[{"data":1,"prerenderedAt":13071},["ShallowReactive",2],{"subject-ma":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},40,"ma","马","马画高清赏析","精选中国历代马题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a6cc64dd74e38509e7592873aa0c71.jpg",4,1530,[14,60,79,102,121,141,157,172,187,202,215,229,241,257,271,286,297,310,322,331,348,359,369,381,394,407,415,428,438,450,461,471,481,491,502,513,528,542,558,568,581,590,599,612,623,635,646,658,668,687,699,713,727,740,753,764,774,783,793,803,812,822,831,840,849,858,868,883,895,910,920,930,942,952,961,972,981,995,1003,1012,1024,1035,1049,1060,1073,1082,1091,1104,1114,1124,1136,1147,1156,1167,1189,1201,1211,1222,1232,1244,1253,1263,1276,1286,1295,1304,1315,1325,1335,1345,1353,1362,1373,1386,1397,1406,1419,1430,1439,1450,1460,1470,1482,1491,1505,1514,1524,1534,1544,1555,1565,1577,1591,1602,1613,1622,1633,1644,1652,1662,1672,1681,1697,1705,1715,1726,1735,1747,1756,1771,1780,1789,1802,1813,1820,1835,1844,1854,1864,1874,1882,1892,1902,1913,1922,1931,1942,1952,1961,1970,1979,1988,1997,2005,2014,2024,2034,2043,2052,2060,2070,2079,2087,2097,2106,2115,2124,2133,2144,2154,2163,2172,2182,2191,2201,2211,2221,2232,2241,2250,2261,2271,2281,2291,2300,2311,2320,2329,2338,2349,2360,2369,2378,2386,2395,2405,2416,2426,2437,2448,2458,2467,2476,2488,2496,2506,2516,2523,2533,2543,2551,2565,2574,2583,2599,2609,2618,2626,2636,2643,2654,2666,2674,2685,2694,2703,2713,2724,2732,2743,2752,2761,2771,2780,2787,2794,2804,2820,2828,2836,2844,2852,2860,2871,2879,2888,2898,2907,2915,2923,2938,2948,2958,2967,2980,2990,3001,3012,3022,3031,3040,3049,3059,3069,3077,3085,3093,3100,3110,3120,3130,3141,3150,3157,3166,3175,3187,3197,3206,3216,3225,3234,3244,3256,3264,3273,3281,3290,3299,3308,3318,3326,3334,3343,3354,3363,3372,3380,3389,3398,3409,3416,3426,3434,3446,3453,3460,3468,3476,3485,3493,3501,3510,3518,3527,3537,3546,3555,3562,3571,3578,3587,3597,3608,3617,3628,3637,3651,3660,3672,3681,3689,3701,3709,3716,3725,3734,3743,3750,3759,3769,3777,3784,3791,3801,3815,3825,3836,3845,3855,3863,3872,3880,3888,3900,3909,3918,3929,3938,3947,3956,3967,3976,3985,3995,4003,4012,4021,4029,4036,4044,4050,4060,4068,4077,4092,4103,4115,4125,4134,4143,4152,4162,4169,4178,4187,4195,4204,4211,4220,4230,4239,4249,4255,4264,4271,4282,4289,4298,4306,4315,4324,4332,4339,4350,4360,4368,4377,4385,4393,4400,4415,4423,4432,4440,4449,4459,4470,4479,4485,4497,4509,4519,4530,4539,4548,4556,4564,4572,4584,4592,4601,4610,4623,4634,4643,4652,4662,4674,4683,4692,4703,4711,4719,4727,4734,4740,4747,4758,4769,4779,4788,4797,4806,4814,4826,4837,4846,4855,4864,4872,4880,4887,4895,4904,4914,4924,4931,4940,4955,4967,4975,4987,4996,5006,5015,5026,5036,5045,5056,5065,5075,5084,5093,5100,5111,5119,5127,5137,5144,5152,5160,5168,5177,5187,5195,5203,5211,5218,5226,5233,5240,5247,5256,5266,5275,5284,5292,5299,5306,5316,5324,5333,5340,5349,5355,5363,5371,5381,5388,5402,5411,5419,5429,5438,5447,5455,5462,5471,5481,5492,5500,5511,5518,5533,5542,5551,5558,5565,5575,5586,5595,5604,5611,5619,5628,5637,5646,5655,5664,5672,5681,5688,5696,5705,5713,5720,5728,5736,5746,5756,5766,5776,5786,5794,5801,5808,5815,5823,5836,5846,5855,5862,5871,5879,5888,5898,5907,5919,5927,5935,5944,5954,5965,5974,5982,5992,6001,6010,6018,6026,6033,6043,6051,6059,6068,6076,6085,6094,6102,6110,6118,6128,6137,6147,6156,6166,6173,6183,6192,6204,6215,6223,6233,6241,6250,6260,6267,6279,6287,6295,6303,6312,6321,6329,6337,6344,6351,6358,6366,6373,6380,6389,6401,6409,6416,6425,6435,6444,6451,6458,6468,6483,6496,6503,6510,6517,6526,6534,6540,6546,6552,6564,6571,6579,6587,6595,6604,6615,6622,6633,6640,6647,6654,6665,6672,6681,6690,6698,6707,6714,6723,6735,6744,6753,6760,6768,6776,6784,6793,6800,6807,6816,6825,6833,6841,6848,6856,6863,6870,6879,6886,6893,6903,6911,6918,6927,6937,6947,6957,6966,6976,6985,6994,7003,7010,7020,7028,7036,7046,7055,7065,7075,7082,7092,7101,7108,7116,7122,7128,7135,7141,7147,7153,7167,7178,7188,7197,7207,7215,7222,7230,7239,7247,7256,7267,7276,7285,7293,7303,7311,7321,7330,7339,7345,7352,7360,7368,7384,7394,7401,7408,7415,7422,7430,7437,7445,7455,7461,7467,7473,7481,7487,7494,7503,7513,7530,7538,7546,7554,7562,7579,7586,7593,7602,7611,7619,7628,7636,7643,7651,7660,7670,7679,7688,7698,7711,7719,7728,7736,7746,7755,7764,7773,7780,7788,7797,7804,7814,7823,7831,7838,7844,7852,7859,7865,7872,7880,7887,7895,7902,7909,7918,7926,7933,7940,7952,7962,7969,7976,7983,7990,7997,8004,8013,8021,8030,8036,8045,8053,8061,8068,8074,8080,8087,8096,8103,8113,8127,8135,8143,8155,8165,8177,8187,8195,8204,8213,8222,8229,8237,8245,8252,8259,8266,8273,8282,8290,8299,8307,8315,8323,8331,8342,8352,8362,8373,8382,8391,8405,8412,8425,8436,8446,8456,8465,8476,8485,8494,8503,8510,8519,8526,8534,8542,8553,8561,8569,8577,8585,8594,8603,8611,8620,8629,8637,8645,8654,8663,8671,8680,8688,8696,8704,8712,8722,8730,8740,8748,8758,8766,8773,8784,8793,8801,8810,8820,8828,8836,8843,8851,8858,8868,8875,8882,8890,8897,8903,8912,8918,8927,8935,8943,8949,8955,8961,8968,8974,8980,8986,8992,8999,9005,9011,9017,9023,9029,9035,9041,9047,9053,9061,9067,9073,9079,9085,9091,9098,9104,9110,9120,9127,9134,9140,9148,9157,9166,9174,9183,9190,9197,9203,9210,9217,9226,9233,9240,9247,9254,9265,9272,9279,9286,9292,9301,9307,9313,9325,9333,9341,9351,9358,9367,9373,9381,9390,9396,9402,9408,9418,9428,9438,9446,9454,9462,9469,9476,9483,9491,9499,9506,9514,9521,9528,9537,9544,9551,9561,9568,9577,9586,9594,9602,9615,9624,9632,9639,9656,9663,9673,9680,9687,9694,9701,9708,9715,9723,9736,9743,9750,9757,9765,9773,9781,9789,9796,9806,9814,9824,9833,9843,9852,9864,9872,9880,9891,9898,9905,9912,9919,9926,9932,9939,9945,9952,9959,9966,9972,9979,9986,9994,10002,10010,10017,10025,10033,10040,10049,10058,10068,10076,10085,10093,10102,10112,10122,10131,10140,10147,10154,10163,10170,10177,10185,10191,10199,10207,10214,10224,10231,10238,10246,10254,10262,10272,10279,10286,10294,10301,10311,10319,10329,10336,10342,10350,10358,10364,10373,10381,10388,10396,10402,10410,10416,10423,10429,10435,10441,10447,10453,10459,10465,10471,10477,10483,10489,10496,10503,10509,10515,10521,10527,10533,10539,10545,10551,10557,10563,10569,10575,10581,10587,10594,10602,10610,10617,10624,10632,10641,10647,10654,10662,10668,10676,10683,10689,10695,10701,10708,10714,10720,10726,10732,10738,10744,10750,10756,10762,10768,10774,10780,10786,10792,10798,10804,10810,10816,10824,10832,10838,10845,10853,10859,10867,10875,10882,10888,10895,10901,10907,10914,10920,10926,10932,10938,10944,10951,10958,10965,10971,10978,10984,10991,10997,11005,11011,11017,11025,11031,11037,11043,11050,11056,11066,11072,11078,11084,11090,11096,11102,11110,11116,11122,11128,11135,11143,11149,11155,11161,11167,11173,11179,11185,11191,11197,11203,11209,11215,11221,11227,11233,11239,11245,11251,11257,11263,11270,11276,11283,11290,11296,11302,11308,11314,11320,11327,11334,11342,11348,11354,11360,11366,11372,11378,11384,11390,11396,11402,11409,11417,11425,11431,11437,11443,11449,11455,11461,11467,11473,11479,11486,11493,11499,11506,11512,11518,11525,11531,11539,11546,11552,11558,11564,11570,11576,11582,11588,11594,11600,11606,11613,11619,11626,11632,11638,11644,11650,11656,11662,11669,11675,11684,11692,11699,11707,11713,11721,11727,11734,11740,11746,11753,11759,11765,11771,11777,11783,11789,11795,11801,11807,11813,11819,11825,11831,11839,11845,11852,11859,11867,11873,11879,11885,11892,11899,11908,11916,11923,11929,11936,11943,11954,11963,11971,11979,11987,11993,12001,12009,12016,12023,12030,12037,12044,12050,12058,12065,12072,12079,12086,12093,12100,12107,12114,12121,12129,12136,12143,12150,12157,12164,12171,12178,12185,12192,12199,12206,12213,12220,12232,12239,12246,12256,12263,12271,12279,12285,12291,12297,12303,12309,12315,12321,12327,12336,12344,12351,12358,12365,12372,12379,12387,12394,12401,12408,12417,12424,12431,12438,12445,12452,12460,12467,12474,12481,12488,12495,12502,12509,12516,12523,12531,12540,12548,12556,12563,12570,12577,12585,12592,12599,12606,12613,12620,12628,12635,12642,12650,12657,12664,12671,12678,12685,12692,12699,12706,12713,12720,12727,12734,12741,12748,12755,12762,12769,12777,12784,12791,12798,12806,12814,12822,12830,12838,12846,12854,12862,12870,12878,12886,12894,12903,12911,12919,12927,12935,12943,12951,12959,12967,12975,12983,12991,12999,13007,13022,13032,13042,13052,13061],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":50,"material":51,"size":52,"collection":53,"collections":54,"showCount":56,"zanCount":57,"manualWeight":58,"mainColor":59},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","清明上河图","宋","张择端","北京故宫博物院","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36,37,38,39,40,41,42,43,44,45,46,47,48,49],"高清","国画","书画","长卷","界画","工笔","设色","人物","楼阁","小桥","流水","船","牛","树木","街市","店铺","桥梁","城墙","车","河流","码头","货船","行人","商贩","房屋","道路","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[53,55],"水墨画精选",8462,106,0,"795548",{"id":61,"slug":62,"title":63,"dynasty":18,"author":64,"museum":65,"description":66,"tags":67,"thumbUrl":71,"material":72,"size":73,"collection":53,"collections":74,"showCount":77,"zanCount":78,"manualWeight":58,"mainColor":59},221371,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-juan-zhao-ji-221371","摹张萱虢国夫人游春图卷","赵佶","辽宁省博物馆","赵佶摹张萱《虢国夫人游春图》，中国北宋徽宗赵佶摹唐代仕女画画家张萱《虢国夫人游春图》。《虢国夫人游春图》是唐代中期仕女画的代表作品。此卷前隔水有金章宗(完颜璟)瘦金书“天水摹张萱虢国夫人游春图”题签。天水为赵姓的郡望，此处系指赵佶。卷后有明末清初书画家王铎题跋。此卷曾入金内府，“明昌”诸印玺俱全，又有宋时的官、私印记“台州市房务抵当库记”、“绍勋”及“封”字印等，还有明末王长垣、清初梁清标鉴藏印。",[23,68,24,25,26,69,29,28,30,7,70],"名画","临摹","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a50b9e37f23291bf8e102561059d66.jpg","绢本设色","纵51.8、横148厘米",[53,75,76],"人物画精选","设色画精选",2369,28,{"id":80,"slug":81,"title":82,"dynasty":18,"author":83,"museum":84,"description":85,"tags":86,"thumbUrl":95,"material":96,"size":97,"collection":98,"collections":99,"showCount":100,"zanCount":101,"manualWeight":58,"mainColor":59},287579,"xi-shan-xing-lv-tu-fan-kuan-287579","溪山行旅图","范宽","台北故宫博物院","该图主体部分为巍峨高耸的山体，高山仰止，壮气夺人。山顶丛林茂盛，山谷深处一瀑如线，飞流百丈。山峰下巨岩突兀，林木挺直。画面前景溪水奔流，山径上一队运载货物的商旅缘溪行进，为幽静的山林增添了生气。",[68,24,25,87,88,89,90,91,33,92,93,94,7],"立轴","水墨","皴法","山水","山石","瀑布","古树","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414e846606ac903e66fdd1eda93147a0.jpg","未知","纵长206.3公分，横宽103.3公分","",[],1669,13,{"id":103,"slug":104,"title":105,"dynasty":106,"author":107,"museum":84,"description":108,"tags":109,"thumbUrl":115,"material":72,"size":116,"collection":117,"collections":118,"showCount":119,"zanCount":120,"manualWeight":58,"mainColor":59},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","清","郎世宁","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,28,29,26,110,7,36,42,111,30,112,90,113,114],"中西合璧","草地","帐篷","坡地","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","纵102厘米，横813厘米","花鸟画精选",[117,76],1291,7,{"id":122,"slug":123,"title":124,"dynasty":125,"author":126,"museum":84,"description":127,"tags":128,"thumbUrl":134,"material":135,"size":136,"collection":137,"collections":138,"showCount":139,"zanCount":140,"manualWeight":58,"mainColor":59},221175,"ba-da-you-chun-tu-zhao-nie-221175","八达游春图","五代十国","赵喦","《八达游春图》是五代·后梁画家赵喦创作的国画，此画绘有八骑人马欢呼游玩的景象，用色考究，笔墨精到，人物神态栩栩如生，可谓作者画作之精品。",[23,24,28,29,125,30,7,36,129,130,111,131,132,133],"柳树","孤石","围栏","鞍马","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d033fc39e58455d7dde55b9f5c0f61.jpg","绢本","纵161厘米，横103厘米","山水画精选",[137,75,76],904,5,{"id":142,"slug":143,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":144,"thumbUrl":152,"material":72,"size":153,"collection":53,"collections":154,"showCount":155,"zanCount":156,"manualWeight":58,"mainColor":59},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,26,27,29,145,28,30,31,32,33,146,37,147,36,148,35,7,149,150,48,151,46,45],"风俗画","船只","商铺","车马","建筑","市井","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[53,75,76],858,6,{"id":158,"slug":159,"title":160,"dynasty":106,"author":107,"museum":20,"description":161,"tags":162,"thumbUrl":165,"material":166,"size":167,"collection":75,"collections":168,"showCount":169,"zanCount":170,"manualWeight":58,"mainColor":171},222723,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[23,87,28,29,30,7,90,163,164],"衣帽","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","绢本，设色","纵332.5厘米，横232厘米",[75],548,1,"BDBDBD",{"id":173,"slug":174,"title":175,"dynasty":176,"author":177,"museum":178,"description":179,"tags":180,"thumbUrl":181,"material":182,"size":183,"collection":117,"collections":184,"showCount":185,"zanCount":186,"manualWeight":58,"mainColor":171},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","元","任仁发","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[23,24,25,26,28,29,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","纸本,设色","35x368cm",[117],497,10,{"id":188,"slug":189,"title":190,"dynasty":191,"author":192,"museum":84,"description":193,"tags":194,"thumbUrl":197,"material":198,"size":199,"collection":75,"collections":200,"showCount":201,"zanCount":156,"manualWeight":58,"mainColor":59},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[24,25,87,29,90,195,196,32,7,30,91,36],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","绢本,设色","118x60.8",[75,76],493,{"id":203,"slug":204,"title":205,"dynasty":176,"author":206,"museum":207,"description":208,"tags":209,"thumbUrl":211,"material":182,"size":212,"collection":75,"collections":213,"showCount":214,"zanCount":120,"manualWeight":58,"mainColor":171},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","钱选","美国弗利尔美术馆","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[23,24,25,26,28,29,30,210,7,70],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[75,76],448,{"id":216,"slug":217,"title":218,"dynasty":18,"author":219,"museum":20,"description":220,"tags":221,"thumbUrl":225,"material":198,"size":226,"collection":53,"collections":227,"showCount":228,"zanCount":11,"manualWeight":58,"mainColor":59},214887,"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[23,24,25,26,28,29,69,7,222,30,223,224,70],"兽","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[53],441,{"id":230,"slug":231,"title":232,"dynasty":18,"author":233,"museum":234,"description":235,"tags":236,"thumbUrl":238,"material":98,"size":98,"collection":98,"collections":239,"showCount":240,"zanCount":120,"manualWeight":58,"mainColor":171},227579,"wu-ma-tu-dong-jing-cai-ben-li-gong-lin-227579","五马图（东京彩本）","李公麟","藏地不详","年初，日本东京国立博物馆举办的“颜真卿：超越王羲之的名笔”特展中，一度被认为毁于二战战火的北宋名画——李公麟所作《五马图》赫然在列，轰动艺术界。\n\n《五马图卷》是李公麟最重要的传世名迹，简约而生动，是宋画高再现性与高表现性的完美结合；上有黄庭坚题跋，曾收藏于南宋内府与乾隆手中，对宋画欣赏与研究极具价值，近一个世纪以来，流传过程也甚为坎坷。",[23,68,24,25,26,237,29,30,7,223,70],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311a3828303adc5d60f6643579ac2af.jpg",[],427,{"id":242,"slug":243,"title":244,"dynasty":176,"author":245,"museum":20,"description":246,"tags":247,"thumbUrl":251,"material":252,"size":253,"collection":137,"collections":254,"showCount":255,"zanCount":256,"manualWeight":58,"mainColor":171},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","王蒙","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,68,24,25,87,29,89,90,30,7,35,32,33,248,249,250,47,70],"松树","岩石","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纸本，设色","纵139厘米，横58厘米",[137,76],385,2,{"id":258,"slug":259,"title":260,"dynasty":261,"author":262,"museum":263,"description":264,"tags":265,"thumbUrl":268,"material":198,"size":98,"collection":75,"collections":269,"showCount":270,"zanCount":156,"manualWeight":58,"mainColor":59},219568,"yan-le-tu-chou-ying-219568","宴乐图","明","仇英","大英博物馆","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,25,26,28,29,27,30,31,36,91,7,266,151,267,163],"亭","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[75,76],384,{"id":272,"slug":273,"title":274,"dynasty":261,"author":262,"museum":234,"description":275,"tags":276,"thumbUrl":282,"material":96,"size":283,"collection":98,"collections":284,"showCount":285,"zanCount":170,"manualWeight":58,"mainColor":59},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（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”。",[23,24,26,69,28,277,29,90,30,7,94,32,278,279,280,281],"青绿","山峦","历史画","侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg","Xcm*Xcm",[],380,{"id":287,"slug":288,"title":289,"dynasty":18,"author":19,"museum":234,"description":290,"tags":291,"thumbUrl":293,"material":98,"size":98,"collection":98,"collections":294,"showCount":295,"zanCount":296,"manualWeight":58,"mainColor":59},227585,"qing-ming-shang-he-tu-quan-juan-te-zhan-zhang-ze-duan-227585","清明上河图全卷(特展)","丝织长卷《清明上河图》，创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。\n创下多项“吉尼斯”世界纪录的世界第一丝织长卷《清明上河图》，采用当今世界最先进的工艺技术特制而成，全图由2。\n88亿经纬组织点构成，以真丝纤维织就，气势宏大，制作精良。\n此卷长约1.28米，宽约25厘米，与宋代名画家张择端《清明上河图》原作的比例为1：1，现已被 等多家国家博物馆展藏，创造了多项“吉尼斯”世界纪录，具有独特的艺术魅力和收藏价值。",[23,24,25,26,27,28,237,30,31,32,33,34,7,35,36,37,147,41,292,42,47,43,45],"轿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5edb1b2ed4d4bbbdb910d8c0180382a.jpg",[],368,3,{"id":298,"slug":299,"title":300,"dynasty":301,"author":302,"museum":84,"description":303,"tags":304,"thumbUrl":305,"material":306,"size":307,"collection":75,"collections":308,"showCount":309,"zanCount":156,"manualWeight":58,"mainColor":59},221075,"mu-ma-tu-han-gan-221075","牧马图","唐","韩干","描画了一位虬须戴巾、腰插马鞭的奚官准备出外放牧的情景。主题明瞭，情节简单，图中黑白双马，奚官虬髻戴头巾，手执缰缓行。此图线条纤细遒劲，勾出马的健壮体形，黑马身配朱地花纹锦鞍，更示出其神彩；人物衣纹疏密有致，结构严谨，用笔沉着，神采生动。",[23,24,68,25,28,29,30,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8144ec5912ae9e8da1db7870cd9b68a.jpg","绢","纵27.5cm，横34.1cm",[75,55],362,{"id":311,"slug":312,"title":313,"dynasty":314,"author":315,"museum":316,"description":317,"tags":318,"thumbUrl":319,"material":320,"size":98,"collection":98,"collections":321,"showCount":309,"zanCount":170,"manualWeight":58,"mainColor":171},220527,"li-ma-li-zhou-xu-bei-hong-220527","立马 (立轴)","民国","徐悲鸿","中央美术学院美术馆","此作以水墨写意勾勒骏马，笔力雄健遒劲。浓墨重绘鬃尾，似随风张扬，将骏马桀骜意气尽数铺展；淡墨晕染躯干，干湿浓淡间晕出皮毛的柔润光泽，筋骨起伏暗藏于晕染之中，肌肉的张力呼之欲出。\n骏马昂首伫立，双耳尖竖，目光远眺，静立间自带着即将驰骋的勃发之势，把骐骥的雄骏英武神态刻画得入木三分。画家以形写神，将胸中激荡的意气托于骏马，寥寥数笔便将写实造型与水墨意趣相融，尽显写意之精妙。",[23,24,25,87,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292911d57410c905d2fb580f3804218d.jpg","纸本水墨",[],{"id":323,"slug":324,"title":325,"dynasty":18,"author":64,"museum":234,"description":326,"tags":327,"thumbUrl":328,"material":96,"size":283,"collection":98,"collections":329,"showCount":330,"zanCount":256,"manualWeight":58,"mainColor":59},289007,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-zhao-ji-289007","摹张萱虢国夫人游春图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,68,24,26,29,30,7,210,28,69,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":332,"slug":333,"title":334,"dynasty":18,"author":335,"museum":336,"description":337,"tags":338,"thumbUrl":343,"material":344,"size":345,"collection":53,"collections":346,"showCount":347,"zanCount":296,"manualWeight":58,"mainColor":59},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","马远","美国纳尔逊阿特金斯艺术博物馆","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,25,88,29,26,89,90,30,339,340,7,33,341,249,36,342],"孤舟","竹","河岸","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","纸本","29.5×302.3厘米",[53,137,76],334,{"id":349,"slug":350,"title":351,"dynasty":261,"author":262,"museum":207,"description":352,"tags":353,"thumbUrl":355,"material":198,"size":356,"collection":98,"collections":357,"showCount":358,"zanCount":58,"manualWeight":58,"mainColor":59},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2","清人绘，款仇英",[24,25,354,28,29,30,7,32,33,90,36,91],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg","18.5*38",[],331,{"id":360,"slug":361,"title":362,"dynasty":106,"author":363,"museum":84,"description":364,"tags":365,"thumbUrl":366,"material":198,"size":98,"collection":76,"collections":367,"showCount":368,"zanCount":120,"manualWeight":58,"mainColor":171},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,68,24,25,26,28,29,69,30,31,32,33,36,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[76],329,{"id":370,"slug":371,"title":372,"dynasty":106,"author":373,"museum":263,"description":374,"tags":375,"thumbUrl":377,"material":198,"size":378,"collection":75,"collections":379,"showCount":380,"zanCount":58,"manualWeight":58,"mainColor":171},218338,"shen-xian-gu-shi-tu-ce-leng-mei-218338","神仙故事图册","冷枚","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,28,29,354,30,376,91,7],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3701c85d791f88982b1c29414dcbb054.jpg","38x42",[75],314,{"id":382,"slug":383,"title":384,"dynasty":176,"author":245,"museum":385,"description":386,"tags":387,"thumbUrl":390,"material":391,"size":98,"collection":98,"collections":392,"showCount":393,"zanCount":170,"manualWeight":58,"mainColor":171},214575,"shan-shui-ce-4-wang-meng-214575","山水册-4","私人收藏","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,88,89,354,90,388,389,130,7,70],"老树","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5504fc38b09d31f62673a31f0f0e94.jpg","纸本,水墨",[],268,{"id":395,"slug":396,"title":397,"dynasty":18,"author":398,"museum":207,"description":399,"tags":400,"thumbUrl":402,"material":391,"size":403,"collection":75,"collections":404,"showCount":406,"zanCount":11,"manualWeight":58,"mainColor":171},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[23,68,24,25,26,237,88,30,47,36,90,7,70,401],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 x 436.2",[75,405],"书法精选",267,{"id":408,"slug":409,"title":410,"dynasty":18,"author":233,"museum":234,"description":235,"tags":411,"thumbUrl":412,"material":98,"size":98,"collection":98,"collections":413,"showCount":414,"zanCount":296,"manualWeight":58,"mainColor":171},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,24,68,25,26,237,29,30,7,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":416,"slug":417,"title":418,"dynasty":106,"author":107,"museum":20,"description":419,"tags":420,"thumbUrl":424,"material":198,"size":425,"collection":75,"collections":426,"showCount":427,"zanCount":11,"manualWeight":58,"mainColor":59},215038,"ma-shu-tu-lang-shi-ning-215038","马术图","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。",[23,68,24,29,30,7,421,267,279,422,423],"马术","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[75],254,{"id":429,"slug":430,"title":431,"dynasty":314,"author":315,"museum":432,"description":433,"tags":434,"thumbUrl":435,"material":98,"size":98,"collection":98,"collections":436,"showCount":437,"zanCount":58,"manualWeight":58,"mainColor":171},220545,"xu-bei-hong-hua-ma-tu-zhou-xu-bei-hong-220545","徐悲鸿画马图轴","四川博物院","以淋漓水墨写就奔马，浓淡晕染间，骏马肌肉的起伏张力尽显。昂首扬鬃，四蹄腾跃似踏风而来，马尾与颈鬃以狂放飞白扫出，裹挟着呼啸劲风，将奔马桀骜不羁的野性全然挥洒而出。\n\n舍弃繁复布景，将视线尽数锁于奔马之上，寥寥数笔便让马儿挣脱纸面桎梏，静帧画作仿若能闻蹄声惊雷，把中式写意传神的特质推至极致，尽显生命蓬勃昂扬的野性力量。",[23,68,24,25,87,88,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f81de666dcbcb1927f785be1e3e6f3.jpg",[],242,{"id":439,"slug":440,"title":441,"dynasty":176,"author":442,"museum":20,"description":443,"tags":444,"thumbUrl":445,"material":446,"size":447,"collection":75,"collections":448,"showCount":449,"zanCount":140,"manualWeight":58,"mainColor":171},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","赵孟頫","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[23,24,25,26,29,28,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 手卷","纵30厘米，横52厘米",[75,76],227,{"id":451,"slug":452,"title":453,"dynasty":18,"author":454,"museum":234,"description":455,"tags":456,"thumbUrl":457,"material":198,"size":458,"collection":53,"collections":459,"showCount":460,"zanCount":256,"manualWeight":58,"mainColor":59},218615,"ming-huang-xing-shu-tu-yi-ming-218615","明皇幸蜀图","佚名","层峦叠嶂间，松枝虬劲，草木葱茏。人马穿行于山道，或扬鞭疾驰，或缓辔徐行，或俯身为马整鞍，神态各异，细节毕现。山石以劲挺线条勾勒，皴染结合，质感厚重；林木疏密有致，生机盎然。整幅画将旅途的奔波与蜀地山水的雄奇融为一体，既有宋代山水画的精工细致，又蕴含着历史事件的沉郁感。于方寸纨扇间，展现出宏大叙事与悠远意境，笔墨古朴，意韵绵长，尽显古典绘画的精妙与深厚底蕴。",[23,24,68,25,29,89,90,30,7,376,91,70,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac70443078c834c82bd324884285ea.jpg","30.5x30.5",[53],222,{"id":462,"slug":463,"title":464,"dynasty":176,"author":442,"museum":20,"description":465,"tags":466,"thumbUrl":467,"material":166,"size":468,"collection":75,"collections":469,"showCount":470,"zanCount":156,"manualWeight":58,"mainColor":59},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,68,24,25,26,28,29,7,35,30,36,33,70,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[75,76],220,{"id":472,"slug":473,"title":474,"dynasty":176,"author":442,"museum":20,"description":475,"tags":476,"thumbUrl":477,"material":166,"size":478,"collection":117,"collections":479,"showCount":480,"zanCount":256,"manualWeight":58,"mainColor":59},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,25,26,29,28,224,223,7,30,376,423,111,33,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[117,76],206,{"id":482,"slug":483,"title":484,"dynasty":106,"author":107,"museum":20,"description":485,"tags":486,"thumbUrl":487,"material":198,"size":488,"collection":117,"collections":489,"showCount":490,"zanCount":256,"manualWeight":58,"mainColor":171},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[23,68,24,25,28,29,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[117],203,{"id":492,"slug":493,"title":494,"dynasty":261,"author":495,"museum":207,"description":496,"tags":497,"thumbUrl":499,"material":29,"size":98,"collection":76,"collections":500,"showCount":501,"zanCount":296,"manualWeight":58,"mainColor":59},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","唐寅","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,24,25,29,89,90,30,7,32,33,91,36,498,31],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[76],199,{"id":503,"slug":504,"title":505,"dynasty":176,"author":442,"museum":20,"description":506,"tags":507,"thumbUrl":508,"material":135,"size":509,"collection":75,"collections":510,"showCount":511,"zanCount":11,"manualWeight":58,"mainColor":512},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[23,24,25,26,29,28,7,30,376,33,35,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[75,76],198,"37474F",{"id":514,"slug":515,"title":516,"dynasty":18,"author":517,"museum":518,"description":519,"tags":520,"thumbUrl":524,"material":72,"size":525,"collection":53,"collections":526,"showCount":527,"zanCount":58,"manualWeight":58,"mainColor":59},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","上海博物馆","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,24,25,521,88,29,89,90,389,388,522,7,30,94,130,114,523],"册页","马车","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[53,137,55],193,{"id":529,"slug":530,"title":531,"dynasty":18,"author":454,"museum":20,"description":532,"tags":533,"thumbUrl":537,"material":538,"size":539,"collection":53,"collections":540,"showCount":541,"zanCount":170,"manualWeight":58,"mainColor":59},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,26,28,29,237,30,210,90,534,535,267,36,91,31,7,536],"舟船","龙","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[53,75,76],192,{"id":543,"slug":544,"title":545,"dynasty":261,"author":546,"museum":263,"description":547,"tags":548,"thumbUrl":555,"material":198,"size":556,"collection":75,"collections":557,"showCount":541,"zanCount":140,"manualWeight":58,"mainColor":59},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,68,24,25,87,27,29,28,549,31,550,30,7,551,149,552,553,554,280,36,39,40],"宫城","宫殿","驴","城池","仪仗","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[75,76],{"id":559,"slug":560,"title":561,"dynasty":176,"author":562,"museum":385,"description":563,"tags":564,"thumbUrl":565,"material":182,"size":566,"collection":117,"collections":567,"showCount":541,"zanCount":256,"manualWeight":58,"mainColor":59},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,25,26,28,29,7,376,130,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[117],{"id":569,"slug":570,"title":571,"dynasty":18,"author":572,"museum":573,"description":574,"tags":575,"thumbUrl":576,"material":577,"size":578,"collection":53,"collections":579,"showCount":580,"zanCount":256,"manualWeight":58,"mainColor":59},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","李唐","美国大都会艺术博物馆","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[23,24,25,26,29,28,70,30,7,388,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[53,75,76],190,{"id":582,"slug":583,"title":584,"dynasty":176,"author":442,"museum":263,"description":585,"tags":586,"thumbUrl":587,"material":198,"size":588,"collection":75,"collections":589,"showCount":580,"zanCount":11,"manualWeight":58,"mainColor":59},218424,"xi-ma-tu-zhao-meng-fu-218424","洗马图","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[23,24,25,26,29,30,7,28,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[75],{"id":591,"slug":592,"title":593,"dynasty":18,"author":19,"museum":20,"description":21,"tags":594,"thumbUrl":596,"material":51,"size":52,"collection":98,"collections":597,"showCount":598,"zanCount":58,"manualWeight":58,"mainColor":59},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷",[23,68,24,25,26,28,27,29,30,31,32,33,34,7,35,376,37,147,47,42,39,595,45,148,149,40],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg",[],181,{"id":600,"slug":601,"title":602,"dynasty":603,"author":604,"museum":84,"description":605,"tags":606,"thumbUrl":609,"material":182,"size":610,"collection":75,"collections":611,"showCount":598,"zanCount":170,"manualWeight":58,"mainColor":171},220447,"san-gu-cao-lu-tu-dong-zhan-220447","三顾草庐图","隋","董展","本幅绘汉末刘备三顾草庐、邀诸葛孔明出山之故实。画中长松修竹掩翳茅屋，孔明羽扇纶巾、依榻凝思，童仆正应门而出。篱外刘备、关羽、张飞三骑及从者行近，山岭后并见旌旗戈戟微露，人马仍众。画笔轻健秀润，惟上半山岭系后人补笔。幅上无款，依元萨都剌至正甲午之题，定为隋董展所作。然萨都剌之题字与其年款及跋语内容均不合，应为后人作品所伪托。",[23,24,25,29,90,30,7,36,91,149,607,608],"小径","人物活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935336d0a9d6d7dd611cbe1a446059.jpg","全幅 43.8x29.5公分，诗塘 17.8x29.5公分",[75],{"id":613,"slug":614,"title":615,"dynasty":176,"author":245,"museum":385,"description":616,"tags":617,"thumbUrl":619,"material":182,"size":620,"collection":137,"collections":621,"showCount":622,"zanCount":58,"manualWeight":58,"mainColor":59},218024,"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[24,25,618,87,29,89,90,30,7,36,249,47,94,70],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[137],179,{"id":624,"slug":625,"title":626,"dynasty":18,"author":627,"museum":207,"description":628,"tags":629,"thumbUrl":631,"material":198,"size":632,"collection":137,"collections":633,"showCount":634,"zanCount":170,"manualWeight":58,"mainColor":59},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,68,87,88,89,90,32,7,30,630,248,91,94],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[137],176,{"id":636,"slug":637,"title":638,"dynasty":639,"author":640,"museum":234,"description":641,"tags":642,"thumbUrl":643,"material":98,"size":98,"collection":98,"collections":644,"showCount":645,"zanCount":11,"manualWeight":58,"mainColor":59},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","晋","顾恺之","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[23,68,24,25,26,237,69,30,7,41,70,223,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],175,{"id":647,"slug":648,"title":649,"dynasty":106,"author":650,"museum":573,"description":651,"tags":652,"thumbUrl":655,"material":198,"size":656,"collection":75,"collections":657,"showCount":645,"zanCount":11,"manualWeight":58,"mainColor":59},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,28,29,89,90,30,31,32,33,266,36,653,654,48,7,42,278,536],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[75,137],{"id":659,"slug":660,"title":661,"dynasty":106,"author":107,"museum":234,"description":662,"tags":663,"thumbUrl":666,"material":88,"size":98,"collection":137,"collections":667,"showCount":645,"zanCount":170,"manualWeight":58,"mainColor":171},216844,"zhan-zheng-tong-ban-hua-lang-shi-ning-216844","战争铜版画","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[664,665,30,7,90,36,91,112],"铜版画","战争","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f8252dec1e59bebb52ee40d5d9bef8.jpg",[137],{"id":669,"slug":670,"title":671,"dynasty":301,"author":672,"museum":84,"description":673,"tags":674,"thumbUrl":683,"material":306,"size":684,"collection":75,"collections":685,"showCount":686,"zanCount":11,"manualWeight":58,"mainColor":59},221066,"zhi-gong-tu-yan-li-ben-221066","职贡图","阎立本","该画描绘的是唐太宗时，婆利国和罗刹国千里迢迢前来朝贡的情景。画中共有二十七人，其中白衣虬髯骑白马的人是罗刹国使者，身后有仆从打着伞执着扇，抬着礼物。左边穿长袍手里托着珊瑚打着伞盖的人是婆利国使者，他的随从也带着各式各样的礼物。整幅画设色淡雅，人物造型奇特，线条流畅自然。",[23,24,25,68,26,28,29,30,675,7,676,677,553,678,679,680,681,682],"异域人物","动物","器物","推车","随从","伞盖","服饰","行进场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e8b3405f3cc59b7a13648e7f06f67.jpg","纵61.5cm，横191.5cm",[75,76],174,{"id":688,"slug":689,"title":690,"dynasty":176,"author":691,"museum":20,"description":692,"tags":693,"thumbUrl":695,"material":166,"size":696,"collection":75,"collections":697,"showCount":698,"zanCount":296,"manualWeight":58,"mainColor":59},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[23,24,29,28,70,30,535,7,694,31,536],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[75,76],172,{"id":700,"slug":701,"title":702,"dynasty":18,"author":703,"museum":84,"description":704,"tags":705,"thumbUrl":710,"material":198,"size":98,"collection":75,"collections":711,"showCount":712,"zanCount":256,"manualWeight":58,"mainColor":59},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,25,26,28,29,30,90,7,36,91,706,280,707,708,422,709],"旌旗","骑兵","车驾","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[75],171,{"id":714,"slug":715,"title":716,"dynasty":301,"author":717,"museum":718,"description":719,"tags":720,"thumbUrl":723,"material":198,"size":724,"collection":75,"collections":725,"showCount":726,"zanCount":120,"manualWeight":58,"mainColor":59},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","日本大阪市立美术馆","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,68,24,25,26,721,28,29,237,30,35,7,222,535,722],"宗教","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[75],167,{"id":728,"slug":729,"title":730,"dynasty":191,"author":454,"museum":234,"description":731,"tags":732,"thumbUrl":737,"material":98,"size":98,"collection":98,"collections":738,"showCount":739,"zanCount":256,"manualWeight":58,"mainColor":171},227072,"shan-xi-xin-zhou-jiu-yuan-gang-bei-chao-mu-zang-bi-hua-shou-lie-tu-juan-di-yi-bi-yi-ming-227072","山西-忻州九原岗北朝墓葬壁画-狩猎图卷-第一壁","山西忻州九原岗北朝墓葬壁画，是中国现存面积最大的墓葬狩猎图壁画。总面积约70平方米。\n九原岗北朝墓葬的发掘对研究北朝晚期社会生活、绘画艺术以及中国古代建筑史具有非常重要的意义。",[23,733,29,237,30,7,734,735,222,90,376,736],"壁画","虎","鹿","狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F746e562d7c6fc482718f06388d4d82d5.jpg",[],166,{"id":741,"slug":742,"title":743,"dynasty":301,"author":744,"museum":745,"description":746,"tags":747,"thumbUrl":749,"material":198,"size":750,"collection":137,"collections":751,"showCount":752,"zanCount":170,"manualWeight":58,"mainColor":59},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","耶鲁大学艺术博物馆","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,24,29,90,748,91,36,32,30,7,266,47,87],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[137,117],164,{"id":754,"slug":755,"title":756,"dynasty":261,"author":757,"museum":234,"description":758,"tags":759,"thumbUrl":761,"material":96,"size":283,"collection":98,"collections":762,"showCount":763,"zanCount":58,"manualWeight":58,"mainColor":171},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山","沈周","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[24,25,354,88,90,89,278,36,760,94,30,7,223,70],"村居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":765,"slug":766,"title":767,"dynasty":176,"author":442,"museum":263,"description":768,"tags":769,"thumbUrl":770,"material":198,"size":771,"collection":117,"collections":772,"showCount":773,"zanCount":256,"manualWeight":58,"mainColor":59},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[23,24,25,26,28,29,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[117],161,{"id":775,"slug":776,"title":777,"dynasty":261,"author":262,"museum":234,"description":778,"tags":779,"thumbUrl":780,"material":96,"size":283,"collection":98,"collections":781,"showCount":782,"zanCount":170,"manualWeight":58,"mainColor":59},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[68,24,26,29,28,30,31,32,33,534,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],159,{"id":784,"slug":785,"title":786,"dynasty":106,"author":107,"museum":234,"description":787,"tags":788,"thumbUrl":790,"material":96,"size":283,"collection":98,"collections":791,"showCount":792,"zanCount":256,"manualWeight":58,"mainColor":59},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[24,25,87,28,29,30,7,163,164,789],"弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg",[],158,{"id":794,"slug":795,"title":796,"dynasty":301,"author":454,"museum":20,"description":797,"tags":798,"thumbUrl":799,"material":198,"size":800,"collection":76,"collections":801,"showCount":802,"zanCount":296,"manualWeight":58,"mainColor":59},219760,"bai-ma-tu-yi-ming-219760","百马图","此图卷共描绘各种马95匹，牧马的奚官与圉人41人在一条河中及岸边洗马、戏马、驯马、饲马的场面。这幅图中所描绘的近百匹黑、白、红、花等各色马，有动有静，姿态各异，生动活泼。画家对马的描绘，极善抓住其动态和神情，运动中的马被表现得活泼顽皮，静立时的马又被表现得庄重威武。画中笔法清秀温雅，敷色清淡，可以看出唐法向宋元法变化的痕迹。",[23,68,24,25,26,29,28,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34693ea712a5b338887d9f2f6f7455af.jpg","纵68厘米、横1010厘米",[76],156,{"id":804,"slug":805,"title":806,"dynasty":176,"author":442,"museum":385,"description":807,"tags":808,"thumbUrl":810,"material":198,"size":98,"collection":117,"collections":811,"showCount":802,"zanCount":11,"manualWeight":58,"mainColor":59},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,24,25,68,29,28,354,30,7,809,222],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[117],{"id":813,"slug":814,"title":815,"dynasty":261,"author":757,"museum":84,"description":816,"tags":817,"thumbUrl":818,"material":182,"size":819,"collection":98,"collections":820,"showCount":821,"zanCount":170,"manualWeight":58,"mainColor":59},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[24,25,87,88,29,90,89,30,7,32,33,266,36,91,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":823,"slug":824,"title":825,"dynasty":301,"author":302,"museum":385,"description":826,"tags":827,"thumbUrl":828,"material":198,"size":98,"collection":117,"collections":829,"showCount":830,"zanCount":170,"manualWeight":58,"mainColor":59},218745,"ma-xing-tu-han-gan-218745","马性图","骏马昂首伫立，体态劲健挺拔。鬃毛与躯干墨色晕染层次分明，颈间浅褐渐过渡至腰背浓黑，肌理质感毕现。四肢修长稳健，蹄足勾勒简洁有力，似藏奔腾之势。绢本自然龟裂如时光印记，旁侧墨迹题识与朱红印章相映，更添古朴厚重。