[{"data":1,"prerenderedAt":454},["ShallowReactive",2],{"subject-di-wang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2310,"di-wang","帝王","帝王画高清赏析","精选中国历代帝王题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c30f63f988c67da3a6c939676a2c8f.jpg",0,40,[14,50,67,85,99,109,121,133,141,156,165,174,188,197,204,219,227,235,244,253,261,271,278,285,292,301,308,315,328,339,347,355,367,384,392,403,412,424,437,447],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":47,"zanCount":48,"manualWeight":11,"mainColor":49},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","清","郎世宁","北京故宫博物院","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37,38,39,40],"高清","国画","设色","工笔","人物画","画中画","佛教","普贤菩萨","文殊菩萨","松树","竹子","小桥","流水","山石","侍从","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纸本，设色","纵136.4厘米，横62厘米","人物画精选",[44,46],"设色画精选",120,3,"BDBDBD",{"id":51,"slug":52,"title":53,"dynasty":18,"author":19,"museum":20,"description":54,"tags":55,"thumbUrl":62,"material":63,"size":64,"collection":44,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":49},222791,"dao-guang-di-chao-fu-xiang-zhou-lang-shi-ning-222791","道光帝朝服像轴","郎世宁（1688-1766），意大利米兰人，原名朱塞佩·伽斯底里奥内。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，在中国传统绘画技法中融合了讲究立体效果，注意透视和明暗，重视写实和结构准确的合理性。擅画肖像、走兽、花果、翎毛，尤善画马。他是将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。",[23,24,56,57,26,25,58,7,59,60,61],"书画","立轴","人物","衣帽","龙","朝服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ebc1b16c1a24a78979bfc2d02b1314.jpg","绢本","35x57",[44,46],97,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":79,"material":80,"size":80,"collection":80,"collections":81,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":84},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","唐","阎立本","藏地不详","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[23,76,24,56,77,26,25,58,7,37,59,78],"名画","长卷","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg","",[],80,1,"795548",{"id":86,"slug":87,"title":88,"dynasty":71,"author":72,"museum":73,"description":89,"tags":90,"thumbUrl":94,"material":95,"size":96,"collection":80,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":84},287311,"li-dai-di-wang-tu-juan-chang-juan-se-dan-yan-li-ben-287311","历代帝王图卷长卷（色淡）","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,76,24,77,25,58,26,91,7,92,93],"历史画","群臣","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411a33cef4504359b61294216f06577b.jpg","未知","Xcm*Xcm",[],46,{"id":100,"slug":101,"title":102,"dynasty":71,"author":103,"museum":73,"description":104,"tags":105,"thumbUrl":106,"material":95,"size":96,"collection":80,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":49},287729,"tang-tai-zong-li-xiang-yi-yi-ming-287729","唐太宗立像（一）","佚名","此作以写实笔触勾勒一代帝王风貌，明黄色团龙常服庄重华贵，蓝龙蜿蜒于团窠之内，祥云环绕，尽显皇家无上威仪。画中帝王面庞丰朗，虬髯斜扬，目光沉凝锐利，自带开创盛世的雄主气魄。画师以挺括铁线描勾勒衣纹，流畅自然，精准还原初唐衣冠形制，设色沉稳雅致，晕染细腻柔和，将帝王内敛沉毅的气度与雍容端方的身姿完美呈现，尽显初唐人物肖像画写实传神的极高水准。",[76,24,56,57,25,58,7,60,59,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1435f38082fcd3d34d1383b0949df416.jpg",[],23,{"id":110,"slug":111,"title":112,"dynasty":113,"author":103,"museum":73,"description":114,"tags":115,"thumbUrl":119,"material":95,"size":96,"collection":80,"collections":120,"showCount":108,"zanCount":83,"manualWeight":11,"mainColor":84},283647,"ming-xi-zong-zuo-xiang-yi-ming-283647","明熹宗坐像","明","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,58,26,25,7,60,116,59,117,118],"牡丹","器","肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce4f3e3742391e4edb2a7aec1e35fe0.jpg",[],{"id":122,"slug":123,"title":124,"dynasty":125,"author":103,"museum":73,"description":126,"tags":127,"thumbUrl":130,"material":95,"size":96,"collection":80,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":49},287590,"song-di-hou-quan-shen-xiang-song-tai-zu-yi-ming-287590","宋帝后全身像-宋太祖","宋","此作将帝王气度藏于简雅笔色之间，帝王安坐髹金朱漆龙椅，展角幞头衬出面庞方正威严，长髯垂胸，双手拢握玉圭，仪态沉凝端重，自带开国君主的雄毅厚重。