[{"data":1,"prerenderedAt":391},["ShallowReactive",2],{"subject-hai":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1107,"hai","海","海画高清赏析","精选中国历代海题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2548895a33f2f477bf388a34c67dc0ee.jpg",0,25,[14,40,59,78,115,128,153,166,181,198,210,223,237,254,267,280,290,306,320,331,343,355,363,370,377],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},215860,"fu-jian-sheng-hai-an-quan-tu-yi-ming-215860","福建省海岸全图","清","佚名","藏地不详","这幅长卷铺展闽海形胜，蜿蜒的海岸线串联起青绿山峦与星罗港湾。层叠的山体以墨线勾边、青绿敷色，既显地理轮廓之真，又含山水写意之韵。下方海水以细密波纹纹理铺陈，间缀白色浪花，灵动而富层次。沿岸聚落、关隘以朱墨小字标注，与自然景观相映成趣，兼具舆图实用与艺术雅致。整卷视野开阔，气韵连贯，将闽地山海浓缩于尺幅，既是地域风貌的忠实记录，亦是充满诗意的山水长卷，尽显古人对天地形胜的认知与审美。",[23,24,25,26,27,28,29,30,7,31,32],"高清","国画","长卷","设色","青绿","工笔","皴法","山水","流水","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb002132a002ca6ddd20e88ac2d7d0bdb.jpg","绢本,设色","","山水画精选",[36],38,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":54,"material":35,"size":35,"collection":35,"collections":55,"showCount":56,"zanCount":57,"manualWeight":11,"mainColor":58},230949,"shou-shan-fu-hai-tu-leng-qian-230949","寿山福海图","明","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。",[23,24,48,49,26,30,7,50,51,52,53,29],"书画","立轴","山石","孤石","印章","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],29,1,"795548",{"id":60,"slug":61,"title":62,"dynasty":44,"author":63,"museum":64,"description":65,"tags":66,"thumbUrl":73,"material":74,"size":75,"collection":76,"collections":77,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":58},218293,"luo-han-du-hai-tu-ding-yun-peng-218293","罗汉渡海图","丁云鹏","美国弗利尔美术馆","群罗汉踏浪渡海而来，情态万千：或袒腹开怀，笑对万顷碧波；或凝眉垂目，静悟云涛禅意；或携稚童戏于潮尖，或乘神兽腾于雾霭。衣纹细劲如流水翻卷，随海风轻扬；神兽鳞爪分明，似欲破云而出。云雾氤氲间，海水波纹层叠，童子憨态可掬，罗汉眉纹深锁，每一处笔墨皆藏匠心。线条流转里，禅意与浪声交织，超然之态与海的浩渺相融，仿佛能看见风拂衣袂的翩跹，听见潮拍岸矶的回响，将渡海的壮阔与罗汉的自在凝于一纸，引人沉醉于这方亦真亦幻的禅意世界。",[24,48,67,68,69,28,70,71,7,72],"宗教","人物","白描","龙","兽","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d048006ac05b14ce5b9ac0ad7d18b6.jpg","纸本","137.3x84.9","人物画精选",[76],{"id":79,"slug":80,"title":81,"dynasty":82,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":110,"material":74,"size":111,"collection":112,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":39},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","宋","朱熹","北京故宫博物院","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,87,88,25,89,52,90,91,72,92,93,94,95,96,97,98,99,100,101,102,103,104,105,106,7,107,108,109],"行书","书法","墨迹","山","水","雪","月","亭","石","林","菊","兰","桂","江","秋","冬","芙蓉","舟","松","风","溪","竹","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米","书法精选",[112],18,{"id":116,"slug":117,"title":118,"dynasty":82,"author":19,"museum":20,"description":119,"tags":120,"thumbUrl":125,"material":35,"size":35,"collection":35,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":39},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[23,121,24,48,122,28,26,30,7,123,124,88,52],"宋画","册","波浪","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],16,{"id":129,"slug":130,"title":131,"dynasty":132,"author":133,"museum":20,"description":134,"tags":135,"thumbUrl":147,"material":148,"size":149,"collection":150,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":58},226063,"the-cote-sauvage-1886-mo-nai-226063","The Cote sauvage, 