作品以简练传神之笔，捕捉马的灵动神韵，尽显古典绘画的雅致生机。",[23,24,25,28,29,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044321ad98ba7228339779ee43a3fc62.jpg",[117],151,{"id":832,"slug":833,"title":834,"dynasty":261,"author":757,"museum":84,"description":816,"tags":835,"thumbUrl":836,"material":182,"size":837,"collection":137,"collections":838,"showCount":839,"zanCount":170,"manualWeight":58,"mainColor":59},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴",[23,24,87,88,89,90,30,7,266,32,33,36,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[137,55],148,{"id":841,"slug":842,"title":843,"dynasty":314,"author":315,"museum":844,"description":845,"tags":846,"thumbUrl":847,"material":320,"size":98,"collection":98,"collections":848,"showCount":839,"zanCount":170,"manualWeight":58,"mainColor":171},220575,"ben-ma-tu-xu-bei-hong-220575","奔马图","中国现当代美术文献研究中心","以淋漓水墨晕染出骏马的健硕肌理，浓淡干湿间，筋骨转折清晰可见，将写实的精准与写意的挥洒融为一体。鬃尾以狂放飞白扫就，裹挟着疾风肆意飞扬，四蹄腾跃间，尽显奔腾向前的悍勇姿态，不见鞍辔束缚，尽显龙马不羁神魂。\n\n整幅画面留白恰到好处，似将天地长风纳入尺幅，把骏马挣脱桎梏、一往无前的昂扬生命力，尽数铺陈在宣纸上，让观者仿佛能听见马蹄踏破长风的轰鸣，触摸到那份挣脱羁縻的自由豪情。",[24,88,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d34a4ac0759f407077ca59f5e4ee3f5.jpg",[],{"id":850,"slug":851,"title":852,"dynasty":106,"author":650,"museum":234,"description":853,"tags":854,"thumbUrl":855,"material":98,"size":98,"collection":98,"collections":856,"showCount":857,"zanCount":170,"manualWeight":58,"mainColor":171},224470,"xi-shan-xing-lv-tu-juan-wang-hui-224470","溪山行旅图卷","此作用长卷铺展千里江山，起首烟水澹澹，汀洲村舍隐在轻岚淡墨之中，随卷徐徐铺陈，峰岭渐次崛立。山石以披麻皴写就，笔力苍秀沉厚，林木攒簇郁茂，晕染出葱茏古雅的生机。\n\n山道、津渡间错落行旅身影，暗合林泉行游之趣，云烟流荡于峰腰谷壑，虚实相生，将平远、高远、深远诸法相融，层层延伸出咫尺含千里的山水格局。笔墨兼取元人松灵与宋人丘壑之密，既摹写出实景山水的清润幽深，亦藏着文人寄情林泉的澹然意绪，整卷气息静雅浑融，尽揽山川悠远之致。",[23,24,26,88,90,89,91,36,536,92,114,278,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0aa1cd0866746b8aa5e4cf195a58da69.jpg",[],146,{"id":859,"slug":860,"title":861,"dynasty":18,"author":454,"museum":573,"description":862,"tags":863,"thumbUrl":864,"material":182,"size":865,"collection":117,"collections":866,"showCount":867,"zanCount":296,"manualWeight":58,"mainColor":59},218851,"liu-ma-tu-yi-ming-218851","六马图","画面中六匹骏马神态各异，或低头啮草，或昂首嘶鸣，或随人徐行，鬃毛飞扬间尽显灵动生机。人物衣着朴素却细节饱满，牵马者的专注、骑马者的悠然、树下交谈者的闲适，皆通过简练线条勾勒得栩栩如生。背景以淡墨晕染山石，枯树虬枝点缀其间，营造出清旷悠远的氛围。整幅画作线条细腻流畅，设色淡雅自然，构图疏密有致，将人与马的日常互动融入山水意境中，既见写实之妙，又含雅致情韵，于静谧中藏生动，于细微处见匠心。",[23,24,26,29,28,30,7,376,91,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba5c4f2cdf33d8406cb0ae099666d89.jpg","46.2x168.3cm",[117],145,{"id":869,"slug":870,"title":871,"dynasty":191,"author":872,"museum":234,"description":873,"tags":874,"thumbUrl":880,"material":98,"size":98,"collection":98,"collections":881,"showCount":882,"zanCount":256,"manualWeight":58,"mainColor":171},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,68,24,25,26,28,29,30,7,875,70,223,224,876,877,878,879,163],"书","笔","墨","纸","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],143,{"id":884,"slug":885,"title":886,"dynasty":314,"author":315,"museum":316,"description":887,"tags":888,"thumbUrl":892,"material":98,"size":98,"collection":98,"collections":893,"showCount":894,"zanCount":58,"manualWeight":58,"mainColor":171},220570,"qun-ben-xu-bei-hong-220570","群奔","以浓淡干湿的墨色铺陈，将奔马的神采各异尽数铺展。鬃尾随风狂舞，铁蹄错落腾跃，劲挺的线条勾勒出骏马饱满的肌肉肌理，落笔简劲却精准捕捉奔跃时的矫健身姿。干裂皴擦的地面与斜生劲草，反衬出奔腾之势的磅礴，将一往无前的野性生命力倾泻纸面。没有繁复布景，以留白衬出奔马的飒爽桀骜，融合写意笔墨的空灵与写实造型的精准，把骏马嘶风踏浪的激昂气魄定格，仿佛能听见蹄声震彻旷野，尽显蓬勃昂扬的精神气韵。",[23,24,88,889,7,890,891],"写意","奔马","群马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ced0133a30ae25fe8de9caba9632bd.jpg",[],142,{"id":896,"slug":897,"title":898,"dynasty":18,"author":899,"museum":84,"description":900,"tags":901,"thumbUrl":905,"material":906,"size":907,"collection":137,"collections":908,"showCount":909,"zanCount":256,"manualWeight":58,"mainColor":59},218953,"guan-bei-tu-guo-xi-218953","观碑图","郭熙","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[23,68,24,25,87,902,89,618,30,7,903,93,91,607,904,36],"水墨画","碑","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","绢本,水墨","164.4x119",[137],141,{"id":911,"slug":912,"title":913,"dynasty":106,"author":107,"museum":20,"description":914,"tags":915,"thumbUrl":916,"material":166,"size":917,"collection":117,"collections":918,"showCount":919,"zanCount":170,"manualWeight":58,"mainColor":59},238125,"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[26,28,29,7,129,111,30,91,222,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[117],138,{"id":921,"slug":922,"title":923,"dynasty":18,"author":233,"museum":84,"description":924,"tags":925,"thumbUrl":926,"material":391,"size":927,"collection":75,"collections":928,"showCount":929,"zanCount":170,"manualWeight":58,"mainColor":171},216928,"mian-zhou-tu-li-gong-lin-216928","免胄图","卷轴的左侧是郭子仪，带领他的部队，平静地站在他身边。右侧是入侵关中的维吾尔族士兵，这是一个庞大而令人生畏的营地。这位身着军装的维吾尔族首领在其副手的陪同下，在向脱去盔甲、身着清凉的郭子仪致敬时，以敬佩的姿态跪下。郭德纲在俯身提供帮助时显得真诚而有礼貌，体现了一位名将的慷慨。",[23,68,24,25,26,237,28,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c419667adc75769d59561e46477a00.jpg","32.3x223.8",[75],136,{"id":931,"slug":932,"title":453,"dynasty":261,"author":933,"museum":934,"description":935,"tags":936,"thumbUrl":937,"material":938,"size":939,"collection":137,"collections":940,"showCount":941,"zanCount":296,"manualWeight":58,"mainColor":59},222073,"ming-huang-xing-shu-tu-wu-bin-222073","吴彬","天津博物馆","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,24,25,90,29,28,89,30,7,31,32,33,91,92,36,94,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f879903396d07b9e64c58c5d2acea.jpg","纸本设色","65x112 厘米",[137,76],135,{"id":943,"slug":944,"title":945,"dynasty":301,"author":302,"museum":573,"description":946,"tags":947,"thumbUrl":948,"material":344,"size":98,"collection":405,"collections":949,"showCount":951,"zanCount":296,"manualWeight":58,"mainColor":171},221074,"zhao-ye-bai-han-gan-221074","照夜白","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,88,28,344,26,25,7,222,70,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[405,950],"碑帖精选",132,{"id":953,"slug":954,"title":955,"dynasty":106,"author":107,"museum":20,"description":956,"tags":957,"thumbUrl":958,"material":198,"size":959,"collection":117,"collections":960,"showCount":951,"zanCount":140,"manualWeight":58,"mainColor":171},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[23,24,25,87,28,29,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[117],{"id":962,"slug":963,"title":964,"dynasty":106,"author":107,"museum":20,"description":965,"tags":966,"thumbUrl":968,"material":166,"size":969,"collection":137,"collections":970,"showCount":971,"zanCount":170,"manualWeight":58,"mainColor":171},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[967,24,68,25,29,28,30,90,7,734,222,248,630,249,250],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[137,76],131,{"id":973,"slug":974,"title":975,"dynasty":314,"author":315,"museum":316,"description":976,"tags":977,"thumbUrl":978,"material":98,"size":98,"collection":98,"collections":979,"showCount":980,"zanCount":58,"manualWeight":58,"mainColor":171},220569,"ben-ma-chang-sha-hui-zhan-xu-bei-hong-220569","奔马 (长沙会战)","以酣畅泼墨晕染出马的雄健躯体，留白巧绘额间白羽，浓淡干湿尽显水墨意趣。鬃尾如疾风卷舒，似裹挟破空罡风，四蹄舒张带着雷霆之势，将奔马勃发的劲力定格于纸面。\n右侧题字寄寓滚烫热忱，将匹夫之勇揉作家国担当，让战马的骁勇与民族气节相融。跃然纸上的不止是灵动骏马，更是山河飘摇里的不屈意志，笔墨间藏着赤子滚烫的热血，把救亡图存的呐喊凝于笔端，化作这匹奔马一往无前的身影。",[23,24,25,88,889,7,87,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32ea37393a260fa91ca3652fb06b5a.jpg",[],129,{"id":982,"slug":983,"title":984,"dynasty":176,"author":442,"museum":20,"description":985,"tags":986,"thumbUrl":991,"material":198,"size":992,"collection":75,"collections":993,"showCount":994,"zanCount":11,"manualWeight":58,"mainColor":171},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,987,25,26,29,28,30,7,132,224,988,223,989,990],"元代","墨笔","人物画","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[75,405],127,{"id":996,"slug":997,"title":998,"dynasty":176,"author":442,"museum":385,"description":807,"tags":999,"thumbUrl":1000,"material":198,"size":98,"collection":117,"collections":1001,"showCount":1002,"zanCount":11,"manualWeight":58,"mainColor":59},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[23,24,25,68,354,29,28,237,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[117],126,{"id":1004,"slug":1005,"title":1006,"dynasty":176,"author":442,"museum":385,"description":1007,"tags":1008,"thumbUrl":1009,"material":906,"size":98,"collection":117,"collections":1010,"showCount":1011,"zanCount":11,"manualWeight":58,"mainColor":59},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[23,24,68,237,28,88,29,30,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[117,75],125,{"id":1013,"slug":1014,"title":1015,"dynasty":18,"author":1016,"museum":718,"description":1017,"tags":1018,"thumbUrl":1020,"material":344,"size":1021,"collection":75,"collections":1022,"showCount":1023,"zanCount":156,"manualWeight":58,"mainColor":171},219113,"ming-fei-chu-sai-tu-zhao-jun-chu-sai-tu-gong-su-ran-219113","明妃出塞图(昭君出塞图)","宫素然","全幅气势开合起伏，将艰难行进在寒风凛列的朔野之中的和亲队伍的情境绘制出来，非常真切地再现了昭君出塞的动人场面。",[23,24,68,26,237,88,30,7,1019,210,70,18],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3db2cf109c619db1fdd8f9878077f27.jpg","30.2cm，横160.2cm",[75],124,{"id":1025,"slug":1026,"title":1027,"dynasty":176,"author":177,"museum":1028,"description":1029,"tags":1030,"thumbUrl":1031,"material":938,"size":1032,"collection":75,"collections":1033,"showCount":1034,"zanCount":256,"manualWeight":58,"mainColor":171},221769,"wu-wang-zui-gui-tu-juan-ren-ren-fa-221769","五王醉归图卷","苏宁艺术馆","《五王醉归图》刻画了唐玄宗五兄弟的故事，唐玄宗年少时与四位兄弟感情和睦，经常相从宴饮，斗鸡击球，外出打猎。这张画描绘了兄弟五人一起骑马游玩的场景， 余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[23,24,26,29,28,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","35.5x212.5厘米",[75,76],122,{"id":1036,"slug":1037,"title":1038,"dynasty":18,"author":899,"museum":1039,"description":1040,"tags":1041,"thumbUrl":1045,"material":198,"size":1046,"collection":137,"collections":1047,"showCount":1048,"zanCount":58,"manualWeight":58,"mainColor":59},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,68,87,89,88,29,90,523,748,630,1042,339,30,7,1043,376,34,92,1044],"小屋","石","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[137],121,{"id":1050,"slug":1051,"title":1052,"dynasty":18,"author":1053,"museum":207,"description":1054,"tags":1055,"thumbUrl":1056,"material":198,"size":1057,"collection":137,"collections":1058,"showCount":1059,"zanCount":256,"manualWeight":58,"mainColor":171},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","梁楷","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[68,24,25,88,89,29,90,195,30,7,630,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[137],116,{"id":1061,"slug":1062,"title":1063,"dynasty":106,"author":454,"museum":234,"description":1064,"tags":1065,"thumbUrl":1070,"material":96,"size":283,"collection":98,"collections":1071,"showCount":1072,"zanCount":58,"manualWeight":58,"mainColor":171},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[24,87,277,29,28,721,30,222,1066,7,1067,267,1068,90,1069,163],"大象","狮子","云","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":1074,"slug":1075,"title":474,"dynasty":176,"author":442,"museum":20,"description":475,"tags":1076,"thumbUrl":1079,"material":166,"size":98,"collection":117,"collections":1080,"showCount":1081,"zanCount":296,"manualWeight":58,"mainColor":171},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[23,29,28,26,223,70,7,36,42,30,1077,90,1078],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[117,76],112,{"id":1083,"slug":1084,"title":1085,"dynasty":176,"author":454,"museum":234,"description":1086,"tags":1087,"thumbUrl":1088,"material":96,"size":283,"collection":98,"collections":1089,"showCount":1090,"zanCount":170,"manualWeight":58,"mainColor":59},290164,"mo-li-zhao-dao-ming-huang-xing-shu-tu-yi-ming-290164","摹李昭道明皇幸蜀图","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。",[24,69,277,29,90,30,7,94,248,91,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddcfa9101a675f217a7063e8075a829.jpg",[],110,{"id":1092,"slug":1093,"title":702,"dynasty":18,"author":1094,"museum":1095,"description":1096,"tags":1097,"thumbUrl":1100,"material":72,"size":1101,"collection":53,"collections":1102,"showCount":1103,"zanCount":256,"manualWeight":58,"mainColor":59},221678,"wen-ji-gui-han-tu-zhang-yu-221678","张瑀","吉林省博物院","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[23,68,24,26,237,28,30,7,1098,163,70,1099],"狗","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[53,75,76],109,{"id":1105,"slug":1106,"title":1107,"dynasty":106,"author":107,"museum":1108,"description":1109,"tags":1110,"thumbUrl":1111,"material":198,"size":1112,"collection":117,"collections":1113,"showCount":1103,"zanCount":170,"manualWeight":58,"mainColor":171},220370,"ba-jun-tu-juan-lang-shi-ning-220370","八骏图卷","江西省博物馆","是为康熙第二十一子慎郡王允禧所作。八匹骏马神情、姿态各异，是其晚年的精品之作",[23,68,24,25,26,28,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d5c37a9d55cc287a2651cfb1a099453.jpg","52.7厘米* 92厘米",[117,76],{"id":1115,"slug":1116,"title":1117,"dynasty":176,"author":177,"museum":1118,"description":1119,"tags":1120,"thumbUrl":1121,"material":198,"size":98,"collection":75,"collections":1122,"showCount":1123,"zanCount":296,"manualWeight":58,"mainColor":171},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","美国克利夫兰艺术博物馆","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[23,68,24,25,26,28,29,224,223,70,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[75,76],107,{"id":1125,"slug":1126,"title":1127,"dynasty":106,"author":107,"museum":1128,"description":1129,"tags":1130,"thumbUrl":1133,"material":72,"size":1134,"collection":117,"collections":1135,"showCount":57,"zanCount":170,"manualWeight":58,"mainColor":59},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[23,68,24,25,28,29,7,1131,388,249,111,1132],"柳","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[117,76],{"id":1137,"slug":1138,"title":1139,"dynasty":18,"author":335,"museum":84,"description":1140,"tags":1141,"thumbUrl":1144,"material":29,"size":1145,"collection":53,"collections":1146,"showCount":57,"zanCount":58,"manualWeight":58,"mainColor":59},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,25,87,28,89,29,90,1142,266,1143,7,30,32,92,130],"雪景","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[53,137,76],{"id":1148,"slug":1149,"title":1150,"dynasty":18,"author":703,"museum":385,"description":1151,"tags":1152,"thumbUrl":1154,"material":182,"size":98,"collection":75,"collections":1155,"showCount":57,"zanCount":58,"manualWeight":58,"mainColor":59},218541,"zhong-xing-rui-ying-tu-chen-ju-zhong-218541","中兴瑞应图","苍莽绢素间，人马奔涌如沸，旌旗翻卷似火，甲胄冷光与衣袍艳色在青绿底色上跃动。左侧群鸟振翅惊飞，羽翼划破暮霭；右侧峭岩劲松静立，与奔涌的动势形成奇妙张力。笔锋细腻处，鞍马筋肉、人物神情历历可辨；设色古朴中，山水悠远衬出叙事沉厚。奔突的队列藏着热望，翻飞的翎羽似携吉兆，将历史壮阔与人心祈盼凝作绢上流转的光影——每一处细节都在诉说那段岁月里，对“中兴”的期盼与激昂，让沉厚的过往在笔墨间鲜活如初。",[24,28,29,30,7,267,90,36,1153],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0604cba49667b67c7ec636b0895bcd.jpg",[75,76],{"id":1157,"slug":1158,"title":1159,"dynasty":18,"author":1160,"museum":84,"description":1161,"tags":1162,"thumbUrl":1163,"material":198,"size":1164,"collection":137,"collections":1165,"showCount":1166,"zanCount":11,"manualWeight":58,"mainColor":59},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","赵伯驹","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,68,24,25,26,277,29,30,90,28,91,42,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[137],104,{"id":1168,"slug":1169,"title":1170,"dynasty":314,"author":315,"museum":316,"description":1171,"tags":1172,"thumbUrl":1185,"material":1186,"size":98,"collection":98,"collections":1187,"showCount":1188,"zanCount":170,"manualWeight":58,"mainColor":171},220576,"tian-heng-wu-bai-shi-xu-bei-hong-220576","田横五百士","画面左侧义士们悲愤难抑，有人按剑瞋目，有人振臂呼号，粗粝的赤足、紧绷的筋骨满溢着不甘的血性。右侧红衣者垂眸拱手，将诀别的沉毅藏在眉眼间，身侧白马静立，更衬出离别的肃穆沉哀。\n\n以写实技法刻绘人物神态，将东方侠义风骨织入油彩，定格下这诀别时刻的慷慨悲歌。垂首掩泣的老者、攥紧衣衫的壮士，细节里揉进了赴死壮怀与俗世温情，让忠义千秋的底色变得滚烫又厚重，把这群义士的刚烈柔肠永远封存在画布之上。",[23,1173,1174,1175,7,36,1176,1177,1178,1179,1180,1181,1182,1183,1184,677],"油画","写实","人物群像","天空","土地","剑","长袍","传统服饰","男性人物","动态刻画","色彩写实","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dedb8317bb1c81c3a2b5e8029cfbe1.jpg","布面油彩",[],100,{"id":1190,"slug":1191,"title":1192,"dynasty":106,"author":1193,"museum":1118,"description":1194,"tags":1195,"thumbUrl":1198,"material":198,"size":1199,"collection":137,"collections":1200,"showCount":1188,"zanCount":256,"manualWeight":58,"mainColor":59},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","蜀栈行旅图","袁耀","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,24,25,29,90,89,27,278,1196,30,7,36,536,94,1197],"栈道","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[137],{"id":1202,"slug":1203,"title":1204,"dynasty":106,"author":107,"museum":20,"description":1205,"tags":1206,"thumbUrl":1207,"material":166,"size":1208,"collection":117,"collections":1209,"showCount":1210,"zanCount":256,"manualWeight":58,"mainColor":171},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,68,25,87,28,29,110,30,7,267,90,630,249,111,42,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[117,137,75,76],97,{"id":1212,"slug":1213,"title":1214,"dynasty":176,"author":442,"museum":20,"description":1215,"tags":1216,"thumbUrl":1218,"material":1219,"size":1220,"collection":137,"collections":1221,"showCount":1210,"zanCount":11,"manualWeight":58,"mainColor":59},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[23,24,29,90,30,7,376,91,536,94,149,1217,89],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[137,76],{"id":1223,"slug":1224,"title":584,"dynasty":18,"author":454,"museum":84,"description":1225,"tags":1226,"thumbUrl":1228,"material":198,"size":1229,"collection":117,"collections":1230,"showCount":1231,"zanCount":256,"manualWeight":58,"mainColor":59},216214,"xi-ma-tu-yi-ming-216214","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[24,25,68,28,29,30,7,376,27,1227],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[117],96,{"id":1233,"slug":1234,"title":1235,"dynasty":18,"author":1236,"museum":573,"description":1237,"tags":1238,"thumbUrl":1240,"material":29,"size":1241,"collection":53,"collections":1242,"showCount":1243,"zanCount":58,"manualWeight":58,"mainColor":59},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,68,26,29,89,90,248,266,7,30,1239,536,92],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[53,137,55],95,{"id":1245,"slug":1246,"title":1247,"dynasty":18,"author":233,"museum":234,"description":1248,"tags":1249,"thumbUrl":1250,"material":391,"size":1251,"collection":75,"collections":1252,"showCount":1243,"zanCount":256,"manualWeight":58,"mainColor":171},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[23,68,24,25,26,237,88,30,31,32,33,70,7,266,91,36,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[75],{"id":1254,"slug":1255,"title":1256,"dynasty":314,"author":315,"museum":316,"description":1257,"tags":1258,"thumbUrl":1260,"material":98,"size":98,"collection":98,"collections":1261,"showCount":1262,"zanCount":58,"manualWeight":58,"mainColor":171},220554,"song-ren-pi-ma-chang-xiao-shi-yi-xu-bei-hong-220554","宋人匹马长啸诗意","以浓淡干湿的墨色晕染出骏马的遒劲筋骨，鬃尾以狂放泼墨扫就，翻卷如疾风吹过，将骏马桀骜昂扬的神采尽皆彰显。背景柳丝荒草以淡墨虚笔铺陈，留白烘托出马的苍劲雄浑，虚实相生间，旷野清寂与骏马长嘶的氛围感扑面而来，仿佛能听见振鬣嘶鸣的回响，将诗意化为鲜活的视觉意象。写实造型与写意笔墨浑然相融，既见骏马剽悍俊朗的体态，又尽显旷远灵动的意境，把旷野孤马的豪迈洒脱诠释得淋漓尽致。",[23,24,88,889,7,111,1259],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604243463a321fc532bc209c6152f12.jpg",[],94,{"id":1264,"slug":1265,"title":362,"dynasty":106,"author":1266,"museum":84,"description":1267,"tags":1268,"thumbUrl":1272,"material":198,"size":1273,"collection":75,"collections":1274,"showCount":1275,"zanCount":170,"manualWeight":58,"mainColor":512},220408,"fang-song-yuan-ben-jin-ling-tu-yang-da-zhang-220408","杨大章","杨大章，乾隆时供奉内廷，工人物、花鸟画。本卷记录古代城市生活的形形色色，自右开始映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,26,29,28,69,27,30,31,32,33,36,7,35,47,1269,1270,146,1271,40,45,38,42,39],"街道","市集","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[75,76],93,{"id":1277,"slug":1278,"title":1279,"dynasty":106,"author":1280,"museum":84,"description":1281,"tags":1282,"thumbUrl":1283,"material":344,"size":1284,"collection":75,"collections":1285,"showCount":1275,"zanCount":11,"manualWeight":58,"mainColor":171},218363,"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","丁观鹏","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[23,24,25,26,237,69,30,7,70,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2",[75],{"id":1287,"slug":1288,"title":561,"dynasty":106,"author":107,"museum":84,"description":1289,"tags":1290,"thumbUrl":1291,"material":166,"size":1292,"collection":117,"collections":1293,"showCount":1294,"zanCount":58,"manualWeight":58,"mainColor":171},222755,"ba-jun-tu-lang-shi-ning-222755","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,68,24,25,28,29,7,129,30,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[117,76],92,{"id":1296,"slug":1297,"title":1298,"dynasty":18,"author":233,"museum":20,"description":1299,"tags":1300,"thumbUrl":1301,"material":135,"size":1302,"collection":53,"collections":1303,"showCount":1294,"zanCount":170,"manualWeight":58,"mainColor":59},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[23,68,24,25,26,69,237,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[53,75,55],{"id":1305,"slug":1306,"title":1307,"dynasty":261,"author":495,"museum":1308,"description":1309,"tags":1310,"thumbUrl":1311,"material":166,"size":1312,"collection":98,"collections":1313,"showCount":1314,"zanCount":256,"manualWeight":58,"mainColor":59},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","旅顺博物馆","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,24,88,29,89,87,248,30,7,91,278,36,94,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],90,{"id":1316,"slug":1317,"title":1318,"dynasty":261,"author":495,"museum":84,"description":1319,"tags":1320,"thumbUrl":1321,"material":198,"size":1322,"collection":137,"collections":1323,"showCount":1324,"zanCount":170,"manualWeight":58,"mainColor":59},219511,"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[24,25,90,88,89,748,523,36,630,47,41,7,249,70,94,42,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[137],89,{"id":1326,"slug":1327,"title":1328,"dynasty":106,"author":1280,"museum":84,"description":1329,"tags":1330,"thumbUrl":1333,"material":391,"size":98,"collection":75,"collections":1334,"showCount":1324,"zanCount":170,"manualWeight":58,"mainColor":171},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[68,24,25,28,237,29,27,30,7,149,70,163,1331,1332],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[75],{"id":1336,"slug":1337,"title":1150,"dynasty":18,"author":1338,"museum":934,"description":1339,"tags":1340,"thumbUrl":1341,"material":198,"size":1342,"collection":75,"collections":1343,"showCount":1344,"zanCount":256,"manualWeight":58,"mainColor":59},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,68,24,25,26,28,29,27,89,30,31,90,36,7,266,151,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[75],87,{"id":1346,"slug":1347,"title":1348,"dynasty":261,"author":262,"museum":207,"description":1349,"tags":1350,"thumbUrl":1351,"material":198,"size":98,"collection":137,"collections":1352,"showCount":1344,"zanCount":170,"manualWeight":58,"mainColor":59},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,25,87,28,29,90,27,30,31,7,266,36,91,33,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[137],{"id":1354,"slug":1355,"title":1356,"dynasty":125,"author":126,"museum":84,"description":1357,"tags":1358,"thumbUrl":1359,"material":198,"size":1360,"collection":75,"collections":1361,"showCount":1344,"zanCount":256,"manualWeight":58,"mainColor":59},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,68,24,25,28,29,30,7,36,111,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[75],{"id":1363,"slug":1364,"title":1365,"dynasty":125,"author":1366,"museum":234,"description":1367,"tags":1368,"thumbUrl":1370,"material":96,"size":283,"collection":98,"collections":1371,"showCount":1372,"zanCount":58,"manualWeight":58,"mainColor":59},283684,"jiang-di-wan-jing-tu-dong-yuan-283684","江堤晚景图","董源","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[24,68,87,277,29,90,30,7,94,36,70,223,1369],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb775349db468e7b94cea2f43539ee3e.jpg",[],86,{"id":1374,"slug":1375,"title":1376,"dynasty":301,"author":454,"museum":1377,"description":1378,"tags":1379,"thumbUrl":1384,"material":96,"size":283,"collection":98,"collections":1385,"showCount":1372,"zanCount":170,"manualWeight":58,"mainColor":59},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1380,733,29,721,30,1381,222,735,7,90,278,267,535,1382,1383],"唐代","飞天","云纹","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":1387,"slug":1388,"title":1389,"dynasty":261,"author":1390,"museum":20,"description":1391,"tags":1392,"thumbUrl":1393,"material":252,"size":1394,"collection":137,"collections":1395,"showCount":1372,"zanCount":256,"manualWeight":58,"mainColor":1396},222028,"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","戴进","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[23,24,88,89,90,32,33,376,91,47,35,7,266,1197,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[137,55],"FFFFFF",{"id":1398,"slug":1399,"title":1400,"dynasty":18,"author":335,"museum":84,"description":1401,"tags":1402,"thumbUrl":1403,"material":166,"size":1404,"collection":53,"collections":1405,"showCount":1372,"zanCount":58,"manualWeight":58,"mainColor":59},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,24,25,618,87,88,89,29,523,1043,376,32,30,7,94,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[53,137,55],{"id":1407,"slug":1408,"title":494,"dynasty":176,"author":1409,"museum":385,"description":1410,"tags":1411,"thumbUrl":1416,"material":198,"size":1417,"collection":137,"collections":1418,"showCount":1372,"zanCount":58,"manualWeight":58,"mainColor":59},217866,"chun-shan-you-qi-tu-sheng-mao-217866","盛懋","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,90,29,89,30,7,32,31,266,36,91,1412,1239,1413,149,1414,1415,114],"路径","近树","游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[137],{"id":1420,"slug":1421,"title":1422,"dynasty":106,"author":1423,"museum":20,"description":1424,"tags":1425,"thumbUrl":1426,"material":252,"size":1427,"collection":75,"collections":1428,"showCount":1429,"zanCount":58,"manualWeight":58,"mainColor":171},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","任颐","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[68,24,25,87,29,28,30,7,551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[75],85,{"id":1431,"slug":1432,"title":1433,"dynasty":106,"author":107,"museum":84,"description":1434,"tags":1435,"thumbUrl":1436,"material":198,"size":1437,"collection":76,"collections":1438,"showCount":1429,"zanCount":256,"manualWeight":58,"mainColor":171},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[24,25,87,28,29,7,222,1174,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[76],{"id":1440,"slug":1441,"title":1442,"dynasty":261,"author":262,"museum":20,"description":1443,"tags":1444,"thumbUrl":1446,"material":166,"size":1447,"collection":98,"collections":1448,"showCount":1449,"zanCount":58,"manualWeight":58,"mainColor":171},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞","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。",[23,24,68,25,354,28,29,30,7,41,94,210,1445],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg","每开纵41.4厘米，横33.8厘米",[],84,{"id":1451,"slug":1452,"title":1453,"dynasty":106,"author":650,"museum":745,"description":1454,"tags":1455,"thumbUrl":1456,"material":198,"size":1457,"collection":137,"collections":1458,"showCount":1459,"zanCount":170,"manualWeight":58,"mainColor":59},219911,"qiu-shan-xing-lv-tu-wang-hui-219911","秋山行旅图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,87,277,29,90,30,7,31,376,91,89,94,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[137],83,{"id":1461,"slug":1462,"title":1463,"dynasty":301,"author":1464,"museum":234,"description":1465,"tags":1466,"thumbUrl":1467,"material":98,"size":98,"collection":98,"collections":1468,"showCount":1469,"zanCount":58,"manualWeight":58,"mainColor":59},227256,"xi-ma-tu-ye-li-yu-227256","戏马图页","李煜","李煜（937年5月5日－978年8月15日），又称李后主，为南唐的末代君主，徐州人。李煜原名从嘉，字重光，号锺山隐士、锺锋隠者、白莲居士、莲峰居士等。李煜在南唐灭亡后被北宋俘虏，但是却成为了中国历史上首屈一指的词人，获誉为“千古词帝”，作品千古流名。",[23,68,24,25,29,28,30,7,376,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5c0df0888c4e88dad6808987fed8e.jpg",[],82,{"id":1471,"slug":1472,"title":1473,"dynasty":301,"author":302,"museum":84,"description":1474,"tags":1475,"thumbUrl":1478,"material":306,"size":1479,"collection":76,"collections":1480,"showCount":1469,"zanCount":170,"manualWeight":58,"mainColor":59},221076,"yuan-ma-tu-han-gan-221076","猿马图","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,68,24,25,87,1380,29,28,1476,7,376,249,1477,222],"猴","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[76,1481],"竹石精选",{"id":1483,"slug":1484,"title":1485,"dynasty":106,"author":1193,"museum":263,"description":1486,"tags":1487,"thumbUrl":1488,"material":198,"size":1489,"collection":137,"collections":1490,"showCount":1469,"zanCount":58,"manualWeight":58,"mainColor":59},219757,"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[24,25,90,27,89,69,29,30,31,94,266,7,41,91,36,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[137],{"id":1492,"slug":1493,"title":1494,"dynasty":261,"author":454,"museum":1495,"description":1496,"tags":1497,"thumbUrl":1501,"material":938,"size":1502,"collection":98,"collections":1503,"showCount":1504,"zanCount":170,"manualWeight":58,"mainColor":59},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","美国弗瑞尔美术馆","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,26,29,28,89,90,222,734,7,1498,735,1499,1067,1476,36,249,114,1477,1500],"象","山羊","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],80,{"id":1506,"slug":1507,"title":1508,"dynasty":176,"author":454,"museum":84,"description":1509,"tags":1510,"thumbUrl":1512,"material":198,"size":98,"collection":76,"collections":1513,"showCount":1504,"zanCount":58,"manualWeight":58,"mainColor":59},218757,"ma-hu-dou-tu-yi-ming-218757","马虎斗图","荒野坡地间，虎躯如弓骤起，斑纹随扑跃之势流转，利爪前探、利齿微张，将猛兽的悍勇凝于一瞬。对面的马似遭突袭，后腿猛蹬沙砾，前蹄腾空欲踹，鬃尾怒扬如帚，肌肉紧绷的线条里满是求生的倔强。周遭荒草疏疏，枯木隐现，浅褐底色更衬出这场对峙的凛冽——没有多余渲染，却让观者仿佛听见虎啸马嘶，触到风里的紧张气息。笔法精准却不刻板，虎的威猛与马的刚烈形成强烈张力，寥寥数笔的环境勾勒，便将荒野争斗的野性拉满，尽显笔墨间蓬勃的生命力。",[23,24,28,29,734,7,222,91,1511],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[76],{"id":1515,"slug":1516,"title":1517,"dynasty":301,"author":1518,"museum":234,"description":1519,"tags":1520,"thumbUrl":1521,"material":198,"size":1522,"collection":75,"collections":1523,"showCount":1504,"zanCount":170,"manualWeight":58,"mainColor":59},218434,"jie-bo-tu-juan-zhao-gong-you-218434","掲钵图卷","赵公佑","残卷斑驳，却凝萃着盛唐绘画的磅礴气象。画面中神祇与魔众的对峙张力十足，线条流转如行云流水，虽历经岁月褪色，朱红与墨色的交织仍显古雅厚重。人物动态鲜活，或持械交锋，或肃立说法，神态各异间铺展叙事脉络。构图疏密有致，虚实相生，既见个体形象的精谨刻画，亦有整体场景的宏阔铺陈。笔墨间藏着唐代画坛的雄浑笔力与细腻情思，即便残损处也似时光留痕，诉说着千年之前的艺术风华，堪称研究唐代宗教绘画与叙事艺术的珍贵遗存。其笔墨间的雄浑与细腻，既显宗教题材的庄严神圣，又含世俗绘画的生动意趣，是盛唐艺术兼容并蓄精神的鲜活注脚。",[23,24,25,26,29,721,30,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076f4968eb11391f30728e56d3fad1d8.jpg","27.4x109.4",[75],{"id":1525,"slug":1526,"title":1527,"dynasty":261,"author":1528,"museum":234,"description":1529,"tags":1530,"thumbUrl":1531,"material":98,"size":98,"collection":98,"collections":1532,"showCount":1533,"zanCount":256,"manualWeight":58,"mainColor":171},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,25,87,88,89,90,32,33,31,7,30,1143,91,376,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],79,{"id":1535,"slug":1536,"title":1537,"dynasty":18,"author":1538,"museum":234,"description":1539,"tags":1540,"thumbUrl":1542,"material":198,"size":98,"collection":137,"collections":1543,"showCount":1533,"zanCount":170,"manualWeight":58,"mainColor":171},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,1541,25,26,721,27,29,30,90,31,32,33,7,222,267,36,536,151],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[137],{"id":1545,"slug":1546,"title":1547,"dynasty":18,"author":1548,"museum":336,"description":1549,"tags":1550,"thumbUrl":1551,"material":166,"size":1552,"collection":53,"collections":1553,"showCount":1554,"zanCount":58,"manualWeight":58,"mainColor":171},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,25,68,28,29,30,7,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[53,75,76],78,{"id":1556,"slug":1557,"title":1558,"dynasty":18,"author":703,"museum":84,"description":1559,"tags":1560,"thumbUrl":1562,"material":198,"size":1563,"collection":53,"collections":1564,"showCount":1554,"zanCount":170,"manualWeight":58,"mainColor":59},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[23,68,24,25,29,28,30,7,735,1561],"平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa993938654434b8b7a50.jpg","36.8×54.9",[53],{"id":1566,"slug":1567,"title":1568,"dynasty":18,"author":1569,"museum":207,"description":1570,"tags":1571,"thumbUrl":1574,"material":198,"size":1575,"collection":75,"collections":1576,"showCount":1554,"zanCount":256,"manualWeight":58,"mainColor":59},218306,"jian-nv-lian-dan-tu-xu-chong-ju-218306","僭女练丹图","徐崇矩","乘玄驹腾跃，袂带飘举间执器引丹。黑马鬃毛劲挺，四蹄踏空似凌虚，与素衣白冠的人物相映，清逸中藏英气。坡岸嶙峋，墨色皴擦见苍劲，几株细竹点染生机。丹烟袅袅升于褐绢之上，暗合仙道清虚之境。\n\n绢色沉褐如浸岁月，工笔勾勒与写意皴染相融：衣纹流畅如行云，马身肌理写实见骨，山石皴法古拙含韵。神情专注处，丹火隐现，方寸间藏天地玄机——既显宋画格物致知的精微，又透仙道氤氲的缥缈，古雅深邃，引人探入画中秘境。",[68,24,1572,28,29,30,7,130,1573],"宋代","炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534c674db225970dc309e9344f4111c.jpg","74.2x45.3",[75],{"id":1578,"slug":1579,"title":1580,"dynasty":106,"author":650,"museum":20,"description":1581,"tags":1582,"thumbUrl":1587,"material":166,"size":1588,"collection":75,"collections":1589,"showCount":1590,"zanCount":170,"manualWeight":58,"mainColor":171},238124,"kang-xi-nan-xun-tu-juan-wang-hui-238124","康熙南巡图卷","康熙皇帝是清朝入关以后的第二代皇帝，在位期间，为了解民情，视察河防，尤其是为平息江南地区民众的反清情绪，从康熙二十三年（1684年）到康熙四十六年（1707年）间，曾经有过6次南巡的盛举。每次南巡，皇帝一行从京师出发，时而车骑，时而舟船，一直抵达浙江的绍兴。出巡活动浩浩荡荡，兴师动众，地方官员迎来送往，花费惊人。《红楼梦》作者曹雪芹的祖父曹寅当时任江宁织造，曾数次接驾。曹雪芹在小说中借凤姐之口说：“说起当年太祖皇帝仿舜巡的故事，比一部书还热闹……只预备接驾一次，把银子花的像淌海水似的！”可见其豪华排场。\n在康熙二十八年（1689年）第二次南巡结束后，根据皇帝的命令，由曹寅之弟曹筌任“《南巡图》监画”，征召画家开始绘制《康熙南巡图》。该图共十二巨卷，详细描绘了整个南巡过程。十二卷图现已不复完整，尚存九卷，第一、第九、第十、第十一、第十二卷藏于北京故宫博物院；第二、第四卷现藏法国巴黎的吉美博物馆；第三、第七卷现藏美国纽约的大都会艺术博物馆。\n《康熙南巡图》十二卷是由著名画家王翚领衔主绘的，参与绘制的画家还有冷枚、王云、杨晋等，全图历时六年方告完成。",[29,28,27,30,31,550,7,1583,1153,36,40,1269,151,1584,553,707,1585,552,1586],"队列","建筑群","步兵","门楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edf3f1428ff622207f310b8322c2e7d.jpg","纵67.8厘米，横1400至2600厘米",[75,76],77,{"id":1592,"slug":1593,"title":1594,"dynasty":18,"author":1053,"museum":20,"description":1595,"tags":1596,"thumbUrl":1597,"material":1598,"size":1599,"collection":53,"collections":1600,"showCount":1601,"zanCount":58,"manualWeight":58,"mainColor":59},221617,"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[23,24,88,354,89,68,90,748,630,7,30,1196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","绢本，水墨","纵23.5、横24.2厘米",[53,137,76],76,{"id":1603,"slug":1604,"title":1605,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":1608,"thumbUrl":1609,"material":135,"size":1610,"collection":98,"collections":1611,"showCount":1612,"zanCount":58,"manualWeight":58,"mainColor":171},230109,"hong-lou-meng-190-sun-wen-230109","红楼梦190","孙温","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",[24,28,29,967,30,7,522,31,630,151,27,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371fd944c59868ac77daf0417c1ff2a6.jpg","纵43.3厘米、横76.5厘米",[],75,{"id":1614,"slug":1615,"title":1616,"dynasty":18,"author":233,"museum":234,"description":1617,"tags":1618,"thumbUrl":1619,"material":906,"size":1620,"collection":53,"collections":1621,"showCount":1612,"zanCount":58,"manualWeight":58,"mainColor":59},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[23,68,24,25,26,237,30,90,7,734,222,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[53],{"id":1623,"slug":1624,"title":1625,"dynasty":106,"author":1626,"museum":84,"description":1627,"tags":1628,"thumbUrl":1630,"material":96,"size":283,"collection":98,"collections":1631,"showCount":1632,"zanCount":58,"manualWeight":58,"mainColor":59},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[23,68,24,26,28,29,30,31,37,39,148,36,145,1629,147,45,7,551,27],"市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],73,{"id":1634,"slug":1635,"title":1636,"dynasty":261,"author":1637,"museum":385,"description":1638,"tags":1639,"thumbUrl":1641,"material":198,"size":1642,"collection":137,"collections":1643,"showCount":1632,"zanCount":58,"manualWeight":58,"mainColor":59},220068,"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","谢时臣","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[24,88,89,87,90,1640,1197,91,92,30,7,339,36,94,33],"寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[137],{"id":1645,"slug":1646,"title":1647,"dynasty":176,"author":442,"museum":263,"description":1648,"tags":1649,"thumbUrl":1650,"material":198,"size":98,"collection":117,"collections":1651,"showCount":1632,"zanCount":170,"manualWeight":58,"mainColor":59},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,24,25,87,29,28,7,376,223,224,70,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[117],{"id":1653,"slug":1654,"title":1655,"dynasty":18,"author":233,"museum":385,"description":1656,"tags":1657,"thumbUrl":1658,"material":391,"size":1659,"collection":117,"collections":1660,"showCount":1632,"zanCount":58,"manualWeight":58,"mainColor":1661},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[68,24,25,87,237,88,7,30,340,1043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[117],"F48FB1",{"id":1663,"slug":1664,"title":1665,"dynasty":314,"author":315,"museum":316,"description":1666,"tags":1667,"thumbUrl":1669,"material":98,"size":98,"collection":98,"collections":1670,"showCount":1671,"zanCount":58,"manualWeight":58,"mainColor":171},220565,"li-ma-xu-bei-hong-220565","立马","以浓淡变幻的墨色勾勒晕染，将骏马劲健的肌肉线条与昂扬姿态尽铺纸上。昂首嘶鸣的骏马鬃尾肆意飞扬，筋骨勃发，满是雄悍剽悍的野性力量。浅笔淡墨铺就秋野荒草，愈发衬出骏马的卓然不群。左侧题字与画面浑然相融，晕开文人写意的雅致意趣。画作揉合中西技法，以写意笔墨定格骏马喷薄的生命力，将骐骥傲骨诉诸笔端，既是对骏马风采的极致描摹，更寄寓着奔腾不息的精神气魄，寥寥笔墨间尽显神骏意气。",[23,24,25,88,87,7,1668],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380920094f10abaf30aff10c3f89ebed.jpg",[],72,{"id":1673,"slug":1674,"title":1675,"dynasty":125,"author":126,"museum":518,"description":1676,"tags":1677,"thumbUrl":1678,"material":198,"size":1679,"collection":117,"collections":1680,"showCount":1671,"zanCount":58,"manualWeight":58,"mainColor":59},218758,"diao-ma-tu-zhao-nie-218758","调马图","胡服男子侧身而立，一手牵缰，一手微抬似在调驯，衣袂飘举间藏着草原的风意。骏马体态雄健，花斑皮毛以淡墨晕染，浓墨点簇斑纹，鬃尾轻扬，四蹄稳健，似有奔腾欲出之势。线条细劲流畅，兼具刚柔——人物衣纹转折利落，神情内敛沉稳；马的肌肉轮廓隐于笔墨间，皮毛质感温润如触。背景朱红印章错落，虽经岁月磨洗，却为古画添了历史厚重，仿佛窥见它辗转藏家之手的痕迹。