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长恨歌图卷(下卷)","狩野山雪","藏地不详","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,25,26,28,29,30,32,33,31,34,54,55,56,57,36,7,58,59,60,61,35,62,63],"小桥","流水","舟船","亭台","庭院","人群","松","柏","山峦","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070","人物画精选",[66,68],"设色画精选",775,13,{"id":72,"slug":73,"title":74,"dynasty":75,"author":76,"museum":51,"description":77,"tags":78,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":93,"manualWeight":11,"mainColor":45},288330,"rui-he-tu-zhao-ji-288330","瑞鹤图","宋","赵佶","描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。",[23,79,24,25,26,28,29,80,81,33,82,7,83,84,85,86],"名画","飞鸟","仙鹤","祥云","楷书","瘦金体","书法","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a2bced096b89031018940195e15452.jpg","未知","Xcm*Xcm","",[],362,5,{"id":95,"slug":96,"title":97,"dynasty":98,"author":99,"museum":100,"description":101,"tags":102,"thumbUrl":106,"material":39,"size":107,"collection":66,"collections":108,"showCount":109,"zanCount":110,"manualWeight":11,"mainColor":45},214366,"bing-xi-tu-jin-kun-214366","冰嬉图","清","金昆","北京故宫博物院","金昆（1734-1798）是清代著名的画家，他的作品《冰嬉图》是其代表作之一。\n\n《冰嬉图》描绘了一群人在冰上嬉戏的画面。金昆在画中运用了精细的笔墨和细腻的造型，勾勒出人物的动态感和气氛的欢乐。作品中的人物衣着艳丽，手持冰鞋、冰鞭，在冰上滑行、打闹，形成了一幅生动的冬日画面。\n\n《冰嬉图》被认为是金昆写意人物画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《冰嬉图》也是收藏家们青睐的经典之作。\n\n金昆的《冰嬉图》是一幅描绘冬日活动的画作，它体现了中国传统文化中“冰上嬉戏”的理念。在中国传统文化中，冰上嬉戏是冬日的休闲活动之一，人们可以在冰上滑行、打闹，享受冬日的清新气息。金昆的《冰嬉图》不仅是一幅精美的画作，更是一首关于冬日活动的诗篇。",[23,29,28,32,33,34,103,104,105,7],"旗帜","队列","冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff197d6b8677f087f4ec01dfab7441fea.jpg","35.2x581",[66],337,3,{"id":112,"slug":113,"title":114,"dynasty":18,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":129,"material":39,"size":130,"collection":66,"collections":131,"showCount":132,"zanCount":93,"manualWeight":11,"mainColor":45},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","大英博物馆","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,79,24,25,119,30,28,29,120,33,7,32,121,122,63,123,124,125,126,34,127,128],"立轴","宫城","马","驴","城池","仪仗","官员","侍从","桥梁","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[66,68],192,{"id":134,"slug":135,"title":136,"dynasty":137,"author":138,"museum":100,"description":139,"tags":140,"thumbUrl":144,"material":145,"size":146,"collection":66,"collections":147,"showCount":148,"zanCount":149,"manualWeight":11,"mainColor":45},221136,"yu-yuan-cai-lian-tu-li-si-xun-221136","御苑采莲图","唐","李思训","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网格水纹，辉煌明丽，富有装饰性。此卷为吴景洲先生于1947年倾囊得之，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,24,27,28,29,30,31,33,32,54,55,141,34,36,7,142,143],"荷花","莲","采莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0bbca3f486b9ed26103a6d871d1d0e.jpg","绢本","23.90x77.20cm",[66,68],136,2,{"id":151,"slug":152,"title":153,"dynasty":98,"author":154,"museum":51,"description":155,"tags":156,"thumbUrl":159,"material":145,"size":160,"collection":41,"collections":161,"showCount":162,"zanCount":149,"manualWeight":11,"mainColor":45},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,79,24,25,30,29,28,31,33,36,34,157,7,158],"云雾","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg","纵194.5cm，横60.5cm",[41],115,{"id":164,"slug":165,"title":166,"dynasty":98,"author":154,"museum":167,"description":168,"tags":169,"thumbUrl":170,"material":39,"size":171,"collection":41,"collections":172,"showCount":173,"zanCount":174,"manualWeight":11,"mainColor":45},218727,"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","上海博物馆","袁江字文涛，号岫泉。