[{"data":1,"prerenderedAt":266},["ShallowReactive",2],{"subject-gui-guai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2559,"gui-guai","鬼怪","鬼怪画高清赏析","精选中国历代鬼怪题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0cd3df546ea1195932b984bf8f6ee6.jpg",0,17,[14,42,73,87,106,118,131,147,159,173,183,197,208,222,234,244,257],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":36,"collection":37,"collections":38,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},289941,"song-zi-tian-wang-tu-wu-dao-zi-289941","送子天王图","唐","吴道子","藏地不详","《送子天王图》（又名《天王送子图》、《释迦降生图》）是唐代吴道子根据佛典《瑞应本起经》创作纸本墨笔画，一说宋人摹本。该作现藏于日本大阪市立美术馆。\n全图分为三个部分：第一段描绘一位王者气度的天神端坐中间，两旁是手执笏板的文臣、捧着砚台的仙女，以及仗剑围蛇的武将力士面对一条由二神降伏的巨龙。第二段画的是一个踞坐在石头之上的四臂披发尊神，身后烈焰腾腾。神像形貌诡异，颇具气势，左右两边是手捧瓶炉法器的天女神人。第三段即《释迦牟尼降生图》，内容是印度净饭王的儿子出生的故事。从画面上，可以看到释迦牟尼降生时，他的父亲抱着他到寺庙朝谒见自在天神的情景。\n此图写异域故事，而画中的人、鬼神、兽等却完全加以中国化，当是佛教与中国本土变化至唐日趋融合之势所致。此图意象繁富，以释迦降生为中心，天地诸界情状历历在目，技艺高超，想象奇特，令人神驰目眩。该图着色较淡，近乎白描。",[23,24,25,26,27,28,29,30,31,7,32,33],"高清","名画","国画","长卷","白描","人物画","神话","宗教","天王","龙","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbca5673da27ce7e942f4cd3b8991436.jpg","未知","Xcm*Xcm","",[],629,8,"BDBDBD",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":66,"material":67,"size":68,"collection":37,"collections":69,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":72},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷","宋","佚名","北京故宫博物院","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,25,24,51,26,52,53,54,55,56,57,58,59,60,61,62,63,64,65,7],"书画","工笔","设色","人物","山水","兽","虎","豹","鹰","蛇","兔","树木","山石","飞鸟","神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","绢本，设色","纵53.3厘米，横533厘米",[],80,1,"795548",{"id":74,"slug":75,"title":76,"dynasty":77,"author":78,"museum":20,"description":79,"tags":80,"thumbUrl":82,"material":83,"size":37,"collection":84,"collections":85,"showCount":86,"zanCount":71,"manualWeight":11,"mainColor":41},220103,"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","明","钱谷","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[23,25,51,26,27,53,54,7,30,81],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg","纸本","人物画精选",[84],69,{"id":88,"slug":89,"title":90,"dynasty":46,"author":91,"museum":92,"description":93,"tags":94,"thumbUrl":99,"material":83,"size":100,"collection":101,"collections":102,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":41},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","龚开","美国弗瑞尔美术馆","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[23,25,26,27,95,54,7,96,97,98],"水墨","马","兵器","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米","