淡清和，以留白衬出水天无际，带着遗世幽居的冷寂萧疏。题诗与笔墨相映，将寄怀林泉、耽恋丘壑的隐逸襟怀融在山光水色之中，淡远里藏着沉郁静气，尽显文人画诗画合一的雅逸格调。",[24,84,335,128,129,130,1204,34,106,735,135,7],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a04716dd53d779f11804342d6a38b4a.jpg",[],{"id":1208,"slug":1209,"title":1210,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1211,"thumbUrl":1214,"material":198,"size":199,"collection":200,"collections":1215,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":316},225948,"houses-of-parliament-fog-effect-1903-mo-nai-225948","Houses of Parliament, Fog Effect, 1903",[184,185,1212,186,191,228,7,935,109,1213],"雾效","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea922004bc7a22912ba6d14406f8193.jpg",[200],{"id":1217,"slug":1218,"title":1219,"dynasty":78,"author":1220,"museum":125,"description":1221,"tags":1222,"thumbUrl":1223,"material":141,"size":141,"collection":141,"collections":1224,"showCount":1225,"zanCount":11,"manualWeight":11,"mainColor":203},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","林纾","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,84,25,128,129,26,403,402,245,130,109,34,106,32,7,131,298,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],9,{"id":1227,"slug":1228,"title":1229,"dynasty":58,"author":594,"museum":60,"description":1230,"tags":1231,"thumbUrl":1233,"material":68,"size":1234,"collection":141,"collections":1235,"showCount":1236,"zanCount":11,"manualWeight":11,"mainColor":54},233016,"liu-ge-feng-fan-tu-ye-yi-ming-233016","柳阁风帆图页","此图原载《纨扇画册》。图绘万柳丛中楼阁一栋，数人依楼远眺。林中小径连桥，树人信步其中。画中湖光天色，浩渺无尽，两船扬帆而行。远空大雁成行，结队而飞。全图笔法工细，设色清丽，构图大疏大密、虚实相生。",[24,27,26,28,130,211,31,32,33,1232,7,30,34],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2eefe3a4fbd316b228360acb3c2932e.jpg","纵25.2、横26.7厘米",[],8,{"id":1238,"slug":1239,"title":1240,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1241,"thumbUrl":1242,"material":198,"size":199,"collection":200,"collections":1243,"showCount":1236,"zanCount":11,"manualWeight":11,"mainColor":203},226122,"the-thames-at-westminster-1871-mo-nai-226122","The Thames at Westminster, 1871",[185,184,186,935,812,109,38,7,86,30,110,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b1f9bfeebe7fc2d67634f2e50675ac0.jpg",[200],{"id":1245,"slug":1246,"title":1247,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1248,"thumbUrl":1250,"material":198,"size":199,"collection":200,"collections":1251,"showCount":1236,"zanCount":11,"manualWeight":11,"mainColor":54},226043,"the-banks-of-the-seine-near-jeufosse-eure-mo-nai-226043","The Banks of the Seine near Jeufosse (Eure),",[185,184,1249,109,34,7,529,193,186],"风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88aa2b1fb926bdba4042969fce1f5d11.jpg",[200],{"id":1253,"slug":1254,"title":941,"dynasty":18,"author":222,"museum":125,"description":942,"tags":1255,"thumbUrl":1256,"material":141,"size":141,"collection":141,"collections":1257,"showCount":1258,"zanCount":11,"manualWeight":11,"mainColor":203},234222,"shan-shui-juan-sun-zhi-234222",[23,24,84,25,130,128,27,129,226,34,109,7,106,153,227,280,403,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],7,{"id":1260,"slug":1261,"title":1262,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1263,"thumbUrl":1271,"material":198,"size":199,"collection":200,"collections":1272,"showCount":1258,"zanCount":11,"manualWeight":11,"mainColor":54},225992,"on-the-cliff-at-pourville-bright-weather-1882-mo-nai-225992","On