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boats","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。",[92,93,94,95,7,96,97,98],"名画","油画","后印象派","厚涂","大海","海浪","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8657e13b019568bc57ddd7379ddbd7dc.jpg","未知","Xcm*Xcm","油画精选",[102],79,"0D904F",{"id":107,"slug":108,"title":109,"dynasty":88,"author":110,"museum":20,"description":111,"tags":112,"thumbUrl":127,"material":100,"size":101,"collection":102,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":68},225898,"argenteuil-late-afternoon-1872-mo-nai-225898","Argenteuil, Late Afternoon, 1872","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。",[113,93,114,115,116,117,7,34,118,119,120,121,98,122,35,123,124,125,126],"印象派","光影","色彩明快","笔触松散","河流","建筑","烟囱","倒影","傍晚","草地","船只","工厂建筑","河岸","余晖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc7885977dc6034e2c69f48a941935d.jpg",[102],61,{"id":131,"slug":132,"title":133,"dynasty":88,"author":89,"museum":20,"description":90,"tags":134,"thumbUrl":138,"material":100,"size":101,"collection":102,"collections":139,"showCount":140,"zanCount":141,"manualWeight":11,"mainColor":68},225806,"seascape-near-les-saintes-maries-de-la-mer-june-fan-gao-225806","Seascape near Les Saintes-Maries-de-la-Mer (June - )",[93,135,96,97,136,7,98,137],"厚涂法","波涛","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c9982bfc344f25d470cbe36c11b90b.jpg",[102],56,1,{"id":143,"slug":144,"title":17,"dynasty":18,"author":19,"museum":20,"description":145,"tags":146,"thumbUrl":147,"material":38,"size":38,"collection":38,"collections":148,"showCount":149,"zanCount":141,"manualWeight":11,"mainColor":44},228979,"shan-shui-tu-ce-8-kai-shi-tao-228979","此作取景清逸疏淡，枯淡笔墨勾皴江岸崖石，浅赭晕染土质坡台，素白村居朴拙静雅，隐于山坳江湾。苍松倚岸，添了几分苍润生机。江上双帆缓行，似是收棹将归，细笔轻描微波，水色空明澄澈，晕开江天静穆悠然。\n左侧题笔隽秀，诗画相融，点出如镜江色的清灵意趣。笔墨干湿互用，皴擦间带着疏朗纵逸之气，未作繁复堆砌，只以极简景致，绘出渔乡日暮的安闲意韵，尽显山水间萧散淡远的林下之风。",[92,24,25,26,27,28,30,7,33,34,32,35,29,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc902b0dd15f94b2abc4bd478738d2ba3.jpg",[],54,{"id":151,"slug":152,"title":153,"dynasty":18,"author":50,"museum":20,"description":154,"tags":155,"thumbUrl":167,"material":168,"size":38,"collection":39,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":44},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,24,54,28,156,30,157,123,118,34,158,159,7,160,161,162,163,164,165,166],"工笔","岛屿","灯塔","港口","城镇","海面","山峦","植被","房屋","海岸线","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg","纸本,设色",[39],48,{"id":172,"slug":173,"title":174,"dynasty":49,"author":175,"museum":176,"description":177,"tags":178,"thumbUrl":184,"material":185,"size":186,"collection":38,"collections":187,"showCount":188,"zanCount":141,"manualWeight":11,"mainColor":44},232992,"chun-jiang-fan-bao-tu-ye-guo-xi-232992","春江帆饱图页","郭熙","北京故宫博物院","《春江帆饱图》传为郭熙作品，其画风也与郭熙相似。原载《四朝选藻册》，绘远岫高松，中分一水。右岸竹离茅舍，窜石丛林。岸边二帆船停泊。远方夕阳西下，江水如潮。二小船饱帆破浪前进，从而点出了画面的主题。图中远山用淡墨勾染，浓墨点小树，松树，帆船用细笔勾描。全图笔法缜密严谨，画风学郭熙一派而又另立新意，不愧是宋期小幅山水的佳作。画面无款。对幅有清高宗弘历的题诗。