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[2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[71,24,23,25,72,27,28,29,7,148,149,150],"孤石","芙蓉","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","绢本","纵197.5厘米，横108.7厘米","宋画精选",[154,156,36,83],"花鸟画精选",237,3,{"id":160,"slug":161,"title":162,"dynasty":109,"author":110,"museum":163,"description":164,"tags":165,"thumbUrl":169,"material":34,"size":35,"collection":36,"collections":170,"showCount":171,"zanCount":172,"manualWeight":11,"mainColor":40},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","圣路易斯艺术博物馆","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[71,24,25,72,27,28,29,166,7,167,168],"美人","竹","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[36],188,4,{"id":174,"slug":175,"title":176,"dynasty":125,"author":126,"museum":127,"description":177,"tags":178,"thumbUrl":182,"material":152,"size":183,"collection":35,"collections":184,"showCount":185,"zanCount":186,"manualWeight":11,"mainColor":63},221493,"ku-lou-huan-xi-tu-li-song-221493","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。\n此《骷髅幻戏图》为扇面册页，左侧署有李嵩的名款，画面有“信公珍赏”“会侯珍藏”等多方收藏印章。 [1] 画面中心人物是一戴幞头、穿透明纱袍的大骷髅，席地而坐，左腿曲折着地，左手按左大腿，右腿弓起，右肘支右膝，坐姿十分舒适自便。右手提控一小骷髅，应为提线木偶（傀儡），上下牙列开张，似在说笑。小骷髅即提线木偶（傀儡）右脚着地，左脚抬起，两臂做招手状，很是活泼。小骷髅对面为一小儿，其左手与双足俱着地，昂首伸右臂，似要伸手抓小骷髅，顽皮而好奇。小儿身后为一青年妇人，双手伸出似作阻拦状，表情看似有些干着急。大骷髅身后安坐一青年妇人，半袒胸，怀抱中小儿正食其乳。目光安详，稍侧身，正注视着眼前之事。人物描画十分生动细致，仿佛能听见他们各自的声音。特别是骷髅的造型十分精准。\n对幅有王玄真书黄公望《醉中天》曲：\n没半点皮和肉，有一担苦和愁。傀儡儿还将丝线抽，寻一个小样子把冤 家逗。识破个羞那不羞？呆兀自五里已单堠。\n曲末题署： 至正甲午春三月十日大痴道人作，弟子休休王玄真书，右寄醉中天。\n画幅之核心主题，当为生死转化及其因果轮回。画家将画一分为二，生死各半。左边画一大骷髅，头戴朴头，身着色衣，关节以线穿连，为艺人的演戏傀儡，含有死之意；右边则画一小儿，手足着地，仰首伸臂，带有生之欲。生死既分，却又互相吸引，故画幅中央被大骷髅戏弄的小骷髅，面向小儿，作躬身招呼状。此是戏中之戏，亦是精心之笔。啸髅躯架刻画准确，小儿动态神气表现生动，大骷髅身後，一妇人袒胸露乳，喂哺幼儿，神色不安地注视着骷髅戏婴之情景，与画幅右边神情恐惧、伸手阻拦那趴地小儿的另一妇人恰成对照，呈现一种静与动、思与行的对立。\n此图还存在着三重幻戏结构：一是两个操控，即大骷髅对于小骷髅的操控，无形之手对于大骷髅的操控；二是交相生发的幻术结构，甚至观图者也会不自觉地落入其中；三是各种背反之表现，尤其是观者明、当局者迷，令人难忘。\n构图的黑白市置上，画家将示死气之骷髅衬于密线重墨组成的墩子、货担之前，增添了阴森、黑暗及恐怖的气氛；同时，却将表现生的小儿置于简写的土地及大片空白的背景上，加强了晴朗、光明及欣喜的感觉。\n单纯从笔墨技法上看，李嵩发挥了自己擅于勾勒、界画之才能，线条坚韧扎实，墨色精致细腻。衣纹用线劲利，或纤柔、或飘动、或挺拔，皆依形态动作而生变化。器物用笔工整严细，笔笔送到，不见轻率浮滑。骨骼、肌肤用笔略有差别，前者刚健，凝重，后者圆转，富于弹性。至于浓淡设色，基本为层层渲染，渐次加深浓重程度，直至轮廓空间毕现方止。染工严谨、古雅，颇具宋朝院体画之特色。",[71,28,27,29,179,7,180,133,181],"骷髅","妇人","怪诞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b944972848e948075643620ba0a8fb.jpg","纵27厘米，横26.3厘米",[],175,2,{"id":188,"slug":189,"title":190,"dynasty":45,"author":191,"museum":47,"description":192,"tags":193,"thumbUrl":197,"material":58,"size":35,"collection":35,"collections":198,"showCount":199,"zanCount":200,"manualWeight":11,"mainColor":63},214859,"xie-sheng-ce-5-hua-yan-214859","写生册-5","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,25,26,28,194,29,74,195,53,7,196],"兼工带写","孤舟","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401460e042e0e8b8e2745377def9863.jpg",[],165,1,{"id":202,"slug":203,"title":204,"dynasty":125,"author":205,"museum":47,"description":206,"tags":207,"thumbUrl":215,"material":34,"size":35,"collection":154,"collections":216,"showCount":217,"zanCount":158,"manualWeight":11,"mainColor":40},220204,"bo-gu-tu-yi-ming-220204","博古图","佚名","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[71,24,25,28,27,29,95,208,168,209,133,55,7,210,211,212,213,214],"石","古物","文人","桌案","古玩","平台","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[154,36],164,{"id":219,"slug":220,"title":221,"dynasty":18,"author":19,"museum":47,"description":222,"tags":223,"thumbUrl":228,"material":34,"size":229,"collection":36,"collections":230,"showCount":231,"zanCount":186,"manualWeight":11,"mainColor":40},218222,"ying-xi-tu-chou-ying-218222","婴戏图","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[24,25,27,28,29,7,224,96,55,225,226,227],"树","玩耍","传统绘画","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[36],157,{"id":233,"slug":234,"title":235,"dynasty":125,"author":126,"museum":47,"description":236,"tags":237,"thumbUrl":240,"material":34,"size":241,"collection":36,"collections":242,"showCount":243,"zanCount":186,"manualWeight":11,"mainColor":63},215107,"shi-dan-ying-xi-tu-li-song-215107","市担婴戏图","朴实的农村中，传来了熟悉的'咚不隆咚声。一位老货郎手摇着拨浪鼓，费力地挑着百货杂物走城串乡来了。一名还在喂餵乳的村妇，闻声赶上前来。大小娃儿们跟着围在一旁，又是焦急又是欢喜：争相向母亲示意哪个玩具好玩新奇；性急的，索幸自个儿爬上摊子抓取了！\n南宋时，画院曾流行描绘农村生活的情态，个中翘楚，首推李嵩。在这幅《市担婴戏图》里，可以亲眼目赌这位老画师画技的不凡。只消看看货郎担上、身上所披挂的各式膏药、杂货与童玩（据画上提示有“五百件”），就已足够令人眼花缭乱，技艺的超群也就不言而喻了。除此之外，画中在描绘货郎为生计辛勤奔波、村妇为家计费心盘量的同时，画家能匠心地摹绘孩童的无邪天真，更在在显示刻划手法的独到与细腻。李嵩出身民间工匠，对农村生活的观察，体会尤深。在图1这幅图中，他以精准、顿挫有致的笔法，既呈现出市井小民的情态，也展现乡野浓厚的生命气息，可说是一件杰出、令人动容的小品。",[71,24,25,238,27,28,130,29,7,132,52,239],"扇面","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f373c10d3030225f43684528bc8cd74.jpg","25.8x27.6公分",[36],155,{"id":245,"slug":246,"title":247,"dynasty":18,"author":19,"museum":127,"description":248,"tags":249,"thumbUrl":252,"material":137,"size":253,"collection":35,"collections":254,"showCount":255,"zanCount":200,"manualWeight":11,"mainColor":63},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[71,24,25,27,28,29,167,150,7,250,55,209,251],"侍女","品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg","每开纵41.4厘米，横33.8厘米",[],152,{"id":257,"slug":258,"title":259,"dynasty":18,"author":260,"museum":111,"description":261,"tags":262,"thumbUrl":268,"material":34,"size":269,"collection":36,"collections":270,"showCount":271,"zanCount":158,"manualWeight":11,"mainColor":40},219564,"huo-lang-tu-cui-zi-zhong-219564","货郎图","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[71,24,27,28,72,263,29,7,264,265,75,266,267,133,52],"风俗画","货郎","松树","花草","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[36,83],145,{"id":273,"slug":274,"title":221,"dynasty":45,"author":275,"museum":276,"description":277,"tags":278,"thumbUrl":280,"material":34,"size":35,"collection":36,"collections":281,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":40},218250,"ying-xi-tu-luo-pin-218250","罗聘","上海博物馆","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[24,25,28,27,29,7,224,279,50,51,196,53],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[36],132,{"id":284,"slug":285,"title":286,"dynasty":45,"author":89,"museum":20,"description":287,"tags":288,"thumbUrl":294,"material":295,"size":296,"collection":35,"collections":297,"showCount":298,"zanCount":200,"manualWeight":11,"mainColor":40},290321,"sui-chao-huan-qing-tu-zhou-yao-wen-han-290321","岁朝欢庆图轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[23,24,72,28,27,289,29,73,290,7,291,100,56,292,293],"界画","宅院","欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg","未知","Xcm*Xcm",[],104,{"id":300,"slug":301,"title":302,"dynasty":18,"author":205,"museum":303,"description":304,"tags":305,"thumbUrl":309,"material":34,"size":310,"collection":36,"collections":311,"showCount":312,"zanCount":186,"manualWeight":11,"mainColor":40},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","印第安纳波利斯艺术博物馆","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[71,24,27,28,29,7,264,306,133,307,308],"禽鸟","传统","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f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更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[71,24,25,27,28,29,7,495,496,497,498,499,500,420],"蟾蜍","石榴","长命锁","金钏玉饰","端阳","恶作剧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分",[36],{"id":505,"slug":506,"title":507,"dynasty":125,"author":205,"museum":276,"description":508,"tags":509,"thumbUrl":513,"material":514,"size":515,"collection":35,"collections":516,"showCount":517,"zanCount":186,"manualWeight":11,"mainColor":40},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[71,24,25,92,28,27,29,166,7,333,167,224,208,51,55,117,510,511,512],"发饰","桌子","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","绢本设色","25.5x158.7厘米",[],69,{"id":519,"slug":520,"title":521,"dynasty":109,"author":522,"museum":20,"description":523,"tags":524,"thumbUrl":526,"material":295,"size":296,"collection":35,"collections":527,"showCount":528,"zanCount":11,"manualWeight":11,"mainColor":40},289114,"he-ting-ying-xi-tu-wang-qi-han-289114","荷亭婴戏图","王齐翰","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[238,24,23,28,27,29,7,166,381,525,239,55],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878e5b0c706548439d7b3646b4762c85.jpg",[],68,{"id":530,"slug":531,"title":176,"dynasty":125,"author":126,"museum":20,"description":532,"tags":533,"thumbUrl":536,"material":295,"size":296,"collection":35,"collections":537,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":63},289329,"ku-lou-huan-xi-tu-li-song-289329","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。",[71,23,24,25,238,28,29,179,7,534,535,336,335,56],"母子","幻戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb763370785e266153eaddfb1f724eb.jpg",[],64,{"id":540,"slug":541,"title":542,"dynasty":45,"author":205,"museum":20,"description":543,"tags":544,"thumbUrl":548,"material":295,"size":296,"collection":35,"collections":549,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":551},249175,"qian-long-kuan-hua-fa-lang-shi-nv-tu-bi-yan-hu-yi-ming-249175","乾隆款画珐琅仕女图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[45,545,546,28,114,7,29,547],"乾隆","画珐琅","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f6c77778a489e7af1575050a8801ee.jpg",[],63,"F48FB1",{"id":553,"slug":554,"title":555,"dynasty":431,"author":556,"museum":20,"description":557,"tags":558,"thumbUrl":573,"material":295,"size":296,"collection":574,"collections":575,"showCount":576,"zanCount":11,"manualWeight":11,"mainColor":577},225891,"fa-guo-wang-hou-ma-li-an-tuo-wa-he-ta-de-hai-zi-men-yi-li-sha-bai-lu-yi-si-wei-jie-lei-bu-lun-225891","法国王后玛丽．