the Cliff at Pourville, Bright Weather, 1882",[184,185,499,187,1204,189,524,138,193,1264,1069,1265,1266,1267,760,7,1268,1269,1270],"户外风景","自然光影","海岸景观","明亮天气","山坡植被","色彩融合","风景写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0824c37911c3c410cd4f9a4c0ecfb7c.jpg",[200],{"id":1274,"slug":1275,"title":1276,"dynasty":78,"author":1277,"museum":125,"description":1278,"tags":1279,"thumbUrl":1280,"material":141,"size":141,"collection":157,"collections":1281,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":203},235068,"zhu-jia-shan-shui-ce-ye-lou-ge-ce-ye-li-yin-235068","诸家山水册页-楼阁册页","李寅","以淡墨晕开氤氲底色，晕染出江南春晨烟霭朦胧的氛围感。近岸屋舍错落排布，木桥横卧水面，几叶渔舟轻泛波上，岸旁柳丝垂曳如烟似雾，将春日柔婉尽数铺展。山腰村居隐于林霭之间，远山楼阁凭崖矗立，虚实相生层层递进，铺排出悠远开阔的空间层次。\n笔墨清浅秀逸，不着浓丽色彩，全以水墨干湿浓淡烘托烟柳空濛之境，将江南水乡的温婉雅致融于尺幅，把郊野春闲的诗意定格纸面，尽显静穆淡远的文人意趣。",[24,551,128,28,130,129,31,32,33,132,34,106,7,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc870a0a569573b8ca55a3195d0141971.jpg",[157],{"id":1283,"slug":1284,"title":1285,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1286,"thumbUrl":1289,"material":198,"size":199,"collection":200,"collections":1290,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":54},226116,"the-seine-at-petit-gennevilliers-1872-mo-nai-226116","The Seine at Petit-Gennevilliers, 1872",[185,184,109,228,7,212,106,258,30,1058,259,527,193,760,1287,1288,524],"波纹","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8193fd09c9f0a056d35f69a8edc3cdd1.jpg",[200],{"id":1292,"slug":1293,"title":1294,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1295,"thumbUrl":1303,"material":198,"size":199,"collection":200,"collections":1304,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":54},226061,"the-coal-dockers-1875-mo-nai-226061","The Coal-Dockers, 1875",[185,184,499,1296,1069,1297,109,7,86,1298,1299,1300,228,1301,1302],"色彩表现","铁桥","工人","煤炭","搬运场景","桥上行人","工业景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5ddfd7ffde8b4a2181390d1dab3dc7.jpg",[200],{"id":1306,"slug":1307,"title":1308,"dynasty":180,"author":594,"museum":125,"description":1309,"tags":1310,"thumbUrl":1313,"material":141,"size":141,"collection":141,"collections":1314,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":203},225429,"fu-shi-hui-187-yi-ming-225429","浮世绘187","画面以熙攘的桥头集市铺展开篇，贩夫走卒、相扑力士往来穿梭，推搡笑闹间将市井的鲜活烟火尽数铺陈。暖调天色晕染下，远景富士山静立，柔缓山巅裹着拂晓微光，与桥面上鼎沸的喧嚣形成动与静的绝妙对照。\n\n利落的线条勾画出町屋飞檐、河道舟楫，蓝棕底色晕开沉静暖意，将庶民生计的蓬勃鲜活与山海远景的清寂安然揉为一体，把旧时光里寻常一日的热络日常，凝在这一方画纸之上。",[953,1311,27,30,110,38,1312,407,228,7,44],"木刻","富士山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0669401aca924e5de194d56108d74d.jpg",[],{"id":1316,"slug":1317,"title":1318,"dynasty":180,"author":594,"museum":125,"description":1319,"tags":1320,"thumbUrl":1324,"material":141,"size":141,"collection":141,"collections":1325,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":203},225428,"fu-shi-hui-186-yi-ming-225428","浮世绘186","淡晕米黄铺就朦胧天色，墨色薄云舒卷柔化天际。