[{"data":1,"prerenderedAt":5395},["ShallowReactive",2],{"subject-fu-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},495,"fu-shi","服饰","服饰画高清赏析","精选中国历代服饰题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c1e423e100800d411e99e728639f3a.jpg",0,572,[14,41,64,85,101,119,134,152,169,188,200,210,224,239,259,271,282,308,320,332,343,357,369,385,404,423,434,443,456,473,486,498,510,524,545,560,576,585,598,612,624,635,648,661,678,689,702,715,726,737,745,756,767,779,795,807,819,832,843,853,862,876,889,909,923,934,945,957,969,981,989,996,1006,1015,1028,1038,1052,1063,1072,1079,1087,1099,1110,1119,1131,1143,1151,1161,1171,1183,1200,1208,1217,1230,1242,1249,1256,1265,1276,1286,1294,1306,1314,1324,1335,1345,1354,1361,1370,1378,1388,1395,1402,1411,1426,1434,1441,1448,1461,1473,1483,1491,1499,1507,1514,1523,1534,1544,1554,1563,1573,1581,1590,1601,1608,1616,1627,1645,1655,1661,1670,1680,1690,1699,1707,1720,1727,1735,1751,1759,1769,1782,1791,1800,1811,1820,1833,1843,1851,1859,1870,1883,1893,1902,1911,1921,1932,1941,1949,1956,1968,1975,1984,1994,2004,2014,2023,2036,2044,2053,2061,2068,2078,2086,2097,2105,2115,2123,2131,2140,2151,2159,2168,2175,2185,2193,2200,2214,2226,2236,2247,2257,2266,2275,2284,2294,2300,2315,2326,2336,2350,2357,2364,2372,2379,2388,2397,2406,2414,2422,2430,2438,2446,2453,2462,2471,2483,2491,2499,2506,2514,2521,2530,2538,2545,2552,2561,2570,2577,2586,2596,2607,2617,2627,2639,2649,2659,2667,2675,2683,2690,2699,2709,2718,2735,2745,2754,2772,2780,2787,2795,2803,2812,2821,2829,2839,2847,2858,2867,2881,2891,2903,2910,2918,2925,2935,2942,2953,2960,2970,2981,2990,2997,3005,3013,3024,3034,3046,3056,3066,3074,3082,3094,3103,3114,3126,3136,3147,3156,3165,3175,3186,3196,3206,3215,3225,3234,3243,3254,3262,3272,3281,3290,3298,3307,3314,3322,3330,3337,3346,3356,3364,3375,3383,3391,3400,3407,3416,3424,3434,3445,3457,3466,3475,3487,3494,3501,3509,3517,3524,3531,3540,3550,3558,3568,3576,3589,3599,3607,3615,3626,3640,3650,3663,3673,3682,3691,3699,3707,3719,3727,3734,3745,3754,3764,3775,3784,3792,3801,3808,3815,3824,3831,3838,3845,3854,3864,3871,3879,3886,3895,3903,3911,3921,3929,3937,3946,3954,3962,3970,3978,3986,3994,4003,4011,4019,4027,4035,4044,4054,4061,4070,4081,4089,4099,4105,4111,4117,4123,4130,4136,4144,4153,4162,4169,4177,4186,4195,4203,4212,4224,4231,4241,4248,4257,4265,4271,4278,4284,4290,4296,4302,4308,4315,4322,4329,4336,4344,4353,4362,4373,4380,4388,4396,4403,4410,4418,4428,4436,4443,4452,4460,4468,4477,4485,4493,4501,4511,4519,4527,4535,4542,4549,4557,4566,4573,4580,4588,4596,4604,4613,4620,4626,4635,4642,4651,4661,4670,4678,4685,4693,4702,4709,4717,4725,4732,4741,4748,4755,4762,4769,4776,4783,4790,4797,4805,4813,4822,4828,4835,4841,4848,4854,4860,4866,4873,4879,4885,4891,4897,4903,4909,4915,4923,4930,4938,4946,4953,4959,4966,4973,4981,4989,4998,5005,5015,5022,5029,5037,5045,5053,5060,5068,5075,5084,5091,5098,5104,5111,5118,5125,5132,5139,5146,5153,5160,5167,5175,5182,5189,5196,5203,5210,5217,5224,5232,5243,5251,5263,5277,5290,5297,5307,5318,5327,5335,5344,5352,5363,5371,5379,5387],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},214261,"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","清","佚名","北京故宫博物院","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[23,24,25,26,27,28,29,30,31,32,7],"高清","国画","设色","工笔","人物","龙","山水","悬崖","波浪","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","绢本,设色","34.9x31","人物画精选",[36],2811,8,"BDBDBD",{"id":42,"slug":43,"title":44,"dynasty":45,"author":19,"museum":46,"description":47,"tags":48,"thumbUrl":58,"material":25,"size":59,"collection":36,"collections":60,"showCount":61,"zanCount":62,"manualWeight":11,"mainColor":63},219182,"dun-huang-yi-hui-guan-yin-tong-zi-tu-yi-ming-219182","敦煌遗绘观音童子图","唐","藏地不详","画面氤氲着古朴慈悲的气息。观音端坐莲台，宝相庄严却含温婉，衣袂翩跹间藏着唐时雍容气度，手持净枝似欲洒下甘露。身后光环晕染开柔和光晕，将尘世喧嚣轻轻隔开。童子或捧莲趋前，稚手轻抬献清芬；或携枝凌空，小影翩跹逐流云，嬉闹之态与观音的静谧相映，更显佛法包容生机。岁月虽让色彩斑驳，却仍能窥见昔年绚丽，线条流畅如行云流水，每处细节皆藏敦煌艺术的厚重灵动，似在无声诉说千年信仰与美好。",[23,49,24,50,51,52,25,26,53,54,55,56,57,7],"名画","书画","壁画","宗教","观音","童子","莲花","宝座","华盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc366f712b6d9c9d47ba3ab34ba8db06.jpg","",[36],885,11,"795548",{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":70,"description":71,"tags":72,"thumbUrl":81,"material":34,"size":82,"collection":36,"collections":83,"showCount":84,"zanCount":62,"manualWeight":11,"mainColor":63},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","五代十国","周文矩","台北故宫博物院","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[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十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[23,24,50,25,26,27,108,109,110,7,111,112],"器","市井","民俗","生活场景","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[36,116],"设色画精选",463,10,{"id":120,"slug":121,"title":122,"dynasty":18,"author":19,"museum":46,"description":123,"tags":124,"thumbUrl":130,"material":59,"size":59,"collection":59,"collections":131,"showCount":132,"zanCount":133,"manualWeight":11,"mainColor":63},230349,"yong-zheng-shi-er-mei-ren-tu-yin-zhen-mei-ren-tu-yi-ming-230349","雍正十二美人图(胤禛美人图)","仕女侧身凭门，眉眼含柔静赏修竹，暗纹黄衫绣饰精巧，鬓边珠翠轻缀，温婉娴静的闺阁气韵尽显。庭院中奇石错落，盆梅初绽、兰草幽柔，案头盆花清雅动人。画作以框景巧构，将室内外景致相融，淡雅设色晕染出悠然氛围，笔触写实细腻，衣料柔润质感、竹影婆娑意态皆被精妙还原，将深闺女子的闲情意趣与中式园林的雅致意境融为一体，尽显东方古典美学含蓄温婉之韵。",[23,26,25,73,125,126,127,78,128,129,7,80],"竹","山石","盆栽","栏杆","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a850643fba7892c7c56dbf39750b66e.jpg",[],362,3,{"id":135,"slug":136,"title":137,"dynasty":138,"author":139,"museum":140,"description":141,"tags":142,"thumbUrl":148,"material":34,"size":59,"collection":36,"collections":149,"showCount":150,"zanCount":151,"manualWeight":11,"mainColor":63},218253,"shi-nv-juan-du-jin-218253","仕女卷","明","杜堇","上海博物馆","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[23,24,50,143,26,25,27,73,144,129,128,145,146,126,147,7],"长卷","楼阁","台阶","树木","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[36],360,12,{"id":153,"slug":154,"title":155,"dynasty":45,"author":156,"museum":46,"description":157,"tags":158,"thumbUrl":166,"material":96,"size":97,"collection":59,"collections":167,"showCount":168,"zanCount":133,"manualWeight":11,"mainColor":40},230784,"ba-shi-qi-shen-xian-juan-wu-dao-zi-230784","八十七神仙卷","吴道子","图中以道教故事为题材，描绘了以东华帝君、南极帝君、扶桑大帝为主的八十七位列队行进的神仙，画面纯以线条表现出八十七位神仙出行的宏大场景，形神刻画细致入微。