整幅画简约却精妙，绢本底色古朴，人与马的默契在笔墨里流转，似无声诉说着草原与骏马的旧时光，尽显五代画马的神韵。",[23,68,24,28,29,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5154a5e27357cf871cc7c7491efae8d6.jpg","29.5x49.4cm",[117],{"id":1682,"slug":1683,"title":1684,"dynasty":106,"author":107,"museum":20,"description":1685,"tags":1686,"thumbUrl":1693,"material":72,"size":1694,"collection":98,"collections":1695,"showCount":1696,"zanCount":58,"manualWeight":58,"mainColor":171},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\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。",[24,25,68,87,967,28,29,1687,1688,30,7,789,1689,36,111,607,1690,1691,1692],"中西合璧技法","写实风格","射猎场景","自然景物","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],71,{"id":1698,"slug":1699,"title":1700,"dynasty":106,"author":107,"museum":234,"description":1701,"tags":1702,"thumbUrl":1703,"material":98,"size":98,"collection":98,"collections":1704,"showCount":1696,"zanCount":170,"manualWeight":58,"mainColor":59},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,68,24,25,28,29,30,7,164,90,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":1706,"slug":1707,"title":1708,"dynasty":176,"author":562,"museum":234,"description":1709,"tags":1710,"thumbUrl":1712,"material":198,"size":1713,"collection":75,"collections":1714,"showCount":1696,"zanCount":58,"manualWeight":58,"mainColor":59},218447,"ming-huang-guan-ji-tu-zhao-yong-218447","明皇观鸡图","两位人物和马匹的技法是用方正的铁线来描绘的，线条粗壮而精细，更让人联想到北宋李公麟柔和细腻的笔触，表现出人物的大衣、马匹的鬃毛和尾巴在风中飞舞的动作。色彩呈现出唐代的富丽堂皇，又不失文人的优雅，将厚重和明亮的色彩融为一体。树木是双层的，线条坚硬有力，继承了李唐甚至马远和夏圭的朴素。",[24,68,25,87,29,28,30,7,1711,376,94],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9647a159defd4650bccc45e107b570.jpg","118x67",[75],{"id":1716,"slug":1717,"title":1718,"dynasty":261,"author":454,"museum":1719,"description":1720,"tags":1721,"thumbUrl":1723,"material":98,"size":98,"collection":75,"collections":1724,"showCount":1725,"zanCount":170,"manualWeight":58,"mainColor":171},238562,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238562","明人升平翊赞图并书赞册","德国国立柏林民俗博物馆","此作工笔重彩，设色妍丽沉稳。朱漆楼宇界画工致，飞檐翼然，堂内宾主雅集宴乐，丝竹相和、把盏酬唱，一派闲雅升平。另一侧甲胄武士整队而来，鞍饰鲜亮、仪仗严整，赳赳威仪和宴饮雅趣相映成趣。\n山石松瀑勾勒细致，草木布景层次分明，人物衣纹走线考究，武士的英挺、宴客的雍容皆被细致摹写。以工致笔触铺陈出承平之世的礼乐典仪，将朝堂酬酢的盛大描摹尽致，处处流露着对盛世安稳的由衷赞颂。",[24,29,28,27,354,30,31,32,7,388,266,33,1098,1722],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6599ab556ad7494df2f3406cc7785279.jpg",[75,76],70,{"id":1727,"slug":1728,"title":1729,"dynasty":18,"author":1730,"museum":234,"description":1731,"tags":1732,"thumbUrl":1733,"material":98,"size":98,"collection":98,"collections":1734,"showCount":1725,"zanCount":58,"manualWeight":58,"mainColor":59},227806,"qing-lv-shan-shui-tu-ye-liu-song-nian-227806","青绿山水图页","刘松年","此作以青绿晕染山峦，淡墨勾勒丘壑轮廓，糅合精工雅致与烟火意趣。春柳垂荫如翠色帷幕，将画面切割出疏密层次，树下行人往来如织，或策马徐行，或驻足交谈，石桥下溪水流淌，三两村人浣洗休憩，鲜活的市井日常跃然纸面。\n\n远景峰峦逶迤，以石青石绿轻敷，敷色秀润沉稳，不见浓艳浮薄，将春日山野的明媚柔丽晕染开来。笔致细巧灵动，把山水之幽与俗世之暖相融，于尺幅之间铺展了一卷生机盎然的春日山居行乐图，尽显春日江南山野的悠然意韵。",[23,68,24,25,521,277,29,90,30,32,33,7,36,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F485a6a80668b2daa57a22eff4e87382a.jpg",[],{"id":1736,"slug":1737,"title":1738,"dynasty":18,"author":1739,"museum":207,"description":1740,"tags":1741,"thumbUrl":1744,"material":344,"size":1745,"collection":53,"collections":1746,"showCount":1725,"zanCount":256,"manualWeight":58,"mainColor":512},220074,"jia-pai-tu-quan-juan-gong-kai-220074","笳拍图全卷","龚开","宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,24,25,26,237,30,7,112,223,224,1742,1743],"草书","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a6695fc73019d28ed46873d7d95576.jpg","全卷30.6X770厘米",[53],{"id":1748,"slug":1749,"title":1750,"dynasty":18,"author":454,"museum":84,"description":1751,"tags":1752,"thumbUrl":1753,"material":198,"size":1754,"collection":53,"collections":1755,"showCount":1725,"zanCount":58,"manualWeight":58,"mainColor":171},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,68,25,90,29,89,1143,33,7,91,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[53],{"id":1757,"slug":1758,"title":1759,"dynasty":1760,"author":1761,"museum":234,"description":1762,"tags":1763,"thumbUrl":1767,"material":96,"size":283,"collection":1768,"collections":1769,"showCount":1770,"zanCount":170,"manualWeight":58,"mainColor":512},225660,"rembrandt-harmensz-van-rijn-070-lun-bo-lang-225660","Rembrandt Harmensz.van Rijn - 070","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。",[1173,1174,1764,1765,30,7,42,36,522,111,149,1176,1766],"明暗对比","光影","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae5e59524e7feb1d6ef620dba60f43f.jpg","油画精选",[1768],69,{"id":1772,"slug":1773,"title":1774,"dynasty":314,"author":315,"museum":316,"description":1775,"tags":1776,"thumbUrl":1777,"material":98,"size":98,"collection":98,"collections":1778,"showCount":1779,"zanCount":58,"manualWeight":58,"mainColor":171},220535,"da-shu-shuang-ma-xu-bei-hong-220535","大树双马","泼墨写就古木虬枝，浓淡墨色晕染出繁密冠盖，老干皴擦尽显饱经风霜的沉浑苍劲，带着穿越岁月的雄强生机。\n下方双马情态各异，棕马垂首缓行啮草，筋骨松弛尽显悠然意态，白马昂首长嘶，鬃毛飞扬神骏昂扬，一动一静相映成趣。\n画作融贯中西，以国画写意笔墨铺陈意境，暗合西画的形体结构，将古木的沧桑厚重与骏马的灵动勃发相融，浅淡远景晕染出郊野疏阔，藏着松弛野趣，尽显生命的不同姿态。",[23,24,88,29,7,388,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16779d29c7db2be6f8c5a99604e1dee9.jpg",[],68,{"id":1781,"slug":1782,"title":1783,"dynasty":176,"author":206,"museum":234,"description":1784,"tags":1785,"thumbUrl":1786,"material":98,"size":98,"collection":98,"collections":1787,"showCount":1788,"zanCount":58,"manualWeight":58,"mainColor":59},228019,"yang-fei-shang-ma-tu-chang-juan-qian-xuan-228019","杨妃上马图（长卷）","《题杨妃上马图》是宋朝著名文学家钱选的代表作品之一。\n宋 唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[23,24,25,68,26,29,28,30,7,70,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],67,{"id":1790,"slug":1791,"title":1792,"dynasty":176,"author":454,"museum":1793,"description":1794,"tags":1795,"thumbUrl":1798,"material":182,"size":1799,"collection":75,"collections":1800,"showCount":1801,"zanCount":11,"manualWeight":58,"mainColor":59},218944,"hu-ren-yu-ma-tu-yi-ming-218944","胡人圉马图","丹佛艺术博物馆","红衣宽袍的胡人侧立，毡帽下须髯轻垂，手中长鞭斜握，缰绳牵住花斑骏马。马身丰腴却见筋骨，花斑错落如流云散雪，鬃尾以浓淡墨色晕染，线条流畅间透着矫健。人与马的姿态舒缓，似在旷野缓行，素净的背景更衬出红衣的暖艳与马的沉静。笔致简练却神形毕肖，胡人眉眼间藏着游牧民族的质朴沉毅，骏马的温顺与灵动跃然纸上。画面虽静，却仿佛能感知风过草甸的轻响，尽显元代绘画面向生活的写实意趣与含蓄韵味。",[68,24,25,28,29,237,30,7,1796,681,1797],"胡人","马鞭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932df26e99bdc85330734a726db7ce26.jpg","29.5x45cm",[75],66,{"id":1803,"slug":1804,"title":1805,"dynasty":18,"author":454,"museum":518,"description":1806,"tags":1807,"thumbUrl":1810,"material":198,"size":1811,"collection":137,"collections":1812,"showCount":1801,"zanCount":170,"manualWeight":58,"mainColor":59},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[23,24,25,1808,29,90,30,32,7,91,376,1809,70,267,94],"扇面","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[137],{"id":1814,"slug":1815,"title":300,"dynasty":301,"author":302,"museum":234,"description":303,"tags":1816,"thumbUrl":1817,"material":96,"size":283,"collection":98,"collections":1818,"showCount":1819,"zanCount":58,"manualWeight":58,"mainColor":59},289896,"mu-ma-tu-han-gan-289896",[23,68,24,25,29,28,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea031dd7c59d609e4f87f16a0424441.jpg",[],65,{"id":1821,"slug":1822,"title":1823,"dynasty":1760,"author":1824,"museum":234,"description":1825,"tags":1826,"thumbUrl":1833,"material":96,"size":283,"collection":98,"collections":1834,"showCount":1819,"zanCount":170,"manualWeight":58,"mainColor":59},230657,"yao-shen-xiang-xi-zang-tang-ka-230657","药神像","西藏唐卡","西藏唐卡是用彩缎装饰成的一种卷轴画，多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡，历来被人们视为珍宝。\n西藏唐卡是用彩缎装饰成的一种卷轴画，具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，历来被人们视为珍宝。唐卡的质地是多种多样的。多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[23,721,1827,29,30,1066,7,1828,1829,1830,1831,1832,28],"布料","莲花","火焰","法轮","纹饰","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F028ee73993c9fc718ee7851c324b4215.jpg",[],{"id":1836,"slug":1837,"title":1838,"dynasty":18,"author":454,"museum":573,"description":1839,"tags":1840,"thumbUrl":1841,"material":135,"size":1842,"collection":98,"collections":1843,"showCount":1819,"zanCount":170,"manualWeight":58,"mainColor":512},223493,"ming-huang-xing-shu-tu-zhou-yi-ming-223493","明皇幸蜀图轴","此画绘安史之乱之后，唐玄宗李隆基离开长安逃往巴蜀避难的故事。一群人仓促慌乱而逃，此时杨贵妃已经被唐玄宗赐死于马嵬坡，而画面中无人骑行的白马，应该就是杨贵妃死前的坐骑。",[23,24,29,90,30,87,89,7,91,36,94,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9c78e8345ce04c7530887632de2f2.jpg","33x45",[],{"id":1845,"slug":1846,"title":1847,"dynasty":106,"author":454,"museum":385,"description":1848,"tags":1849,"thumbUrl":1852,"material":198,"size":98,"collection":75,"collections":1853,"showCount":1819,"zanCount":256,"manualWeight":58,"mainColor":59},219478,"hu-ren-xing-lv-tu-yi-ming-219478","胡人行旅图","此作以枯寂寒荒的塞外平野为底，疏槎兀立，淡墨晕染出土石的荒寒之气。画面里的行旅队伍意态生动，有人策骑缓行，裹紧衣袍抵御朔风，有人牵马驻足，与同伴低语暂歇，鞍上驮囊暗合行路迢遥。\n\n笔触简淡古雅，设色沉着温润，将边地行旅的羁旅劳顿，同侪间的松弛慰藉细腻铺陈。未刻意描摹壮阔景致，只截取这一段行路日常，便将塞外游子的漂泊况味尽显，带着质朴厚重的边地生活质感，淡远的氛围感勾画出羁旅之人的漫漫归途。",[68,24,29,30,7,630,94,1850,1197,1851],"羁旅","塞外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64831dedfb1933a98537829e6477b59c.jpg",[75],{"id":1855,"slug":1856,"title":1857,"dynasty":301,"author":1858,"museum":234,"description":1859,"tags":1860,"thumbUrl":1861,"material":98,"size":98,"collection":98,"collections":1862,"showCount":1863,"zanCount":170,"manualWeight":58,"mainColor":59},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","李昭道","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[24,29,90,89,523,694,376,7,35,30,32,33,91,266,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":1865,"slug":1866,"title":1867,"dynasty":106,"author":1868,"museum":84,"description":1869,"tags":1870,"thumbUrl":1871,"material":29,"size":1872,"collection":137,"collections":1873,"showCount":1863,"zanCount":58,"manualWeight":58,"mainColor":171},220983,"fang-guo-xi-han-shan-xing-lv-yun-shou-ping-220983","仿郭熙寒山行旅","恽寿平","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,29,69,89,90,91,630,536,1197,94,1640,1239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5acd697e8aabd17c2b3f85707c6b56.jpg","77.2厘米",[137,55],{"id":1875,"slug":1876,"title":1877,"dynasty":314,"author":315,"museum":316,"description":1878,"tags":1879,"thumbUrl":1880,"material":98,"size":98,"collection":98,"collections":1881,"showCount":1863,"zanCount":58,"manualWeight":58,"mainColor":171},220541,"san-ma-tu-yue-sheng-xu-bei-hong-220541","三马图(月升)","画面构图错落雅致，上方三马各有意趣。两匹垂首缓行，鬃毛垂顺，低首啮食尽显温驯松弛，水墨晕染间将骏马肌理骨相勾勒分明。另一匹昂首提蹄，鬃尾飞扬，筋骨勃发满是奔腾的野逸生气，寥寥数笔便将骏马的灵动与劲硕全然彰显。\n\n右下角晚秋枯树以淡赭点染残叶，清冷萧疏的静气，恰好衬得骏马愈发蓬勃俊朗。左侧题字笔力苍劲，与画中笔墨融作一体。整幅落笔简劲写意，以形写神，将生灵的蓬勃生机与沉静氛围感交织，尽显写意画的含蓄韵致，把骏马神形风骨尽现笔端。",[23,68,24,25,88,29,1174,889,7,376,1809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93e961915d8db09e0e734cbfad68664.jpg",[],{"id":1883,"slug":1884,"title":1885,"dynasty":106,"author":1280,"museum":84,"description":1886,"tags":1887,"thumbUrl":1888,"material":344,"size":1889,"collection":75,"collections":1890,"showCount":1891,"zanCount":58,"manualWeight":58,"mainColor":171},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,24,25,26,29,28,30,7,36,91,69,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[75,76],63,{"id":1893,"slug":1894,"title":1895,"dynasty":106,"author":1896,"museum":20,"description":1897,"tags":1898,"thumbUrl":1899,"material":391,"size":1900,"collection":137,"collections":1901,"showCount":1891,"zanCount":58,"manualWeight":58,"mainColor":171},220115,"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","吴历","此图是吴历晚年的代表作之一，为其好友民誉（姓金，名造士）所藏。图中重点描绘了近景的柳树。其柳叶以中锋落笔点染，表现出秋风中柳叶含烟带露的柔美，又通过水墨的浓淡层次变化显现出柳叶交叠错落的自然风貌，体现了吴历工细写实的画风特点。",[23,24,88,90,87,89,1131,376,267,30,7,48,523,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[137,55],{"id":1903,"slug":1904,"title":1905,"dynasty":125,"author":1906,"museum":84,"description":1907,"tags":1908,"thumbUrl":1909,"material":198,"size":1910,"collection":75,"collections":1911,"showCount":1912,"zanCount":170,"manualWeight":58,"mainColor":59},220250,"she-qi-tu-li-zan-hua-220250","射骑图","李赞华","《射骑图》画在一匹装饰得很华丽的骏马面前，站立着一位中年的契丹贵族，服饰上有着“髡发左衽”的特点。所谓髡发，就是剃光了头顶，四周蓄着一圈头发，额前较短，两鬓较长，后面还梳了两根细辫子，辫梢绕着一个小圆圈。画中人物还着左衽的中衣，外罩圆领窄袖的长袍，袍长过膝，腰里裹着一块白色的皮筒卷，即田猎时所穿的“杆腰”，上束金银装饰的皮带。左边腰间挎着一个弓瞍（囊），右边胁下很显著的地方挂着一个长袋子，中间缝一块虎皮，周围装饰着很深的黑色毛皮，袋子上部有球状圆顶，看来这个袋子大约是一个箭筒。",[23,24,68,28,29,30,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c627e579c074623886c010c525eb1.jpg","纵27.1厘米，横49.5厘米",[75],62,{"id":1914,"slug":1915,"title":1916,"dynasty":176,"author":442,"museum":84,"description":1917,"tags":1918,"thumbUrl":1919,"material":198,"size":1920,"collection":117,"collections":1921,"showCount":1912,"zanCount":170,"manualWeight":58,"mainColor":59},218830,"shuang-ji-tu-zhou-zhao-meng-fu-218830","双骥图轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[24,87,29,28,30,7,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25d8ef2b999b84e7d49b2c4aee4162.jpg","102.8x50.9cm",[117],{"id":1923,"slug":1924,"title":1925,"dynasty":176,"author":177,"museum":1118,"description":1119,"tags":1926,"thumbUrl":1927,"material":166,"size":1928,"collection":75,"collections":1929,"showCount":1930,"zanCount":170,"manualWeight":58,"mainColor":59},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[23,24,25,26,28,29,7,30,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[75,76],61,{"id":1932,"slug":1933,"title":1934,"dynasty":261,"author":1935,"museum":518,"description":1936,"tags":1937,"thumbUrl":1939,"material":198,"size":1940,"collection":117,"collections":1941,"showCount":1930,"zanCount":58,"manualWeight":58,"mainColor":59},220339,"tan-mei-tu-chen-hong-shou-220339","探梅图","陈洪绶","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,24,25,87,28,29,30,7,1938,90,376,249,33],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[117,76],{"id":1943,"slug":1944,"title":1945,"dynasty":125,"author":1946,"museum":84,"description":1947,"tags":1948,"thumbUrl":1949,"material":198,"size":1950,"collection":75,"collections":1951,"showCount":1930,"zanCount":58,"manualWeight":58,"mainColor":59},220246,"chu-lie-tu-hu-gui-220246","出猎图","胡瓌","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[23,24,25,68,29,28,30,7,94,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","32.9x44.3",[75],{"id":1953,"slug":1954,"title":1955,"dynasty":18,"author":1338,"museum":234,"description":1956,"tags":1957,"thumbUrl":1958,"material":198,"size":1959,"collection":75,"collections":1960,"showCount":1930,"zanCount":170,"manualWeight":58,"mainColor":59},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照（公元1131年-公元1162年），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,24,68,26,28,29,89,90,30,31,7,266,36,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[75],{"id":1962,"slug":1963,"title":1964,"dynasty":18,"author":398,"museum":20,"description":1965,"tags":1966,"thumbUrl":1967,"material":906,"size":1968,"collection":75,"collections":1969,"showCount":1930,"zanCount":256,"manualWeight":58,"mainColor":59},218626,"tang-feng-tu-ce-ma-he-zhi-218626","唐风图册","马和之，生卒年月不详，钱塘人（杭州），南宋著名人物画家，主要社会活动在高宗时期。据记载马和之的官方身份为画院待诏，又有文献说他曾考中进士，官至工部或兵部侍郎。这么看，在南宋画院中，马和之身份特殊，不是一般的伎术官员。南宋末期的著名文人周密说他为画师之首，语意是模糊的，具体情况有待学术界去研讨清晰。\n在绘画上，马和之以人物画著称。他的绘画技术主要学习唐代吴道子、宋代李公麟两家。技术成熟期的马和之，在吴、李基础上，独创了人物形象的独特描摹技术：柳叶描（又称蚂蟥描）。这种描法的线条粗细变化丰富，用笔起伏明显，清俊不羁，活泼潇洒，韵味十足。因他创作上的成就斐然，人们以“小吴生”称之，将其置于吴道\n子这类大师的行列。南宋以后的绘画大家黄公望、吴镇、唐寅、任伯年、徐悲鸿等人皆对其推崇备至。\n马和之的传世作品尚有很多，其中《后赤壁赋图》、《 古木流泉图 》及取材《 诗经》的组图等。《诗经组图》是马和之的代表性作品，它的产生起因于宋高宗亲自书写的三百篇书法，配图是马和之完成的。这套组图，常见的有故宫博物院现藏的《小雅·鹿鸣之什图》卷、《节南山之什图》卷、《豳风图》卷。辽宁省博物馆现藏的《唐风图》卷、《鲁颂三篇图》卷、《周颂·清庙之什图》卷等。此外国内外的其他机构还有《豳风》等。",[23,24,25,354,237,30,90,36,266,267,7,33,94,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4354616319dfc9cc139b7b4d768562fa.jpg","27x44.7cm",[75],{"id":1971,"slug":1972,"title":218,"dynasty":18,"author":219,"museum":20,"description":1973,"tags":1974,"thumbUrl":1975,"material":166,"size":1976,"collection":98,"collections":1977,"showCount":1978,"zanCount":256,"manualWeight":58,"mainColor":171},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,24,25,26,29,28,7,30,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],60,{"id":1980,"slug":1981,"title":1982,"dynasty":106,"author":454,"museum":84,"description":1983,"tags":1984,"thumbUrl":1985,"material":182,"size":1986,"collection":117,"collections":1987,"showCount":1978,"zanCount":170,"manualWeight":58,"mainColor":171},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 是一件佚名的清朝时期的著名画作。这幅画描绘了一匹神骏的马，看起来非常生动和真实。据说这幅画是宣宗本人亲笔题写的，因此得名。宣宗（生于1711年，卒于1735年）是清朝乾隆皇帝的第三个儿子，在位期间，他对文化艺术有着浓厚的兴趣。这幅画被认为是宣宗对艺术的贡献之一，同时也是清朝时期的艺术瑰宝。",[23,24,25,29,28,7,222,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5818583a57e5269ba4a314a5f27b2ed.jpg","292.6x257.3cm",[117],{"id":1989,"slug":1990,"title":1991,"dynasty":106,"author":1992,"museum":84,"description":1993,"tags":1994,"thumbUrl":1995,"material":182,"size":98,"collection":98,"collections":1996,"showCount":1978,"zanCount":58,"manualWeight":58,"mainColor":171},214842,"xie-sheng-ce-19-hua-yan-214842","写生册-19","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,25,354,88,29,7,630,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f06695717fd42b73d213f402b2362a.jpg",[],{"id":1998,"slug":1999,"title":410,"dynasty":18,"author":233,"museum":234,"description":2000,"tags":2001,"thumbUrl":2002,"material":96,"size":283,"collection":98,"collections":2003,"showCount":2004,"zanCount":58,"manualWeight":58,"mainColor":171},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[23,68,24,25,26,237,29,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],59,{"id":2006,"slug":2007,"title":2008,"dynasty":261,"author":2009,"museum":234,"description":2010,"tags":2011,"thumbUrl":2012,"material":98,"size":98,"collection":98,"collections":2013,"showCount":2004,"zanCount":296,"manualWeight":58,"mainColor":171},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","孙枝","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 摹吴镇、倪云林山水卷 二四周天球 兰花图金面扇页 二五孙克弘 墨竹图 二六陈嘉言 水仙梅雀图轴 二七丁云鹏 秋山远眺图幅 二八董其昌 绿溪清嶂图 二九陈裸 野屋寒水图扇页 三○米万钟 三一归昌世 竹石图轴 三二李流芳 仿宋元各家山水 三三顾凝远 吴中名胜十景图 三四张宏等 八家送寇慎去官图册 三五蓝瑛 松岩观瀑图轴 三六蓝瑛 仿大痴山轴 三七伍瑞隆 墨牡丹图轴 三八吴彬 仙楼飞撷图轴 三九何适 林中草亭图轴 四○孙枝 踏雪访友图轴 四一唐志 契门泊渔舟图轴 四二濮桓 芝石图 四三周之冕 杏花锦鸡图轴 四四周臣 桃花源图 四五陈章侯、 胡华鬟山水梅花合册 四六江必名 白雪高风图 四七侯懋功 为秦山作山水扇页 四八李士达 西园雅集图卷 四九王翘 花蝶草虫卷 五○尤求 白描饮中八仙图卷 五一钱贡 福源寺图卷 五二恽向 仿古山水册 五三袁尚统 迎春图轴 五四项圣谟 山水兰竹图 五五郑元勋 临石田山水幅 五六陈洪绶扑蝶图扇面 五七陈洪绶何天章行乐图卷 五八万寿祺 五九王时敏端阳墨花轴 六○王时敏山水轴 六一王时敏秋山晓霁图 六二王鉴虞山十景册 六三程遂为烟翁作山水轴 六四黄向坚万里寻亲图轴 六五龚贤墨笔山水册 六六龚贤山水卷 六七朱轩山水册 六八徐枋北苑山水 六九罗牧山水轴 七○王犟仿范宽山水轴 七一王犟山水册 七二王武水仙湖石图轴 七三恽寿平山水、花卉册 七四上睿为梅作行乐图册 七五原济广陵茱萸湾图扇页 七六原济六君子图幅 七七王原祁仿大痴山水幅 七八王原祁仿梅道人秋山图幅 七九王原祁仿赵大年江乡春晓图轴 八○王啄祁仿大痴富春大岭图轴 八一查士标溪山佳处图轴 八二华邑、许滨桃柳双鸭图幅 八三华嵒宋儒诗意图轴 八四沈铨碧梧栖凤图 八五高凤翰甘菊图 八六边寿民芦帷册 八七张庚仿北苑夏山图幅 八八李鱓芍药图轴 八九李鱓风雨芭蕉图轴 九○李鱓、陈撰等（六人合作）花果扇页 九一金农香林扫塔图轴 九二黄慎群盲聚讼人物轴 九三黄慎八仙 九四高翔临倪瓒竹树小山图扇页 九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,24,25,68,87,29,28,89,90,30,7,266,389,388,1143,748,523,249,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":2015,"slug":2016,"title":2017,"dynasty":106,"author":2018,"museum":234,"description":2019,"tags":2020,"thumbUrl":2021,"material":344,"size":2022,"collection":117,"collections":2023,"showCount":2004,"zanCount":58,"manualWeight":58,"mainColor":171},222710,"an-ma-tu-jin-nong-222710","鞍马图","金农","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[23,24,25,87,88,29,30,7,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[117,76],{"id":2025,"slug":2026,"title":2027,"dynasty":18,"author":1739,"museum":1495,"description":2028,"tags":2029,"thumbUrl":2031,"material":344,"size":2032,"collection":53,"collections":2033,"showCount":2004,"zanCount":58,"manualWeight":58,"mainColor":171},221449,"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[23,24,26,237,88,30,2030,7,164,163],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[53,137,76],{"id":2035,"slug":2036,"title":2037,"dynasty":314,"author":315,"museum":316,"description":2038,"tags":2039,"thumbUrl":2040,"material":98,"size":98,"collection":98,"collections":2041,"showCount":2042,"zanCount":170,"manualWeight":58,"mainColor":171},220549,"san-ma-tu-xu-bei-hong-220549","三马图","此作融贯中西绘艺，古松虬枝苍劲，以传统笔墨铺就清旷郊野底色，皴擦点染间尽显古木沉雄苍浑的气韵。三马姿态各殊，白马静立垂眸，神气温驯柔润；黑马昂首徐行，筋骨舒展俊朗；幼驹灵动跃动，尽显稚拙生机。创作者以西方写实技法晕染皮毛肌肉，精准还原骏马的光影层次与质感肌理，又以东方写意笔墨捕捉马匹灵动神韵，将鞍马题材的意趣与写实表现力相融，让骏马的蓬勃生气跃然纸上，尽显精湛笔力与贯通东西的审美意趣。",[24,29,7,248,111,130,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6df961ea9771a654e3dbac5c726ff8b.jpg",[],58,{"id":2044,"slug":2045,"title":300,"dynasty":106,"author":2046,"museum":263,"description":2047,"tags":2048,"thumbUrl":2049,"material":198,"size":2050,"collection":117,"collections":2051,"showCount":2042,"zanCount":58,"manualWeight":58,"mainColor":59},219351,"mu-ma-tu-shen-quan-219351","沈铨","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[23,24,68,25,87,28,29,7,630,388,222,90,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[117,76],{"id":2053,"slug":2054,"title":2055,"dynasty":176,"author":562,"museum":234,"description":1709,"tags":2056,"thumbUrl":2058,"material":198,"size":1713,"collection":75,"collections":2059,"showCount":2042,"zanCount":58,"manualWeight":58,"mainColor":59},218448,"tai-zong-chu-lie-tu-zhao-yong-218448","太宗出猎图",[68,24,29,30,7,248,736,2057],"铁线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475cc26186ca387c2bdcd4b595d81ae6.jpg",[75],{"id":2061,"slug":2062,"title":2063,"dynasty":18,"author":454,"museum":234,"description":2064,"tags":2065,"thumbUrl":2067,"material":98,"size":98,"collection":98,"collections":2068,"showCount":2069,"zanCount":170,"manualWeight":58,"mainColor":171},223668,"xue-shan-xing-qi-tu-ye-yi-ming-223668","雪山行骑图页","此作用淡墨晕染萧寒天色，以敷粉留白晕染山石积雪，遍铺清寂冷冽的冬日元气。琼峰素裹，梢顶微缀暖色苔点，打破素白单调。近岸丹枫凝红，暖色调破开漫天寒意，冷暖和融，愈显冬日山林的幽寂旷远。\n天际寒鸦数点，更衬天地空茫。溪岸小径之上，行旅策蹇徐行，身影渺小却点睛，将羁旅的萧索孤清缓缓铺陈，把冬日行役的荒寒况味藏于尺幅小景之中。笔意简淡清润，以小见大，尽显幽远冷隽的山水意趣，藏着细腻的冬旅体察。",[23,68,24,25,354,29,28,90,195,7,30,36,2066],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9779e57a11c43e5207a10113109fa36.jpg",[],57,{"id":2071,"slug":2072,"title":2073,"dynasty":18,"author":703,"museum":234,"description":2074,"tags":2075,"thumbUrl":2076,"material":135,"size":2077,"collection":53,"collections":2078,"showCount":2069,"zanCount":256,"manualWeight":58,"mainColor":59},221512,"jin-ma-tu-chen-ju-zhong-221512","进马图","陈居中(生卒年不详)，南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年(1207年)为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。\n虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。\n这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,68,24,25,28,29,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6e4e525e0769c2739e54550a170481.jpg","21×32",[53,117,76],{"id":2080,"slug":2081,"title":2082,"dynasty":106,"author":1280,"museum":84,"description":1281,"tags":2083,"thumbUrl":1283,"material":391,"size":2085,"collection":75,"collections":2086,"showCount":2069,"zanCount":58,"manualWeight":58,"mainColor":171},219553,"qing-ding-guan-peng-ming-huang-ji-ju-ding-guan-peng-219553","清丁观鹏明皇击鞠",[23,68,24,25,26,28,237,29,30,7,2084,70],"击鞠","32.1x523.2厘米",[75,55],{"id":2088,"slug":2089,"title":2090,"dynasty":261,"author":2091,"museum":207,"description":2092,"tags":2093,"thumbUrl":2094,"material":198,"size":2095,"collection":75,"collections":2096,"showCount":2069,"zanCount":170,"manualWeight":58,"mainColor":59},218308,"ri-ben-ma-wei-po-tu-du-bian-nan-yue-218308","日本· 马嵬坡图","渡辺南岳","云气似墨色的叹息漫过绢素，马鬃的飞白牵起驿道的余尘。仕女鬓间花钿仍艳，眉目却笼着化不开的戚然，被壮汉扶持的姿态里，藏着命运碾过的无力。红衣武士神情沉肃，红衣如燃在沉暗里的火，攥缰的手、扶肩的臂，每处动作都透着决绝。马的蹄足微顿，似刹那间感知周遭凝重，却挣不脱历史的羁縻。衣纹细腻勾勒，色彩冷暖碰撞，将马嵬坡前的紧张与悲凉凝在方寸间——那场王朝悲歌未随尘烟散去，反倒在笔墨里沉淀成永恒叹息，让观者触到千年之前的无奈与沉重。",[24,29,28,30,7,210,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e6184f3d5e506792d7c8e00b8b35229.jpg","162.8x98.6",[75],{"id":2098,"slug":2099,"title":2100,"dynasty":106,"author":107,"museum":20,"description":914,"tags":2101,"thumbUrl":2103,"material":166,"size":917,"collection":117,"collections":2104,"showCount":2105,"zanCount":58,"manualWeight":58,"mainColor":59},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图",[23,28,29,7,129,30,111,249,36,1217,2102],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg",[117,76],56,{"id":2107,"slug":2108,"title":2109,"dynasty":106,"author":107,"museum":84,"description":2110,"tags":2111,"thumbUrl":2112,"material":198,"size":2113,"collection":76,"collections":2114,"showCount":2105,"zanCount":170,"manualWeight":58,"mainColor":171},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[24,68,87,29,28,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[76],{"id":2116,"slug":2117,"title":2118,"dynasty":18,"author":454,"museum":234,"description":2119,"tags":2120,"thumbUrl":2121,"material":135,"size":2122,"collection":53,"collections":2123,"showCount":2105,"zanCount":170,"manualWeight":58,"mainColor":59},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,68,24,25,29,89,90,388,266,33,30,7,70,91,32,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[53],{"id":2125,"slug":2126,"title":2127,"dynasty":176,"author":454,"museum":385,"description":2128,"tags":2129,"thumbUrl":2130,"material":198,"size":2131,"collection":75,"collections":2132,"showCount":2105,"zanCount":170,"manualWeight":58,"mainColor":59},219007,"shou-lie-tu-yi-ming-219007","狩猎图","猎手策马前行，肩挎箭囊的弧度里藏着草原的风，暖黄衣袍与黑马的沉墨撞出视觉张力，粗砺笔触勾出游牧者的剽悍。猎犬腾跃紧随，四肢的动感与马的沉稳形成呼应，背景晕染的朦胧弱化了具体场景，却让狩猎的紧张感直抵人心。墨色的浓淡晕染出马匹的肌理，衣纹的褶皱里藏着动作的余韵，没有繁复修饰，却将猎场上的瞬间生机与豪迈气慨鲜活铺展——每一笔都是对生活本真的捕捉，仿佛能听见马蹄踏过草地的声响，看见猎手眼中的锐利与专注，让游牧民族狩猎时的粗犷与灵动，在岁月里静静流淌。",[24,29,30,7,222,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14464278e09077cfad9f79eba8cf35e5.jpg","24.4x27.4cm",[75],{"id":2134,"slug":2135,"title":2136,"dynasty":176,"author":442,"museum":573,"description":2137,"tags":2138,"thumbUrl":2140,"material":72,"size":2141,"collection":137,"collections":2142,"showCount":2143,"zanCount":170,"manualWeight":58,"mainColor":59},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,68,24,25,26,987,29,28,30,7,33,36,111,91,2139,114],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[137],55,{"id":2145,"slug":2146,"title":2147,"dynasty":176,"author":562,"museum":2148,"description":2149,"tags":2150,"thumbUrl":2151,"material":166,"size":2152,"collection":117,"collections":2153,"showCount":2143,"zanCount":170,"manualWeight":58,"mainColor":59},221868,"ma-yuan-hou-tu-zhao-yong-221868","马猿猴图","日本京都国立博物馆","图绘一马一猴，棕色老马微闭眼，卧于地，四蹄白额；三只猴子趴在马背上，前臂紧紧箍住马宽，生怕被翻倒。",[23,24,25,29,28,7,1476,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1442745ce95163d515106a3804234b.jpg","32.3×31.7cm",[117,76],{"id":2155,"slug":2156,"title":2157,"dynasty":176,"author":562,"museum":573,"description":2158,"tags":2159,"thumbUrl":2160,"material":938,"size":2161,"collection":75,"collections":2162,"showCount":2143,"zanCount":256,"manualWeight":58,"mainColor":59},221862,"xian-xian-tu-juan-zhao-yong-221862","先贤图卷","赵雍，字仲穆，吴兴（今浙江湖州）人，元代书画家，赵孟頫之子。擅山水画，尤精人物鞍马，亦作界画。书法善长正书，行书，草书和篆书，精通鉴赏。",[23,24,25,26,29,28,30,90,7,376,1043,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8403e17bbe756dab1b941b50b1cce0ba.jpg","纵29.3厘米，横208.7厘米",[75,76],{"id":2164,"slug":2165,"title":2166,"dynasty":314,"author":315,"museum":2167,"description":2168,"tags":2169,"thumbUrl":2170,"material":98,"size":98,"collection":98,"collections":2171,"showCount":2143,"zanCount":170,"manualWeight":58,"mainColor":171},220543,"shuang-jun-xu-bei-hong-220543","双骏","龙美术馆西岸馆","浓淡墨色铺就两匹俊马的迥异姿态，黑马垂首衔草，浓墨泼写鬃尾，焦墨勒出筋肉起伏，留白提亮的蹄足莹润干净，尽显温驯悠然。红马昂首长嘶，赭红染就躯体，飞扬的鬃发如流云翻涌，线条劲挺利落，将烈马桀骜悍勇的气魄尽数挥洒。\n\n以写意笔法勾勒马的肌理轮廓，揉合西洋写实的精准与东方水墨的灵逸，寥寥数笔便将骏马筋骨与神采凝于纸面。画面留白营造出郊野的空寂悠远，边角题字补全章法，文气与画意相融，将生灵蓬勃的野性生机定格于尺幅间，尽显骏马的不屈风骨。",[23,68,24,25,88,29,889,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a982798b011d434271fc901fb3e82.jpg",[],{"id":2173,"slug":2174,"title":2175,"dynasty":18,"author":454,"museum":234,"description":2176,"tags":2177,"thumbUrl":2179,"material":98,"size":98,"collection":98,"collections":2180,"showCount":2181,"zanCount":58,"manualWeight":58,"mainColor":59},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,24,26,69,29,28,237,90,30,534,535,7,31,36,536,1153,280,2178,42,91,41],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],54,{"id":2183,"slug":2184,"title":2185,"dynasty":176,"author":442,"museum":207,"description":2186,"tags":2187,"thumbUrl":2188,"material":198,"size":2189,"collection":75,"collections":2190,"showCount":2181,"zanCount":256,"manualWeight":58,"mainColor":171},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,26,28,29,223,70,7,222,376,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[75,76],{"id":2192,"slug":2193,"title":2194,"dynasty":18,"author":1739,"museum":718,"description":2195,"tags":2196,"thumbUrl":2197,"material":2198,"size":2199,"collection":117,"collections":2200,"showCount":2181,"zanCount":170,"manualWeight":58,"mainColor":171},218938,"jun-gu-tu-gong-kai-218938","骏骨图","《骏骨图》绘一匹老马，瘦骨嶙峋，低首漫步风中，无辔头、缰绳，鬓尾在风中微动，腰间15条肋骨历历可数，铜骨铁臀，精神矍铄，仍有千里之志。",[23,24,25,26,237,88,7,223,224,1742,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","水墨,纸本","纵29.9厘米，横56.9厘米",[117,405,55],{"id":2202,"slug":2203,"title":2204,"dynasty":301,"author":2205,"museum":84,"description":2206,"tags":2207,"thumbUrl":2208,"material":198,"size":2209,"collection":75,"collections":2210,"showCount":2181,"zanCount":170,"manualWeight":58,"mainColor":171},218899,"shuang-qi-tu-wei-yan-218899","双骑图","韦偃","此图表现两人各乘一马，并辔狂纵之情景，构图、造形、用笔皆显示了韦偃画马艺术之非凡才能和独特风格，韦偃从主题效果着眼，注重画面气势，往往于险中见胜，不稳中见稳，使画面绝处逢生，平中生奇。",[23,68,24,25,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b078e9b0d663299c9f5600a79bc8e1.jpg","纵31厘米，横44.5厘米",[75],{"id":2212,"slug":2213,"title":2214,"dynasty":261,"author":2215,"museum":20,"description":2216,"tags":2217,"thumbUrl":2218,"material":198,"size":2219,"collection":137,"collections":2220,"showCount":2181,"zanCount":58,"manualWeight":58,"mainColor":59},218760,"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","朱端","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[23,24,25,87,29,28,89,30,7,734,90,91,36,94,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[137,75],{"id":2222,"slug":2223,"title":2224,"dynasty":125,"author":2225,"museum":1495,"description":2226,"tags":2227,"thumbUrl":2228,"material":135,"size":2229,"collection":98,"collections":2230,"showCount":2231,"zanCount":58,"manualWeight":58,"mainColor":59},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,24,25,26,28,29,30,7,222,630,388,223,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],53,{"id":2233,"slug":2234,"title":300,"dynasty":301,"author":454,"museum":2235,"description":2236,"tags":2237,"thumbUrl":2238,"material":135,"size":2239,"collection":98,"collections":2240,"showCount":2231,"zanCount":170,"manualWeight":58,"mainColor":59},223575,"mu-ma-tu-yi-ming-223575","新疆维吾尔自治区博物馆","此画的主题是骏马和马伕，作者用刚劲柔韧的线条勾画了一匹骏马，此马膘肥体壮，那矫健的身影，有的线条所表现的挺劲的马腿，生动的墨色表现出拂动的马鬃和马尾，表现骏马刚柔相济的魅力，更强化了静中之动的魅力。",[23,24,29,28,30,7,267,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517c6668fc9d4ef9e4071361a4ccaf95.jpg","纵53．5厘米，横22．3厘米",[],{"id":2242,"slug":2243,"title":2244,"dynasty":176,"author":177,"museum":2245,"description":2246,"tags":2247,"thumbUrl":2248,"material":198,"size":98,"collection":117,"collections":2249,"showCount":2231,"zanCount":58,"manualWeight":58,"mainColor":59},219096,"si-ma-tu-ren-ren-fa-219096","饲马图","维多利亚和阿尔伯特博物馆","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[68,24,25,987,28,29,30,7,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[117],{"id":2251,"slug":2252,"title":2253,"dynasty":261,"author":2254,"museum":84,"description":2255,"tags":2256,"thumbUrl":2258,"material":182,"size":2259,"collection":75,"collections":2260,"showCount":2231,"zanCount":58,"manualWeight":58,"mainColor":59},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,25,28,29,721,30,7,376,90,91,111,42,70,280,2257],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[75],{"id":2262,"slug":2263,"title":2264,"dynasty":261,"author":2265,"museum":207,"description":2266,"tags":2267,"thumbUrl":2268,"material":182,"size":2269,"collection":137,"collections":2270,"showCount":2231,"zanCount":170,"manualWeight":58,"mainColor":171},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[23,24,25,87,88,89,90,388,389,32,33,7,30,91,36,70,1142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[137],{"id":2272,"slug":2273,"title":2274,"dynasty":106,"author":107,"museum":84,"description":2275,"tags":2276,"thumbUrl":2277,"material":198,"size":2278,"collection":76,"collections":2279,"showCount":2280,"zanCount":256,"manualWeight":58,"mainColor":171},219421,"shi-jun-tu-zhi-ben-xiao-cong-zhou-lang-shi-ning-219421","十骏图之奔霄骢轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物花鸟，尤善犬马。翁牛特贝勒彭苏克于乾隆八（西元一七四三）年，进贡骏马一匹。郎氏奉命写生，大小尺寸与真马近似，故生动逼真。",[24,25,87,29,28,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88cc43dc7390def7e0d6582757e42846.jpg","240x270.5",[76],52,{"id":2282,"slug":2283,"title":2284,"dynasty":176,"author":2285,"museum":84,"description":2286,"tags":2287,"thumbUrl":2288,"material":182,"size":2289,"collection":75,"collections":2290,"showCount":2280,"zanCount":58,"manualWeight":58,"mainColor":1661},218831,"xiang-ma-tu-zhou-zhao-lin-218831","相马图轴","赵麟","赵麟（西元十四世纪），浙江吴兴人。雍之子，孟俯之孙，字彦征，官浙江省检校。工书，善画人物，至正壬午（一三四二年）作春山图，乙巳（一三六五年）作洗马图。赵麟画传世绝少，此帧画老树枯枝，藤萝缠绕。一人朱衣纱帽，坐树根。前一马低首啮草。其人端详视其骨相以度骏驽。人物衣褶、马之鬃鬣，皆细劲有力。树稍逊，款书极得家法。",[24,25,68,87,29,28,30,7,389,388,130,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac95bc04a45d346bbbbee2ed1b2bee5.jpg","95.7x30.1cm",[75],{"id":2292,"slug":2293,"title":2294,"dynasty":301,"author":1858,"museum":234,"description":2295,"tags":2296,"thumbUrl":2297,"material":96,"size":283,"collection":98,"collections":2298,"showCount":2299,"zanCount":58,"manualWeight":58,"mainColor":59},288262,"hu-ting-you-qi-tu-li-zhao-dao-288262","湖亭游骑图","李家画山水，构图复杂而巧妙。常以均匀的细笔画出山石树木轮廓，再填染赭石、石青、石绿等浓重的颜色。还常再加上泥金的线条，衬在山石轮廓线的内侧，特别显出金碧辉煌的感觉。后人称为“青绿”山水，为“北宗”所主。这一幅是属于李家山水法，画幅右下角有“李昭道画”的落款。",[23,24,277,29,90,27,31,32,266,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa461a3188e9dc97ebe9f0559f0d8fe9c.jpg",[],51,{"id":2301,"slug":2302,"title":2303,"dynasty":261,"author":2304,"museum":20,"description":2305,"tags":2306,"thumbUrl":2309,"material":252,"size":98,"collection":98,"collections":2310,"showCount":2299,"zanCount":58,"manualWeight":58,"mainColor":171},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,29,28,88,90,30,339,33,36,7,2307,2308,388,266,94,1369],"岸","江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":2312,"slug":2313,"title":2314,"dynasty":261,"author":454,"museum":84,"description":2315,"tags":2316,"thumbUrl":2317,"material":72,"size":2318,"collection":98,"collections":2319,"showCount":2299,"zanCount":170,"manualWeight":58,"mainColor":59},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,24,25,26,29,28,30,7,90,36,1153,708,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":2321,"slug":2322,"title":2323,"dynasty":106,"author":454,"museum":385,"description":2324,"tags":2325,"thumbUrl":2326,"material":198,"size":2327,"collection":75,"collections":2328,"showCount":2299,"zanCount":296,"manualWeight":58,"mainColor":59},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,24,26,29,28,30,7,90,36,112,736,423,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[75,137],{"id":2330,"slug":2331,"title":2332,"dynasty":18,"author":454,"museum":518,"description":2333,"tags":2334,"thumbUrl":2335,"material":198,"size":2336,"collection":75,"collections":2337,"showCount":2299,"zanCount":256,"manualWeight":58,"mainColor":59},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,24,68,25,26,29,28,30,7,90,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[75],{"id":2339,"slug":2340,"title":2341,"dynasty":176,"author":245,"museum":234,"description":2342,"tags":2343,"thumbUrl":2346,"material":96,"size":283,"collection":98,"collections":2347,"showCount":2348,"zanCount":170,"manualWeight":58,"mainColor":59},283620,"chu-jiang-jun-chu-lie-tu-juan-wang-meng-283620","楚将军出猎图卷","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,26,29,30,736,7,222,2344,91,630,2345],"猎犬","荒草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec6c80c7dc97ba90759e5c0fb4f398a.jpg",[],50,{"id":2350,"slug":2351,"title":2352,"dynasty":18,"author":454,"museum":20,"description":2353,"tags":2354,"thumbUrl":2356,"material":2357,"size":2358,"collection":53,"collections":2359,"showCount":2348,"zanCount":170,"manualWeight":58,"mainColor":59},223561,"you-qi-tu-juan-yi-ming-223561","游骑图卷","该卷旧传是唐人手笔，实为北宋翰林图画院某画家摹写唐代人马画的精品，显露出宋代院体细谨求实的艺术面貌，得到宋徽宗赵佶的认可。此图属行乐类题材，画7人5马，似出游狩猎。人物全身唐装，衣纹作铁线描，细劲刚挺，神情刻划细致入微，生动传神。设色极简，清淡明洁。无论是从绘画技巧，还是风格来讲，都可视为中国古典写实绘画表现鞍马题材的典范之作，与西方文艺复兴早期如鸟切诺等人的写实绘画相比，在鞍马人物形象的准确性与形体透视的生动性等方面的把握上，似乎具有更感人的魅力。可知中国古典写实绘画应是比西方更早掌握了如何通过透视缩形来真实表现客观物体的方法。尽管西方意义的科学透视法并不在中国产生，但那种中国式的视觉投影方法，曾经有力支撑着中国封建时代盛期的绘画写实艺术，那么，甚至在图像时代的今天，我们仍然有必要对其现实意义进行研究。",[23,68,1572,26,28,237,29,30,7,2355],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg","绢本淡设色","47x195",[53,75,76],{"id":2361,"slug":2362,"title":2363,"dynasty":176,"author":177,"museum":20,"description":2364,"tags":2365,"thumbUrl":2366,"material":166,"size":2367,"collection":75,"collections":2368,"showCount":2348,"zanCount":58,"manualWeight":58,"mainColor":59},221767,"er-ma-tu-juan-ren-ren-fa-221767","二马图卷","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[23,24,25,26,29,28,7,222,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32de904e74241fc3d2e6288cfebb4fe.jpg","纵28.8厘米，横142.7厘米",[75,76],{"id":2370,"slug":2371,"title":2372,"dynasty":18,"author":233,"museum":84,"description":2373,"tags":2374,"thumbUrl":2375,"material":320,"size":2376,"collection":53,"collections":2377,"showCount":2348,"zanCount":58,"manualWeight":58,"mainColor":59},221408,"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[23,68,24,25,237,89,90,92,36,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[53,137,55],{"id":2379,"slug":2380,"title":2381,"dynasty":314,"author":315,"museum":844,"description":2382,"tags":2383,"thumbUrl":2384,"material":938,"size":98,"collection":98,"collections":2385,"showCount":2348,"zanCount":58,"manualWeight":58,"mainColor":171},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[23,68,24,88,29,889,30,7,111,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],{"id":2387,"slug":2388,"title":2389,"dynasty":106,"author":2390,"museum":718,"description":2391,"tags":2392,"thumbUrl":2393,"material":182,"size":98,"collection":137,"collections":2394,"showCount":2348,"zanCount":58,"manualWeight":58,"mainColor":171},219488,"song-yin-mu-ma-tu-gao-qi-pei-219488","松荫牧马图","高其佩","虬干古松下，巨石错落横陈。苍松枝桠奇崛舒展，枯笔皴擦出斑驳肌理，尽现岁月经年的苍劲风骨。\n林下白衣高士凭石闲坐，神色悠然，童子恭立身侧，一旁骏马垂首缓行，静中藏动。淡墨点染疏草矮木，晕开山野清寂逸趣。