清代宫廷画家，专工山水楼阁界画。\u2028 袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,25,119,30,28,29,33,7,34,36,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[41,68],97,1,{"id":176,"slug":177,"title":178,"dynasty":98,"author":179,"museum":100,"description":180,"tags":181,"thumbUrl":189,"material":39,"size":190,"collection":66,"collections":191,"showCount":192,"zanCount":149,"manualWeight":11,"mainColor":45},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","佚名","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,29,28,30,26,32,7,124,182,34,183,184,185,186,187,103,188],"祭祀","草地","台阶","灯笼","队伍","仪式","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[66,68],85,{"id":194,"slug":195,"title":196,"dynasty":75,"author":197,"museum":51,"description":198,"tags":199,"thumbUrl":203,"material":90,"size":90,"collection":90,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":45},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","张择端","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,79,24,25,30,29,28,33,127,200,32,201,34,63,7,202],"船只","水面","岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],83,{"id":207,"slug":208,"title":209,"dynasty":18,"author":50,"museum":51,"description":52,"tags":210,"thumbUrl":216,"material":39,"size":217,"collection":66,"collections":218,"showCount":205,"zanCount":110,"manualWeight":11,"mainColor":45},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)",[23,24,26,28,29,30,32,33,54,55,31,34,7,36,211,200,212,58,213,184,103,214,215],"花卉","火焰","栏杆","建筑群","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[66],{"id":220,"slug":221,"title":222,"dynasty":98,"author":223,"museum":100,"description":224,"tags":225,"thumbUrl":230,"material":231,"size":232,"collection":66,"collections":233,"showCount":234,"zanCount":174,"manualWeight":11,"mainColor":235},238124,"kang-xi-nan-xun-tu-juan-wang-hui-238124","康熙南巡图卷","王翚","康熙皇帝是清朝入关以后的第二代皇帝，在位期间，为了解民情，视察河防，尤其是为平息江南地区民众的反清情绪，从康熙二十三年（1684年）到康熙四十六年（1707年）间，曾经有过6次南巡的盛举。每次南巡，皇帝一行从京师出发，时而车骑，时而舟船，一直抵达浙江的绍兴。出巡活动浩浩荡荡，兴师动众，地方官员迎来送往，花费惊人。《红楼梦》作者曹雪芹的祖父曹寅当时任江宁织造，曾数次接驾。曹雪芹在小说中借凤姐之口说：“说起当年太祖皇帝仿舜巡的故事，比一部书还热闹……只预备接驾一次，把银子花的像淌海水似的！”可见其豪华排场。\n在康熙二十八年（1689年）第二次南巡结束后，根据皇帝的命令，由曹寅之弟曹筌任“《南巡图》监画”，征召画家开始绘制《康熙南巡图》。该图共十二巨卷，详细描绘了整个南巡过程。十二卷图现已不复完整，尚存九卷，第一、第九、第十、第十一、第十二卷藏于北京故宫博物院；第二、第四卷现藏法国巴黎的吉美博物馆；第三、第七卷现藏美国纽约的大都会艺术博物馆。