开阔水面漾着细微波纹，大小舟楫错落排布，撑篙渔夫俯身控船，带网渔船缓行，远帆静泊，尽显漕运烟火日常。\n\n两岸町屋鳞次栉比，木构白墙衬着暖红阶台，右侧埠头栈台尽显临河商贸的繁茂。整体用色克制雅致，朱红与石青点缀屋舍栏槛，淡墨勾线清隽凝练，将水岸松弛鲜活的日常定格，带着日式版画独有的温润烟火气，静述着旧时河畔的熙攘安闲。",[953,1311,27,109,7,110,38,30,34,529,276,1321,1058,86,42,1322,1323,44],"渔网","船夫","水乡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6986e11ff27deb142a6863bca6f1452d.jpg",[],{"id":1327,"slug":1328,"title":1329,"dynasty":180,"author":594,"museum":125,"description":1330,"tags":1331,"thumbUrl":1332,"material":141,"size":141,"collection":141,"collections":1333,"showCount":119,"zanCount":160,"manualWeight":11,"mainColor":203},231769,"xi-yang-jian-wen-tu-hui-2-shan-shui-xiang-gang-juan-yi-ming-231769","西洋见闻图绘-2-山水香港卷","此作为工写兼施的通景长卷，以淡赭花青晕染层叠峰峦，勾勒出山海相依的清润意境。画面右侧洋商埠地烟火稠密，公署高悬洋旗，尽显开埠后的异域风貌；海面之上中式艚船与西式夹板商船错落停泊，帆樯林立。\n\n整作将传统山水画的雅致笔墨，用于纪实描摹近代港埠盛景，既保留了传统山水的空蒙气韵，又细致还原了中西交汇的滨海日常，兼具审美价值与纪实史料意义，静然铺展出近代中外通商的鲜活图景。",[23,24,25,27,130,7,38,227,189,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb12ba86048fff4f09195dafa84d05d1.jpg",[],{"id":1335,"slug":1336,"title":1337,"dynasty":180,"author":1138,"museum":125,"description":1338,"tags":1339,"thumbUrl":1340,"material":198,"size":199,"collection":141,"collections":1341,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":203},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,84,25,27,130,195,34,280,760,227,7,244,135,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":1343,"slug":1344,"title":1345,"dynasty":180,"author":1138,"museum":125,"description":1338,"tags":1346,"thumbUrl":1351,"material":198,"size":199,"collection":141,"collections":1352,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":203},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段",[23,24,27,130,25,1347,227,195,34,193,7,1348,1349,1204,618,280,138,1350,30,129],"海","沙滩","云","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":1354,"slug":1355,"title":1356,"dynasty":180,"author":181,"museum":125,"description":182,"tags":1357,"thumbUrl":1361,"material":198,"size":199,"collection":200,"collections":1362,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":54},226049,"the-boats-in-asnieres-1873-mo-nai-226049","The Boats in Asnieres, 1873",[184,185,465,1358,1069,109,7,524,1359,34,30,373,193,1360],"色彩捕捉","岸边建筑","停泊船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee73caeeade0730bf538686aea205b7.jpg",[200],{"id":1364,"slug":1365,"title":1366,"dynasty":78,"author":594,"museum":125,"description":1367,"tags":1368,"thumbUrl":1371,"material":198,"size":199,"collection":141,"collections":1372,"showCount":1373,"zanCount":11,"manualWeight":11,"mainColor":203},290461,"fu-jian-sheng-hai-an-quan-tu-yi-ming-290461","福建省海岸全图","以工笔设色铺展山海格局，青绿晕染勾勒陆上山峦层次，标注散落的聚落汛地，清晰铺展滨海地理脉络。海面以细密波纹摹写海波起伏，点缀海船似载着往昔海事日常，让实用舆图晕染出画意。