[{"data":1,"prerenderedAt":281},["ShallowReactive",2],{"subject-ju-hui":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},667,"ju-hui","聚会","聚会画高清赏析","精选中国历代聚会题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d255c1301025beff421561114f77bc.jpg",0,14,[14,49,75,94,113,130,147,165,179,192,209,231,245,274],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":46,"zanCount":47,"manualWeight":11,"mainColor":48},214251,"wen-hui-tu-zhao-ji-214251","文会图","宋","赵佶","台北故宫博物院","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36,37,38,39,40],"高清","国画","书画","设色","工笔","人物","树木","庭院","饮酒","桌椅","餐具","文人","书法","场景描绘","细致写实","器物","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","绢本,设色","184.4x123.9","人物画精选",[44],862,4,"795548",{"id":50,"slug":51,"title":52,"dynasty":53,"author":54,"museum":20,"description":55,"tags":56,"thumbUrl":67,"material":68,"size":69,"collection":70,"collections":71,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":74},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","清","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[24,25,57,58,26,27,28,59,60,61,62,63,34,7,64,35,65,30,66],"立轴","临摹","亭","树","石","栏杆","桌案","印章","行书","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","绢本设色","95.1×43.9cm","",[],195,1,"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":53,"author":79,"museum":20,"description":80,"tags":81,"thumbUrl":88,"material":68,"size":89,"collection":90,"collections":91,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":48},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,27,26,82,83,84,85,29,86,28,30,87,7],"山水","楼阁","流水","山石","竹林","行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm","山水画精选",[90,92],"设色画精选",130,{"id":95,"slug":96,"title":97,"dynasty":53,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":108,"material":109,"size":110,"collection":70,"collections":111,"showCount":112,"zanCount":73,"manualWeight":11,"mainColor":48},288399,"lin-dai-yu-chong-jian-tao-hua-she-sun-wen-288399","林黛玉重建桃花社","孙温","藏地不详","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。",[23,24,25,27,26,28,102,83,103,84,104,105,106,107,7],"美人","小桥","飞鸟","竹","风筝","桃花社","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg","未知","Xcm*Xcm",[],36,{"id":114,"slug":115,"title":116,"dynasty":117,"author":118,"museum":99,"description":119,"tags":120,"thumbUrl":128,"material":109,"size":110,"collection":70,"collections":129,"showCount":112,"zanCount":73,"manualWeight":11,"mainColor":48},287336,"shi-ba-xue-shi-ju-hui-tu-juan-qian-xuan-287336","十八学士聚会图卷","元","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,121,24,122,26,28,27,39,86,123,124,125,126,7,83,34,127],"名画","长卷","古木","仙鹤","马匹","宴饮","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d57a33c5bf1c2de793373e80b8ac2ee.jpg",[],{"id":131,"slug":132,"title":133,"dynasty":53,"author":98,"museum":134,"description":135,"tags":136,"thumbUrl":142,"material":143,"size":144,"collection":70,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":74},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163","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",[23,24,27,26,137,28,83,30,62,138,82,29,139,32,140,141,7,35],"界画","屏风","花草","茶具","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg","绢本","纵43.3厘米、横76.5厘米",[],31,{"id":148,"slug":149,"title":150,"dynasty":151,"author":152,"museum":153,"description":154,"tags":155,"thumbUrl":160,"material":161,"size":162,"collection":90,"collections":163,"showCount":164,"zanCount":73,"manualWeight":11,"mainColor":48},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","明","彭舜乡","北京故宫博物院","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,25,57,26,156,82,28,157,158,85,159,7],"水墨","松树","瀑布","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","绢本，设色","纵一九八厘米 横一〇四·五厘米",[90,92],29,{"id":166,"slug":167,"title":168,"dynasty":169,"author":170,"museum":99,"description":171,"tags":172,"thumbUrl":176,"material":109,"size":110,"collection":70,"collections":177,"showCount":178,"zanCount":73,"manualWeight":11,"mainColor":48},231724,"jiang-hu-shi-dai-ge-wu-ji-ping-feng-tu-di-er-ping-ling-chuan-shi-xuan-231724","江户时代 歌舞伎屏风图 第二屏","不详","菱川师宣","菱川师宣是江户时代的浮世绘画家。