[{"data":1,"prerenderedAt":707},["ShallowReactive",2],{"subject-hua-ping":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},799,"hua-ping","花瓶","花瓶画高清赏析","精选中国历代花瓶题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f90b313c75f64898aff3ae9c0825fb.jpg",0,51,[14,41,69,82,96,118,139,151,174,191,202,219,231,244,259,269,280,290,308,322,335,347,371,384,398,406,420,429,446,463,476,490,502,515,523,529,543,553,564,573,585,595,606,614,632,641,657,669,680,687,696],{"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":39,"manualWeight":11,"mainColor":40},225705,"a-bottle-of-white-roses-fan-gao-225705","A bottle of white roses","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[23,24,25,26,7,27,28,29,30,31,32],"油画","静物","花卉","白色玫瑰","厚涂","设色","绿色","桌面","笔触奔放","色彩鲜明","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61092a1c7e00462e6c53a81e571c9644.jpg","未知","Xcm*Xcm","油画精选",[36],212,1,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":62,"material":63,"size":64,"collection":65,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":68},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","明","陈洪绶","北京故宫博物院","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[50,51,52,53,54,28,55,56,57,58,59,60,7,61],"高清","名画","国画","书画","立轴","工笔","人物","器","荷花","衣袍","石桌","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg","绢本设色","纵150厘米，横67.3厘米","山水画精选",[65],157,"BDBDBD",{"id":70,"slug":71,"title":72,"dynasty":18,"author":19,"museum":20,"description":21,"tags":73,"thumbUrl":77,"material":34,"size":35,"collection":36,"collections":78,"showCount":79,"zanCount":80,"manualWeight":11,"mainColor":81},225825,"sunflowers-january-fan-gao-225825","Sunflowers (January - )",[23,74,75,7,25,76],"后印象派","向日葵","静物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff139c2c5193aaa11cf3ee584b60bbb5c.jpg",[36],130,3,"FDD835",{"id":83,"slug":84,"title":85,"dynasty":45,"author":46,"museum":47,"description":86,"tags":87,"thumbUrl":90,"material":91,"size":92,"collection":93,"collections":94,"showCount":95,"zanCount":80,"manualWeight":11,"mainColor":40},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[52,53,54,28,55,56,88,7,25,89],"美人","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","绢本 ，设色","纵173.5cm，横95.3cm","人物画精选",[93],117,{"id":97,"slug":98,"title":99,"dynasty":100,"author":101,"museum":102,"description":103,"tags":104,"thumbUrl":112,"material":28,"size":113,"collection":114,"collections":115,"showCount":116,"zanCount":117,"manualWeight":11,"mainColor":68},219889,"bo-gu-hua-cao-zhou-chen-zhao-feng-219889","博古花草轴","清","陈兆凤","台北故宫博物院","画面左置开光山水瓷瓶，攒插幽竹、紫藤与素叶秋枝，清竹疏朗挺拔，紫穗垂曳如瀑，花叶素净雅致，暗合案头插花的闲趣章法。右侧圆缸承于铜架，朱红墨色琉金金鱼穿曳萍藻之间，摆尾摇鳍暗藏灵动。全作工笔淡彩晕染清妍，线条匀净秀劲，将案头清供的静雅和游鱼的生机相融，把书斋里冲淡安闲的幽居雅兴尽藏笔底，淡寂中透着雅致生机，尽显中式文人清隽的赏玩意趣。",[52,53,54,28,55,7,105,106,107,108,109,110,57,111],"金鱼","金鱼缸","花草","紫藤","陶瓷","珐琅器","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c3ec770138bc377e1486617d4e9536.jpg","231.7x117.7","设色画精选",[114],107,2,{"id":119,"slug":120,"title":121,"dynasty":100,"author":122,"museum":123,"description":124,"tags":125,"thumbUrl":134,"material":135,"size":136,"collection":114,"collections":137,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":68},219272,"fang-gong-kai-zhong-nan-gui-qu-tu-fei-dan-xu-219272","仿龚开终南鬼趣图","费丹旭","美国弗利尔美术馆","费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[50,52,28,55,126,56,127,128,7