[{"data":1,"prerenderedAt":1248},["ShallowReactive",2],{"subject-li-shi-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2289,"li-shi-hua","历史画","历史画画高清赏析","精选中国历代历史画题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed4393874b5b69204ce05c301eb9d68.jpg",0,115,[14,43,67,85,99,111,126,142,154,179,187,205,219,233,245,260,275,287,298,311,322,330,343,356,368,377,391,402,420,431,443,457,467,475,486,494,501,513,523,534,546,554,563,574,581,591,597,605,613,621,628,639,649,655,664,671,679,687,702,714,721,728,734,747,754,763,771,779,794,807,817,828,837,843,851,865,876,883,889,900,907,920,932,942,953,964,974,984,997,1006,1018,1026,1035,1045,1056,1066,1074,1081,1089,1098,1108,1121,1132,1143,1152,1165,1176,1182,1191,1200,1209,1216,1224,1232,1240],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":40,"zanCount":41,"manualWeight":11,"mainColor":42},214833,"ru-bi-tu-yi-ming-214833","入跸图","明","佚名","台北故宫博物院","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,24,25,26,27,28,29,30,31,32,33,34,7],"高清","名画","国画","长卷","工笔","设色","人物","楼阁","树木","车马","仪仗","皇家出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","绢本,设色","92.10x3003.6","人物画精选",[38],448,9,"795548",{"id":44,"slug":45,"title":46,"dynasty":18,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":60,"material":61,"size":62,"collection":63,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":42},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","仇英","藏地不详","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,25,26,51,27,52,28,53,29,54,55,56,57,7,58,59],"临摹","青绿","山水","马","古道","小桥","山峦","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg","未知","Xcm*Xcm","",[],380,1,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":80,"material":36,"size":81,"collection":38,"collections":82,"showCount":83,"zanCount":84,"manualWeight":11,"mainColor":42},215038,"ma-shu-tu-lang-shi-ning-215038","马术图","清","郎世宁","北京故宫博物院","阿穆尔萨纳和先登上准噶尔汗国的达瓦齐因利益冲突而相互争斗，在他们失败后，阿穆尔萨纳要求加入清廷并拜访乾隆皇帝。乾隆皇帝对阿穆尔萨纳主动加入清朝感到欣喜若狂。阿穆尔萨纳投奔清廷后，康熙皇帝非常高兴，他对准噶尔帝国的内部情况有了更多的了解，并有信心利用准噶尔帝国的动乱完成其祖父康熙皇帝和父亲雍正皇帝的 未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[23,24,25,28,29,54,76,77,7,78,79],"马术","飞鸟","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[38],254,4,{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":48,"description":91,"tags":92,"thumbUrl":95,"material":61,"size":62,"collection":96,"collections":97,"showCount":98,"zanCount":66,"manualWeight":11,"mainColor":42},225640,"rembrandt-harmensz-van-rijn-050-lun-bo-lang-225640","Rembrandt Harmensz.van Rijn - 050","不详","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。",[24,93,29,7,94,28],"油画","宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2617e4dd48b90098e3e3e484604e0b.jpg","油画精选",[96],120,{"id":100,"slug":101,"title":102,"dynasty":103,"author":19,"museum":48,"description":104,"tags":105,"thumbUrl":108,"material":61,"size":62,"collection":63,"collections":109,"showCount":110,"zanCount":66,"manualWeight":11,"mainColor":42},290164,"mo-li-zhao-dao-ming-huang-xing-shu-tu-yi-ming-290164","摹李昭道明皇幸蜀图","元","此图可能为宋代摹本，但比较接近李思训、李昭道父子的画风，是反映唐代山水画面貌的重要传世作品。