画面笔墨遒劲洒脱，根根线条都表现了无限的生命力，如行云流水，充满韵律感，代表了中国唐代白描绘画的最高水平。",[23,24,50,143,159,27,52,160,161,162,163,7,164,165],"白描","飘带","云纹","仪仗","发髻","队列","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc1df0381ac5212e317d74c385d5f6fe.jpg",[],358,{"id":170,"slug":171,"title":172,"dynasty":18,"author":173,"museum":174,"description":175,"tags":176,"thumbUrl":184,"material":34,"size":59,"collection":36,"collections":185,"showCount":186,"zanCount":187,"manualWeight":11,"mainColor":40},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","王君甫","大英博物馆","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,49,24,177,178,25,26,179,27,144,180,181,75,162,147,7,182,183],"版画","木刻","界画","祥云","车驾","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg",[36],336,7,{"id":189,"slug":190,"title":67,"dynasty":68,"author":69,"museum":174,"description":191,"tags":192,"thumbUrl":196,"material":34,"size":59,"collection":36,"collections":197,"showCount":198,"zanCount":199,"manualWeight":11,"mainColor":63},218378,"shi-nv-tu-zhou-wen-ju-218378","画面铺展一段古雅日常，仕女们衣袂轻扬，线条似行云流水，勾勒出温婉曼妙的身姿。或执物凝思，或俯身逗弄孩童，眉眼间藏着细碎的温柔，神态生动如在眼前。孩童们嬉戏打闹，天真烂漫的模样，为静谧场景添了几分活泼意趣。设色淡雅却见匠心，衣纹的褶皱细腻流畅，器物的轮廓精致入微，尽显五代绘画的雅致韵致。整幅画仿佛凝住了时光，让观者得以窥见古时闺阁的闲逸片段，静静品味那份穿越千年的温婉与温情。",[23,26,25,143,27,193,194,111,195,7,129],"仕女","孩童","盆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb97551a5b969421596ee30b80331890.jpg",[36],300,5,{"id":201,"slug":202,"title":88,"dynasty":89,"author":90,"museum":46,"description":91,"tags":203,"thumbUrl":206,"material":96,"size":97,"collection":59,"collections":207,"showCount":208,"zanCount":209,"manualWeight":11,"mainColor":40},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826",[23,24,50,80,26,25,27,73,7,94,112,204,205],"梅","花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],262,1,{"id":211,"slug":212,"title":213,"dynasty":18,"author":214,"museum":174,"description":215,"tags":216,"thumbUrl":220,"material":34,"size":221,"collection":36,"collections":222,"showCount":223,"zanCount":209,"manualWeight":11,"mainColor":40},218354,"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[24,50,217,25,26,27,73,7,218,219],"册","兵器","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[36],237,{"id":225,"slug":226,"title":227,"dynasty":18,"author":228,"museum":229,"description":230,"tags":231,"thumbUrl":234,"material":235,"size":236,"collection":116,"collections":237,"showCount":238,"zanCount":100,"manualWeight":11,"mainColor":63},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","美国弗利尔美术馆","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[23,24,50,80,26,25,27,73,232,7,108,233],"侍女","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","纸本,设色","190 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戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。\n嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。\n画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。\n她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。\n富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。\n图中的楼台房室建筑则采用西洋 绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（178年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。\n匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[26,25,179,73,27,204,108,112,7,144,315],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],115,"F48FB1",{"id":321,"slug":322,"title":323,"dynasty":89,"author":286,"museum":46,"description":287,"tags":324,"thumbUrl":328,"material":96,"size":97,"collection":305,"collections":329,"showCount":330,"zanCount":11,"manualWeight":11,"mainColor":331},225627,"rembrandt-harmensz-van-rijn-036-lun-bo-lang-225627","Rembrandt Harmensz.van Rijn - 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058",[289,290,293,25,27,439,278,291,7],"贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d7edd81c90430ac3035cb2312d096f.jpg",[305],69,{"id":444,"slug":445,"title":446,"dynasty":263,"author":19,"museum":140,"description":447,"tags":448,"thumbUrl":452,"material":453,"size":454,"collection":59,"collections":455,"showCount":442,"zanCount":100,"manualWeight":11,"mainColor":63},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,24,50,143,25,26,27,73,194,340,125,77,79,128,129,7,449,450,451],"发饰","桌子","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","绢本设色","25.5x158.7厘米",[],{"id":457,"slug":458,"title":459,"dynasty":18,"author":460,"museum":20,"description":461,"tags":462,"thumbUrl":469,"material":34,"size":470,"collection":36,"collections":471,"showCount":472,"zanCount":209,"manualWeight":11,"mainColor":40},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","禹之鼎","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[23,24,50,143,26,25,27,463,464,415,465,466,467,127,7,219,468,112],"菊","花","椅","花瓶","书","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[36],68,{"id":474,"slug":475,"title":476,"dynasty":373,"author":19,"museum":477,"description":478,"tags":479,"thumbUrl":482,"material":235,"size":483,"collection":36,"collections":484,"showCount":485,"zanCount":258,"manualWeight":11,"mainColor":63},218944,"hu-ren-yu-ma-tu-yi-ming-218944","胡人圉马图","丹佛艺术博物馆","红衣宽袍的胡人侧立，毡帽下须髯轻垂，手中长鞭斜握，缰绳牵住花斑骏马。马身丰腴却见筋骨，花斑错落如流云散雪，鬃尾以浓淡墨色晕染，线条流畅间透着矫健。人与马的姿态舒缓，似在旷野缓行，素净的背景更衬出红衣的暖艳与马的沉静。笔致简练却神形毕肖，胡人眉眼间藏着游牧民族的质朴沉毅，骏马的温顺与灵动跃然纸上。