1886","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[136,137,138,139,140,7,53,141,142,143,144,145,146],"印象派","油画","光影","笔触","色彩","岩石","天空","海岸","礁石","浪花","云层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1d68da57080758f348440d29658c7c4.jpg","未知","Xcm*Xcm","油画精选",[150],12,{"id":154,"slug":155,"title":156,"dynasty":132,"author":157,"museum":20,"description":158,"tags":159,"thumbUrl":163,"material":148,"size":149,"collection":35,"collections":164,"showCount":165,"zanCount":11,"manualWeight":11,"mainColor":39},231730,"da-zheng-nian-chao-zhi-juan-jin-cun-zi-hong-231730","大正年 朝之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,48,25,26,28,30,7,123,32,160,161,162,68],"棕榈树","山丘","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],10,{"id":167,"slug":168,"title":169,"dynasty":18,"author":170,"museum":20,"description":171,"tags":172,"thumbUrl":178,"material":74,"size":35,"collection":112,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":39},241078,"shi-zhou-fang-xun-241078","诗轴","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[48,49,87,88,52,173,72,174,100,7,175,92,106,93,176,91,177,95],"寒山","湖山","峰","花","烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[112],5,{"id":182,"slug":183,"title":184,"dynasty":132,"author":185,"museum":20,"description":186,"tags":187,"thumbUrl":196,"material":148,"size":149,"collection":35,"collections":197,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":39},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段","谷文晁","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,26,30,25,7,32,141,188,142,189,190,72,191,192,193,194,195,68,29],"树木","船只","沙滩","悬崖","海岸线","松树","植被","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":199,"slug":200,"title":201,"dynasty":44,"author":19,"museum":20,"description":202,"tags":203,"thumbUrl":207,"material":148,"size":149,"collection":35,"collections":208,"showCount":209,"zanCount":57,"manualWeight":11,"mainColor":39},256394,"qing-hua-jiu-long-nao-hai-wen-wan-yi-ming-256394","青花九龙闹海纹碗","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。",[204,205,206,70,7],"明代","陶瓷","青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f46e0cde72527a93c3d1a5eda3709b.jpg",[],4,{"id":211,"slug":212,"title":213,"dynasty":18,"author":214,"museum":20,"description":215,"tags":216,"thumbUrl":220,"material":148,"size":149,"collection":35,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":39},241038,"qi-lv-zhou-fa-ruo-zhen-241038","七律轴","法若真","法若真（1613－1691）字汉儒，号黄山、黄石，祖籍济南，先祖于明朝景泰年间任职胶州，法氏后人遂定居胶州城里，以为故里。 法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[88,49,87,217,52,100,218,176,7,175,219],"水墨","草","馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],3,{"id":224,"slug":225,"title":226,"dynasty":18,"author":227,"museum":228,"description":229,"tags":230,"thumbUrl":234,"material":35,"size":35,"collection":35,"collections":235,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":236},202594,"jin-ji-zhu-li-tu-zhou-ren-yi-202594","锦鸡伫立图轴","任颐","上海博物馆","画面中锦鸡伫立石上，姿态雍容沉稳。其羽毛以浓淡墨色晕染，层次丰富，头部朱红羽冠与颊羽鲜亮夺目，尽显灵动生机。下方山石以写意笔触勾勒，淡绿晕染间见苍劲质感；周围橙黄花朵簇生，青绿叶片点缀，色彩明快雅致，与锦鸡、山石相映成趣。整作笔墨兼工带写，既得物象之真，又具写意之韵，海派画风的鲜活灵动尽显其中，于方寸间传递出自然意趣与闲适氛围。",[24,231,232,50,26,233,49,7],"花鸟","锦鸡","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a5795d87cd4150c038eb98cfdcfb75.jpg",[],"c2bab2",{"id":238,"slug":239,"title":240,"dynasty":44,"author":19,"museum":20,"description":241,"tags":242,"thumbUrl":250,"material":148,"size":149,"collection":35,"collections":251,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":253},249602,"qia-si-fa-lang-hai-wu-tian-chou-tu-kui-hua-shi-tan-pen-yi-ming-249602","掐丝珐琅海屋添筹图葵花式炭盆","葵花口沿舒展雅致，鎏金边饰晕开华贵气韵。