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boats","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[24,122,123,124,125,126,7,127],"油画","后印象派","厚涂","帆船","大海","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8657e13b019568bc57ddd7379ddbd7dc.jpg","油画精选",[129],79,"0D904F",{"id":134,"slug":135,"title":136,"dynasty":137,"author":64,"museum":138,"description":139,"tags":140,"thumbUrl":144,"material":145,"size":75,"collection":146,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":58},219895,"liu-hai-du-hai-tu-yi-ming-219895","刘海渡海图","明","美国弗利尔美术馆","赤足凌于翻涌浪涛之上，衣袂被海风拂卷翻飞，仙者神色沉静安然，不见渡海的惶然。怀中紧捧三足金蟾，另一手牵系着仙桃的丝带，仙家灵韵尽数铺展。\n\n画作以劲挺流畅的线条勾勒衣褶，衣物垂坠质感尽显。细密笔触层叠出浪涛奔涌之态，虚实相映烘托出烟波浩渺的渡海意境。整体色调沉古雅致，将世外之人超凡出尘的气质晕染开来，把刘海渡海的传说融于笔墨间，空灵悠远，在叙事与审美之间达成绝妙平衡，尽显古画仙逸出尘的独特意趣。",[23,25,26,49,88,141,142,7,143],"宗教","人物","蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e14f2c2835480ab5d26a9db6287108.jpg","纸本","人物画精选",[146],77,{"id":150,"slug":151,"title":152,"dynasty":153,"author":154,"museum":155,"description":156,"tags":157,"thumbUrl":160,"material":161,"size":162,"collection":163,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":79},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","清","张宗苍","台北故宫博物院","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[48,23,25,158,28,49,92,70,7,159,50],"山水","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","纸本,设色","166.7x69.5","山水画精选",[163],71,{"id":167,"slug":168,"title":169,"dynasty":170,"author":171,"museum":138,"description":172,"tags":173,"thumbUrl":176,"material":52,"size":177,"collection":54,"collections":178,"showCount":179,"zanCount":78,"manualWeight":11,"mainColor":58},218997,"qiu-ying-tu-guo-qian-you-218997","秋鹰图","五代十国","郭乾佑","铁羽敛霜华，孤峙危岩之巅。目光如炬，俯瞰怒涛卷雪。苍溟之上，残阳如血，晕染出沉雄古意。浪涛拍岸，礁石嶙峋，似与雄鹰共守天地孤绝。笔触凝练，墨色层叠，将猛禽的傲岸与沧海的壮阔熔于一帧。静中藏动：鹰之沉稳如磐，浪之奔涌若雷；刚柔相济：铁喙利爪含锐，云涛雾霭蕴柔。古雅质感里，尽显五代画风的沉郁与雄健。此作以鹰为魂，以海为魄，于苍茫间见风骨，于动荡中显定力，不愧传世之品。",[23,25,49,88,30,174,91,7,175],"飞鸟","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7349f8201c5a9ec1d079a27dc457270.jpg","纵142.9横76.2厘米",[54],66,{"id":181,"slug":182,"title":183,"dynasty":137,"author":184,"museum":185,"description":186,"tags":187,"thumbUrl":191,"material":52,"size":75,"collection":146,"collections":192,"showCount":193,"zanCount":78,"manualWeight":11,"mainColor":58},219498,"liu-hai-xi-chan-tu-liu-jun-219498","刘海戏蟾图","刘俊","中国美术馆","画中主人公笑容憨态可掬，眉眼弯起尽显爽朗乐天，怀中金蟾探头蹭向掌心，亲昵灵动，将闲适谐趣的氛围拉满。衣纹线条刚柔兼具，晕染细腻柔和，将粗布衣衫的朴实质感勾勒得真切自然。背景以浓淡层次分明的涡旋云水铺陈，卷浪翻涌间氤氲出缥缈仙气，动静相映间，把凡俗的烟火意趣与仙道的缥缈意境相融，将主人公自在逍遥的神态刻画得入木三分，雅俗共赏，尽显传统人物画的精妙意韵。",[23,88,49,142,188,7,189,190],"蟾蜍","长袍","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b8fb11b825dd207c4e7201544fb69f.jpg",[146],60,{"id":195,"slug":196,"title":197,"dynasty":153,"author":198,"museum":199,"description":200,"tags":201,"thumbUrl":205,"material":52,"size":206,"collection":163,"collections":207,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":58},220422,"shou-shi-tu-jiang-pu-220422","寿石图","蒋溥","私人收藏","蒋溥（清），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正8年（1730）二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。乾隆26年(1761)四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[48,23,88,49,26,89,202,70,7,203,204],"松树","日","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74aae3d6d0e66ce7cd8ad41fc531baf.jpg","141×41.5cm",[163,208],"设色画精选",58,{"id":211,"slug":212,"title":213,"dynasty":63,"author":119,"museum":20,"description":120,"tags":214,"thumbUrl":218,"material":73,"size":74,"collection":129,"collections":219,"showCount":220,"zanCount":78,"manualWeight":11,"mainColor":58},225806,"seascape-near-les-saintes-maries-de-la-mer-june-fan-gao-225806","Seascape near Les Saintes-Maries-de-la-Mer (June - )",[122,215,126,7,216,125,127,217],"厚涂法","波涛","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c9982bfc344f25d470cbe36c11b90b.jpg",[129],56,{"id":222,"slug":223,"title":224,"dynasty":153,"author":64,"museum":20,"description":225,"tags":226,"thumbUrl":229,"material":73,"size":74,"collection":75,"collections":230,"showCount":231,"zanCount":78,"manualWeight":11,"mainColor":58},288235,"fang-chen-rong-qun-long-tu-yi-ming-288235","仿陈容群龙图","水墨晕染出漫天云海，群龙穿梭隐现于烟霭之间。长卷之上，下方惊涛卷浪，上方云气翻涌，龙形或探爪怒目，或摆尾盘空，姿态迥异，威灵毕现。作者以浓淡墨色区分虚实，云气晕染朦胧变幻，龙身勾勒精细，鳞爪筋骨分毫可见，将神龙的谲诡威严与天地交融的磅礴气韵尽数铺展。