安托瓦和她的孩子们","伊丽莎白·路易丝·维杰·勒布伦","伊丽莎白·路易丝·维热·勒布伦（ElisabethLouiseVigee-LeBrun），1755年出生于法国，学肖像画成名后，被选为法兰西皇家绘画雕塑学院院士，1842年在巴黎逝世。",[559,28,560,561,29,7,562,563,564,565,566,567,568,569,570,571,572],"油画","写实","肖像画","女性","贵族","室内场景","华丽服饰","织物","地毯","窗帘","柜子","光影","古典","欧洲宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93289aec03f77fbc22f98dd6e56f227e.jpg","油画精选",[574],57,"37474F",{"id":579,"slug":580,"title":581,"dynasty":125,"author":205,"museum":378,"description":582,"tags":583,"thumbUrl":586,"material":514,"size":587,"collection":154,"collections":588,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":40},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱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“元” 送 “喜” 谐音。三元指状元、会元、解元，故本图有科考高中之吉祥寓意。",[71,24,25,27,28,29,7,224,385,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[36],{"id":637,"slug":638,"title":639,"dynasty":640,"author":641,"museum":642,"description":643,"tags":644,"thumbUrl":652,"material":35,"size":35,"collection":35,"collections":653,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":63},220573,"yu-gong-yi-shan-xu-bei-hong-220573","愚公移山","民国","徐悲鸿","中央美术学院美术馆","这幅长卷以群像铺展劳作盛景，左侧妇孺老者伴象静立，眉眼间带着质朴安然的烟火气；右侧赤膊力士肌肉虬结，或挥锄蓄力、躬身掘土，古铜色躯体迸发撼人力量。创作者揉合中西技法，以国画线条勾勒筋骨，用西洋写实晕染肌肉明暗，将劳动者的粗粝体魄与坚毅精神凝于笔端。没有刻意渲染神话玄奇，只落脚于凡人苦干，把古老寓言的坚韧意志，具象成一群勇者的躬身耕耘，让不移信念在充满烟火气的劳作场景中变得可感可触，尽显沉浑厚重的生命张力。",[71,24,28,560,29,645,646,7,562,446,647,648,649,650,651],"大象","水牛","农具","田野","劳作","人体","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f740d7fd7175fb0157e825af787bca.jpg",[],48,{"id":656,"slug":657,"title":221,"dynasty":18,"author":316,"museum":111,"description":317,"tags":658,"thumbUrl":322,"material":34,"size":660,"collection":36,"collections":661,"showCount":654,"zanCount":200,"manualWeight":11,"mainColor":40},218365,"ying-xi-tu-you-qiu-218365",[71,24,25,72,27,28,29,7,265,320,659,321,319,239],"伞","89.3x53.4",[36],{"id":663,"slug":664,"title":665,"dynasty":376,"author":205,"museum":47,"description":666,"tags":667,"thumbUrl":669,"material":34,"size":670,"collection":36,"collections":671,"showCount":672,"zanCount":11,"manualWeight":11,"mainColor":40},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[23,24,72,28,29,27,166,7,668,168,264,484,150],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg","196.8x104.3",[36],45,{"id":674,"slug":675,"title":676,"dynasty":18,"author":205,"museum":47,"description":677,"tags":678,"thumbUrl":680,"material":34,"size":681,"collection":36,"collections":682,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":577},218445,"xi-ying-tu-yi-ming-218445","戏婴图","古雅绢色晕染出时光的温润，三个稚童围聚盆边的嬉戏场景，似将千年笑语凝于尺幅。红衣童子侧身托腮，绿衣小儿俯身探向盆中浮舫，灰衣幼童低首凝视，每一处神态皆憨态可掬。虬枝垂落艳红石榴，饱满果实暗蕴多子祈愿；盆沿纹饰斑斓，与稚子衣袂的鲜活色彩相映成趣。线条简练却传神，衣褶的松弛、动作的天真，尽得孩童本真之态。古绢的斑驳未减其韵，反让这份日常嬉戏的温馨更显隽永——无需刻意雕琢，便将纯粹童趣化为穿越时空的感动，引观者驻足，重拾心底那份久违的澄澈快乐。",[24,25,23,72,27,28,7,55,133,679,75,54],"石榴树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4bcc721f7de92c5eb1552f1552e379.jpg","144.2x79",[36],44,{"id":685,"slug":686,"title":144,"dynasty":125,"author":145,"museum":20,"description":687,"tags":688,"thumbUrl":691,"material":295,"size":296,"collection":35,"collections":692,"showCount":693,"zanCount":11,"manualWeight":11,"mainColor":40},287642,"qiu-ting-xi-ying-tu-su-han-chen-287642","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[24,27,28,620,7,689,55,690,420],"嬉戏","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb87ac74071d0fe4c61c5f135fd4de6b5.jpg",[],42,{"id":695,"slug":696,"title":697,"dynasty":376,"author":205,"museum":47,"description":698,"tags":699,"thumbUrl":701,"material":34,"size":702,"collection":36,"collections":703,"showCount":704,"zanCount":11,"manualWeight":11,"mainColor":40},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[24,72,28,27,29,7,690,224,75,54,700,239],"水果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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[1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[71,23,24,25,92,93,130,29,166,7,333,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":768,"slug":769,"title":770,"dynasty":125,"author":205,"museum":276,"description":771,"tags":772,"thumbUrl":773,"material":35,"size":35,"collection":154,"collections":774,"showCount":738,"zanCount":172,"manualWeight":11,"mainColor":775},201548,"ge-le-tu-juan-yi-ming-201548","歌乐图卷","画卷铺陈宋代闲适宴乐之景，庭院间虬枝缀花之木与青竹、怪石相映，景致清雅。男子持乐器奏乐，红衣女子或凝神倾听、或轻执器物互动，孩童稚态可掬，众人神情姿态生动传神。画作以工笔见长，线条细腻流畅，衣纹勾勒精准，设色典雅沉稳，将宴乐场景的悠然氛围尽显无遗，体现宋代绘画的精致匠心与艺术韵味。",[27,28,29,333,55,167,148,166,7,168,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f7c94786ca092c3352478aabf9437e.jpg",[154],"745f47",{"id":777,"slug":778,"title":779,"dynasty":125,"author":205,"museum":20,"description":780,"tags":781,"thumbUrl":785,"material":295,"size":296,"collection":35,"collections":786,"showCount":787,"zanCount":186,"manualWeight":11,"mainColor":40},290758,"ke-si-shang-yuan-ying-xi-tu-zhou-yi-ming-290758","缂丝上元婴戏图轴","亭台枕着山水铺展底色，凭栏文人悠然观览，稚童四散嬉游，或展纸挥毫、或拨弦弄乐，逗引瑞兽、结伴追闹，憨态各异，灵动鲜活。\n\n通经断纬的技法让石青、朱红色块利落分明，晕开古雅沉静的底色。将庭院稚趣与幽淡景致相融，复刻出闲逸日常图景，又以婴戏暗喻多子多福的吉庆愿景，把精妙织绣技艺与雅致民俗意趣揉合一处，尽显旧时雅致的生活意趣与精湛造物匠心。",[24,72,782,28,29,239,381,783,784,54,73,7],"缂丝","仙鹤","麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0353f7509ad134b32cb56e4816b0140e.jpg",[],33,{"id":789,"slug":790,"title":791,"dynasty":125,"author":145,"museum":47,"description":792,"tags":793,"thumbUrl":795,"material":34,"size":796,"collection":35,"collections":797,"showCount":798,"zanCount":186,"manualWeight":11,"mainColor":577},290326,"zhong-wu-xi-ying-tu-zhou-su-han-chen-290326","重午戏婴图轴","端午日，树阴敞榭，曲桥池沼中荷花绽放。\n群婴欢戏。扮戏、舞旗、摘荷、击钹、捉蜻蜓等等，其乐融融。人物描绘生动，地面上罗列各色玩具刻划入微。\n主要内容俱以金线勾描，显富丽装饰性。春日庭院，胡床屏风，三位婴儿据床观赏瓶中游鱼，两位于草地上玩弄陀螺，旁有一婴孩着红衣，脸戴面具，高扬朱笔，另一婴孩，背负幼儿，循阶而下，前来相会。\n该幅色彩颇为古雅，线条细致中亦不失灵活特色。",[23,24,620,27,28,7,689,73,55,794],"端午","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8888bfa167a5ffee1cb2b8d0d9a1cd48.jpg","165.1x116.2",[],31,{"id":800,"slug":801,"title":430,"dynasty":125,"author":145,"museum":20,"description":482,"tags":802,"thumbUrl":803,"material":295,"size":296,"collection":35,"collections":804,"showCount":798,"zanCount":200,"manualWeight":11,"mainColor":40},288531,"huo-lang-tu-zhou-su-han-chen-288531",[71,24,28,27,29,7,264,168,133,422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24f896d44e3017c883d9d0ce70a15df.jpg",[],{"id":806,"slug":807,"title":808,"dynasty":640,"author":641,"museum":642,"description":809,"tags":810,"thumbUrl":818,"material":35,"size":35,"collection":35,"collections":819,"showCount":798,"zanCount":11,"manualWeight":11,"mainColor":63},220557,"cun-ge-xu-bei-hong-220557","村歌","这幅画作以写意笔墨勾勒乡野童趣，壮硕水牛低首拽绳，墨色浓淡晕出皮毛的厚重肌理，犄角弯劲尽显憨倔神态。顽童扑卧浅草，手脚舒展，粉衫素裙晕染出稚拙灵动，与水牛的沉浑形成生动反差。\n\n远景以淡墨轻扫烟霭朦胧的水泽汀洲，浅赭点染滩涂，将江南水乡的柔婉晕染开来。画面未作刻意雕琢，却把乡野间的松弛鲜活尽数铺陈，牧童嬉牛的日常瞬间，化作治愈悠然的田园牧歌，藏着最动人的乡土温情。",[24,746,28,811,812,7,813,750,814,420,423,815,816,817],"写意","牛","乡野","田园","浅草","滩涂","水泽汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f712e167bdddfd3099adcb0285d20e3.jpg",[],{"id":821,"slug":822,"title":823,"dynasty":45,"author":205,"museum":20,"description":824,"tags":825,"thumbUrl":829,"material":295,"size":296,"collection":35,"collections":830,"showCount":831,"zanCount":11,"manualWeight":11,"mainColor":63},288000,"sheng-ping-le-shi-tu-ce-bai-xiang-hua-deng-yi-ming-288000","升平乐事图册-白象花灯","松荫庭院里，仕女怀幼凭栏，笑看阶前稚童嬉游牵灯。白象花灯驮负宝幢璎珞，瑞气盈盈。画作设色明柔秀雅，线条婉丽细腻，将孩童的娇憨灵动、仕女的温婉沉静一一铺陈，处处透着工致细腻。寻常阖家赏灯的升平暖意，在绢素间晕染开来，把旧时上元佳节的融融喜乐定格，尽显雅致韵致，将岁时节庆的温情意趣娓娓道来。",[24,26,28,27,29,7,114,826,827,55,265,828],"白象","花灯","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0a7ebacab67c70fb04c55841643bea.jpg",[],30,{"id":833,"slug":834,"title":835,"dynasty":45,"author":836,"museum":111,"description":837,"tags":838,"thumbUrl":841,"material":34,"size":842,"collection":36,"collections":843,"showCount":844,"zanCount":11,"manualWeight":11,"mainColor":40},219838,"san-jiao-tu-chen-shi-jun-219838","三教图","陈士俊","苍松虬枝横斜，山岚轻笼幽林，铺就出古雅澹泊的林下晤面之景。三位宗师神态各殊，执白羽者清逸出尘，宽袍束带者端方持重，抱婴老者垂眉慈和，身旁侍童稚态可掬，为沉静氛围添了几分灵动生机。\n\n画师笔致精细，衣纹走线舒展流畅，将人物的风神气度描摹得形神兼备，山林晕染层次雅致，把三教汇流、圣贤交融共生的平和意涵，藏进这悠然的雅集场景中，兼具叙事意趣与人文深味。",[71,24,25,72,28,27,29,839,265,75,52,607,7,117,840],"山水","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3abea62ef10bb38e32d5963e7b16a1.jpg","纵121厘米 横58.9厘米",[36],29,{"id":846,"slug":847,"title":848,"dynasty":18,"author":743,"museum":20,"description":849,"tags":850,"thumbUrl":856,"material":35,"size":35,"collection":35,"collections":857,"showCount":858,"zanCount":11,"manualWeight":11,"mainColor":63},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,72,28,27,851,29,747,50,448,852,77,55,853,7,75,52,854,855,462],"皴法","枯树","行人","河流","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],28,{"id":860,"slug":861,"title":862,"dynasty":431,"author":863,"museum":20,"description":864,"tags":865,"thumbUrl":872,"material":295,"size":296,"collection":574,"collections":873,"showCount":858,"zanCount":200,"manualWeight":11,"mainColor":40},225986,"monets-garden-at-ve-theuil-1880-mo-nai-225986","Monets 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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。",[559,866,867,868,7,869,55,870,871],"印象派","花园","向日葵","石板小径","田园风光","色彩光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c14ba8e6d7e50451e91fa0a91c9e1d.jpg",[574],{"id":875,"slug":876,"title":877,"dynasty":376,"author":205,"museum":20,"description":878,"tags":879,"thumbUrl":884,"material":295,"size":296,"collection":35,"collections":885,"showCount":886,"zanCount":200,"manualWeight":11,"mainColor":40},290163,"liu-min-tu-yi-ming-290163","流民图","此作以长卷铺展流民迁徙的群像。