此作曾经清内府收藏，《石渠宝笈续编》著录。",[24,25,26,30,27,29,31,179,33,180,34,7,181,182,183],"老树","流水","江岸","远山","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757940eae81773af499baea0cc31c22e.jpg","绢本水墨","纵26.2厘米，横27厘米",[],46,{"id":190,"slug":191,"title":192,"dynasty":88,"author":110,"museum":20,"description":111,"tags":193,"thumbUrl":198,"material":100,"size":101,"collection":102,"collections":199,"showCount":200,"zanCount":141,"manualWeight":11,"mainColor":44},225919,"clifftop-walk-at-pourville-1882-mo-nai-225919","Clifftop Walk at Pourville, 1882",[113,93,194,122,195,161,7,77,196,98,197,97],"悬崖","花草","红伞","白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593a704065c57261364648fc51c0db54.jpg",[102],42,{"id":202,"slug":203,"title":204,"dynasty":88,"author":110,"museum":20,"description":111,"tags":205,"thumbUrl":210,"material":100,"size":101,"collection":102,"collections":211,"showCount":212,"zanCount":11,"manualWeight":11,"mainColor":44},226100,"the-promenade-at-argenteuil-1872-mo-nai-226100","The Promenade at Argenteuil, 1872",[93,113,117,7,206,34,164,207,208,209],"林荫道","晴天","郊外","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52599d7943ec530c2bf4ba8472aa1f49.jpg",[102],25,{"id":214,"slug":215,"title":216,"dynasty":88,"author":110,"museum":20,"description":111,"tags":217,"thumbUrl":224,"material":100,"size":101,"collection":102,"collections":225,"showCount":212,"zanCount":141,"manualWeight":11,"mainColor":68},226070,"the-fisherman-s-house-at-varengeville-1882-mo-nai-226070","The Fisherman's House at Varengeville, 1882",[93,113,218,219,220,164,221,195,96,7,222,197,223,161],"光影捕捉","色彩晕染","笔触轻快","绿植","蓝天","海岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2dae2774885972773d5c669b66775a.jpg",[102],{"id":227,"slug":228,"title":229,"dynasty":88,"author":110,"museum":20,"description":111,"tags":230,"thumbUrl":236,"material":100,"size":101,"collection":102,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":68},226093,"the-port-at-argenteuil-1872-mo-nai-226093","The Port at Argenteuil, 1872",[113,93,231,116,232,233,34,122,77,117,123,7,35,137,98,118,234,235,115],"光影表现","堤岸","小路","阳光","外光写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2728ccad7694cf240bd131badab46f68.jpg",[102],24,{"id":240,"slug":241,"title":242,"dynasty":88,"author":110,"museum":20,"description":111,"tags":243,"thumbUrl":250,"material":100,"size":101,"collection":102,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":44},226044,"the-beach-at-sainte-adresse-1867-mo-nai-226044","The Beach at Sainte-Adresse, 1867",[93,113,244,245,246,7,247,77,248,249],"海滩","沙滩","海景","渔船","海滨小镇","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242982fec4321985088e7bf3a3ebf811.jpg",[102],23,{"id":254,"slug":255,"title":256,"dynasty":88,"author":110,"museum":20,"description":111,"tags":257,"thumbUrl":262,"material":100,"size":101,"collection":102,"collections":263,"showCount":264,"zanCount":11,"manualWeight":11,"mainColor":68},226060,"the-cliff-at-dieppe-1882-mo-nai-226060","The Cliff at Dieppe, 1882",[113,93,28,194,96,245,77,7,164,122,98,165,97,258,259,260,261],"远帆","小径","远景","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154be1a926a1c99feae1f17fe44cf22.jpg",[102],22,{"id":266,"slug":267,"title":268,"dynasty":88,"author":110,"museum":20,"description":111,"tags":269,"thumbUrl":273,"material":100,"size":101,"collection":102,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":44},225921,"entrance-to-the-port-of-trouville-1870-mo-nai-225921","Entrance