\n\n它兼顾测绘纪实与东方美学意趣，详实承载了东南海疆的兵防布局与地貌形制，将冰冷的地理记录揉入雅致古意，铺展着昔日闽海的独特风貌，是兼具实用价值与审美质感的舆图佳作。",[23,24,25,27,152,130,1369,7,226,1370],"海岸","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747e65e51d9b3f181eedfc5f274e9cf3.jpg",[],4,{"id":1375,"slug":1376,"title":1377,"dynasty":180,"author":594,"museum":125,"description":1378,"tags":1379,"thumbUrl":1391,"material":198,"size":199,"collection":141,"collections":1392,"showCount":1373,"zanCount":11,"manualWeight":11,"mainColor":203},225523,"fu-shi-hui-281-yi-ming-225523","浮世绘281","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。",[953,1311,27,30,1380,1381,1382,1383,1384,1385,1386,1387,1388,7,1389,1390],"美人","洋装","和服","桌子","椅子","乐器","托盘","酒瓶","窗户","地毯","窗帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe79218199b0754aee056f18535257749.jpg",[],{"id":1394,"slug":1395,"title":1396,"dynasty":78,"author":594,"museum":102,"description":1397,"tags":1398,"thumbUrl":1401,"material":141,"size":141,"collection":141,"collections":1402,"showCount":1373,"zanCount":11,"manualWeight":11,"mainColor":54},223415,"ma-zu-qi-ji-f-yi-ming-223415","妈祖奇迹F","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,84,1399,27,26,28,1400,30,7,1370,407,390],"清代","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d00332986b470d20138fbc256b149f.jpg",[],{"id":1404,"slug":1405,"title":1406,"dynasty":58,"author":594,"museum":125,"description":1407,"tags":1408,"thumbUrl":1409,"material":198,"size":199,"collection":141,"collections":1410,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":203},289955,"jiang-cheng-tu-yi-ming-289955","江城图","画面以苍褐设色晕染江天暮色，江岸楼阁层檐叠瓦、雄峙沉稳，飞檐翘角尽显宋式营造的雅致工巧。江涛翻涌间商船缓行，波痕皴擦细腻生动，衬出水岸楼宇的巍峨厚重。左侧题笔行书朴拙苍劲，书画相映成趣。整体笔触凝练写实，将江城楼观的壮伟与江行的悠然融于一卷，晕染出沉郁苍润的古典意境，藏着旧时水岸的澹澹烟火余韵，尽显写实山水的精妙意趣。",[23,24,84,28,31,678,7,402,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fcf6120e1d9a97e9eacda93b55b2984.jpg",[],{"id":1412,"slug":1413,"title":1414,"dynasty":78,"author":1415,"museum":125,"description":1416,"tags":1417,"thumbUrl":1420,"material":141,"size":141,"collection":141,"collections":1421,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":203},238203,"shan-shui-ce-tang-dai-238203","山水册","唐岱","此作绘江南早春胜景，烟波漾漾间，岸柳垂丝、桃花灼艳，村居错落隐在烟林之中，远山含黛如螺，汀上渔舟轻泛，处处漫着融融春意。设色柔丽清雅，浅绛晕染山峦，青绿点饰草木，笔致秀润苍雅，构图疏朗舒逸。\n左侧题诗与画境呼应，笔墨端秀，诗画合璧，将春日湖山的温柔生机铺陈开来，尽显文人画闲适淡远的意趣，把东风暖遍青芜的诗意具象成缱绻春景，淡冶雅致中藏着沉静的笔墨韵致，写尽江南春朝的温润明媚。",[24,84,551,27,129,130,211,1418,32,106,7,34,529,135,664,641,1419],"桃花","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13998ad4effe87246a6b48492d2dc99.jpg",[],{"id":1423,"slug":1424,"title":1425,"dynasty":180,"author":594,"museum":125,"description":1426,"tags":1427,"thumbUrl":1428,"material":141,"size":141,"collection":141,"collections":1429,"showCount":217,"zanCount":11,"manualWeight":11,"mainColor":54},225326,"fu-shi-hui-74-yi-ming-225326","浮世绘74","这幅以春樱湖山为景，石青铺就浩渺水天，柔粉樱花漫覆青绿丘峦，冷暖交织晕开清和春日。木桥山道串起村舍屋宇，山上游人比肩、岸边客聚成群，漾波舟船载着踏青之人，将江户时节的赏樱盛景铺陈眼前。