左侧农妇骑牛抱子，随行孩童或驱牛牵犬，涉水流民肩扛行囊、拖家带口，步履仓促间满是疲色。右侧岸上乡邻伫立眺望，神情怅惘，默默送别远去的乡人。\n画师以苍劲白描勾勒身形，衣纹顿挫利落，将流民的凄苦与不舍刻画入微，憨拙写实的水牛，与孩童懵懂嬉闹的情态，反衬出成人背井离乡的愁绪。淡墨晕染水岸山石，荒寂江野烘托出离乱氛围，未刻意渲染悲戚，却以日常迁徙细节，道尽乱世生民的辛酸，藏着对苍生疾苦的深切共情。",[71,24,92,620,746,28,812,7,854,880,881,882,883],"岸边","流民","民生疾苦","民俗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6114084f09029b5f13855ef6b5090d.jpg",[],26,{"id":888,"slug":889,"title":890,"dynasty":18,"author":891,"museum":20,"description":892,"tags":893,"thumbUrl":894,"material":895,"size":35,"collection":35,"collections":896,"showCount":886,"zanCount":200,"manualWeight":11,"mainColor":63},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[71,24,25,92,27,28,130,29,150,7,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg","纸本，设色",[],{"id":898,"slug":899,"title":900,"dynasty":45,"author":46,"museum":127,"description":901,"tags":902,"thumbUrl":906,"material":58,"size":907,"collection":36,"collections":908,"showCount":886,"zanCount":186,"manualWeight":11,"mainColor":63},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","冬季严寒萧瑟，景物单调，但是对于调皮贪玩的小孩来说依然不乏游戏项目。宫廷画家金廷标就为我们展现了这种一幅场景。十个小伙伴来到结冰的池塘边，胆大的几个先下到了冰面上，可是太滑了，一不小心就摔了个仰面朝天，想再站出来也不容易，只能尽力支撑着。而岸上的同伴则嬉笑着，跃跃欲试。\n金廷标是清乾隆时期最著名的宫廷画家之一，以人物画见长。他笔下的风俗人物质朴自然，贴近生活，情态生动，令观者心生亲切之感。",[71,24,28,27,29,7,903,52,904,51,53,905,55],"冰面","台阶","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纵121厘米，横64.8厘米",[36],{"id":910,"slug":911,"title":912,"dynasty":45,"author":205,"museum":47,"description":913,"tags":914,"thumbUrl":915,"material":34,"size":35,"collection":35,"collections":916,"showCount":886,"zanCount":11,"manualWeight":11,"mainColor":63},215194,"sheng-ping-le-shi-tu-ce-10-yi-ming-215194","升平乐事图册-10","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,26,28,27,29,166,7,224,168,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc7f1602648ee0adcb4a7a28e023748.jpg",[],{"id":918,"slug":919,"title":920,"dynasty":18,"author":205,"museum":20,"description":921,"tags":922,"thumbUrl":924,"material":35,"size":35,"collection":35,"collections":925,"showCount":926,"zanCount":200,"manualWeight":11,"mainColor":63},228816,"huo-lang-tu-li-zhou-yi-ming-228816","货郎图立轴","画面里货郎车载满琳琅玩货物什，层层叠叠堆挤着，将巷陌营生的热络尽数铺展。老货郎佝身理货，眉眼带着营生的疲惫，又藏着几分温和。孩童们姿态各异，有的踮脚抬首，目光黏在货架上满是艳羡；有的蹲坐嬉闹，憨态尽显。\n古雅柔润的设色晕开旧时光晕，细劲线条勾勒出鲜活神态，将巷闾烟火日常定格绢素，把市井生计的温热与稚子烂漫揉为一处，意趣盎然，尽得世俗小景的鲜活情致。",[71,23,24,72,28,27,29,264,7,484,420,923],"烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa801a280bf7b02f555d2c58bc6d65ee7.jpg",[],25,{"id":928,"slug":929,"title":930,"dynasty":45,"author":46,"museum":20,"description":931,"tags":932,"thumbUrl":933,"material":295,"size":296,"collection":35,"collections":934,"showCount":935,"zanCount":11,"manualWeight":11,"mainColor":63},290315,"sui-chao-tu-zhou-jin-ting-biao-290315","岁朝图轴","金廷标，清代画家。字士揆，乌程（今浙江湖州）人。鸿子。能绍父艺，亦工写真，并能妙绘人物仕女及花卉。善取影，白描尤工。亦能界画。清朝乾隆二十五年（1760）南巡进白描罗汉册，称旨。命入内廷供奉。所绘写意秋果及人物，皆得高宗题咏。入直数载，卒於京寓。《石渠宝芨》著录了他81幅作品。",[24,23,72,29,28,27,7,689,168,55,148,56,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bae2d1548ec86f9ba2e3dff9f8aff9.jpg",[],24,{"id":937,"slug":938,"title":939,"dynasty":45,"author":940,"museum":20,"description":941,"tags":942,"thumbUrl":944,"material":295,"size":296,"collection":35,"collections":945,"showCount":935,"zanCount":11,"manualWeight":11,"mainColor":63},235278,"ren-wu-gu-shi-ce-fan-xue-yi-235278","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,25,26,27,28,29,73,381,166,7,75,943,51,904,214],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76b242492325dde8fcec18b836c2f25.jpg",[],{"id":947,"slug":948,"title":949,"dynasty":45,"author":205,"museum":47,"description":913,"tags":950,"thumbUrl":952,"material":34,"size":35,"c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开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[71,24,25,28,27,851,839,29,50,448,525,1021,1022,1023,7,180,1024],"桃花","茅屋","垂钓","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],19,{"id":1029,"slug":1030,"title":1031,"dynasty":431,"author":1032,"museum":20,"description":1033,"tags":1034,"thumbUrl":1045,"material":295,"size":296,"collection":35,"collections":1046,"showCount":1027,"zanCount":11,"manualWeight":11,"mainColor":63},230480,"fu-shi-hui-juan-mu-he-tian-wen-cun-230480","浮世绘巻","目贺田文村","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。",[71,1035,92,28,29,1036,659,1037,1038,333,1039,1040,7,1041,321,1042,651,1043,1044,225],"浮世绘","市集","笼子","担子","旗帜","摊位","日常用具","箱子","行走","交易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff608c952df2fbc7cf2073369489e54a8.jpg",[],{"id":1048,"slug":1049,"title":1050,"dynasty":45,"author":1051,"museum":20,"description":1052,"tags":1053,"thumbUrl":1057,"material":35,"size":35,"collection":35,"collections":1058,"showCount":1027,"zanCount":200,"manualWeight":11,"mainColor":63},224167,"ting-ruan-tu-liu-yan-chong-224167","听阮图","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[71,27,28,29,333,52,167,943,1054,210,250,7,75,1055,1056,56,117],"怪石","琴","书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":1060,"slug":1061,"title":1062,"dynasty":45,"author":205,"museum":47,"description":913,"tags":1063,"thumbUrl":1064,"material":34,"size":35,"collection":35,"collections":1065,"showCount":1027,"zanCount":11,"manualWeight":11,"mainColor":63},215199,"sheng-ping-le-shi-tu-ce-6-yi-ming-215199","升平乐事图册-6",[24,28,27,26,29,166,7,1021,224,381,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ed03b9eec74522513d72406bad1568.jpg",[],{"id":1067,"slug":1068,"title":1069,"dynasty":109,"author":110,"museum":20,"description":329,"tags":1070,"thumbUrl":1072,"material":295,"size":296,"collection":35,"collections":1073,"showCount":1074,"zanCount":11,"manualWeight":11,"mainColor":63},287394,"ting-yuan-tong-xi-tu-er-zhou-wen-ju-287394","庭院童戏图二",[71,24,23,238,27,28,29,7,55,1071],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3af930ece2a3561175dbba38af443f.jpg",[],18,{"id":1076,"slug":1077,"title":1078,"dynasty":125,"author":1079,"museum":1080,"description":1081,"tags":1082,"thumbUrl":1086,"material":1087,"size":1088,"collection":35,"collections":1089,"showCount":1074,"zanCount":200,"manualWeight":11,"mainColor":40},220106,"shi-liu-luo-han-tu-di-shi-liu-zun-zhe-jin-da-shou-220106","十六罗汉图-第十六尊者","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[71,24,25,23,72,1083,29,7,398,1084,1085,27,28],"宗教","坐具","盘子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa7244c605f811ff0fb0fd51efcd27a.jpg","设色,绢本","118.8×51.7cm",[],{"id":1091,"slug":1092,"title":1093,"dynasty":45,"author":205,"museum":47,"description":913,"tags":1094,"thumbUrl":1095,"material":34,"size":35,"collection":35,"collections":1096,"showCount":1074,"zanCount":11,"manualWeight":11,"mainColor":63},215195,"sheng-ping-le-shi-tu-ce-12-yi-ming-215195","升平乐事图册-12",[24,25,26,28,27,29,73,52,320,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1edb7d2f34ec33c6d52b393b3d95d6.jpg",[],{"id":1098,"slug":1099,"title":1100,"dynasty":45,"author":1101,"museum":127,"description":1102,"tags":1103,"thumbUrl":1107,"material":1108,"size":1109,"collection":35,"collections":1110,"showCount":1111,"zanCount":200,"manualWeight":11,"mainColor":63},238293,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238293","喻兰仕女清娱图册","喻兰","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[24,23,28,27,26,29,166,7,1104,473,1105,1106,133],"围棋","花瓶","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f30054f0d13ce57cb5c49755c88c33c.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[],17,{"id":1113,"slug":1114,"title":1115,"dynasty":125,"author":205,"museum":20,"description":1116,"tags":1117,"thumbUrl":1121,"material":35,"size":35,"collection":35,"collections":1122,"showCount":1111,"zanCount":11,"manualWeight":11,"mainColor":63},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[71,24,25,1118,27,28,29,7,1119,335,56,1120],"册页","蕉树","击球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":1124,"slug":1125,"title":1126,"dynasty":125,"author":145,"museum":20,"description":1127,"tags":1128,"thumbUrl":1129,"material":295,"size":296,"collection":35,"collections":1130,"showCount":1131,"zanCount":11,"manualWeight":11,"mainColor":40},290070,"wu-rui-tu-su-han-chen-290070","五瑞图","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[24,29,27,28,167,368,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3820eaf50dc4a9aad76b5267007325f1.jpg",[],16,{"id":1133,"slug":1134,"title":1135,"dynasty":45,"author":205,"museum":47,"description":913,"tags":1136,"thumbUrl":1137,"material":34,"size":35,"collection":35,"collections":1138,"showCount":1131,"zanCount":11,"manualWeight":11,"mainColor":63},215197,"sheng-ping-le-shi-tu-ce-8-yi-ming-215197","升平乐事图册-8",[24,28,27,29,267,168,52,196,7,166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc9282a4057d1e6a797c906811623e0.jpg",[],{"id":1140,"slug":1141,"title":1142,"dynasty":18,"author":891,"museum":20,"description":1143,"tags":1144,"thumbUrl":1147,"material":295,"size":296,"collection":35,"collections":1148,"showCount":1149,"zanCount":11,"manualWeight":11,"mainColor":63},289798,"jin-jue-tu-chen-hong-shou-289798","晋爵图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[71,24,92,28,29,27,7,1145,1146],"礼仪场景","晋爵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82160bb3618d62d00e8abd0db51bf9c.jpg",[],15,{"id":1151,"slug":1152,"title":1153,"dynasty":125,"author":145,"museum":20,"description":1154,"tags":1155,"thumbUrl":1157,"material":295,"size":296,"collection":35,"collections":1158,"showCount":1149,"zanCount":11,"manualWeight":11,"mainColor":40},289338,"zhen-tong-kui-lei-tu-su-han-chen-289338","侲童傀儡图","这幅画描绘了三名正在表演“杖头傀儡”游戏的儿童，其中一人执杖表演傀儡，一人敲鼓，一人观看。