to the Port of Trouville, 1870",[113,93,159,7,245,77,270,271,35,98,137,114,272],"钓鱼","堤坝","色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5db62e344f827e5f52418acdc53fb7b.jpg",[102],21,{"id":277,"slug":278,"title":279,"dynasty":88,"author":110,"museum":20,"description":111,"tags":280,"thumbUrl":284,"material":100,"size":101,"collection":102,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":44},226011,"regatta-at-argenteuil-1872-mo-nai-226011","Regatta at Argenteuil, 1872",[113,93,7,35,120,164,34,122,77,98,281,282,114,283],"红屋顶","水域","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe48dce699643e52336f1f3c03f6f79c9.jpg",[102],20,{"id":288,"slug":289,"title":290,"dynasty":49,"author":50,"museum":73,"description":291,"tags":292,"thumbUrl":295,"material":296,"size":297,"collection":38,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":44},231400,"jiang-fan-shan-shi-tu-yi-ming-231400","江帆山市图","宋人《江帆山市图》画两峰回抱，山寺、野店隐现其间，山坳间有一座庙宇，依山建筑，山谷间则有云雾袅绕，飞鸟阵阵，一派黄昏景象。全幅在画船、人物、建筑、树木、水纹或其它景物的用笔都非常细腻精致，线条细挺，如对于船只结构及船上设备的描绘都非常精细确实，山寺、野店之建筑，比例正确，形式精美，人物虽小，却将人物的神态和形貌画得栩栩如生。用色简澹清雅，画幅虽小，却将山城点染得极为活泼而有生意。\n此幅无名款，从画风及造型来看，是北宋范宽（十世纪）、燕文贵（活动于十世纪末）一系风格。画两峰回抱。也以近似雨点的皴法，层层描写山石的质感与量感，笔法细密，运笔着墨皆具清劲苍秀之感。在构景方面，景物集中于右半边，笔墨虽简，但严谨写实，从画风看来，是一幅接近燕文贵时代的作品。",[24,27,29,54,30,7,293,164,33,34,117,182,294,123],"楼阁","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf127e4d55b0438efbe3fb66c7bb2a33.jpg","纸本","28.6x44.1公分",[],17,{"id":301,"slug":302,"title":303,"dynasty":88,"author":110,"museum":20,"description":111,"tags":304,"thumbUrl":306,"material":100,"size":101,"collection":102,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":44},225974,"le-petit-ailly-varengeville-in-the-sun-1897-mo-nai-225974","Le Petit Ailly, Varengeville, in the Sun, 1897",[93,113,194,164,305,7,234,163,231],"海洋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b3005428b202fab0330717460e74b0.jpg",[102],16,{"id":310,"slug":311,"title":312,"dynasty":313,"author":314,"museum":20,"description":315,"tags":316,"thumbUrl":318,"material":100,"size":101,"collection":38,"collections":319,"showCount":320,"zanCount":141,"manualWeight":11,"mainColor":44},239354,"chun-fan-yu-yi-tu-shan-mian-li-liu-fang-239354","春帆雨意图扇面","明","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[24,25,317,27,29,30,31,34,162,7,180,36],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc08c5d090e825295762234e3114e0f.jpg",[],14,{"id":322,"slug":323,"title":324,"dynasty":18,"author":325,"museum":176,"description":326,"tags":327,"thumbUrl":335,"material":296,"size":38,"collection":38,"collections":336,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":44},234162,"yan-zi-ji-mo-chou-hu-er-jing-tu-juan-wu-hong-234162","燕子矶莫愁湖二景图卷","吴宏","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[23,92,24,54,27,55,162,328,329,7,330,331,332,333,334],"江景","村落","民居","亭台","渔舟","苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":338,"slug":339,"title":340,"dynasty":88,"author":110,"museum":20,"description":111,"tags":341,"thumbUrl":344,"material":100,"size":101,"collection":102,"collections":345,"showCount":320,"zanCount":11,"manualWeight":11,"mainColor":68},226031,"small-boat-on-the-small-branch-of-the-seine-at-argenteuil-1872-mo-nai-226031","Small