,25,129,130,131,132,133],"临摹","流水","柳树","石头","童子","老者","饮酒","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3f08da92920c2ef320d48087d820c1a.jpg","纸本,设色","124.7x56.5厘米",[114],86,{"id":140,"slug":141,"title":142,"dynasty":18,"author":19,"museum":20,"description":21,"tags":143,"thumbUrl":148,"material":34,"size":35,"collection":36,"collections":149,"showCount":150,"zanCount":80,"manualWeight":11,"mainColor":68},225801,"roses-fan-gao-225801","Roses",[23,74,27,25,144,7,145,30,146,147,32],"玫瑰花","绿叶","散落花朵","绿色背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e2348c4d01e517c1b7af0bad644f4c.jpg",[36],77,{"id":152,"slug":153,"title":154,"dynasty":100,"author":155,"museum":47,"description":156,"tags":157,"thumbUrl":169,"material":170,"size":171,"collection":93,"collections":172,"showCount":173,"zanCount":39,"manualWeight":11,"mainColor":68},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","禹之鼎","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[50,52,53,158,55,28,56,159,160,161,162,7,163,164,165,166,167,168],"长卷","菊","花","桌","椅","书","盆栽","服饰","书法","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","绢本,设色","32.4x136.4",[93],68,{"id":175,"slug":176,"title":177,"dynasty":178,"author":179,"museum":20,"description":180,"tags":181,"thumbUrl":187,"material":34,"size":35,"collection":188,"collections":189,"showCount":190,"zanCount":117,"manualWeight":11,"mainColor":40},230932,"lao-zi-wan-qin-tu-zhou-fang-230932","老子玩琴图","唐","周昉","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[52,53,28,55,56,182,183,61,184,7,185,131,186],"乐器","琴","笔筒","器物","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb93b889377a7553bda57900933d925.jpg","",[],66,{"id":192,"slug":193,"title":194,"dynasty":18,"author":19,"museum":20,"description":21,"tags":195,"thumbUrl":199,"material":34,"size":35,"collection":36,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":40},225724,"bouquet-of-flowers-in-a-vase1890-fan-gao-225724","Bouquet of Flowers in a Vase1890",[51,23,74,27,196,31,7,197,25,145,198],"色彩浓烈","花束","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe937252e69f127edefe37afbeb52498e.jpg",[36],63,{"id":203,"slug":204,"title":205,"dynasty":100,"author":206,"museum":47,"description":207,"tags":208,"thumbUrl":214,"material":215,"size":216,"collection":188,"collections":217,"showCount":218,"zanCount":11,"manualWeight":11,"mainColor":68},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[50,52,28,209,54,168,7,210,211,212,198,213],"写意","松枝","梅花","如意","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","纸本，设色","91cmx34.7cm",[],60,{"id":220,"slug":221,"title":222,"dynasty":18,"author":19,"museum":20,"description":21,"tags":223,"thumbUrl":228,"material":34,"size":35,"collection":36,"collections":229,"showCount":230,"zanCount":39,"manualWeight":11,"mainColor":40},225885,"sunflower-fan-gao-225885","sunFlower",[23,74,224,31,196,75,7,30,24,25,225,226,227],"厚涂技法","暖色调","肌理感强","静物写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6095b24ac2c99234007434eb27e80996.jpg",[36],58,{"id":232,"slug":233,"title":234,"dynasty":100,"author":235,"museum":20,"description":236,"tags":237,"thumbUrl":240,"material":188,"size":188,"collection":241,"collections":242,"showCount":243,"zanCount":39,"manualWeight":11,"mainColor":68},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[52,53,54,28,55,7,238,239,133,25,168],"