明快雅致的配色晕染出松弛温婉的和风意趣，全景构图兼具开阔氛围感与细节鲜活度，把市井游春的闲逸日常融在湖樱盛景中，将春日舒展明媚的生机定格成诗意悠长的风物画卷。",[953,27,1311,130,32,33,7,106,34,30,227,109,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd158e996809e261a9f0f984c1658ae84.jpg",[],{"id":1431,"slug":1432,"title":1433,"dynasty":180,"author":594,"museum":125,"description":1434,"tags":1435,"thumbUrl":1440,"material":198,"size":199,"collection":141,"collections":1441,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":203},289058,"lambert-doomer-view-of-nantes-yi-ming-289058","Lambert Doomer--View of Nantes","凭崖驻足的旅人静望河畔古城，哥特式尖塔与砖石楼宇错落铺展在水天之际，几艘帆船静泊水面晕开温柔涟漪，晕染出老城的烟火日常。\n画家以细腻的明暗层次勾勒出崖壁的粗粝肌理，沉郁的云层晕开朦胧天色，将开阔水岸的肃穆与静谧揉为一体。带着古典风景独有的沉静叙事感，将羁旅的怅惘与故城的安稳交融，让观者仿佛与旅人一同凝睇这座被水色晕开的悠远城邦。",[1436,1249,109,299,7,1437,30,1438,1439],"水彩画","崖石","阴天","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649083e06249848bdd4c73c233b3d58d.jpg",[],{"id":1443,"slug":1444,"title":1445,"dynasty":78,"author":1446,"museum":125,"description":1447,"tags":1448,"thumbUrl":1449,"material":198,"size":199,"collection":141,"collections":1450,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":203},239002,"shan-shui-shan-zhao-wei-239002","山水扇","赵玮","赵玮，生卒年不详，山东济南府平原县人。幼孤，事母以孝。闻以明经，授莱州府学训导。招集诸生，立月课法，拔其尤者廪给之，一时文风蔚起。又捐俸、备乐器于学宫，聘儒童肄习之，历三月而八音备。生平笃学嗜古，于诸书无不究悉。所著有《圣庙元音》及《典礼》、《仪礼》二卷藏于家。",[1057,24,128,27,130,131,34,7,403,245,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a45b2fac7e87c475746906d4a2d3b47.jpg",[],{"id":1452,"slug":1453,"title":1414,"dynasty":78,"author":1454,"museum":125,"description":1455,"tags":1456,"thumbUrl":1457,"material":141,"size":141,"collection":141,"collections":1458,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":203},238018,"shan-shui-ce-lu-zun-shu-238018","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,84,551,128,167,130,32,33,132,106,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f13bde9516857c66a1cb109f1e97440.jpg",[],{"id":1460,"slug":1461,"title":1462,"dynasty":78,"author":594,"museum":60,"description":1463,"tags":1464,"thumbUrl":1468,"material":140,"size":1469,"collection":141,"collections":1470,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":203},233041,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233041","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[24,27,26,551,30,1347,1465,1466,226,1467,390,7],"战船","波浪","军队","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35739398b97c9acde41de720c061c406.jpg","长55.6厘米，宽91.1厘米",[],{"id":1472,"slug":1473,"title":1474,"dynasty":180,"author":1475,"museum":125,"description":1476,"tags":1477,"thumbUrl":1483,"material":198,"size":199,"collection":141,"collections":1484,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":316},232335,"a-er-ma-62-lao-lun-si-a-er-ma-ta-de-ma-232335","阿尔玛62","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。",[185,1478,1479,7,760,1480,1481,1482,386],"人物画","古代场景","贵族女性","长笛","奢华装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fc5b595e78b5ea5f2f1e04ab28148c5.jpg",[],{"id":1486,"slug":1487,"title":1488,"dynasty":180,"author":1475,"museum":125,"description":1476,"tags":1489,"thumbUrl":1499,"material":198,"size":199,"collection":141,"collections":1500,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":54},232293,"a-er-ma-20-lao-lun-