[{"data":1,"prerenderedAt":68},["ShallowReactive",2],{"subject-gong-ting-jian-zhu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},3929,"gong-ting-jian-zhu","宫廷建筑","宫廷建筑画高清赏析","精选中国历代宫廷建筑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ec37a2a10976e8014a06c5d644f96e.jpg",0,2,[14,42],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":41},222865,"shi-gong-ci-tu-ce-04-leng-mei-222865","十宫词图册04","清","冷枚","北京故宫博物院","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,25,26,27,28,29,30,31,7,32,33,34],"高清","国画","名画","书画","册页","人物画","界画","设色","海西画法","舞蹈","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d448e834bf9f00769c5fbf6f5431d.jpg","绢本，设色","纵33.1厘米，横29.3厘米","",[],15,"795548",{"id":43,"slug":44,"title":45,"dynasty":18,"author":46,"museum":20,"description":47,"tags":48,"thumbUrl":10,"material":64,"size":65,"collection":38,"collections":66,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":67},233071,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233071","平定伊犁回部战图册","佚名","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[24,49,30,50,29,51,52,53,54,55,56,57,58,59,60,7,61,62,63],"册","工笔","人物","楼阁","城墙","仪仗","旗帜","群体人物","建筑","清代风格","服饰多样","场景宏大","军事仪仗","人物众多","建筑细致","纸本","纵55.4cm，横90.8cm",[],"BDBDBD",1777535789464]