\n整幅以指墨写意，笔意简括洗练，寥寥数笔便将人物情态尽展，寄情林泉的超然雅趣藏于淡墨轻岚之间，尽显幽远出尘的林下之风。",[24,25,87,88,29,248,91,30,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8484813b251832063d3488c3306199e.jpg",[137,75,76],{"id":2396,"slug":2397,"title":2398,"dynasty":261,"author":1528,"museum":2245,"description":2399,"tags":2400,"thumbUrl":2402,"material":182,"size":2403,"collection":137,"collections":2404,"showCount":2348,"zanCount":58,"manualWeight":58,"mainColor":171},217921,"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[24,1808,90,2401,1197,30,7,36,91,88,29,89],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","33.5x61cm",[137],{"id":2406,"slug":2407,"title":2408,"dynasty":176,"author":2409,"museum":84,"description":2410,"tags":2411,"thumbUrl":2412,"material":198,"size":2413,"collection":75,"collections":2414,"showCount":2415,"zanCount":58,"manualWeight":58,"mainColor":59},221846,"yuan-shi-zu-chu-lie-tu-zhou-liu-guan-dao-221846","元世祖出猎图轴","刘贯道","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,24,25,68,87,29,28,30,7,222,736,2102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[75,76],49,{"id":2417,"slug":2418,"title":82,"dynasty":18,"author":2419,"museum":84,"description":2420,"tags":2421,"thumbUrl":2422,"material":906,"size":2423,"collection":98,"collections":2424,"showCount":2425,"zanCount":58,"manualWeight":58,"mainColor":171},289563,"xi-shan-xing-lv-tu-ma-lin-289563","马麟","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[23,68,24,25,87,88,90,89,31,94,91,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],48,{"id":2427,"slug":2428,"title":1665,"dynasty":301,"author":454,"museum":234,"description":2429,"tags":2430,"thumbUrl":2434,"material":98,"size":98,"collection":2435,"collections":2436,"showCount":2425,"zanCount":170,"manualWeight":58,"mainColor":59},243019,"li-ma-yi-ming-243019","此马昂首卓立，劲挺的颈项带着桀骜风骨，躯体以涡旋状写意纹饰勾勒肌肉轮廓，将骏马的雄健筋肉化为流畅柔美的卷云线条，写实与浪漫相融。古铜肌理间晕开斑驳铜绿与朱砂锈色，带着岁月浸淫的厚重古意。\n\n静立姿态下暗含奔腾张力，蹄足稳稳踏地，尾梢利落上翘，将昂扬风气凝于方寸，浑朴又精巧，静穆中藏着灵动生机，仿佛只待一声长嘶，便将绝尘驰骋。",[1380,2431,2432,2433,222,7],"青铜器","铜制","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b325495a39d13301c26fe637b52c9f.jpg","青铜器精选",[2435],{"id":2438,"slug":2439,"title":2440,"dynasty":314,"author":2441,"museum":2442,"description":2443,"tags":2444,"thumbUrl":2445,"material":2446,"size":98,"collection":98,"collections":2447,"showCount":2425,"zanCount":58,"manualWeight":58,"mainColor":171},220451,"ma-nai-si-he-shang-huang-zhou-220451","马奈斯河上","黄胄","The Chinese University of Hong Kong Library","黄胄于1965年春北京作此画，写赠廖一原妻汪云女士。黄胄曾获多个奖项，其国画重生活气息及民族色彩，所绘毛驴，维妙维肖。",[23,24,88,29,889,30,7,267,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53033b6aa3b54f7bcf0aaec4e4188faf.jpg","Ink and colour on paper",[],{"id":2449,"slug":2450,"title":2451,"dynasty":301,"author":302,"museum":65,"description":2452,"tags":2453,"thumbUrl":2454,"material":135,"size":2455,"collection":98,"collections":2456,"showCount":2457,"zanCount":58,"manualWeight":58,"mainColor":171},223556,"qing-xi-yin-ma-tu-han-gan-223556","清溪饮马图","韩干(约706～783)，唐代画家，长安蓝田（今属陕西）人，官至太府寺丞。善画肖像、人物道释、花竹，尤工鞍马。韩干初师曹霸，为其入室弟子，后自成一家。所绘马匹，体形肥硕，态度安详，比例准确，一改前人画马螭颈龙体、筋骨毕露、姿态飞腾的“龙马”作风，创造了富有盛唐时代气息的画马新风格。杜甫在《丹青引》中有“干唯画肉不画骨”的诗句，在《画马赞》中又说：“韩干画马，毫端有神。……鱼目瘦脑，龙文长身，雪垂白肉，风蹙蓝筋”。对他的画马，赞赏备至，后人将他与当时最善画牛的戴嵩并称为“韩马戴牛”以画马着称。",[23,24,25,1808,28,88,7,30,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148f3125d6a4c66d8e3539b1472fcf74.jpg","42*68厘米",[],47,{"id":2459,"slug":2460,"title":2461,"dynasty":176,"author":562,"museum":178,"description":2462,"tags":2463,"thumbUrl":2465,"material":198,"size":98,"collection":75,"collections":2466,"showCount":2457,"zanCount":58,"manualWeight":58,"mainColor":512},219396,"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,29,28,30,7,376,90,2464,111],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg",[75],{"id":2468,"slug":2469,"title":2470,"dynasty":176,"author":442,"museum":385,"description":2471,"tags":2472,"thumbUrl":2473,"material":198,"size":2474,"collection":117,"collections":2475,"showCount":2457,"zanCount":58,"manualWeight":58,"mainColor":59},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[24,68,25,29,30,7,388,224,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[117],{"id":2477,"slug":2478,"title":2479,"dynasty":106,"author":2480,"museum":234,"description":2481,"tags":2482,"thumbUrl":2485,"material":96,"size":283,"collection":98,"collections":2486,"showCount":2487,"zanCount":58,"manualWeight":58,"mainColor":59},290394,"chang-cheng-nei-wai-li-zhou-qian-song-nie-290394","长城内外立轴","钱松喦","此作用笔苍厚老辣，以浓墨重笔皴染危崖巨嶂，长城如苍龙盘亘山脊，雄姿尽显。山间留白晕染流云雾气，虚实相生里拉开空间层次。\n\n画作打破传统山水的古意局限，将山脊上的新旧烽塔、山下的新式厂区与高原驼队并置，把山河厚重的古韵与新生的蓬勃生机融为一体，既保留了传统山水画的悠远意境，又以细腻视角定格时代变迁，让长城不再只是关山隘口的符号，更成为连接古今、见证山河新生的载体，尽显家国山河的壮阔温情。",[23,24,87,90,29,88,89,2483,278,536,2484,7,70],"长城","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f285f6425982a1654d5b14d945ea01.jpg",[],46,{"id":2489,"slug":2490,"title":2491,"dynasty":1760,"author":454,"museum":234,"description":2492,"tags":2493,"thumbUrl":2494,"material":96,"size":283,"collection":98,"collections":2495,"showCount":2487,"zanCount":58,"manualWeight":58,"mainColor":59},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[23,24,25,29,277,90,376,30,7,47,523,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],{"id":2497,"slug":2498,"title":2499,"dynasty":301,"author":302,"museum":84,"description":2500,"tags":2501,"thumbUrl":2502,"material":2503,"size":2504,"collection":137,"collections":2505,"showCount":2487,"zanCount":170,"manualWeight":58,"mainColor":59},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,24,87,28,29,222,1476,7,376,91,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","白纸本","48.58X136.8",[137,55],{"id":2507,"slug":2508,"title":2509,"dynasty":18,"author":335,"museum":234,"description":2510,"tags":2511,"thumbUrl":2513,"material":96,"size":283,"collection":98,"collections":2514,"showCount":2515,"zanCount":58,"manualWeight":58,"mainColor":512},290154,"fang-you-tu-ma-yuan-290154","访友图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[68,24,25,87,88,27,90,30,31,32,33,248,91,7,2512],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f58872533feea15d4e46dc492f9ff5f.jpg",[],45,{"id":2517,"slug":2518,"title":777,"dynasty":106,"author":454,"museum":234,"description":2519,"tags":2520,"thumbUrl":2521,"material":96,"size":283,"collection":98,"collections":2522,"showCount":2515,"zanCount":58,"manualWeight":58,"mainColor":59},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","这幅局部以虹桥为核心，铺陈出鲜活的旧时市井盛景。木质飞虹横跨汴河，桥上人流如织，挑担货郎、乘轿仕人、驻足闲人摩肩接踵，神态各异地沉浸在春日市集的喧嚷里。桥下漕船正穿桥而过，船夫们躬身撑篙、呼喊呼应，将漕运的繁忙具象尽显。\n\n画面线条细腻工整，设色古雅沉稳，复刻出宋本原作风韵的同时，带着清代绘事的规整质感，将汴梁城漕运商贸的繁盛、闾巷百姓的日常烟火凝于卷上，让千年前的春日繁喧仿佛跃然眼前，尽显旧时都会的鲜活生机。",[68,24,26,29,28,30,32,31,33,7,34,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f84910b66851ed29.jpg",[],{"id":2524,"slug":2525,"title":2526,"dynasty":176,"author":454,"museum":84,"description":2527,"tags":2528,"thumbUrl":2530,"material":166,"size":2531,"collection":98,"collections":2532,"showCount":2515,"zanCount":58,"manualWeight":58,"mainColor":59},233115,"long-zhou-duo-biao-tu-juan-yi-ming-233115","龙舟夺标图卷","墨线白描界画楼阁反映了元代建筑绘画最为典型的时代新风，宫廷画家王振鹏则是这种风格的代表人物。\n他曾先后两次画过《金明池夺标图》卷，描绘的是北宋崇宁年间（112-116年），每年三月三日皇室在宫廷后苑金明池举办龙舟竞渡的盛大场面。\n由于王振鹏颇负盛誉并受到当时贵戚大长公主的赞赏，引得后人纷纷临摹，至今传世的摹本和改绘本仍有七八本之多。\n此卷笔法秀劲细密，纯用白描、舍弃设色的表现手法更使画面千繁万复而不显阻滞拥塞，给人细腻、明洁、素雅之感。\n殿阁巍峨，龙舟争渡，旌旗猎猎，橹桨奋动，动态的舟船和众多的人物活动打破了静态楼阁的沉寂，赋予了通常流于平板的建筑画紧张的情节和热烈的气氛，反映出王振鹏建筑画的风格特点。\n正如虞集所评：“振鹏之学，妙在界画，方圆平直，曲尽其体，而神气飞动，不为法拘。”",[24,25,68,26,237,30,2529,36,7,70],"龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe290f2a56042ec07c31d9aaf702c8382.jpg","该幅 29.5x359公分、隔水一 18公分、隔水二 18.8公分",[],{"id":2534,"slug":2535,"title":2536,"dynasty":261,"author":19,"museum":84,"description":2537,"tags":2538,"thumbUrl":2539,"material":2540,"size":2541,"collection":98,"collections":2542,"showCount":2515,"zanCount":58,"manualWeight":58,"mainColor":59},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,68,24,26,29,28,30,31,32,147,1270,40,7,223,70,69,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":2544,"slug":2545,"title":2546,"dynasty":125,"author":454,"museum":234,"description":2547,"tags":2548,"thumbUrl":2549,"material":98,"size":98,"collection":98,"collections":2550,"showCount":2515,"zanCount":256,"manualWeight":58,"mainColor":59},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[23,24,25,26,29,28,30,7,376,91,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":2552,"slug":2553,"title":2554,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":2555,"thumbUrl":2563,"material":135,"size":1610,"collection":98,"collections":2564,"showCount":2515,"zanCount":58,"manualWeight":58,"mainColor":171},223071,"hong-lou-meng-57-sun-wen-223071","红楼梦57",[23,24,28,29,26,30,7,149,36,151,163,2556,2557,2558,1271,2559,248,2560,2561,132,2562],"场景画","古代服饰","户外场景","围墙","古典建筑","群像","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7449b7a68c5da3b640620fef4f209e9.jpg",[],{"id":2566,"slug":2567,"title":2568,"dynasty":176,"author":562,"museum":20,"description":2569,"tags":2570,"thumbUrl":2571,"material":252,"size":2572,"collection":137,"collections":2573,"showCount":2515,"zanCount":170,"manualWeight":58,"mainColor":59},221865,"xie-dan-you-qi-zhao-yong-221865","挟弹游骑","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。自识“至正七年四月望仲穆畫”，钤“仲穆”、“ 天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[23,24,25,87,29,28,30,7,376,130,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[137,76],{"id":2575,"slug":2576,"title":2577,"dynasty":176,"author":2578,"museum":20,"description":2579,"tags":2580,"thumbUrl":2581,"material":166,"size":1928,"collection":75,"collections":2582,"showCount":2515,"zanCount":58,"manualWeight":58,"mainColor":59},221766,"ren-ma-tu-zhou-ren-xian-zuo-221766","人马图轴","任贤佐","任贤佐于其父书斋“可诗堂”作此图，当绘于任仁发去世（1327年）之前。图画一着唐朝官服的圉官，拱手持缰，身后立一花马，画风得自家传，用笔细劲，设色简约而轻淡，严谨造型。本幅作者自识“子良于可诗堂作”，钤印“任氏子良”。另钤清“项子京家珍藏”和乾隆帝的印玺等13方。",[23,24,28,29,30,7,87,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560b087e401581b870cf754e3b9d10ec.jpg",[75,76],{"id":2584,"slug":2585,"title":2586,"dynasty":18,"author":2587,"museum":84,"description":2588,"tags":2589,"thumbUrl":2595,"material":2596,"size":2597,"collection":98,"collections":2598,"showCount":2515,"zanCount":170,"manualWeight":58,"mainColor":59},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","宋人","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[23,2590,87,29,28,30,7,2591,2592,90,2593,42,36,2594,91],"缂绣","羊","梅花","祥云","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],{"id":2600,"slug":2601,"title":2602,"dynasty":106,"author":1423,"museum":20,"description":2603,"tags":2604,"thumbUrl":2605,"material":252,"size":2606,"collection":137,"collections":2607,"showCount":2608,"zanCount":58,"manualWeight":58,"mainColor":171},239548,"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[24,25,87,29,88,30,90,7,91,536,89,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[137,75,76],44,{"id":2610,"slug":2611,"title":2612,"dynasty":176,"author":562,"museum":84,"description":2613,"tags":2614,"thumbUrl":2615,"material":198,"size":2616,"collection":98,"collections":2617,"showCount":2608,"zanCount":58,"manualWeight":58,"mainColor":59},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,68,25,87,28,29,7,376,91,111,1239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":2619,"slug":2620,"title":2621,"dynasty":18,"author":572,"museum":234,"description":2622,"tags":2623,"thumbUrl":2624,"material":98,"size":98,"collection":98,"collections":2625,"showCount":2608,"zanCount":170,"manualWeight":58,"mainColor":59},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,24,25,26,28,29,30,7,376,91,94,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":2627,"slug":2628,"title":2629,"dynasty":18,"author":335,"museum":234,"description":2630,"tags":2631,"thumbUrl":2634,"material":98,"size":98,"collection":98,"collections":2635,"showCount":2608,"zanCount":170,"manualWeight":58,"mainColor":59},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,25,26,28,89,30,36,32,33,91,149,7,339,2632,248,630,42,2633],"饮酒","岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":2637,"slug":2638,"title":702,"dynasty":18,"author":703,"museum":234,"description":2639,"tags":2640,"thumbUrl":2641,"material":98,"size":98,"collection":98,"collections":2642,"showCount":2608,"zanCount":58,"manualWeight":58,"mainColor":59},227691,"wen-ji-gui-han-tu-chen-ju-zhong-227691","故宫收藏的这幅《文姬归汉》，并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,68,26,28,29,30,7,70,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b0b01bd2a87126fc14abc0b1bfe988.jpg",[],{"id":2644,"slug":2645,"title":2646,"dynasty":106,"author":2647,"museum":2648,"description":2649,"tags":2650,"thumbUrl":2651,"material":198,"size":2652,"collection":137,"collections":2653,"showCount":2608,"zanCount":170,"manualWeight":58,"mainColor":59},219907,"xue-shan-tu-yuan-jiang-219907","雪山图","袁江","费城艺术博物馆","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[24,618,29,89,195,36,47,1412,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[137],{"id":2655,"slug":2656,"title":2657,"dynasty":176,"author":2658,"museum":20,"description":2659,"tags":2660,"thumbUrl":2662,"material":938,"size":2663,"collection":98,"collections":2664,"showCount":2665,"zanCount":170,"manualWeight":58,"mainColor":59},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[24,87,88,29,90,89,91,36,2661,92,1271,30,7,33,389,388,1640,607],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","97.4×41.2cm",[],43,{"id":2667,"slug":2668,"title":2669,"dynasty":18,"author":1946,"museum":234,"description":2670,"tags":2671,"thumbUrl":2672,"material":98,"size":98,"collection":98,"collections":2673,"showCount":2665,"zanCount":58,"manualWeight":58,"mainColor":59},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[23,28,29,26,30,7,70,223,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":2675,"slug":2676,"title":2677,"dynasty":106,"author":454,"museum":84,"description":2678,"tags":2679,"thumbUrl":2682,"material":98,"size":98,"collection":76,"collections":2683,"showCount":2684,"zanCount":170,"manualWeight":58,"mainColor":59},238934,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238934","清人群仙祝寿贴落","画面分境铺陈仙宴盛景：云端仙袂翩跹，凌风御虚似携云而来；苍松怪石间，仙宾或晤语清谈，或凭崖远眺，仪态雍和。水滨舟上群仙围坐言欢，山麓间侍从捧礼随行，步履悠然。\n\n设色古雅沉静，石青晕染出山峦苍劲，赭红点染衣褶灵动，线描清细秀逸，将仙众出尘之姿描摹入微。整体动静相映，把祝寿的吉庆意涵融在清虚悠远的山水意境中，尽显仙乡雅聚的祥和瑞气，将雅致古淡的仙佛画韵致铺陈开来。",[24,25,29,28,30,90,1068,376,2680,7,721,2681,91,33],"舟","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdf80cd142cdc24231bc03c616a78b24.jpg",[76],42,{"id":2686,"slug":2687,"title":2688,"dynasty":18,"author":2689,"museum":234,"description":2690,"tags":2691,"thumbUrl":2692,"material":98,"size":98,"collection":98,"collections":2693,"showCount":2684,"zanCount":170,"manualWeight":58,"mainColor":59},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","许道宁","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,68,24,25,87,29,90,30,7,41,1153,36,249,94,31,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":2695,"slug":2696,"title":2697,"dynasty":176,"author":442,"museum":84,"description":2698,"tags":2699,"thumbUrl":2700,"material":182,"size":2701,"collection":117,"collections":2702,"showCount":2684,"zanCount":58,"manualWeight":58,"mainColor":171},218828,"bai-bi-gua-tu-zhao-meng-fu-218828","白鼻䯄图","笔墨流转间，神骏之姿跃然纸上。马身淡墨晕染，线条如篆籀般圆劲，鬃毛轻扬处藏笔锋灵动，白鼻轻点更显温驯雅致。牵马人身着异域服饰，衣袂飘飘，神态悠然，与马的从容相映成趣。画面上方题跋清逸，诗画相生，尽展“书画同源”之韵。作品不刻意写实，却于简淡中藏深意，笔墨韵味与形象生动完美融合，传递出静谧悠远的意境，仿佛能听见马蹄轻踏，感受到人与马的默契温情，尽显文人画的雅逸风骨。",[68,24,25,88,29,30,7,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c59d0294d40e3fb352cc6ee315fc6.jpg","26.2x41.8cm",[117],{"id":2704,"slug":2705,"title":2706,"dynasty":261,"author":454,"museum":234,"description":2707,"tags":2708,"thumbUrl":2710,"material":198,"size":2711,"collection":75,"collections":2712,"showCount":2684,"zanCount":58,"manualWeight":58,"mainColor":59},218431,"hu-ren-qi-she-tu-yi-ming-218431","胡人骑射图","奔马四蹄腾空，尘烟似随绢纹浮动。骑手或弓弦满张如满月，箭簇欲破风而去；或俯身控缰，衣袂猎猎卷动。红带束腰、尖顶帽饰，勾勒出游牧者的剽悍身姿。马匹鬃毛飞扬，有的昂首嘶鸣，有的侧首避箭，动态十足。赭褐底色晕染出苍茫旷野的气息，古绢的纹理如岁月刻痕，将骑射的豪壮与奔放凝于方寸之间。每一笔线条都带着力量，仿佛能听见马蹄声与弓弦响交织，尽显马背民族的飒爽英姿。",[24,25,68,29,28,30,7,70,2709],"骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754cc051e9eb8b734538664b52ca4eb4.jpg","33x161",[75],{"id":2714,"slug":2715,"title":2716,"dynasty":106,"author":2717,"museum":234,"description":2718,"tags":2719,"thumbUrl":2721,"material":344,"size":98,"collection":137,"collections":2722,"showCount":2723,"zanCount":58,"manualWeight":58,"mainColor":171},231951,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[23,24,25,354,88,30,7,70,224,223,2720],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[137,75],41,{"id":2725,"slug":2726,"title":2727,"dynasty":176,"author":562,"museum":234,"description":2728,"tags":2729,"thumbUrl":2730,"material":98,"size":98,"collection":98,"collections":2731,"showCount":2723,"zanCount":58,"manualWeight":58,"mainColor":171},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,68,24,25,26,29,237,30,7,223,224,70,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":2733,"slug":2734,"title":2735,"dynasty":106,"author":454,"museum":234,"description":2736,"tags":2737,"thumbUrl":2740,"material":96,"size":283,"collection":98,"collections":2741,"showCount":5,"zanCount":256,"manualWeight":58,"mainColor":2742},263648,"ke-si-jia-xiu-jiu-yang-xiao-han-tu-zhou-yi-ming-263648","缂丝加绣九阳消寒图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[68,87,25,2738,29,28,30,7,2591,2592,498,36,33,2739],"缂丝加绣","消寒主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1718cd0df1c90bc2f8347c3494656762.jpg",[],"2A56C6",{"id":2744,"slug":2745,"title":2746,"dynasty":261,"author":262,"museum":518,"description":2747,"tags":2748,"thumbUrl":2749,"material":166,"size":2750,"collection":137,"collections":2751,"showCount":5,"zanCount":296,"manualWeight":58,"mainColor":59},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,68,24,25,26,28,29,27,30,210,7,36,31,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[137,76],{"id":2753,"slug":2754,"title":2755,"dynasty":18,"author":454,"museum":518,"description":2756,"tags":2757,"thumbUrl":2758,"material":198,"size":2759,"collection":137,"collections":2760,"showCount":5,"zanCount":170,"manualWeight":58,"mainColor":512},217068,"xi-qiao-gui-qi-tu-yi-ming-217068","溪桥归骑图","《溪桥归骑图》是一幅综合了山水、人物和动物的图画。画中，山水景色非常美丽，清澈的小溪流过葱郁的山谷，山峰高耸入云，森林茂密，景色宜人。在溪边，一名骑马而归的男子和他的马从远处走来，似乎是从旅行中归来。画中还有许多生动的动物，如嬉戏的鹿、石鸡等。",[24,1808,90,7,30,32,89,29,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc46ceb389667c533df831b73b9a5047.jpg","18.3x29cm",[137],{"id":2762,"slug":2763,"title":2764,"dynasty":106,"author":454,"museum":207,"description":2765,"tags":2766,"thumbUrl":2768,"material":391,"size":2769,"collection":75,"collections":2770,"showCount":5,"zanCount":170,"manualWeight":58,"mainColor":171},214914,"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[23,24,25,26,237,88,30,7,70,1743,2767],"历史故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[75],{"id":2772,"slug":2773,"title":2774,"dynasty":176,"author":245,"museum":20,"description":2775,"tags":2776,"thumbUrl":2777,"material":252,"size":253,"collection":98,"collections":2778,"showCount":2779,"zanCount":58,"manualWeight":58,"mainColor":59},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[24,25,87,29,277,90,89,30,7,91,33,36,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg",[],39,{"id":2781,"slug":2782,"title":2783,"dynasty":176,"author":177,"museum":20,"description":2364,"tags":2784,"thumbUrl":2785,"material":166,"size":2367,"collection":98,"collections":2786,"showCount":2779,"zanCount":58,"manualWeight":58,"mainColor":171},221768,"er-ma-tu-ren-ren-fa-221768","二马图ＨＤ",[23,24,26,28,29,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e07ee211c41e1abdfd34684fd9b51ce.jpg",[],{"id":2788,"slug":2789,"title":2790,"dynasty":18,"author":1739,"museum":207,"description":1740,"tags":2791,"thumbUrl":2792,"material":391,"size":1745,"collection":53,"collections":2793,"showCount":2779,"zanCount":58,"manualWeight":58,"mainColor":59},220089,"jia-pai-tu-quan-juan-fen-juan-12-gong-kai-220089","笳拍图全卷-分卷12",[24,68,25,26,237,30,112,7,2591,677,163,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c86fb758c911901199210f2e7cb4fe9.jpg",[53],{"id":2795,"slug":2796,"title":2797,"dynasty":176,"author":454,"museum":84,"description":2798,"tags":2799,"thumbUrl":2801,"material":198,"size":2802,"collection":75,"collections":2803,"showCount":2779,"zanCount":58,"manualWeight":58,"mainColor":59},216205,"han-yuan-lie-qi-tu-yi-ming-216205","寒原猎骑图","蕃骑游猎草原上，野兽惊骇逃窜。二骑追逐夹击一鹿，正挽弓欲射，最引人注目，成为画幅之焦点。画风与明画院之人马作品相近似。",[23,24,68,25,29,90,30,7,222,89,94,267,130,2800],"荒原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45faf22c49aa6873d7c5bff973cba879.jpg","75x98.5cm",[75],{"id":2805,"slug":2806,"title":2807,"dynasty":106,"author":454,"museum":234,"description":2808,"tags":2809,"thumbUrl":2817,"material":96,"size":283,"collection":98,"collections":2818,"showCount":2819,"zanCount":58,"manualWeight":58,"mainColor":171},234411,"qing-ren-cai-bao-tian-wang-xiang-zhou-yi-ming-234411","清人财宝天王像轴","主尊财宝天王安坐雪狮之上，金甲珠饰周身，面容沉凝威严，右手擎举摩尼宝、左手握持吐宝鼠，宝相端严。八方财神骑乘宝马环伺四周，踏云而来。虚空之中，护法明王高踞，焰纹背光烘托神威。\n\n整幅画作设色浓丽饱满，石青铺就云海底色，赤金、朱红晕染衣甲纹饰，线条勾勒精细流畅，将雪域唐卡的装饰意趣与宗教庄严感完美融合，在繁复构图里承载着招财护佑的吉祥寓意，尽显藏地绘画独有的宗教美学特质。",[2810,721,30,29,2811,2812,2813,2814,2815,7,2816],"唐卡","财宝天王","八方财神","护法明王","雪狮","吐宝鼠","招财护佑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5410e0bca40031d44c0e52e63708b0.jpg",[],38,{"id":2821,"slug":2822,"title":2823,"dynasty":106,"author":107,"museum":84,"description":2824,"tags":2825,"thumbUrl":2826,"material":198,"size":98,"collection":76,"collections":2827,"showCount":2819,"zanCount":256,"manualWeight":58,"mainColor":171},219727,"shi-jun-tu-zhi-hong-yu-zuo-lang-shi-ning-219727","十骏图之红玉座","郎世宁，1688年生，1766年逝世，意大利米兰人。原名朱塞佩·伽斯底里奥内。年轻时在欧洲学习绘画，曾为教堂绘制圣像。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，既讲究西方绘画中的立体效果，注意透视和明暗，重视写实和结构准确的合理性。由于他能画并精通建筑学，曾参与增修圆明园建筑工事。擅画肖像、走兽、花果、翎毛尤善画马。所作大多以西画法入绢纸，略参中法，以写实为工，专注形似。他将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐",[68,24,25,28,29,1174,7,222,70,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24534bc44ce45c061edd6f11765136ed.jpg",[76],{"id":2829,"slug":2830,"title":2831,"dynasty":176,"author":454,"museum":84,"description":2832,"tags":2833,"thumbUrl":1512,"material":198,"size":98,"collection":117,"collections":2835,"showCount":2819,"zanCount":58,"manualWeight":58,"mainColor":59},218398,"hua-ma-hu-dou-tu-yi-ming-218398","画马虎斗图","荒野沙坡间，一场生死搏杀凝于绢素。虎身弓如满月，爪牙凌厉前探，斑纹随扑跃之势流转，鬃毛贲张似怒涛翻卷；马则后蹄蹬沙欲退，前蹄奋起抵敌，尾鬃狂甩如惊风乍起，目露惊惶却未失悍勇。稀疏草木点缀沙碛，更显对峙的孤绝与激烈。笔墨刚劲利落，线条勾勒出兽类健硕肌理，设色古朴沉郁，绢本棕褐底色衬得野性碰撞愈发动魄。画家精准捕捉瞬间动态，每一处毛发颤动、蹄爪着力，都藏着惊心动魄的力量，令观者如临其境，屏息凝视这场荒野中的悍勇对决。",[23,68,24,25,29,28,734,7,222,130,2345,2834,676],"灌木",[117],{"id":2837,"slug":2838,"title":2839,"dynasty":301,"author":1858,"museum":234,"description":2295,"tags":2840,"thumbUrl":2841,"material":96,"size":283,"collection":98,"collections":2842,"showCount":2843,"zanCount":58,"manualWeight":58,"mainColor":59},287653,"hu-ting-you-qi-li-zhao-dao-287653","湖亭遊骑",[23,24,277,29,90,27,87,31,266,32,30,7,70,498,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc60d8644d255d0a078d03ec9b8a425f.jpg",[],37,{"id":2845,"slug":2846,"title":2847,"dynasty":106,"author":454,"museum":20,"description":2848,"tags":2849,"thumbUrl":2850,"material":166,"size":98,"collection":137,"collections":2851,"showCount":2843,"zanCount":170,"manualWeight":58,"mainColor":59},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,68,26,29,28,90,30,7,809,112,36,111,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[137,75,76],{"id":2853,"slug":2854,"title":1527,"dynasty":261,"author":1528,"museum":20,"description":2855,"tags":2856,"thumbUrl":2857,"material":166,"size":2858,"collection":98,"collections":2859,"showCount":2843,"zanCount":58,"manualWeight":58,"mainColor":171},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,87,88,89,90,32,33,7,30,36,91,47,248,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":2861,"slug":2862,"title":2863,"dynasty":106,"author":454,"museum":20,"description":2864,"tags":2865,"thumbUrl":2868,"material":344,"size":2869,"collection":137,"collections":2870,"showCount":2843,"zanCount":58,"manualWeight":58,"mainColor":171},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,25,354,29,28,27,30,90,7,32,31,91,36,1153,2866,2867,681],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[137,75,76],{"id":2872,"slug":2873,"title":2874,"dynasty":261,"author":262,"museum":207,"description":2875,"tags":2876,"thumbUrl":2877,"material":98,"size":98,"collection":98,"collections":2878,"showCount":2843,"zanCount":58,"manualWeight":58,"mainColor":59},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,68,26,28,29,277,90,30,7,36,1153,91,2866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":2880,"slug":2881,"title":2882,"dynasty":18,"author":2883,"museum":234,"description":2884,"tags":2885,"thumbUrl":2886,"material":98,"size":98,"collection":98,"collections":2887,"showCount":2843,"zanCount":58,"manualWeight":58,"mainColor":59},227411,"hu-ren-xiang-ma-tu-lian-bu-227411","胡人相马图","廉布","此图绘白马长啸，一白衣胡人在观马，一异装胡人在羌管，似与白马之啸互相呼应。此幅左上角题：四蹄玉削耳披风，独立昂藏气势雄，争向瑶池夸八骏，如何图内有真龙。山阳廉布。钤一印模糊不辨。然观此作绝非北宋末画迹，但人马描绘俱佳，也非庸手所为，当是托名廉布以射利。廉 布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[23,24,68,29,28,30,7,376,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":2889,"slug":2890,"title":2891,"dynasty":176,"author":177,"museum":2892,"description":2893,"tags":2894,"thumbUrl":2895,"material":198,"size":2896,"collection":75,"collections":2897,"showCount":2843,"zanCount":170,"manualWeight":58,"mainColor":59},219597,"ma-ren-xing-tu-ren-ren-fa-219597","马人形图","日本东京国立博物馆","画面以深苑楼阁为衬，廊间仕女凭栏窥望，中庭处马作人形扬蹄起舞，周遭观者环立，将私邸宴乐的融融欢趣铺陈开来。\n\n界画工细严整，楼宇台阁层叠错落尽显规制精巧，人物衣袂飘举灵动柔婉，设色古雅沉润，晕染柔和自然，把贵族家眷宴饮观舞的闲逸图景刻画入微。古旧绢面晕开的淡痕更添岁月意韵，定格了元代世俗声色的一隅，尽显笔底细腻的观察力，将雅集间松弛悠然的意趣娓娓道来。",[68,24,25,1808,29,27,30,7,31,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4752ad7bcbf37d7ad54a02274fa11273.jpg","25.5×24.7厘米",[75],{"id":2899,"slug":2900,"title":2901,"dynasty":106,"author":1280,"museum":234,"description":2902,"tags":2903,"thumbUrl":2904,"material":98,"size":98,"collection":117,"collections":2905,"showCount":2906,"zanCount":58,"manualWeight":58,"mainColor":59},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[24,25,87,29,28,30,7,267,90,376,114,111,113,1239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[117,75,76],36,{"id":2908,"slug":2909,"title":2910,"dynasty":261,"author":262,"museum":234,"description":2911,"tags":2912,"thumbUrl":2913,"material":98,"size":98,"collection":98,"collections":2914,"showCount":2906,"zanCount":256,"manualWeight":58,"mainColor":59},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,26,28,29,277,90,30,7,32,33,36,91,536,89,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":2916,"slug":2917,"title":2918,"dynasty":18,"author":219,"museum":234,"description":2919,"tags":2920,"thumbUrl":2921,"material":98,"size":98,"collection":98,"collections":2922,"showCount":2906,"zanCount":170,"manualWeight":58,"mainColor":59},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,68,24,26,28,29,7,30,223,70,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":2924,"slug":2925,"title":2926,"dynasty":106,"author":2927,"museum":234,"description":2928,"tags":2929,"thumbUrl":2936,"material":98,"size":98,"collection":98,"collections":2937,"showCount":2906,"zanCount":58,"manualWeight":58,"mainColor":59},224111,"yi-jian-shuang-lu-tu-qian-long-224111","一箭双鹿图","乾隆","画面中纵马弯弓的骑手利落射出箭矢，双鹿中箭颓然仆地，骏马昂首扬蹄，骑手身姿果决干练，将骑射的飒爽力道尽显无余。背景里苍松虬劲、层林尽染秋意，远山澹澹铺展，把围猎的迅疾动感揉入山野林泉的静穆悠远间。\n\n右上角题诗以笔墨追怀射猎快意，诗画相映，将驰骋校猎的豪情与秋日林野的清旷融为一体。写实笔触细致勾勒出鞍马、人物的衣饰肌理，既带着纪实性的鲜活，又晕染出诗意闲情，把骑射勇武和林下逸趣完美糅合，是兼具叙事感与审美性的精妙之作。",[23,24,29,28,30,7,735,222,90,2930,2931,1239,2709,2932,70,2933,2934,2935],"苍松","秋林","围猎","题诗","豪情","诗意闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d24e76a0609e08c272f52e9f257d0a4.jpg",[],{"id":2939,"slug":2940,"title":2941,"dynasty":18,"author":1053,"museum":2148,"description":2942,"tags":2943,"thumbUrl":2945,"material":135,"size":2946,"collection":98,"collections":2947,"showCount":2906,"zanCount":58,"manualWeight":58,"mainColor":59},221614,"xue-shan-xing-lv-tuan-shan-liang-kai-221614","雪山行旅团扇","画面以大雪覆盖的高山为背景，绘有一位在酷冬严寒之中骑驴的旅人，与南宋马远、夏珪风大量使用留白、仅表现出自然一角的山水画不同，这幅画出色地表现出大自然的博大精深。画面中相对于大雪山显得细微渺小的骑驴人物的精细表现、以及雁群飞过山等画面的各个角落都展现了梁楷的精妙笔法，如实地体现了梁楷作为山水画家的不凡功力。",[23,68,24,1808,88,90,748,7,91,630,30,1197,36,1142,2944,89],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6642a6a7959b2fdb36f7e5b0ea9b676.jpg","24.3x25.7厘米",[],{"id":2949,"slug":2950,"title":2951,"dynasty":176,"author":442,"museum":84,"description":2952,"tags":2953,"thumbUrl":2955,"material":344,"size":2956,"collection":117,"collections":2957,"showCount":2906,"zanCount":58,"manualWeight":58,"mainColor":171},220838,"shuang-jun-tu-juan-zhao-meng-fu-220838","双骏图卷","“书画同源”这四个字简单地概括出了书法和绘画之间的相互关系。书法和中国画作为中国最传统的两门艺术，本就存在着许多相似之处。笔墨纸砚作为书写时的必要工具，同时也是中国画在绘画时的必要工具。另外，书法作为一门线的艺术，其本身在于研究线的多样性，同样，中国画如果失去了线，本身也毫无艺术感可言。\n由此可见，书法和绘画本身是相同的。“书画同源”的绘画理想是通过文人画家的努力实现的。赵孟頫作为一个艺术全才，在书法和绘画领域都有着极高的成就，为书法和绘画的结合提供了坚实的基础。\n赵孟頫在绘画中追求画面的真实和完美，身体力行，擅长山水、花鸟、人物、鞍马和竹石墨戏，同时亦精通工笔、写意、设色、水墨，并且在长期的实践中，他逐渐厚积薄发，取得了高超精湛的技艺，以其凝重简练，浓丽隽秀的艺术语言，通过不断的努力，他将书法与绘画用笔有机地结合起来，找到了书画的内在联系，转移了一代画风，对元代文人画的理论、技法、风格的兴盛起到了开创性的作用，在中国绘画历史上占据了举足轻重的地位，尤其是文人画史留下了浓郁的一笔。",[23,24,25,68,26,29,28,7,630,113,2954,70],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915d4bbcd23d66254959e7c9838e7b20.jpg","纵19cm",[117,76],{"id":2959,"slug":2960,"title":2961,"dynasty":106,"author":107,"museum":84,"description":2962,"tags":2963,"thumbUrl":2964,"material":198,"size":2965,"collection":76,"collections":2966,"showCount":2906,"zanCount":256,"manualWeight":58,"mainColor":171},219423,"shi-jun-tu-zhi-chi-hua-ying-zhou-lang-shi-ning-219423","十骏图之赤花鹰轴","郎世宁（一六八八－一七六六）意大利人。十九岁入天主教耶稣会为修士，习画与建筑。二十七岁来华传教，召入内廷供奉。善画人物、花鸟，尤善画马。郎氏奉写生边疆藩臣进贡之良马，以与真马近似之大小尺寸绘之，生动逼真。画成于乾隆八年（一七四三）。",[24,68,87,29,28,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148a10de8ec028577bca1ae64f04eaac.jpg","234.6x270.8",[76],{"id":2968,"slug":2969,"title":2970,"dynasty":18,"author":2971,"museum":234,"description":2972,"tags":2973,"thumbUrl":2977,"material":96,"size":283,"collection":98,"collections":2978,"showCount":2979,"zanCount":58,"manualWeight":58,"mainColor":59},289343,"han-shan-fei-pu-tu-yang-shi-xian-289343","寒山飞瀑图","杨士贤","杨士贤[宋]宣和（1119至一1125）待诏。绍兴（1131至1162）间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。绍兴间至钱塘（今杭州）复旧职，赐金带。工山水人物，师郭熙多作品小景，山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。《图绘宝鉴》",[23,24,68,618,88,89,2974,2975,91,630,47,278,1142,7,2976],"寒山","飞瀑","清寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F433408c78ce215adab31f025490fae8a.jpg",[],35,{"id":2981,"slug":2982,"title":2983,"dynasty":18,"author":2984,"museum":234,"description":2985,"tags":2986,"thumbUrl":2987,"material":135,"size":2988,"collection":98,"collections":2989,"showCount":2979,"zanCount":58,"manualWeight":58,"mainColor":59},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","关山行旅图卷","赵伯骕","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,1227,24,25,26,277,29,28,89,90,278,36,630,248,31,266,32,33,30,7,47,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":2991,"slug":2992,"title":2993,"dynasty":106,"author":2994,"museum":234,"description":2995,"tags":2996,"thumbUrl":2999,"material":198,"size":98,"collection":137,"collections":3000,"showCount":2979,"zanCount":170,"manualWeight":58,"mainColor":171},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,29,28,89,90,36,91,32,33,266,267,30,7,2997,1412,630,248,595,2998],"茅屋","远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[137],{"id":3002,"slug":3003,"title":3004,"dynasty":106,"author":107,"museum":84,"description":3005,"tags":3006,"thumbUrl":3009,"material":198,"size":3010,"collection":76,"collections":3011,"showCount":2979,"zanCount":256,"manualWeight":58,"mainColor":171},219424,"shi-jun-tu-zhi-pi-li-xiang-zhou-lang-shi-ning-219424","十骏图之霹雳骧轴","画面中白马低首伫立，鬃毛如流云般蓬松柔软，细腻笔触勾勒出毛发的层次与光泽，肌肉线条流畅而富有张力——既藏着写实技法的精准，又含东方笔墨的温润韵味。马蹄的金属质感刻画入微，似能触到那份冷硬厚重。淡雅绢本为底，衬得白马愈发纯净灵动，仿佛下一秒便要抬蹄轻踏。四周题字墨色清劲，朱印错落点缀，红与墨相映成趣，添了文人意趣与雅致。整幅作品将异域写实与东方传统相融，骏马不仅形态鲜活如生，更承载着跨越文化的创作巧思，静静流淌着独特的艺术交融之美。",[68,24,87,28,29,7,70,223,135,3007,3008],"中西融合","写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370ab5df30d34c686775d70ba842eb2d.jpg","239.3x270.1",[76],{"id":3013,"slug":3014,"title":3015,"dynasty":261,"author":3016,"museum":2892,"description":3017,"tags":3018,"thumbUrl":3019,"material":906,"size":3020,"collection":137,"collections":3021,"showCount":2979,"zanCount":58,"manualWeight":58,"mainColor":59},218419,"shan-shui-tu-wang-e-218419","山水图","王谔","画面中山峦巍峨，云雾似轻纱缭绕峰谷，虚实相生间显深远之致。近景几株树木枝干虬劲，枝叶婆娑灵动；树下小径上，行旅者或策骑缓行、或负物徐步，身形小巧却动态毕现，为静谧山水添生活意趣。笔墨工细中见洒脱，山石勾勒劲挺皴擦有度，树木点染鲜活，人物刻画传神。构图层次分明，远近错落营造开阔幽深的空间感，既得山川雄浑，又含林泉雅致，尽显明代院体山水的精妙韵致。",[24,90,29,89,87,36,91,30,7,94,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd462fa3e723446f765cd83d78591601.jpg","146x80cm",[137],{"id":3023,"slug":3024,"title":3025,"dynasty":106,"author":373,"museum":518,"description":3026,"tags":3027,"thumbUrl":3028,"material":98,"size":98,"collection":137,"collections":3029,"showCount":2979,"zanCount":170,"manualWeight":58,"mainColor":3030},203429,"ming-fei-chu-sai-tu-zhou-leng-mei-203429","明妃出塞图轴","画面以明妃出塞为核心，人物排布错落有致。昭君端坐白马之上，衣袂轻扬；侍女持团扇紧随，神情温婉；两侧随从或牵马缓行，或捧物侍立，动态鲜活。背景山峦绵延，枯树疏枝点缀其间，萧瑟的边塞景致与人物的离愁相呼应。画家以工笔细描人物衣纹，线条流畅婉转；设色雅致沉稳，既显华贵又不失苍凉。山水部分运用皴法，勾勒出山石肌理，增添了画面的厚重感。整体作品将叙事性与抒情性融合，在细腻的笔触中传递出历史故事的深沉意蕴。",[23,87,28,29,30,210,7,90,94,36,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b016e1170af82440aad8ae186415c2.jpg",[137],"8a6741",{"id":3032,"slug":3033,"title":3034,"dynasty":18,"author":454,"museum":234,"description":3035,"tags":3036,"thumbUrl":3037,"material":98,"size":98,"collection":75,"collections":3038,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":59},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[68,24,25,26,28,237,29,30,90,534,31,36,536,535,7,266,210,69,70,33,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[75],34,{"id":3041,"slug":3042,"title":3043,"dynasty":176,"author":3044,"museum":234,"description":3045,"tags":3046,"thumbUrl":3047,"material":98,"size":98,"collection":98,"collections":3048,"showCount":3039,"zanCount":170,"manualWeight":58,"mainColor":59},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[24,25,26,29,28,7,30,223,224,70,132,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],{"id":3050,"slug":3051,"title":3052,"dynasty":18,"author":233,"museum":84,"description":3053,"tags":3054,"thumbUrl":3055,"material":3056,"size":3057,"collection":98,"collections":3058,"showCount":3039,"zanCount":170,"manualWeight":58,"mainColor":171},232915,"bai-miao-mian-zhou-tu-juan-li-gong-lin-232915","白描免胄图卷","《免胄图》卷所绘即为郭子仪率数十骑免胄（徒手不着盔甲）见回纥首领大酋，大酋舍兵下马拜见的情景。图卷左侧是郭子仪所率部将兵骑，仪容镇定，伫立于侧。右侧是入侵关中的回纥兵骑，阵营庞大而惶惶无措。回纥大酋着戎装，携副将滚鞍落马，正单膝跪地作钦服之状，拜见免胄着燕服的郭子仪。郭神情雍穆诚恳，俯身援手以礼相见，体现出从容大度的一代名将风范。\n此卷描绘唐代名将郭子仪说服回纥大破吐蕃一事。关于这一著名战事，《旧唐书》有详细记载。唐太宗广德二年（764），回纥、土蕃西域诸国数十万大军，入侵长安，郭子仪奉命率军镇守泾阳，由于双方兵力悬殊，郭子仪决定亲赴敌营，希望说服回纥将领退兵，郭子仪是大唐名将，颇受蕃将敬重，当郭子仪脱去戎装，单骑来到回纥阵前，回纥统帅药葛罗一见，心悦诚服，下马跪迎，双方言和，药葛罗立即退兵，并发誓不再侵唐。",[23,68,24,25,26,237,30,7,70,164,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a54c261d4257de502d94fbe837eb3b.jpg","纸本长卷","纵32.3厘米，横223.8厘米",[],{"id":3060,"slug":3061,"title":3062,"dynasty":176,"author":442,"museum":234,"description":3063,"tags":3064,"thumbUrl":3066,"material":135,"size":3067,"collection":98,"collections":3068,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":59},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,68,24,26,29,89,90,523,36,30,7,222,267,249,3065],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":3070,"slug":3071,"title":3072,"dynasty":261,"author":495,"museum":234,"description":3073,"tags":3074,"thumbUrl":3075,"material":98,"size":98,"collection":98,"collections":3076,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":171},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,25,26,29,89,90,30,7,339,36,278,47,33,1197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":3078,"slug":3079,"title":3080,"dynasty":176,"author":177,"museum":234,"description":3081,"tags":3082,"thumbUrl":3083,"material":98,"size":98,"collection":98,"collections":3084,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":59},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[23,24,68,26,28,29,7,30,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e204d63756ad26041aa9243c11.jpg",[],{"id":3086,"slug":3087,"title":3088,"dynasty":18,"author":83,"museum":234,"description":3089,"tags":3090,"thumbUrl":3091,"material":98,"size":98,"collection":98,"collections":3092,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":59},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[23,24,25,90,89,29,388,389,30,7,33,523,1043,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":3094,"slug":3095,"title":3096,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":3097,"thumbUrl":3098,"material":135,"size":1610,"collection":98,"collections":3099,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":171},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,25,354,28,29,27,30,7,31,90,36,32,47,129,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":3101,"slug":3102,"title":3103,"dynasty":261,"author":3104,"museum":234,"description":3105,"tags":3106,"thumbUrl":3107,"material":166,"size":3108,"collection":137,"collections":3109,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":59},222163,"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[23,24,29,28,27,90,30,7,31,36,91,1217,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[137,55],{"id":3111,"slug":3112,"title":3113,"dynasty":18,"author":3114,"museum":234,"description":3115,"tags":3116,"thumbUrl":3117,"material":135,"size":3118,"collection":53,"collections":3119,"showCount":3039,"zanCount":170,"manualWeight":58,"mainColor":59},221366,"xi-cheng-tu-juan-qiao-zhong-chang-221366","西成图卷","乔仲常","(公元12世紀)河中(今山西永濟)人，生卒年不詳。工雜畫，尤擅人物道釋故事畫，師法李公麟。靖康之變(1126)，金人圍城中思歸，一日作《河中圖》贈邵澤民侍郎。南宋·鄧椿《畫繼》卷四，著錄其畫跡有《龍宮散齋圖》《山居羅漢圖》《淵明聽松風圖》《李白捉月圖》《玄真子西塞山圖》《列子御風圖》等，然至今罕見。\n傳世作品有《赤壁圖》卷，紙本，墨筆，描繪蘇軾《後赤壁賦》中情節，並分段書寫賦文。山水人物筆法近李公麟，但不為成法所囿，用筆簡率生拙，氣韻野逸。卷後有宣和五年(1123)八月七日趙德麟題跋，還有武聖可和趙巖題跋，清乾隆皇帝御書引首“尺幅江山”四字，曾入清乾隆內府，乾隆為畫題簽，《石渠寶笈初編》著錄，現藏美國納爾遜·艾特金斯美術館。",[23,24,25,26,29,28,30,35,7,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d484bb6e65e23609df02830938b7a.jpg","21.3x82",[53,75,76],{"id":3121,"slug":3122,"title":3123,"dynasty":18,"author":3124,"museum":3125,"description":3126,"tags":3127,"thumbUrl":3128,"material":391,"size":98,"collection":137,"collections":3129,"showCount":3039,"zanCount":58,"manualWeight":58,"mainColor":171},219706,"bai-miao-yue-bing-tu-li-zao-219706","白描阅兵图","李早","刘海粟美术馆","淡墨晕开平远丘壑，清旷烟岚晕染出空濛郊野，劲挺林木错落排布，晕染出幽寂底色。整肃的军马武士隐现于浅渚平坡间，白描线条清劲洗练，将军士的端严、战马的神骏勾勒得灵动传神，不着浓丽色彩，仅凭虚实笔墨，就将阅兵时的沉凝肃穆尽数铺展。\n\n卷上题跋添就文史意趣，山水意境糅合军旅气象，以简淡笔墨托出兵阵的雄浑威仪，静穆烟岚之下暗涌军阵张力，尽显笔墨雅韵与写实功力，将盛大阅兵的宏大气度，藏在清和的丘壑林泉之间。",[23,24,25,26,237,223,30,7,164,36,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ddd2c5d153d84f8a246a4de734fb049.jpg",[137],{"id":3131,"slug":3132,"title":3133,"dynasty":301,"author":454,"museum":84,"description":3134,"tags":3135,"thumbUrl":3138,"material":96,"size":283,"collection":98,"collections":3139,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":59},290022,"tang-ren-chun-jiao-you-qi-tu-yi-ming-290022","唐人春郊游骑图","画幅中间一人上身呈正面，穿著与其他六人不同，应是画中的主人。