庭院周边装饰以假山花木景色。\n宋代社会流行木偶戏，时人称之为“悬丝傀儡戏”，这个流行娱乐方式，被苏汉臣如实记录下来。",[24,620,27,28,7,1156,52,689],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9340fac5754ccaa95623c0c5c4803d0a.jpg",[],{"id":1160,"slug":1161,"title":1162,"dynasty":18,"author":205,"museum":20,"description":1163,"tags":1164,"thumbUrl":1166,"material":1167,"size":1168,"collection":35,"collections":1169,"showCount":1149,"zanCount":11,"manualWeight":11,"mainColor":63},223421,"xue-tong-nao-tang-yi-ming-223421","学童闹堂","绘制了学堂内学童玩笑的情形。画中先生正伏案休息，己经睡着了，众学童大肆喧闹，有的拿掉先生的帽子，有的钻到先生桌下，有的大笑，有的游戏，桌椅狼藉，一片混乱。画家抓住儿童的性格特点来绘制，绘声绘色，惟妙惟肖。",[71,24,25,238,28,27,29,7,1165,383],"堂屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2e4a17551afa5703fada033b40620c.jpg","纸本设色","55×55cm",[],{"id":1171,"slug":1172,"title":1173,"dynasty":45,"author":1174,"museum":127,"description":1175,"tags":1176,"thumbUrl":1184,"material":137,"size":1185,"collection":35,"collections":1186,"showCount":1149,"zanCount":11,"manualWeight":11,"mainColor":63},222847,"meng-mu-jiao-zi-tu-kang-shou-222847","孟母教子图","康寿","此图出自典故《孟母断机》，讲述的是孟子逃课后孟母割掉织好的布以此教育孟子。图绘孟母镰刀回头看着儿子，孟子双手拢起小心翼翼。人物额头点白有着明人绘法",[71,980,27,28,130,226,1177,1178,1179,7,1180,1181,1182,1183],"线条细腻","设色淡雅","古代女性","织机","古装服饰","发髻","互动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8713e7a4d3396fbe48cc631455acfc95.jpg","64x142cm",[],{"id":1188,"slug":1189,"title":1190,"dynasty":125,"author":126,"museum":20,"description":1191,"tags":1192,"thumbUrl":1193,"material":295,"size":296,"collection":35,"collections":1194,"showCount":1195,"zanCount":11,"manualWeight":11,"mainColor":40},288373,"huo-lang-tu-juan-li-song-288373","货郎图卷","这是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负的弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的南宋时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹，李嵩在图中就描绘了这样一幅场景。画家借助货郎这一题材表现了南宋市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了南宋百姓的生活方式，是民俗学家不可多得的珍贵史料。",[71,24,92,130,29,7,332,264,484,56,52,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20c2505b942b79ffebacc34ad26001c.jpg",[],14,{"id":1197,"slug":1198,"title":1199,"dynasty":45,"author":205,"museum":47,"description":913,"tags":1200,"thumbUrl":1201,"material":34,"size":35,"collection":35,"collections":1202,"showCount":1195,"zanCount":11,"manualWeight":11,"mainColor":63},215201,"sheng-ping-le-shi-tu-ce-2-yi-ming-215201","升平乐事图册-2",[23,24,25,26,28,27,29,7,265,75,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e957d6eec88487a5cb2b116e4cd30a.jpg",[],{"id":1204,"slug":1205,"title":1206,"dynasty":376,"author":205,"museum":20,"description":1207,"tags":1208,"thumbUrl":1210,"material":295,"size":296,"collection":35,"collections":1211,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":40},290740,"xia-jing-xi-ying-zhou-yi-ming-290740","夏景戏婴轴","元人夏景戏婴图无名款。绘垂杨文石，环以曲槛。一童擎荷盖，一执榴花，一持五毒宫扇，官服髻发。两童持几，几供钟馗，旁设瓶花、水果、粽子等物。一儿以绳系蟾蜍，一儿后随作戏蟾状。 细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[24,72,28,29,27,239,7,55,1209,51,525,382,50],"湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],13,{"id":1214,"slug":1215,"title":1216,"dynasty":376,"author":205,"museum":20,"description":1217,"tags":1218,"thumbUrl":1220,"material":295,"size":296,"collection":35,"collections":1221,"showCount":1212,"zanCount":200,"manualWeight":11,"mainColor":40},290340,"tai-ping-you-xiang-tu-zhou-yi-ming-290340","太平有象图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,72,28,29,73,50,381,265,75,645,7,1219],"太平祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03f728f1082d05d5e3c961e092042e.jpg",[],{"id":1223,"slug":1224,"title":1225,"dynasty":18,"author":205,"museum":20,"description":1226,"tags":1227,"thumbUrl":1229,"material":295,"size":296,"collection":35,"collections":1230,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":40},289364,"gong-yuan-ying-xi-tu-yi-ming-289364","宫苑婴戏图","此画以宫苑为舞台，将稚子烂漫悉数铺展。画面上下两处各成童趣天地：上层孩童攀爬上拆解的屋架，蹦跳嬉闹，尽显跳脱顽态。一旁亭榭里安坐的长者静看稚童，动静相映，将深苑的闲逸与童真相融。\n\n下层孩童围逗雏鸡，两两结伴蹲坐嬉玩，憨稚之态呼之欲出。亭台盆栽勾勒出宫苑雅致底色，古绢晕染带着岁月沉韵，工细线条将孩童的娇憨灵动、园囿的静雅规制妥帖绘就，消解了宫苑的刻板肃穆，只余下稚子嬉闹的鲜活日常，把无忧无虑的童年意趣定格在古雅色泽中。",[24,23,72,28,29,289,1228,239,7,73,55],"宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f339529b27e046af7897ba156a02ed6.jpg",[],{"id":1232,"slug":1233,"title":1234,"dynasty":125,"author":205,"museum":127,"description":1235,"tags":1236,"thumbUrl":1237,"material":152,"size":1238,"collection":35,"collections":1239,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":40},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[23,24,25,1118,238,27,28,29,7,52,53,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],{"id":1241,"slug":1242,"title":1243,"dynasty":376,"author":205,"museum":1244,"description":1245,"tags":1246,"thumbUrl":1252,"material":79,"size":1253,"collection":35,"collections":1254,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":40},232804,"xi-luan-cong-xiao-tu-juan-yi-ming-232804","溪峦丛笑图卷","芝加哥艺术博物馆","以全景长卷铺展乡野嬉游盛景，浅溪漾波晕开两岸烟火。左畔村姑骑牛安坐，身侧稚童相随嬉闹；溪水中赤身孩童或逐犬泅水，或呼伴作乐，村人潮间呼喝相和，憨态尽显。右岸坡上乡老士人驻足笑望，眉眼舒展满是欣然。\n\n画师以淡墨晕染溪山底色，铁线白描勾勒身形，将众生欢悦鲜活尽数铺陈，无庙堂端肃，唯存乡野间的自在热络，将村野里乐天肆意的日常意趣定格绢素，尽显民间生活的淳朴真淳。",[71,24,92,28,746,27,29,7,1247,812,448,52,1248,1249,1250,689,880,1251],"成人","岩石","溪岸","水域","水中活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ae0bc4fce28f14af3c4a14d32f99bc.jpg","29x130cm",[],{"id":1256,"slug":1257,"title":1258,"dynasty":431,"author":863,"museum":20,"description":864,"tags":1259,"thumbUrl":1272,"material":295,"size":296,"collection":574,"collections":1273,"showCount":1212,"zanCount":11,"manualWeight":11,"mainColor":63},226101,"the-promenade-near-argenteuil-1873-mo-nai-226101","The Promenade near Argenteuil, 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、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”。",[24,25,72,782,28,29,239,7,368,1378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee24372208c65c6058865f78d03cad33.jpg",[],9,{"id":1416,"slug":1417,"title":1418,"dynasty":431,"author":1419,"museum":20,"description":1420,"tags":1421,"thumbUrl":1440,"material":295,"size":296,"collection":35,"collections":1441,"showCount":1414,"zanCount":11,"manualWeight":11,"mainColor":40},232286,"a-er-ma-13-lao-lun-si-a-er-ma-ta-de-ma-232286","阿尔玛13","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。",[23,559,28,1422,560,29,562,7,1423,1424,1425,1426,333,1427,1428,1429,1430,1431,1432,1433,1434,1435,1436,1267,1437,1438,1439],"古典风格","古典建筑","大理石","玫瑰","花瓣","海景","柱式建筑","石凳","地面瓷砖","花环","豹纹装饰","凉鞋","古式服饰","竖琴","手鼓","远山","石质栏杆","兽头装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48071b240f143c3b94cbda6a7eb5ce20.jpg",[],{"id":1443,"slug":1444,"title":1445,"dynasty":431,"author":1337,"museum":20,"description":1446,"tags":1447,"thumbUrl":1455,"material":295,"size":296,"collection":35,"collections":1456,"showCount":1414,"zanCount":11,"manualWeight":11,"mainColor":63},232277,"wei-lian-a-dao-fu-bu-ge-luo-3-wei-lian-a-dao-fu-bu-ge-luo-232277","威廉·阿道夫·布格罗3","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n1875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[559,1448,28,1449,1450,29,7,1451,1452,1453,1454],"古典写实","细腻笔触","柔和色调","白色上衣","黑色发带","皮肤质感表现","衣物褶皱描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973c72b0e8a116429717241affff16ca.jpg",[],{"id":1458,"slug":1459,"title":1460,"dynasty":45,"author":1461,"museum":20,"description":1462,"tags":1463,"thumbUrl":1467,"material":295,"size":296,"collection":35,"collections":1468,"showCount":1469,"zanCount":11,"manualWeight":11,"mainColor":577},224128,"pantaka-tang-ka-224128","Pantaka","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[1083,28,27,29,1384,839,224,208,1464,1465,7,1466,135],"台案","供品","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],8,{"id":1471,"slug":1472,"title":1473,"dynasty":376,"author":205,"museum":47,"description":1217,"tags":1474,"thumbUrl":1476,"material":34,"size":1477,"collection":36,"collections":1478,"showCount":1479,"zanCount":11,"manualWeight":11,"mainColor":40},290728,"tong-bao-yi-qi-tu-zhou-yi-ming-290728","同胞一气图轴",[24,72,28,27,29,7,347,1475,239],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3622f98382a39392a72e1eb782b383.jpg","158.9x103.3",[36],7,{"id":1481,"slug":1482,"title":1483,"dynasty":431,"author":1484,"museum":20,"description":1485,"tags":1486,"thumbUrl":1490,"material":295,"size":296,"collection":35,"collections":1491,"showCount":1479,"zanCount":11,"manualWeight":11,"mainColor":577},289369,"li-zi-de-wei-xiao-an-tian-liu-sheng-289369","丽子的微笑","岸田刘生","大正从昭和初始的的画家。