画面虽静，却仿佛能感知风过草甸的轻响，尽显元代绘画面向生活的写实意趣与含蓄韵味。",[49,24,50,26,25,159,27,247,480,7,481],"胡人","马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932df26e99bdc85330734a726db7ce26.jpg","29.5x45cm",[36],66,{"id":487,"slug":488,"title":489,"dynasty":263,"author":490,"museum":361,"description":491,"tags":492,"thumbUrl":494,"material":400,"size":495,"collection":59,"collections":496,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":40},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[49,24,50,143,52,26,25,27,112,7,493],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],65,{"id":499,"slug":500,"title":501,"dynasty":138,"author":19,"museum":502,"description":503,"tags":504,"thumbUrl":506,"material":34,"size":507,"collection":36,"collections":508,"showCount":509,"zanCount":209,"manualWeight":11,"mainColor":63},219701,"song-zi-guan-yin-yi-ming-219701","送子观音","美国大都会艺术博物馆","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[24,25,26,52,80,27,505,180,7],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3cm",[36],63,{"id":511,"slug":512,"title":513,"dynasty":18,"author":19,"museum":46,"description":514,"tags":515,"thumbUrl":521,"material":96,"size":97,"collection":59,"collections":522,"showCount":523,"zanCount":100,"manualWeight":11,"mainColor":63},267492,"lv-se-duan-xiu-gui-hua-yu-tu-jin-pi-qiu-hua-wen-ba-yue-hua-shen-yi-yi-ming-267492","绿色缎绣桂花玉兔金皮球花纹八月花神衣","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[493,7,516,94,517,518,519,520],"花神衣","刺绣","兔","桂花","皮球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a97d0349633aa053d67a02c01703f5.jpg",[],62,{"id":525,"slug":526,"title":527,"dynasty":89,"author":528,"museum":46,"description":529,"tags":530,"thumbUrl":542,"material":96,"size":97,"collection":59,"collections":543,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":331},225589,"zai-wen-shi-li-ai-de-hua-ma-nai-225589","在温室里","爱德华·马奈","爱德华·马奈（Édouard Manet，1832.01.23～1883.04.30）是19世纪印象主义的奠基人之一，1832年出生于法国巴黎。他从未参加过印象派的展览，但他深具革新精神的艺术创作态度，却深深影响了莫奈、塞尚、梵高等新兴画家，进而将绘画带入现代主义的道路上。受到日本浮世绘及西班牙画风的影响，马奈大胆采用鲜明色彩，舍弃传统绘画的中间色调，将绘画从追求三元次立体空间的传统束缚中解放出来，朝二元次的平面创作迈出革命性的一大步。\n印象派大师爱德华·马内的名画《春天》5日在美国纽约佳士得拍卖行拍得3320万美元。《春天》是马内的代表作之一，最早于1882年在法国巴黎展出，描绘女演员让娜·德马尔西身穿花裙，与春色交相辉映。马内试图用画笔描绘四季，但仅完成《春天》和《秋天》。马内1883年离世，终年51岁。",[289,531,25,290,27,532,533,534,535,301,536,537,538,78,539,7,293,540,541],"印象派","温室植物","长椅","花盆","遮阳伞","女士","男士","绿植","室内场景","热带植物","互动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5670ad47ae742da5c0afcd6fcba8f181.jpg",[],61,{"id":546,"slug":547,"title":548,"dynasty":89,"author":286,"museum":46,"description":287,"tags":549,"thumbUrl":557,"material":96,"size":97,"collection":305,"collections":558,"showCount":559,"zanCount":11,"manualWeight":11,"mainColor":331},225697,"ye-xun-lun-bo-lang-225697","夜巡",[289,290,292,27,550,300,551,552,553,340,7,554,293,555,556],"群体","旗帜","长枪","鼓","武器","动态","昏暗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8654790adb9d9086ef2631f67d1f00db.jpg",[305],58,{"id":561,"slug":562,"title":563,"dynasty":373,"author":564,"museum":565,"description":566,"tags":567,"thumbUrl":573,"material":574,"size":59,"collection":36,"collections":575,"showCount":559,"zanCount":11,"manualWeight":11,"mainColor":40},219398,"zhong-jin-shi-yuan-ye-chu-you-tu-yan-hui-219398","钟进士元夜出游图","颜辉","私人收藏","墨线劲挺如铁，勾勒出钟馗的凛凛威仪，群鬼随扈左右——或扛幡持械，步履生风；或嬉戏打闹，憨态可掬。简括造型里藏着生动细节：鬼卒夸张的肢体、钟馗沉凝的神情，在浓淡相宜的墨色中鲜活起来。画面以动态叙事，仿佛能听见队伍行进的喧腾，元夜的神秘氛围与人间烟火气交织。笔意洒脱却不失精准，将神鬼世界的诙谐与庄重融于一卷，尽显元人写意人物画的妙趣与功力，是寓庄于谐的艺术佳构。",[49,24,50,143,159,568,27,569,218,7,112,219,468,570,571,572,26],"水墨","鬼神","篆书","楷书","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4635b72bdb16674e440c200b8a4b6d4b.jpg","纸本,水墨",[36],{"id":577,"slug":578,"title":579,"dynasty":89,"author":286,"museum":46,"description":287,"tags":580,"thumbUrl":582,"material":96,"size":97,"collection":305,"collections":583,"showCount":584,"zanCount":11,"manualWeight":11,"mainColor":63},225671,"rembrandt-harmensz-van-rijn-081-lun-bo-lang-225671","Rembrandt Harmensz.van Rijn - 081",[289,27,73,278,25,290,292,7,291,293,581],"厚涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab503ac9945a61b8bca38c7d03deeb99.jpg",[305],57,{"id":586,"slug":587,"title":588,"dynasty":263,"author":19,"museum":502,"description":589,"tags":590,"thumbUrl":593,"material":453,"size":594,"collection":595,"collections":596,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":63},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱，画面生动、有趣，寄托了人们对于美好生活--“多子多福”的向往，所以历来很受大众的欢迎，在唐、宋时期无论题材还是技法都已相当成熟。如宋苏汉臣的《秋庭戏婴图》可谓杰作。",[23,24,49,26,25,27,73,591,74,194,7,592,378],"婴儿","孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","纵30.5厘米，横111.8厘米","宋画精选",[595],56,{"id":599,"slug":600,"title":392,"dynasty":89,"author":601,"museum":46,"description":602,"tags":603,"thumbUrl":609,"material":96,"size":97,"collection":59,"collections":610,"showCount":611,"zanCount":11,"manualWeight":11,"mainColor":319},231699,"ren-wu-hua-ge-chuan-feng-guo-231699","歌川丰国","此作以柔婉线条勾勒仕女情态，蓝花簪发的她肩挑朱绳吊桶，将市井营生晕染出雅致和风。吊桶海浪纹样灵动写意，和服层叠晕染出水色衣袂，裙摆织锦纹样细腻华美，将面料肌理晕染的层次分明。画师把世俗挑水劳作，揉入古典美人绘的温婉气质，静穆身姿暗蕴市井烟火的鲜活气，让日常营生化为诗意绘卷，尽显柔美雅致的浮世风韵。",[23,49,604,178,25,177,27,73,7,605,606,607,608],"浮世绘","桶","花纹","波浪纹","花卉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4c997f224f293aa736b5d2fca1cb24.jpg",[],54,{"id":613,"slug":614,"title":615,"dynasty":18,"author":19,"museum":20,"description":616,"tags":617,"thumbUrl":619,"material":620,"size":621,"collection":36,"collections":622,"showCount":623,"zanCount":11,"manualWeight":11,"mainColor":40},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,49,26,25,179,27,144,618,126,129,194,147,7],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","绢本 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× 716 cm",[595,36,700],"水墨画精选",43,{"id":703,"slug":704,"title":705,"dynasty":138,"author":706,"museum":46,"description":707,"tags":708,"thumbUrl":710,"material":711,"size":712,"collection":59,"collections":713,"showCount":714,"zanCount":11,"manualWeight":11,"mainColor":63},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图","钱毂","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,49,24,50,143,159,568,26,27,709,505,218,7,112],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","纸本","33.3*257.5",[],42,{"id":716,"slug":717,"title":718,"dynasty":138,"author":719,"museum":20,"description":720,"tags":721,"thumbUrl":722,"material":400,"size":723,"collection":724,"collections":725,"showCount":714,"zanCount":209,"manualWeight":11,"mainColor":63},222220,"nv-le-tu-chou-ying-222220","女乐图","仇英","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,24,26,25,73,340,144,129,27,7,147,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773ae43fc8291acbb6e1133fb797250.jpg","纵145.5厘米，横85.5厘米","山水画精选",[724,116],{"id":727,"slug":728,"title":729,"dynasty":138,"author":19,"museum":46,"description":730,"tags":731,"thumbUrl":734,"material":59,"size":59,"collection":59,"collections":735,"showCount":736,"zanCount":209,"manualWeight":11,"mainColor":63},228380,"xian-zong-chun-huang-di-xiao-zhen-chun-huang-hou-yi-ming-228380","宪宗纯皇帝；孝贞纯皇后","此作工笔重彩，尽显宫廷肖像的庄重礼制。