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27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,95,24,25,185,28,27,30,463,236,7,97],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],104,{"id":468,"slug":469,"title":470,"dynasty":108,"author":129,"museum":92,"description":471,"tags":472,"thumbUrl":477,"material":478,"size":479,"collection":68,"collections":480,"showCount":466,"zanCount":242,"manualWeight":11,"mainColor":73},222874,"bai-zi-tu-leng-mei-222874","百子图","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,27,28,26,30,235,32,273,236,473,34,7,33,474,475,59,476],"舟","荷叶","儿童","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[68],{"id":482,"slug":483,"title":484,"dynasty":485,"author":486,"museum":209,"description":487,"tags":488,"thumbUrl":494,"material":66,"size":495,"collection":68,"collections":496,"showCount":497,"zanCount":226,"manualWeight":11,"mainColor":73},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","元","赵孟頫","此作以淡逸青绿晕染出林下幽居之景，古木荫蔽临水轩馆，主人凭案静坐，似在沉湎遐思，侧室侍童悄然研墨，檐下光影清和。篱桥婉转接引溪岸，携琴小童缓步入园，将访友雅事暗藏画中。\n笔致清简柔润，设色浅淡雅致，无浓艳堆砌，只以平和色调晕染出草木山石的温润质感，将文人幽居的恬然意趣尽数铺展。画面不见喧嚣，只余林下静穆闲雅，把文人心中的隐逸栖居，定格成一段安然自持的慢时光，淡韵悠长，余味清远。",[24,28,27,489,134,30,235,34,490,35,379,7,59,491,492,493],"文人画","围栏","地面","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","29.5x59.7厘米",[68],101,{"id":499,"slug":500,"title":501,"dynasty":108,"author":502,"museum":180,"description":503,"tags":504,"thumbUrl":512,"material":43,"size":43,"collection":43,"collections":513,"showCount":514,"zanCount":189,"manualWeight":11,"mainColor":47},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","郎世宁","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[505,27,29,506,32,507,508,34,35,509,59,33,510,7,511],"铜版画","中西合璧","喷泉","园林","水池","雕塑","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg",[],84,{"id":516,"slug":517,"title":518,"dynasty":108,"author":519,"museum":92,"description":520,"tags":521,"thumbUrl":524,"material":525,"size":526,"collection":527,"collections":528,"showCount":529,"zanCount":226,"manualWeight":11,"mainColor":47},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,219,28,522,523,30,55,284,7,196,137],"白描","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米","山水画精选",[527,68,70],83,{"id":531,"slug":532,"title":533,"dynasty":18,"author":534,"museum":180,"description":535,"tags":536,"thumbUrl":542,"material":66,"size":543,"collection":68,"collections":544,"showCount":529,"zanCount":189,"manualWeight":11,"mainColor":73},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,26,28,27,29,30,32,168,284,344,34,537,35,82,538,539,33,7,83,540,541,235],"宫殿","船只","火焰","旗帜","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[68],{"id":546,"slug":547,"title":548,"dynasty":108,"author":179,"museum":180,"description":549,"tags":550,"thumbUrl":553,"material":43,"size":43,"collection":43,"collections":554,"showCount":555,"zanCount":309,"manualWeight":11,"mainColor":73},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,95,24,25,185,27,28,29,30,32,168,284,344,34,82,235,437,7,551,59,33,552],"春景","活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],81,{"id":557,"slug":558,"title":559,"dynasty":18,"author":560,"museum":20,"description":561,"tags":562,"thumbUrl":564,"material":66,"size":565,"collection":68,"collections":566,"showCount":567,"zanCount":226,"manualWeight":11,"mainColor":73},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","周臣","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,24,25,185,28,27,30,235,35,55,168,7,346,59,563],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[68],70,{"id":569,"slug":570,"title":571,"dynasty":148,"author":179,"museum":209,"description":572,"tags":573,"thumbUrl":578,"material":324,"size":579,"collection":43,"collections":580,"showCount":581,"zanCount":309,"manualWeight":11,"mainColor":73},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。",[23,24,25,26,28,27,30,31,167,574,153,154,319,7,33,184,575,576,577],"乐器","发饰","桌子","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],69,{"id":583,"slug":584,"title":585,"dynasty":108,"author":179,"museum":180,"description":586,"tags":587,"thumbUrl":588,"material":66,"size":43,"collection":43,"collections":589,"showCount":581,"zanCount":11,"manualWeight":11,"mainColor":73},216721,"hong-lou-meng-fu-tu-ce-4-yi-ming-216721","红楼梦赋图册-4","雕栏玉砌间，仕女倩影错落。粉墙黛瓦映着疏林碧水，镂空花窗透进软风，携阶前牡丹暗香漫入廊下。有人凭栏凝思，有人低语浅笑，衣袂翩跹似流云拂过青石。笔墨细腻处，衣纹褶皱如流水轻漾，花木枝叶含露带烟。庭院深深里，旧梦依稀，钗环叮当仿佛在耳，裙裾扫过的痕迹仍留着温婉。每一处勾勒皆藏雅致，将红楼的清愁与温柔凝于方寸，让观者沉醉在这古典诗意中，不忍移目。",[23,24,28,27,30,31,32,152,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff381526f1252d41cd5878fb4b31a31b5.jpg",[],{"id":591,"slug":592,"title":593,"dynasty":108,"author":502,"museum":20,"description":594,"tags":595,"thumbUrl":599,"material":324,"size":600,"collection":527,"collections":601,"showCount":602,"zanCount":226,"manualWeight":11,"mainColor":603},222766,"shi-er-yue-ling-tu-7-yue-lang-shi-ning-222766","十二月令图（7月）","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",[23,27,28,29,30,32,344,34,235,33,596,7,597,598],"平台","远山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425083d660510da46b778f7c49814e14.jpg","188.2*102.2cm",[527,70],68,"FF9800",{"id":605,"slug":606,"title":607,"dynasty":148,"author":179,"muse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花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,523,522,219,30,706,7,137,660],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 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横四二·三厘米",[],40,{"id":854,"slug":855,"title":856,"dynasty":18,"author":179,"museum":180,"description":857,"tags":858,"thumbUrl":863,"material":747,"size":748,"collection":43,"collections":864,"showCount":865,"zanCount":11,"manualWeight":11,"mainColor":73},288078,"xuan-zong-gui-fei-zou-di-tu-li-zhou-yi-ming-288078","玄宗贵妃奏笛图立轴","垂柳拂过嶙峋湖石，水榭临波，贵妃执笛缓吹，玄宗近身侧耳，目光沉醉。