父亲是报社记者，商人的银甲岸田。",[559,1487,1488,7,1489],"人物肖像","微笑","针织服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f59a46a17a507e5eef21c92e4942d6.jpg",[],{"id":1493,"slug":1494,"title":1495,"dynasty":18,"author":260,"museum":20,"description":1496,"tags":1497,"thumbUrl":1499,"material":35,"size":35,"collection":35,"collections":1500,"showCount":1479,"zanCount":11,"manualWeight":11,"mainColor":40},232648,"xu-zheng-yang-ban-jia-tu-cui-zi-zhong-232648","许正阳搬家图","明代画家。初名丹，字开予，更名后，字道田，号北海、青蚓。生卒年不详，活跃于明朝末年。山东莱阳人，居顺天府（今北京）。为顺天府生员。曾投董其昌门下。\n通五经，工诗文，擅人物、仕女、肖像，师法顾恺之、陆探微、阎立本、吴道子等。所画人物面目奇古，用笔颤掣，线条细劲，格调高古，境界奇异。颇为时人所重，与陈洪绶并称“南陈北崔”。有《云中玉女图》、《洗象图》等传世。",[24,27,28,72,839,29,52,1498,1248,7,851],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24e26617a0c9de209bcd379a532bf5b.jpg",[],{"id":1502,"slug":1503,"title":1504,"dynasty":431,"author":1505,"museum":20,"description":1506,"tags":1507,"thumbUrl":1508,"material":295,"size":296,"collection":35,"collections":1509,"showCount":1479,"zanCount":11,"manualWeight":11,"mainColor":577},232536,"mi-lai-si-80-yue-han-ai-fu-li-te-mi-lai-si-232536","米莱斯80","约翰·埃弗里特米莱斯","John 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Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[559,560,29,562,7,117,564,28,1449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58092561fc216246f4f9920bc7048b49.jpg",[],{"id":1511,"slug":1512,"title":1513,"dynasty":18,"author":459,"museum":47,"description":1514,"tags":1515,"thumbUrl":1517,"material":152,"size":35,"collection":35,"collections":1518,"showCount":1479,"zanCount":11,"manualWeight":11,"mainColor":63},228842,"tai-ping-le-shi-ce-dai-jin-228842","太平乐事册","它一般描绘社会安和乐利，人民安居乐业的的太平景象。太平乐事册页，一共十开。分别为婴戏、骑牛、捕鱼、娱乐、戏耍、试射、耕罢、观戏、木马、牧归。画面中有不同阶层人生活的场景，非常有生活气味。",[24,28,27,26,29,7,1516,99,564,133],"成年人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10f2caf70a0e0917dcab4e7bdff22a0.jpg",[],{"id":1520,"slug":1521,"title":1522,"dynasty":18,"author":1523,"museum":276,"description":1524,"tags":1525,"thumbUrl":1526,"material":1527,"size":1528,"collection":35,"collections":1529,"showCount":1479,"zanCount":11,"manualWeight":11,"mainColor":63},219790,"za-hua-ce-1-guo-xu-219790","杂画册-1","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,23,746,28,130,27,29,7,943,53,904,56,336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326ce106b4ca0f3560143aa5811eb670.jpg","纸本,水墨","纵28.5 厘米 横46.5 厘米",[],{"id":1531,"slug":1532,"title":1533,"dynasty":45,"author":205,"museum":20,"description":1534,"tags":1535,"thumbUrl":1538,"material":295,"size":296,"collection":35,"collections":1539,"showCount":1540,"zanCount":11,"manualWeight":11,"mainColor":63},261654,"cheng-hua-kuan-qing-hua-shi-nv-tu-guan-yi-ming-261654","成化款青花仕女图罐","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。",[1536,1537,29,114,7,52,150],"陶瓷","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d019aa3a33d5e4cba18d42e2ce7dc33.jpg",[],6,{"id":1542,"slug":1543,"title":1544,"dynasty":18,"author":205,"museum":20,"description":1545,"tags":1546,"thumbUrl":1550,"material":35,"size":35,"collection":35,"collections":1551,"showCount":1540,"zanCount":11,"manualWeight":11,"mainColor":40},234509,"ming-ren-mo-jing-tu-dan-ye-yi-ming-234509","明人磨镜图单页","铜镜是古人用来妆饰理容的一种生活用品。中国的铜镜使用史非常悠久，上起新时器时代晚期的齐家文化，下至明清，约有近四千年发展演变的进程，几乎与中华民族的古代文明史相始终，可谓源远流长。\n铜镜由青铜铸造而成，和空气接触时间长了，会逐渐变得黯淡无光，无法用以映照形影，古人很形象地称之为“昏镜”。这种情况需要重新磨拭镜面才能让铜镜光可鉴人。《朱子语类》对此有很简洁的表述：“镜本明，被尘垢昏之，用磨擦之工，其明始现。”似乎只需要简简单单的擦拭便能将铜镜打磨光洁，可实际上磨镜蕴含的技术含量并不低，甚至还能体现古代的一些科技成就",[24,25,28,27,26,29,166,7,224,1547,1548,150,55,51,1549],"荷花","荷塘","磨镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa46add39fa3b81871137ed0f724d7205.jpg",[],{"id":1553,"slug":1554,"title":1555,"dynasty":45,"author":205,"museum":20,"description":1556,"tags":1557,"thumbUrl":1559,"material":295,"size":296,"collection":35,"collections":1560,"showCount":1540,"zanCount":11,"manualWeight":11,"mainColor":63},230338,"bai-miao-tu-miao-man-tu-shuo-wu-yi-ming-230338","百苗图苗蛮图说（五)","柳丝轻曳、桃枝泛红，将春日柔色晕染在茅舍小院旁。画里的苗家日常鲜活又温热：挎篮的妇人正将汤水递予怀抱着幼童的丈夫，小女儿拽着父亲衣袍娇憨讨要关注，老翁倚在门扉含笑，看稚童攥着短笛信口吹奏。\n\n淡彩细笔勾勒出屋舍篱栅的朴拙，线条柔和地晕开烟火暖意，没有浓艳着色与繁复技法，只将边陲村寨的天伦之趣静静铺展。山野乡居松弛的日常瞬间被定格，把苗家质朴鲜活的烟火温情永远留存，满是平实动人的乡野诗意。",[24,25,28,27,26,29,77,525,1021,50,7,607,1558,52],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf044c3bfaf9ae0247bb3d2c75c34de2.jpg",[],{"id":1562,"slug":1563,"title":1564,"dynasty":45,"author":205,"museum":127,"description":1565,"tags":1566,"thumbUrl":1572,"material":28,"size":35,"collection":35,"collections":1573,"showCount":1540,"zanCount":11,"manualWeight":11,"mainColor":63},217289,"gu-xiu-wu-shi-san-can-tu-ce-26-yi-ming-217289","顾绣·五十三参图册-26","绣线如笔，勾勒出一方禅意清境。老者席地而坐，衣纹细腻宛转，尽显悠然之态；童子俯身趋前，神态恭谨，似在聆听教诲。旁侧枝桠垂落，花叶错落有致，云霞轻卷于天际，红日晕染出暖光。顾绣以针代墨，将笔墨韵致凝于丝缕之间，人物情态生动传神，景物层次分明。淡雅的色彩晕染，细腻的针脚排布，把五十三参故事中的虔诚与宁静悄然铺展，每一处细节都藏着匠心，仿佛能透过绣面，触碰到那份古雅的禅意与对善知识的敬仰。",[1567,28,27,29,7,607,224,1568,1569,1570,1571],"刺绣","云","日","草","坐垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed188d7380173ff127512dc022e92d08.jpg",[],{"id":1575,"slug":1576,"title":1577,"dynasty":45,"author":205,"museum":127,"description":1578,"tags":1579,"thumbUrl":1580,"material":28,"size":35,"collection":35,"collections":1581,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":63},217306,"gu-xiu-wu-shi-san-can-tu-ce-8-yi-ming-217306","顾绣·五十三参图册-8","松荫覆石，老者安坐，衣纹淡扫间漫溢闲逸；童子捧瓶趋前，飘带翻飞如流云牵袖。碧波轻漾处，仙子素袂翩跹，足踏涟漪似踏月而来；幼童仰首嬉闹，彩裳曳动若逐浪蝶影。笔墨细腻如丝，线条婉转若缕，淡彩晕染出清雅意境。人物神态鲜活：老者悠然，童子灵动，仙子温婉，皆在方寸间流转。画面藏着古意余韵，似将一段绵长传说凝作纸上轻舞，让观者于笔墨间触到时光的温柔，品出那份静里藏欢的雅致。",[1567,28,27,26,29,265,7,166,267,448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3319fa66739f3d23cab5f2405796f5c9.jpg",[],{"id":1583,"slug":1584,"title":1585,"dynasty":45,"author":205,"museum":127,"description":1586,"tags":1587,"thumbUrl":1591,"material":28,"size":35,"collection":35,"collections":1592,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":63},217292,"gu-xiu-wu-shi-san-can-tu-ce-21-yi-ming-217292","顾绣·五十三参图册-21","这幅绣品以细腻针法勾勒文人意趣，左右两页场景相映成趣。左侧长者踞地闲坐，衣袂舒展间透着悠然，孩童嬉戏于侧，器物陈设雅致；右侧人物持杖而立，与童子互动自然，柳枝轻垂、梅枝点缀，景物清疏有致。绣线色泽温润，针脚细密如毫，将人物神态、草木纹理刻画入微，既有笔墨的灵动韵致，又具丝线的肌理质感。构图疏密得当，色彩淡雅和谐，于方寸间传递古朴雅致气息，尽显融画入绣的精湛技艺与艺术匠心。",[980,1588,28,27,29,7,607,224,265,525,53,1589,1590,133,117],"顾绣","猴","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049d431d3c836386f0cc9f93c43abb83.jpg",[],{"id":1594,"slug":1595,"title":1596,"dynasty":18,"author":1597,"museum":47,"description":1598,"tags":1599,"thumbUrl":1604,"material":34,"size":1605,"collection":35,"collections":1606,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":63},216767,"jiu-lao-tu-3-huang-biao-216767","九老图-3","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,23,27,28,29,446,7,265,1600,75,1601,1602,52,1603],"花树","古装","长袍","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f6a6c88bea38b7d78906c7e08ea109.jpg","27.2x193",[],{"id":1608,"slug":1609,"title":1610,"dynasty":431,"author":1611,"museum":20,"description":1612,"tags":1613,"thumbUrl":1614,"material":295,"size":296,"collection":35,"collections":1615,"showCount":172,"zanCount":11,"manualWeight":11,"mainColor":63},288476,"fang-song-yuan-bi-yi-shou-ye-chang-xin-288476","仿宋元笔意","狩野常信","野常信（KanōTsunenobu）是狩野派的日本畫家。他先是在父親狩野尚信（KanōNaonobu）的指導下學習，後來在父親去世後，在叔叔狩野探幽（KanōTan'yū）的指導下學習。他成為大師級畫家，並在1674年接替叔叔Tan'yū擔任狩野派校長。",[71,24,28,29,27,93,7,148,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c39ad05a2847e35692f384ea8977fe2.jpg",[],{"id":1617,"slug":1618,"title":1619,"dynasty":45,"author":205,"museum":20,"description":1620,"tags":1621,"thumbUrl":1625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Christ","这幅素描以圆形构图框定这场神圣时刻，细密排线与淡墨晕染交织铺陈氛围。手托圣婴的老者面容悲悯，缓缓铺开仪式的庄重感。围绕的众人神态各异，或垂眸致意，或低语慨叹，右侧侍从静立旁观，沉静的姿态平衡了画面重心。\n劲挺利落的衣褶线条勾勒出人物身份差异，浅淡明暗衬出逼仄小屋的空间纵深感。整作以克制写实的笔调，将这场圣典仪式的肃穆与温情定格，带着早期素描质朴的表现力，让宗教叙事的神圣感顺着笔尖漫溢开来，尽显内敛沉静的古典宗教绘画面貌。",[1083,620,130,1808,1809,1810,7,564],"基督受割礼","宗教仪式","男性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55bd63aba6418745280fe5b65b91168.jpg",[],{"id":1814,"slug":1815,"title":1816,"dynasty":45,"author":205,"museum":20,"description":1817,"tags":1818,"thumbUrl":1820,"material":295,"size":296,"collection":35,"collections":1821,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":40},263498,"qian-long-kuan-fen-cai-ying-xi-tu-gai-guan-yi-ming-263498","乾隆款粉彩婴戏图盖罐","盖顶描金宝珠圆润华贵，盖面缠枝洋彩娇妍雅致。罐身通景铺展婴戏仪仗，稚童们或鸣鼓吹乐、或掌旗执伞，衣饰敷彩明丽柔润，晕染出鲜活的衣褶肌理。庭院花木扶疏，枝芽灵动写意，将孩童嬉闹的融融烟火气凝于瓷上。