[{"data":1,"prerenderedAt":100},["ShallowReactive",2],{"subject-du-hai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3139,"du-hai","渡海","渡海画高清赏析","精选中国历代渡海题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9fe367beaa46b579b2e0e93d18fe367.jpg",0,5,[14,38,54,67,80],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":31,"size":32,"collection":33,"collections":34,"showCount":35,"zanCount":36,"manualWeight":11,"mainColor":37},218088,"bai-miao-shi-liu-luo-han-du-hai-tu-li-gong-lin-218088","白描十六罗汉渡海图","宋","李公麟","藏地不详","宋朝时期，有一位名叫李公麟的画家，他创作了一幅名为“白描十六罗汉渡海图”的作品。这幅画描绘了十六位罗汉在海上渡江的情景。\n\n在这幅画中，十六位罗汉都站在船上，举着经书，准备渡江。他们身穿红袈裟，头戴黄色的僧帽，神情肃穆。周围的水面上有许多小鱼和蝴蝶在玩耍。\n\n这幅画的背景是一片蔚蓝的天空和海水，上面有云朵在飘动。整幅画的画风简洁明快，线条流畅，色彩明亮，充满了生机和动感。\n\n这幅画反映了宋朝佛教文化的特点，也是李公麟作品中的经典之作。",[23,24,25,26,27,28,29,30,7],"高清","国画","长卷","白描","宗教","人物","山水","罗汉","纸本","","人物画精选",[33],61,1,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":42,"author":43,"museum":20,"description":44,"tags":45,"thumbUrl":49,"material":50,"size":51,"collection":32,"collections":52,"showCount":53,"zanCount":36,"manualWeight":11,"mainColor":37},232884,"qun-xian-du-hai-tu-juan-qian-xuan-232884","群仙渡海图卷","元","钱选","八仙是中国民间传说中广为流传的道教八位神仙。\n八仙之名，明代以前说法不一，有汉代八仙、唐代八仙、宋元八仙，所列神仙各不相同。至明代吴元泰《东游记》始定为：铁拐李（李玄）、汉钟离（钟离权）、张果老（张果）、吕洞宾（吕岩）、何仙姑（何琼）、蓝采和（许坚）、韩湘子、曹国舅（曹景休）。",[23,24,25,46,28,27,47,7,48],"设色","仙人","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1473de61e41bb0fdef9334e4b6bf4dc.jpg","绢本","* 24.4x94cm",[],25,{"id":55,"slug":56,"title":57,"dynasty":18,"author":19,"museum":20,"description":58,"tags":59,"thumbUrl":62,"material":63,"size":64,"collection":32,"collections":65,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":37},287800,"bai-miao-shi-liu-luo-han-du-hai-tu-quan-juan-li-gong-lin-287800","白描十六罗汉渡海图全卷","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,60,24,61,25,26,28,27,30,7],"名画","书画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5846b072dac1a1ebe3f98ac15e906cf4.jpg","未知","Xcm*Xcm",[],24,{"id":68,"slug":69,"title":70,"dynasty":18,"author":19,"museum":20,"description":58,"tags":71,"thumbUrl":77,"material":63,"size":64,"collection":32,"collections":78,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":37},287737,"bai-miao-luo-han-tu-juan-qun-xian-du-hai-li-gong-lin-287737","白描罗汉图卷(群仙渡海)",[23,60,24,25,26,28,27,30,7,72,73,74,75,76],"书法","印章","仙佛","海浪","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9353d739f26f03383d099ee1c6984e1.jpg",[],15,{"id":81,"slug":82,"title":83,"dynasty":84,"author":85,"museum":20,"description":86,"tags":87,"thumbUrl":96,"material":63,"size":64,"collection":32,"collections":97,"showCount":98,"zanCount":11,"manualWeight":11,"mainColor":99},288042,"qun-xian-du-hai-tu-ye-ding-yun-peng-288042","群仙渡海图页","明","丁云鹏","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,24,60,26,88,28,29,89,7,90,91,92,93,94,73,95],"水墨","神仙","虎","飞鸟","树木","流水","神话","册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],9,"795548",1777535752085]