宋代苏轼对此图的艺术手法曾有过一段描写，从马的特征认出骑马的便是唐明皇李隆基。",[25,51,52,28,53,29,54,55,106,107,7],"松树","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddcfa9101a675f217a7063e8075a829.jpg",[],110,{"id":112,"slug":113,"title":114,"dynasty":115,"author":116,"museum":48,"description":117,"tags":118,"thumbUrl":122,"material":61,"size":62,"collection":63,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":125},288966,"xiao-yi-zhuan-lan-ting-tu-yan-li-ben-288966","萧翼赚兰亭图","唐","阎立本","《萧翼赚兰亭图》是唐代画家阎立本创作的绘画，原本已佚。现存三本宋代摹本，北宋摹本藏于辽宁省博物馆，南宋摹本藏于台北故宫博物院，还有一本宋代摹本藏于北京故宫博物院。\n北宋摹本和南宋摹本大体相同，都是以辩才和尚与萧翼为中心，图左一老一少正在煮茶。不同之处在于，北宋本画一童仆手抱《兰亭记》从右方出来，而南宋本则是在辩才和尚与萧翼之间，画一侍立僧人。画面简单，若无画题提示会以为是高僧与文士的茶会雅集而已，但实际上描绘的是萧翼从辩才和尚手中骗取王羲之《兰亭序》的故事。北京故宫藏本相对较简略，左侧没有煮茶的人。",[24,25,119,28,29,94,120,7,121,27],"书画","印章","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c426edbd3947eb221f92714358728a.jpg",[],73,"37474F",{"id":127,"slug":128,"title":129,"dynasty":71,"author":19,"museum":73,"description":130,"tags":131,"thumbUrl":136,"material":137,"size":138,"collection":38,"collections":139,"showCount":141,"zanCount":66,"manualWeight":11,"mainColor":42},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[24,25,119,132,28,29,30,133,134,135,7],"界画","宫殿","雪景","大象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","绢本，设色","纵299cm，横207cm",[38,140],"设色画精选",57,{"id":143,"slug":144,"title":145,"dynasty":115,"author":116,"museum":48,"description":146,"tags":147,"thumbUrl":151,"material":61,"size":62,"collection":63,"collections":152,"showCount":153,"zanCount":11,"manualWeight":11,"mainColor":42},287311,"li-dai-di-wang-tu-juan-chang-juan-se-dan-yan-li-ben-287311","历代帝王图卷长卷（色淡）","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,24,25,26,28,29,27,7,148,149,150],"帝王","群臣","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F411a33cef4504359b61294216f06577b.jpg",[],46,{"id":155,"slug":156,"title":157,"dynasty":71,"author":158,"museum":159,"description":160,"tags":161,"thumbUrl":173,"material":63,"size":174,"collection":175,"collections":176,"showCount":177,"zanCount":66,"manualWeight":11,"mainColor":178},238590,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-ai-qi-meng-238590","平定两金川得胜图册","艾启蒙","德国国立柏林民俗博物馆","两金川即大小金川，位于今四川省西部，大金川是大渡河上流，小金川则是大渡河上流东面的一条支流，都为藏族聚居地。自元代开始，中央政府先后在两金川分设土司，令其各守疆界，相互牵制，借以捍卫边围。惟土司众多，彼此之间每因承袭土职或边界纠纷日寻干戈，仇杀不已。清初沿明旧制，颁授印信，大小金川接受清廷册封。土司们常以朝廷名号恃强掠夺，蚕食邻邦，不安住牧，声势日盛，边境不安，加之大小金川在地理位置上接近成都，远连卫藏，威胁到内地的安全，为求永靖边围，乾隆皇帝遂兴师进剿，乃有平定大小金川之役。\n《平定两金川得胜图》描绘了清乾隆十二年至四十一年（1747—1776年）清政府两次出兵平定四川大小金川叛乱的战绩。十六幅图分别为：收复小金川、攻克喇穆及日则丫口、攻克罗博瓦山碉、攻克宜喜达尔图山梁、攻克日旁一带、攻克康萨尔山梁、攻克木思工噶克丫口、攻克宜喜甲索等处碉卡、攻克石真噶贼碉、攻克葘则大海昆色尔山梁并拉枯喇嘛寺等处、攻克贼巢、攻克科布曲索隆古山梁等处碉寨、攻克噶喇依报捷、郊台迎劳将军阿桂凯旋、午门受俘、紫光阁凯宴成功诸将士。\n较之《平定准噶尔得胜图》，该组铜版战图在造型、透视、构图等方面受中国传统画法影响更深，整个画面多利用散点透视的方法，去掉了阴影和明暗对比，因而画面呈现出一种平面效果。