一旁乐师斜倚朱栏，击节相和。衣纹线条流转灵动，敷色古雅沉静，将人物神态尽数勾勒：贵妃温婉柔媚，玄宗含情脉脉，乐师随性悠然，复刻出盛唐宫苑宴乐的缱绻雅致。画作带着明代人物画的典型意韵，以细腻笔触铺陈出往昔宫廷的闲情柔意，古意悠然，余韵绵长。",[23,95,24,25,185,28,30,31,574,859,220,860,7,344,861,862],"笛子","怪石","奏乐","历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d70c31c909eb5fda8b5faa14daa6288.jpg",[],38,{"id":867,"slug":868,"title":869,"dynasty":108,"author":870,"museum":92,"description":871,"tags":872,"thumbUrl":874,"material":875,"size":876,"collection":140,"collections":877,"showCount":879,"zanCount":11,"manualWeight":11,"mainColor":47},236339,"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","华嵒","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[24,185,523,28,522,30,31,873,80,154,7],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg","纸本，设色","纵82厘米，横32.2厘米",[140,442,878],"书法精选",37,{"id":881,"slug":882,"title":883,"dynasty":108,"author":714,"museum":180,"description":884,"tags":885,"thumbUrl":886,"material":747,"size":748,"collection":68,"collections":887,"showCount":879,"zanCount":11,"manualWeight":11,"mainColor":47},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,219,28,27,30,32,284,7,34,35,33,116,59,508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[68,70],{"id":889,"slug":890,"title":891,"dynasty":18,"author":179,"museum":180,"description":892,"tags":893,"thumbUrl":897,"material":43,"size":43,"collection":43,"collections":898,"showCount":879,"zanCount":226,"manualWeight":11,"mainColor":73},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,28,27,185,30,475,657,894,34,7,35,135,39,895,184,659,896,346],"货郎","秋景","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":900,"slug":901,"title":902,"dynasty":18,"author":903,"museum":92,"description":904,"tags":905,"thumbUrl":906,"material":875,"size":907,"collection":43,"collections":908,"showCount":879,"zanCount":11,"manualWeight":11,"mainColor":73},220390,"you-song-tu-du-qiong-220390","友松图","杜琼","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,26,344,28,27,643,168,284,35,34,333,646,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":910,"slug":911,"title":912,"dynasty":108,"author":913,"museum":180,"description":914,"tags":915,"thumbUrl":916,"material":43,"size":43,"collection":43,"collections":917,"showCount":918,"zanCount":11,"manualWeight":11,"mainColor":73},224598,"han-gong-qiu-yue-li-zhou-yuan-yao-224598","汉宫秋月立轴","袁耀","淡月斜悬于青灰长空，清辉将整座宫苑晕在朦胧夜雾中。苍劲古柏撑着如墨浓荫，半掩着朱檐碧瓦的楼宇，界画工细，飞檐斗拱分毫毕现，却又以晕染柔去硬挺棱角，消解了皇家楼宇的威仪。\n\n栏边宫人身姿温婉，私语间衣袂轻垂，在空寂御苑里点出幽淡怅惘。冷调底色铺陈出浸骨清寂，将深宫秋夜里的孤萧闲愁藏在细腻笔触间，静穆氛围漫溢出无声寂寥，把夜色宫苑的含蓄怅然铺陈得余韵悠长。",[23,24,95,185,29,28,32,537,34,30,304,33,7,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0deb19622ffb85f1b15aed262c25fd1.jpg",[],36,{"id":920,"slug":921,"title":922,"dynasty":108,"author":109,"museum":110,"description":111,"tags":923,"thumbUrl":930,"material":121,"size":122,"collection":43,"collections":931,"showCount":918,"zanCount":11,"manualWeight":11,"mainColor":932},223066,"hong-lou-meng-52-sun-wen-223066","红楼梦52",[23,24,25,27,28,29,30,31,32,34,7,33,39,838,184,38,781,924,925,926,927,928,929],"瓶","罐","木质","布料","室内","室外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6e4bfd16dd262ed724295b75a151d0.jpg",[],"F48FB1",{"id":934,"slug":935,"title":936,"dynasty":108,"author":109,"museum":110,"description":111,"tags":937,"thumbUrl":943,"material":121,"size":122,"collection":43,"collections":944,"showCount":918,"zanCount":11,"manualWeight":11,"mainColor":47},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180",[23,27,28,29,30,32,235,236,474,273,7,34,938,781,939,940,941,33,942],"圆形窗","茶具","扇子","鸭子","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg",[],{"id":946,"slug":947,"title":948,"dynasty":18,"author":19,"museum":180,"description":949,"tags":950,"thumbUrl":951,"material":66,"size":43,"collection":43,"collections":952,"showCount":918,"zanCount":11,"manualWeight":11,"mainColor":73},216268,"er-shi-si-xiao-tu-23-chou-ying-216268","二十四孝图-23","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[24,27,28,29,30,7,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e14e088df464f82bfa3795e5d49abe.jpg",[],{"id":954,"slug":955,"title":956,"dynasty":108,"author":109,"museum":110,"description":111,"tags":957,"thumbUrl":959,"material":121,"size":122,"collection":43,"collections":960,"showCount":961,"zanCount":11,"manualWeight":11,"mainColor":47},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,25,27,28,30,235,168,284,32,679,220,35,7,59,33,34,958,135],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],35,{"id":963,"slug":964,"title":965,"dynasty":148,"author":179,"museum":20,"description":966,"tags":967,"thumbUrl":970,"material":66,"size":971,"collection":392,"collections":972,"showCount":961,"zanCount":11,"manualWeight":11,"mainColor":47},219603,"gao-shi-yan-qing-tu-yi-ming-219603","高士延清图","槐荫笼罩着夜色庭院，主人凭案闲坐，案上茶盏与香炉静立，暖香似随晚风漫开。侍童垂手侧立于阶下，屏气凝神消解了周遭岑寂。远处木桥隐在墨色里，晕染出幽谧的晚凉。\n\n画面与题诗相映，将林下清谈、养素含英的雅趣揉入笔底。空灵简雅的构图里，淡墨晕开夜色，人物意态松弛闲适，器物雅致沉静，把文人耽于幽寂、追寻雅静的心境铺陈开来。笔致温婉含蓄，将俗世之外的闲澹日常绘得动人，尽现雅致闲逸的生活意趣。",[23,24,25,219,28,322,30,319,154,222,7,61,968,969],"对坐论诗","石棚槐阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc777cd7db29c9ac0aa735d106cb662bb.jpg","纵25.4横27.2厘米",[392,68],{"id":974,"slug":975,"title":976,"dynasty":148,"author":179,"museum":20,"description":977,"tags":978,"thumbUrl":980,"material":66,"size":981,"collection":527,"collections":982,"showCount":961,"zanCount":226,"manualWeight":11,"mainColor":47},219040,"shui-xuan-hua-xie-tu-yi-ming-219040","水轩花榭图","露台建在岩石上，有一个开放的亭子，下面是一片树林。