[{"data":1,"prerenderedAt":87},["ShallowReactive",2],{"subject-ji-guan-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},843,"ji-guan-hua","鸡冠花","鸡冠花画高清赏析","精选中国历代鸡冠花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37333c4bdad7a2b6ba19296d37aa4a96.jpg",0,4,[14,39,58,71],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":29,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":11,"manualWeight":11,"mainColor":38},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）","清","郎世宁","台北故宫博物院","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,24,25,26,27,28,29,7,30,31,32],"高清","清代","国画","书画","花鸟","工笔","设色","孤石","叶子","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg","宽28.4公分，高33.7公分","",[],106,"BDBDBD",{"id":40,"slug":41,"title":42,"dynasty":18,"author":19,"museum":43,"description":44,"tags":45,"thumbUrl":52,"material":53,"size":54,"collection":35,"collections":55,"showCount":56,"zanCount":57,"manualWeight":11,"mainColor":38},232977,"hua-niao-ce-lang-shi-ning-232977","花鸟册","北京故宫博物院","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[46,25,26,28,29,47,48,27,7,49,50,51],"名画","写实","中西合璧","枝叶","山石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9ab946d5a201439dab3f6a1a5100fc.jpg","绢本，设色","纵32.6厘米，横28.6厘米",[],17,1,{"id":59,"slug":60,"title":61,"dynasty":18,"author":19,"museum":43,"description":44,"tags":62,"thumbUrl":68,"material":53,"size":54,"collection":35,"collections":69,"showCount":70,"zanCount":57,"manualWeight":11,"mainColor":38},222789,"hua-niao-ce-ye-09-lang-shi-ning-222789","花鸟册页09",[23,46,25,26,63,28,29,48,47,64,27,65,66,49,67,7],"册页","细腻","花卉","石头","红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c3e2ee11b27dd75906effcdda8e37d.jpg",[],8,{"id":72,"slug":73,"title":74,"dynasty":18,"author":75,"museum":76,"description":77,"tags":78,"thumbUrl":82,"material":83,"size":84,"collection":35,"collections":85,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},270641,"qian-long-kuan-yu-yong-hua-hui-shi-mo-ji-guan-mo-yi-ming-270641","乾隆款御咏花卉诗墨-鸡冠墨","佚名","藏地不详","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”。",[79,80,81,7],"墨","书法","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c7bafcb29859995b688b9bf42b14c65.jpg","未知","Xcm*Xcm",[],"37474F",1777535758094]