si-a-er-ma-ta-de-ma-232293","阿尔玛20",[185,1439,27,1490,186,1380,1491,1492,386,1493,1494,1495,1496,1497,1498,760,7],"细腻","室内场景","花瓶","拱形门窗","木质地板","长椅","老虎皮","装饰画","圆形桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795068ca8c135a4797c99b6c59089871.jpg",[],{"id":1502,"slug":1503,"title":1504,"dynasty":180,"author":1475,"museum":125,"description":1476,"tags":1505,"thumbUrl":1519,"material":198,"size":199,"collection":141,"collections":1520,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":54},232291,"a-er-ma-18-lao-lun-si-a-er-ma-ta-de-ma-232291","阿尔玛18",[185,1439,1506,1507,1508,109,7,386,1509,1510,1511,1385,1512,1513,38,193,1514,1515,1516,1480,1517,1518],"设色浓郁","古典风格","人物群像","古埃及元素","金字塔","羽毛扇","陶器","水果","侍从","织物","植物","装饰细节","色彩明亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a52be0152e4e8ebabfae122f8932be.jpg",[],{"id":1522,"slug":1523,"title":1524,"dynasty":180,"author":1525,"museum":125,"description":1526,"tags":1527,"thumbUrl":1529,"material":198,"size":199,"collection":141,"collections":1530,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":54},232144,"horses-in-a-meadow-national-gallery-of-art-washington-usa-de-jia-232144","Horses in a Meadow – - National Gallery of Art - Washington (USA)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[184,185,65,527,760,7,106,298,1528,34],"黄昏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6891e26fe2f55d4379ea41f8c996fc.jpg",[],{"id":1532,"slug":1533,"title":1534,"dynasty":78,"author":594,"museum":125,"description":1535,"tags":1536,"thumbUrl":1540,"material":198,"size":199,"collection":141,"collections":1541,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":54},229668,"qian-long-qia-si-fa-lang-chi-bi-bian-hu-yi-ming-229668","乾隆 掐丝珐瑯赤壁扁壶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[1537,27,130,132,33,195,137,34,7,1538,1539],"掐丝珐瑯","器","珐瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70127ae1756bbbbd292dad47eb66b7f3.jpg",[],{"id":1543,"slug":1544,"title":1545,"dynasty":180,"author":594,"museum":125,"description":1378,"tags":1546,"thumbUrl":1549,"material":198,"size":199,"collection":141,"collections":1550,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":203},225444,"fu-shi-hui-202-yi-ming-225444","浮世绘202",[953,1311,1547,27,30,7,1370,1548,193],"版画","炮火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71180aae6c51ae940a8e2ab7121447b2.jpg",[],{"id":1552,"slug":1553,"title":1554,"dynasty":180,"author":594,"museum":125,"description":1555,"tags":1556,"thumbUrl":1558,"material":141,"size":141,"collection":141,"collections":1559,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":203},225330,"fu-shi-hui-82-yi-ming-225330","浮世绘82","清辉满月悬于淀川上空，将银白铺洒在粼粼河面。数艘商船首尾相衔缓行，舟上货篷浸在月色里，艄公的身影晕开朦胧暖意。右侧石垣城楼翼角轻翘，河畔水车静立，衬出夜的安宁。\n\n左岸田埂蜿蜒，三两行人踱步归途，村舍错落藏在浅黄的岸渚间，远山晕染成柔淡的黛色暖黄。