秋花","花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg","书法精选",[241],54,{"id":245,"slug":246,"title":247,"dynasty":100,"author":248,"museum":20,"description":249,"tags":250,"thumbUrl":256,"material":34,"size":35,"collection":188,"collections":257,"showCount":258,"zanCount":80,"manualWeight":11,"mainColor":40},273097,"ke-si-ling-xian-zhu-shou-ping-hua-gua-ping-yi-ming-273097","缂丝灵仙祝寿瓶花挂屏","佚名","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[251,252,28,111,7,25,253,166,254,255],"缂丝","挂屏","竹","祝寿","灵仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914dba3a90c62a132e69cfde5c941fc3.jpg",[],52,{"id":260,"slug":261,"title":262,"dynasty":18,"author":19,"museum":20,"description":21,"tags":263,"thumbUrl":267,"material":34,"size":35,"collection":36,"collections":268,"showCount":258,"zanCount":39,"manualWeight":11,"mainColor":40},225826,"sunflowers-1888-or-1889-fan-gao-225826","Sunflowers 1888 or 1889",[23,27,24,75,7,264,265,31,25,266,147],"桌子","色彩浓郁","黄色花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b7012642ae4a499ee94b8edb2aaa05.jpg",[36],{"id":270,"slug":271,"title":272,"dynasty":100,"author":273,"museum":20,"description":274,"tags":275,"thumbUrl":278,"material":188,"size":188,"collection":188,"collections":279,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":68},224581,"ci-lian-tu-zhou-jiang-ting-xi-224581","赐莲图轴","蒋廷锡","此作用笔秀逸工致，瓶身釉色晕染细腻，冰裂纹饰古朴沉静，莲茎舒展挺秀，两朵白莲瓣脉柔润，清妍雅致，荷叶以浓淡墨色晕染，尽显舒展自然之态，将芙蕖出尘之姿与清供古雅之美相融。左上题字清雅舒展，与画面相得益彰，兼具院体工笔的精细工整与文人画的冲淡意趣，整体意境清逸娴静，尽显文房清供的恬淡雅致，将案头赏玩的闲情逸趣诉诸笔端，是极具意韵的写生佳作。",[50,52,54,276,55,28,58,277,7,25,168],"绢本","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80e41463c6d0100002a7885112251.jpg",[],{"id":281,"slug":282,"title":283,"dynasty":18,"author":19,"museum":20,"description":21,"tags":284,"thumbUrl":287,"material":34,"size":35,"collection":36,"collections":288,"showCount":289,"zanCount":39,"manualWeight":11,"mainColor":40},225784,"oleanders1888-fan-gao-225784","Oleanders1888",[23,74,76,285,7,286],"夹竹桃","书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30faa5e31c56804352557285d6a58e18.jpg",[36],49,{"id":291,"slug":292,"title":293,"dynasty":18,"author":294,"museum":20,"description":295,"tags":296,"thumbUrl":305,"material":34,"size":35,"collection":36,"collections":306,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":40},226007,"portrait-of-mrs-gaudibert-1868-mo-nai-226007","Portrait of Mrs. Gaudibert, 1868","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。",[297,23,56,298,299,300,301,264,7,144,302,303,28,304],"印象派","女性","长裙","披肩","窗帘","地毯","室内场景","光影表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9d8975a5f7f36a6c408e9a43bb51d8.jpg",[36],48,{"id":309,"slug":310,"title":311,"dynasty":100,"author":312,"museum":123,"description":313,"tags":314,"thumbUrl":318,"material":135,"size":319,"collection":93,"collections":320,"showCount":307,"zanCount":11,"manualWeight":11,"mainColor":321},219496,"guan-hua-lao-ren-tu-huang-shen-219496","观花老人图","黄慎","图为一位老人盘膝坐在地上，白发长须，左手捻胡须，右手撑地。 