帝王丰腴持重，长髯垂胸，朝服团龙织金华美厚重，沉静神态间自显九五威仪。皇后凤冠累丝点翠，珠绕翠围，饰纹龙凤交错、珠玉琳琅，面容温婉端雅，衣间绣纹细密精巧，尽显后妃尊荣。\n\n画面设色沉穆富丽，线条工整精细，既恪守宫廷御容的制式规范，又将帝后仪容神韵写实还原，在礼制框架中尽显大明皇室的华贵肃穆之风。",[24,50,27,291,26,25,732,733,7,364],"宫廷人物","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdd58ba212c252b9f919542f805753.jpg",[],41,{"id":738,"slug":739,"title":740,"dynasty":89,"author":286,"museum":46,"description":287,"tags":741,"thumbUrl":742,"material":96,"size":97,"collection":305,"collections":743,"showCount":744,"zanCount":11,"manualWeight":11,"mainColor":331},225647,"rembrandt-harmensz-van-rijn-057-lun-bo-lang-225647","Rembrandt Harmensz.van Rijn - 057",[289,291,27,73,25,292,7,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71035e942aa07b8e236473d4047797e1.jpg",[305],40,{"id":746,"slug":747,"title":748,"dynasty":373,"author":749,"museum":70,"description":750,"tags":751,"thumbUrl":753,"material":711,"size":754,"collection":36,"collections":755,"showCount":744,"zanCount":11,"manualWeight":11,"mainColor":40},221733,"ni-zan-xiang-juan-zhang-yu-221733","倪瓒像卷","张雨","工书画，其书法初学赵孟頫，后学怀素，张旭。字体楷草结合，俊爽清洒自成一格。存世书迹有《山居即事诗帖》，《登南峰卷》等。倪瓒在《题张贞居书卷》称“贞居真人诗，人，字，画，皆为本朝道品第一”。其画以淡彩见长，善画石木，用笔古雅，尤善以败笔点缀石木人物，颇有意韵。画迹有《霜柯秀石图》，《双峰含翠图》等。",[24,50,143,159,25,26,27,112,752,147,29,7],"桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d126c273a363dbcf40b1fda9a0860a.jpg","该幅28.2x60.9公分",[36,116],{"id":757,"slug":758,"title":759,"dynasty":138,"author":19,"museum":229,"description":760,"tags":761,"thumbUrl":764,"material":34,"size":59,"collection":36,"collections":765,"showCount":766,"zanCount":209,"manualWeight":11,"mainColor":63},219497,"juan-xiu-tu-yi-ming-219497","倦绣图","朱红绣案上绿绸随意铺陈，仕女凭案敛臂休憩，绣活未竟便沉沉暂歇。淡墨轻施勾勒出松弛倦态，素绢古旧的底色晕开沉静氛围，没有繁复华饰，只以极简笔意定格闺阁日常里的慵懒闲逸。将绣女劳顿后的松弛心绪藏在素雅笔墨间，未完成的针线暗合着闺中往复的日常细碎，静穆画面里漫出平淡悠长的闺中况味，把细碎倦怠揉进古雅色调里，尽显内敛温柔的东方意趣。",[24,50,25,26,27,73,7,762,763,539],"榻","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a4c0ec9f990f6ad692fcb7681f4b5.jpg",[36],39,{"id":768,"slug":769,"title":770,"dynasty":138,"author":19,"museum":361,"description":771,"tags":772,"thumbUrl":774,"material":775,"size":776,"collection":59,"collections":777,"showCount":778,"zanCount":209,"manualWeight":11,"mainColor":63},223405,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-223405","天龙八部罗叉女眾","右上题“天龙八部罗叉女众”，上端题“大明景泰五年八月初三日施”。并钤“广运之宝”印。左下书“御用监太监尚义、王勤等奉命提督监造” ​​​​。 ​​​​此图绘有天龙八部中的四位即：天众、龙众、紧那罗、摩呼罗迦。外另四罗叉（刹）女，分别持有刀、剑、弓等武器。从形制看应该还有对幅来组成“八部“，可能已佚。此图是明景泰年间（1450-1457年）宫廷画师所作，极尽华丽之能事，可与法海寺壁画参看。",[23,24,80,26,25,52,27,180,773,165,7],"神佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d662c5db16a58703b6f2c0f10c2843.jpg","绢本·设色","141 x 79.2 cm",[],38,{"id":780,"slug":781,"title":782,"dynasty":138,"author":19,"museum":46,"description":783,"tags":784,"thumbUrl":792,"material":59,"size":59,"collection":59,"collections":793,"showCount":794,"zanCount":209,"manualWeight":11,"mainColor":63},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》。",[24,25,26,80,27,785,786,787,146,128,126,788,147,789,7,790,791,395],"儿童","妇女","货郎","花草","秋景","货郎担","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],37,{"id":796,"slug":797,"title":798,"dynasty":18,"author":19,"museum":20,"description":799,"tags":800,"thumbUrl":804,"material":711,"size":805,"collection":724,"collections":806,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":40},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,50,217,25,26,179,27,29,247,801,144,126,146,551,802,803,7],"小桥","军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[724,36,116],{"id":808,"slug":809,"title":810,"dynasty":45,"author":19,"museum":811,"description":812,"tags":813,"thumbUrl":816,"material":96,"size":97,"collection":59,"collections":817,"showCount":818,"zanCount":209,"manualWeight":11,"mainColor":331},226208,"ku-zhu-shi-dong-bi-yi-ming-226208","窟主室东壁","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[51,52,25,26,27,144,493,814,815,671,7],"唐代风格","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca7ce3df90bf739387683632798ad93.jpg",[],36,{"id":820,"slug":821,"title":822,"dynasty":18,"author":665,"museum":666,"description":667,"tags":823,"thumbUrl":830,"material":378,"size":675,"collection":59,"collections":831,"showCount":818,"zanCount":11,"manualWeight":11,"mainColor":319},223066,"hong-lou-meng-52-sun-wen-223066","红楼梦52",[23,24,50,26,25,179,27,73,144,146,128,129,147,380,7,824,825,417,826,827,94,828,829],"屏风","桌椅","罐","木质","室内","室外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6e4bfd16dd262ed724295b75a151d0.jpg",[],{"id":833,"slug":834,"title":835,"dynasty":18,"author":347,"museum":46,"description":836,"tags":837,"thumbUrl":840,"material":96,"size":97,"collection":36,"collections":841,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":40},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[24,50,49,26,25,52,27,112,711,7,838,839],"鞋履","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[36],35,{"id":844,"slug":845,"title":846,"dynasty":263,"author":19,"museum":361,"description":847,"tags":848,"thumbUrl":850,"material":453,"size":851,"collection":59,"collections":852,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":40},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,49,24,50,143,849,159,27,73,194,340,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":854,"slug":855,"title":856,"dynasty":18,"author":19,"museum":46,"description":857,"tags":858,"thumbUrl":860,"material":34,"size":59,"collection":36,"collections":861,"showCount":842,"zanCount":11,"manualWeight":11,"mainColor":63},216041,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-yi-ming-216041","职贡图巨幅彩绘册页第4册","画面分左右两帧，各绘人物一。左帧人物衣饰层叠，深色裙摆缀彩边，背篓插伞，手持长杖，神态从容；右帧男子赤足躬身，蓝布装束，握锄耕作，动作写实。笔触细腻，线条流畅，色彩淡雅却不失鲜明，人物形象鲜活传神。画作既展现不同身份者的日常状态，又暗含地域文化特色，通过服饰、工具与姿态的细节刻画，传递出浓郁的生活气息与人文风貌，是窥见清代边地民俗与艺术风格的生动窗口。",[23,412,24,217,25,26,27,7,859],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dcab53bbb3176cbc6ce477d2269fdd8.jpg",[36],{"id":863,"slug":864,"title":865,"dynasty":138,"author":866,"museum":229,"description":867,"tags":868,"thumbUrl":872,"material":34,"size":873,"collection":36,"collections":874,"showCount":875,"zanCount":209,"manualWeight":11,"mainColor":63},220128,"du-hai-luo-han-tu-su-zhen-tai-hou-220128","渡海罗汉图","肃贞太后","此幅题：大明万历岁次庚戌年（1610年）明肃贞寿端献恭熹皇太后绘造。