Boat on the Small Branch of the Seine at Argenteuil, 1872",[113,93,235,218,219,342,7,117,35,120,34,343,122,98,77],"小船","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed19734cf7c3fb1f269ec7e8c284ca0e.jpg",[102],{"id":347,"slug":348,"title":349,"dynasty":88,"author":110,"museum":20,"description":111,"tags":350,"thumbUrl":352,"material":100,"size":101,"collection":102,"collections":353,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":44},226112,"the-sandbeach-at-trouville-1870-mo-nai-226112","The Sandbeach at Trouville, 1870",[93,113,244,246,7,351,77,245,97],"海滨建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dde83a7612bae43f6e774e80865075.jpg",[102],13,{"id":356,"slug":357,"title":358,"dynasty":88,"author":89,"museum":20,"description":90,"tags":359,"thumbUrl":361,"material":100,"size":101,"collection":102,"collections":362,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":44},225870,"vissersboten-op-het-strand-van-les-saintes-maries-de-la-mer-fan-gao-225870","Vissersboten op het strand van Les Saintes-Maries-de-la-Mer",[93,95,247,245,97,96,7,360,98],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700fd713b0bd9fb93f5bcfee3f2233c0.jpg",[102],{"id":364,"slug":365,"title":366,"dynasty":49,"author":50,"museum":20,"description":367,"tags":368,"thumbUrl":371,"material":38,"size":38,"collection":38,"collections":372,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":68},227878,"liu-ge-feng-fan-tu-yi-ming-227878","柳阁风帆图","水岸垂柳如烟似雾，柔条轻拂水面，将满幅晕开融融绿意。右侧高阁临水而立，凭栏之人悠然远眺，将闲逸心绪融浸在湖光里。湖面轻舟扬帆趁风缓行，波光漾开静穆氛围，把远水近岸织作一卷清和夏景。\n\n画家以没骨晕染柳色，晕出江南水泽的湿润氤氲，人物虽形微却神态宛然，留白处暗写烟波浩渺。将寻常水乡日常定格在团扇之上，尽显宋人观照日常、寄情山水的审美意趣，淡墨轻岚里，尽是江南水乡的温柔况味，简淡悠长，余韵悠悠。",[23,24,317,28,30,369,293,370,180,7,77],"柳","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F392a3f08216ede90bf6be33b7dbee93e.jpg",[],12,{"id":375,"slug":376,"title":377,"dynasty":88,"author":110,"museum":20,"description":111,"tags":378,"thumbUrl":384,"material":100,"size":101,"collection":102,"collections":385,"showCount":373,"zanCount":11,"manualWeight":11,"mainColor":68},225984,"mediterannian-coast-grey-weather-1888-mo-nai-225984","Mediterannian Coast, Grey Weather, 1888",[113,93,235,379,380,223,194,34,381,382,7,249,98,383],"松散笔触","色彩光影","海水","礁石","地面植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4e05ce88f29c5f4b811332114b1c5b.jpg",[102],{"id":387,"slug":388,"title":389,"dynasty":313,"author":390,"museum":176,"description":391,"tags":392,"thumbUrl":396,"material":397,"size":398,"collection":38,"collections":399,"showCount":400,"zanCount":11,"manualWeight":11,"mainColor":68},221892,"za-hua-tu-ce-yuan-pu-gui-fan-fang-zhao-da-nian-bi-yi-chen-hong-shou-221892","杂画图册-远浦归帆仿赵大年笔意","陈洪绶","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[23,24,25,26,28,393,30,7,180,34,182,394,123,395,282],"临摹","芦苇","归帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89652c7df9e003b24a0b39605e1aac93.