\n\n器型挺拔周正，彩料匀净鲜亮，构图繁而不紊，既带着制瓷工序的规整精细，又以满溢的童趣图景，晕开吉庆安乐的氛围，是融工艺美感与吉祥意趣于一身的瓷中佳物。",[1536,1703,221,7,1819,52],"盖罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23f10b70da28bf3ffccab6dee311e24d.jpg",[],{"id":1823,"slug":1824,"title":1825,"dynasty":45,"author":205,"museum":20,"description":1534,"tags":1826,"thumbUrl":1829,"material":295,"size":296,"collection":35,"collections":1830,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":63},261514,"qing-hua-ying-xi-tu-wan-yi-ming-261514","青花婴戏图碗",[1536,1537,221,7,167,1827,1622,1828],"菊","瓷器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdba1ff37a8f414dc946d81e368bc700.jpg",[],{"id":1832,"slug":1833,"title":1630,"dynasty":45,"author":205,"museum":20,"description":1534,"tags":1834,"thumbUrl":1835,"material":295,"size":296,"collection":35,"collections":1836,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":63},260777,"qing-hua-ying-xi-tu-bi-tong-yi-ming-260777",[1536,1537,221,7,943,75,1632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4eed586d00934771c433b416e1a5be8.jpg",[],{"id":1838,"slug":1839,"title":1840,"dynasty":18,"author":205,"museum":20,"description":1534,"tags":1841,"thumbUrl":1843,"material":295,"size":296,"collection":35,"collections":1844,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":577},260316,"qing-hua-zhu-shi-ba-jiao-ying-xi-tu-wan-yi-ming-260316","青花竹石芭蕉婴戏图碗",[1536,1537,221,7,167,208,943,1842,1622],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8f2b6a530da23aa79dc99402b097b2.jpg",[],{"id":1846,"slug":1847,"title":1848,"dynasty":45,"author":205,"museum":20,"description":1849,"tags":1850,"thumbUrl":1852,"material":295,"size":296,"collection":35,"collections":1853,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":40},250168,"yi-de-kuan-hua-fa-lang-shi-nv-tu-wu-zi-yuan-pan-yi-ming-250168","怡德款画珐琅仕女图五子圆盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[980,1851,546,28,27,29,114,7,150],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d9c3242e21c231cce3bf62e4fa5766.jpg",[],{"id":1855,"slug":1856,"title":1857,"dynasty":45,"author":989,"museum":20,"description":1858,"tags":1859,"thumbUrl":1861,"material":35,"size":35,"collection":35,"collections":1862,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":63},236094,"hua-luo-han-ce-leng-mei-236094","画罗汉册","此作设色清和雅致，画面中罗汉安坐雕花宝榻，神态恬然超脱，侍童或持物随侍，或打理瓶中花枝，动静相映。衣纹勾勒舒展流畅，晕染柔和细腻，将人物仪态铺陈得恰到好处，案上清瓶供花，衬得画面愈发静谧悠然。\n左侧题字笔意清隽，与画作相得益彰，整体融书画于一炉，工细间不失文人雅意，将禅门林下闲居的超然氛围烘托尽致，笔墨间漫溢出平和冲淡的禅韵，尽显静穆出尘之美。",[24,25,26,27,28,1083,29,7,1105,1860,56],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86645fcbebefd90b72b0c43836bfda67.jpg",[],{"id":1864,"slug":1865,"title":1866,"dynasty":431,"author":1505,"museum":20,"description":1506,"tags":1867,"thumbUrl":1875,"material":295,"size":296,"collection":35,"collections":1876,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":40},232557,"mi-lai-si-101-yue-han-ai-fu-li-te-mi-lai-si-232557","米莱斯101",[1764,1868,560,1869,1870,29,7,1871,32,1872,1873,1674,1874],"速写","线条","明暗","藤蔓","长椅","长裙","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf79a8db469c7a81892b84cc377f3695.jpg",[],{"id":1878,"slug":1879,"title":1880,"dynasty":431,"author":1505,"museum":20,"description":1506,"tags":1881,"thumbUrl":1887,"material":295,"size":296,"collection":35,"collections":1888,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":63},232551,"mi-lai-si-95-yue-han-ai-fu-li-te-mi-lai-si-232551","米莱斯95",[1764,1882,560,1869,1870,29,7,1883,566,1290,1884,1885,1886],"蚀刻","椅子","围裙","裙子","小物件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006940217178bdd904e81b75b456b661.jpg",[],{"id":1890,"slug":1891,"title":1892,"dynasty":431,"author":205,"museum":20,"description":1033,"tags":1893,"thumbUrl":1895,"material":295,"size":296,"collection":35,"collections":1896,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":63},225410,"fu-shi-hui-168-yi-ming-225410","浮世绘168",[1035,1894,28,29,166,7,267,839,52,648],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cf26416c09061c92001bb03b7204c4.jpg",[],{"id":1898,"slug":1899,"title":1900,"dynasty":45,"author":205,"museum":20,"description":1901,"tags":1902,"thumbUrl":1904,"material":34,"size":35,"collection":35,"collections":1905,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":577},218117,"fu-hua-luo-han-jiu-zhang-lao-xiang-6-yi-ming-218117","佛画·罗汉九长老像-6","佚名的佛画 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[71,24,1083,980,28,27,29,1903,7,1384,839,52,208],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eca845c7f4881d1a05a9baab92c7b1.jpg",[],{"id":1907,"slug":1908,"title":1909,"dynasty":45,"author":205,"museum":20,"description":1910,"tags":1911,"thumbUrl":1914,"material":58,"size":1915,"collection":35,"collections":1916,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":63},215844,"miao-zu-yao-zu-sheng-huo-tu-ce-4-yi-ming-215844","苗族瑶族生活图册-4","画面中数人着素朴衣衫，或俯身逗弄牛犊，或相倚低语浅笑，孩童伸臂嬉闹其间，两头牛犊低首依偎，憨态可掬。人物发髻简洁，衣袂轻垂，线条简练却勾勒出鲜活神态。温润的色调晕染出柔和氛围，笔触细腻处尽显生活气息，将山野间劳作间隙的温情与天真捕捉得恰到好处，仿佛能听见田间笑语与牛鸣，尽显质朴生动的日常图景。",[71,24,28,26,27,29,812,1912,980,462,117,7,1913],"苗族瑶族生活","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c97fc34401ad03934d7c6b106876b4.jpg","36.5x29.5",[],{"id":1918,"slug":1919,"title":1920,"dynasty":431,"author":205,"museum":20,"description":1921,"tags":1922,"thumbUrl":1924,"material":295,"size":296,"collection":35,"collections":1925,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289528,"auguste-rodin-the-golden-age-yi-ming-289528","Auguste Rodin--The Golden Age","炭笔勾勒的线条松弛舒展，带着流动的韵律感。男女躯体凝练扎实，兼具古典雕塑的厚重张力，衣袂与头纱的曲线则轻柔如烟，裹着枝叶随步伐漾开。恋人怀抱着稚子，亲昵依偎间漫开暖意生机。下方的小爱童仰身探手，将画面的温情联结成完整的诗行。朦胧晕染的明暗柔化了硬朗轮廓，把神圣情爱与新生的喜悦揉进朦胧氛围里，既有速写的鲜活气韵，又藏着古典神话的祥和美满，将温柔静美定格于纸面。",[1764,620,1774,1776,1923,7,560],"裸人体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c2f2bc7743d2ab6898f6b77bf93cb72.jpg",[],{"id":1927,"slug":1928,"title":1929,"dynasty":431,"author":205,"museum":20,"description":1930,"tags":1931,"thumbUrl":1936,"material":295,"size":296,"collection":35,"collections":1937,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289512,"bartolomeo-biscaino-saint-michael-the-archangel-and-another-figure-recommending-yi-ming-289512","Bartolomeo Biscaino--Saint Michael the Archangel and Another Figure Recommending","这幅红棕素描以虚实交织的构图铺展救赎的图景。右上方的神域里，圣母子依偎安坐，光晕隐在柔化的云气中，静谧而圣洁，四周圣徒身影朦胧浮现。下方大天使身姿挺拔，引着懵懂的灵魂朝向天国祈愿，小天使穿梭云海，牵起凡世祷告与神域的联结。\n\n灵动的排线晕染明暗，松弛的线条留存着创作的即兴张力，云霭柔化了天地的界限，将悲悯与救赎融在朦胧氛围里。笔锋起落间，凡俗祈望与天国慈悲交汇，让神圣叙事藏在虚实留白之中，轻盈笔触托举着厚重的精神内核，肃穆与温柔漫溢纸面。",[1797,1764,620,1932,1933,1934,7,1935],"天使","圣米迦勒","圣母子","宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6ffca1c921a4ca38d24769fe20069ae.jpg",[],{"id":1939,"slug":1940,"title":1941,"dynasty":431,"author":205,"museum":20,"description":1942,"tags":1943,"thumbUrl":1945,"material":295,"size":296,"collection":35,"collections":1946,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289507,"bartolome-esteba-n-murillo-the-infant-st-john-the-baptist-yi-ming-289507","Bartolomé Estebán Murillo--The Infant St. John the Baptist","这幅素描以松弛灵动的排线晕染铺陈明暗，柔化的笔触将孩童的稚态勾勒得鲜活动人。圣婴依偎着羔羊，懵懂澄澈的神情带着柔和暖意，抬手的姿态亲昵自然，与身旁温驯的生灵晕出缱绻的亲昵氛围。\n\n朦胧虚化的山野背景刻意隐去细节，烘托出静谧柔和的田园气息，让焦点全然落在这对相伴的身影之上。随性自如的线条兼具速写的生动松弛与古典宗教画的沉静诗意，以极简的明暗塑造出柔和体积感，将神性融于天真日常之中，尽显素描抒情的表现力，仿若将片刻温柔定格在纸面之上。",[1083,29,7,1367,1764,1774,1944],"山野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a5d5f298eb81c35b25711d60eef686.jpg",[],{"id":1948,"slug":1949,"title":1950,"dynasty":431,"author":205,"museum":20,"description":1951,"tags":1952,"thumbUrl":1955,"material":295,"size":296,"collection":35,"collections":1956,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289498,"benjamin-west-maternity-yi-ming-289498","Benjamin West--Maternity","以红粉笔晕出柔暖朦胧的底色，将缱绻温情揉进每一笔线条之中。垂首的女子眉目柔婉，松垂的衣褶似流云舒展，晕开松弛静谧的氛围。膝头的孩童们或亲昵依偎在身侧，或探着小身子索求目光，蓬松的发丝、软润的肌肤皆被细腻笔触晕染得鲜活动人。没有锐利生硬的轮廓，唯有暖调排线缓缓铺陈天伦亲昵，把亲子间无需言说的羁绊，定格在朦胧柔美的光影之中，将沉静悠长的温柔氛围拉到极致。",[1764,620,1774,1953,1954,7,562,560],"母爱","温馨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1a442ca035d8714b76645a9e70c9fab.jpg",[],{"id":1958,"slug":1959,"title":1960,"dynasty":431,"author":205,"museum":20,"description":1961,"tags":1962,"thumbUrl":1964,"material":295,"size":296,"collection":35,"collections":1965,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289314,"francesco-fontebasso-two-standing-male-figures-and-seated-woman-with-a-child-yi-ming-289314","Francesco Fontebasso--Two Standing Male Figures and Seated Woman with a Child","淡墨晕染勾勒明暗层次，画面动静交织富有张力。左侧老者宽袍垂坠，褶皱凝练利落，捻须垂眸，肃穆持重的气度藏在沉稳姿态里。身侧武士挺拔英武，手按腰侧远眺侦伺，锐利目光暗含警觉。下方母子柔化了刚硬氛围，母亲仰头舒展神态松弛，孩童依偎身侧亲昵和暖，与上方两人的紧绷感形成鲜明对冲。\n画师以极简笔触捕捉人物性情，淡墨晕染区分衣物质感，老者裘绒的厚重与武士劲装的利落形成反差，明暗铺陈间将不同身份的人物神韵尽数勾勒。虽为速写却形神兼备，寥寥数笔定格充满叙事感的瞬间，尽显扎实的写实功底与精妙的神态把控力。",[1764,620,1963,180,7],"男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511e8691b59d6dbfd98aee08fe6cdd17.jpg",[],{"id":1967,"slug":1968,"title":1969,"dynasty":431,"author":205,"museum":20,"description":1970,"tags":1971,"thumbUrl":1980,"material":295,"size":296,"collection":35,"collections":1981,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289313,"master-of-the-months-of-lucas-the-month-of-june-shearing-sheep-yi-ming-289313","Master of the Months of Lucas--The Month of June, Shearing Sheep","这幅素描以全景铺陈开仲夏乡野日常，朴拙灵动的线条勾勒出鲜活的剪羊毛图景。前景里，妇人闲坐看顾嬉闹的孩童，提刃女子正预备为羊只剪毛，身旁牧人稳稳按住躁动的羊。右侧男女携着蔬果缓步而来，将市井烟火气揉进农忙图景中。\n\n远处村舍错落，更多农人或俯身劳作，或围坐闲话，把六月乡村松弛又忙碌的氛围尽数铺展。没有繁复晕染，仅以简练排线定格人物情态与乡野细节，将乡野仲夏的蓬勃生机与质朴温情妥帖留存，让人仿佛置身蝉鸣阵阵的夏日乡村，触摸汗水裹挟笑语的鲜活日常。",[130,1764,1972,1973,1974,1975,7,1976,1977,1978,1979,1787],"乡村","农舍","绵羊","农妇","农夫","剪羊毛","农事","田园生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe380129b795024e222589a25e68fde16.jpg",[],{"id":1983,"slug":1984,"title":1985,"dynasty":431,"author":205,"museum":20,"description":1986,"tags":1987,"thumbUrl":1989,"material":295,"size":296,"collection":35,"collections":1990,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289288,"parmigianino-design-for-a-sepulchral-monument-of-a-youth-yi-ming-289288","Parmigianino--Design for a Sepulchral Monument of a Youth","这幅设计稿以素描淡彩铺就，线条柔婉灵动，带着松弛的韵律感。休憩的少年居于画面核心，上方圣母子安坐花环拱门下，环绕的小爱神或持杖守护、或依偎侍奉，将神圣与悼亡的氛围相融。柔美的花环拱门消解了死亡的肃穆，下方碑铭两侧，顽童托举的细节为哀戚晕开一丝天真鲜活。整体构图层次分明，虚实相生，把对逝者的追思包裹在古典诗意的宗教意象中，笔触浸满温柔悲悯，让丧葬设计褪去冰冷底色，晕开脉脉温情，尽显古典美学里的悼怀诗意。",[1764,130,29,7,1083,1988,1774],"墓葬纪念碑设计","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee18966e7f8f3f13bba9f68505af3684.jpg",[],{"id":1992,"slug":1993,"title":1994,"dynasty":431,"author":205,"museum":20,"description":1995,"tags":1996,"thumbUrl":2000,"material":295,"size":296,"collection":35,"collections":2001,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":40},289279,"piat-joseph-sauvage-venus-and-cupid-yi-ming-289279","Piat Joseph Sauvage--Venus and Cupid","这幅作品以素描复刻浅浮雕质感，将温柔缱绻揉进笔锋里。