树木、山石皆用线蚀法刻画，层次感和质感稍差。",[162,163,164,7,165,166,167,168,169,170,171,107,172],"铜版画","得胜图","画册","平定大小金川","山地","碉楼","士兵","战争场景","线蚀法","散点透视","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b6be4afc3a400f4ea003bfdf7d4806.jpg","纵51cm，横88.5cm","山水画精选",[175],42,"BDBDBD",{"id":180,"slug":181,"title":182,"dynasty":89,"author":90,"museum":48,"description":91,"tags":183,"thumbUrl":185,"material":61,"size":62,"collection":96,"collections":186,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":125},225658,"rembrandt-harmensz-van-rijn-068-lun-bo-lang-225658","Rembrandt 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历代画家以此入图者，古书所载，最早有顾恺之，其後则有隋展子虔、五代朱简章、宋赵伯驹等。此幅无作者名款，附有旧签，题曰：“唐人大禹治水图”。",[24,25,119,362,28,29,53,7,363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb28861897fce01cedffc2693951f379.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":71,"author":479,"museum":48,"description":480,"tags":481,"thumbUrl":484,"material":61,"size":62,"collection":63,"collections":485,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":178},287997,"qian-long-nan-xun-zhu-bi-tu-ye-23-zhen-qian-wei-cheng-287997","乾隆南巡驻跸图页23帧","钱维城","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,25,119,24,193,132,28,30,482,483,53,31,56,7,150,283],"亭","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02b7085194310691b6fae5dae96603ea.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":18,"author":47,"museum":48,"description":49,"tags":490,"thumbUrl":492,"material":61,"size":62,"collection":63,"collections":493,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":178},288014,"wen-ji-gui-han-tu-shan-mian-chou-ying-288014","文姬归汉图扇面",[24,25,491,27,28,29,54,55,53,7,215],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343b2d7148e59265a1451d9491a22cd.jpg",[],{"id":495,"slug":496,"title":497,"dynasty":103,"author":19,"museum":48,"description":461,"tags":498,"thumbUrl":499,"material":61,"size":62,"collection":63,"collections":500,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},287582,"ming-fei-chu-sai-tu-yi-ming-287582","明妃出塞图",[25,24,362,28,27,29,397,54,53,31,55,7,120,398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fb6880298a3f8f31f8ea0956c72786.jpg",[],{"id":502,"slug":503,"title":157,"dynasty":71,"author":19,"museum":48,"description":504,"tags":505,"thumbUrl":511,"material":61,"size":62,"collection":63,"collections":512,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":178},238621,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238621","这幅全景式战地版画以劲挺线条铺陈开平叛战事全貌，远景层叠山峦晕开肃杀氛围，山环水绕间营垒错落，驻军阵列严整。\n\n近前烈焰舔舐寨墙，人马攒动间兵卒往复冲杀、奔逃、鏖战，短兵相接的残酷壮烈跃然纸上。构图疏密有致，既还原战地宏阔格局，又捕捉到厮杀奔逃的细碎细节，以冷峻纪实的笔触，将硝烟弥漫的征伐实景定格，复刻出这段铁血征伐的往昔图景。",[426,7,317,53,29,54,506,507,508,509,510],"营垒","烈焰","纪实","全景式","肃杀氛围","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc73a56d9e70e3fc5f7e3370aa28ac34.jpg",[],{"id":514,"slug":515,"title":516,"dynasty":18,"author":47,"museum":20,"description":517,"tags":518,"thumbUrl":520,"material":36,"size":521,"collection":63,"collections":522,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":178},214912,"di-wang-dao-tong-wan-nian-tu-ce-3-chou-ying-214912","帝王道统万年图册-3","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",[23,24,25,193