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on the Snow Covered Road with Saint-Simeon Farm, 1865","不详","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。",[109,110,33,111,112,113,35,7,89,114,32,115,116],"印象派","油画","道路","马车","农舍","车辙","积雪屋顶","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24915be9be79482c21b3c4d54acb5f56.jpg","油画精选",[118],43,"BDBDBD",{"id":123,"slug":124,"title":125,"dynasty":105,"author":106,"museum":20,"description":107,"tags":126,"thumbUrl":134,"material":58,"size":59,"collection":118,"collections":135,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":121},226082,"the-magpie-1869-mo-nai-226082","The Magpie, 1869",[109,110,127,33,35,37,128,7,129,130,131,132,133],"光影表现","栅栏","田野","雪覆屋顶","木栅栏","雪地小径","树木枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824463157f0fab1ae34a57a4aa1805b.jpg",[118],32,{"id":138,"slug":139,"title":140,"dynasty":141,"author":142,"museum":20,"description":143,"tags":144,"thumbUrl":150,"material":58,"size":59,"collection":39,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":42},288348,"dong-yan-tu-song-ren-288348","冬雁图","宋","宋人","画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念",[24,27,145,146,74,147,7,148,149],"花鸟","雁","水岸","萧瑟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa761cc5e3009b435f9f18dc03c7e3b9a.jpg",[],31,{"id":154,"slug":155,"title":156,"dynasty":157,"author":158,"museum":159,"description":160,"tags":161,"thumbUrl":163,"material":164,"size":165,"collection":39,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":42},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","明","刘俊","北京故宫博物院","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[157,27,28,29,32,31,54,162,34,55,30,7],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","绢本，淡设色","纵143.2厘米，横75厘米",[],26,{"id":169,"slug":170,"title":171,"dynasty":105,"author":106,"museum":20,"description":107,"tags":172,"thumbUrl":182,"material":58,"size":59,"collection":118,"collections":183,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":121},225906,"breakup-of-ice-1880-mo-nai-225906","Breakup of Ice, 1880",[109,110,173,174,175,176,177,54,178,179,116,7,180,92,181],"光影","色彩","笔触","河面","冰块","船只","城镇","水域","倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f2f52b5a37d62b467b2a2ee5539161d.jpg",[118],{"id":185,"slug":186,"title":187,"dynasty":157,"author":19,"museum":159,"description":188,"tags":189,"thumbUrl":194,"material":195,"size":196,"collection":39,"collections":197,"showCount":198,"zanCount":11,"manualWeight":11,"mainColor":42},234850,"ming-ren-ta-xue-xun-mei-tu-zhou-yi-ming-234850","明人踏雪寻梅图轴","踏雪寻梅是历代文人士大夫的雅事，亦为画家常用的题材。此图表现一主一仆于雪天往深山寻梅的情景。王谔被明代皇帝称为“今之马远”，此图的画风即验证了这一说法。画中山石棱角方硬，树干虬曲苍劲，山体、坡石多用大斧劈皴，构图上也接近马远的“马一角”特征。",[24,26,28,30,32,162,190,55,54,72,56,191,192,35,92,7,193],"梅","亭","路径","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F634973a6f6c09d6dcbadcd623b2d458b.jpg","纸本，墨笔","纵83.5厘米，横47.2厘米",[],20,{"id":200,"slug":201,"title":202,"dynasty":105,"author":19,"museum":20,"description":203,"tags":204,"thumbUrl":218,"material":39,"size":39,"collection":39,"collections":219,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":121},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[205,206,207,28,208,209,32,162,210,211,37,212,89,213,7,214,215,216,35,217,33,176],"浮世绘","木刻","版画","桥","马","山","水","松树","河流","行人","骑马","积雪","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],15,{"id":222,"slug":223,"title":224,"dynasty":105,"author":106,"museum":20,"description":107,"tags":225,"thumbUrl":230,"material":58,"size":59,"collection":118,"collections":231,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":42},226138,"train-in-the-snow-the-locomotive-1875-mo-nai-226138","Train