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"角色扮演"，皇帝、嫔妃、公主和小王子都是演员。",[24,27,26,28,184,86,34,185,7,63,186,154,187,188,189,190],"松树","器","男性","石","草","灌木","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8a6a7974ea6f9fa050bef2d57c5eda.jpg",[],61,{"id":195,"slug":196,"title":197,"dynasty":74,"author":198,"museum":134,"description":199,"tags":200,"thumbUrl":207,"material":159,"size":208,"collection":40,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":69},219832,"ren-wu-ce-ye-ren-xiong-219832","人物册页","任熊","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,27,201,28,202,7,203,204,205,206],"册","老树","山","水","鸟","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4150ff29e9c640b589400940438db8.jpg","27.2x34.3厘米",[40],56,{"id":212,"slug":213,"title":73,"dynasty":18,"author":151,"museum":181,"description":214,"tags":215,"thumbUrl":219,"material":220,"size":221,"collection":66,"collections":222,"showCount":223,"zanCount":224,"manualWeight":11,"mainColor":44},289984,"bai-zi-tu-yi-ming-289984","庭院间百童嬉游，百态尽显。孩童们或组队舞狮，红帕翻飞间满是喧闹活力；或围坐博弈，蹙眉托腮憨态毕露，亦有扑蝶追跑、搭肩低语者。画面构图饱满却错落有致，细笔勾勒孩童衣衫褶皱与灵动神态，浅淡设色晕染出古雅柔润的质感。\n整作将市井婴戏的鲜活日常凝于尺幅，把稚子烂漫天真悉数铺展，暗含着对烟火盛景、多子安康的美好祈愿，尽显风俗画的细腻功力，目之所及，恍若能听见满院稚语欢声，踏入千年前的童趣庭院。",[23,24,216,28,7,87,27,26,217,218],"扇面","嬉戏","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec42fc443c5d526d45d1d3b947cf6b25.jpg","未知","Xcm*Xcm",[],50,3,{"id":226,"slug":227,"title":228,"dynasty":18,"author":151,"museum":20,"description":229,"tags":230,"thumbUrl":234,"material":159,"size":235,"collection":66,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":44},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,137,117,26,27,28,139,7,85,231,232,233,87],"花草","蝴蝶","玩具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],49,{"id":239,"slug":240,"title":241,"dynasty":18,"author":242,"museum":76,"description":243,"tags":244,"thumbUrl":249,"material":250,"size":251,"collection":40,"collections":252,"showCount":253,"zanCount":163,"manualWeight":11,"mainColor":69},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","王居正","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,24,79,26,27,28,63,7,245,185,85,246,247,248],"纺车","猫","劳作","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","绢本，设色","纵26.1厘米，横69.2厘米",[40,41],40,{"id":255,"slug":256,"title":257,"dynasty":150,"author":151,"museum":181,"description":258,"tags":259,"thumbUrl":265,"material":66,"size":66,"collection":66,"collections":266,"showCount":267,"zanCount":128,"manualWeight":11,"mainColor":44},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,27,26,117,28,7,63,260,85,86,261,231,157,262,263,154,264,30],"货郎","山石","秋景","服饰","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],37,{"id":269,"slug":270,"title":271,"dynasty":18,"author":272,"museum":181,"description":273,"tags":274,"thumbUrl":278,"material":66,"size":66,"collection":66,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":69},227736,"shi-dan-ying-xi-tu-li-song-227736","市担婴戏图","李嵩","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,137,216,26,275,27,28,139,276,85,7,157,277],"白描","市担","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],36,{"id":282,"slug":283,"title":284,"dynasty":18,"author":19,"museum":76,"description":285,"tags":286,"thumbUrl":294,"material":250,"size":295,"collection":66,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":69},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[25,24,137,287,104,26,27,288,28,7,289,121,290,291,292,293],"册页","精细","芭蕉","桌子","地面","击球","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg","纵25厘米，横24.5厘米",[],28,{"id":299,"slug":300,"title":301,"dynasty":18,"author":151,"museum":181,"description":302,"tags":303,"thumbUrl":305,"material":66,"size":66,"collection":66,"collections":306,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":44},233764,"jiao-shi-ying-xi-tu-ye-yi-ming-233764","蕉石婴戏图页","“婴戏图”是以儿时玩乐情景为题材的中国绘画类型，为一项自宋代开始流行的重要画题。