,52,28,27,29,53,519,7],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4405c63f75b39f14d518dcf7af113a3.jpg","32.5*32.6",[],{"id":524,"slug":525,"title":526,"dynasty":71,"author":19,"museum":48,"description":527,"tags":528,"thumbUrl":531,"material":61,"size":62,"collection":63,"collections":532,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":42},287871,"yuan-ben-qin-can-tu-cai-sang-li-juan-yi-ming-287871","院本亲蚕图採桑(利)卷","此卷以工笔重彩铺陈皇家仪典，左段坛壝方正严整，朱红仪仗与宝蓝官袍交错列队，礼制威仪尽显肃穆端方。随卷向右，葱郁林木掩映殿宇朱墙，人众沿湖堤次第排布，逶迤有序。远处湖波空蒙，琼岛白塔隐现烟霭间，层次开合有度。\n\n整作晕染精细，设色明丽雅致，将仪典的庄重规制与苑囿的秀雅景致相融。工谨笔触勾勒典仪细节，写意晕染铺就烟水空濛意境，疏密张弛间，尽显独到的纪实性与艺术性。",[23,24,25,26,28,27,29,30,31,133,33,529,530,7],"皇家礼仪","亲蚕仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83381556417fbd543f9a2bbb4676b12.jpg",[],7,{"id":535,"slug":536,"title":537,"dynasty":71,"author":19,"museum":73,"description":538,"tags":539,"thumbUrl":542,"material":543,"size":544,"collection":63,"collections":545,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":178},233040,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233040","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“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historiques","这幅速写以利落的排线铺陈明暗，带着蚀刻版画独有的粗粝质感。前景的兵卒们簇拥喧闹，神态松弛亢奋，似是行军途中偷得片刻闲暇。身侧满载干草的大车敦实伫立，车轮与草堆的线条粗犷朴拙，尽显乡野行路的颠簸厚重。\n\n阴云翻卷的天空晕开朦胧的光线，远景里模糊的行军队列隐在雾气间，将荒寂的行旅氛围感拉满。作品鲜活定格了戎马行路的片刻剪影，既有纪实的生动细节，又借朦胧远景烘托出旅途漫漶的苍茫寂寥，让行伍间的粗粝鲜活跃然纸面。",[800,7,801,802,166,803,804],"素描","人物群像","干草马车","荒野","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a4806adb70c8ad926a5775c44eba99.jpg",[],{"id":808,"slug":809,"title":157,"dynasty":71,"author":19,"museum":48,"description":810,"tags":811,"thumbUrl":815,"material":61,"size":62,"collection":63,"collections":816,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":178},238618,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238618","这幅作品以全景视角铺陈战地营盘，环形寨墙环绕帐幕阵列，兵卒或列队校阅，或往来整备，鲜活复刻出戍营日常的肃整烟火。远景山峦延绵，关塞长城依山盘踞，晕染出边陲战地的雄浑苍莽。\n\n雕镌线条精细劲挺，明暗层次铺陈考究，以写实笔触定格征伐间隙的军旅图景，既彰显出军队的整肃威仪，也将边地山野的荒寒氛围感尽致勾勒，纪实性与古典版画的艺术表现力相融。",[426,282,7,812,813,814,57,29,198,696],"军旅","营盘","长城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88a94ddff3d36b23ad9c700268486439.jpg",[],{"id":818,"slug":819,"title":820,"dynasty":71,"author":19,"museum":48,"description":821,"tags":822,"thumbUrl":825,"material":63,"size":826,"collection":63,"collections":827,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":178},233113,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233113","平定西域战图页","《平定西域战图》又称《平定准噶尔回部得胜图》、《平定伊犁回部战图》等。册页装，一函。图版十六幅，法国铜板制印，图版下署画家、刻工姓名。本馆藏有两部，一部首为乾隆御制序，乾隆诗文墨题画上，末有大学士傅恒、尚书舒赫德、于敏中等跋；另一部前为御制序，每图后附御题诗文，后为傅恒等跋，清内府造办处木版刷印。\n清廷在入主中原后，康、雍、乾三朝屡屡用兵西北，以肃清厄鲁特蒙古噶尔部割据势力。乾隆二十年至二十六年间（公元1755-1761年），两次平定准噶尔部叛乱的战役，对于维护国家稳定起到重要作用。 为了纪念平叛的胜利，乾隆让宫廷中的西洋画家郎世宁创作了大型历史纪实组画《平定西域战图册》。