[{"data":1,"prerenderedAt":367},["ShallowReactive",2],{"subject-gu-jian-zhu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1160,"gu-jian-zhu","古建筑","古建筑画高清赏析","精选中国历代古建筑题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72762a6aada0572ca196b8a95160e464.jpg",0,23,[14,41,62,74,89,109,122,138,154,170,192,208,225,236,250,261,274,286,302,313,328,339,353],{"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":39,"zanCount":11,"manualWeight":11,"mainColor":40},222759,"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）","清","郎世宁","台北故宫博物院","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,25,26,27,28,29,30,31,32,7],"高清","国画","工笔","设色","人物","楼阁","树木","山石","庭院","参禅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg","绢本设色","188.2*102.2cm","山水画精选",[36,38],"设色画精选",58,"795548",{"id":42,"slug":43,"title":44,"dynasty":18,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":55,"material":56,"size":57,"collection":58,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":61},223017,"hong-lou-meng-142-sun-wen-223017","红楼梦142","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,24,25,26,49,27,7,50,51,52,53,54],"长卷","园林","农田","桃树","山水","红楼题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5da4a987ea8c73575cae802c4869f0.jpg","绢本","纵43.3厘米、横76.5厘米","",[],24,"BDBDBD",{"id":63,"slug":64,"title":65,"dynasty":18,"author":45,"museum":46,"description":47,"tags":66,"thumbUrl":71,"material":56,"size":57,"collection":58,"collections":72,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":61},223029,"hong-lou-meng-154-sun-wen-223029","红楼梦154",[23,24,67,49,25,26,27,28,31,30,29,68,69,70,7,50],"书画","房屋","院墙","门窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6612e905a7c34b43c0c559e333aaba5e.jpg",[],19,{"id":75,"slug":76,"title":77,"dynasty":18,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":84,"material":85,"size":86,"collection":58,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":61},287605,"cheng-de-re-he-xing-gong-quan-tu-guan-nian-ci-287605","承德热河行宫全图","管念慈","藏地不详","管念慈（？—1909年），字劬安，号横山樵客，光绪年间召入内廷，奉旨改号莲盦，光绪称之为“横山先生”，清代江苏苏州画家。\n性澹泊，喜横山泉石花竹之胜，遂家焉，工书、画，初从袁启潮学。上追宋、元，近规王、恽。山水、人物、花鸟，志合古法。",[23,24,82,26,25,28,53,7,83],"界画","行宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182862ec041a7e461a7c9dfb160edc76.jpg","未知","Xcm*Xcm",[],16,{"id":90,"slug":91,"title":92,"dynasty":93,"author":94,"museum":79,"description":95,"tags":96,"thumbUrl":105,"material":85,"size":86,"collection":106,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":40},225975,"les-tuileries-1876-mo-nai-225975","Les Tuileries, 1876","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[97,98,99,100,101,102,103,7,104],"油画","印象派","花园","树林","池塘","石桥","行人","城市远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b5ae3a45729694565553e17dcf627b.jpg","油画精选",[106],15,{"id":110,"slug":111,"title":112,"dynasty":18,"author":113,"museum":79,"description":114,"tags":115,"thumbUrl":119,"material":85,"size":86,"collection":58,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":61},290518,"dai-ding-hong-wu-290518","岱顶","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[24,116,53,28,30,29,117,26,118,7],"册","印章","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d1b419c12395cb3e0893657740dd8b.jpg",[],14,{"id":123,"slug":124,"title":125,"dynasty":18,"author":45,"museum":46,"description":47,"tags":126,"thumbUrl":135,"material":56,"size":57,"collection":58,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":61},222980,"hong-lou-meng-105-sun-wen-222980","红楼梦105",[23,24,25,26,27,127,7,128,129,130,131,132,133,134],"仕女","亭阁","宅院","马车","马","枯树","红楼梦题材","轿舆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173d1e044780feb5c210a6379f8cecd8.jpg",[],13,{"id":139,"slug":140,"title":141,"dynasty":142,"author":143,"museum":20,"description":144,"tags":145,"thumbUrl":149,"material":56,"size":150,"collection":58,"collections":151,"showCount":152,"zanCount":153,"manualWeight":11,"mainColor":40},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","元","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。”",[24,67,146,82,25,26,28,147,53,29,148,30,31,7],"立轴","宫殿","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],12,1,{"id":155,"slug":156,"title":157,"dynasty":158,"author":159,"museum":79,"description":160,"tags":161,"thumbUrl":167,"material":85,"size":86,"collection":58,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":40},289784,"xiao-jing-tu-li-gong-lin-289784","孝经图","宋","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,162,24,67,49,163,27,7,164,165,166],"名画","白描","书法","楷书","孝文化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f549d9f70ee31764ebac731237e59ab.jpg",[],9,{"id":171,"slug":172,"title":173,"dynasty":93,"author":174,"museum":79,"description":175,"tags":176,"thumbUrl":189,"material":85,"size":86,"collection":58,"collections":190,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":40},232292,"a-er-ma-19-lao-lun-si-a-er-ma-ta-de-ma-232292","阿尔玛19","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[97,26,177,178,27,179,7,180,181,182,183,184,185,186,187,188],"写实","古典","鸟类","壁画","柱子","象形文字","烟雾","地面","裸体","饰品","织物","祭品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b27c01d81e1292695bebf5710757803.jpg",[],5,{"id":193,"slug":194,"title":195,"dynasty":93,"author":174,"museum":79,"description":175,"tags":196,"thumbUrl":205,"material":85,"size":86,"collection":58,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":40},232288,"a-er-ma-15-lao-lun-si-a-er-ma-ta-de-ma-232288","阿尔玛15",[97,177,26,197,7,198,199,200,201,202,203,31,204],"光影","拱门","石柱","石板路","哥特式建筑","尖顶","花窗","石砌地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe067fd20e91da94f02812853eddef7.jpg",[],3,{"id":209,"slug":210,"title":211,"dynasty":93,"author":212,"museum":79,"description":213,"tags":214,"thumbUrl":223,"material":85,"size":86,"collection":58,"collections":224,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":61},289526,"aureliano-milani-christ-healing-a-possessed-man-yi-ming-289526","Aureliano Milani--Christ Healing a Possessed Man","佚名","画面左右形成强烈的动静对冲，左侧附魔者癫狂挣扎，周遭民众合力束缚，肢体扭曲紧绷，残损楼宇更烘托出失控的混沌。右侧基督抬手静定，神态悲悯沉静，门徒垂立肃穆，规整的古典楼宇托举起神性的秩序感。\n\n画师以线条勾勒情绪起伏，淡色晕染区分明暗层次，将信仰平复狂乱的内核藏在视觉对抗之中。市井的粗粝烟火气，糅合神迹的庄严肃穆，让救赎的主题在鲜活的世俗场景里缓缓铺陈，张力十足。",[215,216,217,218,219,220,7,221,222],"宗教画","人物画","素描","淡彩","耶稣","驱魔","狗","民众","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8fb47a3cbd15123d4806fcab17f7da.jpg",[],{"id":226,"slug":227,"title":228,"dynasty":93,"author":212,"museum":79,"description":229,"tags":230,"thumbUrl":234,"material":85,"size":86,"collection":58,"collections":235,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":61},289286,"parrasio-micheli-an-allegory-of-learning-yi-ming-289286","Parrasio Micheli--An Allegory of Learning","拱形画幅分割出上下两段叙事，借粗粝灵动的棕褐墨线铺陈学习的完整脉络。