\n笔墨简净克制，淡墨匀细圆劲的线条勾勒衣纹，贴合绫罗垂坠柔润的质感，平净敷色不做繁饰，只以素白袍服衬出冲淡肃穆的皇家威仪。画作写实朴拙，细微处捕捉住君主不怒自威的神态，在简约平淡中尽显开国帝王的沉稳气场，是帝王肖像画里极具代表性的佳构。",[24,27,118,25,26,7,128,129],"坐像","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bd71d9b3786698d40b0f5b2a35003.jpg",[],22,{"id":134,"slug":135,"title":136,"dynasty":71,"author":72,"museum":73,"description":89,"tags":137,"thumbUrl":138,"material":95,"size":96,"collection":80,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":84},287601,"li-dai-di-wang-tu-se-shen-yan-li-ben-287601","历代帝王图（色深）",[23,76,24,56,77,25,26,58,7,37,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9784e9f67bf9d4e3958d6bbacabd4e87.jpg",[],20,{"id":142,"slug":143,"title":144,"dynasty":125,"author":103,"museum":145,"description":146,"tags":147,"thumbUrl":151,"material":152,"size":153,"collection":80,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":49},223431,"song-zhen-zong-yi-ming-223431","宋真宗","台北故宫博物院","宋真宗赵恒（968－1022），原名赵德昌，北宋的第三位皇帝。宋太宗的第三个儿子，登基前曾被封为韩王、襄王和寿王，曾任开封府尹。997年以太子继位。宋真宗统治时期治理有方，北宋的统治日益坚固，国家管理日益完善，日益强盛。宋真宗亦是著名谚语“书中自有黄金屋，书中自有颜如玉”的作者。",[24,26,25,58,7,148,149,150],"古装","红袍","乌帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38baf63783e100f2a038e0ed5dcaa182.jpg","绢本设色","175.4x116厘米",[],17,{"id":157,"slug":158,"title":159,"dynasty":71,"author":103,"museum":73,"description":160,"tags":161,"thumbUrl":162,"material":95,"size":96,"collection":80,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":84},287730,"tang-tai-zong-ban-shen-xiang-yi-ming-287730","唐太宗半身像","此作以工笔细绘帝王仪容，乌纱幞头束发，尽显初唐冠制风貌。画师精准捕捉帝王雄毅沉稳的气度，眉峰斜挑，目光沉凝锐利，络腮长须垂落的线条劲挺不失柔和晕染，将威严与开阔胸襟藏于眉眼轮廓间。\n\n衣袍施以淡金暗纹，用色雅致克制，既彰显九五之尊的华贵，又不失古雅沉稳。整体设色温润，晕染自然，无繁复布景，仅凭肖像便将贞观之主的器宇轩昂刻画入微，尽显一代明君的王者风范。",[76,24,25,58,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d82640a6ee30f61069b431b84cdb04c.jpg",[],15,{"id":166,"slug":167,"title":168,"dynasty":125,"author":103,"museum":73,"description":169,"tags":170,"thumbUrl":171,"material":95,"size":96,"collection":80,"collections":172,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":84},290771,"hui-zong-zuo-xiang-zhou-yi-ming-290771","徽宗坐像轴","北宋时期发达的社会经济，为宋代绘画 提供了许多前无古人的新的绘画题材。风 俗画是宋代人物画的一个特色，以表现村 童闹学、耕织、货郎、七夕夜市等题材的作 品，生动记录了宋代社会生活中的平民生 活，拓宽了以帝王、圣贤、贵妃为主的人物 画格局，并被后世固化为中国人物画的永 恒题材。同时，宋代画院为宋代绘画的发展 聚集了人才，一大批画院画家将用于表现 山水的水墨画法用于人物画的创作中。题材的扩大、形式的增多，为这时期人物画的发展开阔了前景。",[24,57,58,25,26,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1313460ba2d753ae85eabd6d7d50d9b.jpg",[],12,{"id":175,"slug":176,"title":177,"dynasty":18,"author":178,"museum":73,"description":179,"tags":180,"thumbUrl":184,"material":185,"size":80,"collection":80,"collections":186,"showCount":173,"zanCount":11,"manualWeight":11,"mainColor":187},217256,"li-dai-di-wang-zhen-xiang-3-yao-wen-han-217256","历代帝王真像-3","姚文瀚","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,25,26,58,7,181,182,183],"服饰","肖像","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a8e94d6534e386e4636b2f1b54d27e.jpg","绢本,设色",[],"FF9800",{"id":189,"slug":190,"title":191,"dynasty":113,"author":103,"museum":73,"description":192,"tags":193,"thumbUrl":194,"material":95,"size":96,"collection":80,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":49},290814,"tai-zu-zuo-xiang-yi-zhou-yi-ming-290814","太祖坐像（一）轴","宣宗朱瞻基(1398-1435) 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