面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 此人的衣纹、眉髯都非常有文采，是黄慎人物画的杰作。",[52,53,54,315,28,209,56,316,7,317,168],"水墨","老人","兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[93],"F48FB1",{"id":323,"slug":324,"title":325,"dynasty":18,"author":294,"museum":20,"description":295,"tags":326,"thumbUrl":332,"material":34,"size":35,"collection":36,"collections":333,"showCount":334,"zanCount":11,"manualWeight":11,"mainColor":68},225913,"chrysanthemums-1878-mo-nai-225913","Chrysanthemums, 1878",[297,23,327,7,328,329,330,25,24,331,304],"菊花","光影","色彩","笔触","色彩明快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033c88fc20a4c43111a72f5eef88ce46.jpg",[36],43,{"id":336,"slug":337,"title":338,"dynasty":18,"author":19,"museum":20,"description":21,"tags":339,"thumbUrl":344,"material":34,"size":35,"collection":36,"collections":345,"showCount":346,"zanCount":39,"manualWeight":11,"mainColor":40},225865,"vase-with-chinese-asters-and-gladioli-august-september-fan-gao-225865","Vase with Chinese asters and gladioli (August - September )",[23,74,224,24,7,25,340,341,30,146,342,343,31],"紫菀","剑兰","红色背景","深色器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F086318f3ed97b0c97e87d1ca1c19c319.jpg",[36],37,{"id":348,"slug":349,"title":350,"dynasty":100,"author":351,"museum":352,"description":353,"tags":354,"thumbUrl":367,"material":276,"size":368,"collection":188,"collections":369,"showCount":370,"zanCount":11,"manualWeight":11,"mainColor":40},223046,"hong-lou-meng-171-sun-wen-223046","红楼梦171","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[50,55,28,56,355,264,356,7,357,358,359,360,361,362,363,364,109,365,366],"楼阁","椅子","香炉","对联","典籍","衣帽","笔","墨","纸","砚","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d40f24129146a3cb7acd32054a038f.jpg","纵43.3厘米、横76.5厘米",[],27,{"id":372,"slug":373,"title":374,"dynasty":45,"author":46,"museum":20,"description":375,"tags":376,"thumbUrl":380,"material":276,"size":381,"collection":188,"collections":382,"showCount":383,"zanCount":39,"manualWeight":11,"mainColor":40},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“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”。",[50,51,52,53,54,28,55,377,56,88,57,360,378,379,7,168,166],"白描","案几","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],26,{"id":385,"slug":386,"title":387,"dynasty":45,"author":388,"museum":20,"description":389,"tags":390,"thumbUrl":395,"material":34,"size":35,"collection":188,"collections":396,"showCount":397,"zanCount":11,"manualWeight":11,"mainColor":68},228492,"gu-xian-shi-yi-tu-juan-du-jin-228492","古贤诗意图卷","杜堇","全卷共分九段，分别为：右军笼鹅、桃源图、把酒问月、听颖师弹琴、茶歌、饮中八仙、东山宴饮、咏水仙、舟中夜雪。\n金琮书法偏向于厚重一路，倾向沉稳的风格，因其书法很似赵书，故很多金琮的字，即使不是有意作伪，也被后人挖去原款，添上“赵孟頫”三字，以欺世人。\n杜堇所画之人物采用白描法，笔法细劲透逸，形象生动有神。树石、藤草、桌椅、车、马、小舟等点景穿插有致。墨色淡雅，但淡而不薄，雅而不空。构图简洁，意境清幽，皆得诗意要旨。",[50,52,53,158,377,315,55,166,167,56,391,392,89,393,168,394,132,264,7],"山水","树木","明月","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4687c58a07d69739de4b9a24d53eb4e.jpg",[],23,{"id":399,"slug":400,"title":401,"dynasty":18,"author":19,"museum":20,"description":21,"tags":402,"thumbUrl":403,"material":34,"size":35,"collection":36,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":68},225886,"sunflowers-fan-gao-225886","sunflowers",[23,27,28,75,7,25,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73923c830e19996a7c98e2d65604e2ab.jpg",[36],22,{"id":407,"slug":408,"title":409,"dynasty":100,"author":410,"museum":20,"description":411,"tags":412,"thumbUrl":417,"material":34,"size":35,"collection":188,"collections":418,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":68},238662,"ping-wu-fu-tu-zhou-shen-quan-238662","平五福图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[52,53,54,55,28,56,413,414,415,416,7,133],"儿童","