前二人引导，后四人有的拿弓，有的拿毬棍，有的挟著琴，有的背酒，前顾后盼，各有神态。树叶双钩填彩，岩石、流水和激湍都是仿古的钩勒法，有装饰的意味。背景树石的构图和院藏另一件传为韩干《猿马图》相似，不过笔墨稍逊，可能出自同一幅稿本。",[24,68,29,30,7,3136,3137,93,91,90],"春郊","郊游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fdd4af9015b51a1635e29ed3f1d75b9.jpg",[],33,{"id":3142,"slug":3143,"title":3144,"dynasty":18,"author":3145,"museum":234,"description":3146,"tags":3147,"thumbUrl":3148,"material":98,"size":98,"collection":405,"collections":3149,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":171},239687,"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","苏轼","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[26,224,223,70,25,7,88],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[405],{"id":3151,"slug":3152,"title":160,"dynasty":106,"author":107,"museum":20,"description":161,"tags":3153,"thumbUrl":3155,"material":166,"size":167,"collection":98,"collections":3156,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":171},232937,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-232937",[68,87,28,29,30,7,90,111,3154,681,789,110],"盔甲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e75bd6adc859c5fc594e91cce70fb3d.jpg",[],{"id":3158,"slug":3159,"title":3160,"dynasty":18,"author":1730,"museum":84,"description":3161,"tags":3162,"thumbUrl":3163,"material":344,"size":3164,"collection":98,"collections":3165,"showCount":3140,"zanCount":170,"manualWeight":58,"mainColor":59},232782,"yang-zheng-tu-juan-er-liu-song-nian-232782","养正图卷二","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,25,26,28,29,27,223,30,31,90,7,266,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d948e2a41c077a21b8977f8e4dfb8a.jpg","30*386.55厘米",[],{"id":3167,"slug":3168,"title":3169,"dynasty":18,"author":233,"museum":20,"description":3170,"tags":3171,"thumbUrl":3172,"material":344,"size":3173,"collection":98,"collections":3174,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":59},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[23,24,68,26,237,30,7,1068,2178,553,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],{"id":3176,"slug":3177,"title":3178,"dynasty":18,"author":454,"museum":20,"description":3179,"tags":3180,"thumbUrl":3184,"material":135,"size":3185,"collection":98,"collections":3186,"showCount":3140,"zanCount":170,"manualWeight":58,"mainColor":59},223494,"chun-yan-tu-juan-quan-juan-yi-ming-223494","春宴图卷全卷","此图旧题“唐人春宴图”，为李世民创建文学馆，招纳贤才，杜如晦、房玄龄等被称为十八学士。此图绘十八学士集会宴饮的情景，图卷场面宏大，人物姿态各异，构图繁而不乱。",[23,24,25,26,28,29,30,7,376,3181,3182,163,3183,223,224,70],"桌","椅","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5739e812fc48146e4bb8636f43c7fb7.jpg","23x573",[],{"id":3188,"slug":3189,"title":3190,"dynasty":18,"author":233,"museum":84,"description":3191,"tags":3192,"thumbUrl":3193,"material":3194,"size":3195,"collection":53,"collections":3196,"showCount":3140,"zanCount":170,"manualWeight":58,"mainColor":171},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[23,68,24,25,26,237,88,30,7,1153,278,1561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","绢本，水墨淡设色","26.6x764",[53],{"id":3198,"slug":3199,"title":3200,"dynasty":176,"author":562,"museum":84,"description":3201,"tags":3202,"thumbUrl":3203,"material":198,"size":3204,"collection":75,"collections":3205,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":59},219615,"chun-jiao-you-qi-tu-zhao-yong-219615","春郊游骑图","该幅画树下单骑一人，手中拿著弓，正转头回顾。人物形态生动自然，马匹肥大雄壮，都以中锋金绿勾画，线条谨密流畅。背景极为简单，仅是两株相抱的树木，树叶以近似图案的形式描绘，有古拙之意。作者似乎在追求著高古简逸的趣味。人物生动自然，马匹肥硕雄壮，都以中峰钩画，线条谨密流畅，背景极为简单，仅是两株相抱的树木，树石亦用近似图案的形式描绘，有高古简逸的意趣。",[23,24,87,29,28,30,7,376,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d75c27cf3a76a0e8374ea43a8b221a6.jpg","88×51.1公分",[75,137,76],{"id":3207,"slug":3208,"title":3209,"dynasty":106,"author":1280,"museum":84,"description":3210,"tags":3211,"thumbUrl":3212,"material":3213,"size":3214,"collection":75,"collections":3215,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":171},219527,"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[24,25,28,29,237,69,30,7,551,90,376,266,94,249,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","设色,纸本","94.5X54.7cm",[75],{"id":3217,"slug":3218,"title":3219,"dynasty":176,"author":3220,"museum":84,"description":3221,"tags":3222,"thumbUrl":3223,"material":135,"size":98,"collection":137,"collections":3224,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":171},218767,"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","唐棣","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[23,68,24,25,88,29,89,90,195,630,91,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[137],{"id":3226,"slug":3227,"title":3228,"dynasty":176,"author":454,"museum":234,"description":3229,"tags":3230,"thumbUrl":3231,"material":906,"size":3232,"collection":75,"collections":3233,"showCount":3140,"zanCount":58,"manualWeight":58,"mainColor":59},216729,"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[23,68,24,25,26,237,29,30,7,809,112,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","31.5x89.5",[75],{"id":3235,"slug":3236,"title":3237,"dynasty":106,"author":454,"museum":20,"description":3238,"tags":3239,"thumbUrl":3240,"material":166,"size":3241,"collection":137,"collections":3242,"showCount":3243,"zanCount":58,"manualWeight":58,"mainColor":171},236177,"hong-li-she-tu-tu-zhou-yi-ming-236177","弘历射兔图轴","乾隆作为以畜牧、游猎为主 的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[24,28,29,90,30,7,91,36,92,89,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 厘",[137,76],32,{"id":3245,"slug":3246,"title":3247,"dynasty":301,"author":3248,"museum":1495,"description":3249,"tags":3250,"thumbUrl":3253,"material":135,"size":3254,"collection":98,"collections":3255,"showCount":3243,"zanCount":58,"manualWeight":58,"mainColor":59},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","韩滉","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,24,25,26,28,237,30,35,7,3251,3252,223,70,224],"田园","耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":3257,"slug":3258,"title":3259,"dynasty":261,"author":262,"museum":234,"description":3260,"tags":3261,"thumbUrl":3262,"material":98,"size":98,"collection":98,"collections":3263,"showCount":3243,"zanCount":170,"manualWeight":58,"mainColor":59},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[24,68,25,354,28,29,30,7,222,36,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed35c49.jpg",[],{"id":3265,"slug":3266,"title":3267,"dynasty":18,"author":3268,"museum":234,"description":3269,"tags":3270,"thumbUrl":3271,"material":98,"size":98,"collection":98,"collections":3272,"showCount":3243,"zanCount":58,"manualWeight":58,"mainColor":59},227684,"hu-shan-chun-xiao-tu-chen-qing-bo-227684","湖山春晓图","陈清波","《湖山春晓图》页，南宋，陈清波绘，绢本，设色，纵25厘米，横26.7厘米。\n\n本幅款署：“乙未陈清波。”钤收藏印“庞莱臣珍藏宋元真迹”一方。庞元济《虚斋名画录》著录。\n\n此页以平远之法绘春山平湖。湖堤一边是掩映在绿树丛中的深院崇楼，湖对岸小路上一人骑马远行，执鞭回望崇楼，二仆负伞荷担相随，湖阔天高，远山一带。画中人物是踏青，是出行，是省亲，是远宦，耐人寻味。楼阁虽以粗笔画出，但飞檐户牖洗练而不失准确。简括明了的线条、大片空白的院体格式与清新淡雅的色调使画面在含蓄蕴藉之中充满了春天的明媚。",[23,24,1808,29,90,31,36,30,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ca390799c21fee010089df993fbc2.jpg",[],{"id":3274,"slug":3275,"title":3276,"dynasty":261,"author":454,"museum":234,"description":3277,"tags":3278,"thumbUrl":3279,"material":98,"size":98,"collection":98,"collections":3280,"showCount":3243,"zanCount":58,"manualWeight":58,"mainColor":59},223622,"hu-jia-shi-ba-pai-tu-juan-yi-ming-223622","胡笳十八拍图卷","这是诗书画合一的叙事长卷，以古雅绢本为底，绘图配书，徐徐铺展蔡文姬的半生流离。画面里车马辚辚、城郭乡野、人物衣冠皆贴合古制，细节里藏着乱世羁旅的沉郁。每段题笔与场景呼应，将去国的怆然、归汉别子的两难尽数渲染，笔致朴拙温婉，把《胡笳十八拍》里的哀恸与深情具象为可视的场景，让文辞的悲戚落在人物的眉眼、步履之间，带着旧绢的温润底色，诉尽乱世女子的飘零宿命，让千年前的家国离愁跨越岁月，静静铺陈在卷上。",[23,68,24,25,26,29,28,237,30,7,31,1153,112,90,36,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a822cce9a1c19b42a164c7a30f03db9.jpg",[],{"id":3282,"slug":3283,"title":3284,"dynasty":261,"author":3016,"museum":84,"description":3285,"tags":3286,"thumbUrl":3287,"material":198,"size":3288,"collection":76,"collections":3289,"showCount":3243,"zanCount":58,"manualWeight":58,"mainColor":59},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,24,90,29,89,87,32,33,266,376,91,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[76],{"id":3291,"slug":3292,"title":3293,"dynasty":18,"author":454,"museum":84,"description":3294,"tags":3295,"thumbUrl":3296,"material":198,"size":3297,"collection":75,"collections":3298,"showCount":3243,"zanCount":58,"manualWeight":58,"mainColor":59},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[23,68,24,25,26,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[75],{"id":3300,"slug":3301,"title":3302,"dynasty":18,"author":454,"museum":518,"description":3303,"tags":3304,"thumbUrl":3305,"material":198,"size":3306,"collection":137,"collections":3307,"showCount":3243,"zanCount":170,"manualWeight":58,"mainColor":59},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[23,24,25,27,88,90,31,33,36,7,30,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[137],{"id":3309,"slug":3310,"title":3311,"dynasty":18,"author":3312,"museum":234,"description":3313,"tags":3314,"thumbUrl":3315,"material":96,"size":283,"collection":98,"collections":3316,"showCount":3317,"zanCount":58,"manualWeight":58,"mainColor":512},289756,"mo-fan-kuan-lu-shan-tu-jiang-can-289756","摹范宽庐山图","江参","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，",[23,68,24,25,87,88,90,31,33,94,7,91,36,89,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6238a367ca5faaa932225d420ea9a296.jpg",[],31,{"id":3319,"slug":3320,"title":702,"dynasty":18,"author":703,"museum":234,"description":3321,"tags":3322,"thumbUrl":3324,"material":96,"size":283,"collection":98,"collections":3325,"showCount":3317,"zanCount":58,"manualWeight":58,"mainColor":512},288967,"wen-ji-gui-han-tu-chen-ju-zhong-288967","并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[68,24,989,29,28,7,630,94,3323,279],"文姬归汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89049e0a1da7eac74bb7a83d09751b8.jpg",[],{"id":3327,"slug":3328,"title":3329,"dynasty":18,"author":1946,"museum":234,"description":3330,"tags":3331,"thumbUrl":3332,"material":98,"size":98,"collection":98,"collections":3333,"showCount":3317,"zanCount":256,"manualWeight":58,"mainColor":59},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[23,68,24,25,26,237,29,30,7,809,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":3335,"slug":3336,"title":3337,"dynasty":261,"author":1390,"museum":84,"description":3338,"tags":3339,"thumbUrl":3340,"material":906,"size":3341,"collection":137,"collections":3342,"showCount":3317,"zanCount":58,"manualWeight":58,"mainColor":59},222030,"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[23,24,87,90,89,29,32,33,339,91,36,30,7,388,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[137,55],{"id":3344,"slug":3345,"title":3346,"dynasty":125,"author":1906,"museum":3347,"description":3348,"tags":3349,"thumbUrl":3350,"material":3351,"size":3352,"collection":405,"collections":3353,"showCount":3317,"zanCount":170,"manualWeight":58,"mainColor":171},221176,"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","美国波士顿博物馆","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[23,24,25,26,29,30,7,28,223,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[405],{"id":3355,"slug":3356,"title":3357,"dynasty":261,"author":454,"museum":84,"description":3358,"tags":3359,"thumbUrl":3360,"material":198,"size":3361,"collection":76,"collections":3362,"showCount":3317,"zanCount":170,"manualWeight":58,"mainColor":59},219350,"wang-hai-lou-tu-zhou-yi-ming-219350","望海楼图轴","画中楼阁矗立于城墙之上，下瞰大江，群客登临宴饮。屋内文人三五成群，有些持卷观赏，有些凭窗眺远。本幅用界工整，青绿设色已略剥落，然屋宇脊顶之蛤白勾勒线条仍鲜明如故，使楼台轮廓分外醒目。此图签题虽定为「望海楼图」，然根据绘画内容看来，整个建筑群组面城临江， 居高临下，江边还有大型的雀舫龙舟，非常接近唐代文人王勃于〈藤王阁序〉中所描写的场景，或可定为藤王阁图。",[24,68,87,27,28,29,31,30,90,7,34,36,1239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedfd8e3692883f0a750fcbb48cfd87f.jpg","159.8x93.2",[76],{"id":3364,"slug":3365,"title":3366,"dynasty":176,"author":442,"museum":234,"description":3367,"tags":3368,"thumbUrl":3369,"material":96,"size":283,"collection":98,"collections":3370,"showCount":3371,"zanCount":58,"manualWeight":58,"mainColor":59},287309,"bai-ma-tu-juan-zhao-meng-fu-287309","百马图卷","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,68,24,25,26,29,28,30,7,222,90,36,223,990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a593e89c3ebaed5bb8b3a9a136f0c5.jpg",[],30,{"id":3373,"slug":3374,"title":2677,"dynasty":106,"author":454,"museum":84,"description":3375,"tags":3376,"thumbUrl":3378,"material":98,"size":98,"collection":76,"collections":3379,"showCount":3371,"zanCount":58,"manualWeight":58,"mainColor":59},238933,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238933","云端仙袂翩跹，分群御风而来，祥龙隐于霭雾，漫溢祥瑞清贵之气。下方山道水畔，凡世之人或骑行牵犊，或执乐赶路，各携贺礼奔赴寿典，满是人间欢悦之态。\n\n此作以缂丝技艺织就，设色古雅柔和，线条细腻灵动。仙凡同贺的祝寿盛景虚实相映，将福寿绵长的美好祈愿，藏在每一处衣褶与云纹里，让悠远的祥瑞意趣缓缓流淌而出。",[24,28,29,30,535,90,809,7,2591,376,1068,91,1511,1383,3377],"祝寿场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce35673770dccb61bbc8a5bd24e3c42.jpg",[76],{"id":3381,"slug":3382,"title":3383,"dynasty":18,"author":454,"museum":84,"description":3384,"tags":3385,"thumbUrl":3386,"material":135,"size":3387,"collection":98,"collections":3388,"showCount":3371,"zanCount":170,"manualWeight":58,"mainColor":59},233015,"chun-you-wan-gui-tu-ye-yi-ming-233015","春游晚归图页","图绘一老臣骑马踏青回府，前后簇拥着10位侍从，或搬椅，或扛兀，或挑担，或牵马，忙忙碌碌。\n老臣持鞭回首，仿佛意犹未尽，表现了南宋官僚偏安江南时的悠闲生活，令人想起南宋林升《题临安邸》一诗：\n\n“山外青山楼外楼，西湖歌舞几时休？\n暖风熏得游人醉，直把杭州作汴州！”\n\n所绘景物十分优雅，柳林成浪，宫城巍峨，人马虽不盈寸，但须眉毕现，姿态生动，线条流畅，色彩简洁明朗。",[24,68,29,28,30,7,36,31,94,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bc4b22ebdbfe5a601c55afb8e03b4d.jpg","24.2cm*25.3cm",[],{"id":3390,"slug":3391,"title":3392,"dynasty":106,"author":3393,"museum":234,"description":3394,"tags":3395,"thumbUrl":3396,"material":98,"size":98,"collection":98,"collections":3397,"showCount":3371,"zanCount":58,"manualWeight":58,"mainColor":171},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,28,29,7,91,36,2594,223,70,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":3399,"slug":3400,"title":3401,"dynasty":176,"author":442,"museum":65,"description":3402,"tags":3403,"thumbUrl":3405,"material":3406,"size":3407,"collection":117,"collections":3408,"showCount":3371,"zanCount":58,"manualWeight":58,"mainColor":171},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,25,26,88,28,7,30,70,223,224,3404,222],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[117,76],{"id":3410,"slug":3411,"title":3412,"dynasty":18,"author":454,"museum":518,"description":2333,"tags":3413,"thumbUrl":3414,"material":198,"size":2336,"collection":75,"collections":3415,"showCount":3371,"zanCount":170,"manualWeight":58,"mainColor":59},219449,"ying-luan-tu-yi-ming-219449","迎銮图",[68,24,25,26,28,29,30,7,36,91,680,553,554,1583,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c505d6dabe982edce0ab1aacf74d41.jpg",[75],{"id":3417,"slug":3418,"title":3419,"dynasty":106,"author":3420,"museum":20,"description":3421,"tags":3422,"thumbUrl":3423,"material":198,"size":3424,"collection":117,"collections":3425,"showCount":3371,"zanCount":58,"manualWeight":58,"mainColor":59},219343,"jin-yun-zhui-tu-ai-qi-meng-219343","锦云骓图","艾启蒙","绢本之上，骏马静立却藏矫健之姿。白褐相间的毛色如锦云裁缀，晕染间显西洋光影之妙，线条勾勒又含东方工笔之精。鬃毛纤毫毕现，似有风掠过；尾梢垂落如瀑，暗蕴沉实力度。马目圆睁神凝，肌肉线条隐于细腻笔触下，既见体格之健硕，更显灵性之鲜活。背景素净无华，恰以留白衬出主体的雍容生动。整幅画融中西技法于一炉，既承传统鞍马画的气韵风骨，又添写实求真的细腻质感，将骏马的神骏与优雅尽展纸上，堪称清代鞍马图中兼具技艺与意趣的精品。",[23,68,24,25,28,29,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fde2ff5f4c2ca6c9075550a4f9c5b2.jpg","纵229横276厘米",[117,76],{"id":3427,"slug":3428,"title":3429,"dynasty":261,"author":262,"museum":234,"description":3430,"tags":3431,"thumbUrl":3432,"material":198,"size":98,"collection":98,"collections":3433,"showCount":3371,"zanCount":170,"manualWeight":58,"mainColor":59},216284,"er-shi-si-xiao-tu-9-chou-ying-216284","二十四孝图-9","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。",[68,24,25,354,28,29,30,7,91,164,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32894195a642c7cf199c48858abc7ce7.jpg",[],{"id":3435,"slug":3436,"title":3437,"dynasty":18,"author":3438,"museum":84,"description":3439,"tags":3440,"thumbUrl":3443,"material":96,"size":283,"collection":98,"collections":3444,"showCount":3445,"zanCount":58,"manualWeight":58,"mainColor":59},288420,"shan-cun-gui-qi-tu-yan-ci-yu-288420","山村归骑图","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[68,24,90,88,89,91,36,536,3441,7,70,3442],"山村","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4996dfe72e1b851417cc3efdcb3e355c.jpg",[],29,{"id":3447,"slug":3448,"title":584,"dynasty":301,"author":302,"museum":84,"description":3449,"tags":3450,"thumbUrl":3451,"material":72,"size":283,"collection":98,"collections":3452,"showCount":3445,"zanCount":58,"manualWeight":58,"mainColor":171},287704,"xi-ma-tu-han-gan-287704","韩干，唐画家。京兆蓝田（治今陕西西安）人。相传年少时曾为酒肆雇工，经王维资助，学画十馀年而艺成。擅绘肖像、人物、鬼神、花竹，尤工画马，曾师曹霸而重视写生。经历唐玄宗年间，被召入宫封为“供奉”。此后专跟宫中画马名家陈闳学习画，但进展不太显著，后来韩干改变只临摹不写生的方法，经常到马厩里去，细心观察马的习性，对比找出马的性格特征，找出马的动作规律，并把各种各样的马记录在案。日子久了，人们对韩干经常进入马厩，甚至搬到马厩里和饲养人一起住感到奇怪。韩干回答说：“我学习画马，马厩里所有的马都是我的老师”。为了深入了解马的习性，他常痴呆地观察上几个时辰，把别的画家不了解的具体细节都弄得清清楚楚，并牢记心上。这样时间久了，马的各种体貌，奔跑雄姿，千变万化的动态，作画之时自然而然就展现在纸上。所以人们都称赞韩干笔下的马是能跑动的马。",[23,24,25,30,7,28,29,223,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba3b5ac63eeb38d707e63aad4facfc.jpg",[],{"id":3454,"slug":3455,"title":3456,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":3457,"thumbUrl":3458,"material":135,"size":1610,"collection":98,"collections":3459,"showCount":3445,"zanCount":58,"manualWeight":58,"mainColor":171},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,25,28,29,277,30,522,7,32,33,90,36,31,48,3065,149,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":3461,"slug":3462,"title":3463,"dynasty":314,"author":315,"museum":316,"description":3464,"tags":3465,"thumbUrl":3466,"material":98,"size":98,"collection":98,"collections":3467,"showCount":3445,"zanCount":58,"manualWeight":58,"mainColor":171},220572,"jiu-fang-gao-xu-bei-hong-220572","九方皋","山野风色裹着粗粝的生机，老者静立崖边，目光越过皮毛叩问龙马的骨血，沉静神态藏着识珠的笃定。牵马汉子筋肉虬结、野性勃发，与老者的沉稳形成强烈反差。\n\n画面以笔墨塑风骨，线条凝练遒劲，糅合西画体积感与东方白描意趣。马匹神形各异，或昂首长嘶、或垂首闲食，野趣盎然。画作将伯乐识贤的典故融于田间小景，借相马喻识人，朴素场景里藏着对英才不问出身的深切期许，笔墨间满溢沉厚真挚的人文温度。",[23,24,25,29,88,237,1174,30,7,111,36,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff03f353d2c8b3af414b1b65a034610f6.jpg",[],{"id":3469,"slug":3470,"title":3471,"dynasty":176,"author":442,"museum":263,"description":3472,"tags":3473,"thumbUrl":3474,"material":198,"size":98,"collection":75,"collections":3475,"showCount":3445,"zanCount":58,"manualWeight":58,"mainColor":59},219562,"ma-tu-ye-zhao-meng-fu-219562","马图页","此作以淡赭绢本为底，骏马身形丰腴劲健，以浓淡不一的墨色晕染皮毛，浓墨铺就肩臀，淡墨晕出躯干，虚实间尽显骏马肌理的柔和光泽，静立中暗含蓄力待发的动势。\n牵马胡人气度彪悍，简劲线条勾勒出毡裘纹理，虬髯卷发的样貌鲜活生动，寥寥数笔便将塞外牧人的质朴刚健全然展现。\n左上题字笔致圆熟苍秀，书画相融，更添文雅意趣。整幅脱却院体鞍马的精工繁复，以写意笔法抓取神形，兼具写实功力与文人雅韵，将人马之间的沉静张力定格绢素，尽显元代鞍马画的别致意趣。",[23,24,25,354,29,28,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d15c2a7cbef3531d0fff7ae3e535dbb.jpg",[75],{"id":3477,"slug":3478,"title":3479,"dynasty":176,"author":442,"museum":84,"description":3480,"tags":3481,"thumbUrl":3482,"material":198,"size":3483,"collection":117,"collections":3484,"showCount":3445,"zanCount":58,"manualWeight":58,"mainColor":59},218827,"ma-tu-zhao-meng-fu-218827","马图","两马相依而立，一深一浅的墨色晕染出温润质感。鬃尾线条如行书般挥洒流畅，圆劲的笔触似篆籀勾勒马身筋骨，肥瘦得宜的体态里藏着含蓄的力度。红衣人抚髯凝睇，神情悠然若与马语；白衣者侧立相伴，身姿闲雅如随景停驻。\n\n画面以书入画，笔墨间透着文人的清雅韵致。没有繁复的铺陈，仅用简练线条与淡墨渲染，便将马的温顺灵动、人物的闲适默契刻画入微。静穆的氛围里，仿佛能听见马的轻嘶与衣袂的微动，形神兼备的意趣，恰是元代文人画中“以形写神”的生动注脚。",[24,28,29,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3743a6d57a932955b20032b8187e236.jpg","52.5x48.2cm",[117],{"id":3486,"slug":3487,"title":1473,"dynasty":301,"author":302,"museum":234,"description":3488,"tags":3489,"thumbUrl":3491,"material":96,"size":283,"collection":98,"collections":3492,"showCount":78,"zanCount":58,"manualWeight":58,"mainColor":512},289728,"yuan-ma-tu-han-gan-289728","此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,24,68,87,29,7,1476,222,376,3490,340],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb614ad486de6c7330220220d7021323.jpg",[],{"id":3494,"slug":3495,"title":3496,"dynasty":261,"author":454,"museum":234,"description":3497,"tags":3498,"thumbUrl":3499,"material":98,"size":98,"collection":98,"collections":3500,"showCount":78,"zanCount":58,"manualWeight":58,"mainColor":59},228822,"qi-ma-shou-lie-tu-yi-ming-228822","骑马狩猎图","画作以塞北秋原为底色，枯木疏枝晕染出荒寒辽远的意境。画面上方白鹤惊飞，一人纵马引弓，箭矢将发，将狩猎的张力拉满；下方猎手们或缓骑四顾，或驻马待命，猎犬伏地静伺，动静相映成趣。设色古雅沉郁，线条朴拙凝练，将游牧出猎的日常瞬间定格。萧瑟荒野呼应骑射英武，糅合边地的苍凉与出猎的野趣，笔意简淡却藏着质朴生机，尽显北国狩猎的自在豪情。",[24,25,29,28,30,7,267,630,2344,90,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e0832a905d1084788a315175c5a3cf.jpg",[],{"id":3502,"slug":3503,"title":3504,"dynasty":176,"author":442,"museum":84,"description":3505,"tags":3506,"thumbUrl":3507,"material":2503,"size":3508,"collection":75,"collections":3509,"showCount":78,"zanCount":170,"manualWeight":58,"mainColor":171},220832,"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[68,24,25,29,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 横49厘米",[75,55],{"id":3511,"slug":3512,"title":3513,"dynasty":18,"author":233,"museum":234,"description":3514,"tags":3515,"thumbUrl":3516,"material":391,"size":98,"collection":98,"collections":3517,"showCount":78,"zanCount":170,"manualWeight":58,"mainColor":171},218103,"bai-miao-ren-wu-tu-ce-7-li-gong-lin-218103","白描人物图册-7","李公麟的生平信息相对较少，但是他在宋朝的政治、文化和经济发展中发挥了重要作用。他曾任国子监太傅，是宋朝的最高学府。他还是一位著名的诗人，他的诗歌风格优美流畅，富有哲理性。\n\n李公麟还是一位杰出的政治家。他在宋朝的统治过程中，提出了许多有益的政策建议。他倡导改革，推动了宋朝经济的发展。他还是一位慈善家，常常为穷人提供帮助。\n\n总的来说，李公麟是宋朝时期一位著名的人物，他在政治、文化和经济发展中发挥了重要作用。他的诗歌风格优美流畅，富有哲理性，是宋朝的著名诗人。他还是一位杰出的政治家，在宋朝的统治过程中，提出了许多有益的政策建议。他还是一位慈善家，常常为穷人提供帮助。",[23,68,24,25,354,237,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9f9510faac4e5283eb2aabaa7252e1.jpg",[],{"id":3519,"slug":3520,"title":3521,"dynasty":18,"author":233,"museum":234,"description":3522,"tags":3523,"thumbUrl":3524,"material":96,"size":283,"collection":98,"collections":3525,"showCount":3526,"zanCount":58,"manualWeight":58,"mainColor":59},290147,"li-ren-xing-tu-li-gong-lin-290147","丽人行图","《丽人行》描绘了秦、韩、虢三夫人春游长安水畔的情景。该画设色明艳，清雅丰美，人物与马匹均形神俱备，大有晚唐遗风。画面上，领前的是一位身材高大的太监，马速似乎太快，他正勒转马头使其暂停。 一太监和两名宫女在后，另一扛衣太监骑青鬃马紧随三位夫人前行，以便随时救护。左前白马上面，是雍容华贵的韩国夫人，体态苗条，全神贯注于怀中女儿。虢国夫人则轻盈地单勒马缰，使马四蹄舒缓，马首右转。她身着粉色长裙，鲜红背心，流目女童。外侧绿衣宫女护卫的，是朱丹峨眉的秦国夫人，骑的是一匹花马，她艳红低胸长袖，紫蓝背心，双手控缰，虽慎骑谨坐，仍不失其娇美。李公麟的画，较完美地表现了杜甫的诗意。",[68,24,26,29,30,7,210,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e5c06b27d66314b6ea8a81ff447653.jpg",[],27,{"id":3528,"slug":3529,"title":3530,"dynasty":106,"author":650,"museum":234,"description":3531,"tags":3532,"thumbUrl":3534,"material":182,"size":3535,"collection":98,"collections":3536,"showCount":3526,"zanCount":58,"manualWeight":58,"mainColor":171},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,3533,29,90,89,32,33,7,630,388,91,30,94],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg","30.5×21.5",[],{"id":3538,"slug":3539,"title":3540,"dynasty":106,"author":107,"museum":84,"description":3541,"tags":3542,"thumbUrl":3543,"material":198,"size":3544,"collection":76,"collections":3545,"showCount":3526,"zanCount":256,"manualWeight":58,"mainColor":171},219422,"shi-jun-tu-zhi-nie-yun-shi-zhou-lang-shi-ning-219422","十骏图之籋云驶轴","骏马伫立绢间，身姿挺拔似蓄势待发，鬃尾如墨线流转却不失蓬松质感。斑纹晕染自然，似晨曦拂过皮毛，肌肉的起伏藏着解剖学的精准，却以东方设色的温润消解了西画的生硬。素净背景上，题字与朱印错落，添了几分古雅韵致。它将西方写实的生动与东方写意的空灵揉合，每一笔都似在诉说骏马的灵动与画师的巧思，让观者于方寸间见得跨文化艺术碰撞的火花，尽显皇家名驹的神采与画作的独特魅力。",[24,29,28,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1119013fe0d826d6735418558cca191c.jpg","239.5x270.4",[76],{"id":3547,"slug":3548,"title":3549,"dynasty":261,"author":3550,"museum":385,"description":3551,"tags":3552,"thumbUrl":3553,"material":182,"size":98,"collection":117,"collections":3554,"showCount":3526,"zanCount":58,"manualWeight":58,"mainColor":171},216325,"han-xi-meng-song-yuan-ming-ji-ce-xi-ma-tu-han-xi-meng-216325","韩希孟宋元名迹册·洗马图","韩希孟","柳丝垂拂如缕，随风轻摆，与潺潺流水应和。花斑骏马缓步水中，鬃毛轻扬，蹄下涟漪圈圈漾开，悠然自得。牵马者衣袂轻飘，俯身似与马低语，神情闲适。\n\n以针代笔，线代墨：丝线深浅晕染出水面波光，柳丝细劲借长短针脚勾勒，兼具笔墨的灵动与绣线的肌理质感。左侧书法笔墨清雅，与绣面相映成趣，将宋元文人画的闲逸气韵凝于丝缕之间。\n\n仿佛能闻柳下清风，听水声潺潺，藏着一份从容自在的诗意，是艺术与工艺交融的雅致佳作。",[24,25,354,29,30,7,129,33,223,70,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841e03fd2c6d3244da7016352e90be97.jpg",[117],{"id":3556,"slug":3557,"title":3558,"dynasty":261,"author":262,"museum":234,"description":3430,"tags":3559,"thumbUrl":3560,"material":198,"size":98,"collection":98,"collections":3561,"showCount":3526,"zanCount":170,"manualWeight":58,"mainColor":59},216274,"er-shi-si-xiao-tu-18-chou-ying-216274","二十四孝图-18",[24,25,28,29,30,7,31,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d752214768a911ab09d086c8940496.jpg",[],{"id":3563,"slug":3564,"title":3565,"dynasty":261,"author":495,"museum":234,"description":3566,"tags":3567,"thumbUrl":3568,"material":96,"size":283,"collection":98,"collections":3569,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":171},290904,"ming-diao-ma-tu-tang-yin-290904","明调马图","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,1808,29,30,7,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8039eff5db1f3396aeff6633513891cd.jpg",[],26,{"id":3572,"slug":3573,"title":671,"dynasty":301,"author":672,"museum":234,"description":673,"tags":3574,"thumbUrl":3576,"material":96,"size":283,"collection":98,"collections":3577,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":59},289940,"zhi-gong-tu-yan-li-ben-289940",[23,68,24,26,29,30,279,675,3575,7,2591],"朝贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f4a038e4ced215e45070eb656c031.jpg",[],{"id":3579,"slug":3580,"title":3581,"dynasty":261,"author":3582,"museum":234,"description":3583,"tags":3584,"thumbUrl":3585,"material":98,"size":98,"collection":98,"collections":3586,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":171},235481,"fang-guo-xi-shan-shui-zhou-yuan-shang-tong-235481","仿郭熙山水轴","袁尚统","整幅画作以雪景铺陈萧索冬意，巨峰以淡墨晕衬留白，尽显积雪覆山的清寒巍峨。枯木虬枝劲挺错落，深谷间栈道蜿蜒回转，行旅车马次第缓行，将隆冬深山的冷寂，和人间行路的烟火暖意相融。\n\n笔墨追摹北宗山水意趣，简劲皴法勾勒山石肌理，细笔描摹林木栈道，既复刻出萧寒雄奇的山水之态，又自带着苍朴的笔底情致，把冬日深山的荒寒古雅，行路迢迢的沉郁氛围尽显纸上，于冷寂雪景中晕开古雅悠远的山水意境。",[24,87,88,89,69,90,195,36,92,1412,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeabec41ab82bfb0de0af94b8bf5c215.jpg",[],{"id":3588,"slug":3589,"title":3590,"dynasty":106,"author":107,"museum":20,"description":3591,"tags":3592,"thumbUrl":3594,"material":135,"size":3595,"collection":98,"collections":3596,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":59},232969,"ma-shu-tu-zhou-lang-shi-ning-232969","马术图轴","阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。\n这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。",[24,29,28,87,30,7,36,1217,111,278,1583,3593,1153],"骑手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18456d0c6c09531fcea8bf1ed82b8c13.jpg","纵223.4厘米，横426.2厘米",[],{"id":3598,"slug":3599,"title":3600,"dynasty":1760,"author":3601,"museum":234,"description":3602,"tags":3603,"thumbUrl":3606,"material":96,"size":283,"collection":98,"collections":3607,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":171},230596,"su-miao-2-da-fen-qi-230596","素描2","达芬奇","列奥纳多·达·芬奇［意大利语：Leonardo da Vinci；儒略历1452年4月15日（公历4月23日）~1519年5月2日］。意大利文艺复兴画家、科学家、发明家。 现代学者称他为“文艺复兴时期最完美的代表”，是人类历史上绝无仅有的全才，其最大的成就是绘画，他的杰作《蒙娜丽莎》和《最后的晚餐》等作品，体现了他精湛的艺术造诣。\n达·芬奇思想深邃，学识渊博、擅长绘画、雕刻、发明、建筑，通晓数学、生物学、物理学、天文学、地质学等学科 。保存下来的手稿大约有6000页。达·芬奇认为自然中最美的研究对象是人体，人体是大自然的奇妙之作品，画家应以人为绘画对象的核心。\n达·芬奇生于托斯卡纳的芬奇镇附近。他在少年时已显露艺术天赋，15岁左右到佛罗伦萨拜师学艺，成长为具有科学素养的画家、雕刻家。并成为军事工程师和建筑师。 1482年应聘到米兰后，在贵族宫廷中进行创作和研究活动，1513年起漂泊于罗马和佛罗伦萨等地。1516年侨居法国，1519年5月2日病逝。\n2021年7月9日，达·芬奇素描《熊的头部》在伦敦佳士得以885.75万英镑，约合8000万元人民币的价格成交，创下达·芬奇素描画新的拍卖纪录",[68,3604,7,222,1174,3605],"素描","线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9237a25023781abd17ef9640f879dc7.jpg",[],{"id":3609,"slug":3610,"title":3611,"dynasty":18,"author":3612,"museum":234,"description":3613,"tags":3614,"thumbUrl":3615,"material":98,"size":98,"collection":98,"collections":3616,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":59},227410,"shen-jun-tu-li-zhou-li-yong-ji-227410","神骏图立轴","李用及","宋代画家李永基善画解说，尤善鬼神。 体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[23,24,68,87,28,29,7,222,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":3618,"slug":3619,"title":3620,"dynasty":106,"author":3621,"museum":234,"description":3622,"tags":3623,"thumbUrl":3626,"material":98,"size":98,"collection":98,"collections":3627,"showCount":3570,"zanCount":170,"manualWeight":58,"mainColor":59},224344,"xiao-pin-1-qiao-gu-224344","小品1","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,24,25,87,29,28,30,7,3624,3625,248,91,1068,41],"鹤","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":3629,"slug":3630,"title":3631,"dynasty":176,"author":442,"museum":573,"description":3632,"tags":3633,"thumbUrl":3634,"material":938,"size":3635,"collection":98,"collections":3636,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":171},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[23,68,24,25,26,29,237,30,7,224,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":3638,"slug":3639,"title":3640,"dynasty":125,"author":1946,"museum":84,"description":3641,"tags":3642,"thumbUrl":3647,"material":3648,"size":3649,"collection":75,"collections":3650,"showCount":3570,"zanCount":58,"manualWeight":58,"mainColor":59},220248,"hui-lie-tu-hu-gui-220248","回猎图","胡瓌，范阳（河北涿县）人，或做山后契丹人，约活动于九、十世纪之间。精于描绘契丹之人马，凡帐棚、车辆、射猎器用、生活杂物及牲畜犬马，都形容备尽。本幅描写契丹族人，携鹰出猎之情景，人物着典型契丹族之衣冠，其猎鹰、座骑亦具特色。四只猎鹰中，三只可能是不同花色的海东青。鹫鹰科及隼科之鸟类，善猎者有数种，其中以海东青为极品，产地即在契丹之领域中，以善猎天鹅而闻名。马匹似有「裂耳犁鼻」之状，据云是当时契丹（辽金）人养育马匹的特殊方式：「…..谓鼻不破裂，则气盛冲肺。耳不裂，则风传而不闻音声…..」（注 1）。胡瓌喜用狼毫笔，借其挺健之笔毫绘制精致之作品。本幅即其精描细写之佳作，与院藏胡「回猎图」之画风及尺寸大小均相似，原属同一组之作 ，皆曾经宋徽宗收藏，画幅上遗有「宣和」半印。",[23,24,29,28,30,7,94,3643,70,132,3644,3645,3646],"山丘","平野","线描","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a84886fe554f046fcb60e0d99942b0b.jpg","设色,绢本","全幅 43.5x121.7公分",[75],{"id":3652,"slug":3653,"title":3654,"dynasty":176,"author":562,"museum":84,"description":3655,"tags":3656,"thumbUrl":3657,"material":198,"size":2616,"collection":98,"collections":3658,"showCount":3659,"zanCount":58,"manualWeight":58,"mainColor":59},287536,"jun-ma-tu-zhuang-biao-zhao-yong-287536","骏马图（装裱）","赵雍（1289年－1369年），字仲穆，吴兴（今浙江湖州）人。元代书画家。赵孟頫之子。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》《溪山渔隐》《饮中八仙图》等。",[24,68,87,29,7,376,90,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee0277c8089b8cad8ab79a366d9c789.jpg",[],25,{"id":3661,"slug":3662,"title":3663,"dynasty":106,"author":454,"museum":234,"description":3664,"tags":3665,"thumbUrl":3670,"material":96,"size":283,"collection":98,"collections":3671,"showCount":3659,"zanCount":58,"manualWeight":58,"mainColor":171},267342,"xiu-xiang-ji-xiang-tian-mu-tang-ka-yi-ming-267342","绣像吉祥天母唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[2810,3666,3667,3668,7,30,29,3669],"绣像","宗教画","吉祥天母","佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095726b5546ad4195a87cee4d7de1d14.jpg",[],{"id":3673,"slug":3674,"title":3675,"dynasty":261,"author":3676,"museum":234,"description":3677,"tags":3678,"thumbUrl":3679,"material":98,"size":98,"collection":98,"collections":3680,"showCount":3659,"zanCount":58,"manualWeight":58,"mainColor":59},239508,"jiang-nan-qiu-se-tu-zhou-wen-jia-239508","江南秋色图轴","文嘉","此作用淡墨轻赭晕染出江南秋意，上部山峦清润秀雅，苔点错落点缀林麓，林木疏密有致，萧疏中带着静穆生机。下部水泽蜿蜒萦回，旅人策马缓行于汀岸，衣袂悠然，将羁旅闲情融于清秋烟景之中。\n\n整幅画作笔致松秀平和，以平远、高远构图铺展秋江山水，吴门画派的文人雅趣尽显其中。题诗与画面呼应，把怀乡之思寄于江南秋色，淡逸清灵的笔墨间，尽显秋日萧淡雅致的意境，将山水之美与诗意情怀相融，尽显清雅文人意韵。",[24,25,87,29,90,89,30,7,36,94,33,388,389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb264b32edebbf4b6fad5f761cbd88b0d.jpg",[],{"id":3682,"slug":3683,"title":3015,"dynasty":125,"author":3684,"museum":234,"description":3685,"tags":3686,"thumbUrl":3687,"material":96,"size":283,"collection":98,"collections":3688,"showCount":3659,"zanCount":58,"manualWeight":58,"mainColor":59},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[68,24,25,1808,89,29,90,523,248,30,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":3690,"slug":3691,"title":3692,"dynasty":1760,"author":454,"museum":234,"description":3693,"tags":3694,"thumbUrl":3699,"material":96,"size":283,"collection":98,"collections":3700,"showCount":3659,"zanCount":170,"manualWeight":58,"mainColor":59},230836,"di-yu-shi-wang-jing-bian-tu-juan-yi-ming-230836","地狱十王经变图卷","以长卷铺陈幽冥叙事，起首佛陀安坐，引渡之意尽显。次第展开断狱场景，冥王威严端坐，鬼差持械呼喝，罪众或戴枷受刑、或垂首惶然，刑狱百态跃然纸上。\n\n笔致稚拙灵动，设色古旧厚重，人物神态各有分明：冥王的肃穆威严，罪囚的凄惶愁苦，差役的凶戾悍勇，皆被鲜活勾勒。民间画工以质朴笔触，将宗教劝诫融于具象场景，既带着神性庄严，亦杂糅世俗意趣，把善恶有报、礼佛超生的因果叙事完整铺陈，藏着古人对生死善恶的叩问与敬畏。",[23,24,25,26,29,28,721,30,7,3695,3696,1153,3697,3698],"鬼卒","佛像","刑罚","审判","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a101c72f4343dac941cb149b8b6931c.jpg",[],{"id":3702,"slug":3703,"title":3704,"dynasty":301,"author":302,"museum":234,"description":3705,"tags":3706,"thumbUrl":3707,"material":98,"size":98,"collection":98,"collections":3708,"showCount":3659,"zanCount":58,"manualWeight":58,"mainColor":171},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[23,24,68,25,26,69,29,30,7,223,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":3710,"slug":3711,"title":3712,"dynasty":301,"author":454,"museum":1377,"description":1378,"tags":3713,"thumbUrl":3714,"material":96,"size":283,"collection":98,"collections":3715,"showCount":3659,"zanCount":170,"manualWeight":58,"mainColor":59},226315,"ku-zhu-shi-bei-pi-yi-ming-226315","窟主室北披",[733,29,721,90,30,267,222,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e7a45ac598bde267688c63fca13f886.jpg",[],{"id":3717,"slug":3718,"title":3719,"dynasty":18,"author":454,"museum":65,"description":3720,"tags":3721,"thumbUrl":3722,"material":344,"size":3723,"collection":98,"collections":3724,"showCount":3659,"zanCount":170,"manualWeight":58,"mainColor":171},223492,"ming-huang-ji-qiu-tu-quan-juan-yi-ming-223492","明皇击球图全卷","图绘十六人击球之场面。画作左右各绘球门一扇，均两人守一门，画中部唐明皇带领后宫佳丽及臣子骑马击球，人物姿态各异，穿着随意，表情喜庆欢乐。旧传为李公麟所作，卷尾有明傅著、吴乾、董其昌等跋，",[23,68,24,25,26,237,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68798f2e4eb8278bdfe8b44f29281933.jpg","32.1×226",[],{"id":3726,"slug":3727,"title":3728,"dynasty":106,"author":107,"museum":84,"description":3729,"tags":3730,"thumbUrl":3731,"material":166,"size":3732,"collection":117,"collections":3733,"showCount":3659,"zanCount":170,"manualWeight":58,"mainColor":171},222797,"xue-dian-diao-tu-lang-shi-ning-222797","雪点雕图","此马是科尔沁郡王诺们额尔图稣图于乾隆八年（公元1743）进贡郎世宁奉命绘制此图。雪点雕真迹2米大估计是采1:1尺寸画下此马，观看雪点雕会有一种大气帝王之相的感觉尤其是炯炯有神的眼神，站姿祥而不燥威而不俗，在十骏中无论是外型或是命名雪点雕都堪称是帝王最爱的珍宝，所以雪点雕被称为帝王之星真是恰如其分。",[23,24,25,68,28,29,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4f72d5a32ce2413da55c7f05bde973.jpg","94.69-110cm",[117,76],{"id":3735,"slug":3736,"title":3737,"dynasty":18,"author":703,"museum":234,"description":3738,"tags":3739,"thumbUrl":3740,"material":96,"size":283,"collection":98,"collections":3741,"showCount":3742,"zanCount":58,"manualWeight":58,"mainColor":171},291000,"qiu-yuan-lie-qi-chen-ju-zhong-291000","秋原猎骑","陈居中，南宋时期著名画家，擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。",[68,24,25,29,30,7,630,423,736,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c60465e5a0022309da4afc709dc68c.jpg",[],24,{"id":3744,"slug":3745,"title":2224,"dynasty":125,"author":2225,"museum":234,"description":3746,"tags":3747,"thumbUrl":3748,"material":96,"size":283,"collection":98,"collections":3749,"showCount":3742,"zanCount":170,"manualWeight":58,"mainColor":59},287430,"fan-bu-xue-wei-tu-juan-hu-qian-287430","镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,68,24,25,26,29,30,7,1019,736,1142,630,2709,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2666de7fd20238ba4a96ca82410b4f.jpg",[],{"id":3751,"slug":3752,"title":3753,"dynasty":106,"author":3754,"museum":234,"description":3755,"tags":3756,"thumbUrl":3757,"material":98,"size":98,"collection":75,"collections":3758,"showCount":3742,"zanCount":58,"manualWeight":58,"mainColor":59},237940,"ren-ma-ye-fei-dan-xu-237940","人马页","费丹旭","字子苕，号晓楼、偶翁、环渚生，乌程（今浙江吴兴）人。工写照，如镜取影，尤精补景仕女，潇洒自然。兼工山水、花卉，以精灵雅沾之笔出之。偶作诗词，亦如其画。书法恽寿平，有韵致。卖画于江浙两省，寓杭州最久。道咸（一八二一至一八五零）间曾寓沪鬻画， 卒年四十九。有依旧草堂遗稿。",[24,25,237,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc96b52fee85089219cf472c59aba9ed.jpg",[75],{"id":3760,"slug":3761,"title":3762,"dynasty":261,"author":3763,"museum":20,"description":3764,"tags":3765,"thumbUrl":3766,"material":166,"size":3767,"collection":137,"collections":3768,"showCount":3742,"zanCount":58,"manualWeight":58,"mainColor":59},237650,"liu-yin-shuang-jun-zhou-hu-cong-237650","柳荫双骏轴","胡聪","描绘柳荫下两匹骏马之态，形象生动，神态逼肖；二柳树旁还斜探出一枝桃花，使湖石花竹相互掩映，一派湖光春色。整幅画面刻画细腻，用笔工整，功力深厚，继承南宋院体画风格。右上款署：“直武英殿东皋胡聪写。”",[68,24,25,87,28,29,1131,7,1938,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8671533baa0d9af224242aa2575cf21.jpg","纵101.2cm，横50.5cm",[137,76],{"id":3770,"slug":3771,"title":3772,"dynasty":261,"author":454,"museum":1495,"description":3773,"tags":3774,"thumbUrl":3775,"material":98,"size":98,"collection":98,"collections":3776,"showCount":3742,"zanCount":58,"manualWeight":58,"mainColor":59},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,88,29,90,89,2066,248,91,30,7,2997,33,536,36,607],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":3778,"slug":3779,"title":3479,"dynasty":176,"author":177,"museum":234,"description":3780,"tags":3781,"thumbUrl":3782,"material":98,"size":98,"collection":98,"collections":3783,"showCount":3742,"zanCount":170,"manualWeight":58,"mainColor":171},228174,"ma-tu-ren-ren-fa-228174","此画以淡墨细劲勾勒出马的轮廓，辅以温润晕染烘托出躯体丰腴质感，垂首敛颈的骏马神态温驯悠然。以淡墨点簇晕开斑纹，层次柔润自然，细腻晕染下可见肌理起伏，牵丝勾勒的鬃毛劲挺顺滑，尽显良驹的神俊内敛。浅褐绢面留白衬出马儿松弛沉静的状态，右上角朱红方印古雅沉静，与底色相映成趣。整幅画作工致又不失写意松弛，于简淡笔墨间尽显写实功力，将鞍马温顺沉静的气质刻画入微，尽显古雅清隽的画中逸韵。",[23,68,24,25,28,29,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e9ea5c261803d6c4da058f76d720c.jpg",[],{"id":3785,"slug":3786,"title":1117,"dynasty":176,"author":177,"museum":234,"description":3787,"tags":3788,"thumbUrl":3789,"material":98,"size":98,"collection":98,"collections":3790,"showCount":3742,"zanCount":170,"manualWeight":58,"mainColor":1661},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[23,68,24,25,26,28,29,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":3792,"slug":3793,"title":3794,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":3795,"thumbUrl":3799,"material":135,"size":1610,"collection":98,"collections":3800,"showCount":3742,"zanCount":58,"manualWeight":58,"mainColor":59},223021,"hong-lou-meng-146-sun-wen-223021","红楼梦146",[23,24,28,29,26,3796,3797,31,1271,3798,151,7,36,2066,90],"红楼梦","古装人物","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62c76177cac49c4471790bae375b2831.jpg",[],{"id":3802,"slug":3803,"title":3804,"dynasty":176,"author":3805,"museum":84,"description":3806,"tags":3807,"thumbUrl":3812,"material":354,"size":3813,"collection":98,"collections":3814,"showCount":3742,"zanCount":58,"manualWeight":58,"mainColor":171},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","李士行","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[23,24,68,26,618,88,90,3808,3809,32,45,7,3810,3811,33,89,223,70,423],"树石","矮屋","渔舟","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":3816,"slug":3817,"title":3818,"dynasty":106,"author":3819,"museum":84,"description":3820,"tags":3821,"thumbUrl":3822,"material":198,"size":3823,"collection":117,"collections":3824,"showCount":3742,"zanCount":170,"manualWeight":58,"mainColor":59},218812,"liang-ji-liu-zhou-shen-qing-lan-218812","良吉骝轴","沈庆兰","画中良驹伫立绢素之上，棕褐皮毛温润如釉，鬃尾如墨线垂落，拂过坚实的蹄踝。