裸身的女神拥住懵懂的小爱神，亲昵依偎间，神性褪却，只剩软和温情。细腻排线晕开肌肤的柔润光泽，毛发、织物的层次铺陈恰到好处，洛可可式的甜雅藏在每一处明暗过渡中。朦胧林野帷幔虚化了背景边界，将所有目光锁在二人亲昵互动里，把神话里的爱之日常，描摹得浪漫又动人。",[1997,620,166,7,1998,1999,1764],"神话","维纳斯","丘比特","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4adc26d0300e2335e20183e85d03d1.jpg",[],{"id":2003,"slug":2004,"title":2005,"dynasty":431,"author":205,"museum":20,"description":2006,"tags":2007,"thumbUrl":2010,"material":295,"size":296,"collection":35,"collections":2011,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289248,"polidoro-da-caravaggio-the-holy-family-yi-ming-289248","Polidoro da Caravaggio--The Holy Family","这幅郊野休憩的场景以棕褐素描铺陈，线条松弛却精准勾勒轮廓。圣母拥着圣婴，姿态柔婉亲昵，身旁老妇温情注视，右侧老者垂首休憩，持果孩童依偎身侧，林间浅淡晕染的光影落在起伏衣褶上，将神圣叙事揉进烟火日常里。\n\n远景村落晕染朦胧，苍劲树影衬出郊野丘壑的空寂，让私密天伦融于天地间，褪去宗教肃穆，只剩寻常家眷的松弛安恬。明暗晕染柔和过渡，衣料褶皱的厚重质感，神态的细腻描摹，将静谧温情藏进每一笔排线，把圣家族拉下神坛，定格成治愈的午后片刻。",[1764,1083,620,1798,7,52,2008,2009],"郊野","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee60ebb836c6d4a0bb7a6f8ad74280e.jpg",[],{"id":2013,"slug":2014,"title":2015,"dynasty":431,"author":205,"museum":20,"description":2016,"tags":2017,"thumbUrl":2019,"material":295,"size":296,"collection":35,"collections":2020,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289213,"giuseppe-maria-crespi-marcolfa-persuades-cacasenno-to-mount-a-horse-yi-ming-289213","Giuseppe Maria Crespi--Marcolfa Persuades Cacasenno to Mount a Horse","以红棕素描织就鲜活日常，老者攥紧缰绳稳稳控住昂首长嘶的骏马，排线顺着马身肌理铺展，将烈马的桀骜与劲力藏在笔触中。\n\n孩童挣开老者的臂弯，圆脸蛋满是雀跃莽撞，小胳膊奋力指向骏马，稚气的欢喜几乎要冲破纸面。老者眉眼弯着无奈又宠溺的笑意，布料褶皱随着动作自然垂落，粗粝又细腻的线条铺陈出布面软塌的质感。\n\n寥寥数笔晕开松弛的户外氛围，将长辈的包容、幼童的热忱与骏马的烈性揉作一处，让这个朴素的温情场景鲜活动人，满是治愈的烟火暖意。",[1764,29,2018,7],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d3159de8470cf9c89ef986b19412a.jpg",[],{"id":2022,"slug":2023,"title":2024,"dynasty":431,"author":205,"museum":20,"description":2025,"tags":2026,"thumbUrl":2027,"material":295,"size":296,"collection":35,"collections":2028,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":40},289199,"goya-a-woman-handing-a-mug-to-an-old-man-yi-ming-289199","Goya--A Woman Handing a Mug to an Old Man","焦墨铺就暗沉背景，逼仄出一处隐秘角落，暖棕水色晕开昏黄的朦胧暖意。老妇人俯身递出陶杯，动作迟缓却带着温柔的照料，半裸女子探身将另一杯盏送向洞口的男子。\n\n克制的互动下藏着难言的窘迫，模糊晕染的轮廓消解了锐利的棱角，将底层小人物昏暗日常里的片刻温情定格。粗粝的水墨肌理，让这份困顿里交换的微薄暖意更显厚重，暗调光影烘托出私密压抑的氛围，将乱世里普通人相互慰藉的瞬间凝于纸面。",[620,1764,562,446,7,622,1290,753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776913cc201af3fb637c4ce0e68f2336.jpg",[],{"id":2030,"slug":2031,"title":2032,"dynasty":431,"author":205,"museum":20,"description":2033,"tags":2034,"thumbUrl":2038,"material":295,"size":296,"collection":35,"collections":2039,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289142,"marcantonio-franceschini-allegorical-figure-yi-ming-289142","Marcantonio Franceschini--Allegorical Figure","圆形拱顶托举着缥缈天界，中心少女与独角兽相依，仰首望空神色虔诚安宁，独角兽垂首亲昵，将纯洁寓意藏进相依的温柔里。右侧侍女持花回眸，柔缓线条勾勒出曼妙体态，眉眼流转间带着恭谨柔婉。下方孩童捧瓶憨坐，稚嫩神态为画面添上鲜活暖意。\n\n淡墨晕染铺陈明暗，衣袂褶皱蓬松舒展，云絮将人物托举于虚空，笔触细腻又不失松弛韵律，将神性圣洁与古典柔美元气晕开在纸面，人物间的无声呼应织就静谧庄重的氛围感，把寓言的悠远诗意娓娓道来。",[1764,1775,2035,2036,562,7,1568,2037,1774,1422],"寓言主题","独角兽","花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F442d3044d6b6fbea88f7b5d558d8f18c.jpg",[],{"id":2041,"slug":2042,"title":2043,"dynasty":431,"author":205,"museum":20,"description":2044,"tags":2045,"thumbUrl":2049,"material":295,"size":296,"collection":35,"collections":2050,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289141,"marcantonio-franceschini-the-birth-of-adonis-yi-ming-289141","Marcantonio Franceschini--The Birth of Adonis","这幅棕色调素描以细腻流畅的线条铺陈神话降生场景，画面中心的宁芙怀抱着初生的婴孩，身旁侍女垂首凝视，氛围静谧温柔。左侧林间萨堤洛斯悄然探窥，小天使与幼童点缀其间，为庄重场景晕开些许灵动意趣。\n\n右侧跪坐的宁芙虔敬地望向婴孩，远景山峦朦胧舒展，苍郁林木环绕周遭，将神话的神圣感融于柔和光影之中。素描以质朴质感复刻出传说里的肃穆温情，让古老神话的氛围感顺着笔意漫溢纸面。",[1764,620,2046,1997,2047,1932,52,1944,7,2048],"西方绘画","阿多尼斯诞生","裸女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e83bef9f47f8709932f0c62b3128ae9.jpg",[],{"id":2052,"slug":2053,"title":2054,"dynasty":431,"author":205,"museum":20,"description":2055,"tags":2056,"thumbUrl":2062,"material":295,"size":296,"collection":35,"collections":2063,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289095,"jean-honore-fragonard-saint-celestine-v-renouncing-the-papacy-yi-ming-289095","Jean Honoré Fragonard--Saint Celestine V Renouncing the Papacy","采用圆形取景收拢画面，将视线牢牢锚定在这场宗教仪式之中。中心主教神色沉静，接过僧众托举的三重冠，周遭修士或垂首肃穆，或抬手侍奉，动作错落交织，烘托出权力更迭之际的庄重氛围。\n\n台阶下孩童毫无章法地玩闹，懵懂的姿态与上方沉重的仪式形成强烈反差，让肃穆的场景生出一丝松弛的对照。创作者以利落粗放的排线刻绘衣褶起伏，明暗晕染区分人物层次，落笔简省却精准勾勒出人物神态与仪式氛围，将权力交接的复杂情绪藏在疏密有致的线条里，寥寥数笔便让这场充满象征意义的仪式，兼具虔诚肃穆与耐人寻味的情绪张力。",[1764,1774,620,2057,2058,2059,7,2060,2061],"宗教题材","修士","教皇","教皇逊位","黑白画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45f3c1372b6a0fde4c3c2a449d4f7f8.jpg",[],{"id":2065,"slug":2066,"title":2067,"dynasty":431,"author":205,"museum":20,"description":2068,"tags":2069,"thumbUrl":2071,"material":295,"size":296,"collection":35,"collections":2072,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289093,"jean-jacques-lagrene-e-rest-on-the-flight-into-egypt-yi-ming-289093","Jean Jacques Lagrenée--Rest on the Flight into Egypt","这幅淡棕素描以松弛灵动的线条，铺陈出悠然静谧的神性休憩时刻。垂首静思的约瑟、怀拥圣婴柔婉安坐的圣母，将奔波的疲惫融于田园一隅。\n\n右侧天使偕持花环的小爱神缓步趋近，柔缓衣褶晕开暖意，背景朦胧的小天使托举棕榈枝，添上轻盈神圣的氛围感。作者以细腻排线铺陈光影层次，未用浓艳色彩，却将肃穆的宗教叙事化作日常般的脉脉温情，让神迹归于片刻安恬，勾勒出平和治愈的神圣日常。",[1764,1797,620,1932,1934,7,446,2057,2070],"逃亡埃及","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a779416c80f8e74909de7498768bc7.jpg",[],{"id":2074,"slug":2075,"title":2076,"dynasty":431,"author":205,"museum":20,"description":2077,"tags":2078,"thumbUrl":2081,"material":295,"size":296,"collection":35,"collections":2082,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289076,"jonas-umbach-september-one-of-a-series-representing-the-labors-yi-ming-289076","Jonas Umbach--September (one of a series representing the labors","以红粉笔铺就乡野日常，线条松弛随性，晕开温柔质朴的氛围感。林间空地旁，野餐的妇孺被携鸟笼的游方艺人吸引，孩童抬手探向笼中飞鸟，左侧男子摘下满枝野果缓步走来。郊野草木舒展，归鸟掠过天际，野餐食具随意散落，将秋日乡居的悠然鲜活定格。粗粝却灵动的笔触，把邻里相逢的松弛瞬间凝在纸间，漫溢出朴质的生活暖意，将乡野闲居的松弛烟火气娓娓道来。",[1764,620,267,52,1674,473,7,2079,2080],"闲适","风俗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3ff5143ea764eb80e27900a6beb987a.jpg",[],{"id":2084,"slug":2085,"title":2086,"dynasty":431,"author":205,"museum":20,"description":2087,"tags":2088,"thumbUrl":2090,"material":295,"size":296,"collection":35,"collections":2091,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289033,"louis-galloche-kneeling-female-figure-holding-a-child-yi-ming-289033","Louis Galloche--Kneeling Female Figure Holding a Child","这是一幅兼具松弛感与表现力的习作，以红粉笔与石墨结合创作。作者着重刻画衣物质感，厚重裙装以细腻排线勾勒垂坠褶皱，光影晕染自然，将织物的柔软与重量感尽显无遗。暖调粉笔晕染上衣，与灰调裙身形成温柔冷暖对比，让人物层次分明。\n\n人物姿态缱绻温柔，虽未精细刻画面容，却借依偎的肢体传递出静谧的母性氛围。画面保留了未完成的淡线稿，与深入刻画的衣装形成虚实对照，将创作过程的灵动留存纸面，让观者得以窥见落笔时的思考轨迹，在未竟之中自成含蓄韵味。",[1764,620,28,2089,7],"跪姿女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7431d651600cf3d54f5f79667c1712b.jpg",[],{"id":2093,"slug":2094,"title":2095,"dynasty":431,"author":205,"museum":20,"description":2096,"tags":2097,"thumbUrl":2102,"material":295,"size":296,"collection":35,"collections":2103,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},289023,"louis-de-boullogne-the-elder-sacrifice-offered-yi-ming-289023","Louis de Boullogne the Elder--Sacrifice Offered","这幅素描以棕褐笔触铺展祭祀图景。中心祭司立于祭坛前抬手主持仪轨，祭坛青烟微动，将献祭的肃穆晕开。两侧眷属神态虔诚，或凝神注目，或垂静待礼。左侧水畔林间，裸身男女安然憩息，为庄重仪式晕开松弛逸趣。前景孩童嬉闹于阶下，柔化了祭祀的庄严感。\n\n作者线条张弛有度，精准勾勒出衣褶的垂坠柔润与人体肌理，淡墨晕染出林间光影层次，让神域图景拥有真实呼吸感，将神性仪式与俗世闲情糅合定格，尽显古典叙事绘画的沉静诗意。",[1764,29,2098,2099,2100,52,7,1787,1674,2101],"宗教祭祀","祭坛","神话场景","献祭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9cafeec1efcaf5f8f85590d37073.jpg",[],{"id":2105,"slug":2106,"title":2107,"dynasty":431,"author":205,"museum":20,"description":1772,"tags":2108,"thumbUrl":2112,"material":295,"size":296,"collection":35,"collections":2113,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288872,"giovanni-battista-tiepolo-river-god-with-an-oar-woman-holding-a-serpent-yi-ming-288872","Giovanni Battista Tiepolo--River God with an Oar, Woman Holding a Serpent",[620,1776,1775,1764,2109,7,2110,2111],"神话人物","桨","蛇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7809bdfcf2c42a7636b031060aea55f0.jpg",[],{"id":2115,"slug":2116,"title":2117,"dynasty":431,"author":205,"museum":20,"description":1772,"tags":2118,"thumbUrl":2124,"material":295,"size":296,"collection":35,"collections":2125,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288871,"giovanni-battista-tiepolo-scherzo-di-fantasia-seated-warrior-yi-ming-288871","Giovanni Battista Tiepolo--Scherzo di Fantasia Seated Warrior",[1774,1868,620,2119,7,2120,2121,1423,2122,2123],"武士","盾牌","兵器","淡墨","幻想题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3937a62b36594016a38d4a738591e73.jpg",[],{"id":2127,"slug":2128,"title":2129,"dynasty":431,"author":205,"museum":20,"description":2130,"tags":2131,"thumbUrl":2137,"material":295,"size":296,"collection":35,"collections":2138,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288824,"pelagio-palagi-king-charles-viii-of-france-with-the-dying-gian-galeazzo-sforza-yi-ming-288824","Pelagio Palagi--King Charles VIII of France with the Dying Gian Galeazzo Sforza","画面以细密的素描笔触铺陈出沉郁的宫廷场景。濒死的贵族被幼童与侍从竭力搀扶，身体佝挛着满是将熄的孱弱。白衣王后垂首哀戚，伸出的双手似在向王座上的君主求告，却难掩绝望。王座上的帝王神色冷漠，端坐的姿态衬出权力的威压，旁立的老者们或侧目忧心、或冷眼漠然，将宫廷凉薄尽显。