宋画精选",[101,103,104],"山水画精选","设色画精选",59,{"id":107,"slug":108,"title":109,"dynasty":77,"author":110,"museum":20,"description":111,"tags":112,"thumbUrl":114,"material":83,"size":115,"collection":37,"collections":116,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":72},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图","钱毂","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,25,51,26,27,95,52,54,7,56,97,113,81],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],42,{"id":119,"slug":120,"title":121,"dynasty":122,"author":123,"museum":20,"description":124,"tags":125,"thumbUrl":128,"material":37,"size":37,"collection":37,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":72},228077,"zhong-kui-ye-you-tu-yan-hui-228077","钟馗夜游图","元","颜辉","此作用铁线游丝般的白描铺陈夜游盛景，开篇主角被鬼卒前呼后拥，伞盖高张、锣声隐隐，群鬼或扛矛开道、或携琴捧酒，狞怪形貌下藏着憨拙灵动的神态。画师以刚柔相济的墨线，勾勒出鬼物各异的怪谲身形，将幽冥出行的诡谲，化作带市井烟火气的诙谐游行。没有浓墨重彩，仅以枯淡墨痕衬出清冷幽冥的氛围感，把搜神题材的森然消解为戏谑意趣，尽显笔底奇思与线描功力，让这场夜游跳出幽冥的可怖，鲜活如人间市集的巡行。",[23,24,25,51,26,27,95,54,7,126,127],"武器","动作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c9e76964e6d5a4befe37e1f51e3f10.jpg",[],24,{"id":132,"slug":133,"title":134,"dynasty":18,"author":47,"museum":135,"description":136,"tags":137,"thumbUrl":144,"material":145,"size":37,"collection":37,"collections":146,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":72},217283,"jiang-mo-bian-dun-huang-tu-juan-6-yi-ming-217283","降魔变·敦煌图卷-6","法国国家图书馆","画面如叙事长卷徐徐展开：左畔树下群贤毕集，衣袂轻扬间神态恭谨，似在凝神聆听；中段帐幔低垂，魔众袒腹鼓噪或蹙眉挣扎，张力暗涌；右方护法神金甲耀目，怒目圆睁，足下祥云与魔焰交织，威严毕露。线条行云流水，勾勒人物喜怒哀乐；设色古朴淡雅，赭墨交织着岁月痕迹。魔众狰狞、护法刚正、信徒虔诚，三者对比鲜明，将降魔典故的冲突与神圣感渲染得淋漓尽致，尽显敦煌艺术的灵动气韵与厚重底蕴。",[138,139,53,27,26,30,54,62,140,141,142,7,113,143],"敦煌","唐代","亭子","僧侣","武士","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05415e527171ea8c27af2cf1bec6c77.jpg","设色,拓本",[],{"id":148,"slug":149,"title":150,"dynasty":151,"author":47,"museum":20,"description":152,"tags":153,"thumbUrl":156,"material":35,"size":36,"collection":37,"collections":157,"showCount":158,"zanCount":11,"manualWeight":11,"mainColor":72},290709,"tang-wu-shang-jin-xuan-shang-miao-dao-de-jing-juan-shou-gao-zhi-bei-yi-ming-290709","唐 无上金玄上妙道德经卷手稿纸背","不详","素纸残卷，墨痕留韵，墨线游走间铺展凡俗与神异交织的图景。左侧峨冠博带的世间众人，或伫立观瞻，或击鼓作乐，神态鲜活灵动。续而诸天异像次第铺陈：飞天舒袖凌虚，衣带如云曳动；力士怒目张拳，筋骨贲张尽显刚猛；鬼怪奇形百态，狞厉灵动兼具。线条或细劲如铁线，勾勒出衣褶肌理的层次；或奔放如飞白，挥洒出仙踪的飘逸超脱。岁月磨蚀的焦痕残边晕开旧时光的沧桑，整卷笔意通透洒脱，将凡俗烟火与神幻意境相融，尽显古雅传神的线描意趣。",[25,51,26,27,54,30,154,155,7],"飞天","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48aba0df0ebc84850fa8a119d5d078da.jpg",[],21,{"id":160,"slug":161,"title":162,"dynasty":122,"author":123,"museum":163,"description":164,"tags":165,"thumbUrl":168,"material":169,"size":170,"collection":37,"collections":171,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":72},221720,"zhong-kui-yu-ye-chu-you-tu-juan-yan-hui-221720","钟馗雨夜出游图卷","美国克利夫兰艺术博物馆","画面绘钟馗在鬼族是簇拥下雨夜巡游的情形。