[{"data":1,"prerenderedAt":210},["ShallowReactive",2],{"subject-gong-jian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},983,"gong-jian","弓箭","弓箭画高清赏析","精选中国历代弓箭题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9baa6e67c94ca0d390a85cb5843b81f.jpg",0,11,[14,40,64,79,89,113,133,146,166,181,192],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴","清","郎世宁","藏地不详","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,25,26,27,28,29,30,31,7],"国画","书画","立轴","工笔","设色","人物","马","衣帽","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg","未知","Xcm*Xcm","",[],158,2,"795548",{"id":41,"slug":42,"title":43,"dynasty":18,"author":19,"museum":44,"description":45,"tags":46,"thumbUrl":58,"material":59,"size":60,"collection":35,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","北京故宫博物院","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[23,24,47,25,48,26,27,49,50,28,29,7,51,52,53,54,55,56,57],"名画","清代","中西合璧技法","写实风格","射猎场景","树木","草地","小径","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","绢本设色","25.7×33厘米",[],71,"BDBDBD",{"id":65,"slug":66,"title":67,"dynasty":18,"author":19,"museum":44,"description":68,"tags":69,"thumbUrl":74,"material":75,"size":76,"collection":35,"collections":77,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":63},232937,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-232937","乾隆皇帝大阅图轴","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。",[47,25,26,27,28,29,70,53,71,72,7,73],"山水","盔甲","服饰","中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e75bd6adc859c5fc594e91cce70fb3d.jpg","绢本，设色","纵332.5厘米，横232厘米",[],33,{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":20,"description":84,"tags":85,"thumbUrl":87,"material":33,"size":34,"collection":35,"collections":88,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":63},234389,"hong-li-kui-jia-cheng-ma-tu-zhou-yi-ming-234389","弘历盔甲乘马图轴","佚名","此作为绢本设色鞍马肖像画，帝王身披宝相花缠纹鎏金札甲，甲叶錾刻细密精巧，华贵威仪扑面而来。胯下白马神骏挺拔，朱缨辔饰醒目亮眼，尽显不凡气度。帝王按缰徐行，面容沉稳坚毅，背负箭囊劲矢，将其兼具文治武功的气魄尽显无遗。\n画作融合中西技法，以西洋写实精准勾勒出人物面容肌理与甲胄金属质感，又以传统工笔晕染烘托氛围，赭色绢底衬得主体愈发鲜明肃穆，将帝王出猎时的雍容气场渲染得淋漓尽致，是清代鞍马肖像画中的精品。",[48,25,26,27,28,29,71,7,31,86],"古装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93dfce54e5a3e66ca723e48efc818ce.jpg",[],{"id":90,"slug":91,"title":92,"dynasty":93,"author":94,"museum":20,"description":95,"tags":96,"thumbUrl":111,"material":33,"size":34,"collection":35,"collections":112,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":39},232589,"wei-lian-a-dao-fu-bu-ge-luo-203-wei-lian-a-dao-fu-bu-ge-luo-232589","威廉·阿道夫·布格罗203","不详","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[97,98,99,27,28,100,101,102,7,103,104,105,106,107,108,109,110],"油画","新古典主义","写实","孩童","带翼人物","翅膀","石柱","台阶","植物","花卉","裸体","坐姿","站姿","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18093c9f14851c36be0b35e0cc03b672.jpg",[],{"id":114,"slug":115,"title":116,"dynasty":93,"author":117,"museum":20,"description":118,"tags":119,"thumbUrl":130,"material":33,"size":34,"collection":35,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":39},232087,"midieval-war-scene-musee-d-orsay-france-de-jia-232087","Midieval War Scene - - Musee d'Orsay (France)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[97,27,120,121,29,28,122,123,124,125,126,127,7,128,129],"中世纪","战争场景","裸体人物","士兵","枯树","火焰","战场","尸体","动态","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff621e3c45b09b3d92fe8b32435117374.jpg",[],3,{"id":134,"slug":135,"title":136,"dynasty":18,"author":137,"museum":20,"description":138,"tags":139,"thumbUrl":144,"material":33,"size":34,"collection":35,"collections":145,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":63},238471,"lie-qi-tu-ce-mian-yi-238471","猎骑图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[23,27,140,28,29,141,142,7,143,52,53,26],"册","鹿","兽","山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbe8da90d48e079e8348137f45cb526.jpg",[],{"id":147,"slug":148,"title":149,"dynasty":93,"author":83,"museum":20,"description":150,"tags":151,"thumbUrl":162,"material":33,"size":34,"collection":35,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":165},289037,"louis-claude-vasse-venus-teaching-cupid-to-use-his-bow-yi-ming-289037","Louis Claude Vassé--Venus Teaching Cupid to Use His Bow","这幅红粉笔素描以柔缓细腻的排线铺陈光影，将二人的互动晕染得静谧温柔。裸身女神垂眸颔首，指尖轻引身旁孩童的手，沉静缱绻的气息漫开。孩童依偎身侧，蓬松羽翼带着绒软质感，天真懵懂融在亲昵姿态里。\n\n画师以松弛却精准的线条勾勒圆润躯体轮廓，借红棕色调深浅变化，柔化肌肉起伏与衣料褶皱，让雕塑般的质感晕开温度，古典神话里的脉脉温情在笔端流淌，神性清冷与稚拙暖意交融，定格下这温柔亲昵的一瞬。",[152,153,154,155,156,157,158,159,160,161,7],"素描","人物画","神话题材","维纳斯","丘比特","小爱神","裸女","天使","人体","温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7892ec8cac0d953adc9ae9210605b5ba.jpg",[],1,"F48FB1",{"id":167,"slug":168,"title":169,"dynasty":93,"author":83,"museum":20,"description":170,"tags":171,"thumbUrl":179,"material":33,"size":34,"collection":35,"collections":180,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":63},288885,"giovanni-battista-tiepolo-illustration-for-a-book-siege-of-a-city-yi-ming-288885","Giovanni Battista Tiepolo--Illustration for a Book Siege of a City","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[152,172,173,123,174,7,175,176,28,177,178],"历史画","战争题材","城墙","盾牌","攻城","旗帜","军事场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f25638e1f1045f77ef825bfbb3808a8.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":18,"author":83,"museum":20,"description":185,"tags":186,"thumbUrl":190,"material":33,"size":34,"collection":35,"collections":191,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":63},234397,"min-ning-rong-zhuang-xiang-zhou-yi-ming-234397","旻宁戎装像轴","整作工致写实，画中主人公身着遍饰缠枝龙纹的华贵铠甲，头戴暖帽，神色沉稳威严，自带帝王的从容气度。他背负箭囊，缓控马缰徐行，将清代帝王重骑射、尚武勇的风貌尽显无遗。\n\n胯下骏马神骏矫健，棕黄色皮毛晕染细腻，质感逼真，鞍鞯绣饰妍丽精巧，与铠甲华纹呼应。设色雅致沉稳，线条精细流畅，既精准还原清代戎装规制，又细腻描摹出人物与坐骑的神韵，是兼具纪实性与艺术性的肖像佳作。",[47,23,24,25,27,26,28,29,187,7,188,189],"戎装","龙纹","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c9179f22061ec8bcc9ae379bf4c3bd.jpg",[],{"id":193,"slug":194,"title":195,"dynasty":18,"author":83,"museum":20,"description":196,"tags":197,"thumbUrl":207,"material":35,"size":208,"collection":35,"collections":209,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":63},233108,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233108","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 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