仿佛能听闻隐隐龙吟，见云浪随龙势翻涌，把神龙隐现于云水间的神秘感完美呈现，尽显画龙技法的高妙，营造出幽玄雄浑的意境，摄人心魄。",[48,23,227,27,29,31,7,104,228],"长卷","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6fc04f8b5ebd0e26fc878861835af.jpg",[],52,{"id":233,"slug":234,"title":235,"dynasty":63,"author":236,"museum":20,"description":237,"tags":238,"thumbUrl":246,"material":73,"size":74,"collection":129,"collections":247,"showCount":248,"zanCount":78,"manualWeight":11,"mainColor":79},225919,"clifftop-walk-at-pourville-1882-mo-nai-225919","Clifftop Walk at Pourville, 1882","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。",[239,122,240,241,242,243,125,142,244,127,245,7],"印象派","悬崖","草地","花草","海面","红伞","白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593a704065c57261364648fc51c0db54.jpg",[129],42,{"id":250,"slug":251,"title":252,"dynasty":18,"author":64,"museum":155,"description":253,"tags":254,"thumbUrl":264,"material":265,"size":266,"collection":75,"collections":267,"showCount":268,"zanCount":78,"manualWeight":11,"mainColor":79},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[48,24,23,25,26,141,88,49,142,255,256,257,258,7,174,259,260,261,262,263],"千手","千眼","祥云","佛光","法器","衣帽","菩萨","飞天","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","白纸本","176.8x79.2",[],40,{"id":270,"slug":271,"title":272,"dynasty":153,"author":64,"museum":20,"description":273,"tags":274,"thumbUrl":284,"material":73,"size":74,"collection":75,"collections":285,"showCount":286,"zanCount":287,"manualWeight":11,"mainColor":79},270171,"hong-se-ke-si-hai-he-shou-tao-tu-mian-hong-mu-diao-hua-bing-tuan-shan-yi-ming-270171","红色缂丝海鹤寿桃图面红木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[275,276,277,89,278,279,7,280,281,282,111,283,88],"扇面","日用具","缂丝","鹤","寿桃","花卉","木质","雕刻","象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66f1b524073971868a359247f4cab57.jpg",[],37,3,{"id":289,"slug":290,"title":291,"dynasty":137,"author":292,"museum":138,"description":293,"tags":294,"thumbUrl":299,"material":52,"size":300,"collection":146,"collections":301,"showCount":302,"zanCount":78,"manualWeight":11,"mainColor":58},220128,"du-hai-luo-han-tu-su-zhen-tai-hou-220128","渡海罗汉图","肃贞太后","此幅题：大明万历岁次庚戌年（1610年）明肃贞寿端献恭熹皇太后绘造。钤：慈圣宣文明肃贞寿端献恭熹皇太后宝 朱文大印。",[48,23,88,49,141,142,295,7,50,296,297,298],"罗汉","神兽","明代","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[146],34,{"id":304,"slug":305,"title":306,"dynasty":137,"author":307,"museum":20,"description":308,"tags":309,"thumbUrl":311,"material":75,"size":75,"collection":75,"collections":312,"showCount":313,"zanCount":78,"manualWeight":11,"mainColor":58},230949,"shou-shan-fu-hai-tu-leng-qian-230949","寿山福海图","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[48,23,25,26,49,158,310,70,91,92,7,28],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],29,{"id":315,"slug":316,"title":317,"dynasty":153,"author":64,"museum":20,"description":318,"tags":319,"thumbUrl":324,"material":73,"size":74,"collection":75,"collections":325,"showCount":326,"zanCount":327,"manualWeight":11,"mainColor":58},269034,"ke-si-yun-he-wen-bu-zi-yi-ming-269034","缂丝云鹤纹补子","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[277,320,111,321,257,322,7,323],"补子","仙鹤","红日","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8093d972c177d80b9ef1e4a6d5c83446.jpg",[],28,2,{"id":329,"slug":330,"title":331,"dynasty":63,"author":236,"museum":20,"description":237,"tags":332,"thumbUrl":337,"material":73,"size":74,"collection":129,"collections":338,"showCount":339,"zanCount":11,"manualWeight":11,"mainColor":58},225904,"beach-at-e-tretat-1883-mo-nai-225904","Beach at étretat, 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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[48,23,25,372,27,373,7,142],"册","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a4ddcd0bd748a89bf8a86268389623.jpg",[],20,{"id":378,"slug":379,"title":380,"dynasty":63,"author":236,"museum":20,"description":237,"tags":381,"thumbUrl":384,"material":73,"size":74,"collection":129,"collections":385,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":79},226030,"shadows-on-the-sea-at-pourville-1882-mo-nai-226030","Shadows on the Sea at Pourville, 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1883",[239,122,345,392,393,394,7,395,396,127,397,398],"色彩交融","笔触松散","悬崖拱门","海水","岩石","浪花","海岸地貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1a7b738441d77bb6c0745fc57aa1b1.jpg",[129],18,"F48FB1",{"id":404,"slug":405,"title":406,"dynasty":18,"author":64,"museum":155,"description":407,"tags":408,"thumbUrl":409,"material":52,"size":75,"collection":163,"collections":410,"showCount":401,"zanCount":11,"manualWeight":11,"mainColor":79},218694,"shan-shui-tu-yi-ming-218694","山水图","纨扇小景纳海天气象于尺幅间。浪涛奔涌，层层叠叠如堆雪翻银，墨线勾斫见波涛之势；右侧松枝如铁，虬曲横斜，松针密匝似攒云，树下亭榭隐现，似有幽人凭栏观海。动静相济里，壮阔与清寂交织——浪的奔腾衬松的苍劲，亭的静立藏观海者的悠然。