盆心海屋添筹图景仙气悠然，瑞鹤灵鹿伴琼楼隐于缠枝花卉之间。外壁松石釉色铺底，以朱黄诸彩晕染山海瑞兽，灵动鲜活仿佛踏浪而来。\n\n掐丝纤细匀整，勾勒出每一处纹饰的婉转棱角，珐琅釉色温润古朴，带着岁月沉淀的柔润光泽。吉庆的祝寿意涵藏于铜胎寸厘之间，将实用与陈设雅趣相融，把厚重工艺质感，凝练成一方可赏可用的绝美器物。",[243,244,245,246,247,7,248,249,71],"掐丝珐琅","琺瑯器","铜制","日用具","葵花式","屋","筹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e6835b885fa272d609d18a542b7884.jpg",[],2,"37474F",{"id":255,"slug":256,"title":169,"dynasty":18,"author":257,"museum":20,"description":258,"tags":259,"thumbUrl":265,"material":148,"size":149,"collection":35,"collections":266,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":39},240888,"shi-zhou-tang-ying-240888","唐英","唐英（1682-1756年），清代陶瓷艺术家，能文善画，兼书法篆刻且又精通制瓷。沈阳人，隶属汉军正白旗，雍正六年（1728年）奉命任景德镇御窑厂协理官，乾隆元年（1736年）起先后管理淮安关及九江关并兼理窑务，直至二十一年（其中十五、十六两年一度中止）。",[48,88,49,87,52,93,90,260,261,262,105,176,7,263,264],"天","竹林","雲","青山","鐘磬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd423859685711d326acb32c007d9b8.jpg",[],{"id":268,"slug":269,"title":270,"dynasty":18,"author":271,"museum":20,"description":272,"tags":273,"thumbUrl":278,"material":148,"size":149,"collection":35,"collections":279,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":39},240884,"zhou-liang-gong-qi-lv-shi-zhou-zhou-liang-gong-240884","周亮工七律诗轴","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[88,87,49,52,97,90,274,275,276,277,7],"马","书","帷","堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ae57aec5d72a56413c9d534f985754.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":18,"author":284,"museum":20,"description":285,"tags":286,"thumbUrl":288,"material":148,"size":149,"collection":35,"collections":289,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":39},240670,"ti-cang-sang-xian-yi-tu-juan-qian-qian-yi-240670","题沧桑仙奕图卷","钱谦益","钱谦益（1582年10月22日—1664年6月17日），字受之，号牧斋，晚号蒙叟，东涧老人。学者称虞山先生。清初诗坛的盟主之一。苏州府常熟县鹿苑奚浦（今张家港市塘桥镇鹿苑奚浦）人。\n钱谦益是明万历三十八年（1610年）探花（一甲三名进士），后为东林党的领袖之一，官至礼部侍郎，因与温体仁争权失败而被革职。明亡后，马士英、阮大铖在南京拥立福王，建立南明弘光政权，钱谦益依附之，为礼部尚书。后降清，为礼部侍郎。\n钱谦益的评价富于争议，尤其是降清、仕清之举成为其道德症结，清乾隆帝将之视作失节者，删禁其著作；但也有学者指出，入清后钱谦益仍多次私下策反降清武将、暗中资助郑成功反清等等。若就文学地位而言，则钱谦益仍应得到肯定。",[88,87,25,52,90,7,68,287,217],"棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11806b03ac02295de1494fb79076c8c.jpg",[],{"id":291,"slug":292,"title":293,"dynasty":18,"author":294,"museum":84,"description":295,"tags":296,"thumbUrl":302,"material":303,"size":304,"collection":112,"collections":305,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":39},240111,"he-yu-zhi-shi-ye-liu-tong-xun-240111","和御制诗页","刘统勋","卷前有乾隆己巳夏六月望日（乾隆十四年，1749年）御制初集诗小序，序末钤“乾”、“隆”联珠印；太子少保尚书蒋溥奏刻御制诗集告成折。卷末有张廷玉、蒋溥、梁诗正、汪由敦、刘统勋、介福、钱陈群、嵇璜、观保、董邦达、金德瑛等跋。\n《御制诗初集》收录御制诗4150余首，系清高宗弘历于乾隆元年至十二年（1736－1747年）所作，按年编次。而《御制诗集》收录的是乾隆皇帝所有的诗作，共计42,000余首。\n乾隆帝的诗可谓实录，是其从政、祭祀、巡幸、筵宴、读书等活动的即兴之作，如《皇考忌辰感成六韵》、《皇考梓宫至泰陵奉安》、《皇太后宴恭记》、《赐蒋溥巡抚湖南》、《阅古北口将士较武》、《题沈周春草秋花卷》、《西巡回銮述事》等，题咏繁富，追怀抒情，具有较高的史料价值。诚如乾隆皇帝所言：“几务之暇，无他可娱，往往作为诗古文赋，文赋不数十篇，诗则托兴寄情，朝吟夕讽。其间，天时农事之宜，莅朝将祀之典，以及时巡所至，山川名胜，风土淳漓，罔不形诸咏歌，纪其梗概。”\n除此本外，尚有《四库全书荟要》本、《四库全书》本、清乾隆年内府抄本、清光绪五年内府铅印本。\n《四库全书总目》、《中国古籍善本书目》著录。",[88,87,297,298,52,299,300,7,301],"册页","墨笔","明月","湖","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb07e45af19ba11b98d8195a66498010.jpg","绢","20.3cm×13.7cm",[112],{"id":307,"slug":308,"title":309,"dynasty":18,"author":19,"museum":84,"description":310,"tags":311,"thumbUrl":316,"material":317,"size":318,"collection":35,"collections":319,"showCount":252,"zanCount":11,"manualWeight":11,"mainColor":39},233041,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233041","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