明暗层次晕染出窒闷的氛围，将王权阴影下生命的凋零与权力倾轧的悲剧，凝在这一凝滞的对峙瞬间，满是末世宫廷的唏嘘与沉重。",[1764,620,2132,564,2133,2134,563,7,2135,2136],"历史画","多人","悲伤氛围","床榻","座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd5ce4e52f01efe6cb2336aef223b6f8.jpg",[],{"id":2140,"slug":2141,"title":2142,"dynasty":431,"author":205,"museum":20,"description":2143,"tags":2144,"thumbUrl":2147,"material":295,"size":296,"collection":35,"collections":2148,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288793,"pierre-antoine-baudouin-le-matin-morning-yi-ming-288793","Pierre Antoine Baudouin--Le Matin (Morning)","蓝调帷幔围起一方私密闺房，鎏金饰边晕着华贵暖意。榻上女子尚陷在晨睡余韵中，手臂交叠枕于脑后，肌肤被晨光晕出柔润光泽，慵懒松弛漫溢开来。男子止步侧身，目光凝向榻上，似被这晨间慵态绊住脚步，一旁孩童扯住他的衣袍，为这暧昧氛围添上几分稚拙的拉扯感。\n\n笔触细腻晕开织物褶皱的柔光，以雅致配色铺就贵族晨间日常图景，将洛可可式的缱绻意趣藏在光影里，让私邸晨光里的松弛与暧昧，都融在人物细微的神态互动间。",[559,620,564,2145,166,1810,7,28,1422,2146],"卧室","晨起","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab80b5e9afb5f726df2bf7b031e3390.jpg",[],{"id":2150,"slug":2151,"title":2152,"dynasty":431,"author":205,"museum":20,"description":2153,"tags":2154,"thumbUrl":2159,"material":295,"size":296,"collection":35,"collections":2160,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288784,"pierre-numa-bassaget-fashion-drawing-with-a-woman-seated-in-a-chair-yi-ming-288784","Pierre-Numa Bassaget--Fashion Drawing with a Woman Seated in a Chair","这幅水彩以柔润晕染铺陈开旧时光景。斜倚扶手椅的贵妇，珊瑚红软帽配同色蕾丝镶边晨衣，慵懒姿态里满是矜贵松弛感。身旁两个孩童相映成趣，女孩白纱绣裙蓬松雅致，男孩风琴褶上衣带着复古俏皮，仰头的神态似在软声诉说童趣日常。低饱和色调晕开朦胧温柔的氛围，将上流宅邸的午后闲情定格，仿佛能听见童声软语和贵妇含笑的轻应，把闺阁细碎的暖意揉进纸面，晕成一首安静的复古情诗。",[2155,28,620,2156,2157,7,564,2158],"水彩画","时装画","贵妇","欧式服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aec5d0a21f79315420cb6d2d129cf14.jpg",[],{"id":2162,"slug":2163,"title":2164,"dynasty":431,"author":205,"museum":20,"description":2165,"tags":2166,"thumbUrl":2171,"material":295,"size":296,"collection":35,"collections":2172,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288680,"attributed-to-andre-s-de-melgar-strapwork-term-with-arm-extended-onto-head-yi-ming-288680","attributed to Andrés de Melgar--Strapwork Term with Arm Extended onto Head","这幅钢笔素描以利落排线铺陈体积，圆润饱满的小天使侧身舒展，肌肉起伏在疏密线条中柔和显现，稚拙中带着古典人体的柔美张力。\n\n它将怪诞柱头、缠枝饰带与涡纹构件相融，小天使与拟人化柱头呼应，绮丽复古。作为古典壁饰构思，把人文意象与工艺装饰巧妙结合，线条灵动勾勒出复古奇幻的装饰美学，带着文艺复兴晚期怪诞装饰风格的余韵，简约却尽显精致巧思。",[130,1764,1787,1774,2167,7,2168,399,2169,2170],"装饰画","半裸人物","卷草纹","柱饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc345f784fdfb833b3ef64df73abc602.jpg",[],{"id":2174,"slug":2175,"title":2176,"dynasty":431,"author":205,"museum":20,"description":2177,"tags":2178,"thumbUrl":2183,"material":295,"size":296,"collection":35,"collections":2184,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288673,"attributed-to-francesco-allegrini-aeneas-carrying-anchises-in-the-burning-yi-ming-288673","attributed to Francesco Allegrini--Aeneas Carrying Anchises in the Burning","棕褐色调晕开乱世烟尘，明暗光影切割出仓促的逃亡之路。埃涅阿斯紧绷的腰背驮起老父安喀塞斯，肌肉线条在笔锋下凸显着背负的重量，那是至亲的性命，更是家国火种存续的重担。身侧幼童踉跄追随，手足间满是慌乱与依赖。\n\n背景里的特洛伊城火舌翻卷，奔逃的人群隐在烟霭之中，将战火绝望的氛围铺满画面。粗犷率性的速写笔触没有多余修饰，却把灾厄之下的亲情感张力拉到极致，将史诗名篇中的仓皇逃生，定格成带着温度的瞬间，战乱的悲怆与血脉牵绊的温情交织，鲜活跃然于纸面。",[620,1764,1775,2179,2180,2181,2182,7],"神话故事","逃亡","火灾","废墟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f73eaf512665aa9813c2af6fd424f47.jpg",[],{"id":2186,"slug":2187,"title":2188,"dynasty":431,"author":205,"museum":20,"description":2189,"tags":2190,"thumbUrl":2193,"material":295,"size":296,"collection":35,"collections":2194,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":40},288632,"jean-baptiste-greuze-domestic-scene-yi-ming-288632","Jean-Baptiste Greuze--Domestic Scene","暖棕淡彩晕开一室烟火，松弛灵动的线条勾勒出满溢温情的日常。画面里，有人怀抱着幼童轻声逗弄，有人俯身依偎私语，老者安坐椅上垂眸休憩，小童子依偎身侧安静亲昵，连脚边蜷卧的小狗都浸着慵懒松弛的气息。\n随性的明暗铺陈里，没有刻意雕琢的精致，却精准捕捉住每个角色的神态动作，将家人间脉脉的温情揉进每一处互动里，仿佛下一秒就能听见屋中的软语和孩童的笑闹，把俗世日常里细碎鲜活的暖意，永远定格在这方寸画纸间。",[620,263,1764,1775,564,446,7,1247,2191,2192],"家犬","温馨日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425ae02db494af8a36b6e81568f10d2f.jpg",[],{"id":2196,"slug":2197,"title":2198,"dynasty":431,"author":205,"museum":20,"description":2199,"tags":2200,"thumbUrl":2205,"material":295,"size":296,"collection":35,"collections":2206,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},288608,"jonas-umbach-april-one-of-a-series-representing-yi-ming-288608","Jonas Umbach--April (one of a series representing","以红棕素描晕开春日暖意，前景里贵族男女悠然闲坐，侍从为女眷打理发丝，农妇静分拣作物，幼童在侧嬉闹，远景农夫驱牛耕作，田舍错落林梢抽芽。\n线条松弛灵动，将闲情雅致与乡野生机相融，一边是慵懒松弛的享乐日常，一边是勤恳质朴的田间劳作，动静交织铺陈出春日乡野的鲜活图景。笔触轻简却精准勾勒出人物神态，把春日郊野松弛的烟火气晕染开来，将乡野四月的恬淡意趣藏进每一处细节里，让春日乡居的鲜活日常跃然纸上。",[1764,263,620,1972,2201,52,812,2202,7,2203,2204],"初春","农作","户外休憩","民居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb901d16793ed62bfbfa1784835eaa3.jpg",[],{"id":2208,"slug":2209,"title":2210,"dynasty":431,"author":205,"museum":20,"description":2211,"tags":2212,"thumbUrl":2216,"material":295,"size":296,"collection":35,"collections":2217,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":551},288568,"attributed-to-giorgione-putto-bending-a-bow-yi-ming-288568","attributed to Giorgione--Putto Bending a 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他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[559,561,29,7,2261,2262,560],"贵族服饰","羽毛帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec165c8edd27e252bf5c45a4fb1509b2.jpg",[],{"id":2266,"slug":2267,"title":2268,"dynasty":431,"author":1419,"museum":20,"description":1420,"tags":2269,"thumbUrl":2279,"material":295,"size":296,"collection":35,"collections":2280,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":40},232334,"a-er-ma-61-lao-lun-si-a-er-ma-ta-de-ma-232334","阿尔玛61",[23,1340,2270,2271,2272,1423,2273,563,7,2119,2274,2275,2276,2277,564,2278],"铜版画","写实风格","人物群像","柱廊","盔甲","陶罐","武器","古典服饰","仪式场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa382e9402051a6e9901e425d81f8359d.jpg",[],{"id":2282,"slug":2283,"title":2284,"dynasty":431,"author":1419,"museum":20,"description":1420,"tags":2285,"thumbUrl":2287,"material":295,"size":296,"collection":35,"collections":2288,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":40},232333,"a-er-ma-60-lao-lun-si-a-er-ma-ta-de-ma-232333","阿尔玛60",[559,23,2132,620,2271,2286,2273,563,7],"古罗马庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e3967ca9f3274d553c8e95ef586aa2a.jpg",[],{"id":2290,"slug":2291,"title":2292,"dynasty":431,"author":2293,"museum":20,"description":2294,"tags":2295,"thumbUrl":2298,"material":295,"size":296,"collection":35,"collections":2299,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},231264,"su-miao-518-xi-fang-231264","素描518","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[1764,29,2296,7,2297,560],"肖像","卷发","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fdb1434b6dc61330e7e6c3cbc93d2ea.jpg",[],{"id":2301,"slug":2302,"title":2303,"dynasty":431,"author":2304,"museum":20,"description":2305,"tags":2306,"thumbUrl":2312,"material":295,"size":296,"collection":35,"collections":2313,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":577},230612,"rembrandt-harmensz-van-rijn-0192-lun-bo-lang-230612","Rembrandt 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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。",[559,29,7,2307,2308,2309,2310,570,2311,2296],"静物","书本","明暗对比","巴洛克","桌上物品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04a82ab809594d1682cce89db5a444.jpg",[],{"id":2315,"slug":2316,"title":2317,"dynasty":18,"author":205,"museum":20,"description":2318,"tags":2319,"thumbUrl":2324,"material":295,"size":296,"collection":35,"collections":2325,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":40},228622,"cheng-jun-fang-bai-zi-tu-yuan-mo-yi-ming-228622","程君房百子图圆墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[308,2320,2321,28,29,7,73,2322,2323],"墨","雕刻","圆形","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc4066934c2cf1e5b95ec2ad5383cdd3.jpg",[],{"id":2327,"slug":2328,"title":2329,"dynasty":45,"author":205,"museum":20,"description":2330,"tags":2331,"thumbUrl":2333,"material":58,"size":1915,"collection":35,"collections":2334,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},215842,"miao-zu-yao-zu-sheng-huo-tu-ce-6-yi-ming-215842","苗族瑶族生活图册-6","古朴纸面上，生活的暖意漫溢开来。左侧男子负篮携幼，粗布短褐裹着劳作的印记，稚童拽衣踮脚，憨态惹眼；右侧女子发髻玲珑，裙裾缀着彩绣纹样，手挽竹篮似低语相谈，眉眼间藏着细碎的温柔。衣褶线条轻缓，篮中物什隐约可见，每一处细节都描摹着日常的鲜活。没有刻意雕琢，却将族群服饰特色与生活本真温情凝于笔端，仿佛能听见山间软语，触到风里草木香，让久远的生活场景在眼前生动浮现。",[71,25,24,28,27,26,29,115,2332,651,7,562],"民族服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e0dd8febc9f5364c689d3a1ae6e1ea.jpg",[],{"id":2336,"slug":2337,"title":2338,"dynasty":45,"author":205,"museum":20,"description":2339,"tags":2340,"thumbUrl":2343,"material":34,"size":35,"collection":35,"collections":2344,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":63},215186,"yi-shi-ji-yao-tan-4-yi-ming-215186","医士及药摊-4","画面中，医士着深衣俯身施种，指尖凝着细致专注；母亲怀拥幼童坐于木凳，粉衫绿裙衬得神情柔婉，怀中孩童的懵懂与母亲的轻忧相映。背景淡影如往来行人，晕开市井烟火气。简淡笔触下，人物神态鲜活——医士的专业、母子的相依，将百年前传统接种的日常场景定格。没有繁复铺陈，却以质朴细节藏着旧时光的温情，让那段关于医疗与民生的片段，在纸间静静流淌，鲜活如初。",[71,24,28,27,29,7,131,2341,2342,1622],"医士","木凳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6128c32d0ed16b6addd519bf46b6f5.jpg",[],{"id":2346,"slug":2347,"title":2348,"dynasty":45,"author":205,"museum":20,"description":2349,"tags":2350,"thumbUrl":2352,"material":58,"size":35,"collection":35,"collections":2353,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":40},215135,"er-shi-si-xiao-tu-ce-1-yi-ming-215135","二十四孝图册-1","二十四孝图册 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