[{"data":1,"prerenderedAt":265},["ShallowReactive",2],{"subject-chui-diao":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},923,"chui-diao","垂钓","垂钓画高清赏析","精选中国历代垂钓题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9444690d958bdb747f22412d23f3dd25.jpg",0,14,[14,46,70,92,108,120,156,167,179,196,212,228,239,251],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},222206,"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","明","仇英","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7],"高清","国画","工笔","设色","皴法","立轴","山水","枫树","河流","孤舟","人物","山石","渔乐","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纸本，设色","纵127厘米，横8.5厘米","山水画精选",[40,42],"设色画精选",267,3,"BDBDBD",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":65,"material":66,"size":67,"collection":40,"collections":68,"showCount":69,"zanCount":44,"manualWeight":11,"mainColor":45},218654,"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","元","盛懋","台北故宫博物院","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[23,24,55,29,27,56,32,57,58,59,60,61,62,63,64,7],"水墨","流水","蓑笠","亭","老树","小桥","秋景","岸树","远山","溪面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","绢本,设色","28.7x30cm",[40],87,{"id":71,"slug":72,"title":73,"dynasty":74,"author":75,"museum":76,"description":77,"tags":78,"thumbUrl":85,"material":86,"size":87,"collection":88,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":91},288460,"yu-le-tu-jing-hao-288460","渔乐图","五代十国","荆浩","藏地不详","荆浩（约850-911年），字浩然，号洪谷子，河内沁水(一说河南济源人，一说山西沁水县人，）唐末五代时期著名画家，北方山水画派之祖。\n博通经史，博雅好古。乾符元年（874）前后，得到宰相裴休的关照，担任小官。大中十年（856），罢官回乡。躲避战乱，常年隐居太行山。善于山水画，师从于张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。作品《匡庐图》《雪景山水图》等",[79,24,80,81,55,82,60,56,83,34,84,33,35,7],"名画","书画","长卷","山水画","古木","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe6d632a1b6babf419082b8f11a8e7b.jpg","未知","Xcm*Xcm","",[],83,"795548",{"id":93,"slug":94,"title":95,"dynasty":18,"author":96,"museum":76,"description":97,"tags":98,"thumbUrl":104,"material":86,"size":87,"collection":88,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":45},288067,"chui-diao-tu-shen-zhou-288067","垂钓图","沈周","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,79,55,28,80,29,33,99,100,56,7,57,101,102,103],"垂柳","孤石","书法","印章","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],76,1,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":76,"description":114,"tags":115,"thumbUrl":117,"material":86,"size":87,"collection":88,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":91},289973,"xi-kou-chui-diao-tu-xia-gui-289973","溪口垂钓图","宋","夏圭","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,79,24,82,55,27,59,63,32,56,7,35,116],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a12db7647f64f711e5579f8564b24a7.jpg",[],67,{"id":121,"slug":122,"title":73,"dynasty":18,"author":123,"museum":52,"description":124,"tags":125,"thumbUrl":150,"material":151,"size":152,"collection":40,"collections":153,"showCount":155,"zanCount":107,"manualWeight":11,"mainColor":91},222241,"yu-le-tu-ding-yu-chuan-222241","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,26,29,25,32,35,126,127,63,128,56,129,130,131,132,133,134,135,136,137,138,139,140,141,142,143,144,145,146,147,148,7,149],"竹","渔夫","云雾","岸","树","草","芦苇","小船","岸石","枯树","汀渚","渔人","舟楫","烟波","浅滩","丛竹","近岸","远岫","霭气","水域","坡岸","草木","舟船","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[40,154],"水墨画精选",48,{"id":157,"slug":158,"title":159,"dynasty":18,"author":160,"museum":52,"description":161,"tags":162,"thumbUrl":164,"material":66,"size":165,"collection":40,"collections":166,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":91},222034,"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","戴进","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[23,24,80,79,26,27,29,33,56,59,100,63,163,36,7,57],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[40,42],{"id":168,"slug":169,"title":170,"dynasty":50,"author":171,"museum":76,"description":172,"tags":173,"thumbUrl":176,"material":86,"size":87,"collection":88,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":91},289557,"qiu-lin-chui-diao-tu-zhu-ze-min-289557","秋林垂钓图","朱泽民","此作用边角构图，将虬曲苍劲的秋林置于右畔，枯枝干皴擦点染兼用，残叶附枝尽显清秋萧索，古木盘根错节，苍浑老辣尽显笔墨力道。