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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。",[23,24,64,25,28,26,27,30,31,32,33,65,66,67,34,37,68,69,70,71,72,73,74,41,75,76,7,77],"书画","船","马","牛","店铺","桥梁","城墙","车","河流","码头","货船","商贩","房屋","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[81,83],"水墨画精选",8462,106,{"id":87,"slug":88,"title":17,"dynasty":59,"author":60,"museum":61,"description":62,"tags":89,"thumbUrl":91,"material":92,"size":93,"collection":81,"collections":94,"showCount":95,"zanCount":96,"manualWeight":54,"mainColor":55},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,25,28,27,90,26,30,31,32,33,36,37,35,34,38,67,66,39,44,7,40,75,41],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米",[81,49,51],858,6,{"id":98,"slug":99,"title":100,"dynasty":101,"author":102,"museum":20,"description":103,"tags":104,"thumbUrl":112,"material":47,"size":113,"collection":49,"collections":114,"showCount":116,"zanCount":117,"manualWeight":54,"mainColor":55},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","清","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,25,26,27,105,106,30,31,32,33,107,34,108,109,7,66,72,110,111],"皴法","山水","亭","山脉","村庄","山峦","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[49,115],"山水画精选",175,4,{"id":119,"slug":120,"title":121,"dynasty":122,"author":123,"museum":124,"description":125,"tags":126,"thumbUrl":133,"material":134,"size":135,"collection":136,"collections":137,"showCount":138,"zanCount":139,"manualWeight":54,"mainColor":140},225712,"avenue-bij-arles-fan-gao-225712","Avenue bij Arles","不详","梵高","藏地不详","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。",[127,128,34,76,129,7,130,131,132],"油画","后印象派","田野","蓝天","飞鸟","乡村景致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd1697763f7389fe0ac2c3774b8b3fb.jpg","未知","Xcm*Xcm","油画精选",[136],152,2,"2A56C6",{"id":142,"slug":143,"title":144,"dynasty":18,"author":145,"museum":61,"description":146,"tags":147,"thumbUrl":154,"material":92,"size":155,"collection":49,"collections":156,"showCount":12,"zanCount":139,"manualWeight":54,"mainColor":55},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[23,148,24,64,26,27,30,149,150,151,152,153,7],"名画","武将","兵器","树","石阶","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[49,51],{"id":158,"slug":159,"title":160,"dynasty":59,"author":161,"museum":162,"description":163,"tags":164,"thumbUrl":170,"material":171,"size":172,"collection":81,"collections":173,"showCount":174,"zanCount":11,"manualWeight":54,"mainColor":55},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","郭熙","台北故宫博物院","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[23,24,64,25,106,105,165,110,34,166,32,33,167,168,7,153,169,76],"水墨","枯树","孤舟","行旅","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","绢本","48.3x290厘米",[81,115,83],107,{"id":176,"slug":177,"title":178,"dynasty":101,"author":179,"museum":61,"description":180,"tags":181,"thumbUrl":191,"material":47,"size":192,"collection":49,"collections":193,"showCount":194,"zanCount":139,"manualWeight":54,"mainColor":55},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","佚名","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,26,27,28,25,30,182,183,184,34,185,186,187,188,189,190,7],"宫殿","仪仗","祭祀","草地","台阶","灯笼","队伍","仪式","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[49,51],85,{"id":196,"slug":197,"title":198,"dynasty":101,"author":199,"museum":200,"description":201,"tags":202,"thumbUrl":204,"material":205,"size":206,"collection":207,"collections":208,"showCount":209,"zanCount":11,"manualWeight":54,"mainColor":55},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3","华嵒","美国弗利尔美术馆","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,64,203,165,27,106,39,7,67],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg","纸本","23.4x15.8","",[],80,{"id":211,"slug":212,"title":213,"dynasty":101,"author":214,"museum":162,"description":215,"tags":216,"thumbUrl":217,"material":47,"size":218,"collection":49,"collections":219,"showCount":220,"zanCount":11,"manualWeight":54,"mainColor":221},216939,"yuan-ben-qin-can-tu-yuan-juan-yi-tan-lang-shi-ning-216939","院本亲蚕图（元卷 诣坛）","郎世宁","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,64,25,26,27,28,30,31,34,32,40,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[49],75,"BDBDBD",{"id":223,"slug":224,"title":225,"dynasty":122,"author":123,"museum":124,"description":125,"tags":226,"thumbUrl":236,"material":134,"size":135,"collection":136,"collections":237,"showCount":238,"zanCount":54,"manualWeight":54,"mainColor":239},225774,"landschaft-mit-pferdewagen-und-zug-im-hintergrund-fan-gao-225774","Landschaft