上层古典残柱旁，人群或跋涉或协作，动态舒展而充满力量，仿佛在演绎知识萌芽前的开拓与传承的漫漫长路。\n\n下层围坐的众人之间，有人展卷宣讲，侧耳聆听的身影神态各异，将求知的肃穆热忱晕染开来。没有繁复修饰，奔放的线条精准捕捉人物的神态动势，即兴的笔触带着蓬勃的古典人文生机，将从开荒奠基到传习授学的求索之旅，藏在每一道酣畅的勾勒中，尽显求知的庄重与热忱。",[217,163,27,231,232,233,7],"群像","寓言","讲学","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb180c9f739b092444c736d25f46134d1.jpg",[],{"id":237,"slug":238,"title":239,"dynasty":93,"author":212,"museum":79,"description":240,"tags":241,"thumbUrl":248,"material":85,"size":86,"collection":58,"collections":249,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":61},289276,"pierre-antoine-demachy-demolition-of-the-old-vestibule-yi-ming-289276","Pierre Antoine Demachy--Demolition of the Old Vestibule","柔和天光漫过残破壁垣，古典楼宇的雕花廊架半掩在砖石瓦砾间，旧日精致与眼前破败交织晕开厚重的时光痕迹。匠人们穿梭在废墟之上，或拖拽梁柱，或清理碎石，驮运马车静候一旁，鲜活的劳作日常冲淡了拆毁的萧索。\n\n画家以细腻笔触，捕捉云层舒展的形态、石材质地的粗粝光影，将新旧交替的时代切面凝于画中。没有刻意煽情，只以冷静描摹定格城市变迁里的片刻烟火，让消逝的旧影在清新雅致的色调里留存温度，尽显纪实质朴与古典雅致交融的独特质感。",[97,7,242,130,243,244,245,246,247],"废墟","马匹","劳作人物","晴空","写实风格","拆建场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b45014f5d756cfad052a99502871f59.jpg",[],{"id":251,"slug":252,"title":253,"dynasty":93,"author":212,"museum":79,"description":254,"tags":255,"thumbUrl":258,"material":85,"size":86,"collection":58,"collections":259,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":260},289086,"jean-laurent-legeay-architectural-fantasy-yi-ming-289086","Jean Laurent Legeay--Architectural Fantasy","赭石单色晕染出沉郁雅致的氛围，圆形构图将这片古建废墟幻想收拢成一场闭环遗梦。残损柱梁、崩坍祭坛错落崖间，左侧层叠城邦半掩在枯藤之后，右侧悬岩碑刻与悬空祭台漫着失落文明的诡谲诗意。排线晕开朦胧雾气，让断壁残垣隐在氤氲里，把怀古怅惘揉进荒寂天地。虚实交错间，破碎古典建筑织就褪色荣光的凭吊图景，静诉着时间磨蚀文明的缄默往事，颓败美感里藏着对逝去城邦的幽微追念。",[82,217,256,7,242,30,29,257],"单色画","奇幻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a11dcf0f2b57a59f52815d4e9e76043.jpg",[],"F48FB1",{"id":262,"slug":263,"title":264,"dynasty":93,"author":212,"museum":79,"description":265,"tags":266,"thumbUrl":272,"material":85,"size":86,"collection":58,"collections":273,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":260},289085,"jean-laurent-legeay-architectural-fantasy1-yi-ming-289085","Jean Laurent Legeay--Architectural Fantasy1","赭红单色晕染出沉郁悠远的氛围，前景枯虬老树盘错伸展，苍劲枝桠自然框住画面，将视线引向朦胧雾气里的古典断壁残垣。石阶遗迹依偎林木，带着时光剥蚀的沧桑质感。\n\n圆形画幅收拢景致，将自然荒疏与人工废墟柔化糅合，晕染的笔触晕开怀古幽思，凭吊逝去的古典荣光。静谧里漫着旧时光的余韵，将废墟之美藏在细腻的线条间，引观者坠入一场朦胧的古典幻梦。",[267,217,132,7,268,269,270,271],"西洋画","残垣断壁","苍凉","建筑风景画","单色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030434abd561ecafeec8de0e6a8e82e5.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":93,"author":212,"museum":79,"description":278,"tags":279,"thumbUrl":284,"material":85,"size":86,"collection":58,"collections":285,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":61},289038,"louis-chaix-trofei-di-mario-rome-yi-ming-289038","Louis Chaix--Trofei di Mario, Rome","以蚀刻线条铺展残墟图景，半截塔楼斜刺入流云，砖石肌理被时光啃噬出皴裂缺口，藤蔓虬曲攀附断壁，将建筑残骸晕染上野趣生机。\n\n前景旅人围坐小憩，鲜活的身影破开荒颓的死寂，让古旧残墟与人间烟火温柔相融。作者以利落排线刻画出坍塌砖石的粗糙质感，用明暗层次晕开天际流云的慵懒，把岁月摧折后的怅惘，与自然悄然复生的生机揉为一处，将罗马遗迹的沉郁诗意娓娓铺陈纸面。",[217,280,267,242,7,29,27,281,282,283],"版画","乐器","风景","荒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a9a9d397df6a2607563ad989ec07d8.jpg",[],{"id":287,"slug":288,"title":289,"dynasty":93,"author":212,"museum":79,"description":290,"tags":291,"thumbUrl":300,"material":85,"size":86,"collection":58,"collections":301,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":61},288625,"jean-baptiste-marie-pierre-the-rape-of-europa-yi-ming-288625","Jean-Baptiste Marie Pierre--The Rape of Europa","以暖红素描晕开这场宿命邂逅，线条柔婉舒展，将洛可可式轻盈揉进古典神话之中。