[{"data":1,"prerenderedAt":274},["ShallowReactive",2],{"subject-dan-she-se":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1051,"dan-she-se","淡设色","淡设色画高清赏析","精选中国历代淡设色题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7f680a7b64e3d854017558c23f6642.jpg",0,15,[14,48,76,97,116,128,144,160,176,189,206,222,238,250,263],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":43,"material":44,"size":44,"collection":44,"collections":45,"showCount":46,"zanCount":11,"manualWeight":11,"mainColor":47},227394,"qing-ming-shang-he-tu-juan-zhang-ze-duan-227394","清明上河图卷","宋","张择端","藏地不详","《清明上河图》卷，北宋，张择端作，绢本，淡设色，纵24.8厘米，横528厘米。\n《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。\n后幅有金张著、明吴宽等13家题记，钤96方印。\n《清河书画舫》、《庚子销夏记》、《式古堂书画记》等书著录。",[23,24,25,26,7,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42],"名画","国画","书画","长卷","兼工带写","散点透视","汴河","虹桥","郊野","街市","店铺","漕船","车马","牛","骆驼","市井人物","市集","城市生活","行人","商贩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6d5b509133b871c36ef9d9b4df3ba5.jpg","",[],116,"795548",{"id":49,"slug":50,"title":51,"dynasty":18,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":69,"material":70,"size":71,"collection":72,"collections":73,"showCount":75,"zanCount":11,"manualWeight":11,"mainColor":47},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","赵令穰","台北故宫博物院","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[56,24,25,57,58,59,60,7,61,62,63,64,65,66,67,68],"高清","扇面","水墨","山水","工笔","柳","亭","小船","水","远山","岸","树","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","绢本,设色","23.2x24.2","宋画精选",[72,74],"山水画精选",100,{"id":77,"slug":78,"title":79,"dynasty":80,"author":81,"museum":53,"description":82,"tags":83,"thumbUrl":91,"material":92,"size":93,"collection":74,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":96},218182,"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","明","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[24,25,84,58,59,85,7,86,62,87,88,89,90],"册","皴法","雪景","小桥","树木","山石","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","纸本,设色","30.1x47.5",[74],80,"BDBDBD",{"id":98,"slug":99,"title":100,"dynasty":80,"author":101,"museum":53,"description":102,"tags":103,"thumbUrl":109,"material":110,"size":111,"collection":74,"collections":112,"showCount":114,"zanCount":115,"manualWeight":11,"mainColor":47},222502,"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","山雨欲来图轴","张路","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[56,24,58,104,85,59,89,88,105,106,68,107,108,7],"立轴","云雾","小径","流水","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","绢","纵147厘米，横105厘米",[74,113],"水墨画精选",29,1,{"id":117,"slug":118,"title":119,"dynasty":80,"author":120,"museum":53,"description":121,"tags":122,"thumbUrl":123,"material":124,"size":125,"collection":74,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":96},220958,"qiu-shan-lin-ting-dong-qi-chang-220958","秋山林亭","董其昌","董其昌《秋山林亭》扇面",[56,24,25,57,58,85,59,62,88,89,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df9fd07e012519044242350341ba5b9.jpg","纸本水墨","35x60.4",[74,113],24,{"id":129,"slug":130,"title":131,"dynasty":18,"author":132,"museum":53,"description":133,"tags":134,"thumbUrl":139,"material":140,"size":141,"collection":44,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":96},223422,"song-ren-qian-yan-wan-he-zhou-yi-ming-223422","宋人千岩万壑轴","佚名","此幅绘千山万水，长松巨壑，中有村落楼阁掩映，一老者倒骑毛驴刚过溪桥，更有渔樵者出没。