墨色浓淡相宜，有限空间展无限遐思，尽得宋画小景中天地情怀与文人意趣，于细微处见苍茫，于静谧中藏生机。",[48,23,25,27,49,28,372,158,7,109,159],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a47d5422bb0d9703f21a3cb78e8308.jpg",[163],{"id":412,"slug":413,"title":414,"dynasty":18,"author":415,"museum":20,"description":416,"tags":417,"thumbUrl":422,"material":73,"size":74,"collection":75,"collections":423,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":79},287737,"bai-miao-luo-han-tu-juan-qun-xian-du-hai-li-gong-lin-287737","白描罗汉图卷(群仙渡海)","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。",[48,24,23,227,418,142,141,295,419,420,92,421,7,50],"白描","渡海","书法","仙佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9353d739f26f03383d099ee1c6984e1.jpg",[],15,{"id":426,"slug":427,"title":428,"dynasty":153,"author":64,"museum":20,"description":429,"tags":430,"thumbUrl":435,"material":73,"size":74,"collection":75,"collections":436,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":79},266645,"lv-se-duan-xiu-zhui-che-qu-zhu-ying-luo-yi-yi-ming-266645","绿色缎绣缀砗磲珠璎珞衣","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。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[260,111,431,432,433,434,7],"刺绣","砗磲珠","璎珞","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6b02b4951e28204a3e1d6e36718a799.jpg",[],14,{"id":439,"slug":440,"title":441,"dynasty":63,"author":236,"museum":20,"description":237,"tags":442,"thumbUrl":444,"material":73,"size":74,"collection":129,"collections":445,"showCount":437,"zanCount":78,"manualWeight":11,"mainColor":79},225924,"falaises-temps-gris-1882-1886-mo-nai-225924","Falaises, temps gris, 1882-1886",[239,122,345,382,240,243,7,443,336,395],"阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c4e3c9ba8bf19e1be7ee901cace6788.jpg",[129],{"id":447,"slug":448,"title":449,"dynasty":63,"author":64,"museum":20,"description":450,"tags":451,"thumbUrl":459,"material":73,"size":74,"collection":75,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":58},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[48,49,452,88,158,89,202,204,7,453,454,142,455,174,456,457,70,458],"金碧","流水","孤舟","茅屋","红花","蓝花","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],13,{"id":463,"slug":464,"title":465,"dynasty":137,"author":64,"museum":20,"description":466,"tags":467,"thumbUrl":474,"material":75,"size":75,"collection":75,"collections":475,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":58},228778,"xian-ren-guo-hai-tu-yi-ming-228778","仙人过海图","画面绘两位仙人踏浪而行，左侧仙人虬髯光头，身披蓑草，双手捧持仙盏神态恭谨，身形桀骜野逸。右侧老者鹤发童颜，宽袍广袖，抬手作指点状，道骨仙风悠然自若。\n作者以刚柔相济的铁线勾勒衣纹，笔墨苍劲古拙，绢本底色晕染出沉雅古旧的质感。云水以曲线层叠铺陈，晕染出朦胧烟波，烘托出踏波而行的缥缈仙意。二人一动一静，神态相映，将仙家渡海的悠然清旷尽显笔端，尽显古雅飘逸的仙道逸趣。",[48,23,25,26,88,49,142,7,468,141,469,297,470,471,472,473],"仙人","传统","水墨设色","人物画","道教题材","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435e9e93246d4faa17ab0f80984af411.jpg",[],{"id":477,"slug":478,"title":479,"dynasty":63,"author":236,"museum":20,"description":237,"tags":480,"thumbUrl":483,"material":73,"size":74,"collection":129,"collections":484,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":79},226112,"the-sandbeach-at-trouville-1870-mo-nai-226112","The Sandbeach at Trouville, 1870",[122,239,333,481,125,482,142,336,7],"海景","海滨建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dde83a7612bae43f6e774e80865075.jpg",[129],{"id":486,"slug":487,"title":488,"dynasty":63,"author":119,"museum":20,"description":120,"tags":489,"thumbUrl":490,"material":73,"size":74,"collection":129,"collections":491,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":79},225870,"vissersboten-op-het-strand-van-les-saintes-maries-de-la-mer-fan-gao-225870","Vissersboten op het strand van Les Saintes-Maries-de-la-Mer",[122,124,334,336,7,126,125,174,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700fd713b0bd9fb93f5bcfee3f2233c0.jpg",[129],{"id":493,"slug":494,"title":495,"dynasty":153,"author":496,"museum":497,"description":498,"tags":499,"thumbUrl":501,"material":502,"size":503,"collection":75,"collections":504,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":505},223141,"shi-wan-tu-ce-5-ren-xiong-223141","十万图册5","任熊","北京故宫博物院","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[48,23,49,500,88,372,158,91,7,109],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189bbf05898f4a844375d2898e2f33d.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":507,"slug":508,"title":509,"dynasty":137,"author":64,"museum":20,"description":510,"tags":511,"thumbUrl":512,"material":73,"size":74,"collection":75,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":79},238577,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238577","明人升平翊赞图并书赞册","这幅作品以山海分野铺陈画面，左畔怒涛卷雪，水怪与神兵于浪尖缠斗翻涌，波谲云诡间尽显征伐张力；右列仪卫整肃，旌旗猎猎，神将冠服严整端凝，满是安邦肃穆之气。\n\n设色华贵明丽，赤金与青绿撞色浓烈却谐和，线条铁画银钩，既绘出惊涛奔涌的动感，又将仪卫威仪刻画入微。