左侧湖面留白虚旷，一叶扁舟静浮其上，渔人垂竿独钓，身影简淡幽寂。淡墨晕开烟水空蒙，虚实相映间铺展出清远荒寒的意境。\n\n画面题诗与景致互为生发，暗合文人隐逸寄怀的意趣，以简淡笔墨写尽萧散闲远之致，将避世丘壑、寄情烟水的心境藏在荒疏秋景中，尽显元画尚意之风，淡远空灵间余韵悠长。",[24,174,55,29,32,7,175,135,35,57],"扇面","秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52156813f428828135eb7b9e71828e15.jpg",[],30,{"id":180,"slug":181,"title":182,"dynasty":18,"author":183,"museum":76,"description":184,"tags":185,"thumbUrl":194,"material":88,"size":88,"collection":88,"collections":195,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":45},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","赵左","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,28,82,26,55,186,25,187,32,7,188,36,132,34,189,63,190,191,192,193],"披麻皴","写意","草堂","湖水","文人","读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":197,"slug":198,"title":199,"dynasty":200,"author":201,"museum":76,"description":202,"tags":203,"thumbUrl":209,"material":88,"size":88,"collection":88,"collections":210,"showCount":211,"zanCount":107,"manualWeight":11,"mainColor":91},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","清","禹之鼎","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,80,26,25,27,29,33,60,56,204,205,206,7,207,208,134],"柳树","桃花","茅屋","孩童","妇人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],19,{"id":213,"slug":214,"title":215,"dynasty":200,"author":216,"museum":217,"description":218,"tags":219,"thumbUrl":224,"material":38,"size":225,"collection":88,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":45},234243,"yu-jia-le-shi-tu-juan-zhang-ruo-cheng-234243","渔家乐事图卷","张若澄","北京故宫博物院","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。\n人物 简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[23,24,81,55,25,220,102,33,221,56,36,132,222,35,29,138,7,223,163,204,57,32],"白描","渔船","飞鸟","渔网","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],18,{"id":229,"slug":230,"title":231,"dynasty":50,"author":232,"museum":76,"description":233,"tags":234,"thumbUrl":236,"material":86,"size":87,"collection":88,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":91},289566,"qiu-jiang-chui-diao-tu-sheng-zhu-289566","秋江垂钓图","盛著","画山水高洁秀润，兼工人物、花鸟。能修复古画，补绘处运笔著色，与古不殊。明洪武中(1368—1398)供事内府，得到赏遇，待遇优厚。后画天界寺影壁，以水母乘龙背，不合旨意，被杀。",[24,79,174,29,59,235,63,222,55,27,35,7,116],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d32f3efec9d5e9f87a3efcba9b14fd8.jpg",[],17,{"id":240,"slug":241,"title":242,"dynasty":50,"author":171,"museum":217,"description":243,"tags":244,"thumbUrl":246,"material":247,"size":248,"collection":88,"collections":249,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":45},233204,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-233204","秋林垂钓图页","画上一老翁坐于船头专心致志钓鱼，岸上二株松树耸立，画面简洁、幽静。朱德润，字泽民，号睢阳山人，善诗文，工书法，格调遒丽。",[79,24,80,55,27,29,245,130,32,57,7,175],"林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4212db7815938d8172fc55510bf7a.jpg","绢本","28.1X26.6cm厘米",[],13,{"id":252,"slug":253,"title":254,"dynasty":18,"author":255,"museum":76,"description":256,"tags":257,"thumbUrl":262,"material":86,"size":87,"collection":88,"collections":263,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":45},239177,"xue-jiang-chui-diao-zhou-jiang-ai-239177","雪江垂钓轴","蒋霭","蒋蔼，1621-1644，明。字志和，华亭（今上海市松江）人，一作虞山（今江苏常熟）人。天启、崇祯（1621-1644）时人。善画山水学沈士充，苍劲多用渴笔。规摹唐、宋皆能神合。陈继儒题其画卷云：“自唐、宋、元名家，皆撮其精微，染于毫端，岂惟气吞时流，即董宗伯，（其昌）见之，几下卫夫人之叹。”",[24,28,55,27,29,258,259,7,32,57,135,34,84,260,261],"雪","江","房屋","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9314a07a8eab17dffa04b2d87984a968.jpg",[],7,1777535726104]