其姿态从容，双目沉静，既见温顺之态，亦藏健硕筋骨之美。笔触细腻处，连皮毛的光泽与蹄质的纹理都清晰可辨，尽显工笔之精。背景素净无饰，更衬出马匹的主体地位，仿佛能感受到它沉稳的呼吸。旁缀题识与朱印，墨色与丹红相映，为画面添了几分古雅的文气。整幅作画笔法工致却不刻板，形神兼备间，藏着对生灵的细致观察与脉脉温情，是清代工笔畜兽画中颇具意趣的一笔。",[68,24,25,87,28,29,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15b23658366c2bd9b62d128c660491ae.jpg","161.1x107.5cm",[117],{"id":3826,"slug":3827,"title":3828,"dynasty":106,"author":3829,"museum":234,"description":3830,"tags":3831,"thumbUrl":3833,"material":96,"size":283,"collection":98,"collections":3834,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":171},290381,"ri-yue-he-bi-wu-xing-lian-zhu-tu-juan-xu-yang-290381","日月合璧五星联珠图卷","徐扬","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[23,24,26,28,29,27,279,30,31,7,522,1269,1270,553,554,3832],"城市街景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59433c653041cba0a9aeef66af3a88ba.jpg",[],23,{"id":3837,"slug":3838,"title":3839,"dynasty":18,"author":572,"museum":234,"description":3840,"tags":3841,"thumbUrl":3843,"material":96,"size":283,"collection":98,"collections":3844,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":59},290064,"wen-ji-gui-han-ce-ye-li-tang-290064","文姬归汉册页","宋李唐《文姬归汉图》：该画册共计十八幅，形式属于“上文、下图”的连环故事画。内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[24,68,521,25,223,1743,29,30,7,267,3842,94,279,3323],"毡帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2f1beef670706c52b0b48a9f76ecc8.jpg",[],{"id":3846,"slug":3847,"title":3848,"dynasty":1760,"author":454,"museum":234,"description":3849,"tags":3850,"thumbUrl":3853,"material":96,"size":283,"collection":98,"collections":3854,"showCount":3835,"zanCount":170,"manualWeight":58,"mainColor":171},289585,"xian-miao-hui-ji-zhen-e-shi-luo-you-tong-gong-yang-fo-xiang-yi-ming-289585","線描會稽鎮遏使羅祐通供養佛像","画面以墨线勾勒，上半段佛塔巍峨，龛中坐佛沉静端严，两侧飞天衣带萦回流转，灵动舒展，尽显缥缈出尘之态。下方供养人与牵马侍从神态恭谨，身形姿态皆透着礼佛的至诚肃穆。\n\n整幅画作线条遒劲洗练，以极简的笔墨勾勒出造像的庄重与人物的神韵，不着一色却自有沉静安然的礼佛氛围，将民间质朴的审美意趣融入佛教造像之中，尽显古代佛画的纯粹意韵。",[23,24,25,237,3645,721,3669,3696,3851,30,7,3852,223],"佛塔","供佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f43c72c9e12b092cd6d618dc4a5d84c.jpg",[],{"id":3856,"slug":3857,"title":3858,"dynasty":176,"author":562,"museum":20,"description":3859,"tags":3860,"thumbUrl":3861,"material":252,"size":2572,"collection":98,"collections":3862,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":59},232980,"xie-dan-you-qi-tu-zhou-zhao-yong-232980","挟弹游骑图轴","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。",[24,25,87,28,29,30,7,376,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848f21392a4c6285d5e3775686b5b4c0.jpg",[],{"id":3864,"slug":3865,"title":3866,"dynasty":106,"author":107,"museum":84,"description":3867,"tags":3868,"thumbUrl":3869,"material":72,"size":3870,"collection":98,"collections":3871,"showCount":3835,"zanCount":256,"manualWeight":58,"mainColor":59},232674,"shi-jun-tu-da-wan-liu-lang-shi-ning-232674","十骏图大宛骝","有郎世宁的签名，但真正的艺术家不详。\n目前还不清楚这个复制品是什么时候完成的。\n朱塞佩·卡斯蒂廖内，S.J. （中文名郎世宁；1688年7月19日－1766年7月17日），意大利耶稣会兄弟，中国传教士，曾在康熙、雍正、乾隆三位皇帝的朝廷担任画家。他的绘画风格融合了欧洲和中国的传统。\n后来的艺术评论家认为他的马画是最具表现力的。作品《百骏图》被公认为中国十大名画之一。",[24,25,28,29,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244b888acd8e18e452db1d877f7b2c9.jpg","231x274厘米",[],{"id":3873,"slug":3874,"title":3875,"dynasty":261,"author":1637,"museum":234,"description":3876,"tags":3877,"thumbUrl":3878,"material":98,"size":98,"collection":98,"collections":3879,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":59},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,25,87,90,29,89,195,248,31,32,33,94,30,7,91,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":3881,"slug":3882,"title":3883,"dynasty":18,"author":899,"museum":234,"description":3884,"tags":3885,"thumbUrl":3886,"material":98,"size":98,"collection":98,"collections":3887,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":59},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,24,25,354,89,29,90,7,30,94,630,91,748],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":3889,"slug":3890,"title":3891,"dynasty":603,"author":454,"museum":234,"description":3892,"tags":3893,"thumbUrl":3898,"material":96,"size":283,"collection":98,"collections":3899,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":59},224089,"shi-er-sheng-xiao-jing-yi-ming-224089","十二生肖镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[3894,2432,2431,2433,3895,35,734,722,535,3896,7,2591,1476,1711,1098,3897,401],"隋代","鼠","蛇","猪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4279e31dfdc5b014a6c52949e36c2b.jpg",[],{"id":3901,"slug":3902,"title":3903,"dynasty":18,"author":454,"museum":20,"description":3904,"tags":3905,"thumbUrl":3906,"material":135,"size":3907,"collection":53,"collections":3908,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":59},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,24,68,28,29,27,30,7,47,376,91,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[53],{"id":3910,"slug":3911,"title":871,"dynasty":18,"author":454,"museum":3912,"description":3913,"tags":3914,"thumbUrl":3915,"material":166,"size":3916,"collection":98,"collections":3917,"showCount":3835,"zanCount":58,"manualWeight":58,"mainColor":171},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","波士顿美术馆","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[23,68,24,25,26,28,29,30,7,163,70,223,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":3919,"slug":3920,"title":3921,"dynasty":176,"author":454,"museum":234,"description":3922,"tags":3923,"thumbUrl":3926,"material":96,"size":283,"collection":98,"collections":3927,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},290743,"dong-jing-xi-ying-tu-zhou-yi-ming-290743","冬景戏婴图轴","四名孩童相聚玩耍，一人骑羊，三人扮胡人相貌，撑盖、捧佛、携梅前後随护。园中古松苍翠，梅花盛开，正是岁朝时节，配以三只白羊，寓有“三羊开泰”之意。",[24,87,29,30,3924,1143,1938,7,2591,3925,28],"婴戏","冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a8766bd454b6ee66fa9ecac50dc41.jpg",[],22,{"id":3930,"slug":3931,"title":3932,"dynasty":261,"author":3933,"museum":234,"description":3934,"tags":3935,"thumbUrl":3936,"material":96,"size":283,"collection":98,"collections":3937,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},287799,"ren-wu-yi-wu-wei-287799","人物一","吴伟","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[23,24,88,30,7,2720,129,388,1197,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4c1954e8fb2a5e143379421bc0fea1.jpg",[],{"id":3939,"slug":3940,"title":3941,"dynasty":106,"author":3942,"museum":234,"description":3943,"tags":3944,"thumbUrl":3945,"material":98,"size":98,"collection":75,"collections":3946,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":171},238736,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238736","画弘历拟古诗意图册","董邦达","此作用淡墨绘就平远行旅之景，构图舒展清和。近岸浅渚错落，林木萧疏有致，行旅车马徐行于道，人物、车驾细节写实生动，带着悠然松弛的赶路意态。远景林峦澹澹，以简淡笔墨晕染出清寂开阔的郊野氛围。右侧题诗与画面呼应，将羁旅闲思融于山水间。\n\n全作笔墨秀润温婉，以极简皴染勾勒山水意态，无浓墨重彩，却将郊野清旷的氛围感烘托尽致，将日常行旅的寻常景致，化为充满文人雅韵的诗意图景，尽显平和萧散的文人意趣。",[24,25,354,88,29,89,90,30,7,36,32,42,522,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9d62aa6c6de0d85df8a51bd8f7313e.jpg",[75,55],{"id":3948,"slug":3949,"title":3950,"dynasty":261,"author":3951,"museum":234,"description":3952,"tags":3953,"thumbUrl":3954,"material":96,"size":283,"collection":98,"collections":3955,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":171},236802,"xue-jing-shan-shui-shan-mian-liu-yuan-qi-236802","雪景山水扇面","刘原起","初名祚，以字行，更字子正。工诗，画山水，师钱谷，颇肖其神",[24,25,1808,88,1142,90,630,7,35,32,30,70,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f75ef4b3c71050ae92fa9a1cfdaad8.jpg",[],{"id":3957,"slug":3958,"title":3959,"dynasty":106,"author":3960,"museum":234,"description":3961,"tags":3962,"thumbUrl":3965,"material":96,"size":283,"collection":98,"collections":3966,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":171},235281,"ren-wu-gu-shi-ce-fan-xue-yi-235281","人物故事册","范雪仪","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,29,28,354,30,32,33,7,376,47,91,3963,3964],"草屋","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f7d600f871e885662e72ac3a248c81.jpg",[],{"id":3968,"slug":3969,"title":3970,"dynasty":301,"author":454,"museum":20,"description":3971,"tags":3972,"thumbUrl":3973,"material":166,"size":3974,"collection":98,"collections":3975,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},234066,"zhou-fang-di-guan-chu-you-tu-can-juan-yi-ming-234066","周昉地官出游图残卷","图中地官于辇中微露半面人身，其余侍从、武士步行左右，画风接近《女史箴图》《列女图》一路，笔法古拙，人物造型生动，动作略显夸张，无款印。",[24,25,68,26,721,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9858640caff3d8f2ff702236255cd8.jpg","高24.1厘米，宽51.4厘米",[],{"id":3977,"slug":3978,"title":3979,"dynasty":176,"author":2409,"museum":84,"description":3980,"tags":3981,"thumbUrl":3982,"material":135,"size":3983,"collection":98,"collections":3984,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},231384,"yuan-shi-zu-chu-lie-tu-liu-guan-dao-231384","元世祖出猎图","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 [2] 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。所画人和马作各种不同的姿态，转侧俯仰，富有变化。\n《元世祖出猎图》画北方沙漠地带，一片黄沙坡地，景色单调。在沙丘无垠的远方，正有一列骆驼驮队横越。近处人骑数众，或张弓射雁；或手架猎鹰；或绳携猎豹，皆为马上行猎之状。其中骑着黑马、身穿白裘的，应为元世祖，与世祖并驾的妇女，似为帝后，其余八人，应是侍从，其中尚有中亚黑奴一名。这些人中，其中一人正弯弓搭箭，瞄准着空中苍鹰。而其他猎手则顺着世祖身后著红服者所指示的方向，作注目远眺状，像在前方已发现了猎物，他们正蕴酿着纵马围歼的计划。\n《元世祖出猎图》有人物、鞍马、鹰、狗、骆驼等，其中对人物、鞍马刻画尤为详尽。主要人物或许皆由写生肖像而来，老少不一，神情各异，甚至连脸部肤色亦不尽相同。马匹的塑造、除分别敷以黑、白、红、黄、赭、灰等不同色彩外，各马匹姿态亦无雷同者，马之透视变化、结构关系皆合于解剖；元世祖乘骑，虽作原地站立，无大的动姿，但生动雄健，风骠不凡。\n该图取其部分，画家对画面上几十个人物进行了精雕细刻，各尽其态。尤对位于或靠近中央地方的元世祖刻画尤为入微。图中御青马，戴貂冠，着红衣披白裘，脚蹬皮靴，昂然坐在马上者，即是元世祖忽必烈，他侧身远视，气魄雄伟，他的头略微向左偏转，双目凝视远方，坚定而又泰然，和元世祖并辔而立的可能是帝后，她身穿白袍，在坐骑红缨佩饰的映衬下，显得非常优美，和元世祖刚毅伟岸的身姿形成对比。其余四人为猎人，在世祖右侧边上的一人正弯弓搭箭，瞄准着空中苍鹰，而其他猎手顺着世祖身后着红服者所指的方向，作注目眺状。好像在前方已发现了猎物，他们正酝酿着纵马围歼的计划。在前景以及世祖和帝后的两侧共八名侍从，有的腰携箭菔，有的手持猎鹰，有的弯弓寻羽，他们或纵犬、或持矛、或扬鞭，姿态或仰或俯，坐骑盍去不同。背景，远处画得十分简括，一队商旅行驼出没于山丘之中，黄沙浩瀚，朔漠无垠，一派北国风光，顿时使人恍然，如临雄关塞外的辽阔大漠之中。\n画家在此画中充分发挥了线条的表现力量，无论是线条的劲挺与柔和，还是运笔疾迟轻重，皆臻妙境。画幅上的人物、鞍马刻画尤为详尽，老小不一，神态各异，脸部肤色也不同，尤其是元世祖的画像如写生肖像画。马的塑造不仅色彩不同，姿态也不雷同，有的低首啃草，有的站立歇息，有的昂首远望。世祖乘骑的黑马原地站立无动势，但生动雄健，风骠不凡，即对于人物和坐骑的每一个细部， 以及繁复的装饰花纹和细如游丝的马鬃，都交待得一丝不苟， 历历在目。\n构图上，《元世祖出猎图》采用了俯视手法，场面空旷壮观，远处沙丘间，点缀着一列骆驼，增强了画面层深效果。猎队人物聚散、交叠之布局，也生动自然，富有狩猎场面所特有的生活气息。此图画面构图疏密得当，错落有致，人物互相呼应，前景、中景、远景安排得层次分明，画面详略、虚实关系处理得十分成功。\n清初文学家纳兰揆叙：《题元世祖岀猎图》\n至元天子英武姿，校猎每以秋冬期。我今展图如见之，沙漠惨淡移于斯。星斿蔽野虹作旗，厩马既秣车既脂。至尊前行后阏氏，茸帽压顶裘反披。名王部长络绎随，臂弓腰箭千夫驰。北风似弩雪似簁，踆乌匿影顽云痴。鸿鹄纷拏苍隼饥，雉飞入草鹰在枝。银麞缟鹿熊豹麋，狡兔封豕狐与狸。洞胸饮羽血淋漓，焚林捣穴靡孑遗。就中射虎者为谁，引满一发穿其颐。目光磹怒未弛，懦怯乍覩犹惊疑。归来穹庐帟幕施，酪浆湩乳倾金巵。燎毛燔肉土锉炊，琵琶发声羗苗吹。酒酣耳热欢融怡，寒气忽转春迟迟。厥初穷兵辟坤维，乘胜直抵西海湄。于阗乞降迨龟兹，角端示警殊不知。从畋已寓阵法奇，止齐步伐皆得宜。月来日往绵岁时，此画完整无缺亏。偶然浏览浑忘疲，便觉满室生凉飔。壮观咫尺慰所思，何待振策游边陲。\n《元世祖出猎图》不仅是一件出色的人物鞍马画，而且还透露出蒙元时代的社会文化特征。\n蒙元时期出土的服饰实物资料有限，《元世祖出猎图》是研究蒙元服饰的重要艺术参考资料。",[68,24,25,29,28,30,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad24bc0e5340dde489652972b9951d3.jpg","纵：182.9公分，横：104.1公分",[],{"id":3986,"slug":3987,"title":3988,"dynasty":106,"author":454,"museum":234,"description":3989,"tags":3990,"thumbUrl":3993,"material":98,"size":98,"collection":98,"collections":3994,"showCount":3928,"zanCount":256,"manualWeight":58,"mainColor":59},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,29,28,27,30,31,36,91,37,147,151,7,3991,149,3992,150],"人群","屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":3996,"slug":3997,"title":3998,"dynasty":106,"author":2647,"museum":234,"description":3999,"tags":4000,"thumbUrl":4001,"material":98,"size":98,"collection":98,"collections":4002,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},228952,"shan-shui-ren-wu-ce-ye-liu-kai-yuan-jiang-228952","山水人物册页六开","《袁江塞北彤云》是清代袁江创作的一幅水墨设色画。\n此图是山水人物六开册页中的一幅。\n袁江擅画山水、界画，但在这幅画中，画家显示了他在表现人物方面的深厚功力。\n画面左上方题“塞北彤云”，描绘的是一女子怀抱孩子坐在马上，在一肩扛樱枪，腰挂弯刀的男子护卫下在塞外风雪中前行的场景。\n雪景刻画简洁生动，延伸出画外，营造了塞外一望无际、空无一物的自然环境；人物刻画细致精到，妇人低着头紧紧地用外衣裹住小童，马也低垂着头，前面的男子姿态紧张地回望妇人，这样的动态都揭示着他们正经历着恶劣的大风，天空一片阴霾，也许一场大雪即将袭来。\n袁江，生卒年不详。\n字文涛，江苏江都（今扬州）人。\n雍正年间曾在宫廷作画，供奉养心殿。\n他善画山水、楼阁，是清代界画能手，亦作花鸟。\n早年学习仇英，又继承了宋代画院的风格，山水宗阎次平，楼阁宗郭忠恕。\n所作多青绿山水，工致异常，与其精密的界画相配合，十分协调。\n他的界画在继承前人基础上，加强了生活气息的描绘，笔法工整，设色艳丽，风格富丽堂皇，在当时被推为第一。\n但由于清初“四王”画派风靡一时，所以画史上对他的记载不多。",[24,25,354,29,90,30,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f535a750f80cee391f878cb498a94f.jpg",[],{"id":4004,"slug":4005,"title":4006,"dynasty":261,"author":1390,"museum":234,"description":4007,"tags":4008,"thumbUrl":4010,"material":98,"size":98,"collection":98,"collections":4011,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,25,68,88,90,89,523,248,31,32,7,47,1142,33,4009,250,2975],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":4013,"slug":4014,"title":4015,"dynasty":176,"author":454,"museum":84,"description":4016,"tags":4017,"thumbUrl":4018,"material":2503,"size":4019,"collection":98,"collections":4020,"showCount":3928,"zanCount":170,"manualWeight":58,"mainColor":59},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,26,277,29,28,90,30,7,31,36,91,42,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":4022,"slug":4023,"title":4024,"dynasty":106,"author":2647,"museum":234,"description":4025,"tags":4026,"thumbUrl":4027,"material":98,"size":98,"collection":98,"collections":4028,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},224594,"qiu-she-tu-yuan-jiang-224594","秋涉图","此作用硬朗皴笔勾勒出山岩肌理，奇峰高拔陡立，崖间飞瀑隐于云气，晕染出幽谷空濛之态。丹黄秋叶点染古木，萧疏秋意里晕开暖意。山道滩涂之上，行旅商贾或策马涉水，或沿山径徐行，将山野秋行的鲜活意趣融于冷寂山川，添上人间烟火暖意。画面兼工带写，既得北派山水的雄浑气势，又以细腻的人物刻画赋予山水灵动生机，将秋日山野的旷远意境与行旅图景相融，尽显古典山水的雅致意韵。",[23,68,24,25,87,29,90,89,523,694,36,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5727adba9d3c7f163dd3a83df59fa6a.jpg",[],{"id":4030,"slug":4031,"title":4032,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":4033,"thumbUrl":4034,"material":135,"size":1610,"collection":98,"collections":4035,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":171},222926,"hong-lou-meng-51-sun-wen-222926","红楼梦51",[23,28,29,27,30,31,535,7,36,151,41,3992,733,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7467e4bee40568e154c15ea74b0e48.jpg",[],{"id":4037,"slug":4038,"title":4039,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":4040,"thumbUrl":4042,"material":135,"size":1610,"collection":98,"collections":4043,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":171},222897,"hong-lou-meng-22-sun-wen-222897","红楼梦22",[23,24,28,29,30,210,266,1068,4041,163,7],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef217ec87d521d082d3099f352f8cf8e.jpg",[],{"id":4045,"slug":4046,"title":561,"dynasty":106,"author":107,"museum":84,"description":1289,"tags":4047,"thumbUrl":4048,"material":166,"size":1292,"collection":98,"collections":4049,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":171},222756,"ba-jun-tu-lang-shi-ning-222756",[23,68,24,25,87,28,29,110,1174,7,129,30,70,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28adc62fbf3174d00b42d379a53d67ea.jpg",[],{"id":4051,"slug":4052,"title":4053,"dynasty":18,"author":4054,"museum":1495,"description":4055,"tags":4056,"thumbUrl":4057,"material":135,"size":4058,"collection":98,"collections":4059,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},221587,"ma-bei-shou-lie-tu-zhou-zhang-kan-221587","马背狩猎图轴","张勘","张堪，字君游，南阳宛县（今河南省南阳市）人，南阳郡豪门大族 [1] 。张堪很早就成为孤儿，他把父亲留下的数百万家产让给堂侄。16岁时，他来到长安受业学习。他的品行超群，诸儒都称他为“圣童”。\n公元39年到46年期间，张堪拜渔阳太守。他是个文武全才，在军事上，打得北部匈奴不敢南犯，经济上创造性的落实了光武帝刘秀的休养生息的国策，出现了史学家称为的“渔阳惠政”。百姓歌曰：“桑无附枝，麦穗两岐。张君为政，乐不可支。”东汉著名科学家、文学家张衡就是他的孙子。",[68,24,25,87,29,28,89,30,7,222,90,389,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F627fa5059548371c205974501bf2830a.jpg","91.4×52.2厘米",[],{"id":4061,"slug":4062,"title":4063,"dynasty":106,"author":454,"museum":2648,"description":4064,"tags":4065,"thumbUrl":4066,"material":198,"size":98,"collection":75,"collections":4067,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":59},219586,"fang-dong-dan-wang-chu-xing-tu-yi-ming-219586","仿东丹王出行图","画中主人头戴华冠，长髯垂胸，端坐奔马之上，神态雍容沉稳，自带华贵从容的世家气度。黑马雄健剽悍，四蹄奔腾却行姿稳健，鬃尾随风飘逸，鞍鞯纹饰精细繁复，朱红配鎏金纹样，极尽富丽雅致。\n整作工笔精细，设色古雅厚重，线条劲挺流畅。将人物的贵胄威仪与骏马的矫健灵动融为一体，虽为仿作却神完意足，精准复刻旧制鞍马人物画的典雅大气，尽显传统鞍马人物画的精妙笔法与古典审美意趣，仿佛可窥见昔日出巡仪仗的恢宏一角。",[24,25,29,30,7,70,163,69,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77e3d06cf05b85aabf7a4566622f56.jpg",[75],{"id":4069,"slug":4070,"title":4071,"dynasty":261,"author":4072,"museum":1308,"description":4073,"tags":4074,"thumbUrl":4075,"material":182,"size":98,"collection":75,"collections":4076,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":171},217912,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-217912","史记君臣故事图","张宏","垂杨拂地，苍干虬枝间柔条轻飏，荫蔽一方亭台。廊柱朱痕淡染，阶砌分明，建筑形制古雅端严。树下二人对语，衣纹简练却见动态，神情专注似述往昔君臣故事。笔墨兼具工致与写意：树木以干笔皴擦显苍劲，柳条以细墨勾勒见轻盈；人物虽小，形神宛然。右侧题跋墨色沉厚，与画面景致相契，文气郁郁。整幅画于清雅氛围中含叙事深意，笔墨精炼却意境悠远，尽显古典绘画的雅致与历史感，方寸间藏君臣故事的幽微余韵。",[24,25,29,27,28,30,31,7,36,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f26efa0724fedac6dd9fc6dbf1e63c.jpg",[75],{"id":4078,"slug":4079,"title":4080,"dynasty":4081,"author":315,"museum":518,"description":4082,"tags":4083,"thumbUrl":4089,"material":98,"size":98,"collection":55,"collections":4090,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":4091},202868,"yin-ma-tu-zhou-xu-bei-hong-202868","饮马图轴","近代","画面中骏马低头临溪饮水，身姿矫健而神态悠然。水墨写意的笔触下，浓墨劲扫鬃尾与蹄部，线条奔放洒脱；淡墨晕染马身，层次细腻，尽显肌肉的起伏张力。溪水以浅蓝灰调轻铺，波纹漾动，岸边赭色土地简约勾勒，与马的灵动形成呼应。整幅作品笔墨洗练，气韵生动，将马的自然之态与写意的酣畅完美融合，传递出鲜活的生命力与静谧的自然意趣。",[88,889,7,3605,4084,4085,4086,1177,4087,4088,23],"蹄","鬃毛","溪水","赭色","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F737e9cc9d557f305c51be114589b4abd.jpg",[55],"cac9bf",{"id":4093,"slug":4094,"title":4095,"dynasty":106,"author":4096,"museum":518,"description":4097,"tags":4098,"thumbUrl":4100,"material":98,"size":98,"collection":98,"collections":4101,"showCount":3928,"zanCount":58,"manualWeight":58,"mainColor":4102},201835,"xue-shan-xing-lv-tu-zhou-zhou-hao-201835","雪山行旅图轴","周颢","寒冬雪霁，群山覆素，苍莽沉雄。枯木裸枝挂霜凝雪，姿态虬劲；山坳茅舍错落，炊烟隐现。雪径上旅人策马，衣袂飘举，似携暖意穿行冷寂天地。笔墨间，积雪以留白与淡墨晕染相济，山峦皴擦见骨，枯树线条细劲如铁，人物虽小却形神毕肖，动静相宜。整幅画意境清旷，兼具自然肃穆与生活温情，水墨设色淡雅，尽显传统山水韵致。",[24,90,89,88,30,7,630,195,1197,4099],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc019dd1c4aa6c9a1c74ac3d49236616.jpg",[],"bba58d",{"id":4104,"slug":4105,"title":4106,"dynasty":176,"author":4107,"museum":234,"description":4108,"tags":4109,"thumbUrl":4112,"material":96,"size":283,"collection":98,"collections":4113,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":59},287922,"tang-seng-qu-jing-tu-ce-wang-zhen-peng-287922","唐僧取经图册","王振鹏","传为元代画家王振鹏所作，分为上、下册，蝴蝶装，由三十二幅取经图构成，卷末有清代福州文人梁章钜六跋。",[24,68,354,27,29,28,30,7,1476,31,721,4110,4111],"唐僧取经","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615564a4ee571d7930ea1b3411ee45b8.jpg",[],21,{"id":4116,"slug":4117,"title":4118,"dynasty":18,"author":454,"museum":234,"description":4119,"tags":4120,"thumbUrl":4123,"material":98,"size":98,"collection":2435,"collections":4124,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":512},244175,"cheng-lou-xing-bi-jia-yi-ming-244175","城楼形笔架","它跳出常规山形笔架的窠臼，将雄关城楼与笔架形制相融。门洞之内，骑马将官徐行而出，两侧侍从或牵马或恭立，人物情态生动自然，城砖纹路、衣袂褶皱都细致写实。层台楼宇耸于峰巅，把关塞行旅的小景凝缩于案头。古铜色泽沉润雅致，将文房清玩与市井意趣相合，既是置物的文房用具，亦是微缩的宋代风物小卷，藏着宋人雅致的生活意趣，尽显旧时工匠的巧思匠心，让案间雅物晕开古朴生动的烟火暖意。",[1572,2432,2433,4121,4122,91,30,7],"文房","城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee720e3b16fa57c99550c522eb7130.jpg",[2435],{"id":4126,"slug":4127,"title":4128,"dynasty":106,"author":4129,"museum":20,"description":4130,"tags":4131,"thumbUrl":4132,"material":98,"size":98,"collection":137,"collections":4133,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":171},237551,"shan-shui-ce-wen-dian-237551","山水册","文点","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,354,88,89,90,248,91,32,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[137,55],{"id":4135,"slug":4136,"title":4137,"dynasty":106,"author":454,"museum":20,"description":4138,"tags":4139,"thumbUrl":4140,"material":166,"size":4141,"collection":98,"collections":4142,"showCount":4114,"zanCount":170,"manualWeight":58,"mainColor":171},234106,"qing-ren-wan-shou-tu-juan-yi-ming-234106","清人万寿图卷","画家用纪实手法描绘康熙帝六十岁生日前夕銮驾由畅春园还宫，沿途接受官民仰瞻的欢庆场面。每卷 卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,29,28,27,30,31,32,33,266,7,36,550,3991,1269,146,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 厘米",[],{"id":4144,"slug":4145,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":4148,"thumbUrl":4150,"material":344,"size":2869,"collection":98,"collections":4151,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":171},233077,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233077","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[68,24,25,354,29,30,7,665,279,70,4149],"西洋技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417686d09d9e621d9bdc8b831384b87f.jpg",[],{"id":4153,"slug":4154,"title":4155,"dynasty":261,"author":4156,"museum":84,"description":4157,"tags":4158,"thumbUrl":4159,"material":344,"size":4160,"collection":98,"collections":4161,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":171},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,25,87,29,89,69,70,90,30,31,32,33,7,248,92,250,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":4163,"slug":4164,"title":702,"dynasty":18,"author":703,"museum":234,"description":4165,"tags":4166,"thumbUrl":4167,"material":98,"size":98,"collection":98,"collections":4168,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":59},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,68,24,25,87,29,28,30,7,94,389,388,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":4170,"slug":4171,"title":4172,"dynasty":106,"author":4173,"museum":234,"description":4174,"tags":4175,"thumbUrl":4176,"material":98,"size":98,"collection":98,"collections":4177,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":59},230147,"jun-ma-lie-yu-yuan-230147","骏马列","虞沅","此作绘双骏静立，银鬃灰马身形劲挺舒展，朱膘红骏身姿丰腴俊朗，二者顾盼悠然，自带神骏温驯之态。用笔精工细致，鬃丝根根分明，晕染柔和自然，将良驹皮毛的柔润光泽与矫健体态形神兼备地勾勒而出。画面留白简洁雅致，右上角题字错落排布，为画面晕开一抹文人情致。整体工稳雅致，兼具院体画的精工与文人画的清雅，静穆间尽显宝马从容华贵的风骨，将鞍马题材的雅致意趣尽显无余。",[23,24,25,87,29,28,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995d32e6d171986a88eb8b69d5c00d68.jpg",[],{"id":4179,"slug":4180,"title":4181,"dynasty":18,"author":703,"museum":234,"description":4182,"tags":4183,"thumbUrl":4185,"material":98,"size":98,"collection":98,"collections":4186,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":171},227686,"liu-tang-mu-ma-tu-chen-ju-zhong-227686","柳塘牧马图","《柳塘牧马图》原载《历代名笔集胜册》第一册。签题陈居中作。耿昭忠题云：陈居中柳塘牧马图，虽纤细如绳，悉具乘风破浪之势。昔评云：“布景设色，不亚黄宗道。今观其气韵生动，精神物态，全形缣素间，即谓超佚前人，岂为过当。”这评赞是确当的。在小小的纨扇的面上，画着二十多个人，五十多匹马，而姿态活跃异常，那功力是深厚的。",[23,24,25,29,28,1131,4184,7,376,694,30,222,70],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece9ab741023d625ae0a528e2f8fb9c8.jpg",[],{"id":4188,"slug":4189,"title":4190,"dynasty":18,"author":454,"museum":234,"description":4191,"tags":4192,"thumbUrl":4193,"material":96,"size":283,"collection":98,"collections":4194,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":59},223621,"hu-jia-shi-ba-pai-quan-juan-yuan-pai-yi-ming-223621","胡笳十八拍全卷（原拍）","所谓“胡茄十八拍”，是指蔡琰谱写的茄谱及歌词的总称。明胡笳十八拍图卷为明中期摹本。无款印， 图中人物勾写严谨，神情如生。",[23,24,26,28,29,30,7,149,90,1153,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0162d600dbddb17ec2ee4e429f3fbf.jpg",[],{"id":4196,"slug":4197,"title":4198,"dynasty":106,"author":1423,"museum":234,"description":4199,"tags":4200,"thumbUrl":4201,"material":4202,"size":98,"collection":98,"collections":4203,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":171},223224,"ren-wu-tu-ren-yi-223224","人物图","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,25,87,29,28,889,30,3624,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c3e45ff9f24ce1bd3ad16f2db5cf27.jpg","纸本，墨笔",[],{"id":4205,"slug":4206,"title":4207,"dynasty":176,"author":562,"museum":178,"description":2462,"tags":4208,"thumbUrl":4209,"material":198,"size":98,"collection":75,"collections":4210,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":171},219394,"qiu-lin-du-qi-tu-zhao-yong-219394","秋林独骑图",[24,25,1808,29,90,30,7,2931,36,91,94,223,70,224,28,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82362cf51743c1d61b49e21bf59d4c8.jpg",[75],{"id":4212,"slug":4213,"title":4214,"dynasty":261,"author":4215,"museum":84,"description":4216,"tags":4217,"thumbUrl":4218,"material":198,"size":98,"collection":75,"collections":4219,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":171},219364,"mo-li-gong-lin-lian-she-tu-wen-zheng-ming-219364","摹李公麟莲社图","文徵明","本幅画莲社十八贤士图，按晋时慧远高僧，于庐山建立白莲社，聚众百二十三人，修念佛学，时陶潜辞官居栗里，慧远致书陶潜，邀请参加，陶潜答曰：“许我酒就来。”慧远答应。陶潜每来社中，或时才至，不久即攒眉而去。幅中乘篮舆者即是陶潜。幅中设色，用笔均去文仇水准颇远，为后世托名。",[24,25,69,29,30,90,36,7,223,70,31,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e13b06d2397288d1823e0ca8f2b717b.jpg",[75],{"id":4221,"slug":4222,"title":4223,"dynasty":301,"author":454,"museum":4224,"description":4225,"tags":4226,"thumbUrl":4228,"material":29,"size":98,"collection":98,"collections":4229,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":59},217905,"guan-yin-jing-bian-tu-juan-2-yi-ming-217905","观音经变图卷-2","法国国家图书馆","笔墨勾勒出鲜活的人物群像，或揖让互动，或策马扬尘，或端坐沉思，动静之间尽展人间百态与神佛救度的张力。旁边的墨书经文与图像交织，让信仰的温度通过绢素缓缓流淌。虽经岁月浸染，色彩依旧含蓄饱满，线条的劲道藏在柔和的晕染中，尽显经变画以图释经的独特魅力——用视觉语言将抽象慈悲化为可感的人间故事，每一笔线条都承载着对善的期许，让古老的信仰在绢页间依然鲜活。那些生动的场景仿佛跨越时光，把善念的力量悄悄传递给每一个凝视它的人。",[24,25,26,721,29,30,28,7,4227],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9761e127461798aac484573a63f00097.jpg",[],{"id":4231,"slug":4232,"title":4233,"dynasty":301,"author":454,"museum":4224,"description":4234,"tags":4235,"thumbUrl":4236,"material":4237,"size":98,"collection":98,"collections":4238,"showCount":4114,"zanCount":58,"manualWeight":58,"mainColor":59},217280,"jiang-mo-bian-dun-huang-tu-juan-7-yi-ming-217280","降魔变·敦煌图卷-7","长卷舒展如流动的经卷，将佛教降魔的奇幻与庄严缓缓铺陈。帐幔轻垂处，法相庄严的尊像端坐，身旁弟子凝神谛听；云端神兽振翅而来，羽翼间携着缥缈仙气；山林间的魔众与力士对峙，动态鲜活如临其境。线条柔劲相济，似春蚕吐丝般勾勒出人物的衣袂飘举与神情百态；设色淡雅古拙，赭石与墨色晕染出唐代的雍容韵致。每一处场景皆为叙事切片，从论法的肃穆到斗法的惊心，将佛教义理融入生动的视觉语言，尽显敦煌艺术的灵动与深邃。",[68,24,25,26,721,29,28,1377,30,7,222,267,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e702adf2feb12b6085fb4ec31e73ed.jpg","设色,拓本",[],{"id":4240,"slug":4241,"title":4242,"dynasty":106,"author":4243,"museum":234,"description":4244,"tags":4245,"thumbUrl":4246,"material":96,"size":283,"collection":98,"collections":4247,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":171},290477,"za-hua-ce-luo-pin-290477","杂画册","罗聘","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[24,354,88,29,30,7,1938,1142,94,90,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592d4b0ace611b41fb72031e43f9b747.jpg",[],20,{"id":4250,"slug":4251,"title":2073,"dynasty":176,"author":442,"museum":234,"description":3367,"tags":4252,"thumbUrl":4253,"material":96,"size":283,"collection":98,"collections":4254,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":59},290100,"jin-ma-tu-zhao-meng-fu-290100",[68,24,25,29,28,30,7,223,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c0ea5d333793464874bbeb3f0f5efe.jpg",[],{"id":4256,"slug":4257,"title":1453,"dynasty":176,"author":4258,"museum":84,"description":4259,"tags":4260,"thumbUrl":4261,"material":391,"size":4262,"collection":98,"collections":4263,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":171},290056,"qiu-shan-xing-lv-tu-wang-yuan-290056","王渊","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[24,68,25,87,88,90,1197,30,7,94,36,249,267,33,223,70,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49dc5b3e0ed601d4c95f7accbb93912c.jpg","96.1x28.2",[],{"id":4265,"slug":4266,"title":3200,"dynasty":301,"author":454,"museum":84,"description":4267,"tags":4268,"thumbUrl":4269,"material":96,"size":283,"collection":98,"collections":4270,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":59},289765,"chun-jiao-you-qi-tu-yi-ming-289765","画面右侧古木虬劲抽芽，新叶轻缀枝梢，左侧巉岩错落，浅淡春意在古旧绢色里晕开。几位游骑穿行郊野，或缓辔徐行，或纵马轻驰，衣袂随春风轻扬，人马姿态舒展安然，不见鞍马劳顿，尽是春日郊游的闲逸兴味。\n画作线条清劲简练，设色浅淡柔和，将踏青的从容雅致烘托尽致，古雅底色晕染出沉静古意，把郊野疏朗春景与游赏的悠然意趣相融，尽显雅致松弛的唐风况味。",[23,24,29,30,7,90,388,267,3137,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d48213d8d56329e91d86926c79c0722.jpg",[],{"id":4272,"slug":4273,"title":3959,"dynasty":106,"author":3960,"museum":234,"description":3961,"tags":4274,"thumbUrl":4280,"material":96,"size":283,"collection":98,"collections":4281,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":171},235277,"ren-wu-gu-shi-ce-fan-xue-yi-235277",[24,29,28,354,30,7,149,36,151,4275,1690,4276,967,4277,4278,4279],"房舍","人物故事","传统绘画","细致描绘","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e04d9b86aa624995c2610e7741712a.jpg",[],{"id":4283,"slug":4284,"title":2027,"dynasty":18,"author":1739,"museum":234,"description":4285,"tags":4286,"thumbUrl":4287,"material":98,"size":98,"collection":98,"collections":4288,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":171},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[23,24,25,26,237,88,30,7,164,70,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":4290,"slug":4291,"title":4292,"dynasty":125,"author":4293,"museum":234,"description":4294,"tags":4295,"thumbUrl":4296,"material":98,"size":98,"collection":98,"collections":4297,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":59},226704,"su-li-bie-yi-juan-1-zhou-wen-ju-226704","苏李别意卷-1","周文矩","该幅是描绘苏武与李陵于荒寒北地殷殷话别的情景。",[24,25,26,29,28,30,7,70,681,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d99aa3ce15fe27667317bcda79a286.jpg",[],{"id":4299,"slug":4300,"title":4301,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":4302,"thumbUrl":4304,"material":135,"size":1610,"collection":98,"collections":4305,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":171},223001,"hong-lou-meng-126-sun-wen-223001","红楼梦126",[23,24,28,29,30,31,151,7,36,91,4303,2562,681],"回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b13ad24e28e97ce783e59e98b9d8cf7.jpg",[],{"id":4307,"slug":4308,"title":4309,"dynasty":261,"author":454,"museum":573,"description":4310,"tags":4311,"thumbUrl":4312,"material":135,"size":4313,"collection":137,"collections":4314,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":59},222463,"yang-bian-cui-ma-song-liang-mang-tu-quan-juan-yi-ming-222463","扬鞭催马送粮忙图全卷","燕文贵（967年—1044年），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。出身微贱，曾隶籍军中。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。擅画山水、屋木、人物。作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。燕文贵本隶军籍，曾任县主簿，掌管出纳官物、销注簿书，阶从九品。太宗（976－997）时游汴京（今河南开封），于天门道上卖画，为待诏高益所见，荐画相国寺壁，遂入图画院（一说大中祥符（1008－1016）初补图画院祗侯）。\n所作山水，不专师法，极富变化，独立一家规范。其画多为北方大川，破笔皴点，干擦淡染，细碎清雅，苍润秀媚，岸边水渚多画台榭相接，景致优美，富有变化，人称“燕家景致”。所作景物丰富多变，布局精巧谨严，山水树石、亭台楼阁各得其所，互臻其妙，令人目不暇接，如临其境。画风介于南北山水之间，清雅秀媚，温润可爱。尝画《七夕夜市图》，写七夕之夜京师民俗事象及夜市交易，“状其浩穰之所，至为精备”。《舶船渡海图》反映当时海上贸易之发达，画虽不盈尺，但人舟密聚，樯帆指呼奋跃，尽得情状。画面风波浩荡，岛屿相望，蛟蜃杂出，有咫尺千里之势，极为精妙。惜皆佚。存世作品有《江山楼观图》、《溪山楼阁图》、《秋山琳宇图》、《烟岚水殿图》等。\n画卷以平铺式绘山峦连绵，峰回路转，山间处云雾缥缈，高塔、庙宇、楼阁隐现，瀑布、泉水汇于山脚，水面宽阔，有船只往来、另数只依岸停泊。河岸边、小桥上、崎岖山道上，运粮的驴队浩浩荡荡，络绎不绝。画面中部绘有一座客栈，茅屋里数位客人吃饭歇脚，另有数人坐于高台上凭栏观景。此图非燕文贵所绘，更似明人风格。",[23,24,25,26,88,90,30,7,89,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0120c1f854c45c250d407c1fb8a69f0e.jpg","30x498",[137,55],{"id":4316,"slug":4317,"title":4318,"dynasty":18,"author":703,"museum":84,"description":4319,"tags":4320,"thumbUrl":4322,"material":198,"size":98,"collection":75,"collections":4323,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":171},218683,"lie-qi-dai-qin-tu-chen-ju-zhong-218683","猎骑带禽图","猎骑勒马伫立，衣袂间似沾着塞外草屑与风露。骏马身姿矫健，鬃毛如墨线飞扬，肌理勾勒劲挺细腻，连马蹄落地的沉稳都藏在笔锋里。鞍侧悬垂的禽鸟，羽翼纹理清晰可辨，仿佛刚从山林捕来，仍带着鲜活野趣。画面虽简，却将狩猎归来的从容与边塞生活的刚健揉合得恰到好处——无激烈追逐，只有静立瞬间，却让观者感受到驰骋山野后的安然。笔墨藏宋画写实功底，设色淡雅不失质感，每处细节都透着对生活的细致观察：似能触摸猎者衣袍的粗糙，听见马鼻轻喷，让这片刻宁静有了悠长余味。",[23,68,24,25,354,29,28,30,7,4321],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacf06293d878fc09ce07a493fbf19b4.jpg",[75],{"id":4325,"slug":4326,"title":4327,"dynasty":106,"author":373,"museum":263,"description":374,"tags":4328,"thumbUrl":4330,"material":198,"size":378,"collection":98,"collections":4331,"showCount":4248,"zanCount":58,"manualWeight":58,"mainColor":171},218332,"shen-xian-gu-shi-tu-ce-6-leng-mei-218332","神仙故事图册-6",[23,24,25,354,28,29,30,7,248,91,4329,1239,36],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0b2fd99b40b1623bde441dacf1bef4.jpg",[],{"id":4333,"slug":4334,"title":4335,"dynasty":106,"author":1280,"museum":84,"description":1329,"tags":4336,"thumbUrl":4337,"material":391,"size":98,"collection":98,"collections":4338,"showCount":4248,"zanCount":170,"manualWeight":58,"mainColor":171},217919,"tang-ming-huang-ji-ju-tu-4-ding-guan-peng-217919","唐明皇击鞠图-4",[24,28,237,69,30,7,2557,2084,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2dd8e8bd09d280d7d745516810905e.jpg",[],{"id":4340,"slug":4341,"title":4342,"dynasty":4343,"author":454,"museum":234,"description":4344,"tags":4345,"thumbUrl":4347,"material":98,"size":98,"collection":2435,"collections":4348,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":1661},243756,"ma-xing-pai-shi-yi-ming-243756","马形牌饰","汉","采用透雕剪影塑就卧马，姿态柔静温顺，前腿交叠、后腿蜷曲，首低垂轻贴前膝，尽展憩息时的安然神态。轮廓凝练洗练，寥寥刻线便勾勒出鬃毛层叠质感，眼部以几何纹样点缀，晕开古朴灵韵。沉郁古铜包浆带着岁月摩挲的温润光泽，将对骏马的熟稔与审美融于方寸间，既是随身佩饰，也藏着对良骥的珍视。简约造型里满溢雄浑朴拙的古雅风神，静穆中晕染出草原生灵的生动意趣，尽显古朴大气的东方审美意涵。",[4343,2432,2433,7,4346],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F333efb0c1a083b1c66fd8d81fb5f610d.jpg",[2435],19,{"id":4351,"slug":4352,"title":4353,"dynasty":106,"author":454,"museum":234,"description":4354,"tags":4355,"thumbUrl":4358,"material":96,"size":283,"collection":98,"collections":4359,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":171},239442,"yin-zhong-ba-xian-tu-juan-yi-ming-239442","饮中八仙图卷","长卷分段铺展酒中狂客的醉乡风流，将诗中八仙疏狂意气一一具象。画中人物情态鲜活各异，袒胸醉卧者憨态尽显，挥毫作书者纵逸潇洒，凭观长卷者沉醉忘形，侍童添酒、仆役备马点缀其间，衬出主角放浪不羁的林下襟怀，酒瓮、鞍马等细节勾勒出盛唐宴饮出行的雅境。\n\n画作线条细劲秀逸，设色清雅浅淡，工丽间带着写意松弛。诗画合璧，将酒酣耳热、傲岸自在的盛唐豪情铺展于卷上，尽抒诗酒趁年华的林下雅韵。",[23,24,25,26,28,29,30,4041,7,522,4356,4357,70,163],"笔墨纸砚","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc268da3eb9c080d6e474c994cc7b6347.jpg",[],{"id":4361,"slug":4362,"title":4363,"dynasty":106,"author":1992,"museum":234,"description":4364,"tags":4365,"thumbUrl":4366,"material":98,"size":98,"collection":137,"collections":4367,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":171},236422,"song-yin-bing-pei-zhou-hua-yan-236422","松荫并辔轴","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[24,25,87,29,90,1143,266,7,70,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2f02f42a1ce64c75b2663783c6c24e.jpg",[137,76],{"id":4369,"slug":4370,"title":4371,"dynasty":176,"author":562,"museum":84,"description":4372,"tags":4373,"thumbUrl":4374,"material":344,"size":4375,"collection":98,"collections":4376,"showCount":4349,"zanCount":170,"manualWeight":58,"mainColor":59},232832,"fang-ma-tu-zhao-yong-232832","放马图","《元赵雍骏马图》是元代画家赵雍的作品，该画出自家传，善山水，尤精人马及竹石。水滨疏林，骏马五匹散游其间，圉人倚松假寐，状极悠闲消遥。马匹肥壮，设色以青绿为之，树叶之表现近图案方式，饶古拙之趣，颇有唐人遗意。该画中山水份量极重，构景空濶而幽远。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,68,24,25,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e084133cc7dc0b63f3c2d393ccdc9.jpg","186×106公分",[],{"id":4378,"slug":4379,"title":4380,"dynasty":106,"author":107,"museum":234,"description":4381,"tags":4382,"thumbUrl":4383,"material":98,"size":98,"collection":98,"collections":4384,"showCount":4349,"zanCount":170,"manualWeight":58,"mainColor":171},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[24,25,26,29,28,30,7,164,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":4386,"slug":4387,"title":4388,"dynasty":176,"author":2285,"museum":234,"description":4389,"tags":4390,"thumbUrl":4391,"material":96,"size":283,"collection":98,"collections":4392,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":171},228026,"fan-qi-tu-chang-juan-zhao-lin-228026","番骑图（长卷）","作品绘边塞人马、骆驼行进行列，人物披裘戴高帽，以袖掩面，马匹步履蹒跚，展现出沙漠荒原风急天寒的气候环境。作品线条细劲流畅，具很高的艺术水平。明代都穆见其《番骑图》，赞日：“黄沙野蒿，鞭马疾驰，非余之目击，则也莫能知其妙也。”",[23,68,24,25,26,237,88,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246a845a72a843b74c51a17e490a6d72.jpg",[],{"id":4394,"slug":4395,"title":2127,"dynasty":18,"author":454,"museum":234,"description":4396,"tags":4397,"thumbUrl":4398,"material":98,"size":98,"collection":98,"collections":4399,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":59},227898,"shou-lie-tu-yi-ming-227898","元佚名狩猎图卷，绢本，辽宁省博物馆藏。\n设色，画心纵1，横19厘米。\n画峰峦叠起，沟壑纵横，溪流坡地，竹树杂处，野草漫生。\n一队身着民族服装的猎手，纵马控弦，在山谷间围堵追杀猎物。\n前部为连绵远山，坡谷间有三猎手围杀野猪、狍鹿、山兔等，场面紧张激烈，扣人心弦。\n中段作崇山环抱，沟壑交错，一猎手跌落马下，弓箭散落各处，后面三骑，迅来救助；而转过一座陡峭山峰，一带溪水自远而来，两岸长满杂草和杨树。\n画末为险峻石壁，一只雄隼咬住一只大雁颈项，雁在拚命挣扎，余四只鸣叫着四处飞逃。\n在一片较平坦的谷地间，立着一杆认旗，二长者调马备鞍。\n全图气势辽阔苍茫，笔法古朴雄浑，山石以勾勒与晕染并施，而皴法则不拘一格。\n以写实为主，山水多信笔为之，不免粗豪简率。\n而人物和马匹刻画细腻，得唐宋等前人笔法颇多。\n慓悍、浑朴之态表现得体，番马体相勾划准确。\n所绘景物、山水树石具有明显北国特色；马匹短足毛蹄，亦属蒙古马种；人物宽额高颧，为典型蒙族形象；服饰也同元初蒙族服饰相类。\n是元初北方画家典型写实之作，也是一卷难得的艺术珍品。",[23,24,1572,29,28,30,7,222,267,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256486f4089412a35f1dcfbd1fd99352.jpg",[],{"id":4401,"slug":4402,"title":4403,"dynasty":18,"author":335,"museum":234,"description":4404,"tags":4405,"thumbUrl":4413,"material":98,"size":98,"collection":98,"collections":4414,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":59},227825,"xing-lv-tu-tuan-shan-ma-yuan-227825","行旅图团扇","此作以边角取景，以简淡笔墨晕染出江南烟柳暮色。劲挺的笔法写垂柳，柔丝拂动暗藏骨力，烟霭轻笼水岸，将空濛湿冷的暮色铺陈开来。\n\n寥寥数笔勾勒出行旅队伍，策骑主仆行色匆匆，荒村野渡隐在淡墨轻烟之间，虚实相映间，羁旅清寂的况味尽显。\n\n古绢沉暗掩不住墨色层次干湿浓淡的精妙，以简驭繁，把征途的萧索与水村烟景的淡远相融，空灵雅致，将宋画小景的隽永意趣藏在暮色烟岚之中，余韵悠然。",[23,24,1808,88,90,30,7,4406,4407,4408,4409,1197,4410,4411,4412],"垂柳","荒村","野渡","暮色","清寂","萧索","边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d2515aac4ec3064cf85d6df21f21cd.jpg",[],{"id":4416,"slug":4417,"title":4418,"dynasty":18,"author":703,"museum":234,"description":4419,"tags":4420,"thumbUrl":4421,"material":98,"size":98,"collection":98,"collections":4422,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":59},227685,"hu-qi-qiu-lie-tu-chen-ju-zhong-227685","胡骑秋猎图","宋 陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 美国大都会艺术博物馆藏\n南宋画家陈居中的传世作品大多以北方少数民族风情故事为题材，形成了与其他南宋画家迥然不同的艺术风格，戈壁大漠的粗犷刚烈也使他在宋代院体画家中卓尔不群。《胡骑春猎图》与陈居中的这些特点颇为相符，表现出作者对当时横行漠北的“胡人”（北方少数民族）的生活有着很深的了解。",[23,24,68,25,1808,28,29,30,7,222,736,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c8ba97540b5f270c33c54937383a0f.jpg",[],{"id":4424,"slug":4425,"title":4426,"dynasty":18,"author":454,"museum":3912,"description":4427,"tags":4428,"thumbUrl":4429,"material":344,"size":4430,"collection":98,"collections":4431,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":59},223482,"wen-ji-tu-yi-ming-223482","文姬图","蔡文姬，名琰，字文姬（一作明姬，昭姬），东汉陈留国（今河南粑县）人。东汉文学家蔡邕（伯喈）之女。博学而有辩才。熟谙音律。16岁嫁给河东卫仲道，婚后不久，夫亡无子，回娘家居住。 东汉末年，中原战乱，被董卓的部将所虏，在南匈奴居住了12年。在万般无奈的情况下当了匈奴左贤王的妻子，生了2个儿子。曹操与蔡邕友善且情意相投，惜文姬的才华，故造使以金壁赎回，接到中原。 文姬于公元208年4月4日（汉建安十三年三月初一日）重返家园，后再嫁屯田都尉董祀。奉命补蔡邕的散佚典籍，忆写400多篇，文无遗漏。有五言及骚体《悲愤诗》各一首传世，倾吐乱离之苦及归汉时母子别情，哀怨激愤，是东汉末年战乱生活的真实写照。 