孩童形象早见于秦汉以前的工艺艺术，以绘画呈现的例子也可追溯到六朝，唐代逐渐出现在单一画面中以孩童玩耍情景为主的表现，发展至宋元以后，成果斐然。",[24,25,216,26,27,28,7,289,304],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feecad49be54ef6cb03cec89a8101dd62.jpg",[],25,{"id":309,"slug":310,"title":311,"dynasty":312,"author":313,"museum":181,"description":314,"tags":315,"thumbUrl":328,"material":220,"size":221,"collection":329,"collections":330,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":44},225746,"first-steps-after-millet1890-fan-gao-225746","First Steps, after Millet1890","不详","梵高","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。",[316,317,318,319,320,28,7,321,87,322,323,324,325,326,57,327,206],"后印象派","油画","临摹","笔触奔放","色彩明快","成人","开花树木","晾衣绳","白布","木栅栏","手推车","小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e831cbbc2dbd8b2062721b5f7278c73.jpg","油画精选",[329],{"id":332,"slug":333,"title":334,"dynasty":74,"author":151,"museum":20,"description":335,"tags":336,"thumbUrl":338,"material":124,"size":66,"collection":66,"collections":339,"showCount":340,"zanCount":11,"manualWeight":11,"mainColor":69},215198,"sheng-ping-le-shi-tu-ce-4-yi-ming-215198","升平乐事图册-4","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,27,26,201,28,7,184,337,85],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff998227d287d831c6291e1b5887b07c2.jpg",[],24,{"id":342,"slug":343,"title":344,"dynasty":18,"author":19,"museum":181,"description":345,"tags":346,"thumbUrl":347,"material":66,"size":66,"collection":66,"collections":348,"showCount":349,"zanCount":128,"manualWeight":11,"mainColor":44},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,25,24,137,104,26,27,28,7,87,86,85,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],22,{"id":351,"slug":352,"title":353,"dynasty":74,"author":354,"museum":181,"description":355,"tags":356,"thumbUrl":360,"material":220,"size":221,"collection":66,"collections":361,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":69},238662,"ping-wu-fu-tu-zhou-shen-quan-238662","平五福图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[24,137,117,26,27,28,7,357,261,358,359,30],"梅树","鱼","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7d691b311114c7246584b6556ef31a.jpg",[],19,{"id":364,"slug":365,"title":366,"dynasty":74,"author":367,"museum":181,"description":368,"tags":369,"thumbUrl":374,"material":220,"size":221,"collection":66,"collections":375,"showCount":376,"zanCount":11,"manualWeight":11,"mainColor":69},290984,"liu-yin-tong-xi-zhou-jin-ting-biao-290984","柳阴童戏轴","金廷标","金廷标，清代画家。字士揆，乌程（今浙江湖州）人。鸿子。能绍父艺，亦工写真，并能妙绘人物仕女及花卉。善取影，白描尤工。亦能界画。清朝乾隆二十五年（1760）南巡进白描罗汉册，称旨。命入内廷供奉。所绘写意秋果及人物，皆得高宗题咏。入直数载，卒於京寓。《石渠宝芨》著录了他81幅作品。",[24,117,27,26,28,7,370,171,371,206,372,141,373],"柳树","流水","童趣","童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9efb9d08aafc3fa05ecf0b670c66e2.jpg",[],16,{"id":378,"slug":379,"title":380,"dynasty":74,"author":381,"museum":181,"description":382,"tags":383,"thumbUrl":386,"material":66,"size":66,"collection":66,"collections":387,"showCount":388,"zanCount":128,"manualWeight":11,"mainColor":69},238272,"ren-wu-zhou-zhuang-yu-de-238272","人物轴","庄豫德","此作绘三星雅聚庭院，设色清雅古雅，笔墨细腻温婉。长者神态各殊，展卷者悠然、持芝者端方、捧花者和悦，尽显仙风道骨。身旁稚童灵动俏皮，为画面添上鲜活生机，衬出满堂祥和吉庆的氛围。庭中古梅虬枝初绽，案头文房清供点缀雅意，园林布景雅致悠然，将世俗祈盼的福寿祥瑞，融于文人雅集的闲淡场景中。