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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。",[169,170,171,172,173,174,175,176,177,108,33,7,178,179,180],"油画","厚涂","笔触奔放","色彩鲜明","田野","农民","山脉","天空","云朵","土地","灌木","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50c19cf3f69bb5b337d215962d61059.jpg","未知","Xcm*Xcm","油画精选",[184],18,"795548",{"id":189,"slug":190,"title":191,"dynasty":50,"author":192,"museum":193,"description":194,"tags":195,"thumbUrl":197,"material":198,"size":199,"collection":81,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":187},233859,"mei-hua-ce-jin-nong-233859","梅花册","金农","美国大都会艺术博物馆","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[24,25,55,56,196,7,60],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaae5adc1a49a24150b4f8edd78eb0ce.jpg","纸本墨笔","25.4cm ×29.8cm",[],16,{"id":203,"slug":204,"title":205,"dynasty":206,"author":207,"museum":104,"description":208,"tags":209,"thumbUrl":212,"material":182,"size":183,"collection":81,"collections":213,"showCount":214,"zanCount":11,"manualWeight":11,"mainColor":45},287717,"zhi-ai-tu-li-zhou-li-tang-287717","炙艾图（立轴）","宋","李唐","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[24,91,27,107,31,57,210,211,7],"乡村","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c69027a54cf9096db5d59807fb662c8.jpg",[],13,{"id":216,"slug":217,"title":218,"dynasty":50,"author":219,"museum":220,"description":221,"tags":222,"thumbUrl":224,"material":225,"size":226,"collection":81,"collections":227,"showCount":228,"zanCount":11,"manualWeight":11,"mainColor":45},233444,"ren-wu-shan-shui-ce-luo-pin-233444","人物山水册","罗聘","北京故宫博物院","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,55,56,29,31,143,32,7,223],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F309f20246632383db65250f12e281fba.jpg","纸本，设色","纵24.2厘米，横30.7厘米",[],10,{"id":230,"slug":231,"title":232,"dynasty":50,"author":233,"museum":104,"description":234,"tags":235,"thumbUrl":237,"material":81,"size":81,"collection":81,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":45},235640,"shan-shui-tu-ce-wu-li-235640","山水图册","吴历","此作以淡墨铺陈萧寂冬景，近间篱舍环围，寒木枯槎掩映山居，小径蜿蜒通幽，自有阒寂安闲之趣。平湖如镜横亘画幅，对岸危崖壁立，飞瀑垂落，以干笔皴擦写出山石苍劲肌理，淡墨晕染出秋水空蒙。\n\n左上角题诗与印信呼应画面意境，构图疏密得当，笔意朴厚温雅，不着艳色，以水墨尽绘林泉幽致，将文人寄情山水、静享林下的意趣融于尺幅之间，意境淡宕悠远。",[139,24,25,56,55,28,60,29,57,236,7,35,108],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5600b17ebd9e80b097225499fdc4e8c4.jpg",[],9,{"id":241,"slug":242,"title":102,"dynasty":50,"author":243,"museum":220,"description":244,"tags":245,"thumbUrl":247,"material":81,"size":248,"collection":81,"collections":249,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},223200,"geng-zhi-tu-ce-jiao-bing-zhen-223200","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,25,56,107,27,31,108,92,34,33,7,246],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2373f4bbfbe1b7f46ec5c4dd932db73.jpg","34.7cm×27.7cm",[],{"id":251,"slug":252,"title":253,"dynasty":50,"author":254,"museum":88,"description":255,"tags":256,"thumbUrl":260,"material":261,"size":81,"collection":81,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":264},215047,"shu-hua-he-bi-tu-ce-3-qian-long-215047","书画合璧图册-3","乾隆","乾隆皇帝（1711-1799年在位）是清朝的第六位皇帝，他是一位非常喜爱书画的皇帝，并且也是一位出色的书画家。他的书画合璧图册是他的一部杰作，其中收集了他自己的书画作品以及其他著名书画家的作品。这本图册有很多种版本，不同版本中包含的作品也有所不同。乾隆皇帝的书画合璧图册被认为是中国书画史上的一部重要著作，因为它收集了当时最优秀的书画作品，并且这本图册本身也是一部艺术杰作。",[23,24,25,56,257,258,55,31,108,33,7,246,259],"楷书","白描","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa314b221f2f5420b225bd827afb2413f.jpg","绢本,设色",[],4,"37474F",{"id":266,"slug":267,"title":102,"dynasty":50,"author":103,"museum":104,"description":268,"tags":269,"thumbUrl":273,"material":182,"size":183,"collection":81,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":45},238437,"geng-zhi-tu-ce-mian-yi-238437","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[24,27,107,56,31,33,108,270,271,272,7,114,111],"梯子","木桶","桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3a72a33d76f212031c18e3e9133253.jpg",[],3,{"id":277,"slug":278,"title":279,"dynasty":50,"author":103,"museum":104,"description":268,"tags":280,"thumbUrl":281,"material":182,"size":183,"collection":81,"collections":282,"showCount":283,"zanCount":11,"manualWeight":11,"mainColor":45},238466,"mian-yi-mian-hua-tu-ce-mian-yi-238466","绵亿棉花图册",[24,107,27,56,31,108,33,173,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88863be20fa4daa8d6c9f49704bca13c.jpg",[],2,1777535722668]