以神魔靖海的图景暗喻绥疆平乱，把征伐的惊险与受降的庄穆并置，将庙堂祈愿的升平藏于奇幻工致的院体笔墨中，笔底皆是护国安澜的恢弘叙事。",[23,25,372,88,49,142,7,70,109,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902b103254387191a4e0bc0f152e6f24.jpg",[],12,{"id":516,"slug":517,"title":518,"dynasty":63,"author":236,"museum":20,"description":237,"tags":519,"thumbUrl":526,"material":73,"size":74,"collection":129,"collections":527,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":58},226063,"the-cote-sauvage-1886-mo-nai-226063","The Cote sauvage, 1886",[239,122,520,521,522,310,7,396,127,523,524,397,525],"光影","笔触","色彩","海岸","礁石","云层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d68da57080758f348440d29658c7c4.jpg",[129],{"id":529,"slug":530,"title":531,"dynasty":153,"author":532,"museum":20,"description":533,"tags":534,"thumbUrl":538,"material":73,"size":74,"collection":75,"collections":539,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":79},289904,"hai-wo-tian-chou-tu-qu-zhao-lin-289904","海渥添筹图","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[48,24,23,25,26,49,535,28,158,202,7,321,536,50,174,537],"山水画","楼阁","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e819a6563ee6cde90a0621a4593fb59.jpg",[],11,{"id":542,"slug":543,"title":544,"dynasty":63,"author":64,"museum":20,"description":545,"tags":546,"thumbUrl":552,"material":73,"size":74,"collection":75,"collections":553,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":402},230745,"bai-di-qing-hua-si-hai-lai-chao-ping-yi-ming-230745","白地青花四海来朝瓶","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[547,548,549,88,7,434,550,551],"陶瓷","青花","釉下彩","蝙蝠","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9510df29f69bc9ab5327f313f6c2ffa.jpg",[],{"id":555,"slug":556,"title":557,"dynasty":63,"author":236,"museum":20,"description":237,"tags":558,"thumbUrl":567,"material":73,"size":74,"collection":129,"collections":568,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":79},226047,"the-beach-at-trouville-1870-71-mo-nai-226047","The Beach at Trouville, 1870-71",[239,122,345,559,560,333,335,336,142,561,562,563,564,565,566,356,7,127,443],"色彩并置","快速笔触","女性","条纹服饰","帽子","椅子","遮阳伞","人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb008c8b0d4109e04c819fccee284e7e.jpg",[129],{"id":570,"slug":571,"title":572,"dynasty":153,"author":573,"museum":20,"description":574,"tags":575,"thumbUrl":576,"material":75,"size":75,"collection":75,"collections":577,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":79},228992,"bai-kai-luo-han-tu-61-shi-tao-228992","百开罗汉图61","石涛","淡墨晕染出翻涌不息的江海惊涛，四位罗汉乘浮叶凌波而行。众人神情各别，或垂眉敛目沉于禅思，或抬眼远眺浪涛，将行旅从容与烟波动荡形成鲜明对照。\n\n衣纹线条简劲灵动，皴染结合晕出僧衣厚重质感，更衬出罗汉静定无扰的禅心。作者以浓淡墨色铺陈水势虚实，留白间尽显江海浩渺空濛，以极简笔墨写尽世外僧人的自在超脱，借渡海意象诠释禅家无往不适的境界，于动静相生间晕染出悠远禅意，尽显笔底禅心与山水意趣的交融。",[23,25,372,418,27,141,142,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07723a0fddcca8b958cabbdd724ab54f.jpg",[],10,{"id":580,"slug":581,"title":582,"dynasty":63,"author":236,"museum":20,"description":237,"tags":583,"thumbUrl":587,"material":73,"size":74,"collection":129,"collections":588,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":58},226113,"the-seacoast-of-pourville-low-tide-1882-mo-nai-226113","The Seacoast of Pourville, Low Tide, 1882",[122,239,345,584,346,523,336,395,7,585,125,586,127],"色彩层次","远海","低潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9599372e8e11b7b281de6a0e773a7478.jpg",[129],{"id":590,"slug":591,"title":592,"dynasty":153,"author":64,"museum":155,"description":593,"tags":594,"thumbUrl":598,"material":75,"size":75,"collection":75,"collections":599,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":58},223416,"ma-zu-qi-ji-g-yi-ming-223416","妈祖奇迹G","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[48,23,49,88,141,142,595,596,7,125,243,597],"船","旗帜","群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594511b7c858a89a3117cd1ae3d4285a.jpg",[],{"id":601,"slug":602,"title":603,"dynasty":153,"author":64,"museum":20,"description":604,"tags":605,"thumbUrl":612,"material":73,"size":74,"collection":75,"collections":613,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":79},245717,"da-hong-se-duan-xiu-hua-hui-cai-shui-yi-ming-245717","大红色缎绣花卉彩帨","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[606,607,431,608,49,280,7,609,610,611],"清代","缎绣","彩绣","吉祥纹样","织物","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4d8ef214cb99c9f3a56a83114e38f6.jpg",[],9,{"id":616,"slug":617,"title":618,"dynasty":619,"author":64,"museum":20,"description":620,"tags":621,"thumbUrl":622,"material":75,"size":75,"collection":75,"collections":623,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":79},228214,"du-hai-tu-ye-yi-ming-228214","渡海图页","元","此作以极简构局营造出清寂空灵的禅意。画面左侧，仙人安卧枯槎之上，随波缓行，神情悠然自适，将乘槎渡海的古雅意趣融于尺幅。淡墨轻勾细波，晕染出辽远空茫的海面，大片留白代以海天辽旷，不着一字而尽得风流，暗合元代尚简尚意的文人审美。