衣纹勾勒流畅婉转，人物形神兼备，把传统吉庆主题与文人意趣相融，尽显工笔人物画的雅致意韵。",[24,137,117,27,26,28,29,172,187,384,7,385,86],"桌","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a8e723639013a07c230b867f95ce5e.jpg",[],9,{"id":390,"slug":391,"title":392,"dynasty":18,"author":151,"museum":181,"description":393,"tags":394,"thumbUrl":399,"material":220,"size":221,"collection":66,"collections":400,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":69},231536,"er-tong-diao-su-yi-ming-231536","儿童雕塑","褐釉斑驳，带着时光浸养出的温润包浆，粗粝陶石的肌理藏着市井手作的质朴温度。孩童背身跪坐，发髻挽得灵动俏皮，脊背柔和起伏，将稚拙身形的松弛憨态藏于背影之中。衣褶寥寥数笔，却生动勾勒出短打的利落，暗合宋人简约的审美意趣。\n\n没有精巧雕饰，全凭随性的刀笔捕捉童真。仿佛正凝神专注于身前趣事，沉静又带着孩童特有的天真慵懒。这是民间匠人随手捏就的日常意趣，把千年前的市井童趣凝在陶土之中，拙朴鲜活，静静晕开宋时平凡日常里的温柔底色。",[395,396,397,398,28,7,104,54],"陶瓷","雕塑","雕刻","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b81015aba952a2132b7aed591a70cfe.jpg",[],{"id":402,"slug":403,"title":404,"dynasty":312,"author":405,"museum":181,"description":406,"tags":407,"thumbUrl":417,"material":220,"size":221,"collection":66,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":69},232583,"wei-lian-a-dao-fu-bu-ge-luo-197-wei-lian-a-dao-fu-bu-ge-luo-232583","威廉·阿道夫·布格罗197","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[317,408,54,27,28,409,7,410,206,85,411,412,413,414,415,416],"新古典主义","宗教","女性","篮子","果实","户外场景","远山","海面","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7467589f6ff53618818a0f30adf05e.jpg",[],7,{"id":421,"slug":422,"title":423,"dynasty":312,"author":405,"museum":181,"description":406,"tags":424,"thumbUrl":427,"material":220,"size":221,"collection":66,"collections":428,"showCount"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Alexis Rouart and Her Children - - Musee du Petit Palais (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[317,461,462,413,63,7],"印象派","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30e9cb70a143bb71250a5d8e7089531.jpg",[],{"id":466,"slug":467,"title":468,"dynasty":312,"author":151,"museum":181,"description":469,"tags":470,"thumbUrl":484,"material":220,"size":221,"collection":66,"collections":485,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":69},225491,"fu-shi-hui-249-yi-ming-225491","浮世绘249","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[471,27,472,28,473,474,475,476,477,7,186,478,479,480,481,482,483],"浮世绘","木刻","美人","乐器","屏风","飞鸟","和服","室内场景","和服纹样","坐姿人物","弹奏","吹奏","孩童玩耍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8711365c8ce340cf08d74d9e918e2e24.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":74,"author":151,"museum":181,"description":490,"tags":491,"thumbUrl":496,"material":220,"size":221,"collection":66,"collections":497,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":442},274267,"hua-fa-lang-er-tong-xi-ge-tu-huai-biao-yi-ming-274267","画珐琅儿童戏鸽图怀表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[492,277,493,28,7,494,495],"琺瑯器","怀表","鸽","画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ca908e152f7e0d89d3319b7d01260e.jpg",[],{"id":499,"slug":500,"title":501,"dynasty":74,"author":151,"museum":181,"description":502,"tags":503,"thumbUrl":506,"material":220,"size":221,"collection":66,"collections":507,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":442},256883,"qian-long-kuan-fa-lang-cai-liu-zi-duo-kui-tu-ping-yi-ming-256883","乾隆款珐琅彩六子夺魁图瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[504,395,505,27,28,7,34,185],"清朝","珐琅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d37fa5512a18132605621010dee463.jpg",[],{"id":509,"slug":510,"title":511,"dynasty":312,"author":405,"museum":181,"description":406,"tags":512,"thumbUrl":516,"material":220,"size":221,"collection":66,"collections":517,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":44},232590,"wei-lian-a-dao-fu-bu-ge-luo-204-wei-lian-a-dao-fu-bu-ge-luo-232590","威廉·阿道夫·布格罗204",[317,28,7,513,478,514,515],"镜子","写实风格","唯美","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef21ac07963bbc6dbcdc3457bd8849c.jpg",[],{"id":519,"slug":520,"title":521,"dynasty":312,"author":405,"museum":181,"description":406,"tags":522,"thumbUrl":532,"material":220,"size":221,"collection":66,"collections":533,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":44},232584,"wei-lian-a-dao-fu-bu-ge-luo-198-wei-lian-a-dao-fu-bu-ge-luo-232584","威廉·阿道夫·布格罗198",[317,54,27,28,7,435,523,524,413,525,206,526,527,528,529,530,531],"赤脚","茶杯","山脉","天空","连衣裙","手持器物","细腻写实","自然景观","人物肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63869be21bf25d5e3f898f3c92ecb532.jpg",[],{"id":535,"slug":536,"title":537,"dynasty":312,"author":405,"museum":181,"description":447,"tags":538,"thumbUrl":542,"material":220,"size":221,"collection":66,"collections":543,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":442},232279,"wei-lian-a-dao-fu-bu-ge-luo-5-wei-lian-a-dao-fu-bu-ge-luo-232279","威廉·阿道夫·布格罗5",[25,317,54,408,27,28,7,439,248,411,539,540,541,426,437],"水果","丝带","坐姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6404540c396b16bc0563c9714c294e.jpg",[],{"id":545,"slug":546,"title":547,"dynasty":312,"author":548,"museum":181,"description":549,"tags":550,"thumbUrl":558,"material":220,"size":221,"collection":66,"collections":559,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":69},232542,"mi-lai-si-86-yue-han-ai-fu-li-te-mi-lai-si-232542","米莱斯86","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[551,552,553,554,54,28,555,410,7,556,557],"素描","速写","单色","线条","士兵","动态","互动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497af1daf19eec0781ba33d2d8902f63.jpg",[],{"id":561,"slug":562,"title":563,"dynasty":312,"author":458,"museum":181,"description":459,"tags":564,"thumbUrl":578,"material":220,"size":221,"collection":66,"collections":579,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":44},231978,"the-bellelli-family-musee-d-orsay-france-de-jia-231978","The Bellelli Family - - - Musee d'Orsay (France)",[317,27,461,54,28,478,565,566,290,567,568,569,570,571,572,573,574,575,7,576,577],"墙壁","挂画","椅子","壁炉","地毯","钟表","盘子","长裙","围裙","衬衫","外套","成年男性","成年女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241b29045f6925539990d742e2d6bc4.jpg",[],{"id":581,"slug":582,"title":583,"dynasty":312,"author":584,"museum":181,"description":585,"tags":586,"thumbUrl":600,"material":220,"size":221,"collection":66,"collections":601,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":69},231132,"su-miao-386-xi-fang-231132","素描386","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[551,553,54,28,7,587,588,439,589,590,591,592,593,594,595,596,597,598,599],"裙子","亲密姿态","炭笔技法","光影表现","西方绘画风格","人物互动","孩童形象","服饰细节","柔和笔触","黑白灰层次","生活场景感","双人构图","站姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3cfc32a1956228cc9fe1bc1b39afbf2.jpg",[],{"id":603,"slug":604,"title":605,"dynasty":74,"author":606,"museum":181,"description":607,"tags":608,"thumbUrl":610,"material":611,"size":66,"collection":66,"collections":612,"showCount":163,"zanCount":11,"manualWeight":11,"mainColor":69},215096,"tui-bei-tu-ce-9-jiao-bing-zhen-215096","推背图册-9","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,25,24,137,201,26,27,28,7,609,233],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4427458aef42e891fd0c5ab77cc99553.jpg","纸本,设色",[],{"id":614,"slug":615,"title":616,"dynasty":312,"author":151,"museum":181,"description":617,"tags":618,"thumbUrl":620,"material":220,"size":221,"collection":66,"collections":621,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":69},289156,"goya-women-with-children-by-a-wayside-cross-yi-ming-289156","Goya--Women with Children by a Wayside 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Bellelli Family - circa - - Ordrupgaard Collection 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