[{"data":1,"prerenderedAt":165},["ShallowReactive",2],{"subject-guan-fu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2595,"guan-fu","官服","官服画高清赏析","精选中国历代官服题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8176e3478d5b1dae651c81db0bcf7b0c.jpg",0,12,[14,42,58,71,82,95,107,119,130,139,148,157],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},218454,"a-gui-xiang-shen-zhen-218454","阿桂像","清","沈贞","藏地不详","画中人物身着清代官服，团龙纹袍服纹饰精细，朝珠垂挂胸前，顶戴花翎彰显尊贵身份。面容刻画入微，眉眼间透着沉稳威严，胡须梳理整齐，尽显儒雅气度。整幅画作工笔细腻，设色庄重典雅，线条流畅利落，服饰的褶皱与纹饰皆栩栩如生，既展现出宫廷肖像画的严谨规制，又蕴含着画家对人物神态的精准捕捉，将清代重臣的威仪与风范跃然纸上。",[23,24,25,26,27,28,7,29,30,31,32,33,34],"国画","名画","人物画","肖像画","工笔","设色","朝珠","顶戴花翎","团龙纹","印章","沉稳威严","儒雅气度","纸本,设色","","人物画精选",[37],35,1,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":20,"description":48,"tags":49,"thumbUrl":52,"material":53,"size":54,"collection":36,"collections":55,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":57},287588,"song-xuan-zu-zuo-xiang-yi-ming-287588","宋宣祖坐像","宋","佚名","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[23,25,26,27,28,50,51,7],"帝王像","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf82dcd6ca2eadd1310dd4061adcb5b.jpg","未知","Xcm*Xcm",[],25,"795548",{"id":59,"slug":60,"title":61,"dynasty":18,"author":47,"museum":20,"description":62,"tags":63,"thumbUrl":68,"material":53,"size":54,"collection":36,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":41},288443,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-he-shuo-de-yu-qin-wang-duo-duo-yi-ming-288443","历代帝王贵妃大臣朝服像(和硕德豫亲王多铎)","画面之上，亲王端然安坐，身形沉凝内敛。石青朝服色泽沉穆，胸间补子纹样工细繁复，瑞兽翎羽丝丝毕现，彰显着宗室尊荣的礼制章法。朱红暖调的顶戴与素净袍身相映，打破暗沉色调的同时点明身份品级。\n\n画师以写实笔法描摹，精准复刻清初亲贵威仪，朝珠垂挂错落得体，衣褶晕染贴合身形，静穆庄重的仪态呼之欲出。古旧绢面晕开岁月黄褐痕迹，为肖像更添历史沉韵，将勋贵重臣肃穆端方的气度定格于绢素之上，尽显清代纪实肖像画的严谨与厚重质感。",[64,23,65,66,28,27,67,7,29],"高清","书画","立轴","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd279d03346d2df24e8040d1fba33fa0e.jpg",[],8,{"id":72,"slug":73,"title":74,"dynasty":46,"author":47,"museum":20,"description":75,"tags":76,"thumbUrl":79,"material":53,"size":54,"collection":36,"collections":80,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":57},290768,"zhen-zong-zuo-xiang-zhou-yi-ming-290768","真宗坐像轴","北宋时期发达的社会经济，为宋代绘画 提供了许多前无古人的新的绘画题材。风 俗画是宋代人物画的一个特色，以表现村 童闹学、耕织、货郎、七夕夜市等题材的作 品，生动记录了宋代社会生活中的平民生 活，拓宽了以帝王、圣贤、贵妃为主的人物 画格局，并被后世固化为中国人物画的永 恒题材。同时，宋代画院为宋代绘画的发展 聚集了人才，一大批画院画家将用于表现 山水的水墨画法用于人物画的创作中。题材的扩大、形式的增多，为这时期人物画的发展开阔了前景。",[23,66,28,67,77,27,78,7],"帝王","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5286a0b73aca50e7beaa01d1fc7bd20e.jpg",[],7,{"id":83,"slug":84,"title":85,"dynasty":18,"author":47,"museum":20,"description":86,"tags":87,"thumbUrl":92,"material":53,"size":54,"collection":36,"collections":93,"showCount":94,"zanCount":40,"manualWeight":11,"mainColor":41},290170,"qing-ren-xiao-xiang-tu-ce-juan-ben-19-zhen-yi-ming-290170","清人肖像图册绢本19帧","这幅肖像工致写实，画中官员石青补服之上，禽鸟补纹以盘金绣线晕出翎羽层次，精细华贵。暖米绢底衬出沉稳气度，红顶官帽提亮画面色调，垂襟朝珠颗颗圆润，细节一丝不苟。\n\n画家捕捉其松弛坐姿，面容刻画入微，法令纹与眉眼间尽显宦海历练出的温和持重。旁侧案头码放典籍与签牌，暗合主人雅儒底色，极简室内布景留白得当，烘托出肃穆静雅氛围，将清代武官兼具威仪与文心的形象凝于绢素，形神兼备，尽显清代肖像画的写实功力。",[23,88,27,28,89,7,29,90,91],"册","人物肖像","书桌","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f5494909ff1acf77ce8d6d3e78cdca.jpg",[],4,{"id":96,"slug":97,"title":98,"dynasty":18,"author":47,"museum":20,"description":99,"tags":100,"thumbUrl":104,"material":53,"size":54,"collection":36,"collections":105,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":41},288251,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-rui-gong-qin-wang-ai-xin-jue-luo-chun-ying-yi-ming-288251","历代帝王贵妃大臣朝服像(睿恭亲王爱新觉罗.淳颖)","此作工笔写形，细致入微。画中亲贵面容清俊，神态端严沉稳，眉眼间自显世家威仪。明黄常服配石青马蹄袖，顶戴花翎细节分毫毕现，手中朝珠垂坠合度。衣褶线条挺括匀净，设色雅致写实，将清代宗室的着装仪范与雍容气度精准呈现。\n\n画面留白疏朗，题字题跋错落排布，笔致秀雅规整，既彰表主人公功绩德操，又为画作添上文气，让写实肖像兼具文人意趣。整幅形神兼备，是清代肖像画中兼具礼制纪实性与审美价值的上乘之作。",[64,23,65,66,27,28,67,7,29,101,32,102,103],"书法","亲王像","朝服像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3497a80c72d66d55867e029292422ed3.jpg",[],2,{"id":108,"slug":109,"title":110,"dynasty":18,"author":47,"museum":20,"description":111,"tags":112,"thumbUrl":117,"material":53,"size":54,"collection":36,"collections":118,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":41},268775,"hong-se-su-duan-zhui-xiu-shi-zi-wen-fang-bu-nan-guan-yi-yi-ming-268775","红色素缎缀绣狮子纹方补男官衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 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