欧罗巴倚坐白牛身侧，神色懵懂恍惚，侍女们环伺周遭，或牵衣低语或俯身注视，衣袂褶皱随动作自然垂落，柔美的情态跃然纸上。\n\n空中小天使乘飞鹰俯瞰，静静凝望这场隐秘邂逅。远景林木朦胧，古堡隐现于枝叶之后，晕开氤氲浪漫氛围。整体笔触松弛细腻，将相遇时的暧昧绮丽悉数铺陈，把神话的旖旎诗意藏在暖红色调中，让古典浪漫缓缓漫溢。",[267,292,216,293,294,295,296,297,298,7,299],"神话画","红褐素描","美人","牛","小天使","飞鸟","山林","欧罗巴被劫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c110e71ec670449c7b973dd52fa7ee.jpg",[],{"id":303,"slug":304,"title":305,"dynasty":93,"author":212,"museum":79,"description":306,"tags":307,"thumbUrl":311,"material":85,"size":86,"collection":58,"collections":312,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":61},288597,"attributed-to-francesco-allegrini-landscape-with-a-ruined-temple-yi-ming-288597","attributed to Francesco Allegrini--Landscape with a Ruined Temple","这幅单棕色调的淡彩风景，将怀古幽思揉入松弛日常。残损神庙的立柱仍存巍峨轮廓，断壁在晕染的烟霭里同远景林峦相融，明暗晕开的笔意漫开时光剥蚀的沧桑。\n\n前景里劳作的农人、休憩的牧者与静驻车辕，消解了古迹的疏离感，让荒颓遗址漾开俗世烟火暖意。干湿错落的笔触写意出远景朦胧，利落线条勾勒梁柱肌理，把古文明湮灭的残影，轻轻锚定在鲜活的俗世片刻间，简淡的色调里藏着悠远的氛围感，让怀古的沉郁和乡野的悠然温柔相融。",[267,308,218,217,309,7,295,27,310],"风景画","残庙","荒郊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ddb63272d31b6d97197df7867e41a4b.jpg",[],{"id":314,"slug":315,"title":316,"dynasty":93,"author":317,"museum":79,"description":318,"tags":319,"thumbUrl":325,"material":85,"size":86,"collection":58,"collections":326,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":327},230644,"rembrandt-harmensz-van-rijn-032-lun-bo-lang-230644","Rembrandt Harmensz.van Rijn - 032","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[97,320,27,7,321,322,323,197,177,324],"明暗对照","宗教","仪式","兵器","历史场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b5c13a0c7187c1b20f99c124365b18.jpg",[],"37474F",{"id":329,"slug":330,"title":331,"dynasty":18,"author":212,"museum":332,"description":333,"tags":334,"thumbUrl":336,"material":337,"size":58,"collection":58,"collections":338,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":40},215972,"di-jian-tu-shuo-cai-hui-ben-35-yi-ming-215972","帝鉴图说彩绘本-35","法国国家图书馆","亭榭红柱彩檐，立于素雅山水间，苍松翠柏枝桠带雪，添了几分清寂。亭内数人衣袂翩然，或立或语，神态恭谨从容，似在论道议事，氛围庄重而平和。暖红与淡褐、青绿交织，既有传统建筑的明艳，又有山水的温润，层次丰富。工细写实的笔触，流畅线条搭配雅致设色，尽显清代绘本的细腻与叙事性，生动再现古代场景，仿佛能窥见彼时的人文风貌与礼仪氛围，予人古朴沉静的审美体验。",[24,25,26,82,27,28,53,29,7,335],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F118a5fd88d82a045bcf4be33efbe9c4f.jpg","绢本,设色",[],{"id":340,"slug":341,"title":342,"dynasty":18,"author":212,"museum":79,"description":343,"tags":344,"thumbUrl":350,"material":58,"size":351,"collection":58,"collections":352,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},233105,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233105","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。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[162,345,346,347,348,27,7,349],"铜版画","历史画","册页","战图","平叛纪实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa5c12833416c43d1cbd0f42beaee05.jpg","87.3×50cm",[],{"id":354,"slug":355,"title":356,"dynasty":357,"author":212,"museum":79,"description":358,"tags":359,"thumbUrl":365,"material":337,"size":58,"collection":58,"collections":366,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":61},216567,"xuan-da-shan-xi-san-zhen-tu-74-yi-ming-216567","宣大山西三镇图-74","明","明万历三十一年秘阁本",[23,24,67,26,82,360,53,361,362,363,364,7,164,357],"青绿","城池","山脉","河流","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cc9a3536040d95c4eb74f6f6fa8c5c3.jpg",[],1777535718654]