笔致清简含蓄，枯槎的苍古与仙人的闲逸相映，将寄迹天地、物我两忘的隐逸之思藏于淡远意境中，静穆悠远的出世之趣扑面而来。",[48,23,25,87,27,49,142,395,7,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87321fda6d77770c6e633cb609e50cc8.jpg",[],{"id":625,"slug":626,"title":627,"dynasty":63,"author":236,"museum":20,"description":237,"tags":628,"thumbUrl":631,"material":73,"size":74,"collection":129,"collections":632,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":79},226028,"seaside-at-honfleur-1864-mo-nai-226028","Seaside at Honfleur, 1864",[122,239,333,629,240,109,125,630,7,127,217,142],"鹅卵石","灯塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb74a62f673c9d5290737718bc4d4b6.jpg",[129],{"id":634,"slug":635,"title":636,"dynasty":63,"author":236,"museum":20,"description":237,"tags":637,"thumbUrl":642,"material":73,"size":74,"collection":129,"collections":643,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":58},226014,"rocks-at-belle-ile-1886-mo-nai-226014","Rocks at Belle-ile, 1886",[239,122,638,396,240,395,7,523,639,640,481,641],"点彩","植被","自然风光","岩石地貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c713360af4804f6d4e334dcce4a870.jpg",[129],{"id":645,"slug":646,"title":647,"dynasty":153,"author":648,"museum":369,"description":649,"tags":650,"thumbUrl":651,"material":75,"size":75,"collection":208,"collections":652,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":653},202111,"mo-long-zhou-zhou-xun-202111","墨龙轴","周璕","云雾翻腾间，墨龙破壁而出，龙首昂然，双目炯炯，龙须飞扬若劲草，鳞爪张弛间满溢威严与力量。画家以水墨为骨，浓淡晕染出云雾的缥缈与厚重，线条勾勒精准细腻，龙身鳞片纹理清晰，尽显工笔之精致；下方海浪波涛汹涌，笔触顿挫间似闻涛声，皴法运用更添海浪的雄浑质感。整幅画虚实相生，龙隐于云雾，露于浪尖，动静交织，既藏龙的神秘莫测，又显其腾跃四海的气势。水墨晕染与工笔细腻结合，让云雾朦胧、龙的刚劲、海浪磅礴浑然一体，传递出震撼的视觉张力，尽显传统绘画中龙的象征意蕴与艺术魅力。",[27,88,28,29,50,7,26,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabb8117d1a4cbc5848ca2bc81172fa9f.jpg",[208],"796040",{"id":655,"slug":656,"title":657,"dynasty":63,"author":236,"museum":20,"description":237,"tags":658,"thumbUrl":666,"material":73,"size":74,"collection":129,"collections":667,"showCount":668,"zanCount":11,"manualWeight":11,"mainColor":58},226090,"the-pointe-de-la-he-ve-at-low-tide-1865-mo-nai-226090","The 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1886",[239,122,659,674,346,396,126,7,481,524,127,216,675,676,677,678,679,584,680],"色彩明快","外光写生","自然景物","海洋景观","礁石海岸","动态海浪","户外写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a174eff22cfa5885914935b77dadabb.jpg",[129],{"id":684,"slug":685,"title":686,"dynasty":619,"author":64,"museum":20,"description":687,"tags":688,"thumbUrl":693,"material":73,"size":74,"collection":75,"collections":694,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":79},290795,"wei-du-tu-zhou-yi-ming-290795","苇渡图轴","画中达摩脚踩一叶芦苇，衣袍飞动，飞越江水。人物受明末吴彬夸张变形风格影响，神情夸大，极富趣味。用色鲜艳活泼。",[23,26,24,88,49,689,295,690,7,691,158,692],"佛教","一苇渡江","芦苇","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec55356e9a762b91962970217653bc0.jpg",[],{"id":696,"slug":697,"title":698,"dynasty":153,"author":64,"museum":20,"description":699,"tags":700,"thumbUrl":701,"material":75,"size":75,"collection":75,"collections":702,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":58},230339,"luo-han-du-hai-tu-yi-ming-230339","罗汉渡海图","开篇海门轻启，仙娥探身，沧澜翻涌成涡，细密灵动的线条将水势浩渺汹涌尽显。罗汉们或乘龙踏浪，或引虎随行，奇妖异仆持械护法，红芒隐于周身，诡谲间不失神圣气象。\n\n后半段峰崖叠翠，古松虬劲，众罗汉缓行林间，或驻足对谈，或盥手小憩，神态悠然松弛。全卷工笔设色雅致清润，人物形貌各异，毛发衣褶分毫毕现，山海之景虚实相生，将渡海登岸的奇幻禅意晕染开来，叙事性与观赏性兼具，尽显仙佛绘卷的古典意趣。",[48,23,49,88,227,141,142,158,29,68,30,50,109,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff86155df94a6033f55373ac4bdebf0ed.jpg",[],{"id":704,"slug":705,"title":706,"dynasty":63,"author":236,"museum":20,"description":237,"tags":707,"thumbUrl":709,"material":73,"size":74,"collection":129,"collections":710,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":79},226036,"stormy-seascape-1883-mo-nai-226036","Stormy Seascape, 1883",[122,239,24,481,240,7,708,142],"暴风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb26baa629ef030f780ed19edcc59ad9.jpg",[129],{"id":712,"slug":713,"title":714,"dynasty":63,"author":236,"museum":20,"description":237,"tags":715,"thumbUrl":718,"material":73,"size":74,"collection":129,"collections":719,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":58},226018,"rough-sea-at-etretat-1868-1869-mo-nai-226018","Rough Sea at Etretat, 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drawing","这幅素描以圆形构图定格亲昵瞬间，女神与小爱神相互依偎，小爱神环住女神肩头，亲昵姿态晕开缱绻温情。创作者以细腻柔和的线条勾勒出人体舒展的柔美曲线，用极简排线轻绘明暗起伏，精准描摹出肌肤温润质感与衣料垂坠褶皱的韵律。\n\n淡笔铺绘的翻卷浪涛托举起二人，暗合爱神从海水中诞生的古典意象。没有繁复修饰，却将神性揉进松弛互动里，草稿独有的灵动随性让神祇褪却距离感，满溢温柔的古典浪漫，将脉脉爱意藏在克制笔触之间。",[852,418,471,752,853,854,7,87],"素描","裸女","天使","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b8b346dd9196382930938f7b49986a.jpg",[],"FFFFFF",{"id":859,"slug":860,"title":861,"dynasty":63,"author":64,"museum":20,"description":862,"tags":863,"thumbUrl":867,"material":73,"size":74,"collection":75,"collections":868,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":79},288710,"william-blake-angel-of-the-revelation-yi-ming-288710","William Blake--Angel of the Revelation","挺拔的天使周身漫溢暖金神光，抬手昭告天启降临，另一手紧攥载满圣谕的经卷。