\n《康熙南巡图》十二卷是由著名画家王翚领衔主绘的，参与绘制的画家还有冷枚、王云、杨晋等，全图历时六年方告完成。",[28,29,30,32,33,7,121,104,103,34,128,226,58,214,124,227,228,123,229],"街道","骑兵","步兵","门楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edf3f1428ff622207f310b8322c2e7d.jpg","绢本，设色","纵67.8厘米，横1400至2600厘米",[66,68],77,"BDBDBD",{"id":237,"slug":238,"title":239,"dynasty":98,"author":179,"museum":100,"description":240,"tags":241,"thumbUrl":245,"material":231,"size":246,"collection":66,"collections":247,"showCount":248,"zanCount":174,"manualWeight":11,"mainColor":45},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[79,24,25,30,28,32,33,7,242,243,244],"雪景","大象","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","纵299cm，横207cm",[66,68],57,{"id":250,"slug":251,"title":252,"dynasty":137,"author":138,"museum":100,"description":253,"tags":254,"thumbUrl":255,"material":145,"size":256,"collection":41,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":235},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,24,27,28,31,30,33,62,34,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[41,68],55,{"id":260,"slug":261,"title":262,"dynasty":98,"author":179,"museum":51,"description":263,"tags":264,"thumbUrl":265,"material":90,"size":90,"collection":90,"collections":266,"showCount":12,"zanCount":174,"manualWeight":11,"mainColor":45},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,29,28,30,32,33,7,58,34,242,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":75,"author":271,"museum":51,"description":272,"tags":273,"thumbUrl":274,"material":88,"size":89,"collection":90,"collections":275,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":45},290088,"han-gong-chun-xiao-tu-zhao-bo-ju-290088","汉宫春晓图","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[79,24,30,29,28,33,31,7,34,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa88892b34b877788f8b89fdee5cdd3a.jpg",[],43,{"id":278,"slug":279,"title":280,"dynasty":75,"author":179,"museum":20,"description":281,"tags":282,"thumbUrl":283,"material":39,"size":284,"collection":285,"collections":286,"showCount":287,"zanCount":149,"manualWeight":11,"mainColor":45},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,28,29,30,83,32,33,7,31,34,58,184,103,36,125,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1","宋画精选",[285],41,{"id":289,"slug":290,"title":291,"dynasty":98,"author":292,"museum":100,"description":293,"tags":294,"thumbUrl":297,"material":298,"size":299,"collection":90,"collections":300,"showCount":301,"zanCount":174,"manualWeight":11,"mainColor":235},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,29,28,295,32,7,63,58,34,184,213,296],"册","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg","绢本设色","纵三二·二厘米 横四二·三厘米",[],40,{"id":303,"slug":304,"title":305,"dynasty":98,"author":306,"museum":51,"description":307,"tags":308,"thumbUrl":311,"material":90,"size":90,"collection":90,"collections":312,"showCount":313,"zanCount":11,"manualWeight":11,"mainColor":45},224598,"han-gong-qiu-yue-li-zhou-yuan-yao-224598","汉宫秋月立轴","袁耀","淡月斜悬于青灰长空，清辉将整座宫苑晕在朦胧夜雾中。苍劲古柏撑着如墨浓荫，半掩着朱檐碧瓦的楼宇，界画工细，飞檐斗拱分毫毕现，却又以晕染柔去硬挺棱角，消解了皇家楼宇的威仪。\n\n栏边宫人身姿温婉，私语间衣袂轻垂，在空寂御苑里点出幽淡怅惘。