梅树","山石","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7d691b311114c7246584b6556ef31a.jpg",[],19,{"id":421,"slug":422,"title":423,"dynasty":100,"author":351,"museum":352,"description":353,"tags":424,"thumbUrl":427,"material":276,"size":368,"collection":188,"collections":428,"showCount":419,"zanCount":11,"manualWeight":11,"mainColor":68},223007,"hong-lou-meng-132-sun-wen-223007","红楼梦132",[50,52,53,55,28,56,165,425,7,426,358,303],"家具","屏风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32553c012ce6da2e7f869061a13b57c8.jpg",[],{"id":430,"slug":431,"title":432,"dynasty":100,"author":351,"museum":352,"description":353,"tags":433,"thumbUrl":443,"material":276,"size":368,"collection":188,"collections":444,"showCount":445,"zanCount":11,"manualWeight":11,"mainColor":68},222932,"hong-lou-meng-57-sun-wen-222932","红楼梦57",[50,55,28,434,56,435,436,7,437,415,25,426,394,360,57,438,439,211,317,440,365,441,442],"界画","古典家具","桌椅","盆景","室内陈设","织物","瓷器","文房四宝","陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79bf9a8889fce822830210a88a8fab7.jpg",[],18,{"id":447,"slug":448,"title":449,"dynasty":100,"author":450,"museum":47,"description":451,"tags":452,"thumbUrl":458,"material":459,"size":460,"collection":188,"collections":461,"showCount":462,"zanCount":39,"manualWeight":11,"mainColor":68},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。",[52,51,28,55,453,56,88,454,455,456,7,457,185],"册","孩童","围棋","鸟笼","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":464,"slug":465,"title":466,"dynasty":100,"author":248,"museum":20,"description":467,"tags":468,"thumbUrl":473,"material":34,"size":35,"collection":188,"collections":474,"showCount":475,"zanCount":11,"manualWeight":11,"mainColor":40},272883,"zi-tan-mu-bian-qian-yu-shi-bo-gu-tu-gua-ping-yi-ming-272883","紫檀木边嵌玉石博古图挂屏","此作为百宝嵌工艺佳作，浅地衬出雅洁底色，将文房清供之趣尽显方寸。青釉宝瓶斜生花枝，玉石彩石分饰花叶，瓣层鲜活、叶片舒展，生机灵动。旁侧如意莹润雅致，线条婉转柔润。右方兰草盆栽以翠料摹写兰叶，白花点缀其间，自带幽然清气。下方卷轴系宝蓝绦带，文气自生。紫檀边框走线细腻，铜挂扣錾刻古纹，细节处处考究。\n\n整器配色和谐舒雅，嵌饰工艺精湛，将文人闲情与匠心工艺相融，晕染出静穆文雅的厅堂雅韵，尽显清代百宝嵌工艺的雅致格调。",[252,469,470,471,317,7,61,212,25,472],"紫檀木","玉石","博古图","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff112bf33fb4df0d6337afb05fa95837d.jpg",[],16,{"id":477,"slug":478,"title":479,"dynasty":100,"author":351,"museum":352,"description":353,"tags":480,"thumbUrl":488,"material":276,"size":368,"collection":188,"collections":489,"showCount":475,"zanCount":11,"manualWeight":11,"mainColor":68},223003,"hong-lou-meng-128-sun-wen-223003","红楼梦128",[50,52,55,28,481,434,56,482,483,426,436,484,7,25,485,166,358,438,486,487,302],"工笔重彩","仕女","男性人物","钟表","博古架","床榻","门窗装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15048d1f933285da7cc7778f620039b5.jpg",[],{"id":491,"slug":492,"title":493,"dynasty":100,"author":494,"museum":20,"description":495,"tags":496,"thumbUrl":499,"material":34,"size":35,"collection":188,"collections":500,"showCount":501,"zanCount":11,"manualWeight":11,"mainColor":68},238948,"bu-gun-tu-ye-zhou-kai-238948","补衮图页","周恺","画面描绘一位女子端坐于方凳上，正神态专注地精心绣制龙纹衣装。女子头戴闪亮的簪钗，着交领淡蓝色上衣和白地方格纹长裙，一袭蓝色霞帔飘曳垂地。其面容娥眉杏眼，樱口桃腮，秀丽姣美。