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],11,{"id":402,"slug":403,"title":404,"dynasty":18,"author":405,"museum":20,"description":406,"tags":407,"thumbUrl":412,"material":100,"size":101,"collection":38,"collections":413,"showCount":414,"zanCount":11,"manualWeight":11,"mainColor":44},236075,"hai-tian-chu-ri-tu-zhou-shen-quan-236075","海天初日图轴","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》。",[92,24,25,408,28,409,30,410,7,162,294,293,411,330,34],"立轴","青绿","初日","佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394c68e5371d1d18bade07de8bda33fd.jpg",[],10,{"id":416,"slug":417,"title":418,"dynasty":88,"author":110,"museum":20,"description":111,"tags":419,"thumbUrl":424,"material":100,"size":101,"collection":102,"collections":425,"showCount":414,"zanCount":11,"manualWeight":11,"mainColor":68},226113,"the-seacoast-of-pourville-low-tide-1882-mo-nai-226113","The Seacoast of Pourville, Low Tide, 1882",[93,113,218,420,421,223,245,381,97,422,7,423,98],"色彩层次","笔触灵动","远海","低潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9599372e8e11b7b281de6a0e773a7478.jpg",[102],{"id":427,"slug":428,"title":429,"dynasty":18,"author":50,"museum":73,"description":430,"tags":431,"thumbUrl":435,"material":38,"size":38,"collection":38,"collections":436,"showCount":414,"zanCount":11,"manualWeight":11,"mainColor":68},223416,"ma-zu-qi-ji-g-yi-ming-223416","妈祖奇迹G","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,28,156,432,77,433,166,97,7,161,434],"宗教","船","群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594511b7c858a89a3117cd1ae3d4285a.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":88,"author":110,"museum":20,"description":111,"tags":441,"thumbUrl":443,"material":100,"size":101,"collection":102,"collections":444,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":68},226114,"the-seine-at-argenteuil-1877-mo-nai-226114","The Seine at Argenteuil, 1877",[93,113,117,7,442,125,77,160,34,98,114],"花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ccc1310d2965ec2e5c396fd5b0a684.jpg",[102],9,{"id":447,"slug":448,"title":449,"dynasty":88,"author":110,"museum":20,"description":111,"tags":450,"thumbUrl":452,"material":100,"size":101,"collection":102,"collections":453,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":44},226028,"seaside-at-honfleur-1864-mo-nai-226028","Seaside at Honfleur, 1864",[93,113,244,451,194,34,7,158,97,98,137,77],"鹅卵石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb74a62f673c9d5290737718bc4d4b6.jpg",[102],{"id":455,"slug":456,"title":457,"dynasty":88,"author":110,"museum":20,"description":111,"tags":458,"thumbUrl":466,"material":100,"size":101,"collection":102,"collections":467,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":68},225992,"on-the-cliff-at-pourville-bright-weather-1882-mo-nai-225992","On the Cliff at Pourville, Bright Weather, 1882",[113,93,218,115,194,161,7,163,98,459,421,460,461,462,282,123,463,464,465],"户外风景","自然光影","海岸景观","明亮天气","山坡植被","色彩融合","风景写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0824c37911c3c410cd4f9a4c0ecfb7c.jpg",[102],7,{"id":470,"slug":471,"title":72,"dynasty":49,"author":50,"museum":20,"description":472,"tags":473,"thumbUrl":481,"material":38,"size":38,"collection":38,"collections":482,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":68},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,92,24,25,55,474,28,475,29,34,476,477,33,35,7,77,182,394,57,478,479,480],