一条走廊半藏在绿色景观中，其另一端通向两个大厅堂。建筑物的主要部分被小心翼翼地放在画的下半部分，这样，[上半部分]的白色空间就变得更加宽广，而背景是月亮的天空，则非常遥远！。这是南宋微型山水画中典型的空间表达方式。画中的建筑画得很精致，具有逼真写实的艺术风格。画中的人物都有宋人纤细的体态，摆放祭品和攀登亭子可能是官家在仲夏夜的活动写照。",[23,24,727,28,29,27,32,235,333,7,35,979],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371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靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。",[23,24,25,219,28,29,30,32,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be219b172713f662084b76898f483ec.jpg","30.2x31.8",[68,70],{"id":1188,"slug":1189,"title":1190,"dynasty":108,"author":1191,"museum":180,"description":1192,"tags":1193,"thumbUrl":1201,"material":43,"size":43,"collection":43,"collections":1202,"showCount":1203,"zanCount":11,"manualWeight":11,"mainColor":932},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","禹之鼎","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,95,1194,27,1195,28,367,523,344,153,679,1196,235,7,35,34,30,1197,1198,1199,1200],"设色纸本","写意","奇石","茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],23,{"id":1205,"slug":1206,"title":1207,"dynasty":108,"author":109,"museum":110,"description":111,"tags":1208,"thumbUrl":1212,"material":121,"size":122,"collection":43,"collections":1213,"showCount":1203,"zanCount":11,"manualWeight":11,"mainColor":47},223031,"hong-lou-meng-156-sun-wen-223031","红楼梦156",[23,95,24,25,26,27,28,29,30,32,1154,781,7,82,1209,1210,198,1211],"古典服饰","传统建筑","聚会场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa653142b82fe372c69258835ddd281d8.jpg",[],{"id":1215,"slug":1216,"title":1217,"dynasty":108,"author":109,"museum":110,"description":111,"tags":1218,"thumbUrl":1219,"material":121,"size":122,"collection":43,"collections":1220,"showCount":1203,"zanCount":11,"manualWeight":11,"mainColor":73},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[23,27,28,29,30,32,344,153,34,33,7,1032,83,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":1222,"slug":1223,"title":410,"dynasty":108,"author":411,"museum":180,"description":827,"tags":1224,"thumbUrl":1227,"material":747,"size":748,"collection":43,"collections":1228,"showCount":1229,"zanCount":11,"manualWeight":11,"mainColor":47},235281,"ren-wu-gu-shi-ce-fan-xue-yi-235281",[24,28,27,219,30,168,284,1225,154,646,35,1226,7],"马","草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f7d600f871e885662e72ac3a248c81.jpg",[],22,{"id":1231,"slug":1232,"title":1233,"dynasty":108,"author":1234,"museum":180,"description":1235,"tags":1236,"thumbUrl":1237,"material":43,"size":43,"collection":43,"collections":1238,"showCount":1229,"zanCount":11,"manualWeight":11,"mainColor":73},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","袁江","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,24,25,29,28,27,30,32,33,34,83,7,1154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":1240,"slug":1241,"title":1242,"dynasty":148,"author":149,"museum":180,"description":1243,"tags":1244,"thumbUrl":1246,"material":43,"size":43,"collection":43,"collections":1247,"showCount":1229,"zanCount":226,"manualWeight":11,"mainColor":73},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,95,24,25,1245,27,28,30,475,33,7,34,135],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":1249,"slug":1250,"title":1251,"dynasty":108,"author":109,"museum":110,"description":111,"tags":1252,"thumbUrl":1255,"material":121,"size":122,"collection":43,"collections":1256,"showCount":1229,"zanCount":11,"manualWeight":11,"mainColor":47},222964,"hong-lou-meng-89-sun-wen-222964","红楼梦89",[23,24,27,28,367,344,32,168,284,30,235,34,35,33,958,7,541,597,1253,1254,508],"近水","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47977a652d2d5f9e1117cd7b5f61cae4.jpg",[],{"id":1258,"slug":1259,"title":1260,"dynasty":108,"author":913,"museum":180,"description":1261,"tags":1262,"thumbUrl":1264,"material":43,"size":43,"collection":43,"collections":1265,"showCount":1266,"zanCount":11,"manualWeight":11,"mainColor":73},235119,"han-gong-qiu-yue-tu-zhou-yuan-yao-235119","汉宫秋月图轴","《汉宫秋月图》是清代袁耀创作的绢本设色画。\n本幅自题：“汉宫秋月，壬申初冬邗上袁耀画。\n”钤“袁耀”、“昭道”印2方。\n袁江和袁耀父子的绘画艺术，从题材到绘画风格完全一脉相承。\n“汉宫秋月”是袁氏父子经常画的一个题材，内容以昭君出塞的历史故事为背景。\n王昭君是汉元帝时的宫女，貌美且有志气，自愿远嫁匈奴和亲。\n在她的影响下，匈奴与中原之间得以和平相处，“三世无犬吠之警，黎庶无干戈之役”。\n袁耀曾多次选此题材，其主要兴趣在于描绘华美的宫殿建筑。\n此幅中殿宇宫门紧闭，月光似水，将庭院笼罩在一片苍茫的夜色中，淡淡的凄凉情调正符合王昭君即将远离故乡和亲人的离愁别绪，这使得原本精工华丽的楼阁也带上了一丝哀婉的色彩。\n袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。\n生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。\n笔墨严整工细，设色艳丽浓郁，与袁江同为清代界画代表人物。",[24,185,29,28,27,32,30,34,304,7,1263,33],"宫殿建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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ng-zhi-fu-jian-yi-ming-223851","神人镜之附件","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[1881,24,27,28,29,30,32,34,7,33,196],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b13b4465dc4ad89229bc9e9bb264a4.jpg",[],{"id":1885,"slug":1886,"title":1887,"dynasty":18,"author":1888,"museum":180,"description":1889,"tags":1890,"thumbUrl":1891,"material":1892,"size":43,"collection":43,"collections":1893,"showCount":1874,"zanCount":11,"manualWeight":11,"mainColor":73},216296,"xi-xiang-ji-zhen-ben-tu-ce-28-chen-hong-shou-216296","西厢记真本图册-28","陈洪绶","仕女立于树畔，衣袂轻扬间藏着西厢故事的幽微心绪。陈洪绶以古拙奇崛的笔墨，将人物造型略作夸张却神韵毕肖——眉眼间的柔婉，身姿的含蓄，皆在凝练如铁线的线条中尽显。庭院花木疏朗，枝桠伸展如写意，与人物的细腻形成呼应，既保留了戏曲场景的氛围感，又融入文人画的清雅意趣。