他赤足立于惊涛之上的岩礁，熔火光焰缠绕踝间，躯体的线条凝练而充满力量感，将神性威严与精神伟力具象化。\n\n云霭间簇拥的众灵神态各异，或敬畏凝视，或惶惑低语，以凡俗的渺小反衬出天使的崇高孤绝。淡彩晕染出朦胧又磅礴的神光明暗，柔和笔触勾勒的神圣辉光，将天启时刻的庄严肃穆铺展开来，让观者仿若亲历神谕降下的瞬间，灵魂随这束神光震颤，沉浸在神圣降临的震撼之中。",[141,471,49,854,864,865,50,7,866],"神圣","光芒","圣经题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2042e8386e1bfa58d6347b9ebb4fb5c1.jpg",[],{"id":870,"slug":871,"title":872,"dynasty":153,"author":64,"museum":20,"description":873,"tags":874,"thumbUrl":879,"material":73,"size":74,"collection":75,"collections":880,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":79},271362,"huang-yi-ba-duan-shi-hai-gui-shi-yan-yi-ming-271362","黄易跋端石海龟式砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[875,282,876,7,877,878],"砚","海龟","端石","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab87a6bc1466c94662437ee99cef0c55.jpg",[],{"id":882,"slug":883,"title":884,"dynasty":153,"author":64,"museum":20,"description":885,"tags":886,"thumbUrl":889,"material":73,"size":74,"collection":75,"collections":890,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":79},266040,"xing-huang-se-duan-xiu-cai-yun-jin-long-wen-tian-ma-pi-nan-mang-pao-yi-ming-266040","杏黄色缎绣彩云金龙纹天马皮男蟒袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[260,111,431,29,887,888,7],"蟒袍","彩云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e98fbe56bbfb5cabe07adf079091e17.jpg",[],{"id":892,"slug":893,"title":894,"dynasty":137,"author":64,"museum":20,"description":545,"tags":895,"thumbUrl":897,"material":73,"size":74,"collection":75,"collections":898,"showCount":327,"zanCount":78,"manualWeight":11,"mainColor":58},257122,"qing-hua-hai-shou-wen-wan-yi-ming-257122","青花海兽纹碗",[297,547,548,896,7],"海兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79473f970bd7aaa4a438b36bfaf13677.jpg",[],{"id":900,"slug":901,"title":902,"dynasty":153,"author":64,"museum":20,"description":903,"tags":904,"thumbUrl":915,"material":73,"size":74,"collection":75,"collections":916,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":58},238875,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238875","清人善巴拉王菩萨像轴","主尊舒坐宝椅，面含慈蔼，身饰璎珞，华服织金错彩，左手握持吐宝鼠，右手施与愿印，尽显华贵威严。上方忿怒护法与传法上师分侍两侧，祥云朵朵托起重楼天境。下方侍从捧供奔走，渔人踏浪而行，亭台隐于花树青峦间，将天界的肃穆与凡间意趣相融。\n整作以珍贵矿物颜料晕染，色泽历久明艳，线条细腻柔劲，将神性的庄严与世俗的烟火气精妙结合，让信仰图景跃然绢上，尽显唐卡工艺的极致精妙。",[905,26,141,49,88,142,536,906,907,908,909,910,434,257,911,912,7,913,914],"唐卡","渔乐","善巴拉王","忿怒护法","传法上师","吐宝鼠","花树","亭台","青峦","矿物颜料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092e09554609e35ed23fbafd0b976993.jpg",[],{"id":918,"slug":919,"title":920,"dynasty":137,"author":64,"museum":20,"description":921,"tags":922,"thumbUrl":923,"material":73,"size":74,"collection":75,"collections":924,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":58},228623,"duan-shi-hai-tian-yu-ri-yan-yi-ming-228623","端石海天浴日砚","端砚是中国四大名砚之一，与甘肃洮砚、安徽歙砚、山西澄泥砚齐名。出产于唐代初期端州（今广东肇庆市东郊的端溪），故名端砚，距今已有一千三百多年的历史。\n中国传统文化中的文房四宝，砚为其一。在中国所产的四大名砚中，尤以广东省端砚最为称著。端砚以石质坚实、润滑、细腻、娇嫩而驰名于世，用端砚研墨不滞，发墨快，研出之墨汁细滑，书写流畅不损毫，字迹颜色经久不变，端砚若佳，无论是酷暑还是严冬，用手按其砚心，砚心湛蓝墨绿，水气久久不干，故古人有“呵气研墨”之说。 端砚石出产在广东省肇庆市东部的烂柯山和肇庆市七星岩北面（西起小湘峡，东至鼎湖山）的北岭山一带，尤以老坑、麻子坑和坑仔岩三地之砚石为最佳。\n端砚的历史悠久，石质优良，雕刻精美。端砚、歙砚和洮砚，素来有“三大石质名砚”之美誉。制造端砚，一般要经过采石。选料、雕刻、配盒四道工序。",[875,877,282,7,203,843],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a84b213f7e05855c634739e63c3112.jpg",[],{"id":926,"slug":927,"title":928,"dynasty":63,"author":64,"museum":20,"description":929,"tags":930,"thumbUrl":935,"material":73,"size":74,"collection":75,"collections":936,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":79},225444,"fu-shi-hui-202-yi-ming-225444","浮世绘202","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[931,932,933,49,142,761,7,934,127],"浮世绘","木刻","版画","炮火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71180aae6c51ae940a8e2ab7121447b2.jpg",[],{"id":938,"slug":939,"title":940,"dynasty":63,"author":64,"museum":20,"description":929,"tags":941,"thumbUrl":945,"material":73,"size":74,"collection":75,"collections":946,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":79},225400,"fu-shi-hui-157-yi-ming-225400","浮世绘157",[931,932,49,142,942,943,7,944],"刀剑","梅花","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d8cfbb6e2484165fc4088f9a844761.jpg",[],{"id":948,"slug":949,"title":950,"dynasty":153,"author":951,"museum":369,"description":952,"tags":953,"thumbUrl":955,"material":75,"size":75,"collection":75,"collections":956,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":957},202351,"hai-tian-xu-ri-tu-zhou-wu-qing-yun-202351","海天旭日图轴","吴庆云","晨曦破晓，海天之际旭日腾跃，霞光漫染云霞与奔涌的浪涛，远山层叠隐现，近崖嶙峋陡峭，枯树虬枝间错落着几处茅舍，飞鸟掠过长空，为静谧画面添注灵动。