有「浮世绘之祖」之称。菱川师宣最为知名的作品是见返り美人図。此外，他也画过很多春画。在他的故乡千叶县锯南町有菱川师宣记念馆。",[23,173,26,27,138,28,83,157,174,30,175,7],"浮世绘","樱花","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc25d93284b4cce552e9c3926b8f372.jpg",[],21,{"id":180,"slug":181,"title":182,"dynasty":151,"author":183,"museum":99,"description":184,"tags":185,"thumbUrl":189,"material":70,"size":70,"collection":70,"collections":190,"showCount":191,"zanCount":73,"manualWeight":11,"mainColor":74},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,122,26,27,28,82,103,84,59,157,186,187,31,188,7,65],"竹子","桃花","赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],19,{"id":193,"slug":194,"title":195,"dynasty":151,"author":196,"museum":153,"description":197,"tags":198,"thumbUrl":205,"material":161,"size":206,"collection":70,"collections":207,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":74},233759,"ren-wu-gu-shi-ce-6-chou-ying-233759","人物故事册6","仇英","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。",[121,24,27,26,199,28,200,34,201,186,30,38,202,7,32,203,204],"细描","仕女","孩童","生活场景","笔墨纸砚","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d3c7587792f36078e504187ea5124e.jpg","纵41.4厘米，横33.8厘米",[],12,{"id":210,"slug":211,"title":212,"dynasty":169,"author":213,"museum":99,"description":214,"tags":215,"thumbUrl":226,"material":109,"size":110,"collection":227,"collections":228,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":230},225828,"the-dance-hall-in-arles-1888-fan-gao-225828","The Dance Hall in Arles 1888","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[121,216,217,218,219,220,221,222,28,223,175,224,7,225],"油画","后印象派","色彩强烈","粗犷笔触","室内场景","舞厅","人群","灯光","动态","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac917e4a97038284307323705bda8eb.jpg","油画精选",[227],11,"37474F",{"id":232,"slug":233,"title":234,"dynasty":151,"author":235,"museum":20,"description":236,"tags":237,"thumbUrl":242,"material":42,"size":243,"collection":70,"collections":244,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":74},216762,"jiu-lao-tu-10-huang-biao-216762","九老图-10","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。",[24,25,122,238,35,27,26,28,239,7,30,38,240,241,29],"楷书","老者","酒具","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9684e9bb534b68aa7b2fde1cfbb5d45b.jpg","27.2x193",[],{"id":246,"slug":247,"title":248,"dynasty":169,"author":249,"museum":99,"description":250,"tags":251,"thumbUrl":272,"material":109,"size":110,"collection":70,"collections":273,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},232574,"mi-lai-si-118-yue-han-ai-fu-li-te-mi-lai-si-232574","米莱斯118","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。",[252,253,254,255,28,256,257,258,259,260,261,7,262,263,264,265,266,267,268,269,270,271],"白描","素描","黑白","线条勾勒","画架","调色板","画笔","桌子","椅子","绅士","室内","室外","日常场景","绘画活动","社交交谈","戴帽人物","餐桌","座椅","艺术创作","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356922e47f9ff208cd235b3ea0edcb70.jpg",[],{"id":275,"slug":276,"title":277,"dynasty":169,"author":249,"museum":99,"description":250,"tags":278,"thumbUrl":279,"material":109,"size":110,"collection":70,"collections":280,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},232570,"mi-lai-si-114-yue-han-ai-fu-li-te-mi-lai-si-232570","米莱斯114",[253,252,28,262,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133c6f805c207966b55954524b175229.jpg",[],1777535726021]