画中七个鬼卒，牛头马面，头戴蒙军头盔，类似杂要，正击鼓簇拥钟馗夜游，寄寓了画家蔑视蒙古统治者既仇恨又无赖的心情。\n其笔法浑厚坚实敦朴流畅，不乏宋代院体人物之工细，其造型生动传神，意态舒畅洒脱抒情而又有艺术性和理，不象刘贯通、王绎等人笔下人物之肖象，准确、逼真、刻板而写实。\n画面清旷幽冷，形象深遂含蓄，堪称精品。作为对宋体工致写实画风的承继与元代画风渐显写意抒情之势的前启，颜辉的人物画是承前启后的关捩。",[23,166,27,26,54,7,97,81,167],"元画","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c78d99f746b70906b57c0cd5975c505.jpg","绢本水墨","24.8cmx240.3cm",[],19,{"id":174,"slug":175,"title":176,"dynasty":151,"author":47,"museum":20,"description":177,"tags":178,"thumbUrl":181,"material":35,"size":36,"collection":37,"collections":182,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":41},231687,"ping-an-shi-dai-e-gui-cao-zhi-yi-ming-231687","平安时代 恶鬼草纸","此卷以幽谲笔致铺陈幽冥幻景，起首狞厉恶鬼赤面焰发，拖拽拷打罪者，怪骇形貌带着慑人的怖气。继而转绘冥境丘泽，精怪盘桓、寒鸟掠空，荒寂山景藏着隐秘的妖异氛围。后半段落回人间宅邸，鬼魅附着日常起居，悄然撕开阴阳两界的缝隙。\n\n笔墨简淡古拙，残褪的朱红晕开岁月斑驳，将佛教果报之说揉入和风怪谈，以稚拙线条勾勒出旧时代对幽冥的想象，让泛黄纸本载着千年的畏怖诡奇，铺展出一场跨越阴阳的怪幻绘卷。",[23,26,27,53,54,7,56,32,55,143,179,180],"室内场景","室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71db9ddecacf189990a84725835b6d52.jpg",[],{"id":184,"slug":185,"title":186,"dynasty":46,"author":187,"museum":188,"description":189,"tags":190,"thumbUrl":192,"material":193,"size":194,"collection":37,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":72},219023,"shi-wang-tu-4-lu-xin-zhong-219023","十王图-4","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,25,30,52,53,54,7,113,191],"楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2f2ed25adb1b578f2a06354ac31147.jpg","绢本,设色","85.9x50.8",[],9,{"id":198,"slug":199,"title":200,"dynasty":46,"author":187,"museum":188,"description":189,"tags":201,"thumbUrl":205,"material":193,"size":194,"collection":37,"collections":206,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":72},219022,"shi-wang-tu-5-lu-xin-zhong-219022","十王图-5",[23,25,51,24,30,52,53,54,202,7,203,204],"官吏","桌案","座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddd2f5372c8fd078ad8e31dcfd7a23a6.jpg",[],7,{"id":209,"slug":210,"title":211,"dynasty":212,"author":47,"museum":20,"description":213,"tags":214,"thumbUrl":219,"material":35,"size":36,"collection":37,"collections":220,"showCount":221,"zanCount":11,"manualWeight":11,"mainColor":41},281576,"shuang-jiao-guai-xing-mian-ju-yi-ming-281576","双角怪形面具","清","古代，傩祭，傩戏的流行面很广，长江流域、黄河流域、嫩江流域都有流行。