笔墨不多却意境悠远，仿佛能窥见剧中人隐秘的情愫，尽显其“高古奇骇”的艺术格调，让古典故事在纸上流转出永恒的韵致。",[24,25,219,522,30,31,154,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3561343f935dbdb25c67479a62daea6.jpg","纸本,水墨",[],{"id":1895,"slug":1896,"title":1897,"dynasty":108,"author":1898,"museum":180,"description":1899,"tags":1900,"thumbUrl":1903,"material":43,"size":43,"collection":43,"collections":1904,"showCount":1905,"zanCount":226,"manualWeight":11,"mainColor":47},238272,"ren-wu-zhou-zhuang-yu-de-238272","人物轴","庄豫德","此作绘三星雅聚庭院，设色清雅古雅，笔墨细腻温婉。长者神态各殊，展卷者悠然、持芝者端方、捧花者和悦，尽显仙风道骨。身旁稚童灵动俏皮，为画面添上鲜活生机，衬出满堂祥和吉庆的氛围。庭中古梅虬枝初绽，案头文房清供点缀雅意，园林布景雅致悠然，将世俗祈盼的福寿祥瑞，融于文人雅集的闲淡场景中。衣纹勾勒流畅婉转，人物形神兼备，把传统吉庆主题与文人意趣相融，尽显工笔人物画的雅致意韵。",[24,25,185,28,27,30,800,154,319,1901,475,1902,7],"桌","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a8e723639013a07c230b867f95ce5e.jpg",[],9,{"id":1907,"slug":1908,"title":1909,"dynasty":18,"author":19,"museum":20,"description":1910,"tags":1911,"thumbUrl":1912,"material":66,"size":1913,"collection":43,"collections":1914,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":47},218226,"di-wang-dao-tong-wan-nian-tu-ce-zhou-wang-chou-ying-218226","帝王道统万年图册-周王","此《帝王道统万年图》册由明代仇英绘制。本册共二十幅，分别描绘伏羲至宋仁宗等名贤、帝王的事迹，对幅并有顾可学题记。应是仇英应顾氏请托而绘，用以进献朝廷，求得仕进。全册均落笔纯熟流利，色调以青绿重彩为主，间或掺用泥金钩边。此册现藏于台北故宫博物院。",[24,25,219,27,28,29,30,32,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f0294270bdcb70a58b2c5d391822f9.jpg","32.5x32.6",[],{"id":1916,"slug":1917,"title":1918,"dynasty":108,"author":179,"museum":180,"description":1919,"tags":1920,"thumbUrl":1922,"material":66,"size":43,"collection":43,"collections":1923,"showCount":1905,"zanCount":11,"manualWeight":11,"mainColor":73},216690,"hong-lou-meng-fu-tu-ce-34-yi-ming-216690","红楼梦赋图册-34","亭榭临阶，绿阴覆檐。亭内女眷凭栏凝睇，或执扇低语，鬓边钗环衬着素色衫裙；庭中三姝款步，一伞轻撑，衣袂沾着淡粉的花影。院角石案上盆花静静吐蕊，围墙漏窗映出远处苔痕。笔墨细腻如丝，设色清雅温润，将红楼闺阁的温婉与庭院幽致融于一纸。人物眉眼间藏着细碎情致，亭内与庭外的呼应似有未言故事，风过枝桠的轻响仿佛在画中流转，尽显清代仕女画的雅致与红楼场景的细腻动人。",[23,24,28,27,219,29,30,32,34,7,1921,31,33,437,63,155,1065,59,346,115,116,58,83,1552,1019],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ff7f875c5cffd7c564ec18ca19e6ea.jpg",[],{"id":1925,"slug":1926,"title":845,"dynasty":108,"author":846,"museum":92,"description":847,"tags":1927,"thumbUrl":1930,"material":324,"size":850,"collection":43,"collections":1931,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":47},236152,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236152",[24,28,27,30,33,34,7,1928,59,508,1018,1929],"台榭","场景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f1662325f2499cb91f3f1ed492f26c7.jpg",[],8,{"id":1934,"slug":1935,"title":1936,"dynasty":1136,"author":179,"museum":180,"description":1937,"tags":1938,"thumbUrl":1940,"material":747,"size":748,"collection":43,"collections":1941,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":310},225316,"fu-shi-hui-54-yi-ming-225316","浮世绘54","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。",[1939,28,29,27,32,30,168,81,34,262,33,7],"漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f704c4610ac01c97ba3aeeea431aac.jpg",[],{"id":1943,"slug":1944,"title":1945,"dynasty":108,"author":179,"museum":301,"description":1946,"tags":1947,"thumbUrl":1948,"material":306,"size":43,"collection":43,"collections":1949,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":310},216862,"xi-xiang-ji-tu-ce-16-yi-ming-216862","西厢记图册-16","亭榭临虚，红栏绕柱，松枝横斜覆瓦檐。女子衣袂轻扬，凝眸间似含幽绪；侍女侧立侍应，神情恭谨。男子躬身揖礼，姿态谦诚。湖石奇崛，竹影摇窗，庭前花草含露。笔墨细腻处，瓦当纹理毕现，衣褶流转如行云；设色淡雅间，红绿相映成趣，草木含烟似笼纱。画面将西厢故事中的幽微心绪融于亭台花木间，以工致之笔绘园林雅境，以传神之态写人物情衷，尽显古典仕女图的温婉韵致与文学意蕴，仿佛能窥见那段风花雪月里的缠绵悱恻，让观者踏入那个诗意氤氲的古典世界。",[24,28,27,219,30,31,32,34,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2181e2a2607676d2217412e6063414.jpg",[],{"id":1951,"slug":1952,"title":1953,"dynasty":231,"author":1954,"museum":92,"description":1955,"tags":1956,"thumbUrl":1958,"material":1959,"size":1960,"collection":43,"collections":1961,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":73},221165,"shi-liu-luo-han-xiang-zhu-tu-ban-zha-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221165","十六罗汉像-注荼半吒迦尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,24,25,610,30,28,611,1957,184,39,7,927],"护法神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9058795b231399d7338d0d6b7bec21bf.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":1963,"slug":1964,"title":883,"dynasty":108,"author":714,"museum":180,"description":884,"tags":1965,"thumbUrl":1968,"material":747,"size":748,"collection":43,"collections":1969,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":47},234947,"yue-man-qing-you-ce-chen-mei-234947",[24,25,28,27,30,31,32,33,183,137,322,7,83,34,56,1966,633,219,321,1967],"菊","诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa802a71d4482087ccb76c4c0c68fc81e.jpg",[],{"id":1971,"slug":1972,"title":1973,"dynasty":18,"author":179,"museum":180,"description":1974,"tags":1975,"thumbUrl":1977,"material":43,"size":43,"collection":43,"collections":1978,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":73},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",[24,25,28,27,219,30,31,167,154,236,1542,196,33,7,1976],"磨镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa46add39fa3b81871137ed0f724d7205.jpg",[],{"id":1980,"slug":1981,"title":1982,"dynasty":18,"author":19,"museum":92,"description":93,"tags":1983,"thumbUrl":1984,"material":99,"size":1985,"collection":43,"collections":1986,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":47},233756,"ren-wu-gu-shi-ce-3-chou-ying-233756","人物故事册3",[24,25,219,27,28,29,30,31,32,33,1019,574,7,83,35,34,184,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff262bebc3812167aef075a4e655f423e.jpg","纵41.4厘米，横33.8厘米",[],{"id":1988,"slug":1989,"title":1990,"dynasty":1136,"author":1991,"museum":180,"description":1992,"tags":1993,"thumbUrl":2005,"material":747,"size":748,"collection":2006,"collections":2007,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":73},226087,"the-palazzo-contarini-1908-mo-nai-226087","The