"绢本","兼工带写","柳树","茅屋","舟楫","岸坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":484,"slug":485,"title":486,"dynasty":18,"author":50,"museum":73,"description":430,"tags":487,"thumbUrl":489,"material":38,"size":38,"collection":38,"collections":490,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":68},223412,"ma-zu-qi-ji-c-yi-ming-223412","妈祖奇迹C",[23,24,28,156,488,432,77,433,97,294,7],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bdb2f2246419402205f91e670b372b.jpg",[],{"id":492,"slug":493,"title":494,"dynasty":88,"author":110,"museum":20,"description":111,"tags":495,"thumbUrl":500,"material":100,"size":101,"collection":102,"collections":501,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},226116,"the-seine-at-petit-gennevilliers-1872-mo-nai-226116","The Seine at Petit-Gennevilliers, 1872",[93,113,117,35,123,343,164,496,77,497,120,122,98,282,498,499,7],"烟雾","桅杆","波纹","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8193fd09c9f0a056d35f69a8edc3cdd1.jpg",[102],6,{"id":504,"slug":505,"title":506,"dynasty":88,"author":110,"museum":20,"description":111,"tags":507,"thumbUrl":511,"material":100,"size":101,"collection":102,"collections":512,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},226103,"the-railway-bridge-at-argenteuil-1874-mo-nai-226103","The Railway Bridge at Argenteuil, 1874",[92,93,113,114,272,283,508,117,7,34,122,137,98,509,510,125],"铁路桥","桥梁","水面倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc123b1d63ae667c737349ac39a9cb24.jpg",[102],{"id":514,"slug":515,"title":516,"dynasty":88,"author":110,"museum":20,"description":111,"tags":517,"thumbUrl":518,"material":100,"size":101,"collection":102,"collections":519,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":68},226074,"the-havre-museum-1873-mo-nai-226074","The Havre Museum, 1873",[113,93,235,159,7,118,35,498,342,77,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22fea6ddf1d25eef8ccf5ff0b5d9c18.jpg",[102],{"id":521,"slug":522,"title":523,"dynasty":18,"author":50,"museum":20,"description":524,"tags":525,"thumbUrl":527,"material":38,"size":38,"collection":38,"collections":528,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":44},238813,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238813","董诰律宣韶景册","此作以两段取景铺展早春江村之景。上段平岸柳林如烟，柔丝垂拂春水，堤畔策驴缓行，野意悠然。下段汀渚垂柳掩映，江帆停驻，舟头闲坐之人似在低语，漫溢松弛闲适。\n\n笔触秀润清雅，柳丝细毫勾勒，晕染出笼烟含翠之姿，水面以淡墨轻晕留白，漾出空濛春水的软润质感。全幅设色浅淡明净，舍去繁复皴擦，以简淡之笔写尽融融春意，将江南早春的慵懒恬和融于尺幅，尽显寄情丘山的文人雅趣，将春日江乡的闲淡之韵缓缓铺陈。",[24,25,26,28,27,30,34,7,77,526,35],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e9febcffb28fdf6aed328df824ef02.jpg",[],5,{"id":531,"slug":532,"title":533,"dynasty":88,"author":110,"museum":20,"description":111,"tags":534,"thumbUrl":538,"material":100,"size":101,"collection":102,"collections":539,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":68},226049,"the-boats-in-asnieres-1873-mo-nai-226049","The Boats in Asnieres, 1873",[113,93,231,535,421,117,123,7,536,34,77,510,98,537],"色彩捕捉","岸边建筑","停泊船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee73caeeade0730bf538686aea205b7.jpg",[102],{"id":541,"slug":542,"title":153,"dynasty":18,"author":50,"museum":20,"description":543,"tags":544,"thumbUrl":548,"material":100,"size":101,"collection":38,"collections":549,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},290460,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-290460","浅赭晕染缓坡岸线，沙黄与苍绿晕开丘峦层次，铺展南洋海港全景。