画作以水墨为底，设色晕染柔和，山石用皴法勾勒苍劲肌理，海浪笔触流畅兼具动感，云霞渐变与光影处理巧妙，既承传统山水悠远意境，又融西画写实感，层次分明。整体气象开阔却不失清幽，尽显自然浩渺生机与文人意趣。",[23,158,49,27,28,174,772,762,7,954,48],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5352d238e8e4be448faab6ffcd644fbc.jpg",[],"989287",{"id":959,"slug":960,"title":961,"dynasty":63,"author":64,"museum":20,"description":962,"tags":963,"thumbUrl":967,"material":73,"size":74,"collection":75,"collections":968,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},289021,"luca-giordano-the-abduction-of-helen-yi-ming-289021","Luca Giordano--The Abduction of Helen","奔放随性的线条铺展开篇叙事，中央男女身姿紧绷仓促，猎猎衣袂裹挟着海风，满是仓皇奔赴的张力。左侧翻涌浪涛里，海怪探出头颅，为这场劫掠晕开诡谲底色。远景云霞与浮空神祇虚影，以虚淡排线晕出独属史诗的缥缈氛围感。\n\n画师以速写式粗粝笔触，精准勾勒人物的肌肉起伏与动态韵律，摒弃繁琐细节堆砌，将惶急的私奔式劫掠与史诗的恢弘糅合一处。潦草却充满力量的线条，仿佛还留存落笔时的急促心绪，将这紧张瞬间凝固定格在素纸之上，粗朴笔触下藏着浓烈戏剧张力，让神话场景跃然纸面。",[852,418,964,471,965,7,174,481,966],"线描","神话故事","劫持场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5075dc5795615f0d2df748df4a156a7.jpg",[],{"id":970,"slug":971,"title":972,"dynasty":63,"author":64,"museum":20,"description":973,"tags":974,"thumbUrl":976,"material":73,"size":74,"collection":75,"collections":977,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},288786,"pierre-puget-a-frigate-at-sea-yi-ming-288786","Pierre Puget--A Frigate at Sea","阴沉朦胧的海天之间，巨型战舰正乘风破浪，满张的船帆在风中猎猎鼓动，繁复桅杆交织错落，尽显大航海时代的雄浑气魄。笔触细腻写实，船体密布的炮窗、甲板上攒动的水手，将远洋航行的蓬勃张力与征途日常的细节尽数还原。\n\n翻涌的浪涛以晕染勾勒，在明暗深浅间烘托出海面的动荡，远景里的小帆船与主舰形成鲜明尺度对比，衬得巨舰愈发巍峨，右下角礁石旁忙碌的水手则让画面多了几分生活气，让远航的浪漫里又糅杂着鲜活的真实。水雾朦胧了天地边界，将冒险的豪情与远洋的厚重揉为一体，静帧里仿佛能听见海风呼啸、浪击船舷。",[852,975,125,7,243,142,663],"海景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F638a472df26c774076f048bb360b3547.jpg",[],{"id":979,"slug":980,"title":981,"dynasty":153,"author":64,"museum":20,"description":982,"tags":983,"thumbUrl":986,"material":73,"size":74,"collection":75,"collections":987,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":40},269258,"zhu-diao-liu-qing-xian-ren-tu-bi-ge-yi-ming-269258","竹雕留青仙人图臂搁","留青技法运用精妙，以竹肤留作画面肌理，褪青衬底，明暗层次分明。画面上部危崖崔嵬，流云舒卷，仙人乘云徐行，衣袂翩跹，飘然出尘；下部惊涛拍岸，古松虬枝蟠曲，松下高士凭崖观浪，童子垂首侍立，山海壮阔与林下幽情相融无间。刀工细腻写实，将山石嶙峋、松针苍劲、人物神态皆刻画入微，既有山水画的悠远意境，又尽显竹雕工艺的雅致精巧，把仙道隐逸的清逸氛围感烘托得淋漓尽致，是颇具意趣的清代竹刻佳制。",[984,282,985,468,158,202,7,843],"竹雕","留青技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501674086f4ca4e28bd1dfa790ce0fb4.jpg",[],{"id":989,"slug":990,"title":991,"dynasty":153,"author":64,"museum":20,"description":992,"tags":993,"thumbUrl":995,"material":73,"size":74,"collection":75,"collections":996,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":58},262095,"fen-cai-ling-shan-fu-hai-tu-wan-yi-ming-262095","粉彩灵山福海图碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[547,840,551,550,7,70,994,49],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc978c5af483bc07e81f46716959f4603.jpg",[],{"id":998,"slug":999,"title":1000,"dynasty":153,"author":64,"museum":20,"description":545,"tags":1001,"thumbUrl":1004,"material":73,"size":74,"collection":75,"collections":1005,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":58},260912,"qing-hua-kai-guang-yi-shou-tu-guan-yi-ming-260912","青花开光异兽图罐",[547,548,1002,30,1003,7,257],"罐","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9852918873cf5ce515cd2f9d35008827.jpg",[],{"id":1007,"slug":1008,"title":1009,"dynasty":153,"author":64,"museum":20,"description":545,"tags":1010,"thumbUrl":1011,"material":73,"size":74,"collection":75,"collections":1012,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":58},259431,"chang-chun-gong-kuan-qing-hua-fu-wen-bi-tong-yi-ming-259431","长春宫款青花蝠纹笔筒",[547,548,551,550,7,70,841],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fe23b0df3b7bb868c8f6201826df12.jpg",[],{"id":1014,"slug":1015,"title":1016,"dynasty":153,"author":64,"museum":20,"description":1017,"tags":1018,"thumbUrl":1022,"material":73,"size":74,"collection":75,"collections":1023,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":79},248084,"ti-hong-ba-xian-tu-tao-shi-he-yi-ming-248084","剔红八仙图桃式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[606,1019,1020,282,142,1021,257,7],"漆器","剔红","桃形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ad94bc8b220ae28d3f5e006d44bd9fe.jpg",[],{"id":1025,"slug":1026,"title":1027,"dynasty":63,"author":1028,"museum":20,"description":1029,"tags":1030,"thumbUrl":1034,"material":73,"size":74,"collection":75,"collections":1035,"showCount":78,"zanCount":11,"manualWeight":11,"mainColor":58},232321,"a-er-ma-48-lao-lun-si-a-er-ma-ta-de-ma-232321","阿尔玛48","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[551,1113,282,1114,7,257],"饮酒器","犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe934386382116f61b