[24,26,28,122,68,7,312,123,313,314,315,189],"战船","山峦","军队","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35739398b97c9acde41de720c061c406.jpg","纸本，设色","长55.6厘米，宽91.1厘米",[],{"id":321,"slug":322,"title":323,"dynasty":18,"author":19,"museum":20,"description":324,"tags":325,"thumbUrl":329,"material":148,"size":149,"collection":35,"collections":330,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":58},251792,"bai-yu-hai-tian-yu-ri-tu-cha-ping-yi-ming-251792","白玉海天浴日图插屏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[326,327,124,7,70,328],"玉石","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d0afc627aa9ef9c7e137e2c95a3118e.jpg",[],{"id":332,"slug":333,"title":334,"dynasty":44,"author":335,"museum":20,"description":336,"tags":337,"thumbUrl":341,"material":148,"size":149,"collection":35,"collections":342,"showCount":57,"zanCount":11,"manualWeight":11,"mainColor":39},240380,"shi-ye-wang-yi-240380","诗页","王宜","王宜，字嶰谷，江苏太仓人。乾隆年间，官新建知县。凤仪弟，原祁会孙。山水善承家学，笔意松秀，与兄齐名",[48,88,87,52,122,338,339,301,100,7,90,340,51],"山泉","瀑布","虹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bbe2396b0268171903e777b805d4db.jpg",[],{"id":344,"slug":345,"title":346,"dynasty":18,"author":19,"museum":20,"description":202,"tags":347,"thumbUrl":353,"material":148,"size":149,"collection":35,"collections":354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},258645,"qing-hua-shou-shan-fu-hai-wen-hua-kou-ping-yi-ming-258645","青花寿山福海纹花口瓶",[205,206,348,26,90,7,349,350,351,352],"清代","蝙蝠","花卉","花口","瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab64493885301701ca08589622d34c0.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":18,"author":19,"museum":20,"description":202,"tags":359,"thumbUrl":361,"material":148,"size":149,"collection":35,"collections":362,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},257939,"kang-xi-kuan-qing-hua-shou-shan-fu-hai-tu-wan-yi-ming-257939","康熙款青花寿山福海图碗",[18,205,206,90,7,123,360],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce28fb7ea365ed882c2bf25e4dfd42cd.jpg",[],{"id":364,"slug":365,"title":366,"dynasty":44,"author":19,"museum":20,"description":202,"tags":367,"thumbUrl":368,"material":148,"size":149,"collection":35,"collections":369,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":253},257226,"qing-hua-hai-shou-wen-die-yi-ming-257226","青花海兽纹碟",[204,205,328,206,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034a5d99e31f7a7584582e0bf3c2f9ce.jpg",[],{"id":371,"slug":372,"title":373,"dynasty":44,"author":19,"museum":20,"description":202,"tags":374,"thumbUrl":375,"material":148,"size":149,"collection":35,"collections":376,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":58},256828,"qing-hua-hai-shou-wen-pan-yi-ming-256828","青花海兽纹盘",[206,205,71,7,328],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a535a63c3494443726de718fec05cc.jpg",[],{"id":378,"slug":379,"title":380,"dynasty":44,"author":381,"museum":20,"description":382,"tags":383,"thumbUrl":389,"material":148,"size":149,"collection":35,"collections":390,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},241445,"san-jia-shi-han-juan-li-su-241445","三家诗翰卷","李素","李素，广东梅县人，明朝景泰七年(1456）丙子科举人，天顺四年（1460）会试乙榜。初任宾州训导，历任上犹、贵溪、当涂教谕。致仕归，讲学于东社，筑室于松冈（今梅江区白宫龙冈村），学者远近宗之。",[88,87,25,217,52,90,95,7,70,384,385,91,105,108,176,386,93,124,104,94,387,388],"鹤","琴","鸟","老树","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54332156d2c827078d741d4f365e895.jpg",[],1777535717478]