钤：慈圣宣文明肃贞寿端献恭熹皇太后宝 朱文大印。",[23,24,26,25,52,27,869,870,32,871,365,7],"罗汉","海浪","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[36],34,{"id":877,"slug":878,"title":879,"dynasty":18,"author":880,"museum":20,"description":881,"tags":882,"thumbUrl":885,"material":400,"size":886,"collection":59,"collections":887,"showCount":888,"zanCount":11,"manualWeight":11,"mainColor":40},232937,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-232937","乾隆皇帝大阅图轴","郎世宁","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[49,80,26,25,27,247,29,352,300,7,883,884],"弓箭","中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e75bd6adc859c5fc594e91cce70fb3d.jpg","纵332.5厘米，横232厘米",[],33,{"id":890,"slug":891,"title":892,"dynasty":18,"author":389,"museum":20,"description":893,"tags":894,"thumbUrl":904,"material":905,"size":906,"collection":59,"collections":907,"showCount":908,"zanCount":11,"manualWeight":11,"mainColor":40},233677,"jiao-yin-pin-yan-tu-zhou-ren-yi-233677","蕉荫品砚图轴","砚，“文房四宝”之一，是古代文人书桌必备之物。用料讲究，造型精美的砚台兼具实用性和赏鉴把玩的特性，因此热衷收藏品赏砚台的文人雅士也大有人在，比如宋代大文人苏轼就是“嗜砚成癖”。\n任颐此图画一文士双手捧砚，神态专注，旁边的童子还在整理一摞石砚。虽然没有明确写画的是谁，但是从人物装扮来看，很可能表现的就是苏轼品砚的故事。画风清爽，线条顿挫曲折，极富表现力，人物形象很是传神。\n任颐（1840—1896年），初名润，字小楼，后字伯年，浙江绍兴人，后寓上海。“海派”代表画家。以卖画为生，擅长人物、肖像、花鸟、山水。其人物师法陈洪绶、费丹旭、任熊等人，花鸟画取法陈洪绶、陈淳、徐渭、朱耷，笔墨简逸放纵，设色明净，形成兼工带写、明快清新的格调。他的绘画发轫于民间，又继承传统，融汇诸家之长，还吸收了西画速写、设色诸法，从而形成丰姿多彩、新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。任颐与任熊、任熏、任预有着师承关系，画风一脉相承，并称为“海上四任”。",[24,80,25,27,670,895,896,897,398,898,7,899,900,901,902,903],"砚台","文人","长袍","笔墨","蕉叶","古代服饰","品砚场景","设色人物","传统笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071954fcb7937f196c6fc0f481688551.jpg","纸本设色","155.5cm×43.5cm",[],31,{"id":910,"slug":911,"title":912,"dynasty":18,"author":19,"museum":229,"description":913,"tags":914,"thumbUrl":921,"material":34,"size":59,"collection":36,"collections":922,"showCount":908,"zanCount":209,"manualWeight":11,"mainColor":40},218301,"guan-lao-fu-ren-xiang-yi-ming-218301","关老夫人像","端坐的身影透着沉静雍容，面容温婉却自带庄重气度。华服以蓝为底，金线绣制的祥龙穿梭于云纹与海水之间，龙姿灵动，辅以五彩纹饰，层次叠嶂间尽显华贵威仪。座椅锦纹繁复，脚下地毯图案精巧，几何纹样与吉祥符号交织，每一处细节皆见工艺之精湛。工笔线条细腻流畅，设色典雅厚重，既承清代肖像画写实传统，又以华丽装饰烘托人物尊贵身份，仿佛能透过画面，触摸到那个时代贵族女性的生活风貌与内敛风华。",[23,24,50,80,26,25,27,915,916,733,7,291,364,28,917,918,919,920],"女性","古装","传统服饰","清代风格","工笔肖像","服饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59b6480f243d307433c43aef2eaa0f4a.jpg",[36],{"id":924,"slug":925,"title":926,"dynasty":89,"author":19,"museum":46,"description":927,"tags":928,"thumbUrl":931,"material":96,"size":97,"collection":59,"collections":932,"showCount":933,"zanCount":11,"manualWeight":11,"mainColor":319},225511,"fu-shi-hui-269-yi-ming-225511","浮世绘269","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。",[604,25,178,27,73,218,147,7,929,146,930],"建筑局部","夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9477f0c79b912efa6ccb9ab290224577.jpg",[],30,{"id":935,"slug":936,"title":937,"dynasty":18,"author":665,"museum":666,"description":667,"tags":938,"thumbUrl":942,"material":378,"size":675,"collection":59,"collections":943,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":40},223064,"hong-lou-meng-50-sun-wen-223064","红楼梦50",[23,26,25,179,27,144,939,129,128,940,73,126,146,941,7,815,673],"桃花","竹子","窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc423ebba504eb711cbd7c6339c40a038.jpg",[],29,{"id":946,"slug":947,"title":948,"dynasty":18,"author":949,"museum":174,"description":950,"tags":951,"thumbUrl":954,"material":34,"size":955,"collection":36,"collections":956,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":63},219838,"san-jiao-tu-chen-shi-jun-219838","三教图","陈士俊","苍松虬枝横斜，山岚轻笼幽林，铺就出古雅澹泊的林下晤面之景。三位宗师神态各殊，执白羽者清逸出尘，宽袍束带者端方持重，抱婴老者垂眉慈和，身旁侍童稚态可掬，为沉静氛围添了几分灵动生机。\n\n画师笔致精细，衣纹走线舒展流畅，将人物的风神气度描摹得形神兼备，山林晕染层次雅致，把三教汇流、圣贤交融共生的平和意涵，藏进这悠然的雅集场景中，兼具叙事意趣与人文深味。",[23,24,50,80,25,26,27,29,618,126,146,952,194,7,953],"老者","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3abea62ef10bb38e32d5963e7b16a1.jpg","纵121厘米 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》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,26,25,27,340,146,125,670,1237,896,232,194,126,1238,1239,112,7],"怪石","琴","书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":1243,"slug":1244,"title":1245,"dynasty":18,"author":665,"museum":666,"description":667,"tags":1246,"thumbUrl":1247,"material":378,"size":675,"collection":59,"collections":1248,"showCount":1229,"zanCount":11,"manualWeight":11,"mainColor":40},223007,"hong-lou-meng-132-sun-wen-223007","红楼梦132",[23,24,50,26,25,27,7,380,466,824,1021,539],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32553c012ce6da2e7f869061a13b57c8.jpg",[],{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":665,"museum":666,"description":667,"tags":1253,"thumbUrl":1254,"material":378,"size":675,"collection":59,"collections":1255,"showCount":1229,"zanCount":11,"manualWeight":11,"mainColor":40},222982,"hong-lou-meng-107-sun-wen-222982","红楼梦107",[23,26,25,179,27,144,146,129,126,7,315,128,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb11e1d6d81cbf31d96a5ec7d1bbf6211.jpg",[],{"id":1257,"slug":1258,"title":1259,"dynasty":18,"author":665,"museum":666,"description":667,"tags":1260,"thumbUrl":1263,"material":378,"size":675,"collection":59,"collections":1264,"showCount":1229,"zanCount":11,"manualWeight":11,"mainColor":40},222953,"hong-lou-meng-78-sun-wen-222953","红楼梦78",[23,26,25,179,27,144,801,146,129,73,669,1261,128,1262,538,7,673],"房屋","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13e859bbe3be51184fcf4d9dec58bd.