海面之上，燃煤蒸汽舰悬星条旗醒目领航，风帆战舰列阵锚泊，日章旗舰船静立一旁，远海小艇轻舟错落游弋。沿岸西式屋舍、营垒依坡而建，细笔勾勒出开埠之初华洋辐辏的鲜活风貌。\n\n淡彩晕出水天色调，线笔写实朴拙，将近代开埠的异域舰船、岸畔聚落妥帖绘就，复刻下西风东渐之际海港熙攘的旧日图景，是兼具纪实性与艺术性的风物缩影。",[23,54,24,28,545,223,159,546,7,547,246],"历史画","舰船","蒸汽船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4818b5871e612b149192e86342fa1405.jpg",[],{"id":551,"slug":552,"title":553,"dynasty":18,"author":50,"museum":20,"description":554,"tags":555,"thumbUrl":560,"material":100,"size":101,"collection":38,"collections":561,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":562},281591,"dan-mai-you-xia-cai-fan-chuan-tu-bian-ping-yi-ming-281591","丹麦釉下彩帆船图扁瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[556,557,7,558,246,559],"陶瓷","釉下彩","扁瓶","岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c238d6ea4f3bae5921410e217c4b9e1.jpg",[],"37474F",{"id":564,"slug":565,"title":566,"dynasty":88,"author":50,"museum":20,"description":567,"tags":568,"thumbUrl":574,"material":100,"size":101,"collection":38,"collections":575,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":576},288697,"workshop-of-taddeo-zuccaro-the-sea-battle-in-the-gulf-of-morbihan-yi-ming-288697","Workshop of Taddeo Zuccaro--The Sea Battle in the Gulf of Morbihan","画面以紧凑构图铺展海战群像，粗粝的棕调线条带着雄浑张力，将古战场的热血厮杀尽数铺陈。雕花繁复的古典战船彼此冲撞，士兵们奋力挥械嘶吼，绳索、飘扬的战旗与狰狞的船首纹被精细勾勒，每一处细节都浸透着搏杀的野性力量。明暗晕染拉开战船的空间层次，让混乱的缠斗富有纵深，仿佛能听见浪涛轰鸣与金戈交击之声，野蛮壮烈的海战氛围扑面而来，尽显手绘草稿粗粝又磅礴的独特气势。",[569,570,7,571,572,545,573],"素描","海战","士兵","战斗场景","人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a55e997f84c86748d06a0d8937daac.jpg",[],"F48FB1",{"id":578,"slug":579,"title":580,"dynasty":18,"author":50,"museum":20,"description":581,"tags":582,"thumbUrl":589,"material":100,"size":101,"collection":38,"collections":590,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},272986,"hei-qi-bian-hui-chou-di-dong-yang-xiu-shan-shui-tu-wei-ping-yi-ming-272986","黑漆边灰绸地东洋绣山水图围屏","整体色调清雅沉静，灰绸底色晕染出如雾的水色长空。左畔浅渚生翠，草木含露，野趣悠然。中景单舟扬白帆，破开细浪，带着江海行旅的清寂诗意。远岫如黛，淡晕出的山影静立水天尽头，两艘小帆遥遥点缀，拉阔出悠远空蒙的意境。\n\n绣作针脚细腻，以绣代笔，将水波柔态、草木清润与风帆挺括晕染入微，揉合空灵意趣与中式雅致，暗合东方禅意留白美学。淡而不寡，静中藏动，将烟江渡头的闲澹景致定格屏间，观之便觉襟怀舒展，尘俗尽消。",[583,584,30,31,7,182,585,586,587,588],"围屏","刺绣","水岸","漆器","布料","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f5cadc1388978cd467ad16a8839f91.jpg",[],{"id":592,"slug":593,"title":594,"dynasty":18,"author":50,"museum":595,"description":596,"tags":597,"thumbUrl":599,"material":64,"size":38,"collection":38,"collections":600,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},215949,"di-jian-tu-shuo-cai-hui-ben-56-yi-ming-215949","帝鉴图说彩绘本-56","法国国家图书馆","江河为轴，铺展出水陆交融的生动画卷。水面帆影点点，彩饰船只静泊或缓行，舱内人影绰绰，似在闲谈眺望；岸边山峦起伏，草木蓊郁，亭台依水而立，柳丝轻拂下人群聚集，神态闲逸。色彩清雅鲜活，青绿山峦、赭黄岸坡与朱红船饰交织，晕染古雅质感。画面动静相宜，既有水乡的悠然静谧，又有舟楫往来的生活气息，仿佛能听见江风掠帆的轻响，窥见古代江畔日常图景，尽显人文与自然的和谐之美，引人沉醉于这份跨越时空的恬淡鲜活。",[24,28,156,26,77,293,30,123,7,34,598,166,559,118],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b0db53c1577621f6d6df0944493b9a3.jpg",[],{"id":602,"slug":603,"title":604,"dynasty":88,"author":50,"museum":20,"description":605,"tags":606,"thumbUrl":611,"material":100,"size":101,"collection":38,"collections":612,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},289272,"pierre-luc-charles-ciceri-drawing-for-wagner-s-le-vaisseau-fantome-yi-ming-289272","Pierre Luc Charles Ciceri--Drawing for Wagner's Le Vaisseau Fantome","淡墨晕开氤氲水汽，将巨帆古船幽困在逼仄砖石港巷之间。