并决定将它送往欧洲制作成铜版画。",[162,282,7,823,29,225,53,824,508],"平叛战争","营寨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d5286fb21e6972c1f1e3c5e38e0fad.jpg","87.3×50cm",[],{"id":829,"slug":830,"title":642,"dynasty":71,"author":19,"museum":73,"description":643,"tags":831,"thumbUrl":835,"material":201,"size":320,"collection":63,"collections":836,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":178},233089,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233089",[25,193,7,540,364,28,53,107,31,832,169,833,198,834],"瀑布","古代士兵","平定苗疆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3962307c878185a3f26b5b065592957.jpg",[],{"id":838,"slug":839,"title":642,"dynasty":71,"author":19,"museum":73,"description":643,"tags":840,"thumbUrl":841,"material":201,"size":320,"collection":63,"collections":842,"showCount":793,"zanCount":66,"manualWeight":11,"mainColor":178},233087,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233087",[25,282,7,364,28,27,29,53,706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8076863820818571f41bf227ea75af01.jpg",[],{"id":844,"slug":845,"title":537,"dynasty":71,"author":19,"museum":73,"description":538,"tags":846,"thumbUrl":849,"material":543,"size":544,"collection":63,"collections":850,"showCount":793,"zanCount":11,"manualWeight":11,"mainColor":178},233045,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233045",[25,193,28,29,54,57,847,169,7,848],"烟火","战斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ae94eb704e0df5ac7654085e2a7f7e.jpg",[],{"id":852,"slug":853,"title":854,"dynasty":89,"author":19,"museum":48,"description":855,"tags":856,"thumbUrl":862,"material":61,"size":62,"collection":63,"collections":863,"showCount":864,"zanCount":11,"manualWeight":11,"mainColor":42},288821,"perino-del-vaga-alexander-cutting-the-gordian-knot-study-for-a-fresco-yi-ming-288821","Perino del Vaga--Alexander Cutting the Gordian Knot, Study for a Fresco","这幅草稿以灵动精准的线条铺陈群像，粗细变化的炭笔线条勾勒出铠甲的冷硬肌理与肌肉的张力。右侧主将俯身执剑，发力的手臂肌肉块面硬朗利落，与左侧将士的凝神注视形成呼应。\n\n淡墨晕染出暗沉厚重的光影，烘托出古战场时刻的肃穆沉凝，围绕的士卒神态各异，或是屏息凝视，或是交头低语，将事件的戏剧性悄然拉满。作为湿壁画稿，寥寥几笔就把史诗时刻的张力凝聚在纸面，虽未施粉黛，却以极简的明暗层次，让古典英雄的果敢气概跃然纸上，尽显速写稿捕捉瞬间力量的独特魅力。",[800,213,7,437,857,858,184,859,860,861],"武士","盔甲","戈耳狄俄斯之结","神话事件","壁画草图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e4a067baa29ceb32d5d7ad17ddffd36.jpg",[],2,{"id":866,"slug":867,"title":868,"dynasty":89,"author":19,"museum":48,"description":869,"tags":870,"thumbUrl":873,"material":61,"size":62,"collection":63,"collections":874,"showCount":864,"zanCount":11,"manualWeight":11,"mainColor":875},288697,"workshop-of-taddeo-zuccaro-the-sea-battle-in-the-gulf-of-morbihan-yi-ming-288697","Workshop of Taddeo Zuccaro--The Sea Battle in the Gulf of 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Hand","粗粝灵动的炭笔线条，将这一瞬的戏剧张力牢牢锁在纸面。男子身躯紧绷，带着孤绝的果决将手探向烈焰，肌肉的起伏在迅疾的排线里喷薄出雄浑力量。身侧女子姿态后仰，肢体舒展里满是惊骇与痛惜，衣袂线条随同情绪一同震颤。右侧潦草勾勒的建筑框架，悄然锚定了这场古典悲剧的舞台。\n\n未经修饰的草稿笔触反而让情绪更具冲击力，没有繁复渲染，却将英雄的悍勇与旁观者的动容精准传递，潦草却精准的线条中，生命的烈度与古典精神的重量尽显无遗。",[213,800,437,980,7,981],"男性人物","古典题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e7824428b5c8c084a6c53fc2b5a26c.jpg",[],{"id":985,"slug":986,"title":987,"dynasty":89,"author":19,"museum":48,"description":988,"tags":989,"thumbUrl":995,"material":61,"size":62,"collection":63,"collections":996,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":42},289100,"jean-guillaume-moitte-manius-curius-dentatus-refusing-the-presents-yi-ming-289100","Jean Guillaume Moitte--Manius Curius Dentatus Refusing the Presents","画面以冷峻细腻的线条铺展古典叙事，明暗错落间，端坐的主角舒展身形，神色淡然推开身前献礼，自带不容置喙的威严。