雅致的平涂色块晕开日式和风意趣，靛蓝河面撞着暖棕舟船、土黄岸渚，将江户河川夜行的悠然烟火揉进朦胧月色，把商贾行旅的日常，晕成清冷月色下流淌的俗世诗意，是侘寂美学与市井暖意的温柔相融。",[953,1311,27,954,31,7,109,1557,135,34,38],"水车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76593e34ec54c5e7ffffad52c96f604c.jpg",[],{"id":1561,"slug":1562,"title":1563,"dynasty":78,"author":594,"museum":1564,"description":1565,"tags":1566,"thumbUrl":1568,"material":47,"size":141,"collection":141,"collections":1569,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":54},215949,"di-jian-tu-shuo-cai-hui-ben-56-yi-ming-215949","帝鉴图说彩绘本-56","法国国家图书馆","江河为轴，铺展出水陆交融的生动画卷。水面帆影点点，彩饰船只静泊或缓行，舱内人影绰绰，似在闲谈眺望；岸边山峦起伏，草木蓊郁，亭台依水而立，柳丝轻拂下人群聚集，神态闲逸。色彩清雅鲜活，青绿山峦、赭黄岸坡与朱红船饰交织，晕染古雅质感。画面动静相宜，既有水乡的悠然静谧，又有舟楫往来的生活气息，仿佛能听见江风掠帆的轻响，窥见古代江畔日常图景，尽显人文与自然的和谐之美，引人沉醉于这份跨越时空的恬淡鲜活。",[24,27,26,551,30,31,130,7,524,34,1567,390,281,38],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0db53c1577621f6d6df0944493b9a3.jpg",[],{"id":1571,"slug":1572,"title":1573,"dynasty":78,"author":594,"museum":1564,"description":1574,"tags":1575,"thumbUrl":1579,"material":47,"size":141,"collection":141,"collections":1580,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":54},215933,"di-jian-tu-shuo-cai-hui-ben-73-yi-ming-215933","帝鉴图说彩绘本-73","画面铺展开阔水域，水波漾漾间船只往来穿梭，舟中人物姿态各异，或摇橹劳作或对谈休憩，鲜活如生。岸边屋舍错落，村人往来其间，或挑担赶路或闲立话家常，烟火气漫溢。青绿与赭色晕染出古雅韵致，线条细劲流畅，勾勒出树木的葱茏如盖、建筑的朴拙规整与人物的灵动鲜活。近景的民生百态与远景的水天相接相映成趣，写实中藏着含蓄的教化意味，笔墨间凝着传统工笔的精致与历史叙事的温厚——每一处细节皆映照着对治世民生的观照，让古卷里的生活场景跃然眼前，韵味悠长。",[24,83,26,27,152,551,30,7,1576,33,34,1577,1578],"屋舍","民生","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c3b1408b21f1b603f96b6a3080f55.jpg",[],{"id":1582,"slug":1583,"title":1584,"dynasty":180,"author":594,"museum":125,"description":1585,"tags":1586,"thumbUrl":1594,"material":198,"size":199,"collection":141,"collections":1595,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":203},289490,"bernardo-bellotto-san-simeone-piccolo-venice-seen-from-the-grand-canal-yi-ming-289490","Bernardo Bellotto--San Simeone Piccolo, Venice, Seen from the Grand Canal","以柔波运河铺展前景，细密线条勾勒出水纹漾动的质感，贡多拉穿梭其上，船夫与临河人物的动态鲜活细腻，晕开威尼斯日常松弛的烟火气。穹顶主建筑占据画面核心，古典柱廊与三角楣庄重规整，排线交织出石材的厚重肌理。两侧民居层叠错落，窗牖墙面的细节被细致捕捉，线条疏密张弛间，自然区分出光影层次。\n\n暖棕底色带着岁月沉淀的痕迹，将建筑的肃穆与水城的柔婉相融，以写实笔触定格下运河边的午后瞬间，既留存下城市场景的真实样貌，又带着手绘的灵动温度，尽显旧时光里水城独有的雅致与鲜活。",[1587,1588,1589,1590,1591,1592,1071,88,7,30,1593],"素描","线描","西洋画","城市风景","水城","运河","宗教建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796c5611ffc14bf309c30eab25950a80.jpg",[],{"id":1597,"slug":1598,"title":1599,"dynasty":180,"author":594,"museum":125,"description":1600,"tags":1601,"thumbUrl":1604,"material":198,"size":199,"collection":141,"collections":1605,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":203},288738,"sebastiaen-vrancx-estates-general-leaving-troy-yi-ming-288738","Sebastiaen Vrancx--Estates General Leaving 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- - Musee d'Orsay (France)",[185,184,723,193,194,189,7,1647,501,1648,760,1649,1650,762],"地平线","笔触轻盈","阴天氛围","自然风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7499704ecb79c0ef4c5f9cb64c6fa15.jpg",[],{"id":1654,"slug":1655,"title":1656,"dynasty":180,"author":594,"museum":125,"description":1378,"tags":1657,"thumbUrl":1661,"material":198,"size":199,"collection":141,"collections":1662,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":203},225525,"fu-shi-hui-283-yi-ming-225525","浮世绘283",[953,1311,27,30,1658,1659,1370,7,1660],"相扑","制服","搏斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292210444b14f4d2143a06b2e8c7b536.jpg",[],{"id":1664,"slug":1665,"title":1666,"dynasty":180,"author":594,"museum":125,"description":1667,"tags":1668,"thumbUrl":1678,"material":141,"size":141,"collection":141,"collections":1679,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":203},225359,"fu-shi-hui-115-yi-ming-225359","浮世绘115","这幅版画以明媚春景入画，岛屿错落于澄澈水色间，漫山樱花如云似雪，苍松点缀翠色，晕染出融融春意。回环山径上踏青游人缓步徐行，渡头与岸畔人影攒动，乌篷船静泊水面，波痕轻漾晕开清浅蓝调。屋舍错落花林间，木桥勾连水岸，将春日郊野的鲜活烟火铺陈开来。\n\n用色明快柔婉，石青铺就水天，砂黄晕染坡岸，粉白樱枝与深松翠影相映成趣，带着日式版画独有的装饰意趣。构图疏密得宜，将踏青的闲雅盛景定格，把市井闲情与春日诗意揉为一处，尽显雅致悠然的和风美学。",[953,1311,27,130,32,33,7,106,34,30,227,735,574,212,1669,1670,1671,1576,1672,760,1673,40,42,834,1674,1675,1676,1677,136],"开花植物","海湾","行船","步道","绿植","林间小路","水岸人家","花树","远岛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89971454455ccd323ecef04635e7d4f.jpg",[],{"id":1681,"slug":1682,"title":1683,"dynasty":180,"author":594,"museum":125,"description":1684,"tags":1685,"thumbUrl":1687,"material":141,"size":141,"collection":141,"collections":1688,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":203},225358,"fu-shi-hui-114-yi-ming-225358","浮世绘114","以跨河高桥为视觉核心，朱红旌幡沿桥檐迤逦排布，暖金桥身凌于靛蓝河面，将攒动行人托举半空。桥上仕庶摩肩接踵，衣色鲜亮错落，尽是市井喧嚷的鲜活热络。桥下波光明净，挂着招幌的舟船缓行于柔波，摇橹声似在纸面漾开。沿岸屋舍枕水而建，晕开水上町肆的娴静底色。\n冷暖色调交织碰撞，暖调桥身点亮画面，冷调河水铺就悠然底色。线条洗练遒劲，既勾勒出建筑舟楫的工整形制，也将河上的升平盛景细腻铺展，把水上市井的鲜活世情凝作永恒的纸面风华。",[953,1686,27,773,109,7,106,390,34,30],"木刻版画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69eabb4216cd38a02d219d6896dd47f8.jpg",[],{"id":1690,"slug":1691,"title":1692,"dynasty":78,"author":1693,"museum":125,"description":1694,"tags":1695,"thumbUrl":1699,"material":128,"size":141,"collection":141,"collections":1700,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":203},216807,"zhan-zheng-tong-ban-hua-41-lang-shi-ning-216807","战争铜版画-41","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。",[1696,130,7,30,1370,226,312,1697,1698],"铜版画","兵器","战争","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c103986cf7b0cd4cd0fce99313d716.jpg",[],{"id":1702,"slug":1703,"title":1704,"dynasty":78,"author":1693,"museum":125,"description":1694,"tags":1705,"thumbUrl":1708,"material":128,"size":141,"collection":141,"collections":1709,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":203},216804,"zhan-zheng-tong-ban-hua-42-lang-shi-ning-216804","战争铜版画-42",[1696,1439,130,30,7,1466,1698,1706,1707,131,38,34],"士兵","战马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b281dd92bc45822aae7265021946d9.jpg",[],{"id":1711,"slug":1712,"title":1713,"dynasty":78,"author":594,"museum":125,"description":1714,"tags":1715,"thumbUrl":1719,"material":198,"size":199,"collection":141,"collections":1720,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":316},258509,"qian-long-kuan-qing-hua-fen-cai-shan-shui-tu-deng-long-shi-ping-yi-ming-258509","乾隆款青花粉彩山水图灯笼式瓶","青花瓷（blue and white 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