[{"data":1,"prerenderedAt":146},["ShallowReactive",2],{"subject-lan-hua-2459":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2459,"lan-hua-2459","蓝花","蓝花画高清赏析","精选中国历代蓝花题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51956f5c386825806a76df15e92eff54.jpg",0,7,[14,54,73,91,112,124,136],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":10,"material":47,"size":48,"collection":49,"collections":50,"showCount":51,"zanCount":52,"manualWeight":11,"mainColor":53},225733,"daubigny-s-garden-june-fan-gao-225733","Daubigny's garden (June - )","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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7,41,42,43,44,45,46],"油画","后印象派","厚涂","笔触","色彩","设色","花园","草地","花卉","树木","房屋","栅栏","绿植","户外","自然景观","庭院","白花","红花","田园","植物","花丛","绿色调","田园风光","户外场景","未知","Xcm*Xcm","油画精选",[49],68,1,"795548",{"id":55,"slug":56,"title":57,"dynasty":58,"author":59,"museum":20,"description":60,"tags":61,"thumbUrl":69,"material":70,"size":70,"collection":70,"collections":71,"showCount":72,"zanCount":11,"manualWeight":11,"mainColor":53},238372,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238372","董诰延春荟彩图册","清","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”。",[62,63,64,65,28,66,67,31,68,7],"国画","书画","册","工笔","花鸟","牡丹","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b401de06f9cc225a228e0de738a1bc.jpg","",[],23,{"id":74,"slug":75,"title":76,"dynasty":58,"author":77,"museum":20,"description":78,"tags":79,"thumbUrl":85,"material":86,"size":87,"collection":70,"collections":88,"showCount":89,"zanCount":11,"manualWeight":11,"mainColor":90},234989,"hua-hui-ling-mao-ping-7-ren-yi-234989","花卉翎毛屏7","任颐","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[62,63,66,80,28,65,81,82,83,40,84,39,7,31],"立轴","飞鸟","树枝","山石","粉花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b6f696c4310601d6245936bdbdeacd5.jpg","绢本，设色","149 x 61 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