左侧仆从们躬身捧着珍奇宝器，神色恭敬又带着试探的忐忑。右侧女子伸手指点，满脸惊惶失态，反衬出主角不为利诱所动的坚定。\n\n殿堂烟气袅袅升腾，衬出肃穆沉静的氛围，衣褶勾勒厚重写实，精准传递出人物情绪张力。画作将清廉拒贿的古典风骨藏在庄重场景中，不动声色间诉说着这份超越物欲的高贵气节。",[7,213,800,948,990,991,992,993,994],"古典人物","室内场景","古典服饰","器物","仪式场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77165ecf5f269022033462cc7f4b559c.jpg",[],{"id":998,"slug":999,"title":1000,"dynasty":89,"author":19,"museum":48,"description":1001,"tags":1002,"thumbUrl":1004,"material":61,"size":62,"collection":63,"collections":1005,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":178},289015,"maerten-de-vos-captain-de-bours-handing-over-the-keys-yi-ming-289015","Maerten de Vos--Captain de Bours handing over the Keys","圆形构图将视线尽数收拢于核心的钥匙交接场景。中心将领躬身递出钥匙，甲胄在身的受方神态沉稳从容，无言间完成城池主权的交割。周遭林立的甲士长枪列阵，粗粝的笔触勾勒出铠甲棱角与紧绷的姿态，将受降时刻的肃穆氛围拉满。\n\n简练却精准的线条刻画出人物的神情姿态，远景错落的城池排布齐整的兵士让画面更添纪实厚重感。将冷兵器时代城池易主的庄重与沉静缓缓铺陈，仿佛能让人听见甲叶轻响、呼吸凝滞，复刻出古战场落幕的肃穆瞬间，以质朴叙事感将权力更迭的郑重定格在纸面。",[800,437,213,7,374,225,725,1003,168,708],"交钥匙仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676c79bed473acc0ec52c7416b004f81.jpg",[],{"id":1007,"slug":1008,"title":1009,"dynasty":89,"author":19,"museum":48,"description":1010,"tags":1011,"thumbUrl":1016,"material":61,"size":62,"collection":63,"collections":1017,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":178},288902,"giovanni-battista-tiepolo-illustration-for-a-book-coronation-of-an-emperor-yi-ming-288902","Giovanni Battista Tiepolo--Illustration for a Book Coronation of an Emperor","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[800,7,1012,213,1013,1014,168,1015],"宗教主题","加冕仪式","神职人员","城镇街景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F236e08d1341b62aeabecc58b4c655086.jpg",[],{"id":1019,"slug":1020,"title":1021,"dynasty":89,"author":19,"museum":48,"description":1010,"tags":1022,"thumbUrl":1024,"material":61,"size":62,"collection":63,"collections":1025,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":178},288899,"giovanni-battista-tiepolo-illustration-for-a-book-general-carried-in-triumph-yi-ming-288899","Giovanni Battista Tiepolo--Illustration for a Book General Carried in 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Crusader",[800,213,94,7,1040,1041,1042],"十字军","授旗","旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e946b0873c8737ff18301cf165e9ffc.jpg",[],{"id":1046,"slug":1047,"title":1048,"dynasty":89,"author":19,"museum":48,"description":1010,"tags":1049,"thumbUrl":1054,"material":61,"size":62,"collection":63,"collections":1055,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":178},288885,"giovanni-battista-tiepolo-illustration-for-a-book-siege-of-a-city-yi-ming-288885","Giovanni Battista Tiepolo--Illustration for a Book Siege of a 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