冷调底色铺陈出浸骨清寂，将深宫秋夜里的孤萧闲愁藏在细腻笔触间，静穆氛围漫溢出无声寂寥，把夜色宫苑的含蓄怅然铺陈得余韵悠长。",[23,24,79,119,30,28,33,7,34,32,309,58,213,310],"明月","假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0deb19622ffb85f1b15aed262c25fd1.jpg",[],36,{"id":315,"slug":316,"title":317,"dynasty":98,"author":318,"museum":20,"description":319,"tags":320,"thumbUrl":324,"material":39,"size":325,"collection":41,"collections":326,"showCount":313,"zanCount":174,"manualWeight":11,"mainColor":235},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,25,79,119,321,30,29,28,31,33,7,36,34,32,58,322,63,85,323],"青绿山水","路径","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[41],{"id":328,"slug":329,"title":330,"dynasty":98,"author":331,"museum":51,"description":332,"tags":333,"thumbUrl":341,"material":90,"size":90,"collection":90,"collections":342,"showCount":343,"zanCount":174,"manualWeight":11,"mainColor":235},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","徐扬","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,25,26,30,28,29,32,33,31,34,334,335,336,337,7,338,339,58,340],"市井","春日","城郭","街巷","塔","行人","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],35,{"id":345,"slug":346,"title":347,"dynasty":98,"author":348,"museum":51,"description":349,"tags":350,"thumbUrl":352,"material":90,"size":90,"collection":90,"collections":353,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":235},224540,"re-he-xing-gong-quan-tu-guan-nian-ci-224540","热河行宫全图","管念慈","采用全景鸟瞰视角，将行宫城池与环伺群山铺陈于卷间，界画工致严整，山林皴染苍劲古拙。规整的朱红宫墙楼宇，错落嵌入层峦叠翠之间，山道逶迤串联起星罗棋布的山野梵宇行宫。\n\n整体疏密相宜，既细致还原了行宫的恢弘规制与山水格局，又晕染出塞北离宫融于山野林泉的清旷意趣，色彩沉雅厚重，细节入微，是兼具纪实地理价值与传统工笔审美意韵的佳作。",[23,24,26,28,30,29,31,33,7,128,351,62,34,63],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfbd962cf16f4ca63b56ed8d350b757a.jpg",[],30,{"id":356,"slug":357,"title":358,"dynasty":18,"author":179,"museum":20,"description":359,"tags":360,"thumbUrl":365,"material":366,"size":367,"collection":90,"collections":368,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":45},287976,"chu-jing-tu-juan-yi-ming-287976","出警图卷","《出警入跸图》乃是中华民族的珍贵国宝。《出警图》绘皇帝骑马，由陆路出京，《入跸图》画皇帝坐船，走水路还宫。这两幅图是台北故宫博物院所收藏手卷画作中最长的两幅（《出警图》的宽26米，《入跸图》超过30米），人物众多，场面宏伟，是历代绘画作品中少见的超级巨作。\n这两幅作品，均未署名作者姓名。但可以确定是许多宫廷画师的合力创作，才能完成这两幅布局精采生动的巨作。《出警图》与《入跸图》虽是各自分开的两幅长卷，但是所绘的却同是扫墓、巡视的过程，因而通常被合称为《出警入跸图》。 画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,79,24,26,28,29,244,32,361,362,33,31,7,124,363,364],"马匹","松树","帝王出行","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","绢","本幅 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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。",[386,387,7,35,200,201,388,389],"印象派","油画","光影","色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ce41eef3a0c7b260a50254889ff61a.jpg","油画精选",[391],26,"0D904F",{"id":396,"slug":397,"title":398,"dynasty":399,"author":400,"museum":51,"description":401,"tags":402,"thumbUrl":406,"material":88,"size":89,"collection":90,"collections":407,"showCount":408,"zanCount":11,"manualWeight":11,"mainColor":235},290252,"da-ming-gong-tu-wang-zhen-peng-290252","大明宫图","元","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,79,24,26,30,403,404,33,7,62,405,57],"白描","水墨","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9058769fd75a509a044ee8450afee9.jpg",[],21,{"id":410,"slug":411,"title":412,"dynasty":98,"author":179,"museum":100,"description":413,"tags":414,"thumbUrl":415,"material":231,"size":416,"collection":90,"collections":417,"showCount":408,"zanCount":174,"manualWeight":11,"mainColor":235},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,28,29,30,32,33,54,55,215,121,34,7,59,226,200,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":419,"slug":420,"title":7,"dynasty":18,"author":179,"museum":51,"description":421,"tags":422,"thumbUrl":424,"material":88,"size":89,"collection":90,"collections":425,"showCount":426,"zanCount":11,"manualWeight":11,"mainColor":45},287404,"gong-dian-yi-ming-287404","此作用笔工细谨严，是典型的青绿界画。临江依山层层排布台阁殿宇，飞檐翘角、层楼斗拱皆刻画入微，尽显楼阁的富丽规整。山石以青蓝晕染，苍润古雅，淡墨晕开的云雾缠裹远山，将人工匠造与自然山水晕融一体。\n\n江面波纹细密，一叶扁舟缓行，为规整景致添了灵动生机。整体色调沉静古拙，在岁月晕染的绢色之中，华贵楼宇与清寂山水相融，既有皇家苑囿的恢宏端严，又暗合文人山水的澹远意趣，尽显工致写实又兼具意境营造的特质。",[23,24,30,27,28,33,7,31,423,323],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed74d29c8c49bbea55801e3443576e80.jpg",[],20,{"id":428,"slug":429,"title":430,"dynasty":382,"author":50,"museum":51,"description":431,"tags":432,"thumbUrl":434,"material":90,"size":90,"collection":90,"collections":435,"showCount":426,"zanCount":11,"manualWeight":11,"mainColor":45},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,26,28,29,30,32,33,31,34,212,54,57,7,103,56,433,36],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":437,"slug":438,"title":439,"dynasty":382,"author":50,"museum":51,"description":440,"tags":441,"thumbUrl":443,"material":90,"size":90,"collection":90,"collections":444,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":45},230485,"chang-hen-ge-tu-juan-shi-qi-shi-ji-xia-juan-shou-ye-shan-xue-230485","长恨歌图卷十七世纪（下卷）","此作用青绿浅绛敷色，复刻出盛唐帝妃苑囿盛景。亭台层叠错落，斗拱飞檐尽现古建规制，朱红、石青与黛瓦相映，尽显皇家苑囿的恢宏华贵。\n\n山峦云雾环伺宫宇，侍从仪仗整肃排布，帝妃衣袂翩然，或凭栏观览，或游赏宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,26,29,28,30,32,33,31,54,55,215,34,442,7,157,80],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],15,{"id":447,"slug":448,"title":449,"dynasty":399,"author":179,"museum":51,"description":450,"tags":451,"thumbUrl":452,"material":90,"size":90,"collection":90,"collections":453,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":45},227987,"yu-yuan-shi-chao-tu-yi-ming-227987","御苑市朝图","此作糅合山水、界画与风俗意趣。上部山峦以淡墨皴擦勾勒，烟岚氤氲间尽显雄浑苍莽，将北国山水的沉郁与朦胧空寂的意境相融。临水楼阁界画工致，飞檐层叠、台基规整，尽显苑囿的宏阔雅致，梁柱结构分毫毕现，见得精湛界画功力。\n\n下部闾巷屋舍错落排布，人物往来穿梭，市井烟火气扑面而来。整幅画作以全景构图，将林泉幽致、宫苑恢弘与市井鲜活交织，打破山水与界画的割裂，把清冷意境和暖融融的俗世情态相融，尽显兼容写实与写意的审美意趣。",[23,24,119,30,28,31,33,7,34,32,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7beaab8edbce5863fbd8ed6ded6b752f.jpg",[],{"id":455,"slug":456,"title":270,"dynasty":75,"author":179,"museum":51,"description":457,"tags":458,"thumbUrl":460,"material":88,"size":89,"collection":90,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":235},290510,"han-gong-chun-xiao-tu-yi-ming-290510","此作以圆扇为幅，绘就苑囿春晓盛景。层叠宫宇隐于烟岚佳木之间，朱阶玉栏之上宫人簇立，或整肃侍立，或执礼待驾，细节暗藏宫廷朝会的端严秩序。界画工细，将殿宇飞檐勾勒得精巧古雅，设色调和沉静，晕染出未央清晨的暖煦韶光。