相传琴曲歌辞《胡茄十八拍》是她的杰作。",[24,29,28,30,7,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879e28d07b405ac407546f0f98bfe9bb.jpg","26.4X24.2cm",[],{"id":4433,"slug":4434,"title":4435,"dynasty":106,"author":3420,"museum":20,"description":4436,"tags":4437,"thumbUrl":4438,"material":198,"size":98,"collection":117,"collections":4439,"showCount":4349,"zanCount":170,"manualWeight":58,"mainColor":171},219297,"ji-xian-liu-zhou-ai-qi-meng-219297","佶闲骝轴","画中骏马闲立，白棕毛色相间如流云晕染，鬃毛纤毫毕现，似有风过轻扬。肌肉线条流畅劲健，既见写实功底，又含灵动气韵。四蹄稳健踏地，眼神温驯却藏英气，恰合闲雅意趣。背景素净，辅以题跋印章，笔墨间融贯中西技法之妙——承传统鞍马画的雅致，取西洋写实的精准，让骏马形神兼备，宛如可触可近。整幅作品静中寓动，闲雅里透着勃勃生机，尽显画中生灵的意态风神，观之如见骏马缓踏，气息悠然。",[23,24,25,87,29,28,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99cb6bd9114b8ac957e044f6c0deca54.jpg",[117],{"id":4441,"slug":4442,"title":4443,"dynasty":18,"author":454,"museum":518,"description":4444,"tags":4445,"thumbUrl":4447,"material":198,"size":98,"collection":117,"collections":4448,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":59},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[23,24,68,25,28,29,4446,35,7,1445,222,130,376,340,131],"写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg",[117],{"id":4450,"slug":4451,"title":4452,"dynasty":261,"author":262,"museum":84,"description":4453,"tags":4454,"thumbUrl":4456,"material":198,"size":4457,"collection":98,"collections":4458,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":171},218179,"chun-xiao-tu-2-chou-ying-218179","纯孝图-2","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[24,25,28,29,30,7,388,94,4455,47,224,36],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeae386b6ebd4cb012fe42050fa7b4.jpg","32.8x21.9",[],{"id":4460,"slug":4461,"title":4462,"dynasty":4081,"author":4463,"museum":518,"description":4464,"tags":4465,"thumbUrl":4467,"material":98,"size":98,"collection":76,"collections":4468,"showCount":4349,"zanCount":58,"manualWeight":58,"mainColor":4469},202989,"ba-jun-tu-zhou-ge-quan-202989","八骏图轴","戈荃","柳丝垂拂，草坡茵茵，八匹骏马散落其间，或昂首嘶鸣，或俯身食草，或打滚嬉戏，或静卧休憩，姿态各异，神情灵动。设色温润淡雅，马匹勾勒细致入微，毛发纹理清晰可见，尽显骏骥的矫健与活力；背景山石用墨灵动，树木枝叶疏密有致，飞鸟点缀天际，更添自然野趣。整幅画作兼具工笔的精谨与写意的洒脱，于宁静氛围中蕴含蓬勃生机，勾勒出一派人与自然和谐共处的悠然景致。",[24,29,28,7,129,91,267,4466,23],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3baf4688685672991a68758944430d5e.jpg",[76],"bcaf90",{"id":4471,"slug":4472,"title":2194,"dynasty":18,"author":1739,"museum":234,"description":4473,"tags":4474,"thumbUrl":4476,"material":96,"size":283,"collection":98,"collections":4477,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},288962,"jun-gu-tu-gong-kai-288962","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人。",[68,24,25,88,237,7,222,70,223,4475],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d4572c7967b6ea59fd60add1018fb5.jpg",[],18,{"id":4480,"slug":4481,"title":2037,"dynasty":176,"author":442,"museum":234,"description":3367,"tags":4482,"thumbUrl":4483,"material":96,"size":283,"collection":98,"collections":4484,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":59},288919,"san-ma-tu-zhao-meng-fu-288919",[68,24,25,7,222,29,28,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abfb6ffc7928bdc000bc0337dcf800b.jpg",[],{"id":4486,"slug":4487,"title":4488,"dynasty":261,"author":4489,"museum":234,"description":4490,"tags":4491,"thumbUrl":4495,"material":96,"size":283,"collection":98,"collections":4496,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":59},283744,"lin-yan-zhen-qing-pei-jiang-jun-shi-juan-dong-qi-chang-283744","临颜真卿裴将军诗卷","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,223,26,69,224,68,25,7,722,195,4492,4493,4494],"天山","征战","将军","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ccec36f7144f94b8f77de5415ac21c.jpg",[],{"id":4498,"slug":4499,"title":4500,"dynasty":106,"author":454,"museum":20,"description":4501,"tags":4502,"thumbUrl":4506,"material":252,"size":4507,"collection":76,"collections":4508,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[68,24,87,28,29,30,7,735,422,2931,736,904,4503,4504,4505],"坡石","闲雅","静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纵259cm; 横172cm.",[76],{"id":4510,"slug":4511,"title":4512,"dynasty":261,"author":4513,"museum":20,"description":4514,"tags":4515,"thumbUrl":4516,"material":166,"size":4517,"collection":98,"collections":4518,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":59},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","倪端","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,87,29,90,30,7,93,91,94,28,89,36,1412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":4520,"slug":4521,"title":4522,"dynasty":106,"author":4523,"museum":20,"description":4524,"tags":4525,"thumbUrl":4527,"material":4202,"size":4528,"collection":98,"collections":4529,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},233869,"xi-shan-fang-mu-tu-zhou-cha-shi-biao-233869","溪山放牧图轴","查士标","此幅绘一河两岸的空旷景致。构图简洁，平远取势。多以侧锋行笔，线条于精细处见苍劲，富有变化和表现力度，是查氏学倪瓒画风的代表作之一。",[24,88,90,87,89,7,630,114,91,4526,36],"放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acd635c29f606478003fbc4a3751dee.jpg","纵116.3厘米，横59.5厘米",[],{"id":4531,"slug":4532,"title":4533,"dynasty":176,"author":454,"museum":573,"description":4534,"tags":4535,"thumbUrl":4536,"material":135,"size":4537,"collection":98,"collections":4538,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},232803,"xiang-ma-tu-juan-shui-jing-gong-dao-ren-fang-han-gan-yi-ming-232803","相马图卷(水精宫道人仿韩干)","明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”这句话基本上客观地道出了赵孟頫在中国绘画史上的地位。无论是研究中国绘画史，还是研究中国文人画史，赵孟頫都是一个不可绕开的关键人物。如果说，唐宋绘画的意趣在于以文学化造境，而元以后的绘画意趣更多地体现在书法化的写意上，那么，赵孟頫在其间起到了桥梁作用。如果说，元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那末，引发这种变化的巨擘仍是赵孟頫。",[23,24,25,26,29,69,30,7,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1e492db706ac5af78cddf44ad061db.jpg","30.5x102.9厘米",[],{"id":4540,"slug":4541,"title":4542,"dynasty":261,"author":262,"museum":234,"description":4543,"tags":4544,"thumbUrl":4546,"material":98,"size":98,"collection":98,"collections":4547,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":59},228456,"zhi-gong-tu-juan-chou-ying-228456","职贡图卷","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,26,28,29,25,223,224,90,30,7,36,1153,32,48,4545],"队伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":4549,"slug":4550,"title":4551,"dynasty":176,"author":454,"museum":234,"description":4552,"tags":4553,"thumbUrl":4554,"material":98,"size":98,"collection":98,"collections":4555,"showCount":4478,"zanCount":170,"manualWeight":58,"mainColor":59},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[23,24,68,26,237,29,30,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":4557,"slug":4558,"title":4559,"dynasty":176,"author":442,"museum":234,"description":4560,"tags":4561,"thumbUrl":4562,"material":98,"size":98,"collection":98,"collections":4563,"showCount":4478,"zanCount":170,"manualWeight":58,"mainColor":59},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[23,68,24,25,354,29,28,30,7,222,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":4565,"slug":4566,"title":4567,"dynasty":18,"author":1236,"museum":234,"description":4568,"tags":4569,"thumbUrl":4570,"material":98,"size":98,"collection":98,"collections":4571,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":59},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,68,24,25,26,29,90,89,30,7,248,278,536,266,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":4573,"slug":4574,"title":4575,"dynasty":18,"author":454,"museum":20,"description":4576,"tags":4577,"thumbUrl":4581,"material":72,"size":4582,"collection":98,"collections":4583,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":59},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[24,25,26,69,28,29,721,30,4578,4579,35,7,4580,164,681],"神怪","星宿","龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":4585,"slug":4586,"title":4587,"dynasty":176,"author":454,"museum":1495,"description":4588,"tags":4589,"thumbUrl":4590,"material":166,"size":98,"collection":98,"collections":4591,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":59},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,24,68,26,29,28,30,7,70,223,3404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":4593,"slug":4594,"title":716,"dynasty":106,"author":1280,"museum":84,"description":4595,"tags":4596,"thumbUrl":4598,"material":29,"size":4599,"collection":98,"collections":4600,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[23,967,28,29,237,224,70,69,30,7,222,721,4111,223,3605,4597,132],"神形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":4602,"slug":4603,"title":4604,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":4605,"thumbUrl":4608,"material":135,"size":1610,"collection":98,"collections":4609,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},222928,"hong-lou-meng-53-sun-wen-222928","红楼梦53",[23,24,28,29,30,210,7,31,4606,151,3796,4607,3798],"轿舆","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6035a5532b275451d69ebd2e5922bdb5.jpg",[],{"id":4611,"slug":4612,"title":4613,"dynasty":106,"author":4614,"museum":84,"description":4615,"tags":4616,"thumbUrl":4619,"material":4620,"size":4621,"collection":137,"collections":4622,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,26,29,90,89,30,7,2591,112,36,267,91,111,4617,4618,1068],"牧童","牧民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg","立轴，纸本，设色","112.2×53cm",[137,76],{"id":4624,"slug":4625,"title":4626,"dynasty":106,"author":650,"museum":263,"description":4627,"tags":4628,"thumbUrl":4631,"material":182,"size":4632,"collection":98,"collections":4633,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},217206,"fang-gu-shan-shui-shi-er-kai-shi-er-wang-hui-217206","仿古山水十二开(十二)","此册王翚仿古十二开",[24,88,89,354,90,47,36,250,7,30,630,266,607,278,4629,93,1239,1412,4630],"民居","骑乘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a21745ec4cca633de1562020ea6baee.jpg","25x35.4cm",[],{"id":4635,"slug":4636,"title":4637,"dynasty":18,"author":454,"museum":1118,"description":4638,"tags":4639,"thumbUrl":4640,"material":391,"size":4641,"collection":98,"collections":4642,"showCount":4478,"zanCount":58,"manualWeight":58,"mainColor":171},214950,"dao-zi-mo-bao-ren-wu-bai-miao-hua-34-yi-ming-214950","道子墨宝人物白描画-34","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,68,24,25,237,30,7,721],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1186f48c91bd09d5c6fb2aee74dd1a.jpg","34.2*38.4",[],{"id":4644,"slug":4645,"title":4646,"dynasty":176,"author":442,"museum":234,"description":4647,"tags":4648,"thumbUrl":4649,"material":96,"size":283,"collection":98,"collections":4650,"showCount":4651,"zanCount":170,"manualWeight":58,"mainColor":171},290908,"wan-liu-tang-tu-zhou-zhao-meng-fu-290908","万柳堂图轴","丛柳茂盛的池塘边，有位文士骑马来访，庭院内三位文士已聚万柳堂中，即将兴起文会的高潮。全幅不论杨柳、人物、房舍都以极细腻的笔法描绘，精致清雅。",[24,87,25,29,30,31,129,7,151,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb413a426fbb31519521b346e7c49dad.jpg",[],17,{"id":4653,"slug":4654,"title":4655,"dynasty":261,"author":454,"museum":234,"description":4656,"tags":4657,"thumbUrl":4660,"material":96,"size":283,"collection":98,"collections":4661,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},263682,"yi-xian-xiu-wen-chang-chu-xing-tu-zhou-yi-ming-263682","衣线绣文昌出行图轴","此作用素绢为地，以衣线绣晕染出文人出行的雅逸场景。主角宽袍峨冠，神态安闲淡然，随侍童子捧卷躬身，尽显恭谨。下方侍童牵马静候，骏马垂首敛息，温驯悠然。水畔点缀初绽莲苞，添了几分清雅生机。\n\n绣线走线匀细流畅，将人物衣褶晕染得舒展自然，人物神态各有韵致，把文人出行的闲散意趣铺陈开来，针线藏着笔墨的写意情致，配色素雅沉静，尽显古雅清隽的格调，是兼具写实与意境的精巧刺绣之作。",[24,25,87,4658,29,30,7,4659,281],"刺绣","文昌帝君","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4dd6ab19010bf5e3b289fe7f9a3a84.jpg",[],{"id":4663,"slug":4664,"title":4665,"dynasty":4343,"author":454,"museum":234,"description":4666,"tags":4667,"thumbUrl":4672,"material":96,"size":283,"collection":98,"collections":4673,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},255797,"hua-xiang-zhuan-yi-ming-255797","画像砖","汉砖上的雕饰，包罗万象，繁复美观。无论是彩绘或是浮雕图像都生动活泼，线条灵活；其中表现的故事都是当时社会的缩影，在四川省彭山发现的汉墓中，有一种圹砖是专供筑墓或建隧道使用的，在结构中似乎已经知道应用物理学上的圆柱中空的道理。",[4668,4669,4670,2433,4671,222,7,30],"汉代","砖","陶瓷","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0db40afcf2519ca39291dc98fad7dbdf.jpg",[],{"id":4675,"slug":4676,"title":4677,"dynasty":106,"author":4678,"museum":234,"description":4679,"tags":4680,"thumbUrl":4681,"material":98,"size":98,"collection":137,"collections":4682,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[24,25,87,29,30,7,809,267,94,90,70,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[137,55,405],{"id":4684,"slug":4685,"title":4686,"dynasty":261,"author":4687,"museum":20,"description":4688,"tags":4689,"thumbUrl":4690,"material":344,"size":98,"collection":98,"collections":4691,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":1661},234114,"huan-ji-tu-juan-zhang-han-234114","宦迹图卷","张瀚","描绘了明中后期官至吏部尚书的张瀚的官宦生活。本文通过对此作图像内容的考证,在比对图文关系的基础上,对此图的原貌、作者及有关问题进行了初步研究。",[24,25,26,237,28,30,7,31,266,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47acd463b3a10bf258b2c33970af22e2.jpg",[],{"id":4693,"slug":4694,"title":4695,"dynasty":1760,"author":454,"museum":234,"description":4696,"tags":4697,"thumbUrl":4701,"material":96,"size":283,"collection":98,"collections":4702,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,29,28,4698,7,30,3624,1938,33,32,149,151,36,1068,4699,222,4700,131,111],"屏风","鸟","小孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":4704,"slug":4705,"title":4706,"dynasty":106,"author":2647,"museum":234,"description":4707,"tags":4708,"thumbUrl":4709,"material":98,"size":98,"collection":98,"collections":4710,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,26,27,29,28,90,31,266,36,91,149,30,7,694,1239,151,1412],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":4712,"slug":4713,"title":4714,"dynasty":176,"author":454,"museum":234,"description":4715,"tags":4716,"thumbUrl":4717,"material":98,"size":98,"collection":98,"collections":4718,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,68,24,25,26,29,28,30,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":4720,"slug":4721,"title":4722,"dynasty":176,"author":454,"museum":234,"description":4723,"tags":4724,"thumbUrl":4725,"material":98,"size":98,"collection":98,"collections":4726,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},228190,"jin-bi-shan-shui-ye-yi-ming-228190","金碧山水页","此作以青绿晕染崖壁，石面肌理苍然古朴，崖巅古木虬曲横斜，丹红叶色点破秋日山岑的清寂。左侧林木扶苏，深浅墨色糅合淡青，尽显层叠苍润之意。\n\n溪山之间，策蹇行者徐行山道，林畔立者似在问询，山野幽居的闲适意趣随画面铺展。构图疏密有致，空阔留白予人遐想余地，设色古雅沉静，将秋日山林的萧散淡远晕染尽致，以小景见丘壑深致，尽显寄情林泉的元人山水意韵。",[24,25,354,29,277,90,36,7,30,249,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cb32e3f645aa67e7806a281a54bc9d.jpg",[],{"id":4728,"slug":4729,"title":571,"dynasty":18,"author":572,"museum":234,"description":4730,"tags":4731,"thumbUrl":4732,"material":98,"size":98,"collection":98,"collections":4733,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},227967,"jin-wen-gong-fu-guo-tu-li-tang-227967","本作以连环分段构图铺陈史诗往事，图文互映，每段配书跋补全情节脉络。以铁线描勾勒人物衣纹，劲挺古雅，国君、文武、夷狄、仆从神态各异，将流亡隐忍、终成霸业的跌宕过往细腻呈现。\n\n布景兼工带写，亭台界画工致严整，松石林木兼具山水意趣，古朴厚重的色调烘托出春秋乱世的沉郁风云，尽显传统叙事绘画的章法意韵与历史叙事的感染力。",[23,68,24,25,26,237,28,89,30,7,31,36,91,70,223,149,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7d26cfaac9b3b65381345283d0c2bc.jpg",[],{"id":4735,"slug":4736,"title":561,"dynasty":106,"author":107,"museum":84,"description":1289,"tags":4737,"thumbUrl":4738,"material":166,"size":1292,"collection":98,"collections":4739,"showCount":4651,"zanCount":58,"manualWeight":58,"mainColor":59},222757,"ba-jun-tu-lang-shi-ning-222757",[23,24,25,28,29,1174,7,30,129,91,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18259a63d2ee470b9f3c7082a755b51.jpg",[],{"id":4741,"slug":4742,"title":4743,"dynasty":106,"author":1280,"museum":84,"description":1329,"tags":4744,"thumbUrl":4745,"material":391,"size":98,"collection":98,"collections":4746,"showCount":4651,"zanCount":170,"manualWeight":58,"mainColor":171},217920,"tang-ming-huang-ji-ju-tu-3-ding-guan-peng-217920","唐明皇击鞠图-3",[967,28,237,29,30,7,69,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707210edeaf9e3501cf069c6e169843e.jpg",[],{"id":4748,"slug":4749,"title":4750,"dynasty":261,"author":454,"museum":234,"description":4751,"tags":4752,"thumbUrl":4755,"material":96,"size":283,"collection":98,"collections":4756,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":59},287830,"zhao-jun-chu-sai-tu-yi-ming-287830","昭君出塞图","此作用淡晕山水铺陈出塞地辽寂荒寒，平沙远晕染出空阔萧索的塞北底色。近景渡口车马簇聚、行人揖别，细腻勾勒出饯行人群的依依愁绪，将离别的缱绻尽数藏在攒动身影与待发车马之间。\n\n工写相融的笔触，将千古典故里的沉郁叹惋具象化。搭配遒劲题字书画合璧，既以细腻叙事场景还原汉塞之别，又借悠远山水烘托出出塞征程的苍茫苍凉，将离愁与荒寒意境相融，尽显旧典的悠长余味，寄寓着对这段往事的深沉叹惜。",[23,24,25,989,29,210,7,32,94,90,4753,4754,70,223,224],"历史事件","昭君出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154b051c5a32df91e9be9ff6b7fa7ebb.jpg",[],16,{"id":4759,"slug":4760,"title":4761,"dynasty":106,"author":4762,"museum":234,"description":4763,"tags":4764,"thumbUrl":4767,"material":98,"size":98,"collection":98,"collections":4768,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":59},235892,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235892","原济黄山游图册","石涛","此作以奇崛危崖撑起画面骨架，焦墨勾勒崖壁嶙峋肌理，淡墨晕染出云气在峰谷间漫漶，明暗虚实铺就山谷的空寂幽深。谷内林麓掩映茅舍，三两旅人或策杖徐行，或围坐晤谈，将山水静穆与林下雅集的悠然意趣相融，动静相生。\n\n笔墨兼具苍润，湿笔晕染出山间空蒙水汽，枯笔皴擦刻画出岩石坚实质感，尽显黄山的清灵出尘。边角题诗与山水呼应，将探幽问道的雅趣藏于丘壑，尽显文人林泉栖隐之思。",[24,25,354,88,89,70,223,224,90,4765,30,7,91,36,4766],"孤峰","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96f0d743602994e646e67e90a61dcf4.jpg",[],{"id":4770,"slug":4771,"title":4772,"dynasty":18,"author":2984,"museum":20,"description":4773,"tags":4774,"thumbUrl":4775,"material":4776,"size":4777,"collection":98,"collections":4778,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":171},232994,"qi-shi-lie-gui-tu-ye-zhao-bo-su-232994","骑士猎归图页","此图写番人狩猎归来，正在整理箭羽，神情愉悦轻松；身后驮着一只野羊的马匹却已尽显疲态，鬃尾下垂，低首张口，可以想象得到它刚经历了一场激烈的追逐。画中人、马及饰物刻画详细，用笔工整，表现出不同的质感。",[68,24,25,354,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c051a85d681e82e45ab80d08660bcce.jpg","纸本 设色","41x66cm",[],{"id":4780,"slug":4781,"title":4782,"dynasty":176,"author":562,"museum":1495,"description":4783,"tags":4784,"thumbUrl":4785,"material":938,"size":4786,"collection":98,"collections":4787,"showCount":4757,"zanCount":170,"manualWeight":58,"mainColor":171},232900,"mo-li-gong-lin-ren-ma-tu-quan-juan-zhao-yong-232900","摹李公麟人马图全卷","赵雍（1289—约1360），元代书画家。字仲穆，湖州（今属浙江）人。赵孟頫次子。以父荫入仕，官至集贤待制、同知湖州路总管府事。书画继承家学，赵孟頫尝为幻住庵写金刚经未半，雍足成之，其联续处人莫能辨。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》、《溪山渔隐》等。\n此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。画人马用线细劲连绵，人物胡须及马尾线描极为精彩。与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。",[23,24,25,26,69,237,29,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c18bb2f97acaf2887d33f422c15e0a1.jpg","纵31.7厘米，横73.5厘米",[],{"id":4789,"slug":4790,"title":4791,"dynasty":106,"author":4792,"museum":234,"description":4793,"tags":4794,"thumbUrl":4795,"material":98,"size":98,"collection":98,"collections":4796,"showCount":4757,"zanCount":170,"manualWeight":58,"mainColor":59},230919,"shu-feng-zhan-dao-tu-ye-liu-long-230919","蜀峰栈道图","叶六隆","整作以水墨铺陈层叠山川，奇崛危崖间栈道盘绕，飞瀑穿林而下，古松虬曲扎根绝壁，尽绘山川雄荒之态。\n行旅之人或驱驴缓行于险道，或驻足观瀑稍作休憩，寸尺人物却神态宛然，将蜀道行路的艰涩与山川壮景相融，把奇险之境具象于笔底，又暗蕴羁旅行人的幽远意趣。笔墨苍劲古朴，皴擦勾勒间尽显山石肌理，山水之雄与行旅之幽浑然一体，尽显传统山水叙事的悠远意境。",[23,24,25,87,88,89,90,1196,30,7,523,1043,376,92,94,31,33,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adb14969e212e22fafe642e5a5551c7.jpg",[],{"id":4798,"slug":4799,"title":4800,"dynasty":1760,"author":454,"museum":234,"description":4801,"tags":4802,"thumbUrl":4804,"material":98,"size":98,"collection":98,"collections":4805,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":171},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,25,26,29,28,27,90,30,31,339,2720,7,376,1068,4803,33,342,32,266],"红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":4807,"slug":4808,"title":4809,"dynasty":176,"author":442,"museum":234,"description":4810,"tags":4811,"thumbUrl":4812,"material":98,"size":98,"collection":98,"collections":4813,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":59},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[23,68,24,25,354,28,29,30,7,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":4815,"slug":4816,"title":4817,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":4818,"thumbUrl":4824,"material":135,"size":1610,"collection":98,"collections":4825,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":171},222941,"hong-lou-meng-66-sun-wen-222941","红楼梦66",[23,28,29,30,7,4819,36,47,1153,280,554,4820,681,4821,1197,4822,111,149,1180,553,2355,4823],"轿子","百姓","抬轿","乡村","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3077a0780ad3e7dda59e8ad480e3a44f.jpg",[],{"id":4827,"slug":4828,"title":4829,"dynasty":261,"author":4830,"museum":573,"description":4831,"tags":4832,"thumbUrl":4833,"material":4834,"size":4835,"collection":98,"collections":4836,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":59},221920,"xi-ma-tu-ce-ye-lu-qing-221920","洗马图册页","陆青","陆青 〔宋〕绍熙时画院待诏。师李唐作山水，得其笔法。用墨清秀。简易不凡，喜用浓墨，木叶不分，唯风雨图最佳。《图绘宝鉴》。",[23,24,25,354,237,28,29,30,7,694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf8b692af8b95b865a24b95b748c7f3.jpg","绢本 水墨","30× 40.6厘米",[],{"id":4838,"slug":4839,"title":4840,"dynasty":176,"author":454,"museum":84,"description":4841,"tags":4842,"thumbUrl":4843,"material":198,"size":4844,"collection":75,"collections":4845,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":171},219604,"shi-ma-tu-yi-ming-219604","试马图","画面以三骑游踱铺开，两匹神骏提蹄缓行，鬃毛细软晕染入微，尽显矫健体态。三位骑手神态松弛悠然，衣袂线条简劲凝练，将闲游行乐的松弛氛围铺陈开来。古绢底色晕染出沉郁旧韵，边角钤印为画面添就古雅厚重的岁月质感。\n\n整体笔意清简沉稳，淡设色晕染出雅致静穆的氛围，静中藏动，将郊野试马的闲逸意趣娓娓道来，尽显鞍马题材画作的精妙意致，暗合内敛从容的文人审美意趣。",[23,24,25,29,30,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8f5eac786068af423b573c2a8fdeadf.jpg","纵36.9横46.9厘米",[75],{"id":4847,"slug":4848,"title":2244,"dynasty":176,"author":454,"museum":4849,"description":4850,"tags":4851,"thumbUrl":4852,"material":198,"size":4853,"collection":117,"collections":4854,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":59},219256,"si-ma-tu-yi-ming-219256","中国美术馆","古绢底色晕染着时光的温厚，苍树虬枝如墨笔泼洒，浓淡间藏着元人笔意的疏朗。几匹骏马或低头啃青，或侧首相顾，肌理晕染细腻得似能触到鬃毛软韧。红衣饲马人持杖而立，身影在淡赭天地间格外鲜明，却无喧嚣，只与马群、古木共守一份悠然。画面无繁复布景，以极简构图勾勒牧歌式静谧，笔墨留白与写实相映，仿佛听见风过叶响、马鼻喷息，将寻常饲马时光，定格成跨越千年的悠然图景。",[24,25,29,28,30,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95530499ef881114a1a98211c129db5.jpg","纵158横109.8厘米",[117],{"id":4856,"slug":4857,"title":4858,"dynasty":106,"author":4762,"museum":207,"description":4859,"tags":4860,"thumbUrl":4861,"material":182,"size":4862,"collection":98,"collections":4863,"showCount":4757,"zanCount":58,"manualWeight":58,"mainColor":171},214529,"yi-jin-ling-ce-5-shi-tao-214529","忆金陵册-5","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[24,25,354,88,89,90,33,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11b0327f171c26bf52b3c73b65611a6.jpg","纵23.8厘米，横19.2厘米",[],{"id":4865,"slug":4866,"title":4867,"dynasty":261,"author":3933,"museum":234,"description":3934,"tags":4868,"thumbUrl":4869,"material":96,"size":283,"collection":98,"collections":4870,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":59},287778,"si-shi-shan-shui-zhi-dong-jing-wu-wei-287778","四时山水之冬景",[23,24,88,90,87,3925,630,91,30,7,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9a530c4bb5dddcfe3b8cffba615fb.jpg",[],15,{"id":4873,"slug":4874,"title":4875,"dynasty":106,"author":4614,"museum":234,"description":4876,"tags":4877,"thumbUrl":4878,"material":98,"size":98,"collection":76,"collections":4879,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":1661},239381,"hong-wu-kuo-er-ka-jin-xiang-ma-tu-juan-hong-wu-239381","弘旿廓尔喀进象马图卷","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,26,29,90,28,30,7,1498,36,91,536,47,114,70,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[76],{"id":4881,"slug":4882,"title":1718,"dynasty":261,"author":454,"museum":234,"description":4883,"tags":4884,"thumbUrl":4885,"material":96,"size":283,"collection":98,"collections":4886,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":171},238578,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238578","此作以工笔重彩绘就，设色浓妍饱满。青绿浪涛间晕染粉黄祥云，层次绵密铺展出神幻水境。右侧水府门庭威严矗立，赤甲神人持械守立；左侧仙官乘骑率众列队，仪仗整肃齐整，衣甲纹饰刻画入微，旌旗猎猎尽显仪典庄重。\n画作以叙事构图铺陈海神受贺的吉庆盛景，神人形象刚劲饱满，将神异世界的肃穆祥瑞融于一体，尽显道释绘画的精工富丽，勾勒出天界水府的恢弘气象。",[24,354,28,29,30,7,535,90,536,31,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3fa2435db481017698d178d3cf926d.jpg",[],{"id":4888,"slug":4889,"title":4890,"dynasty":261,"author":4072,"museum":234,"description":4891,"tags":4892,"thumbUrl":4893,"material":96,"size":283,"collection":98,"collections":4894,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":171},237819,"hu-shan-wan-yue-shan-zhang-hong-237819","虎山玩月扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,25,1808,88,90,32,31,376,2066,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46bf4220d1645be60da2305a7e7aca.jpg",[],{"id":4896,"slug":4897,"title":4898,"dynasty":18,"author":703,"museum":234,"description":4899,"tags":4900,"thumbUrl":4901,"material":135,"size":4902,"collection":98,"collections":4903,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":59},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,24,25,26,28,29,30,7,222,90,36,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":4905,"slug":4906,"title":4907,"dynasty":261,"author":454,"museum":20,"description":4908,"tags":4909,"thumbUrl":4911,"material":166,"size":4912,"collection":98,"collections":4913,"showCount":4871,"zanCount":170,"manualWeight":58,"mainColor":59},231357,"xuan-de-xing-le-tu-yi-ming-231357","宣德行乐图","明代宫廷绘画中有一类表现帝王生活和重大历史事件的作品。此幅描绘明宣宗朱瞻基便服檐帽在御园观赏各种体育竞技表演的场面。画面上从右至左依次为射箭、蹴踘、马球、捶丸、投壶，场面宏大繁复而又具体入微，生动地表现出当时宫中的文体娱乐活动。由于要反映特定的地点和环境，所以描绘了大量的建筑。此卷以工整细腻的写实手法按照历史原貌对明代皇宫的楼台殿阁作了荚绘实又概括的描绘，是研究明代宫廷历史以及皇家建筑的重要资料。",[24,68,29,28,30,7,267,4910,36,90,163],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fd15889dcb5d2ea930aa35fbfdc5d7e.jpg","纵36.7cm，横690cm",[],{"id":4915,"slug":4916,"title":4917,"dynasty":1760,"author":3601,"museum":234,"description":3602,"tags":4918,"thumbUrl":4922,"material":96,"size":283,"collection":98,"collections":4923,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":171},230597,"su-miao-1-da-fen-qi-230597","素描1",[3604,237,4919,7,222,30,4920,3605,4921],"速写","动态","动物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb89d7c1b38412e8063f36658074ef6a8.jpg",[],{"id":4925,"slug":4926,"title":3259,"dynasty":176,"author":454,"museum":234,"description":4927,"tags":4928,"thumbUrl":4929,"material":98,"size":98,"collection":98,"collections":4930,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":59},228218,"shou-lie-tu-ye-yi-ming-228218","此作以沉郁古褐晕染山野荒林，上下两组骑猎者纵马驰骋，将塞北游猎的粗粝快意尽数铺展。上方猎手引弦待发，臂上架鹰、身侧随细犬，林间悬垂的猎物，把猎获的酣畅瞬间定格。下方骑士俯身控马，衣袂随疾风翻卷，人马同频的奔跃张力扑面而来。\n\n线条劲爽利落，精准勾勒出骑手的雄健彪悍，人马犬鹰的情态鲜活灵动。没有繁复修饰，却将游牧民族射猎日常的野性生机淋漓展现，带着浓郁的北国风土气息，尽显游猎生活的本真快意，是描摹塞外狩猎盛景的精妙小品。",[23,24,25,354,29,28,30,7,222,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e6b428e69bd8563be25278d371b2ab.jpg",[],{"id":4932,"slug":4933,"title":4934,"dynasty":18,"author":4935,"museum":234,"description":4936,"tags":4937,"thumbUrl":4938,"material":98,"size":98,"collection":98,"collections":4939,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":171},226560,"bian-qiao-hui-meng-tu-juan-chen-ji-zhi-226560","便桥会盟图卷","陈及之","《便桥会盟图》卷，元，陈及之作，纸本，白描，纵36厘米，横774厘米。\n该图旧作辽画，实误。款署“祜申仲春中浣富沙竹坡陳及之作”，据考，“祐申”为元代延祐庚申年的缩写。\n该卷画“便桥会盟”故事，全图共绘246人，180匹马和4头骆驼，堪称是元代绘人马最多、物景最宏大的历史画。全卷可分为三大部分，第一段，绘以党项人为主的各类马上运动和马戏表演，第二段，绘游牧之骑，以此过渡到第三段，绘便桥会盟故事，画突厥首领颉利在便桥桥头向秦王李世民求和的情景。\n全卷以白描线条绘成，得北宋李公麟遗韵。飞动自如的线条展现出人马极强的运动感，强劲之处，顿挫有力，洒脱之笔，圆转不滞。画中人马，虽盈寸方，但神情毕肖，尽见风采，细微之处，不失博大。\n清《石渠宝笈·初编》著录。",[23,68,24,26,237,28,32,30,7,90,36,278,42,2866,707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb0ffce4747f42da84e0ed6e532f9db.jpg",[],{"id":4941,"slug":4942,"title":4943,"dynasty":1760,"author":454,"museum":234,"description":4944,"tags":4945,"thumbUrl":4953,"material":98,"size":98,"collection":98,"collections":4954,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":171},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[4946,4947,4948,29,4949,7,30,748,523,694,47,248,4950,42,4951,45,2355,2661,36,1042,1142,4952],"浮世绘","木刻","版画","桥","雪地","冬季","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],{"id":4956,"slug":4957,"title":4958,"dynasty":18,"author":1338,"museum":84,"description":4959,"tags":4960,"thumbUrl":4964,"material":72,"size":4965,"collection":98,"collections":4966,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":171},221663,"guan-shan-xing-lv-xiao-zhao-221663","关山行旅","此图右侧，仅画江水、浅滩、远渚、烟树。山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景。左侧最高峰画得半壁实半壁虚，虚处乃为江上为气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。近山浓重，远山清淡，又形成虚实对比。名款“萧照”二字楷书于幅中央之树石间，则与《西湖志余》所载相同。",[23,68,24,25,29,89,90,91,36,536,94,1197,278,4961,4962,1412,4963,7],"峭壁","烟霭","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2fe06d072d80ba657a4399c5a76700d.jpg","24.2 x 26.2 cm",[],{"id":4968,"slug":4969,"title":4970,"dynasty":106,"author":454,"museum":4224,"description":4971,"tags":4972,"thumbUrl":4973,"material":344,"size":98,"collection":98,"collections":4974,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":512},216851,"xi-xiang-ji-tu-ce-26-yi-ming-216851","西厢记图册-26","亭畔松枝轻曳，远山含黛，近水漾着粼粼波光，铺展一派江南雅致。衣袂飘飘的男女执手相对，眉目间似凝千言万语；侧旁侍女捧物而立，神情温婉；仆从牵马携箱，或推车随行，细节处漫溢生活烟火。设色淡雅清润，线条细腻流畅，人物神态鲜活传神，将古典故事里的缱绻情愫与世俗意趣相融。笔墨间藏着旧时文人的审美韵致，每一帧都似在低语那段流传千年的风月佳话，观者于山水草木与人物互动里，触摸到古典叙事的温柔脉搏。",[24,29,28,354,30,210,266,7,376,90,111,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c5a0d094fa4292c6d9f6fce2d4d3b.jpg",[],{"id":4976,"slug":4977,"title":4978,"dynasty":106,"author":107,"museum":234,"description":662,"tags":4979,"thumbUrl":4985,"material":88,"size":98,"collection":98,"collections":4986,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":171},216843,"zhan-zheng-tong-ban-hua-5-lang-shi-ning-216843","战争铜版画-5",[664,4980,279,30,7,4981,42,4982,4983,4984],"战争画","山地","营帐","战场","军事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08a96a4a454605b60f07827bf939dce.jpg",[],{"id":4988,"slug":4989,"title":4990,"dynasty":4081,"author":315,"museum":518,"description":4991,"tags":4992,"thumbUrl":4993,"material":98,"size":98,"collection":55,"collections":4994,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":4995},202874,"ma-tu-zhou-xu-bei-hong-202874","马图轴","画中骏马昂首伫立，鬃尾如墨浪翻飞，四蹄踏地却暗含腾跃之姿。水墨挥洒间，浓墨劲扫筋骨轮廓，淡墨晕染肌肉肌理，额颈留白似月华轻覆，既塑雄健体魄，又显灵动气韵。背景以简笔扫出沙地，更衬主体苍劲。整作笔墨洒脱精准，将马的骜放精神与生命张力凝于尺幅，尽显写意之妙与对生灵的深刻体悟。",[24,88,7,87,25,222,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b30160329f93d176f65d5ed48f2d6e1.jpg",[55],"ccbead",{"id":4997,"slug":4998,"title":4999,"dynasty":261,"author":5000,"museum":518,"description":5001,"tags":5002,"thumbUrl":5003,"material":98,"size":98,"collection":137,"collections":5004,"showCount":4871,"zanCount":58,"manualWeight":58,"mainColor":5005},202217,"xi-shan-ce-qi-tu-zhou-qian-gu-202217","溪山策骑图轴","钱穀","溪山之间，一人策骑过板桥，衣袂轻展，似向幽林寻幽。近岸林木葱郁，枝叶以淡墨点染，疏密有致；中景水面空濛，远山以皴法淡绘，峦顶苔点错落，尽显清旷。笔墨简淡却意韵绵长，文人的闲适心境与自然山水相融，传递出悠然出尘的诗意。",[24,90,7,32,89,29,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3aaa8e5163dc11f6adde372de5eb848.jpg",[137],"bdab9a",{"id":5007,"slug":5008,"title":3025,"dynasty":176,"author":454,"museum":234,"description":5009,"tags":5010,"thumbUrl":5012,"material":96,"size":283,"collection":98,"collections":5013,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":59},290895,"ming-fei-chu-sai-tu-zhou-yi-ming-290895","《汉书》记公元前三三年，匈奴呼韩邪单于臣服汉威并愿为汉婿，于是元帝将後宫王嫱（字昭君）赐单于。这段史实得到後世的关注同情，故事亦陆续增添情节及意象。如“马上琵琶”原指昭君出塞途中，马上乐师鼓奏琵琶以慰藉；然唐诗描写昭君出塞，已加入昭君马上弹抱琵琶倾诉哀怨的形象。",[24,87,29,30,210,7,90,36,279,5011],"明妃出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3b054994f0a1d28ee1d07f7d7248c8.jpg",[],14,{"id":5016,"slug":5017,"title":5018,"dynasty":261,"author":5019,"museum":234,"description":5020,"tags":5021,"thumbUrl":5024,"material":96,"size":283,"collection":98,"collections":5025,"showCount":5014,"zanCount":170,"manualWeight":58,"mainColor":59},290602,"peng-shan-yu-nian-zhou-zhang-chong-290602","蓬山遇辇轴","张翀","生卒不详，活动于17世纪，明代画家。字子羽，号浑然子、图南，江都（今江苏南京）人",[68,24,87,277,29,28,30,90,498,7,210,5022,5023,4111],"仙山","辇车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74639a5bcfa89c2ad174b07008010f8.jpg",[],{"id":5027,"slug":5028,"title":5029,"dynasty":106,"author":1280,"museum":234,"description":5030,"tags":5031,"thumbUrl":5034,"material":96,"size":283,"collection":98,"collections":5035,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":59},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,25,26,29,28,69,70,30,721,535,734,222,7,1498,735,36,91,2593,280,5032,5033,676],"车辇","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],{"id":5037,"slug":5038,"title":5039,"dynasty":106,"author":5040,"museum":234,"description":5041,"tags":5042,"thumbUrl":5043,"material":96,"size":283,"collection":98,"collections":5044,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":59},235676,"xi-guan-fang-ma-tu-zhou-zhang-mu-235676","奚官放马图轴","张穆","张穆（1805年11月29日 ——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[24,25,87,29,30,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bc760660ccaab1de00c8df1d1e4ccc.jpg",[],{"id":5046,"slug":5047,"title":5048,"dynasty":176,"author":5049,"museum":20,"description":5050,"tags":5051,"thumbUrl":5053,"material":344,"size":5054,"collection":98,"collections":5055,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":59},233785,"gou-lei-zhu-juan-zhang-xun-233785","钩勒竹卷","张逊","张逊 (约13世纪末～14世纪中)字仲敏,号溪云，吴(今江苏苏州)人。此图纸本，水墨，纵 43.4 厘米，横 686厘米。画坡陀间双钩竹数丛，枝干劲挺，竹叶扶疏，间作老松披佛偃仰。石用中锋圆笔钩皴，有董源、巨然遗意。本幅后楷书自题记上款“伯时”，下署“至正九年四月卅日，吴郡张逊题于吴氏舍馆”。钤“张逊私印”。作于1349年，是张逊晚年用心之作。\n后纸有察伋、倪瓒、张绅、梁用行、王汝玉、张间、钱溥、刘钮、陈鉴、严树、陆广、谢希曾、徐渭仁、黄芳、宝熙等人题以及谢希曾等鉴藏印 150余方。《朱氏铁网珊瑚》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。现藏故宫博物院。",[68,24,25,26,237,5052,340,30,7,376,70],"钩勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2630f34cd123917126bd47636aae1dec.jpg","纵 43.4 厘米，横 686厘米",[],{"id":5057,"slug":5058,"title":5059,"dynasty":176,"author":442,"museum":1495,"description":5060,"tags":5061,"thumbUrl":5062,"material":135,"size":5063,"collection":98,"collections":5064,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":171},232887,"tian-ma-fu-tu-juan-zhao-meng-fu-232887","天马赋图卷","《天马赋》是一篇辞赋作品，是著名辞赋家天山客最新完成的辞赋力作。该篇笔力遒劲，描写天马（伊犁马）的形态、声貌、神韵惟妙惟肖，对天马的历史、马的能力描写的非常到位。这是一篇十分成功的优秀辞赋，行文纵横捭阖、笔走龙蛇，有气吞万里之势。本篇可用劲节、雄浑、粗犷、豪迈来概括文章的风格，这也符合中国西部天山、昆仑、伊犁的地域特色。",[23,176,26,29,224,7,30,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7d933fc0197c7ef5b8b25cbfaf99b3.jpg","26.7x76.5厘米",[],{"id":5066,"slug":5067,"title":5068,"dynasty":261,"author":454,"museum":84,"description":5069,"tags":5070,"thumbUrl":5071,"material":5072,"size":5073,"collection":98,"collections":5074,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":59},231358,"yuan-ren-hua-lie-qi-tu-zhou-yi-ming-231358","元人画猎骑图轴","一队人马行进於秋林之中，人物之衣冠，马匹之鞍具，与李唐、陈居中文姬归汉图之胡骑甚相似。但此幅用笔较为纤秀，旧传为元人之作。",[24,25,87,29,28,30,7,523,376,70,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad70a4cebe3d61e2604c96263c616d7.jpg","轴","39.4x60.1公分",[],{"id":5076,"slug":5077,"title":5078,"dynasty":261,"author":5079,"museum":234,"description":5080,"tags":5081,"thumbUrl":5082,"material":96,"size":283,"collection":98,"collections":5083,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":59},228273,"za-xi-tu-zan-ding-xiang-sheng-mo-228273","杂戏图（暂定）","项圣谟","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[23,24,25,29,28,30,7,164,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5129841c1c2dc76fe275120220bb6f0.jpg",[],{"id":5085,"slug":5086,"title":5087,"dynasty":176,"author":562,"museum":234,"description":5088,"tags":5089,"thumbUrl":5091,"material":98,"size":98,"collection":98,"collections":5092,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":59},228058,"ma-xi-tu-zhao-yong-228058","马戏图","此作棕褐绢底上，一众骑手纵马驰骋，热烈图景扑面而来。骏马昂首扬蹄，鬃尾飞动，将奔跃张力尽数铺开；骑手或控马回身，或俯身驯骑，动态鲜活灵动，尽显驯马驰驱的飒爽意气。人物服饰晕染雅致鲜明，胡汉装束兼具，暗合塞上风情。线条劲挺流畅，勾勒出马的矫健筋骨与人的生动情态，朴拙笔触里带着刚健力道。\n\n后附题跋墨色淋漓，笔意苍劲，书画相映成趣，将鞍马游猎的雄健快意定格绢素，古意盎然，尽显此类题材画作的雄浑气度。",[23,68,24,26,29,28,30,7,5090,223,224,70],"马戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f7bf4a9f1d905dd707947937bd78f.jpg",[],{"id":5094,"slug":5095,"title":5096,"dynasty":176,"author":2285,"museum":234,"description":4389,"tags":5097,"thumbUrl":5098,"material":96,"size":283,"collection":98,"collections":5099,"showCount":5014,"zanCount":170,"manualWeight":58,"mainColor":171},228025,"fan-qi-tu-juan-zhao-lin-228025","番骑图卷",[23,24,25,26,237,29,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a422fb91c6b267bc128150d1d205bb.jpg",[],{"id":5101,"slug":5102,"title":5103,"dynasty":1760,"author":1761,"museum":234,"description":1762,"tags":5104,"thumbUrl":5109,"material":96,"size":283,"collection":1768,"collections":5110,"showCount":5014,"zanCount":58,"manualWeight":58,"mainColor":512},225656,"rembrandt-harmensz-van-rijn-066-lun-bo-lang-225656","Rembrandt Harmensz.van Rijn - 066",[1173,1174,1764,29,30,5105,7,5106,1765,5107,5108],"女性","华丽服饰","暗背景","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a37383011170cf04c79d432fd18cd0.jpg",[1768],{"id":5112,"slug":5113,"title":5114,"dynasty":125,"author":126,"museum":234,"description":5115,"tags":5116,"thumbUrl":5117,"material":96,"size":283,"collection":98,"collections":5118,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":59},288986,"ma-tu-zhen-ji-zhao-nie-288986","马图真迹","赵喦（五代史作赵岩），五代·后梁画家，名霖，后改本名，字秋巘，陈州（今河南淮阳）人，生卒年不详。太祖朱晃朝（907-912）驸马都尉。末帝朱瑱朝（913-923）为户部尚书租庸使，与张汉杰、汉伦等居中用事。善绘事，精鉴赏，富收藏。",[68,24,25,30,7,28,29,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842b63ffb068612fae2d2f30f28acb95.jpg",[],{"id":5120,"slug":5121,"title":5122,"dynasty":18,"author":233,"museum":234,"description":5123,"tags":5124,"thumbUrl":5125,"material":96,"size":283,"collection":98,"collections":5126,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},287713,"bai-miao-ren-wu-bu-shou-tu-juan-li-gong-lin-287713","白描人物(捕手)图卷","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,68,24,26,25,237,30,7,223,1742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cd2957e9f7dfdd41b376728038cf0b7.jpg",[],{"id":5128,"slug":5129,"title":5130,"dynasty":4343,"author":454,"museum":234,"description":5131,"tags":5132,"thumbUrl":5135,"material":98,"size":98,"collection":2435,"collections":5136,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":59},243757,"quan-lang-wen-pai-shi-yi-ming-243757","犬狼纹牌饰","采用透雕技法塑就，骏马身姿挺拔遒劲，下方犬狼奋然撕咬马腹，将草原狩猎的野性瞬间凝于方寸之间。右上角缠枝卷草婉转舒展，为这场残酷角斗晕开一丝狞厉柔美。暗沉包浆晕开岁月厚重质感，粗粝线条勾勒出生命的原始张力，把游牧文明里对生存与勇武的描摹，藏进古朴青铜肌理之中，粗狂又鲜活，尽显草原民族的独特审美意趣。",[4668,2432,2433,5133,4346,222,1019,5134,7],"镂空","狼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599f2daa168b92a376d84ec9c0aeff0f.jpg",[2435],{"id":5138,"slug":5139,"title":1718,"dynasty":261,"author":454,"museum":234,"description":5140,"tags":5141,"thumbUrl":5142,"material":96,"size":283,"collection":98,"collections":5143,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},238576,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238576","此作为工笔重彩道释画，场面恢宏整饬。