Palazzo Contarini, 1908","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。",[1994,1995,1996,1997,1998,1999,1263,345,2000,7,2001,2002,2003,2004],"油画","印象派","光影捕捉","色彩交织","笔触细碎","瞬间光影","拱门","立柱","河水","建筑倒影","波光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78893c26121f0cca0b4310fde7459289.jpg","油画精选",[2006],{"id":2009,"slug":2010,"title":2011,"dynasty":18,"author":19,"museum":20,"description":2012,"tags":2013,"thumbUrl":2015,"material":66,"size":2016,"collection":43,"collections":2017,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":47},214907,"di-wang-dao-tong-wan-nian-tu-ce-5-chou-ying-214907","帝王道统万年图册-5","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,27,28,30,1225,29,59,83,7,97,2014,219],"宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8c3e982c362e82e9e8920f78e88f8.jpg","32.5*32.6",[],{"id":2019,"slug":2020,"title":2021,"dynasty":18,"author":19,"museum":20,"description":2012,"tags":2022,"thumbUrl":2023,"material":66,"size":2016,"collection":43,"collections":2024,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":47},214904,"di-wang-dao-tong-wan-nian-tu-ce-11-chou-ying-214904","帝王道统万年图册-11",[23,24,25,219,27,28,29,30,1225,34,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9691fc9bb74463cbea3192586d09effe.jpg",[],{"id":2026,"slug":2027,"title":2028,"dynasty":108,"author":179,"museum":301,"description":2029,"tags":2030,"thumbUrl":2032,"material":66,"size":43,"collection":43,"collections":2033,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":73},216003,"di-jian-tu-shuo-cai-hui-ben-6-yi-ming-216003","帝鉴图说彩绘本-6","飞檐如翼，红柱列阵，蓝瓦覆顶，中式建筑的规整与雅致在画中层层铺展。殿堂内人影错落，或端坐凝思，或侧身交谈，似藏议事之静；庭院中人群熙攘，抬轿者步履稳健，等候者神态各异，尽显生活之喧。人物服饰色彩斑斓，细节勾勒细腻入微；建筑线条流畅精准，结构层次分明有序。暖调底色晕染出古雅氛围，鲜明色块点缀出鲜活气息，工笔之精与生活之味交融，让观者于画间触摸往昔社会风貌与艺术审美，感受那份跨越时空的生动与厚重。",[24,25,28,27,29,30,32,33,34,35,83,7,781,1031,2031],"群体人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5695523105459cb62803dd26a8f6583.jpg",[],{"id":2035,"slug":2036,"title":518,"dynasty":108,"author":519,"museum":209,"description":2037,"tags":2038,"thumbUrl":10,"material":43,"size":43,"collection":68,"collections":2040,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":2041},203460,"shan-shui-ren-wu-ce-jin-nong-203460","此作笔墨简淡却意蕴悠长。左帧垂柳如丝，拂过岸畔孤舟，淡墨晕染的水面似含烟霭，清寂中藏着对故人的遥想；右帧松枝盘曲，红栏边雅士对谈、童子侧立，线条稚拙生趣，设色淡雅脱俗。整幅以文人视角入画，笔意古朴，意境空灵，题字与印章相映，尽显超然物外的逸致。",[23,24,25,219,523,28,522,344,220,2039,333,30,7,597],"孤舟",[68],"e9dfd9",{"id":2043,"slug":2044,"title":883,"dynasty":108,"author":714,"museum":180,"description":884,"tags":2045,"thumbUrl":2046,"material":747,"size":748,"collection":43,"collections":2047,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":73},234944,"yue-man-qing-you-ce-chen-mei-234944",[24,25,219,27,28,30,31,32,220,596,7,236,1098,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10589546004da7f4ecf501d448c867ca.jpg",[],{"id":2049,"slug":2050,"title":883,"dynasty":108,"author":714,"museum":180,"description":884,"tags":2051,"thumbUrl":2053,"material":747,"size":748,"collection":43,"collections":2054,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":47},234942,"yue-man-qing-you-ce-chen-mei-234942",[95,24,25,219,27,28,322,137,30,31,32,33,221,35,83,2052,7],"木门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971dc2805e162439107ddbd1fac2ad36.jpg",[],{"id":2056,"slug":2057,"title":2058,"dynasty":108,"author":179,"museum":180,"description":2059,"tags":2060,"thumbUrl":2064,"material":43,"size":43,"collection":43,"collections":2065,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":47},230314,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qin-wang-ai-xin-jue-luo-hong-zhou-yi-ming-230314","历代帝王贵妃大臣朝服像(亲王爱新觉罗.弘昼)","整作取景春日庭院，古柳垂绦抽新绿，花树缀粉、湖石错落，晕染出悠然雅致的闲居氛围。主位贵胄安坐石上，展卷细读，神态松弛自适。两侧侍从躬身奉物，身姿恭谨，将清代宗室日常仪制暗藏其间。\n\n衣纹描摹细腻写实，旗装官帽的制式纹理清晰可见，衣料褶皱层次自然，把服饰质感还原入微。设色调和柔润，衣袍的暗紫、赭红与草木新色相映，工笔勾勒兼顾写意氛围感，将贵胄春日闲读的松弛日常铺陈开来，兼具纪实性与审美意趣，鲜活再现了旧时王府一隅的平和图景。",[23,24,28,27,30,220,35,135,7,81,379,2061,80,2062,2063],"清代服饰","小植物","淡彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cca75b7d728fa0178020b8b4edc4960.jpg",[],{"id":2067,"slug":2068,"title":2069,"dynasty":18,"author":1677,"museum":180,"description":2070,"tags":2071,"thumbUrl":2072,"material":157,"size":43,"collection":43,"collections":2073,"showCount":242,"zanCount":11,"manualWeight":11,"mainColor":47},216344,"xi-xiang-ji-cha-ye-8-min-qi-ji-216344","西厢记插页-8","柳丝垂拂间，仕女凭栏而立，花木扶疏点缀红蕊，与青枝相映成趣。右侧楼阁隐现，人物于栏后若有所思，水波轻漾的河面之上，小桥勾连两岸，似将思绪引向远方。线条工细流畅，如行云流水勾勒出人物温婉神态与景物雅致轮廓；设色淡雅清润，浅蓝的水、青绿的树、素净的衣袂，晕染出古典静谧氛围。画面似捕捉《西厢记》中幽微瞬间——或许是莺莺与红娘凭栏凝思，或许是离别的怅惘在水畔流转，含蓄传递爱情的缱绻与怅惘。文学诗意与视觉雅致相融，尽显传统艺术的情韵与灵动，仿佛能听见柳下低语、水面风吟，沉浸于古典故事的悠远意境里。",[24,28,27,29,30,31,32,168,284,220,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fth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Gabriel Moreau--View of a Park","轻烟薄雾晕开晨色，高耸白杨树刺破柔淡的天光，与右侧舒展的乔木错落成趣。前景小径上行人信步缓行，坡地散落着施工旧料，带着未经修饰的烟火气，将郊野荒坡的松弛与背景露台雕栏、石质纪念物的规整典雅自然衔接。水彩柔润的笔触将林霭天色晕染交融，朦胧绿意漫过远近层次，把人工造景的精致与乡野生机揉为一体。