mit Pferdewagen und Zug im 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(1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[23,24,64,25,165,105,106,249,250,34,76,263,7,153,264,111],"村落","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[115,83],49,{"id":271,"slug":272,"title":273,"dynasty":122,"author":274,"museum":124,"description":275,"tags":276,"thumbUrl":285,"material":134,"size":135,"collection":136,"collections":286,"showCount":287,"zanCount":54,"manualWeight":54,"mainColor":221},225911,"cart-on-the-snow-covered-road-with-saint-simeon-farm-1865-mo-nai-225911","Cart on the Snow Covered Road with Saint-Simeon Farm, 1865","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[277,127,278,7,229,279,34,280,281,282,30,283,284],"印象派","雪景","农舍","冬季","雪地","车辙","积雪屋顶","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24915be9be79482c21b3c4d54acb5f56.jpg",[136],43,{"id":289,"slug":290,"title":291,"dynasty":292,"author":293,"museum":20,"description":294,"tags":295,"thumbUrl":299,"material":300,"size":301,"collection":115,"collections":302,"showCount":303,"zanCount":11,"manualWeight":54,"mainColor":55},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","雪山行旅图","元","姚廷美","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,296,105,27,297,298,166,39,32,168,34,7,76],"山水画","雪山","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","纸本，水墨","98.1× 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—1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,64,247,106,105,27,249,250,34,76,333,153,334,298,7],"溪流","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg","纸本设色","63.7x31.8",[115,51],21,{"id":341,"slug":342,"title":343,"dynasty":101,"author":179,"museum":124,"description":344,"tags":345,"thumbUrl":348,"material":134,"size":135,"collection":207,"collections":349,"showCount":350,"zanCount":54,"manualWeight":54,"mainColor":221},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,27,26,105,25,106,31,32,33,346,107,34,76,7,347,101],"古道","湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],20,{"id":352,"slug":353,"title":354,"dynasty":122,"author":274,"museum":124,"description":275,"tags":355,"thumbUrl":367,"material":134,"size":135,"collection":136,"collections":368,"showCount":369,"zanCount":54,"manualWeight":54,"mainColor":221},225944,"hotel-des-roches-noires-trouville-1870-mo-nai-225944","Hotel des Roches Noires, Trouville, 1870",[277,127,356,357,358,31,359,41,190,284,360,361,362,363,39,364,365,366,30,7],"光影表现","笔触轻快","色彩明快","街道","云朵","路灯","遮阳篷","花草","海滨","阳光","阴影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2076575fd4f3bb9a56637384d389da.jpg",[136],19,{"id":371,"slug":372,"title":373,"dynasty":18,"author":179,"museum":124,"description":374,"tags":375,"thumbUrl":382,"material":47,"size":207,"collection":115,"collections":383,"showCount":369,"zanCount":54,"manualWeight":54,"mainColor":221},216403,"xuan-da-shan-xi-san-zhen-tu-yi-ming-216403","宣大山西三镇图","此图以图文并茂之态，铺展明代宣大山西三镇的边防图景。右侧青绿山峦层叠起伏，关隘如“雁门关”“千朔州关”以方框醒目标注，蜿蜒道路串联星罗棋布的烽燧营垒，布局清晰直观；左侧蝇头小楷详述地理沿革与军事部署，补地图未尽之细节。设色淡雅古朴，山峦勾勒兼具写意韵致与写实精度，既为研究明代北疆防御体系的珍贵文献，亦显舆图融实用功能与艺术审美于一体的独特风貌，静静承载着彼时戍边将士的烽火记忆与山河守望。",[23,148,24,64,312,27,334,106,376,377,378,7,379,380,381],"关隘","烽燧","营垒","楷书","军事舆图","边防","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedc7686f0c9ff5207bb36c9a08e865.jpg",[115],{"id":385,"slug":386,"title":387,"dynasty":18,"author":19,"museum":124,"description":388,"tags":389,"thumbUrl":392,"material":207,"size":207,"collection":207,"collections":393,"showCount":394,"zanCount":54,"manualWeight":54,"mainColor":55},228456,"zhi-gong-tu-juan-chou-ying-228456","职贡图卷","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,25,26,27,64,390,391,106,30,66,34,190,32,7,188],"书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],18,{"id":396,"slug":397,"title":398,"dynasty":101,"author":399,"museum":124,"description":400,"tags":401,"thumbUrl":406,"material":92,"size":407,"collection":115,"collections":408,"showCount":394,"zanCount":11,"manualWeight":54,"mainColor":221},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","张若澄","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,148,24,64,27,28,334,106,31,402,32,33,34,298,403,404,7,405],"塔","岛屿","园林建筑","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[115,51],{"id":410,"slug":411,"title":412,"dynasty":122,"author":123,"museum":124,"description":125,"tags":413,"thumbUrl":415,"material":134,"size":135,"collection":136,"collections":416,"showCount":417,"zanCount":54,"manualWeight":54,"mainColor":221},225831,"the-langlois-bridge-march-fan-gao-225831","The