画作与题诗呼应，把宫娥盛饰争妍、御苑春和景明的皇家气派尽数收揽于尺幅之内，尽显宋代院画写实精妙的特质，铺展出汉宫春日早朝的雍容雅致。",[24,25,29,28,30,32,459,33,7,85,83,323],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe23e3eb117990c39592b138524fed620.jpg",[],14,{"id":464,"slug":465,"title":466,"dynasty":75,"author":467,"museum":51,"description":468,"tags":469,"thumbUrl":472,"material":88,"size":89,"collection":90,"collections":473,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":235},290009,"gong-zhong-hang-le-tu-guo-zhong-shu-290009","宫中行乐图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[79,24,25,30,470,28,33,7,85,323,471],"扇面","行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45931e226c5cd5dd7d12c12b91275f1.jpg",[],{"id":475,"slug":476,"title":477,"dynasty":399,"author":478,"museum":20,"description":479,"tags":480,"thumbUrl":482,"material":145,"size":483,"collection":90,"collections":484,"showCount":485,"zanCount":174,"manualWeight":11,"mainColor":45},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,25,119,30,29,28,33,7,31,34,63,36,58,481],"古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],12,{"id":487,"slug":488,"title":489,"dynasty":137,"author":179,"museum":100,"description":490,"tags":491,"thumbUrl":494,"material":298,"size":495,"collection":90,"collections":496,"showCount":497,"zanCount":11,"manualWeight":11,"mainColor":45},234037,"gong-yuan-tu-yi-ming-234037","宫苑图","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[24,25,492,28,30,29,33,7,31,34,58,57,63,493],"唐代","宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656bb14724eeca487c029c4fb834fec9.jpg","纵23.9厘米，横77.2厘米",[],9,{"id":499,"slug":500,"title":501,"dynasty":98,"author":502,"museum":51,"description":503,"tags":504,"thumbUrl":505,"material":88,"size":89,"collection":90,"collections":506,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":235},290585,"lian-chang-gong-tu-zhou-zhang-gao-290585","连昌宫图轴","张镐","此作以工致界画还原宫苑盛景，近观殿宇台阁勾描精谨，朱廊玉阶、飞檐斗拱分毫毕现，尽显皇家宫阙的恢宏规制。淡墨皴染的山石错落而立，春林抽芽、枝叶扶苏，烟波池水漾开，将宫苑与郊野融于一色。远景田舍桥郭隐在轻岚淡霭间，虚实相映，把楼宇富丽与郊野清旷揉为一体。\n\n右上角题跋追述宫苑旧事，书画相映凭吊往昔繁华，落笔带着物是人非的澹然怅惘。整作兼具界画的严整与文人山水的写意空灵，以笔墨追怀盛世宫苑，是描摹古典皇家园林的精妙佳构。",[24,30,28,29,33,7,62,34,54,31,85,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf692ecb1d942d9634c583bd48473458.jpg",[],7,{"id":509,"slug":510,"title":511,"dynasty":98,"author":179,"museum":51,"description":512,"tags":513,"thumbUrl":516,"material":88,"size":89,"collection":90,"collections":517,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":45},287871,"yuan-ben-qin-can-tu-cai-sang-li-juan-yi-ming-287871","院本亲蚕图採桑(利)卷","此卷以工笔重彩铺陈皇家仪典，左段坛壝方正严整，朱红仪仗与宝蓝官袍交错列队，礼制威仪尽显肃穆端方。随卷向右，葱郁林木掩映殿宇朱墙，人众沿湖堤次第排布，逶迤有序。远处湖波空蒙，琼岛白塔隐现烟霭间，层次开合有度。\n\n整作晕染精细，设色明丽雅致，将仪典的庄重规制与苑囿的秀雅景致相融。工谨笔触勾勒典仪细节，写意晕染铺就烟水空濛意境，疏密张弛间，尽显独到的纪实性与艺术性。",[23,79,24,26,28,29,32,33,34,7,124,514,515,244],"皇家礼仪","亲蚕仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83381556417fbd543f9a2bbb4676b12.jpg",[],{"id":519,"slug":520,"title":521,"dynasty":98,"author":318,"museum":100,"description":522,"tags":523,"thumbUrl":527,"material":528,"size":529,"collection":90,"collections":530,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":235},234919,"xue-jing-gu-shi-ce-sun-hu-234919","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[79,24,25,295,28,30,524,323,242,33,525,58,32,63,526,7],"行书","宫墙","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71cf8c9099429fce141eb9764cf468e.jpg","绢本 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