此图全用郭熙笔意，然细察之宋画气息不足，当是元人学郭熙，而深得其髓者。",[56,24,104,58,85,59,135,136,88,105,137,106,138,7],"山峦","岩石","溪流","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4739ab7f2861e2dad1160409da8090c.jpg","纸本 水墨","126.3x49.7厘米",[],22,{"id":145,"slug":146,"title":147,"dynasty":148,"author":149,"museum":20,"description":150,"tags":151,"thumbUrl":157,"material":44,"size":44,"collection":44,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":96},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","清","蒋廷锡","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[56,24,104,58,152,153,154,89,59,155,85,7,156],"松","竹","杏花","花鸟","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],19,{"id":161,"slug":162,"title":163,"dynasty":18,"author":164,"museum":53,"description":165,"tags":166,"thumbUrl":173,"material":70,"size":174,"collection":74,"collections":175,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":96},218966,"qiu-shan-yan-ai-tu-lian-fu-218966","秋山烟霭图","廉孚","连福在宋朝时出生于山阴（今浙江绍兴）或山阳（今江苏淮安）。他的父亲连布是一位武术医生，住在绍兴，擅长绘画。莲的画风与他父亲的一样。这幅有框画描绘了山区的秋色，有树木和岩石，还有烟雨蒙蒙的景色。一名男子在一条山路上平静地走着，他的同伴背着一个登山背包跟在后面。这幅画具有马沙尔风格的简单构图，笔触的诗意韵律传达了一个物是人非、天人合一的世界。",[56,24,23,25,85,58,59,167,168,169,89,88,65,7,170,171,105,106,172],"秋山","烟霭","老树","林木","坡岸","旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a043a6d31731e9d74857f9921bcf1c.jpg","21.4x24.7",[74],{"id":177,"slug":178,"title":179,"dynasty":18,"author":132,"museum":53,"description":180,"tags":181,"thumbUrl":185,"material":70,"size":186,"collection":74,"collections":187,"showCount":188,"zanCount":11,"manualWeight":11,"mainColor":96},218721,"xue-shan-xing-lv-tu-yi-ming-218721","雪山行旅图","这幅画描绘了雪山上的一条小溪，两辆满载货物的牛车涉水而过，车夫以各种方式进行伪装，黄牛的形象也被真实地描绘出来。朱瑞在宋代喜欢画这类题材，这幅山水画比较轻快，类似于太古遗书《江山行旅图》的笔法，可能是金代的作品。",[56,24,25,57,59,68,182,183,89,90,88,184,58,85,7],"行旅","雪山","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bc5c1e8786c6f2560217f0c8669471.jpg","24.4x25.7",[74],12,{"id":190,"slug":191,"title":192,"dynasty":18,"author":132,"museum":193,"description":194,"tags":195,"thumbUrl":201,"material":202,"size":203,"collection":44,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":96},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","北京故宫博物院","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,25,57,60,58,7,196,197,198,68,59,88,199,137,200,85],"柳树","池塘","马","草地","牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","绢本 设色","23.5×25.6cm",[],7,{"id":207,"slug":208,"title":209,"dynasty":80,"author":210,"museum":20,"description":211,"tags":212,"thumbUrl":217,"material":218,"size":219,"collection":44,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":96},236373,"lu-ting-yuan-tiao-shan-ye-guan-hong-236373","芦汀远眺扇页","管鸿","此作用金笺为底，以细笔绘就江天秋意。