Langlois bridge (March - )",[148,127,27,32,33,167,7,185,30,76,34,414,128],"笔触奔放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg",[136],14,{"id":419,"slug":420,"title":421,"dynasty":122,"author":123,"museum":124,"description":125,"tags":422,"thumbUrl":424,"material":134,"size":135,"collection":136,"collections":425,"showCount":426,"zanCount":54,"manualWeight":54,"mainColor":55},225775,"le-train-bleu-fan-gao-225775","Le Train Bleu",[127,128,227,27,166,185,230,284,423,7],"建筑物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67fa431c05eebb0eac2e0f883cc96e8e.jpg",[136],13,{"id":428,"slug":429,"title":430,"dynasty":122,"author":123,"museum":124,"description":125,"tags":431,"thumbUrl":435,"material":134,"size":135,"collection":136,"collections":436,"showCount":437,"zanCount":54,"manualWeight":54,"mainColor":55},225838,"the-sower-fan-gao-225838","The Sower",[127,227,432,129,30,131,76,433,7,414,434],"太阳","土地","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d66a86c8a21a8eb5849c25e6ff1665.jpg",[136],12,{"id":439,"slug":440,"title":441,"dynasty":122,"author":274,"museum":124,"description":275,"tags":442,"thumbUrl":449,"material":134,"size":135,"collection":136,"collections":450,"showCount":451,"zanCount":54,"manualWeight":54,"mainColor":55},225973,"le-pave-de-chailly-1865-mo-nai-225973","Le Pavé de Chailly, 1865",[148,127,277,443,444,445,34,185,446,7,365,447,448],"光影","色彩","笔触","落叶","树林","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e64f87bf1a651c620e0cebe294458d.jpg",[136],11,{"id":453,"slug":454,"title":455,"dynasty":122,"author":274,"museum":124,"description":275,"tags":456,"thumbUrl":465,"material":134,"size":135,"collection":136,"collections":466,"showCount":467,"zanCount":54,"manualWeight":54,"mainColor":55},226013,"road-near-giverny-1885-mo-nai-226013","Road near Giverny, 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1864",[127,277,473,358,474,475,34,7,39,284,185,476,477,478,479],"光影捕捉","笔触自然","教堂","地面","绿树","小教堂","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07c708aa1a213c55859624f70d7d71.jpg",[136],9,"37474F",{"id":485,"slug":486,"title":487,"dynasty":122,"author":274,"museum":124,"description":275,"tags":488,"thumbUrl":491,"material":134,"size":135,"collection":136,"collections":492,"showCount":482,"zanCount":54,"manualWeight":54,"mainColor":221},226032,"snow-scene-at-argenteuil-mo-nai-226032","Snow Scene at Argenteuil",[127,277,278,489,41,34,490,7,76],"乡村","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c34060bfbba2b69e37d17e6d51e9ab.jpg",[136],{"id":494,"slug":495,"title":496,"dynasty":122,"author":123,"museum":124,"description":125,"tags":497,"thumbUrl":505,"material":134,"size":135,"collection":136,"collections":506,"showCount":482,"zanCount":54,"manualWeight":54,"mainColor":55},225743,"farm-with-stacks-of-peat-november-fan-gao-225743","Farm with stacks of peat (November - )",[127,128,498,279,499,129,284,500,501,502,503,504,433,7,313],"厚重笔触","泥炭堆","乡村景观","暗沉色调","表现主义风格","自然景物","乡村建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520506924402f42250cb9d9fecbce29e.jpg",[136],{"id":508,"slug":509,"title":510,"dynasty":122,"author":274,"museum":124,"description":275,"tags":511,"thumbUrl":513,"material":134,"size":135,"collection":136,"collections":514,"showCount":515,"zanCount":54,"manualWeight":54,"mainColor":221},226110,"the-road-to-the-farm-saint-simeon-in-winter-1867-mo-nai-226110","The Road to the Farm Saint-Simeon in Winter, 1867",[127,277,281,7,34,131,41,280,278,512,284,443,445],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72b8829824dbfa4e3c96b6d7c9a370dd.jpg",[136],8,{"id":517,"slug":518,"title":519,"dynasty":122,"author":274,"museum":124,"description":275,"tags":520,"thumbUrl":522,"material":134,"size":135,"collection":136,"collections":523,"showCount":515,"zanCount":54,"manualWeight":54,"mainColor":221},226108,"the-riverbank-at-lavacourt-snow-1879-mo-nai-226108","The Riverbank at Lavacourt, Snow, 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