身边的几、案、插瓶、绣墩刻画细微，极具富丽之气。",[52,53,51,497,55,28,56,88,57,498,264,7,379,365,366,360],"册页","凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5499dd6049deb8aeb01c44d11afc3645.jpg",[],10,{"id":503,"slug":504,"title":505,"dynasty":45,"author":248,"museum":20,"description":506,"tags":507,"thumbUrl":511,"material":34,"size":35,"collection":512,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":68},260525,"long-quan-yao-qing-you-ke-hua-ping-yi-ming-260525","龙泉窑青釉刻花瓶","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[109,508,509,7,510],"青釉","刻花","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd34f8b170a077d4784cac7601e93e1.jpg","瓷器精选",[512],9,{"id":516,"slug":517,"title":505,"dynasty":45,"author":248,"museum":20,"description":506,"tags":518,"thumbUrl":520,"material":34,"size":35,"collection":512,"collections":521,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":68},260707,"long-quan-yao-qing-you-ke-hua-ping-yi-ming-260707",[109,508,509,7,510,519],"雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ed0cd006a371d3fcb2e0751963ca03.jpg",[512],7,{"id":524,"slug":525,"title":505,"dynasty":45,"author":248,"museum":20,"description":506,"tags":526,"thumbUrl":527,"material":34,"size":35,"collection":512,"collections":528,"showCount":522,"zanCount":11,"manualWeight":11,"mainColor":68},260599,"long-quan-yao-qing-you-ke-hua-ping-yi-ming-260599",[109,508,509,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f4a793cc50621b30764b6f917d81fdc.jpg",[512],{"id":530,"slug":531,"title":532,"dynasty":100,"author":533,"museum":47,"description":534,"tags":535,"thumbUrl":538,"material":539,"size":540,"collection":188,"collections":541,"showCount":542,"zanCount":11,"manualWeight":11,"mainColor":68},233750,"tu-wan-zhen-xiang-sha-fu-233750","屠婉贞像","沙馥","屠婉贞出身名门，是清代画家屠倬的孙女，嫁给清宗室毓本为妻。题跋中称赞她可媲美赵孟頫的夫人管道昇，刺绣技艺高超，又善丹青，同时还是一位慈母，训导子课。屠婉贞的脸部由民间画工绘制，衣纹和古玩器具由海派画家沙馥补画，并有吴昌硕、杨岘等题跋。\n虽然社会对女子的限制仍然非常多，但赵琰哲认为，明清女子的活动空间在不断拓展，如蹴鞠、投壶、舞剑、音律、看戏听曲等用以深闺消遣，或者节日游园、逛庙会，或者结社唱和，饮酒赋诗，写字作画。因此，明末清初江南地区出现了很多擅长诗文书画的才女，才与德变得同样重要。在这种氛围中，绘画与女子的关系变得更为紧密：一方面江南地区女性独幅肖像出现，意味着女性拥有了独立成像的权利，画中女子不再是作为艳俗的仕女画供男子赏玩，而是体现出女性的自我独立与自我肯定；另一方面，女性也亲身参与到绘画活动中。",[52,53,28,55,56,7,536,356,264,167,537],"水仙","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00a43a0b7d9438f3a47839e5dd81676.jpg","纸本设色","133.3×32.8厘米",[],4,{"id":544,"slug":545,"title":546,"dynasty":547,"author":248,"museum":20,"description":548,"tags":549,"thumbUrl":551,"material":34,"size":35,"collection":188,"collections":552,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":68},227478,"you-mian-hua-ping-yi-ming-227478","釉面花瓶","宋","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[547,109,550,57,7],"釉面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F563929b07a3e60a712906b11270866ec.jpg",[],{"id":554,"slug":555,"title":556,"dynasty":100,"author":248,"museum":20,"description":557,"tags":558,"thumbUrl":561,"material":170,"size":562,"collection":188,"collections":563,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":68},215906,"qing-ren-xiao-xiang-tu-ce-9-yi-ming-215906","清人肖像图册-9","墨袍靛边轻垂，端坐床榻的身影透着儒雅沉稳。床前织锦软垫纹理细腻，右侧条案上青瓷瓶簪花吐蕊，案角茶具闲放，寥寥几笔勾勒出雅致生活场景。人物面容温和，眼神沉静，似在静思或小憩，神态捕捉恰到好处。画家以写实之笔摹写衣纹褶皱与器物质感，色调古朴温润，整体氛围清宁雅致。旧时文人的从容情态与居所闲逸意趣凝于尺幅间，尽显古典肖像画的含蓄韵味，将彼时生活的静美与精神的内敛悄然定格。",[52,53,28,55,56,559,264,7,25,165,560],"床","器皿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138347fcbdd052a1a079f72e123be293.jpg","44x40",[],{"id":565,"slug":566,"title":567,"dynasty":100,"author":248,"museum":20,"description":568,"tags":569,"thumbUrl":571,"material":135,"size":188,"collection":188,"collections":572,"showCount":80,"zanCount":11,"manualWeight":11,"mainColor":68},215878,"qing-dai-xing-fa-ji-lu-tu-ce-7-yi-ming-215878","清代刑罚记录图册-7","画面定格清代刑罚的一幕，人物动态交织出压抑氛围。