仿佛能嗅见林间湿润草木气息，漫步游园的闲情逸致藏在明暗交织的笔触里，写实中漫着浪漫松弛的游园意趣。",[2095,2096,508,34,2097,30,2098,7,2099],"风景画","水彩","土坡","石建筑","淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd834a4f043b6618494074a564f5306.jpg",[],{"id":2103,"slug":2104,"title":2105,"dynasty":108,"author":179,"museum":180,"description":2106,"tags":2107,"thumbUrl":2110,"material":747,"size":748,"collection":43,"collections":2111,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":310},258809,"fen-cai-shi-nv-tu-wo-zu-bei-yi-ming-258809","粉彩仕女图卧足杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[2108,2109,28,30,60,7,135],"陶瓷","粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ce157726606b2435458eaeb3d4023d.jpg",[],{"id":2113,"slug":2114,"title":2115,"dynasty":108,"author":179,"museum":180,"description":2116,"tags":2117,"thumbUrl":2120,"material":747,"size":748,"collection":43,"collections":2121,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":73},256571,"cheng-hua-kuan-wu-cai-ying-xi-tu-wan-yi-ming-256571","成化款五彩婴戏图碗","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。",[2108,2118,28,30,2119,1000,34,7],"五彩","婴孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928ed22c84321aab613ebe163eb73d7d.jpg",[],{"id":2123,"slug":2124,"title":2115,"dynasty":108,"author":179,"museum":180,"description":2116,"tags":2125,"thumbUrl":2126,"material":747,"size":748,"collection":43,"collections":2127,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":73},256535,"cheng-hua-kuan-wu-cai-ying-xi-tu-wan-yi-ming-256535",[2108,2118,28,1000,30,154,7,167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc1a4b42c607e7eb9ab463bd3bc1b4f.jpg",[],{"id":2129,"slug":2130,"title":2131,"dynasty":108,"author":2132,"museum":180,"description":2133,"tags":2134,"thumbUrl":2136,"material":747,"size":748,"collection":43,"collections":2137,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":47},235535,"xi-xiang-tu-ce-ye-bu-235535","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,25,219,28,27,322,30,33,34,55,59,2135,7,346],"椅子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a49e7812a4e7c7e6e9e2907740b9b9a.jpg",[],{"id":2139,"slug":2140,"title":2141,"dynasty":18,"author":179,"museum":180,"description":2142,"tags":2143,"thumbUrl":2145,"material":43,"size":43,"collection":43,"collections":2146,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":73},228795,"chen-jian-bu-yi-tu-yi-ming-228795","晨间补衣图","此作用淡赭绢本晕出沉古色调，崖石奇崛苍劲，芭蕉垂叶翩然舒展，木栏圈起一方幽庭。老僧趺坐石台，捻须抬掌凝神观思，衣褶线条清劲宛转，将静定悠然的神态藏在笔墨褶皱里。侍童躬身托盏，神态恭谨温顺，身形比例合度，情态生动自然。\n\n构图疏密相宜，浓墨点染的崖石衬出人物素淡清雅，以极简笔墨铺陈晨时禅居日常，把幽寂古雅的林下清趣缓缓晕开，笔简却意韵悠长，将空澹沉静的禅意融在画面的边角细节里，尽显古雅宁和的幽居之美。",[24,27,28,522,185,30,35,7,346,2144],"补衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2dba1f05a310b8dd8320899f492d8d.jpg",[],{"id":2148,"slug":2149,"title":1852,"dynasty":108,"author":1014,"museum":92,"description":1853,"tags":2150,"thumbUrl":2151,"material":43,"size":1856,"collection":43,"collections":2152,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":47},223210,"geng-zhi-tu-ce-jiao-bing-zhen-223210",[95,24,25,219,27,28,29,30,33,646,34,7,83,942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa350f8d098fb7712b35be69ebece04b8.jpg",[],{"id":2154,"slug":2155,"title":2156,"dynasty":18,"author":2157,"museum":180,"description":2158,"tags":2159,"thumbUrl":2163,"material":2164,"size":43,"collection":43,"collections":2165,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":47},217048,"bai-miao-ying-zhen-tu-7-ding-yun-peng-217048","白描应真图-7","丁云鹏","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[24,25,5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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。",[2194,522,2195,2196,30,59,2000,1157,2197,7,942,2198,2199,2200,2201],"素描","写实","线条勾勒","帷幔","宗教题材","长袍","皇冠","集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97387c0f945fa80e58054b6d7f5fc01.jpg",[],{"id":2205,"slug":2206,"title":2207,"dynasty":1136,"author":2208,"museum":180,"description":2209,"tags":2210,"thumbUrl":2215,"material":747,"size":748,"collection":43,"collections":2216,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":47},232316,"a-er-ma-43-lao-lun-si-a-er-ma-ta-de-ma-232316","阿尔玛43","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。",[1994,2211,28,30,31,2212,2213,2214,82,1209,596,7],"新古典主义","大理石","海景","蓝天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1472c4421ffd373363685a710dbbcf8b.jpg",[],{"id":2218,"slug":2219,"title":2220,"dynasty":1136,"author":2221,"museum":180,"description":2222,"tags":2223,"thumbUrl":2224,"material":121,"size":748,"collection":43,"collections":2225,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":73},230575,"a-shi-duo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230575","阿氏多尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,25,185,610,30,32,35,7,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb4115c81ad46fcc2c26ab41970c858.jpg",[],{"id":2227,"slug":2228,"title":2229,"dynasty":1136,"author":179,"museum":180,"description":1937,"tags":2230,"thumbUrl":2231,"material":747,"size":748,"collection":43,"collections":2232,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":47},225445,"fu-shi-hui-203-yi-ming-225445","浮世绘203",[1724,1680,28,30,32,1031,7,82,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1259574261356019c2fd2abfd42873a8.jpg",[],{"id":2234,"slug":2235,"title":2236,"dynasty":1136,"author":179,"museum":180,"description":1937,"tags":2237,"thumbUrl":2243,"material":747,"size":748,"collection":43,"collections":2244,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":47},225439,"fu-shi-hui-197-yi-ming-225439","浮世绘197",[1724,1680,2238,28,30,2239,2240,82,2241,184,1158,7,344,34,942,2242],"版画","宠物","小狗","樱花","室外背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa07c9e6c28210584baeedcad1739a1bc.jpg",[],{"id":2246,"slug":2247,"title":2248,"dynasty":18,"author":208,"museum":180,"description":2249,"tags":2250,"thumbUrl":2252,"material":306,"size":43,"collection":43,"collections":2253,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":310},217144,"shui-hu-quan-tu-50-du-jin-217144","水浒全图-50","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[95,24,25,219,522,30,32,7,660,2251],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19120b21070cf37e44d623a7ff44d592.jpg",[],{"id":2255,"slug":2256,"title":2257,"dynasty":108,"author":179,"museum":301,"description":2258,"tags":2259,"thumbUrl":2260,"material":66,"size":43,"collection":43,"collections":2261,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":73},215997,"di-jian-tu-shuo-cai-hui-ben-8-yi-ming-215997","帝鉴图说彩绘本-8","层叠的殿宇依山而建，朱红廊柱与青绿瓦当相映，蓝檐翘角衬着淡赭底色，晕染出古雅的宫廷气韵。