997900818f2a54c.jpg",[],{"id":1118,"slug":1119,"title":1120,"dynasty":153,"author":64,"museum":20,"description":545,"tags":1121,"thumbUrl":1124,"material":73,"size":74,"collection":75,"collections":1125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},261627,"kang-xi-kuan-qing-hua-shou-hai-tu-tuo-yuan-hua-pen-yi-ming-261627","康熙款青花寿海图椭圆花盆",[547,548,1122,1123,7,70,174],"寿海图","花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921e731bbd2e282d0111145a9df42867.jpg",[],{"id":1127,"slug":1128,"title":1129,"dynasty":153,"author":64,"museum":20,"description":820,"tags":1130,"thumbUrl":1134,"material":73,"size":74,"collection":75,"collections":1135,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},261273,"yong-zheng-kuan-qing-hua-shou-shan-fu-hai-ba-bao-wen-shu-yao-pan-yi-ming-261273","雍正款青花寿山福海八宝纹束腰盘",[547,548,1131,1132,1133,550,7,70],"束腰盘","寿山福海","八宝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11142e4a642dc36240ede31690a20919.jpg",[],{"id":1137,"slug":1138,"title":1139,"dynasty":153,"author":64,"museum":20,"description":545,"tags":1140,"thumbUrl":1143,"material":73,"size":74,"collection":75,"collections":1144,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},260905,"qing-hua-yi-shou-wen-gu-shi-gai-guan-yi-ming-260905","青花异兽纹鼓式盖罐",[547,548,1141,30,1142,7,70],"异兽","鼓式盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014827be4c585c36be56fd0a883ab008.jpg",[],{"id":1146,"slug":1147,"title":1148,"dynasty":137,"author":64,"museum":20,"description":545,"tags":1149,"thumbUrl":1150,"material":73,"size":74,"collection":75,"collections":1151,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},260454,"qing-hua-ba-xian-qing-shou-wen-guan-yi-ming-260454","青花八仙庆寿纹罐",[547,548,751,142,202,7,1002,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde18ec590c7f48c31425e9e87065fe.jpg",[],{"id":1153,"slug":1154,"title":1155,"dynasty":137,"author":64,"museum":20,"description":545,"tags":1156,"thumbUrl":1157,"material":73,"size":74,"collection":75,"collections":1158,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},259884,"xuan-de-kuan-qing-hua-shan-shui-tu-wan-yi-ming-259884","宣德款青花山水图碗",[547,548,158,536,7,1113,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbad539da2b6730ea2d386f580134067a.jpg",[],{"id":1160,"slug":1161,"title":1162,"dynasty":153,"author":64,"museum":20,"description":992,"tags":1163,"thumbUrl":1166,"material":73,"size":74,"collection":75,"collections":1167,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},259518,"da-ya-zhai-kuan-ou-he-di-fen-cai-hua-niao-tu-gao-zu-wan-yi-ming-259518","大雅斋款藕荷地粉彩花鸟图高足碗",[547,840,89,1113,276,1164,1165,7,551],"荷花","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a0c2b5fb6e0ed4a2af7cfa571597a0.jpg",[],{"id":1169,"slug":1170,"title":1171,"dynasty":153,"author":64,"museum":20,"description":992,"tags":1172,"thumbUrl":1174,"material":73,"size":74,"collection":75,"collections":1175,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},259515,"da-ya-zhai-kuan-lv-di-fen-cai-hua-niao-tu-gao-zu-wan-yi-ming-259515","大雅斋款绿地粉彩花鸟图高足碗",[547,840,49,89,551,1173,174,7],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6a3ec61253904908b903be6196c069.jpg",[],{"id":1177,"slug":1178,"title":837,"dynasty":153,"author":64,"museum":20,"description":838,"tags":1179,"thumbUrl":1181,"material":73,"size":74,"collection":75,"collections":1182,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},259502,"chang-chun-gong-kuan-fen-cai-tao-fu-wen-bi-tong-yi-ming-259502",[547,840,49,841,550,70,7,1180],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4134a38e2e46cc62920f4ffd44ed07f5.jpg",[],{"id":1184,"slug":1185,"title":1186,"dynasty":153,"author":64,"museum":20,"description":545,"tags":1187,"thumbUrl":1188,"material":73,"size":74,"collection":75,"collections":1189,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},259432,"qing-hua-fei-fu-wen-bi-tong-yi-ming-259432","青花飞蝠纹笔筒",[547,548,841,550,842,69,158,7,70,551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2629b3659b992a54b32ab8552a51f406.jpg",[],{"id":1191,"slug":1192,"title":1193,"dynasty":153,"author":64,"museum":20,"description":545,"tags":1194,"thumbUrl":1197,"material":73,"size":74,"collection":75,"collections":1198,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},258503,"qian-long-kuan-qing-hua-you-li-hong-yun-long-wen-ping-yi-ming-258503","乾隆款青花釉里红云龙纹瓶",[547,1195,606,29,31,1196,7,551],"青花釉里红","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F176a1ade5c1b49630375be28003c4f95.jpg",[],{"id":1200,"slug":1201,"title":1202,"dynasty":153,"author":64,"museum":20,"description":1017,"tags":1203,"thu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