in the Snow, the Locomotive, 1875",[25,110,109,226,162,227,228,128,229,214,7,173,174,175],"火车","铁轨","枯枝","烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1167a04b69ca418c712593b0c4755b0a.jpg",[118],13,{"id":234,"slug":235,"title":236,"dynasty":105,"author":106,"museum":20,"description":107,"tags":237,"thumbUrl":243,"material":58,"size":59,"collection":118,"collections":244,"showCount":232,"zanCount":11,"manualWeight":11,"mainColor":121},225985,"melting-of-floes-at-ve-theuil-1881-mo-nai-225985","Melting of Floes at Vétheuil, 1881",[109,110,175,173,174,238,239,240,213,35,241,33,181,242,7],"水面","浮冰","融化","山脉","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e3a52b1fd28e2461a358c222129b93.jpg",[118],{"id":246,"slug":247,"title":248,"dynasty":105,"author":106,"museum":20,"description":107,"tags":249,"thumbUrl":252,"material":58,"size":59,"collection":118,"collections":253,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":121},226118,"the-skaters-at-giverny-1899-mo-nai-226118","The Skaters at Giverny, 1899",[109,110,28,32,54,250,116,7,251],"冰面","滑冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd75af4a63c39ad27e6bfb80c7040bc77.jpg",[118],12,{"id":256,"slug":257,"title":258,"dynasty":105,"author":106,"museum":20,"description":107,"tags":259,"thumbUrl":265,"material":58,"size":59,"collection":118,"collections":266,"showCount":254,"zanCount":11,"manualWeight":11,"mainColor":121},225915,"claude-monet-the-winter-near-lavacourt-1880-mo-nai-225915","Claude Monet - The Winter, near Lavacourt, 1880",[25,110,109,260,261,262,7,213,72,32,35,116,263,264,242],"光影捕捉","色彩晕染","笔触灵动","薄冰","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae429c102664320b6ecfd5bfab9dfb33.jpg",[118],{"id":268,"slug":269,"title":270,"dynasty":105,"author":106,"museum":20,"description":107,"tags":271,"thumbUrl":274,"material":58,"size":59,"collection":118,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":277},225952,"ice-floes-on-the-seine-at-bougival-1867-1868-mo-nai-225952","Ice Floes on the Seine at Bougival, 1867-1868",[109,110,272,239,33,264,273,32,35,7,173,175,238,216],"塞纳河","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff519e7b27f9724e1f44b873238c8f722.jpg",[118],10,"F48FB1",{"id":279,"slug":280,"title":281,"dynasty":105,"author":106,"museum":20,"description":107,"tags":282,"thumbUrl":284,"material":58,"size":59,"collection":118,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":121},226110,"the-road-to-the-farm-saint-simeon-in-winter-1867-mo-nai-226110","The Road to the Farm Saint-Simeon in Winter, 1867",[110,109,89,111,35,283,214,7,33,228,116,173,175],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72b8829824dbfa4e3c96b6d7c9a370dd.jpg",[118],8,{"id":288,"slug":289,"title":290,"dynasty":105,"author":106,"museum":20,"description":107,"tags":291,"thumbUrl":295,"material":58,"size":59,"collection":118,"collections":296,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":42},226059,"the-church-at-ve-theuil-snow-1878-1879-mo-nai-226059","The Church at Vétheuil, Snow, 