船体仿佛刚从浓雾深处撞入现世，砖石建筑的冷硬线条框住了这团游荡的魅影，更衬出帆船的虚幻漂浮感。\n\n细腻排线勾勒帆布褶皱，写实笔触却烘托出诡谲氛围，水面倒影虚淡朦胧，彻底消弭现实边界，仿佛这艘幽灵船下一秒便会遁入雾气。浪漫主义的怪诞诗意揉进古典写实技法，把航海传说里漂泊百年的孤寂与惊悚具象于画纸，阴郁又带着旧时代传说的独特美感，将舞台的戏剧张力凝在这方寸稿纸之上。",[569,607,608,7,609,118,610],"淡彩","西洋画","幽灵船","奇幻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeae5a3b1ccdf44f1aa24a97bc40ac1.jpg",[],{"id":614,"slug":615,"title":616,"dynasty":88,"author":50,"museum":20,"description":617,"tags":618,"thumbUrl":620,"material":100,"size":101,"collection":38,"collections":621,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},288786,"pierre-puget-a-frigate-at-sea-yi-ming-288786","Pierre Puget--A Frigate at Sea","阴沉朦胧的海天之间，巨型战舰正乘风破浪，满张的船帆在风中猎猎鼓动，繁复桅杆交织错落，尽显大航海时代的雄浑气魄。笔触细腻写实，船体密布的炮窗、甲板上攒动的水手，将远洋航行的蓬勃张力与征途日常的细节尽数还原。\n\n翻涌的浪涛以晕染勾勒，在明暗深浅间烘托出海面的动荡，远景里的小帆船与主舰形成鲜明尺度对比，衬得巨舰愈发巍峨，右下角礁石旁忙碌的水手则让画面多了几分生活气，让远航的浪漫里又糅杂着鲜活的真实。水雾朦胧了天地边界，将冒险的豪情与远洋的厚重揉为一体，静帧里仿佛能听见海风呼啸、浪击船舷。",[569,619,7,97,161,77,342],"海景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F638a472df26c774076f048bb360b3547.jpg",[],{"id":623,"slug":624,"title":625,"dynasty":88,"author":50,"museum":20,"description":626,"tags":627,"thumbUrl":633,"material":100,"size":101,"collection":38,"collections":634,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},288783,"pieter-cornelisz-kunst-allegorical-figure-faith-yi-ming-288783","Pieter Cornelisz Kunst--Allegorical Figure (Faith)","###\n这幅钢笔版画以细腻线条刻画出信仰的化身，华冠层袍缀满珠络蕾丝，每一处褶皱都尽显精工雅致。女子左手紧握苦像长杆，圣光自基督身形间淌落，右手抬起似在颂赞虔心。脚下流云将她托于尘世之上，远景河畔小城炊烟轻绕、舟楫漾波，平和俗世恰好衬出信仰的超然澄澈。\n\n排线铺陈出明暗层次，精准区分衣料的柔润与饰件的冷硬，带着北方文艺复兴版画的典型特质，将信仰的庄严肃穆融于写实笔触间，静静诉说信仰对俗世的庇佑与指引。",[628,573,629,630,631,632,137,160,117,7],"宗教画","白描","基督教","十字架","耶稣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8567fac4f1d9db10758aba587352404c.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":18,"author":50,"museum":20,"description":639,"tags":640,"thumbUrl":643,"material":100,"size":101,"collection":38,"collections":644,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},281511,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281511","东洋缎画山水壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[641,642,25,30,31,34,35,7,28,587],"缎画","壁衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde40cdc7ddaeafeef69f38e0c6750f72.jpg",[],{"id":646,"slug":647,"title":648,"dynasty":18,"author":50,"museum":20,"description":649,"tags":650,"thumbUrl":654,"material":100,"size":101,"collection":38,"collections":655,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},272962,"zi-tan-mu-bian-hua-bo-li-shan-shui-tu-gua-ping-yi-ming-272962","紫檀木边画玻璃山水图挂屏","崖壁古木虬劲苍郁，半山碉楼依崖而建，崖脚亭台隐于繁荫，红衣行人驻足水岸，衬得山景愈发悠然清寂。水面红帆商船缓行，对岸城郭错落，烟霭轻笼长天。\n\n此画揉合中西意趣，以中式山水的诗意晕染留白，搭配西洋写实光影技法，柔润晕开天色水色，尽显独有风韵。将山居清雅致与江海通商的鲜活烟火相融，带着洋风浸染下的东方水乡意韵，静穆雅致间藏着江海往来的生动图景，铺展出一派平和悠远的江岸浮生。",[93,651,652,28,30,117,7,34,79,293,77,653],"挂屏","木质","城郭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb081f0797526eb5367e5f327314b49f.jpg",[],1777535709355]