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":263,"author":1269,"museum":70,"description":1270,"tags":1271,"thumbUrl":1273,"material":378,"size":1274,"collection":59,"collections":1275,"showCount":1229,"zanCount":209,"manualWeight":11,"mainColor":63},221552,"luo-han-tu-4-liu-song-nian-221552","罗汉图4","刘松年","刘松年 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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。",[493,94,517,1529,1530,78,28,7],"缎绣","折枝花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16558640f068c5be1558b69d380b04c2.jpg",[],14,{"id":1535,"slug":1536,"title":1537,"dynasty":18,"author":1538,"museum":20,"description":1539,"tags":1540,"thumbUrl":1541,"material":400,"size":1542,"collection":59,"collections":1543,"showCount":1533,"zanCount":11,"manualWeight":11,"mainColor":40},236135,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236135","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,26,25,27,144,642,146,126,129,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafae42e45db159f05b50e8f468071678.jpg","纵30.8厘米，横37.4厘米",[],{"id":1545,"slug":1546,"title":1547,"dynasty":373,"author":19,"museum":46,"description":1548,"tags":1549,"thumbUrl":1552,"material":59,"size":59,"collection":59,"collections":1553,"showCount":1533,"zanCount":209,"manualWeight":11,"mainColor":63},228225,"luo-han-fu-chen-tu-yi-ming-228225","罗汉拂尘图","主尊罗汉面相古拙威严，身覆织锦僧衣，衣纹婉转流畅，朱砂、石青与金彩点缀出华贵质感，敷色厚重沉稳。他手持拂尘静踞石台，头后圆光烘托出沉静禅意。身旁侍童神态恭谨，刻画生动入微。背景以水墨晕染古木虬枝，丹实缀叶，衬出幽寂山林禅境。\n\n画作承宋院体写实余韵，线条精细劲挺，人物造型传神肃穆，兼具宗教造像的庄严感与世俗写实的生动意趣，尽显禅门清寂高古的沉静氛围，是佛画中精妙的写实佳制。",[23,24,25,26,52,27,146,1550,1551,395,7],"岩石","拂尘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e886b4f713ab229b96a54aa9d6ebe1f.jpg",[],{"id":1555,"slug":1556,"title":1557,"dynasty":18,"author":665,"museum":666,"description":667,"tags":1558,"thumbUrl":1561,"material":378,"size":675,"collection":59,"collections":1562,"showCount":1533,"zanCount":11,"manualWeight":11,"mainColor":40},222973,"hong-lou-meng-98-sun-wen-222973","红楼梦98",[23,26,25,179,27,144,129,127,146,1559,1311,7,147,539,1560],"太湖石","室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ea2eba1280154b2baab54fd4a20ff7.jpg",[],{"id":1564,"slug":1565,"title":1566,"dynasty":18,"author":665,"museum":666,"description":667,"tags":1567,"thumbUrl":1571,"material":378,"size":675,"collection":59,"collections":1572,"showCount":1533,"zanCount":11,"manualWeight":11,"mainColor":63},222908,"hong-lou-meng-33-sun-wen-222908","红楼梦33",[23,26,25,179,27,144,129,146,126,128,1568,232,1569,1213,1570,538,815,7],"匾额","公子","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0de6690162cf3adb8de884b97b8e03.jpg",[],{"id":1574,"slug":1575,"title":1576,"dynasty":18,"author":19,"museum":70,"description":1577,"tags":1578,"thumbUrl":1579,"material":34,"size":59,"collection":59,"collections":1580,"showCount":1533,"zanCount":11,"manualWeight":11,"mainColor":40},215201,"sheng-ping-le-shi-tu-ce-2-yi-ming-215201","升平乐事图册-2","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。",[49,24,50,217,25,26,27,194,618,126,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e957d6eec88487a5cb2b116e4cd30a.jpg",[],{"id":1582,"slug":1583,"title":1174,"dynasty":18,"author":1175,"museum":20,"description":1176,"tags":1584,"thumbUrl":1587,"material":1179,"size":1180,"collection":59,"collections":1588,"showCount":1589,"zanCount":11,"manualWeight":11,"mainColor":40},238292,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238292",[49,24,50,217,26,25,27,73,193,7,340,1585,78,1586,108],"花篮","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39c6b93343df97dee8c1f459ef89645.jpg",[],13,{"id":1591,"slug":1592,"title":1593,"dynasty":263,"author":1269,"museum":70,"description":1594,"tags":1595,"thumbUrl":1598,"material":1599,"size":1274,"collection":59,"collections":1600,"showCount":1589,"zanCount":11,"manualWeight":11,"mainColor":63},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,50,80,1138,26,25,52,27,824,395,1596,1597,7,147],"拐杖","扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画",[],{"id":1602,"slug":1603,"title":1604,"dynasty":18,"author":665,"museum":666,"description":667,"tags":1605,"thumbUrl":1606,"material":378,"size":675,"collection":59,"collections":1607,"showCount":1589,"zanCount":11,"manualWeight":11,"mainColor":319},222938,"hong-lou-meng-63-sun-wen-222938","红楼梦63",[23,24,26,25,27,144,129,146,126,147,1158,1025,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],{"id":1609,"slug":1610,"title":1611,"dynasty":18,"author":19,"museum":46,"description":1612,"tags":1613,"thumbUrl":1614,"material":96,"size":97,"collection":59,"collections":1615,"showCount":151,"zanCount":209,"manualWeight":11,"mainColor":40},234854,"he-su-fu-ren-ying-xiang-zhou-yi-ming-234854","和素夫人影像轴","此作工笔精绝，将诰命夫人的雍容气度尽付笔端。画师于面容描摹细致入微，眉眼含静，神态端方沉稳，尽显世家尊眷的矜贵仪态。宝蓝吉服华美绝伦，金龙辗转腾挪于袍身，祥云、江崖海水次第铺陈，笔墨还原出针绣肌理的精妙，纹样层次分明，将森严的品级礼制融于雅致工巧之中。画面留白简约，边角题跋衬映，文气与画意相融。整作形神兼备，写实功力深厚，将官眷威仪与富贵风华定格于绢素之上，尽显清代肖像画精细传神的创作特色。",[24,50,80,26,25,27,28,656,1024,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d2a120e8a09f29ad429c901df1d611.jpg",[],{"id":1617,"slug":1618,"title":1619,"dynasty":89,"author":1620,"museum":46,"description":1621,"tags":1622,"thumbUrl":1625,"material":96,"size":97,"collection":305,"collections":1626,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":63},225839,"the-zouave-fan-gao-225839","The Zouave","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。",[289,25,27,1623,965,7,1282,1624],"男性","笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68900784dfbe65075b8944b4e7ed9860.jpg",[305],{"id":1628,"slug":1629,"title":1630,"dynasty":89,"author":286,"museum":46,"description":287,"tags":1631,"thumbUrl":1643,"material":96,"size":97,"collection":305,"collections":1644,"showCount":151,"zanCount":11,"manualWeight":11,"mainColor":331},225677,"rembrandt-harmensz-van-rijn-087-lun-bo-lang-225677","Rembrandt Harmensz.van Rijn - 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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。",[289,290,27,915,194,7,539,25,1918],"细腻笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58092561fc216246f4f9920bc7048b49.jpg",[],{"id":1922,"slug":1923,"title":1924,"dynasty":89,"author":1925,"museum":46,"description":1926,"tags":1927,"thumbUrl":1930,"material":96,"size":97,"collection":59,"collections":1931,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":40},232495,"he-er-bai-yin-154-he-er-bai-yin-232495","荷尔拜因154","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[298,1928,27,290,1929,1623,7],"素描","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25dac070c092874f415162b3c572df33.jpg",[],{"id":1933,"slug":1934,"title":1935,"dynasty":89,"author":1925,"museum":46,"description":1926,"tags":1936,"thumbUrl":1939,"material":96,"size":97,"collection":59,"collections":1940,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":40},232352,"he-er-bai-yin-11-he-er-bai-yin-232352","荷