1878-1879",[109,110,175,173,33,292,37,35,89,32,7,92,293,294],"教堂","自然","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd729d43af55760e2f9727f4c8b9beecb.jpg",[118],{"id":298,"slug":299,"title":300,"dynasty":18,"author":19,"museum":20,"description":301,"tags":302,"thumbUrl":308,"material":58,"size":59,"collection":39,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":121},281533,"hui-di-xue-jing-lu-yan-tu-qi-bao-shao-yuan-pan-yi-ming-281533","灰地雪景芦雁图七宝烧圆盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[303,304,305,27,33,306,74,7,307,145],"琺瑯器","器","圆盘","芦雁","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93b04e5fe37f528bd868e4c1211cd70.jpg",[],7,{"id":312,"slug":313,"title":314,"dynasty":105,"author":19,"museum":20,"description":315,"tags":316,"thumbUrl":325,"material":39,"size":39,"collection":39,"collections":326,"showCount":310,"zanCount":79,"manualWeight":11,"mainColor":121},225333,"fu-shi-hui-86-yi-ming-225333","浮世绘86","霜雪覆满天地，寒色里晕开远山暖粉余霞。长桥曲曲折折跨过冬水，蓝波似镜映着冷冽天光。旅人裹紧行囊，驮马踏着残雪桥面缓缓行去，将孤旅的身影揉进清寒暮色里。\n\n茅庐积雪厚重，矮松孑然独立在檐侧，枝桠托着薄雪静看往来行客。冷调与暖柔的色块交织，把冬夜将临的寂寥熨帖成温柔的风物诗。笔底藏着旅人的羁愁，也藏着雪乡的安闲清冷，将冬旅的况味晕染在纸间，冷寂又带着治愈的烟火余温。",[205,33,7,53,317,318,319,320,321,28,322,323,324],"长桥","茅庐","矮松","旅人","驮马","寂寥","羁愁","安闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d4011825735bf1683cf234cac3a9ed.jpg",[],{"id":328,"slug":329,"title":330,"dynasty":18,"author":331,"museum":159,"description":332,"tags":333,"thumbUrl":338,"material":339,"size":340,"collection":39,"collections":341,"showCount":342,"zanCount":11,"manualWeight":11,"mainColor":121},234918,"xue-jing-gu-shi-ce-sun-hu-234918","雪景故事册","孙祜","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,334,335,28,27,33,32,37,35,89,336,7,149,337],"书画","册","村落","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f466dcb732a693b1629daac77929f2e.jpg","绢本 设色","纵31．5厘米 横25．6厘米",[],6,{"id":344,"slug":345,"title":346,"dynasty":105,"author":106,"museum":20,"description":107,"tags":347,"thumbUrl":349,"material":58,"size":59,"collection":118,"collections":350,"showCount":351,"zanCount":11,"manualWeight":11,"mainColor":121},226144,"winter-landscape-mo-nai-226144","Winter Landscape",[110,109,173,174,175,7,33,35,348,89,129,242],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe113d6f4efce39eecc6830ad1762e1c6.jpg",[118],5,{"id":353,"slug":354,"title":355,"dynasty":105,"author":19,"museum":20,"description":356,"tags":357,"thumbUrl":366,"material":58,"size":59,"collection":39,"collections":367,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":121},288606,"jonas-umbach-december-one-of-a-series-representing-the-labors-yi-ming-288606","Jonas Umbach--December (one of a series representing the labors","这帧红粉笔素描以粗粝随性的笔触，定格乡野宰牲的日常图景。前景男女跪身合力制住生猪，紧绷的肩背肌肉线条，将蛮力拉扯的张力尽显。背景农舍下众人围忙，窗沿有人探首旁观，远处田舍错落、云绕疏林，乡野烟火气四下漫开。\n\n作者以利落排线铺陈体积光影，没有精雕细琢，却将村人协作的热络、劳作的憨直藏在笔痕中，把腊月农闲宰牲的鲜活瞬间凝在纸上，让乡土冬日的粗朴暖意顺着纸笔缓缓漫溢。",[358,359,360,361,113,362,363,364,7,365],"素描","人物画","风俗画","乡村","猪","劳作","户外","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d94d609ae4ec1f5320d53e322b0b86.jpg",[],{"id":369,"slug":370,"title":371,"dynasty":18,"author":19,"museum":20,"description":372,"tags":373,"thumbUrl":377,"material":58,"size":59,"collection":39,"collections":378,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":121},272679,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-bi-se-er-cheng-dong-lan-mo-yi-ming-272679","御制月令七十二候诗色墨-闭塞而成冬蓝墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[374,375,376,32,31,54,7],"墨","文房用具","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab218382388fcf1f79968db8ab69098.jpg",[],1777535718021]