上层殿堂内，端坐者似正凝思或训诫，侍从恭立两侧；下层松枝掩映，有人于水畔小亭对谈，或执卷沉思，动静相宜。画作以细腻笔触勾勒人物情态，明快设色铺陈场景，将历史典故转化为直观可感的画面，既见宫廷叙事的规整，又含生活气息的灵动，让帝王鉴戒的深意随笔墨流转，尽显传统彩绘本的艺术表现力与教化巧思。",[24,28,29,30,32,344,333,33,83,34,379,59,7,596,437,1020,356,645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7e366d9b7df0bc26401b4d5e0e5107.jpg",[],{"id":2263,"slug":2264,"title":2265,"dynasty":108,"author":179,"museum":301,"description":2266,"tags":2267,"thumbUrl":2269,"material":66,"size":43,"collection":43,"collections":2270,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":73},215990,"di-jian-tu-shuo-cai-hui-ben-14-yi-ming-215990","帝鉴图说彩绘本-14","红墙蓝瓦错落于青绿庭院间，朱门半敞处似有政务流转的余温。画面以细腻彩绘铺展宫廷一隅，建筑规制严谨，飞檐翘角藏着中式营造的精巧；庭院中人物动态鲜活，或捧卷趋行，或侍立阶侧，衣袂流转间似有语声轻扬。工笔线条勾勒榫卯细节，色彩晕染添温润生气，将古籍典故化为可触图景。人物神情与场景呼应，既见规制森严，亦显人际互动的鲜活，于方寸间藏着历史余韵与生活温度，是传统彩绘绘本中兼具叙事性与审美性的佳作。",[24,28,29,27,30,32,33,34,646,83,7,356,633,2268],"彩绘本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51d9295bef2b75622b338f86560074d6.jpg",[],{"id":2272,"slug":2273,"title":2274,"dynasty":108,"author":179,"museum":301,"description":2275,"tags":2276,"thumbUrl":2277,"material":66,"size":43,"collection":43,"collections":2278,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":73},215982,"di-jian-tu-shuo-cai-hui-ben-23-yi-ming-215982","帝鉴图说彩绘本-23","亭榭立于苍松翠柏间，青瓦覆顶，红栏绕阶，一派古雅气象。亭内数人对坐，衣袂轻扬间似有嘉言相授；庭中仆从躬身侍立，一侧有人牵马候于朱门旁，动静相宜。色彩晕染细腻，青绿与朱红交织出温润的古意，人物神态鲜活，细节处见匠心。这幅画以生动场景再现历史典故，于雅致的笔墨间传递为政之智，既保留了绘本的观赏性，又暗含教化深意，尽显传统绘画的韵味与内涵。\n\n（注：文案聚焦画面场景、色彩、人物动态及作品内涵，语言凝练且富有画面感，符合展览介绍的需求，未提及无需录入的信息，修辞上运用了描写与抒情结合的手法，增强可读性。）",[24,95,27,28,29,30,235,32,34,81,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c2ef50d8346beaadce38739e8f36c4.jpg",[],{"id":2280,"slug":2281,"title":2282,"dynasty":108,"author":179,"museum":301,"description":2283,"tags":2284,"thumbUrl":2285,"material":66,"size":43,"collection":43,"collections":2286,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":73},215956,"di-jian-tu-shuo-cai-hui-ben-54-yi-ming-215956","帝鉴图说彩绘本-54","飞檐翘角的亭榭临栏而立，朱红立柱撑起青蓝瓦顶，檐角似欲凌云。亭畔绿树扶疏，枝叶如盖；红衣旗帜于杆头猎猎，与白色栏杆相映成趣。地面青灰铺展，数人衣袂飘飘，或持物而立，或相携而行，神态鲜活如生——有人昂首似语，有人俯身若听，动态间藏着烟火气。山石以淡墨皴染，纹理有致；远处天色朦胧，一只飞鸟掠过，更添空灵感。整幅画作工笔细腻，色彩雅致古朴，人物衣纹流转自然，建筑构件勾勒精准，草木山石晕染得宜。画面似将一段旧时光凝住，宁静中透着生动，让人恍若踏入古代庭园，窥见那时的从容与意趣。",[24,25,219,28,27,29,30,235,34,35,7,540],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccbbf468e3715617c8759c0cf60f6f06.jpg",[],{"id":2288,"slug":2289,"title":2290,"dynasty":108,"author":179,"museum":180,"description":2291,"tags":2292,"thumbUrl":2296,"material":747,"size":748,"collection":43,"collections":2297,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":310},257941,"kang-xi-kuan-qing-hua-shi-nv-tu-qian-wan-yi-ming-257941","康熙款青花仕女图浅碗","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。",[2108,633,2293,30,60,7,33,2294,2295],"青花","釉下彩","器物纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6163f08468e7a515f092aa2dfb1095.jpg",[],{"id":2299,"slug":2300,"title":2169,"dynasty":108,"author":179,"museum":180,"description":2301,"tags":2302,"thumbUrl":2309,"material":747,"size":748,"collection":43,"collections":2310,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":47},238611,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238611","此作以西洋铜版画的写实技法复刻清宫礼制场景，对称严整的院落布局中，飞檐翘角的廊台尽显皇室规制的森严。前景兵卒持枪列阵，排布如仪，中阶武将官员按品阶肃立，高阶廊下观礼人群层次分明。\n作者以细腻的线条勾勒出斗拱飞椽的建筑细节，仪仗器物分毫毕现，将平叛庆功的庄重隆重全然铺展。笔触克制冷静，却在规整的列队排布里藏着皇权仪仗的盛大威仪，中西技法相融，定格下这场彰显功勋与礼制的肃穆时刻。",[27,29,219,30,32,33,2303,2304,2305,2172,83,540,7,2306,2307,2308],"队列","士兵","官员","宫墙","仪仗","仪式场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc7fd54ae62b5863cdbeb3e7848fee4.jpg",[],{"id":2312,"slug":2313,"title":2314,"dynasty":1136,"author":2191,"museum":180,"description":2192,"tags":2315,"thumbUrl":2321,"material":747,"size":748,"collection":43,"collections":2322,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":47},232425,"he-er-bai-yin-84-he-er-bai-yin-232425","荷尔拜因84",[610,29,522,2195,30,32,2316,2000,83,2317,2318,33,2319,7,2320,1157],"城堡","街道","动物","塔楼","墙壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf593b43034d1ee032c98776d862784.jpg",[],{"id":2324,"slug":2325,"title":2326,"dynasty":1136,"author":2191,"museum":180,"description":2192,"tags":2327,"thumbUrl":2331,"material":747,"size":748,"collection":43,"collections":2332,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":47},232368,"he-er-bai-yin-27-he-er-bai-yin-232368","荷尔拜因27",[522,2328,2194,2329,30,7,574,59,1476,2330],"线描","黑白","线刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697fb2bf35ae605812d9167183c1bfb2.jpg",[],{"id":2334,"slug":2335,"title":2336,"dynasty":1136,"author":2337,"museum":180,"description":2338,"tags":2339,"thumbUrl":2351,"material":747,"size":748,"collection":43,"collections":2352,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":932},232246,"criminal-physiognomies-1881-private-collection-pastel-de-jia-232246","Criminal Physiognomies - 1881- Private collection - pastel","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。",[2109,30,2340,2341,2342,7,2343,2344,2345,2346,2347,2348,2349,2350],"肖像","侧影","暖色调","男性人物","侧面描绘","粉画","人物肖像","坐姿人物","暖背景","人物侧像","红色前景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1d1dcf7e772e3cdd1bce78a80eb379d.jpg",[],{"id":2354,"slug":2355,"title":2356,"dynasty":1136,"author":2357,"museum":180,"description":2358,"tags":2359,"thumbUrl":2365,"material":747,"size":748,"collection":43,"collections":2366,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},230635,"rembrandt-harmensz-van-rijn-0269-lun-bo-lang-230635","Rembrandt Harmensz.van Rijn - 0269","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van 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。",[95,505,2360,2195,2340,30,658,2361,7,2199,2362,2363,2364],"明暗对比","帽子","手部","光影处理","写实主义","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1aef2606b05dbaed7e568ea21ab648.jpg",[],{"id":2368,"slug":2369,"title":2370,"dynasty":1136,"author":2221,"museum":180,"description":2222,"tags":2371,"thumbUrl":2372,"material":121,"size":748,"collection":43,"collections":2373,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},230574,"fa-na-po-si-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230574","伐那婆斯尊者",[23,610,30,28,27,32,7,132,184,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06f98bc2e20f4050ca3130f80c4b840f.jpg",[],{"id":2375,"slug":2376,"title":2377,"dynasty":108,"author":179,"museum":301,"description":2378,"tags":2379,"thumbUrl":2380,"material":66,"size":43,"collection":43,"collections":2381,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},216002,"di-jian-tu-shuo-cai-hui-ben-5-yi-ming-216002","帝鉴图说彩绘本-5","朱红廊柱支起飞檐翘角，浅褐院墙围合一方静谧庭院。栏杆曲折间，树木葱茏，衬得殿宇愈显庄雅。人物或端坐阶前，神情肃穆；或侍立两侧，姿态恭谨；或缓步廊下，衣袂轻扬。色彩晕染温润古朴，线条勾勒细腻入微，将宫廷场景的庄重与人际互动的细腻悄然铺展。画中似在演绎古代治国典故，每一处细节皆藏劝诫之意，于静谧画面里流淌出历史的厚重与人文的温度，让人赏画时不觉沉浸于往昔的智慧与情怀中。",[24,25,219,28,29,27,30,32,235,7,34,33,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac052b9647b506b67b3a1abe3064c60.jpg",[],{"id":2383,"slug":2384,"title":2385,"dynasty":108,"author":179,"museum":301,"description":2386,"tags":2387,"thumbUrl":2389,"material":66,"size":43,"collection":43,"collections":2390,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},215994,"di-jian-tu-shuo-cai-hui-ben-11-yi-ming-215994","帝鉴图说彩绘本-11","朱门映碧瓦，雕栏绕玉阶，殿宇巍峨间，帝王端坐于堂，衣袂翩跹的侍从躬身侍立，台阶上下人影错落，似在演绎前朝典故。松影横斜于山石旁，青绿苔痕晕染雅致，云气氤氲天际，为庄重场景添了几分灵动。画面以细腻笔触勾勒建筑精巧，人物神态栩栩如生，每处细节藏着叙事温度——或劝诫或箴规，将历史智慧凝于丹青。色彩明丽却不失沉稳，红的热烈、蓝的沉静、绿的鲜活交织，既显宫廷威严气象，又含文人画雅致意趣，于方寸间铺展一段载道的视觉诗篇。",[24,28,27,29,219,30,32,333,2388,83,63,7],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c16dc7da03299434cc08e1b0c2f2cd8.jpg",[],{"id":2392,"slug":2393,"title":2394,"dynasty":108,"author":179,"museum":301,"description":2395,"tags":2396,"thumbUrl":2397,"material":66,"size":43,"collection":43,"collections":2398,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},215993,"di-jian-tu-shuo-cai-hui-ben-15-yi-ming-215993","帝鉴图说彩绘本-15","亭台层叠，朱门映碧瓦，古雅之气扑面而来。上层人物或立或语，神态恭谨间透着庄重；下层侍从往来、劳作场景鲜活，烟火气与仪轨感交织成趣。苍松虬劲，山水为衬，线条细腻勾勒出建筑的精巧与人物的动态，设色温润古朴，将一段历史场景凝于绢素。画面既有视觉的雅致韵致，又暗含叙事的深沉意味，仿佛能透过笔墨窥见往昔的仪范与日常，尽显传统绘画的叙事与审美之妙。",[24,25,28,27,29,30,32,34,33,83,7,646,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a32dcfd3f62b94ae8097adba11b615.jpg",[],{"id":2400,"slug":2401,"title":2402,"dynasty":108,"author":179,"museum":301,"description":2403,"tags":2404,"thumbUrl":2406,"material":66,"size":43,"collection":43,"collections":2407,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},215991,"di-jian-tu-shuo-cai-hui-ben-17-yi-ming-215991","帝鉴图说彩绘本-17","朱红宫墙蜿蜒，青绿瓦顶的门阙肃立，靛蓝亭榭掩映于苍树间，晕染出古雅园林意趣。前景侍从垂首躬身，衣袂轻摆间满是恭谨；中景廊下数人或立或语，神态端凝。画面层次分明，线条细腻流畅，设色明丽和谐——青绿山水衬于侧，朱红建筑显庄重，靛蓝亭顶添雅致。人物情态鲜活，场景氛围肃穆，于工笔重彩间，将古代礼仪场景的威仪与生动尽展无遗，尽显传统绘画的叙事功力与审美意趣。",[24,28,27,29,219,30,32,235,34,33,7,83,2405,59],"墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaea154c3871ede5d3abc097d0a31791.jpg",[],{"id":2409,"slug":2410,"title":2411,"dynasty":108,"author":179,"museum":301,"description":2412,"tags":2413,"thumbUrl":2414,"material":66,"size":43,"collection":43,"collections":2415,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},215989,"di-jian-tu-shuo-cai-hui-ben-16-yi-ming-215989","帝鉴图说彩绘本-16","红墙映黛瓦，青绿点檐牙，庭院楼阁错落成一幅雅致的宫廷图景。主位人物端坐轩敞厅堂，衣著赭黄，神态雍容；两侧侍从垂立，姿态恭谨。台阶上下，数人或躬身禀报，或徐行往来，衣纹流转间似有低语随风。建筑细节勾勒入微，斗拱精巧、栏杆纹饰清晰可见，朱红与石绿的撞色，既显皇家庄重，又含彩绘鲜活韵致。人物动态鲜活，或立或行、或跪或语，悄然铺展宫廷日常的仪轨与温情，笔端细腻处，尽是旧时皇家的雍容与平和。",[24,25,219,28,29,27,30,32,235,34,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df5d46fc656e8433be566f1113d884a.jpg",[],{"id":2417,"slug":2418,"title":2419,"dynasty":108,"author":179,"museum":301,"description":2420,"tags":2421,"thumbUrl":2423,"material":66,"size":43,"collection":43,"collections":2424,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},215987,"di-jian-tu-shuo-cai-hui-ben-20-yi-ming-215987","帝鉴图说彩绘本-20","红墙绿瓦的殿宇翘角飞檐，檐下木构精巧，阶前松柏苍劲。画面中央，君臣围聚廊下，或颔首论道，或垂目静听，神态毕肖；阶下侍从衣袂轻扬，恭立待命，动静间尽显朝堂仪轨。前景门廊玲珑，与后方殿宇呼应，疏密有致的布局勾勒出宫廷深院的层次。设色明快却不失古雅，红与绿的撞色衬出建筑庄重，人物服饰的细腻纹理更见绘者匠心。作为教化典籍配图，它以生动图景再现历史场景，让威严的朝堂故事有了可触的温度，于尺幅间藏纳治乱智慧，尽显清代绘本叙事与审美交融之妙。",[24,25,28,29,30,32,33,34,2422,83,7],"红墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb5fce36529bb08cfe7fd9aa1a903f5e.jpg",[],{"id":2426,"slug":2427,"title":2428,"dynasty":108,"author":179,"museum":301,"description":2429,"tags":2430,"thumbUrl":2431,"material":66,"size":43,"collection":43,"collections":2432,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":73},215981,"di-jian-tu-shuo-cai-hui-ben-27-yi-ming-215981","帝鉴图说彩绘本-27","画面以层叠的中式殿宇为背景，上下两重空间各藏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