身着绿袍者手势威严，似在发号施令；旁立者持物凝视，神色凝重。三名执刑者跪伏在地，合力按住受刑者手足，动作间透着执行的专注。受刑者蜷缩红垫之上，身形紧绷，似承剧痛。人物服饰色彩分明，蓝、紫、棕长袍与官帽相映，尽显清代风貌。右侧绿桌配白瓶鲜花，柔美景物与肃穆刑罚形成微妙反差，更衬出画面张力。画作细节生动，从神态到动作肌理皆细致描摹，将彼时场景的真实与沉重传递出来，引人深思。",[52,55,28,56,264,7,160,453,570],"刑罚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2a2a68d201b8b0452b989b9313b997.jpg",[],{"id":574,"slug":575,"title":576,"dynasty":577,"author":248,"museum":20,"description":548,"tags":578,"thumbUrl":582,"material":34,"size":35,"collection":188,"collections":583,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":584},261533,"lv-you-hei-hua-ping-yi-ming-261533","绿釉黑花瓶","元",[109,7,579,580,25,57,581],"绿釉","黑花","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d41a4b3d9e21bca33e62e186882b766.jpg",[],"37474F",{"id":586,"slug":587,"title":588,"dynasty":547,"author":248,"museum":20,"description":589,"tags":590,"thumbUrl":593,"material":34,"size":35,"collection":188,"collections":594,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":68},259717,"qing-bai-you-tu-hua-ping-yi-ming-259717","青白釉凸花瓶","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[109,7,591,592,185],"青白釉","凸花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9bf9f33183a4520fa47be5b6d2b75ca.jpg",[],{"id":596,"slug":597,"title":598,"dynasty":100,"author":599,"museum":20,"description":600,"tags":601,"thumbUrl":604,"material":188,"size":188,"collection":188,"collections":605,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":68},236095,"hua-luo-han-ce-leng-mei-236095","画罗汉册","冷枚","此作设色雅淡明净，右侧绘禅室清景。袒胸罗汉安坐案侧，目含静定悠然之态，一童子俯首研墨，侍者正趋前供花。案头卷册、砚台错落，瓶花素净雅致，笔线清劲秀挺，衣纹流转自如，晕染柔润细腻，将禅居的静穆闲和尽显无余。\n\n左侧行书舒展俊逸，诗画相映成趣。整幅简净空灵，工致中不失文人雅逸之韵，将禅者萧散自在的襟怀融于绢素，把清修禅意与文房雅境相融，尽显静谧悠远的世外幽情。",[52,53,55,28,602,56,603,7,25,168,166],"宗教","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948535ada5b246890bf49c4f661cefdd.jpg",[],{"id":607,"slug":608,"title":598,"dynasty":100,"author":599,"museum":20,"description":609,"tags":610,"thumbUrl":612,"material":188,"size":188,"collection":188,"collections":613,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":68},236094,"hua-luo-han-ce-leng-mei-236094","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。",[52,53,453,55,28,602,56,454,7,611,168],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86645fcbebefd90b72b0c43836bfda67.jpg",[],{"id":615,"slug":616,"title":617,"dynasty":18,"author":618,"museum":20,"description":619,"tags":620,"thumbUrl":630,"material":34,"size":35,"collection":188,"collections":631,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":584},232565,"mi-lai-si-109-yue-han-ai-fu-li-te-mi-lai-si-232565","米莱斯109","约翰·埃弗里特米莱斯","John Everett 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。",[23,621,28,56,622,623,624,625,197,7,626,365,366,627,25,303,264,356,628,629],"写实","少女","连衣裙","蕾丝","帽子","雕花家具","玫瑰","篮子","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9c1c2e8e84966cdeea1f489bd678d8.jpg",[],{"id":633,"slug":634,"title":635,"dynasty":18,"author":636,"museum":20,"description":637,"tags":638,"thumbUrl":639,"material":34,"size":35,"collection":188,"collections":640,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":584},232326,"a-er-ma-53-lao-lun-si-a-er-ma-ta-de-ma-232326","阿尔玛53","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。",[23,28,24,25,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