尔拜因11",[49,27,291,1928,290,1623,964,301,7,1937,1938],"明暗","细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87fa266e3a5299ec2eb6e4654737f9d1.jpg",[],{"id":1942,"slug":1943,"title":1944,"dynasty":89,"author":1925,"museum":46,"description":1926,"tags":1945,"thumbUrl":1947,"material":96,"size":97,"collection":59,"collections":1948,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":63},232349,"he-er-bai-yin-8-he-er-bai-yin-232349","荷尔拜因8",[290,1928,1929,27,1623,301,7,1946],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddbd775ddae339ae4eacfb138824ead.jpg",[],{"id":1950,"slug":1951,"title":1952,"dynasty":89,"author":19,"museum":46,"description":927,"tags":1953,"thumbUrl":1954,"material":96,"size":97,"collection":59,"collections":1955,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":40},225423,"fu-shi-hui-181-yi-ming-225423","浮世绘181",[604,178,25,27,73,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817cd43e6d1fa286a3d915ab2437ce42.jpg",[],{"id":1957,"slug":1958,"title":1959,"dynasty":68,"author":1960,"museum":20,"description":1961,"tags":1962,"thumbUrl":1964,"material":1965,"size":1966,"collection":59,"collections":1967,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":63},221165,"shi-liu-luo-han-xiang-zhu-tu-ban-zha-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221165","十六罗汉像-注荼半吒迦尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,24,50,52,27,25,869,1963,7,147,128,94],"护法神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9058795b231399d7338d0d6b7bec21bf.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":1969,"slug":1970,"title":1971,"dynasty":263,"author":1804,"museum":1805,"description":1806,"tags":1972,"thumbUrl":1973,"material":34,"size":1809,"collection":59,"collections":1974,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":63},219026,"shi-wang-tu-2-lu-xin-zhong-219026","十王图-2",[23,24,50,52,26,25,27,1048,266,1417,752,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F810ef6960388766f5825b0a0552319aa.jpg",[],{"id":1976,"slug":1977,"title":1978,"dynasty":18,"author":19,"museum":46,"description":1527,"tags":1979,"thumbUrl":1981,"material":96,"size":97,"collection":59,"collections":1982,"showCount":1983,"zanCount":11,"manualWeight":11,"mainColor":63},266343,"ming-huang-se-ke-si-zhu-zi-wen-mian-chang-yi-yi-ming-266343","明黄色缂丝竹子纹棉氅衣",[1980,125,493,94,7],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d965174c4fc1d494dbedde11370cb60.jpg",[],6,{"id":1985,"slug":1986,"title":1987,"dynasty":18,"author":312,"museum":46,"description":1988,"tags":1989,"thumbUrl":1992,"material":96,"size":97,"collection":59,"collections":1993,"showCount":1983,"zanCount":11,"manualWeight":11,"mainColor":40},234939,"yue-man-qing-you-ce-chen-mei-234939","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[26,25,219,112,27,144,77,126,1990,73,129,145,1991,7],"雪景","伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b1973c46c586d785e4a0d0caa553b6.jpg",[],{"id":1995,"slug":1996,"title":1997,"dynasty":18,"author":19,"museum":46,"description":1998,"tags":1999,"thumbUrl":2002,"material":96,"size":97,"collection":59,"collections":2003,"showCount":1983,"zanCount":11,"manualWeight":11,"mainColor":40},234405,"yi-zhu-chao-fu-xiang-zhou-yi-ming-234405","奕詝朝服像轴","此作工笔极尽精微，设色沉稳富丽。画中帝王面容清隽肃穆，端坐在雕龙宝座之上，明黄朝服遍饰彩龙与十二章纹，金线勾勒的纹饰精细工整，晕染出衣料的华贵质感。朝珠莹润光泽，冠冕饰件精巧雅致，每一处细节都恪守宫廷肖像的严苛规制，既还原了皇家礼服的恢宏华贵，也将青年帝王沉静内敛的气度尽显无遗，尽显清代御容肖像画的精湛水准，是兼具礼制表征与艺术价值的经典之作。",[24,80,25,26,27,28,493,412,2000,7,1456,56,1024,2001],"宫廷","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e9c45c410cc51d610e54be65b1ade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Canada",[289,25,290,849,27,915,3739,7,3604,3740,3741,3647,975,3742],"年轻女性","袖口","交叉手臂","姿态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a4d1bc9f10e3aebee357eea1276cc3.jpg",[],{"id":3746,"slug":3747,"title":3748,"dynasty":89,"author":2862,"museum":46,"description":2863,"tags":3749,"thumbUrl":3752,"material":96,"size":97,"collection":59,"collections":3753,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":331},232038,"project-for-portraits-in-a-frieze-three-women-1879-de-jia-232038","Project for Portraits in a Frieze - Three Women - 1879",[531,3668,1928,711,27,915,3750,1456,7,3751],"站立","日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5663dd96149c8c0beaa859a86e807a66.jpg",[],{"id":3755,"slug":3756,"title":3757,"dynasty":89,"author":2862,"museum":46,"description":2863,"tags":3758,"thumbUrl":3762,"material":96,"size":97,"collection":59,"collections":3763,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":63},231977,"the-bellelli-family-circa-ordrupgaard-collection-denmark-de-jia-231977","The Bellelli Family - circa - - Ordrupgaard Collection (Denmark)",[289,531,290,27,539,450,1848,3759,3760,2853,3761,1623,915,785,7],"壁炉","挂画","围裙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9b65ae0737dd3e5a7be688dda3fe8c3.jpg",[],{"id":3765,"slug":3766,"title":3767,"dynasty":89,"author":2862,"museum":46,"description":2863,"tags":3768,"thumbUrl":3773,"material":96,"size":97,"collection":59,"collections":3774,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":63},231974,"the-cafe-concert-corcoran-gallery-of-art-usa-de-jia-231974","The Cafe Concert - - Corcoran Gallery of Art (USA)",[531,2872,27,340,828,1716,2853,301,3769,555,3770,3771,3772,7,2750],"社交场景","色彩丰富","光影效果","演奏者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5480b1426fba945c8714c0dae8d32f30.jpg",[],{"id":3776,"slug":3777,"title":3778,"dynasty":89,"author":3779,"museum":46,"description":3780,"tags":3781,"thumbUrl":3782,"material":96,"size":97,"collection":59,"collections":3783,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":63},231640,"shi-ting-shi-dai-tao-jing-zhi-quan-xiang-tu-zuo-guang-xin-231640","室町时代 桃井直诠像","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,50,80,25,27,618,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb0291c0fa26cf81ea3b414ab00eb4d.jpg",[],{"id":3785,"slug":3786,"title":3787,"dynasty":89,"author":286,"museum":46,"description":287,"tags":3788,"thumbUrl":3790,"material":96,"size":97,"collection":59,"collections":3791,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":331},230639,"rembrandt-harmensz-van-rijn-0272-lun-bo-lang-230639","Rembrandt