这一地区丰富多彩的傩戏群大致可以归纳为三类，即地戏、傩堂戏、变人戏。",[215,216,217,7,218],"面具","木质","雕刻","凶恶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6179debee686cb11b74654ec982acf.jpg",[],5,{"id":223,"slug":224,"title":225,"dynasty":151,"author":47,"museum":20,"description":226,"tags":227,"thumbUrl":232,"material":35,"size":36,"collection":37,"collections":233,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":41},289527,"aureliano-milani-an-old-man-on-his-deathbed-tempted-by-demons-yi-ming-289527","Aureliano Milani--An Old Man on His Deathbed Tempted by Demons","画面以逼仄卧房承载了临终前的精神炼狱。狞恶恶灵将濒死老人团团围住，有的俯身拉扯老人躯体，有的挥鞭恫吓，角落小魔怪煽风造势，床侧邪祟探爪攫取，连天花板都隐现魅影。\n作者以利落排线铺陈明暗，粗粝线条刻画出恶魔扭曲形貌，阴影将空间揉成压抑囚笼，把信徒临终前的精神拉扯具象到极致，让观者直面邪祟与神性的激烈对峙，将濒死之际的恐惧、挣扎全盘铺展，沉郁诡谲的氛围浸透纸面，直白诉说着灵肉博弈的终极试炼。",[228,27,28,30,229,7,230,231],"素描","恶魔","病床","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36337968697098e1e262b560cbab1941.jpg",[],{"id":235,"slug":236,"title":237,"dynasty":151,"author":47,"museum":20,"description":238,"tags":239,"thumbUrl":242,"material":35,"size":36,"collection":37,"collections":243,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":41},289247,"pomarancio-male-figure-standing-on-a-demon-yi-ming-289247","Pomarancio--Male figure standing on a demon","这帧红粉笔素描以松弛又精准的排线，勾勒出健硕男性的饱满肌肉，肩背与腿部的张力顺着笔触倾泻而出，抬手托举的姿态带着昂扬威仪。下方蜷伏的精怪身形瑟缩，恰好反衬出人体的舒展伟岸。\n\n浅淡的打稿网格还留存着创作余温，垂落的衣袂柔化了躯体硬朗棱角，让神圣身姿与狞恶精怪形成强烈对冲，铺展出古典神话的叙事张力。潦草却生动的笔触间，凌驾与臣服的戏剧感静静弥散，粗粝纸面承载着灵动的创作思绪，尽显古典人体习作的质朴魅力。",[228,240,54,241,7,29],"西洋画","男性人体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f99473e384bd820a8296c61320789f.jpg",[],{"id":245,"slug":246,"title":247,"dynasty":151,"author":47,"museum":20,"description":248,"tags":249,"thumbUrl":255,"material":35,"size":36,"collection":37,"collections":256,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":41},289152,"guercino-a-diablerie-yi-ming-289152","Guercino--A Diablerie","棕墨水线条凌厉粗粝，将画面分割成两层诡谲天地。上层群魔姿态张狂狞恶，猴形、犬首的魔物肢体扭曲舒展，带着邪异的躁动气息，怪诞的轮廓勾勒出幽冥邪物的可怖形貌。下层凡人正挣扎嘶吼，惶然的神态与魔物的暴虐形成鲜明对照。没有繁复修饰，以极简的速写笔触烘托出骇人的地狱氛围，将直面超自然恐惧的战栗直白铺展，粗朴的线条间满是冲击力，把暗黑怪诞的幻想幽冥图景具象呈现，让观者沉浸式坠入这场悚然的邪异梦魇之中。",[27,250,7,54,251,252,253,29,254],"线描","猴","兽类","宗教画","惊恐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab644a3184fbc41a6b7398e471cf7ac.jpg",[],{"id":258,"slug":259,"title":260,"dynasty":151,"author":261,"museum":20,"description":262,"tags":263,"thumbUrl":264,"material":35,"size":36,"collection":37,"collections":265,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":41},231842,"chun-ri-quan-xian-yan-ji-hui-tu-juan-9-gao-jie-long-jian-231842","春日権现验记 绘图卷-9","高阶隆兼","镰仓时代 传高阶隆兼(活跃于1309-1330年)",[23,24,51,26,53,54,96,143,30,142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc72421c1d6759f4e6f4b4a77cf7b2b0.jpg",[],1777535722652]