84512972f91c6433da5d6c7ce102e58.jpg",[],{"id":642,"slug":643,"title":644,"dynasty":18,"author":636,"museum":20,"description":637,"tags":645,"thumbUrl":655,"material":34,"size":35,"collection":188,"collections":656,"showCount":117,"zanCount":11,"manualWeight":11,"mainColor":40},232293,"a-er-ma-20-lao-lun-si-a-er-ma-ta-de-ma-232293","阿尔玛20",[23,621,28,646,328,88,303,7,25,647,648,649,650,651,652,653,654],"细腻","拱形门窗","木质地板","长椅","老虎皮","装饰画","圆形桌","水域","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795068ca8c135a4797c99b6c59089871.jpg",[],{"id":658,"slug":659,"title":660,"dynasty":18,"author":248,"museum":20,"description":661,"tags":662,"thumbUrl":667,"material":34,"size":35,"collection":188,"collections":668,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":68},289028,"louis-joseph-le-lorrain-study-for-a-vase-in-a-suite-yi-ming-289028","Louis Joseph Le Lorrain--Study for a Vase in a Suite","棕褐淡晕铺就沉静底色，笔线精准勾勒出古典祭瓶的庄重轮廓。器身浅浮雕暗藏古风叙事，人物纹饰带着庄重的仪式感，环绕的垂缎柔化石材冷硬，将肃穆与典雅揉为一体。稳重的层叠基座承托起瓶身，衬景的草木枝桠与轻描云气，为这件礼器晕染出静谧的纪念氛围。明暗层次细腻过渡，将石材厚重质感与织物垂坠柔感巧妙区分，既有理性克制的素描法度，又带着对古风器物的追慕，把祭瓶的仪式感与优雅风韵尽数铺展，沉静间尽显复古装饰的精妙张力。",[663,664,185,7,665,666],"素描","手绘","装饰纹","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a3de3d127de8a0507c6e9824ed12c6.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":18,"author":673,"museum":20,"description":674,"tags":675,"thumbUrl":678,"material":34,"size":35,"collection":188,"collections":679,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":584},232096,"de-jia-46-de-jia-232096","德加46","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[23,297,56,298,25,7,676,24,677,328,330],"桌布","室内","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4fd3666dc246376c4996f371904d3d.jpg",[],{"id":681,"slug":682,"title":683,"dynasty":18,"author":673,"museum":20,"description":674,"tags":684,"thumbUrl":685,"material":34,"size":35,"collection":188,"collections":686,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},232054,"portrait-of-mme-rene-de-gas-nee-estelle-musson-1872-1873-de-jia-232054","Portrait of Mme. Rene De Gas, nee Estelle Musson - 1872-1873",[23,28,56,298,160,7,264,677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4a72d4f59b1f43cef9e3ba06c6522c.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":100,"author":248,"museum":691,"description":692,"tags":693,"thumbUrl":694,"material":135,"size":188,"collection":188,"collections":695,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":68},215889,"qing-ren-hua-ce-10-yi-ming-215889","清人画册-10","私人收藏","画面铺展一段雅致日常：端坐者执笔落墨，粉裙蓝褂衬着案上粉瓶，几枝艳粉花朵斜倚瓶身，似与纸上字迹遥遥呼应。立者身着浅绿纹袍，俯身轻凝，衣袂垂落间藏着几分关切或欣赏。线条细腻勾勒衣褶纹理，色彩温润如旧时光里的软玉，将书房一隅的静谧与人际的温煦悄然封存。无需浓墨重彩，却以淡远笔触摹写文人生活的闲雅况味，每一处细节都似在诉说往昔岁月里，关于笔墨与陪伴的细碎美好，静静流淌着岁月沉淀的温柔与恬淡。",[52,53,453,28,55,56,161,7,160,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda8c3f333026caabd73245b0d7b2442c.jpg",[],{"id":697,"slug":698,"title":699,"dynasty":45,"author":700,"museum":20,"description":701,"tags":702,"thumbUrl":705,"material":188,"size":188,"collection":188,"collections":706,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":68},233512,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233512","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[52,53,453,28,703,57,361,362,160,7,704],"木刻","文房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd591abf0dbf74575d04a5f17545fce0a.jpg",[],1777535709165]