Harmensz.van Rijn - 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变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[94,5257,5258,5259,5260,7],"织锦","绦纹","彩色","回回锦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb555869da5490ad77f3929b28b636592.jpg",[],{"id":5264,"slug":5265,"title":5266,"dynasty":45,"author":19,"museum":46,"description":5267,"tags":5268,"thumbUrl":5275,"material":96,"size":97,"collection":59,"collections":5276,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":331},255999,"tao-huang-you-pi-feng-yi-nv-li-yong-yi-ming-255999","陶黄釉披风衣女立俑","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[45,5269,5270,5271,27,7,2623,5272,5273,5274],"陶","黄釉","女立俑","立姿","披风衣","陶俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef3baaa3a1eb30ed7c8baac73ce1956.jpg",[],{"id":5278,"slug":5279,"title":5280,"dynasty":5281,"author":19,"museum":46,"description":5282,"tags":5283,"thumbUrl":5288,"material":96,"size":97,"collection":59,"collections":5289,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":331},254347,"tao-nan-li-yong-yi-ming-254347","陶男立俑","汉","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[5281,5284,5285,5286,27,5287,7],"陶瓷","俑","陶塑","立俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e7a24ed3e51e672979190106b9f6615.jpg",[],{"id":5291,"slug":5292,"title":5293,"dynasty":45,"author":19,"museum":46,"description":5282,"tags":5294,"thumbUrl":5295,"material":96,"size":97,"collection":59,"collections":5296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},254092,"tao-hua-cai-nv-li-yong-yi-ming-254092","陶画彩女立俑",[45,5285,5284,1034,2291,27,915,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1852400e13b357bc1d257289c6205143.jpg",[],{"id":5298,"slug":5299,"title":5300,"dynasty":18,"author":19,"museum":46,"description":5301,"tags":5302,"thumbUrl":5305,"material":96,"size":97,"collection":59,"collections":5306,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},238871,"qing-ren-yin-jie-tuo-zun-zhe-xiang-zhou-yi-ming-238871","清人因竭陀尊者像轴","因竭陀尊者面容莹白安和，身披遍饰宝纹的朱金法衣，安坐千叶莲台之上。左手托持经函，右手轻执禅杖，神态沉静超然。上方虚空，佛陀与祖师安住光轮之中，祥云翻卷，尽显清净法界的庄严。下方夜叉躬身承托供盘，地面散落彩珠珍宝，衬得道场殊胜华贵。远景青绿晕染出层叠山水，村镇错落其间，将宗教的出尘肃穆与世间烟火气精妙融合。整幅设色明丽厚重，线条精细流畅，织物纹样描摹入微，藏汉画风交融，将神性庄严与工笔意趣合于一处，尽显静穆空灵的宗教意境。",[24,80,52,25,26,27,871,161,29,55,5303,1787,5304,7],"宝珠","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04711aca82c61f0d30d9f9a9925da724.jpg",[],{"id":5308,"slug":5309,"title":5310,"dynasty":89,"author":5311,"museum":46,"description":5312,"tags":5313,"thumbUrl":5316,"material":96,"size":97,"collection":59,"collections":5317,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":1109},231206,"su-miao-460-xi-fang-231206","素描460","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。",[1928,3088,1196,291,27,915,163,7,5314,5315],"肩部装饰","领口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5952f84902c2dd9e8e0e6d6b9b1ec2c6.jpg",[],{"id":5319,"slug":5320,"title":5321,"dynasty":45,"author":19,"museum":46,"description":812,"tags":5322,"thumbUrl":5325,"material":96,"size":97,"collection":59,"collections":5326,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},227184,"dun-huang-55-yi-ming-227184","敦煌55",[51,25,52,27,3917,871,180,1787,5323,811,1045,1340,7,5324,1745],"化生童子","祥云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705ca397c0fe1b12efeedad80ca4f9bb.jpg",[],{"id":5328,"slug":5329,"title":5330,"dynasty":45,"author":19,"museum":46,"description":812,"tags":5331,"thumbUrl":5333,"material":96,"size":97,"collection":59,"collections":5334,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},227173,"dun-huang-44-yi-ming-227173","敦煌44",[1045,811,25,26,27,52,55,7,5332,94],"几何纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b59b889ca87b808a5a2a306d2fe03e5.jpg",[],{"id":5336,"slug":5337,"title":5338,"dynasty":89,"author":286,"museum":46,"description":287,"tags":5339,"thumbUrl":5342,"material":96,"size":97,"collection":59,"collections":5343,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},225607,"rp-p-1962-112-lun-bo-lang-225607","RP-P-1962-112",[3797,5340,292,290,27,3645,5341,7,828,293],"铜版画","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3ea2b57dfdce9ae4982c5ad4b516bcb.jpg",[],{"id":5345,"slug":5346,"title":5347,"dynasty":18,"author":19,"museum":46,"description":5348,"tags":5349,"thumbUrl":5350,"material":34,"size":59,"collection":59,"collections":5351,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":63},216138,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-18-yi-ming-216138","职贡图巨幅彩绘册页第2册-18","画面以工笔彩绘铺陈，人物情态鲜活生动。左侧者身披缀羽兽皮，腰束蓝带，赤足而立，神态从容沉稳；右侧者着青绿草裙，手持器物，腰间佩刀，姿态自在舒展。线条细腻勾勒身形与衣物质感，兽皮的蓬松、草裙的柔韧皆跃然纸上；设色淡雅古朴，色调和谐中见层次。留白处题识与图像相映，似为族群风俗注记，承载着对边疆风貌的细致观察。作品兼具纪实性与艺术性，既是形象的民俗志，亦折射出当时多元文化交流的图景，笔墨间藏着对异域风情的描摹与人文温度。",[23,24,50,217,25,26,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02a8c68a9a1c9346c31571b4fd18c3e.jpg",[],{"id":5353,"slug":5354,"title":5355,"dynasty":18,"author":19,"museum":46,"description":5356,"tags":5357,"thumbUrl":5361,"material":235,"size":59,"collection":59,"collections":5362,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},215874,"qing-dai-xing-fa-ji-lu-tu-ce-12-yi-ming-215874","清代刑罚记录图册-12","画面以素净底色铺展清代市井一隅。中间人物脚锁镣铐，肩挑扁担，一头垂布囊、一头悬竹篮，凝重神色里裹着生计的沉。左侧者衣饰齐整，手势似含指令，姿态带几分规制下的威严；右侧妇人蓝衫红裙，怀婴攥布，目光落向受刑人，神情揉着不忍与日常的无奈。衣纹简练却显质感，色彩淡雅更衬人情。画中既有律法的冷硬，也有市井的烟火，更藏着普通人在命运夹缝里的挣扎与温柔。它如同一帧被定格的时光切片，让观者触到那个时代刑罚与生活交织的真实温度。",[412,25,26,27,3040,217,5358,5359,7,5360],"脚镣","担子","日常器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedf3e67be1f0feb7466eef7faecb5a55.jpg",[],{"id":5364,"slug":5365,"title":5366,"dynasty":18,"author":19,"museum":46,"description":5367,"tags":5368,"thumbUrl":5369,"material":235,"size":2404,"collection":59,"collections":5370,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},215830,"miao-zu-yao-zu-sheng-huo-tu-ce-16-yi-ming-215830","苗族瑶族生活图册-16","画面四人互动鲜活，左侧二男或蹲或立，姿态随性洒脱；右侧双女发髻别致，衣袂缀彩纹，手中彩带如流虹缠绕指尖，似在引逗嬉戏。衣纹线条简练却精准，如行云流水勾勒身形；色彩晕染古朴温润，眉眼间神态自然生动，藏着日常的鲜活意趣。整幅画以细腻笔触捕捉民族生活的灵动瞬间，服饰的独特纹样、人物的鲜活动态，皆透着对异域风情的真切观察，让久远的民俗场景在纸间苏醒，尽显质朴鲜活的生活气息与画卷的灵动韵致。",[23,24,25,26,27,3943,7,111,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39c06b4f21350800a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