浩渺水面铺陈开清寂底色，汀洲芦苇苍苍，似携晚风轻摇。左岸枯木疏枝缀着残叶，晕染出萧索秋韵。石矶之上幽人独立，凭眺远空，将羁怀寄于水色烟波。\n\n设色浅淡秀润，线条简净秀逸，细勾芦叶层次，晕染波纹微动，衬出水天寥廓清旷。题款小字与画面浑然相融，将文人幽远襟怀藏在空阔汀洲间，观之如坠入秋日江天的闲寂清冷，意韵悠长。",[24,57,58,7,85,59,68,213,88,108,214,215,216],"芦苇","汀洲","远眺","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af07f4f088c8fa7e05738a2787dc8f.jpg","未知","Xcm*Xcm",[],6,{"id":223,"slug":224,"title":225,"dynasty":226,"author":132,"museum":20,"description":227,"tags":228,"thumbUrl":235,"material":218,"size":219,"collection":44,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":96},289034,"louis-gabriel-moreau-view-of-a-park-yi-ming-289034","Louis Gabriel Moreau--View of a Park","不详","轻烟薄雾晕开晨色，高耸白杨树刺破柔淡的天光，与右侧舒展的乔木错落成趣。前景小径上行人信步缓行，坡地散落着施工旧料，带着未经修饰的烟火气，将郊野荒坡的松弛与背景露台雕栏、石质纪念物的规整典雅自然衔接。水彩柔润的笔触将林霭天色晕染交融，朦胧绿意漫过远近层次，把人工造景的精致与乡野生机揉为一体。仿佛能嗅见林间湿润草木气息，漫步游园的闲情逸致藏在明暗交织的笔触里，写实中漫着浪漫松弛的游园意趣。",[229,230,231,88,232,68,233,234,7],"风景画","水彩","园林","土坡","石建筑","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd834a4f043b6618494074a564f5306.jpg",[],3,{"id":239,"slug":240,"title":241,"dynasty":148,"author":242,"museum":20,"description":243,"tags":244,"thumbUrl":248,"material":44,"size":44,"collection":44,"collections":249,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":96},237947,"shan-shui-tu-ce-liu-yu-237947","山水图册","柳堉","此帧以淡墨晕染江南村居之景，近岸林麓间村舍错落，茅庐覆草朴野天然，远渚轻峦隐于烟岚薄雾间，平远之境如诗铺展。笔墨松秀温润，以干笔淡皴勾勒坡岸林木，墨色清浅柔和，不着浓艳重彩，将水乡的清宁安谧晕染尽致。行书题跋与画意相映，文心绘境相融，将文人幽居寄怀山水的雅兴藏进淡墨烟岚中，观之如临水畔闲坐，静看烟波日晚，尽显萧散冲淡的意趣，幽恬静穆间，满是江南水乡的温润诗意。",[24,25,84,58,85,7,59,245,184,65,246,216,247],"枯树","坡地","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a1e37bc93113bf7a1da78430e9e93d.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":226,"author":132,"museum":20,"description":254,"tags":255,"thumbUrl":261,"material":218,"size":219,"collection":44,"collections":262,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":96},289180,"goya-humility-versus-pride-yi-ming-289180","Goya--Humility Versus Pride","以粗粝的水墨晕开沉郁底色，佝偻的男子攥住对方衣袖，腰背弯折如被生活压垮的藤蔓，满是哀求的脸仰向身旁的男人。后者背过身，抬着下颌，将轻蔑藏在挺直的脊背里，仿佛连施舍一个眼神都是浪费。\n身后的妇孺探出头，眼神里交织焦灼与无措，将阶层间的割裂直白铺展。没有繁复修饰，只用简省的笔触，将小人物的屈膝窘迫与上位者的漠然骄矜狠狠对冲，把世俗冷暖揉进灰暗的画面中，满是刺破虚伪的现实锋芒，让观者窥见入骨的悲凉。",[256,257,7,258,259,260],"人物画","西洋画","人物群像","谦卑","傲慢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e71f8514ed3e85c2d4253625df215a.jpg",[],{"id":264,"slug":265,"title":266,"dynasty":226,"author":132,"museum":20,"description":267,"tags":268,"thumbUrl":272,"material":218,"size":219,"collection":44,"collections":273,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":96},288860,"giovanni-battista-tiepolo-standing-man-in-a-turban-yi-ming-288860","Giovanni Battista Tiepolo--Standing Man in a Turban","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[256,269,270,271,7],"男子","头巾","速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775140706db1a73bfb3e28e35baee3cb.jpg",[],1777535725087]