祥云舒卷间，诸天众神分列排布，主尊安坐祥云，神色肃穆端庄，扈从神兵甲胄鲜明、威仪赫赫，仙官礼拜恭谨，尽显仪典庄重。\n\n设色浓妍明丽，石青、石朱晕染出层叠云气与幡幢仪仗，色彩层次饱满和谐。衣纹线条劲挺流畅，勾勒出神祇身姿的庄严与灵动，甲胄飘带的细节刻画入微，分毫毕现。整体铺陈出雍容神圣的仙界仪制氛围，尽显道释工笔画精湛的表现力，兼具装饰美感与叙事性，将仙班仪仗的威严气象烘托尽致。",[24,25,354,29,28,30,535,90,36,7,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2522c56cdcfef6871ca555f42793908f.jpg",[],{"id":5145,"slug":5146,"title":4128,"dynasty":106,"author":5147,"museum":234,"description":5148,"tags":5149,"thumbUrl":5150,"material":96,"size":283,"collection":137,"collections":5151,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},237518,"shan-shui-ce-chen-zi-237518","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[29,354,224,70,90,30,7,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08ca6de5976d2660e517dc6ace58ddd.jpg",[137,405],{"id":5153,"slug":5154,"title":5155,"dynasty":106,"author":454,"museum":234,"description":5156,"tags":5157,"thumbUrl":5158,"material":96,"size":283,"collection":75,"collections":5159,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":59},237251,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237251","名臣故事邓旭题颂册","右侧绘仪卫出行，人马错落排布，旗幡猎猎翻卷。武将着彩袍安坐鞍上，随行军士簇拥，仪仗鲜明严整，设色调和古雅，生动铺陈出戎阵煊赫声势，写实中带着装饰意趣。左侧行书题颂笔力苍劲俊逸，笔势辗转跌宕，诗文与绘作呼应，咏叹将帅戍边拓疆的功勋。\n整幅以书画合璧，绘事工写兼具，笔墨题咏相映，既以细腻笔触还原武臣仪仗的肃穆威严，又借题文寄寓褒扬之意，将纪事纪实与文人抒怀融于一处，尽显此类小品书画的雅致意蕴。",[24,25,354,29,28,30,7,1153,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a3555d2ff0172d17e1a4b781e26e22.jpg",[75,76],{"id":5161,"slug":5162,"title":4128,"dynasty":106,"author":5163,"museum":234,"description":5164,"tags":5165,"thumbUrl":5166,"material":98,"size":98,"collection":137,"collections":5167,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},234334,"shan-shui-ce-jin-ting-biao-234334","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[967,24,25,354,88,29,90,339,30,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[137,76],{"id":5169,"slug":5170,"title":5171,"dynasty":18,"author":703,"museum":1495,"description":5172,"tags":5173,"thumbUrl":5174,"material":938,"size":5175,"collection":98,"collections":5176,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},232595,"da-da-shou-lie-tu-juan-chen-ju-zhong-232595","鞑靼狩猎图卷","图绘早期少数民族狩猎的场景。陈居中，生卒年不详，南宋画家，宁宗嘉泰间（公元1201－1204年）任画院待诏。笔墨精致，色彩艳丽，形象准确，神情生动逼真。擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。其山羊走兽等亦富有情趣。有《文姬归汉图》、《四羊图》等传世作品。",[23,24,25,26,28,29,30,7,222,90,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f998cad5ff4a67c13137dc8f8c858a.jpg","30.4cm×549.6cm",[],{"id":5178,"slug":5179,"title":5180,"dynasty":1760,"author":5181,"museum":234,"description":5182,"tags":5183,"thumbUrl":5185,"material":96,"size":283,"collection":98,"collections":5186,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":59},231753,"mu-ma-tu-ping-feng-di-yi-ping-zhang-gu-chuan-deng-bo-231753","牧马图屏风第一屏","长谷川等伯","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,24,25,4698,29,28,7,30,376,523,111,694,5184],"牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":5188,"slug":5189,"title":5190,"dynasty":1760,"author":454,"museum":234,"description":5191,"tags":5192,"thumbUrl":5193,"material":96,"size":283,"collection":98,"collections":5194,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,26,29,28,27,30,31,7,90,36,47,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":5196,"slug":5197,"title":5198,"dynasty":176,"author":442,"museum":234,"description":5199,"tags":5200,"thumbUrl":5201,"material":98,"size":98,"collection":98,"collections":5202,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":59},230906,"gun-ma-tu-ye-zhao-meng-fu-230906","滚马图页","画面左侧黑马就地翻滚，鬃尾张扬，筋骨肌肉的张力尽显，将骏马撒欢的野趣刻画得鲜活生动。牵马圉人神情略带无奈又习以为常，衣褶简练利落。右侧花斑马徐行，骑手神态悠然，马匹步态舒缓，一动一静相映成趣。\n此作用笔以书入画，线条圆劲雅致，兼顾院体精细与文人简逸格调，寥寥数笔便勾勒出人马神态性情，以极简笔墨传递出浓郁的草原牧歌意趣，尽显鞍马画以形写神的精妙。",[68,24,25,354,237,88,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd377ca46972a5ae73979c85678145.jpg",[],{"id":5204,"slug":5205,"title":5206,"dynasty":125,"author":1906,"museum":234,"description":5207,"tags":5208,"thumbUrl":5209,"material":96,"size":283,"collection":98,"collections":5210,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[23,68,24,25,26,29,28,30,7,222,224,1742,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":5212,"slug":5213,"title":3228,"dynasty":106,"author":454,"museum":234,"description":5214,"tags":5215,"thumbUrl":5216,"material":98,"size":98,"collection":98,"collections":5217,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},230344,"cai-wen-ji-gui-han-tu-juan-yi-ming-230344","此作用简练白描绘就长卷行旅图景，笔线细劲苍古，随形勾勒，尽显古朴气韵。队伍排布疏密有致，前导擎旄扬旗、骑士策辔缓行，后卫整肃相随，间杂负囊驼队，暗合万里归途的厚重羁旅之感。\n\n人物神态各有不同，或肃穆凝然，或侧首顾盼，胡汉服饰细节暗藏身份之别，将归乡心绪的沉郁与队伍的威仪相融。人马姿态生动自然，动静相映，把漫漫归程的苍茫氛围徐徐铺展，古旧绢色晕染出岁月沉淀的厚重，让历史故事的沉郁质感满溢卷间。",[23,24,25,26,237,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633d534a82155b87bc779a8d224b9e64.jpg",[],{"id":5219,"slug":5220,"title":5221,"dynasty":176,"author":454,"museum":234,"description":5222,"tags":5223,"thumbUrl":5224,"material":98,"size":98,"collection":98,"collections":5225,"showCount":101,"zanCount":170,"manualWeight":58,"mainColor":59},228217,"quan-ma-tu-yi-ming-228217","犬马图","此作为典型元代鞍马小品，笔墨苍朴古雅，意境萧疏悠然。牵马奚官具胡地风貌，面容写实生动，衣褶简括沉稳，寥寥数笔便将其驯马时的安然神态尽显。所牵老马瘦骨棱棱，却筋骨开张，神骏之态未减，鬃毛细笔勾勒、马蹄晕染细致，将迟暮老马沉郁之姿描摹入微。\n趴卧侧望的细犬身姿矫捷灵动，毛发晕染柔润细腻，与老马的沉迟形成动静对照。淡墨晕染的空寂背景，衬出林下荒疏的氛围，以极简物象烘托出清寂落寞的意韵，于细节处见精妙功力，尽显元代鞍马画重神韵、尚意境的特质。",[24,29,28,30,7,1019,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeff32c1fbb1a90bde90f1345e0e1efc.jpg",[],{"id":5227,"slug":5228,"title":3383,"dynasty":18,"author":454,"museum":234,"description":5229,"tags":5230,"thumbUrl":5231,"material":98,"size":98,"collection":98,"collections":5232,"showCount":101,"zanCount":170,"manualWeight":58,"mainColor":59},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,68,24,25,1808,29,28,27,30,7,36,31,94,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":5234,"slug":5235,"title":5236,"dynasty":1760,"author":1761,"museum":234,"description":1762,"tags":5237,"thumbUrl":5238,"material":96,"size":283,"collection":1768,"collections":5239,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":512},225683,"rembrandt-harmensz-van-rijn-093-lun-bo-lang-225683","Rembrandt Harmensz.van Rijn - 093",[1173,1174,1764,30,7,36,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2f8e75bc7701f87f41724d6cdb1bb68.jpg",[1768],{"id":5241,"slug":5242,"title":1647,"dynasty":106,"author":4173,"museum":234,"description":5243,"tags":5244,"thumbUrl":5245,"material":98,"size":98,"collection":98,"collections":5246,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":59},224584,"shuang-ma-tu-yu-yuan-224584","此作用笔精细入微，两骏依偎伫立，霜色骏马在前，栗色良驹稍后，神态温驯雍容。鬃尾晕染丝缕分明，躯体肌理饱满写实，将骏马神骏却沉静的姿态刻画得淋漓尽致。画面右上题诗呼应画意，墨色雅致朴拙，与工稳的鞍马刻画相融，承继唐宋鞍马写实遗风，又融入文人意趣。敷色妍丽沉稳，古旧绢色更衬出画作静穆古雅的气质，整体简净清隽，状物精妙的同时兼具文墨情致，尽显良骏俊逸闲和之态。",[23,68,24,25,28,29,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf93d6b4b29bf71246809df96ec075a0.jpg",[],{"id":5248,"slug":5249,"title":5250,"dynasty":18,"author":454,"museum":234,"description":5251,"tags":5252,"thumbUrl":5253,"material":344,"size":5254,"collection":98,"collections":5255,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":59},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,68,87,29,89,90,523,748,92,36,32,33,31,30,7,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":5257,"slug":5258,"title":5259,"dynasty":106,"author":1606,"museum":1308,"description":1607,"tags":5260,"thumbUrl":5264,"material":135,"size":1610,"collection":98,"collections":5265,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":171},222980,"hong-lou-meng-105-sun-wen-222980","红楼梦105",[23,24,28,29,30,4607,5261,5262,2562,522,7,630,5263,4606],"古建筑","亭阁","红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173d1e044780feb5c210a6379f8cecd8.jpg",[],{"id":5267,"slug":5268,"title":5269,"dynasty":261,"author":262,"museum":84,"description":5270,"tags":5271,"thumbUrl":5272,"material":2503,"size":5273,"collection":98,"collections":5274,"showCount":101,"zanCount":170,"manualWeight":58,"mainColor":171},222203,"fan-ma-tu-zhou-chou-ying-222203","番马图轴","绘一人一马，人物以番帮打扮，尖帽畜须，骏马强壮，眼神清亮。画上题：“天下房星原不动，人间画马亦难逢。当时笔下千金，此是窗前八尺龙。”嘉靖戊午春日书，徵明",[23,24,25,87,28,29,30,7,223,70,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c04117dd0d485325b0f4634fce12365.jpg","64x35厘米",[],{"id":5276,"slug":5277,"title":5278,"dynasty":4081,"author":315,"museum":518,"description":5279,"tags":5280,"thumbUrl":5281,"material":98,"size":98,"collection":55,"collections":5282,"showCount":101,"zanCount":58,"manualWeight":58,"mainColor":5283},203389,"ben-ma-tu-heng-pi-xu-bei-hong-203389","奔马图横披","奔马昂首奋蹄，四蹄腾空，鬃毛与长尾如墨浪翻卷，动感十足。画家以水墨浓淡变化晕染马身，线条刚劲洒脱，既精准勾勒出肌肉的健硕轮廓，又以写意笔触赋予画面灵动气韵。马匹姿态矫健，似欲破壁而出，传递出蓬勃生命力与昂扬精神。整幅作品墨韵生动，形神兼备，将马的奔腾之姿与内在神韵完美融合，尽显精湛笔墨功底与对生命力量的赞颂。",[24,88,7,25,889,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894b88fab17e1723ea886b7574773dc2.jpg",[55],"c8bca8",{"id":5285,"slug":5286,"title":5287,"dynasty":261,"author":262,"museum":234,"description":275,"tags":5288,"thumbUrl":5289,"material":96,"size":283,"collection":98,"collections":5290,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":171},290874,"shuang-jun-tu-zhou-chou-ying-290874","双骏图轴",[24,68,25,87,30,7,223,70,29,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a77ce6946038020ba8298cb1d45bf.jpg",[],12,{"id":5293,"slug":5294,"title":2284,"dynasty":176,"author":2285,"museum":234,"description":5295,"tags":5296,"thumbUrl":5297,"material":96,"size":283,"collection":98,"collections":5298,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":59},290347,"xiang-ma-tu-zhou-zhao-lin-290347","赵麟，字彦徵。姓赵氏。其先七世祖秀安僖王子偁，盖宋太祖子秦王德芳之后，赐第湖州，子孙遂世居焉。祖考孟頫，故元翰林学士承旨，赠荣禄大夫，江浙等处中书省平章政事，进魏国公，诣文敏。祖妣管氏，赠魏国夫人。考雍故元奉议大夫，同知湖州路总管府事。妣刘氏，封归安县君。麟故元太学生，会试第二名登进士第，承事郎，江浙中书省检校官。季世丧乱，去职闲居东安闾中。大明一统，召天下贤良若干赴京师，上问：朕何以得天下，元何以失天下？众皆愕然。麟生色曰：一主得天下，一主失天下，从古然也。上善其对。以监察御史兼任议律官，受命参与制订律令。洪武元年，以御史出任莒州知州，清藻若冰雪，而性敏才优，遇事辄办。值元末兵燹之后，官廨学宫一切毁废，麟次第营建，规模略备，气象更新，而民间不知有力役之扰，故州人尤颂之。",[24,87,29,30,7,630,4329,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649d1da08ed97b5de64d86c8a402a31f.jpg",[],{"id":5300,"slug":5301,"title":5302,"dynasty":125,"author":1906,"museum":234,"description":4389,"tags":5303,"thumbUrl":5304,"material":96,"size":283,"collection":98,"collections":5305,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":59},290092,"fan-qi-tu-li-zan-hua-290092","番骑图",[23,68,24,26,29,30,7,990,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf321ec72fd892725af376a52d8659da.jpg",[],{"id":5307,"slug":5308,"title":5309,"dynasty":301,"author":454,"museum":234,"description":5310,"tags":5311,"thumbUrl":5314,"material":96,"size":283,"collection":98,"collections":5315,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":512},252766,"san-cai-ma-yi-ming-252766","三彩马","这匹马体态丰腴矫健，筋骨匀停饱满，尽显飒爽风貌。釉色温润清隽，豆青主调晕染开赭黄与钴蓝，三彩釉色斑驳交融，绚烂又不失雅致沉稳。鞍鞯装饰繁丽精妙，织锦纹样细密灵动，华贵饰件铺陈出仪仗的雍容气度。它静立昂首垂目，神气温驯又带着昂扬筋骨，将西域良驹的桀骜与中原风雅相融，定格下唐人爱马的风尚缩影。将巅峰制瓷工艺与时代气度凝于一身，是大唐气象的鲜活注脚。",[1380,4670,5312,7,29,5313],"三彩釉","俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ee6072e65d11c398425302ed5b50895.jpg",[],{"id":5317,"slug":5318,"title":3366,"dynasty":261,"author":5319,"museum":234,"description":5320,"tags":5321,"thumbUrl":5322,"material":98,"size":98,"collection":98,"collections":5323,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":59},239212,"bai-ma-tu-juan-xu-bao-239212","许宝","《百马图卷》作者明代 许宝。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n【名称】明许宝百马图卷 【年代】明 【简介】绢本，设色，纵：26cm，横：728.cm。\n现藏故宫博物院。\n是图卷首部分残破严重，卷尾署款“许宝”，钤印“ ”、“烟霞散人”。\n该卷画百匹淮马被散牧在川原上（未画牧者），马群聚散相宜，平静地出没于树丛、坡石、溪畔的前后，一条溪流时隐时现，平缓地穿过全卷，消失在呈白带状的晓雾之中。\n马匹以 勾勒，重彩填色，工细之处远胜南宋院体，与 的树石画风既形成鲜明的对比，又相融相汇形成一体。\n马群多处于静态，其微妙之处在于同为静态的马匹竟有着百种不同的姿态，可见作者有着很强的把握马匹细微活动的能力，同时画家也兼具了 和 的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,26,29,28,89,7,222,36,91,111,114,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":5325,"slug":5326,"title":5327,"dynasty":106,"author":5328,"museum":234,"description":5329,"tags":5330,"thumbUrl":5331,"material":96,"size":283,"collection":75,"collections":5332,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":171},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,25,354,29,28,30,7,248,91,94,90,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[75,76],{"id":5334,"slug":5335,"title":2863,"dynasty":106,"author":454,"museum":234,"description":5336,"tags":5337,"thumbUrl":5338,"material":98,"size":98,"collection":75,"collections":5339,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":171},238638,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238638","全景式铺展西南崇山战事，左侧隘楼雄峙，苗民凭险据守，河谷中短兵相接，刀戈交错间硝烟翻涌，清军列阵衔枚疾突，将平乱鏖战的肃杀张力尽数铺陈。\n刀工笔触细致入微，山石褶皱、将士甲胄纹理皆清晰可辨，既还原了山地地貌的奇崛险峻，也将攻防拉锯的实景如实复刻。右上角御题诗文与战事图景相映，融纪实叙事与帝王题咏于一体，以铜版镂刻定格边疆平乱的宏大场面，兼具纪实史料价值与清代版画工艺之美。",[967,237,28,89,354,90,30,7,31,91,36,2866,164,40,4983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a5ad1038662987587c2d95a68d04a4.jpg",[75],{"id":5341,"slug":5342,"title":5343,"dynasty":261,"author":5344,"museum":234,"description":5345,"tags":5346,"thumbUrl":5347,"material":98,"size":98,"collection":98,"collections":5348,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":171},235594,"ce-jian-tu-zhou-fang-yi-zhi-235594","策蹇图轴","方以智","枯淡水墨晕开萧散秋郊，近畔苍松虬劲卓立，浓墨点簇苔叶成荫，留白衬出躯干清癯古雅。平远山水层层铺展，浅笔勾勒出汀洲丘峦，淡墨晕染空濛悠远，将郊野疏旷之境晕染极致。\n\n策蹇老者宽袍斗笠，缓行于溪山之间，寥寥数笔便绘就悠然意态。画面上方题笔纵逸跌宕，诗画交融，以禅意笔墨写就林泉高致，尽显晚明文人尚简尚意的风骨淡韵，淡墨轻岚之间，藏着旧朝士子寄情丘壑、避世寻幽的林下襟怀。",[24,25,87,88,90,30,7,248,91,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9e95a0a27c294450f03b11df67a85b7.jpg",[],{"id":5350,"slug":5351,"title":2363,"dynasty":176,"author":177,"museum":20,"description":2364,"tags":5352,"thumbUrl":5353,"material":166,"size":2367,"collection":98,"collections":5354,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":59},233828,"er-ma-tu-juan-ren-ren-fa-233828",[24,25,26,28,29,7,222,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":5356,"slug":5357,"title":5358,"dynasty":176,"author":442,"museum":234,"description":5359,"tags":5360,"thumbUrl":5361,"material":98,"size":98,"collection":98,"collections":5362,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":59},231036,"xiang-ma-tu-ye-zhao-meng-fu-231036","相马图页","此作以人马为景，牵马老者袍服勾勒清劲挺括，敛眉垂目专注整饬缰绳，神态沉静内敛，尽显驯马时的安然肃穆。\n\n骏马躯干壮硕饱满，四肢劲挺修长，转首回望间灵动有神，鬃尾隐约带风，将神骏筋骨肌理晕染细腻逼真，笔墨兼工带写，设色古雅清淡，既追唐人鞍马的写实风骨，又融文人笔墨的雅致意趣。画面疏朗简约，以形写神，将人马间温婉呼应的微妙氛围尽显，古朴沉静间满溢古意，尽显鞍马题材画作的精妙意韵。",[23,68,24,25,354,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be06c53803a7a23406d3c79fb26d98b.jpg",[],{"id":5364,"slug":5365,"title":5366,"dynasty":261,"author":454,"museum":234,"description":5367,"tags":5368,"thumbUrl":5369,"material":98,"size":98,"collection":98,"collections":5370,"showCount":5291,"zanCount":170,"manualWeight":58,"mainColor":59},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,25,68,26,28,29,30,31,32,33,266,7,90,36,91,34,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":5372,"slug":5373,"title":5374,"dynasty":18,"author":5375,"museum":65,"description":5376,"tags":5377,"thumbUrl":5378,"material":252,"size":5379,"collection":405,"collections":5380,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":171},221684,"er-jun-tu-juan-yang-wei-221684","二骏图卷","杨微","描绘女真族人驯马手套马之惊心动魄场面。画中一奚官裘皮秋装乘骑奔驰，两匹正在奔腾的淡赭墨色马肥壮野逸，造型准确，神态生动，大有追风抹电之势，令人惊奋。\n该画用笔严谨工整，沉着豪放，线条遒劲，勾勒灵活，运笔流畅，人物和马之神态表情刻画细腻，栩栩如生，真实地反映了北方少数民族狩猎生活之特点和勇悍、粗犷之个性。明代黄旸题诗赞曰：“雄姿腾踏双飞黄，走如抹电风沙扬。权奈自是渥洼种，奔逐恍若神龙骧。\n前驹野性未易制，胡儿直把长缨系。且驱且挽力无穷，落日平沙浩无际。乃知调习良可驯，伯乐一顾价无伦。毛品虽为天厩亚，神骏能空冀北群。人间此马难重致，杨微妙笔传真意。……”图左自署款：“大定甲辰高唐杨微画”。从署款推定，此图作于金世宗大定二十四年（1184）。拖尾有明初人应光雯、黄寿、黄旸三人七言诗题跋，一九八三年詹宏羲先生将其捐赠给辽宁省博物馆收藏。",[23,24,25,26,28,29,30,7,224,70,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63999d1776682b106f06be528567b609.jpg","纵29.8厘米，横62.3厘米",[405],{"id":5382,"slug":5383,"title":5384,"dynasty":106,"author":1280,"museum":84,"description":1329,"tags":5385,"thumbUrl":5386,"material":391,"size":98,"collection":98,"collections":5387,"showCount":5291,"zanCount":58,"manualWeight":58,"mainColor":171},217915,"tang-ming-huang-ji-ju-tu-7-ding-guan-peng-217915","唐明皇击鞠图-7",[24,25,28,237,30,7,681,70,3645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac15e6c64ed8c5ea12af2dc566228db0.jpg",[],{"id":5389,"slug":5390,"title":4095,"dynasty":261,"author":5391,"museum":84,"description":5392,"tags":5393,"thumbUrl":5398,"material":391,"size":5399,"collection":55,"collections":5400,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},290945,"xue-shan-xing-lv-tu-zhou-qian-gu-290945","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,87,618,88,89,1142,195,32,33,630,2930,5394,7,5395,5396,5397],"行旅人物","山谷","屋舍","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c0d9a198fbba7297e3d5b3a912b68.jpg","288.2x56.1",[55],11,{"id":5403,"slug":5404,"title":5405,"dynasty":18,"author":454,"museum":84,"description":5406,"tags":5407,"thumbUrl":5409,"material":96,"size":283,"collection":98,"collections":5410,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":59},290720,"xi-ma-tu-zhou-yi-ming-290720","洗马图轴","画面截取洗马间隙的松弛日常，左侧奚官正为黑马打理鬃毛，骏马神骏挺拔，黑缎似的皮毛莹润光泽，四蹄素白更衬矫健温顺。右侧主人安坐树下，捻须抬手似在漫谈指点，侍从垂首恭立，静持马缰。\n\n淡墨晕染出柳枝的朦胧柔曼，木栅简淡勾形，地面浅缀杂草，衬出院囿里的闲散氛围。设色清雅古淡，衣褶线条简练传神，将人物神态刻画得宛然生动。整幅画作以小品格局，把平淡日常晕染出隽永雅致的古典意趣，藏着宋画独有的温柔情致。",[24,87,29,30,7,5408,28],"畜兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f91f31f0644568692295b6e86b03e5.jpg",[],{"id":5412,"slug":5413,"title":5414,"dynasty":261,"author":3676,"museum":234,"description":5415,"tags":5416,"thumbUrl":5417,"material":96,"size":283,"collection":98,"collections":5418,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},288018,"chun-an-gui-qi-tu-shan-mian-wen-jia-288018","春岸归骑图扇面","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,68,1808,25,29,277,90,129,32,33,266,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55092f3886da9994ea7f78ac826ade03.jpg",[],{"id":5420,"slug":5421,"title":5422,"dynasty":176,"author":454,"museum":234,"description":5423,"tags":5424,"thumbUrl":5427,"material":96,"size":283,"collection":98,"collections":5428,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":59},287549,"xue-jian-pan-che-tu-yi-ming-287549","雪涧盘车图","千里征途的艰辛景色。全图结构谨严，右侧的雪景疏松，左侧的山石树木紧凑，其间旅队蜿蜒而上。造型写实功力深厚，是南宋院画中的杰出小品。",[24,68,618,1142,278,5425,94,5426,522,7,30,36,89],"山涧","盘车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e76546a20a81c1e59800f3c51b0eb56.jpg",[],{"id":5430,"slug":5431,"title":5432,"dynasty":106,"author":454,"museum":234,"description":5433,"tags":5434,"thumbUrl":5436,"material":98,"size":98,"collection":98,"collections":5437,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},236951,"lu-hui-qiu-shan-ke-qi-shan-yi-ming-236951","陆恢秋山客骑扇","此作为浅绛山水小品，取团扇形制铺陈秋山行旅之景。左上方林木枯荣错落，垂藤悬曳，尽显深秋萧疏之态。石拱桥畔，策蹇旅人徐行，侍童随后相伴，点出幽寂行旅的意趣。远山以淡墨晕染，江天濛濛，留白铺就清远空阔的秋天气韵。右上角题款与画面相映，书画相融尽显文人雅致。笔墨干湿相济，山石淡赭衬墨，皴擦简练柔和，将秋山的静穆与行旅的闲澹融为一体，笔致清隽，意韵幽远，把秋日山行的清冷况味描摹尽致。",[24,25,1808,29,90,89,32,7,30,388,91,5435],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9138b46f13a6419a158fea416cc9293.jpg",[],{"id":5439,"slug":5440,"title":5441,"dynasty":106,"author":454,"museum":234,"description":5442,"tags":5443,"thumbUrl":5445,"material":96,"size":283,"collection":98,"collections":5446,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},234389,"hong-li-kui-jia-cheng-ma-tu-zhou-yi-ming-234389","弘历盔甲乘马图轴","此作为绢本设色鞍马肖像画，帝王身披宝相花缠纹鎏金札甲，甲叶錾刻细密精巧，华贵威仪扑面而来。胯下白马神骏挺拔，朱缨辔饰醒目亮眼，尽显不凡气度。帝王按缰徐行，面容沉稳坚毅，背负箭囊劲矢，将其兼具文治武功的气魄尽显无遗。\n画作融合中西技法，以西洋写实精准勾勒出人物面容肌理与甲胄金属质感，又以传统工笔晕染烘托氛围，赭色绢底衬得主体愈发鲜明肃穆，将帝王出猎时的雍容气场渲染得淋漓尽致，是清代鞍马肖像画中的精品。",[967,87,28,29,30,7,3154,789,164,5444],"古装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93dfce54e5a3e66ca723e48efc818ce.jpg",[],{"id":5448,"slug":5449,"title":5450,"dynasty":176,"author":691,"museum":20,"description":5451,"tags":5452,"thumbUrl":5453,"material":166,"size":696,"collection":98,"collections":5454,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},234034,"long-gong-shui-fu-tu-ye-zhu-yu-234034","龙宫水府图页","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。",[29,28,30,535,7,33,31,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a0f25b8472cb41c8abd15d643a6135.jpg",[],{"id":5456,"slug":5457,"title":2863,"dynasty":106,"author":454,"museum":20,"description":5458,"tags":5459,"thumbUrl":5460,"material":344,"size":2869,"collection":98,"collections":5461,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[68,24,25,354,29,28,89,30,7,90,31,36,1153,164,91,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":5463,"slug":5464,"title":5465,"dynasty":176,"author":454,"museum":573,"description":5466,"tags":5467,"thumbUrl":5468,"material":938,"size":5469,"collection":98,"collections":5470,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":59},232802,"liu-jun-tu-juan-yi-ming-232802","六骏图卷","《六马图卷》旧传出自赵伯驹之手，卷分两段，非出一手，后段末缘下有伪款“千里”及伪印“赵伯驹氏”，清高宗弘历在后半上两题，一为七言古风，一为识语，知款印俱伪，书于同日。此卷曾入张大千手并加跋语四行。\n乾隆皇帝题识：平川苜蓿丰且滋。清泉映带沙冈披。戎人习马知马性。此处调马实所宜。牵者樴者二皆駵，白驹黑鬛绁柳枝，昻蔵翘足骊其色，一戎跨背鞍不施，紫骝回首嘶厥匹，有駓龁草意自怡，骥不称力称其德，况复一一皆英奇，作者寓意应有在，夏官遗法谁深知，即今大宛致汗血，骨格皆合图中姿，亦不渥洼诩作瑞，亦不交河资兴师，迥立阊阖詄荡荡，欲起王孙走笔为。",[23,24,26,29,28,70,223,30,7,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51563118f42df0d8b09f57e6f52a9b14.jpg","纵46.2厘米，横168.3厘米",[],{"id":5472,"slug":5473,"title":5474,"dynasty":1760,"author":454,"museum":234,"description":5475,"tags":5476,"thumbUrl":5479,"material":96,"size":283,"collection":98,"collections":5480,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},231791,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-yi-ming-231791","明清日本古画花鸟山水人物粉本-人物卷","此卷以白描淡彩铺陈，笔致简逸稚拙。起首持杖人物寥寥数笔便形神尽显，随后跃马挽弓的武士气宇轩昂，线条勾勒出战马奔腾的飒爽气势，将武人豪烈之风晕染纸面。继而转绘惊马失控的骑者，笔意诙谐生动，添入俗世趣意。垂首疾行的仕人姿态恭谨，自带沉静闲雅之感。终了圆光中丰润女像，设色柔淡，神情恬和静穆。整卷将武人豪壮与世俗闲趣并置，古雅张力与谐趣意韵相融，朴拙天真间尽显别致意趣。",[23,26,237,29,30,7,5477,210,5478,223,70,163,28],"武士","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":5482,"slug":5483,"title":5484,"dynasty":261,"author":454,"museum":234,"description":5485,"tags":5486,"thumbUrl":5490,"material":98,"size":98,"collection":98,"collections":5491,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":59},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[68,24,25,87,29,28,30,7,267,5487,422,5488,1174,5489],"芦荻","闲逸","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":5493,"slug":5494,"title":5495,"dynasty":18,"author":233,"museum":234,"description":5496,"tags":5497,"thumbUrl":5498,"material":98,"size":98,"collection":98,"collections":5499,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},227602,"xian-xian-shi-shi-tu-juan-li-gong-lin-227602","先贤事实图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,25,26,237,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbbbc9cefdf5bedca92f7ccdb5a151.jpg",[],{"id":5501,"slug":5502,"title":5503,"dynasty":1760,"author":454,"museum":234,"description":5504,"tags":5505,"thumbUrl":5509,"material":98,"size":98,"collection":98,"collections":5510,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},225331,"fu-shi-hui-84-yi-ming-225331","浮世绘84","这幅作品以吉野春樱为幕，漫山粉樱如云似霰，将山寺鸟居晕开在柔粉花雾间，青蓝海色托衬花簇愈显明丽柔媚。\n\n山径之上脚夫负货疾行，驮马缓蹄徐走，饱满行囊、利落行装尽现江户行旅日常。画面以写意花潮铺就底色，用工笔勾勒人物建筑的利落轮廓，撞色鲜亮柔和，揉合和风诗意与俗世烟火，将烂漫春景的雅致与民间行旅的鲜活交织一处，静美春山藏着蓬勃市井暖意，尽显浮世绘风景与风俗相融的独特韵味。",[4946,29,4947,30,7,5506,250,149,5507,36,5508],"樱花","鸟居","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1651aecdaef3306c4a5d34ffa1dd2dad.jpg",[],{"id":5512,"slug":5513,"title":5302,"dynasty":18,"author":454,"museum":20,"description":4389,"tags":5514,"thumbUrl":5515,"material":306,"size":5516,"collection":98,"collections":5517,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":59},223590,"fan-qi-tu-yi-ming-223590",[23,68,24,25,26,28,29,30,7,2709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792f8737e0cca0585a895623b1b869be.jpg","27.4x127",[],{"id":5519,"slug":5520,"title":5521,"dynasty":106,"author":5522,"museum":84,"description":5523,"tags":5524,"thumbUrl":5530,"material":4776,"size":5531,"collection":98,"collections":5532,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":171},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董诰","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,29,28,89,90,354,278,36,114,222,7,111,630,130,33,607,5525,5526,5527,5528,5529],"春景","牧畜","坡岸","苔点","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","22.9x26厘米",[],{"id":5534,"slug":5535,"title":5536,"dynasty":261,"author":262,"museum":518,"description":5537,"tags":5538,"thumbUrl":5539,"material":198,"size":5540,"collection":98,"collections":5541,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":59},219771,"lin-song-ren-hua-ce-8-chou-ying-219771","临宋人画册-8","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,25,354,29,28,69,90,30,7,31,36,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c01e223047281d3ec075c0fd6e28c4.jpg","27.2x25.5厘米",[],{"id":5543,"slug":5544,"title":5545,"dynasty":106,"author":1280,"museum":84,"description":1329,"tags":5546,"thumbUrl":5549,"material":391,"size":98,"collection":98,"collections":5550,"showCount":5401,"zanCount":170,"manualWeight":58,"mainColor":171},217922,"tang-ming-huang-ji-ju-tu-2-ding-guan-peng-217922","唐明皇击鞠图-2",[24,25,26,28,29,30,7,2084,5547,5548],"线条细腻","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1815fe7a2947f048ba177784e2b386b1.jpg",[],{"id":5552,"slug":5553,"title":5554,"dynasty":106,"author":1280,"museum":84,"description":1329,"tags":5555,"thumbUrl":5556,"material":391,"size":98,"collection":98,"collections":5557,"showCount":5401,"zanCount":170,"manualWeight":58,"mainColor":171},217917,"tang-ming-huang-ji-ju-tu-5-ding-guan-peng-217917","唐明皇击鞠图-5",[24,25,28,29,30,7,2084],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872f0f04e752d6650c4f055d048f43e8.jpg",[],{"id":5559,"slug":5560,"title":4990,"dynasty":4081,"author":315,"museum":518,"description":5561,"tags":5562,"thumbUrl":5563,"material":98,"size":98,"collection":55,"collections":5564,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":4995},202940,"ma-tu-zhou-xu-bei-hong-202940","这幅画里，骏马昂首伫立，鬃毛与长尾如飞瀑般扬起，尽显昂扬矫健之姿。画家以洒脱的水墨笔触勾勒马身轮廓，浓淡干湿的墨色层次细腻晕染肌肉起伏，线条刚劲中藏灵动，将马的雄健体魄与不羁精神刻画得入木三分。背景简淡空灵，更衬出主体的鲜活生命力，是写意动物画中的典范，传递出蓬勃向上的气韵。",[24,88,7,889,87,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6a4641182099d7e3005aea08606474.jpg",[55],{"id":5566,"slug":5567,"title":5568,"dynasty":106,"author":5569,"museum":518,"description":5570,"tags":5571,"thumbUrl":5572,"material":98,"size":98,"collection":137,"collections":5573,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":5574},201931,"chong-han-xing-lv-tu-zhou-xu-fang-201931","冲寒行旅图轴","徐方","画面以淡墨晕染冬日寒林的清寂，积雪覆山，枯树枝桠交错，溪流半凝。古道上三骑驴者缓行，衣衫单薄却神情笃定，似在风雪中奔赴前路。岩间隐现的小屋，为萧瑟雪景添了几分暖意。笔法兼工带写，雪景留白显层次，枯树勾勒精准，人物动态鲜活，尽显冬日行旅的坚韧与诗意。",[24,25,90,30,7,388,33,88,29,89,94,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1febd68e5b214e12b671e5be25e2a0.jpg",[137],"9d8563",{"id":5576,"slug":5577,"title":5578,"dynasty":106,"author":5579,"museum":518,"description":5580,"tags":5581,"thumbUrl":5583,"material":98,"size":98,"collection":137,"collections":5584,"showCount":5401,"zanCount":58,"manualWeight":58,"mainColor":5585},201892,"bing-pei-gao-yin-tu-zhou-weng-song-nian-201892","并轡高吟图轴","翁嵩年","画面层叠的山崖以苍劲皴笔写就，嶙峋石骨间林木掩映，楼阁隐现于山坳，添了几分幽致。近景溪流边，数骑并辔缓行，人物衣袂带风似正高吟，旁侧枯树怪石错落，笔墨疏朗却见意趣。整作以水墨设色为主，山石皴擦与人物勾勒相衬，既显山川雄浑，又含文人雅游之闲适，意境清旷悠远。",[24,90,30,7,89,29,266,5582,91,23],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F813f33f726dba9b4c085269d34c88cfe.jpg",[137],"93816e",{"id":5587,"slug":5588,"title":5589,"dynasty":176,"author":454,"museum":84,"description":5590,"tags":5591,"thumbUrl":5592,"material":198,"size":5593,"collection":75,"collections":5594,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":59},290722,"wen-ji-gui-han-tu-zhou-yi-ming-290722","文姬归汉图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,87,29,30,7,630,94,279,223,224,3323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac0c17d90776f930983795d9f5ee260c.jpg","63.5x85.7",[75],{"id":5596,"slug":5597,"title":5598,"dynasty":18,"author":454,"museum":234,"description":5599,"tags":5600,"thumbUrl":5602,"material":96,"size":283,"collection":98,"collections":5603,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":59},289783,"you-qi-tu-yi-ming-289783","游骑图","画面以平列式构图铺陈出行游队伍，人马排布错落疏朗。鞍马造型劲挺矫健，或扬蹄疾行或缓步徐行，鬃毛飘逸、肌理饱满，将良驹的神骏姿态刻画入微。骑手宽袍博带，姿态悠然松弛，衣纹线条圆转流畅，晕染精细，尽显闲适从容的气度。右侧随行侍从躬身紧随，衬出游行的雅致氛围。\n\n古绢底色苍浑沉静，朱红古印点缀其间晕开厚重古韵。全作用色简淡秀雅，线条细劲精准，将郊野闲游的松弛意趣娓娓道来，尽显写实雅致的审美意韵，是鞍马人物画中的精妙之作。",[23,68,24,26,25,30,7,29,5601,223,70],"鞍马出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d25ac9f932d81595cf72e8134951b7.jpg",[],{"id":5605,"slug":5606,"title":5309,"dynasty":301,"author":454,"museum":234,"description":5607,"tags":5608,"thumbUrl":5609,"material":96,"size":283,"collection":98,"collections":5610,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":512},252770,"san-cai-ma-yi-ming-252770","它劲健挺拔，伫立间自带着昂扬风骨，肌理饱满圆润，将良驹雄俊体态尽展无遗。釉色温润明净，米黄主调晕染出柔和质感，绿、褐彩点缀在辔头饰带与鞍鞯之上，雅致鲜亮，让素朴底色更见灵动。\n\n鞍鞯纹饰精巧细致，垂挂的革带与佩饰层次分明，写实还原出考究的装饰工艺。整体造型静中含动，仿佛下一秒便要扬蹄嘶鸣，带着独有的豪迈奔放气韵，将对骏马的喜爱与高超匠心融为一体，尽显器物的典雅大气。",[301,4670,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923231d79b1d1c1466325bb96fcb3713.jpg",[],{"id":5612,"slug":5613,"title":5405,"dynasty":106,"author":5614,"museum":234,"description":5615,"tags":5616,"thumbUrl":5617,"material":98,"size":98,"collection":98,"collections":5618,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":171},239222,"xi-ma-tu-zhou-zhu-chang-zhou-239222","朱昌周","此作用笔兼工带写，设色浅淡清润。苍松虬枝垂拂，晕染出幽寂林泉之境。石上老者白衣安坐，眉目舒然静观溪间景致，尽显林下幽居的散淡意趣。下方溪水中斑驳骏马扬蹄踏浪，鬃毛飞扬，活力迸现。旁侧奚官扶槽侍立，动作质朴利落。动静相映间，将山野洗马的日常琐事，晕化为超脱尘俗的世外逸致，笔墨兼具院体的雅致精细与文人画的萧散意韵，把闲淡雅致的林下之趣铺陈于卷上。",[24,29,28,87,30,7,376,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18960e06f867483729ca6a6621d745f9.jpg",[],{"id":5620,"slug":5621,"title":5622,"dynasty":106,"author":5040,"museum":20,"description":5623,"tags":5624,"thumbUrl":5626,"material":98,"size":98,"collection":98,"collections":5627,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":59},239151,"ku-mu-shuang-ma-zhou-zhang-mu-239151","枯木双马轴","此作用笔苍劲老辣，古木虬曲皲裂，枯桠斜出，尽现岁月摧折的荒寒之态。下方双马相映成趣，卧马抬首亲昵蹭触，立马垂首呼应，神态温驯灵动。以水墨晕染出骏马皮毛蓬松的质感，将其膘肥体健描摹入微，写实功力尽显。\n\n画面搭配残墙疏竹与坡石点缀，烘托出萧寂清冷的幽澹意境，将鞍马写生的传神意趣与枯木山水的荒疏雅致相融，尽显静谧空寂的氛围感，是兼具笔墨意趣与写生功力的精妙之作。",[68,24,25,87,88,89,904,7,222,1477,5625],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49598c324ef7b67fd933a8197f8fbf65.jpg",[],{"id":5629,"slug":5630,"title":5631,"dynasty":106,"author":5632,"museum":234,"description":5633,"tags":5634,"thumbUrl":5635,"material":98,"size":98,"collection":98,"collections":5636,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":59},238238,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238238","山静日长图册","张雨森","此作以青绿晕染峰岫，苍润厚重的远山托着空濛烟岚，留白将远近山水晕开淡远诗意。林麓间幽舍隐于繁枝，溪桥架于浅渚，山道逶迤，衬出山居阒寂。\n\n右下角旅人策驴缓行，僮仆挑担相随，鲜活的行旅意趣融在静穆山光里，动静相生。设色雅妍温润，皴法细腻，将幽居山野的清旷日常铺陈开来，把“山静日长”的悠然意境藏于笔底，尽显东方山水的澹泊美学。",[24,25,354,29,89,28,90,266,32,33,30,7,94,36,91,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20442350978cac3850c22182aaee49c0.jpg",[],{"id":5638,"slug":5639,"title":5640,"dynasty":106,"author":454,"museum":234,"description":5641,"tags":5642,"thumbUrl":5643,"material":98,"size":5644,"collection":137,"collections":5645,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":171},233098,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233098","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。",[90,30,7,164,4947,28,89,388,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbade98b43e515adc2f6308244833407.jpg","87.3×50cm",[137,55],{"id":5647,"slug":5648,"title":5649,"dynasty":1760,"author":5650,"museum":234,"description":5651,"tags":5652,"thumbUrl":5653,"material":96,"size":283,"collection":98,"collections":5654,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":171},231787,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-1-zhi-shou-jing-231787","文永贺茂祭图卷 双纸-1","直寿敬","本作为日式风俗绘卷，以平涂设色刻画贺茂祭出行队列。画面排布井然有序，自左向右文武扈从依次行进，骑乘主官位列核心。绘者以质朴柔和的线条勾勒人物，服饰配色沉静典雅，白、朱红、靛蓝层次分明，忠实还原祭典仪制衣冠规制。\n\n人物抬足行进的动态简练鲜活，仪仗器物细节清晰，将祭典的庄严肃穆与行进的生动感相融，笔触稚拙却精准传递出古祭出行的威仪氛围，兼具民俗史料价值与古拙的绘画美感。",[23,24,25,26,29,30,7,163,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c95d941cfb0fd5e3729f76c4dbcd38.jpg",[],{"id":5656,"slug":5657,"title":5658,"dynasty":1760,"author":5659,"museum":234,"description":5660,"tags":5661,"thumbUrl":5662,"material":96,"size":283,"collection":98,"collections":5663,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":171},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,29,28,27,721,223,1743,224,30,31,32,33,7,222,90,266,267,36,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":5665,"slug":5666,"title":5667,"dynasty":261,"author":454,"museum":234,"description":5668,"tags":5669,"thumbUrl":5670,"material":98,"size":98,"collection":98,"collections":5671,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":512},228820,"ju-shou-yi-ji-gu-hua-ce-yi-ming-228820","鞠寿簃集古画册","此作以工笔绘就水上演武图景，主体楼船层台重垒，舰首狞猛兽形威仪赫赫，旌旗猎猎舒展。甲板之上，士卒或执械列队，或奔走值守，各司其职，将水师校阅的整肃之气尽显。水面间三两快船穿梭，舟上健儿动作利落矫健，细碎晕染的水纹晕开行舟的动感。古雅沉郁的色调晕染出旧时光晕，精细的线条勾勒出楼船的精巧形制与人物神态，纪实之中带着古典工笔的雅致意趣，静中见动，将水军演武的鲜活场面凝于绢素之上，尽显水师的整肃气势。",[23,24,28,29,27,354,30,7,34,31,694,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d335e817b2ea77b1411cd30bdeff314.jpg",[],{"id":5673,"slug":5674,"title":5675,"dynasty":261,"author":3550,"museum":234,"description":5676,"tags":5677,"thumbUrl":5679,"material":96,"size":283,"collection":98,"collections":5680,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":171},228274,"gu-xiu-xiu-song-yuan-ming-ji-ce-6-fu-han-xi-meng-228274","顾绣－绣宋元名迹册.6幅","韩希孟，明代女工艺家，武林（今浙江杭州）人。北宋名相韩琦五世孙，明嘉靖进士顾名世孙媳，顾寿潜妻。居上海。善画花卉，工刺绣，所绘绣宋元画家真迹，最为传神，多用朱绣名款，传世作品较多，为世所珍， 称为“韩媛绣”。",[354,4658,29,30,7,376,5678,223],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1776922f8ad1efebd11dc493d1b54d3d.jpg",[],{"id":5682,"slug":5683,"title":2363,"dynasty":176,"author":177,"museum":234,"description":5684,"tags":5685,"thumbUrl":5686,"material":98,"size":98,"collection":98,"collections":5687,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":59},228172,"er-ma-tu-juan-ren-ren-fa-228172","此作以两马对照，道尽世相。肥马油光水滑，络首垂缰，姿态轩昂，全然是养尊处优之态；瘦马骨瘦嶙峋，绳索缠身，垂首缓步，尽显潦倒疲顿。\n\n作者以马喻世，将朝堂贪腐官吏与廉能寒官的境遇暗藏其中，辛辣讽刺吏治不公。后附题跋笔墨苍劲，点明画作托物言志的深意，工笔写实兼带写意讽喻，设色雅致克制，将状物抒情融为一体，是借物针砭时弊的经典笔墨。",[23,68,24,25,26,28,29,7,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8000c097545c3f6282e70f9b5caa8d.jpg",[],{"id":5689,"slug":5690,"title":5691,"dynasty":18,"author":454,"museum":234,"description":5692,"tags":5693,"thumbUrl":5694,"material":98,"size":98,"collection":98,"collections":5695,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":1661},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,25,26,237,88,89,721,30,90,1477,248,249,92,1271,32,33,7,267,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":5697,"slug":5698,"title":1925,"dynasty":176,"author":454,"museum":1495,"description":5699,"tags":5700,"thumbUrl":5701,"material":5702,"size":5703,"collection":98,"collections":5704,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":59},223348,"ren-ma-tu-yi-ming-223348","此为《赵氏三世人马图卷》之一。图绘一西域长髯奚官双手牵一白马。画面剪裁看似平淡，像是信手拈来之作，却显示出画家驾驭画面的非凡本领。",[23,68,24,25,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ad8c0e75fe897d00a456a489bc819d.jpg","立轴，纸本","44.7×24.8cm",[],{"id":5706,"slug":5707,"title":5708,"dynasty":106,"author":1280,"museum":84,"description":1329,"tags":5709,"thumbUrl":5711,"material":391,"size":98,"collection":98,"collections":5712,"showCount":186,"zanCount":170,"manualWeight":58,"mainColor":171},217916,"tang-ming-huang-ji-ju-tu-6-ding-guan-peng-217916","唐明皇击鞠图-6",[24,25,237,28,30,7,70,5710,163,401],"球门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fffcdbe9e50775101b9314d9d2440fd.jpg",[],{"id":5714,"slug":5715,"title":5716,"dynasty":18,"author":454,"museum":1118,"description":4638,"tags":5717,"thumbUrl":5718,"material":391,"size":4641,"collection":98,"collections":5719,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":171},214942,"dao-zi-mo-bao-ren-wu-bai-miao-hua-42-yi-ming-214942","道子墨宝人物白描画-42",[23,68,24,25,237,30,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712adc7e56fcf162ca1e3180fbb0153e.jpg",[],{"id":5721,"slug":5722,"title":4128,"dynasty":106,"author":2647,"museum":518,"description":5723,"tags":5724,"thumbUrl":5725,"material":98,"size":98,"collection":137,"collections":5726,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":5727},203334,"shan-shui-ce-yuan-jiang-203334","画面以平远构图铺展，前景坡岸之上，两骑人物策行，衣袂轻扬间似有秋风拂面。中景数株红树灿然，枝叶如染，于淡赭底色中格外醒目；远景层峦隐现，古塔孑立，与疏林相映成趣。笔墨兼工带写，人物勾勒简练传神，树木设色明艳却不失清雅，山水皴擦与晕染结合，营造出悠远旷达的秋郊行旅氛围。",[24,354,29,90,30,7,94,196,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0222e9b4466d18ad77a6c4b0cb0dfcac.jpg",[137],"937a65",{"id":5729,"slug":5730,"title":4080,"dynasty":4081,"author":315,"museum":518,"description":5731,"tags":5732,"thumbUrl":5734,"material":98,"size":98,"collection":76,"collections":5735,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":4091},202942,"yin-ma-tu-zhou-xu-bei-hong-202942","骏马俯首临流饮水，姿态矫健又含沉静之态。墨色运用张弛有度，鬃尾以泼墨挥写，线条奔放如疾风，尽显动感；身躯以淡墨晕染，辅以精准勾勒，筋骨分明间透出肌肉的丰腴与力量。水面清浅晕开，涟漪微动，岸坡以赭黄轻扫，简淡中见自然之趣。整作融写实精准与写意洒脱，笔墨生动传神，将骏马的灵韵与生机定格，于静谧中藏蓄勃发之势，尽显艺术感染力。",[24,88,7,87,28,889,5733,23],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c33fc206d639b66978db31ef56552.jpg",[76],{"id":5737,"slug":5738,"title":4080,"dynasty":4081,"author":315,"museum":518,"description":5739,"tags":5740,"thumbUrl":5744,"material":98,"size":98,"collection":55,"collections":5745,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":4091},202919,"yin-ma-tu-zhou-xu-bei-hong-202919","画面中骏马俯首饮水，鬃尾以浓墨挥写，笔势洒脱如风；马身淡墨晕染，结构精准却含写意之趣，肌肉骨骼的质感跃然纸上。水面淡蓝灰铺陈，涟漪轻漾，岸边浅赭点染，数笔墨苔添生机。画作融中西之长，写实造型为基，传统笔墨写意，将马的俊逸与悠然神韵凝于画面。墨色浓淡交错，意境清旷，尽显画马的独特匠心。",[88,24,889,7,694,5741,5742,5743,222,23],"赭石","浓墨","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0d0ebcefed59124e2e429c068fd408.jpg",[55],{"id":5747,"slug":5748,"title":5749,"dynasty":106,"author":5750,"museum":518,"description":5751,"tags":5752,"thumbUrl":5753,"material":98,"size":98,"collection":137,"collections":5754,"showCount":186,"zanCount":170,"manualWeight":58,"mainColor":5755},202235,"lan-pei-tu-zhou-ren-yu-202235","揽辔图轴","任预","画面中，身着冬衣的人物揽辔骑马，行于林间小径。两株枯树立于侧，枝干虬劲，笔墨简练却见苍劲力道。背景山峦以淡墨晕染，虚实相生，晕染出清寂悠远的氛围。人物神态悠然，马匹姿态生动，细节处工致细腻，整体画风雅致，兼具文人意趣与写实功底，尽显笔墨韵味。",[24,87,30,7,630,90,88,29,28,89,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9509d1f22ada6051d54b87b2fcaae6a4.jpg",[137],"d5c6b8",{"id":5757,"slug":5758,"title":5759,"dynasty":106,"author":454,"museum":518,"description":5760,"tags":5761,"thumbUrl":5763,"material":98,"size":98,"collection":75,"collections":5764,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":5765},202065,"shen-xiang-tu-zhou-yi-ming-202065","神像图轴","暖褐绢本之上，神将群像腾云而起。骑将铠甲鲜明，旌旗飘曳，骏马踏云生风；下方神祇神态威猛，衣纹勾勒细腻。云雾以晕染铺陈，层次缥缈；衣甲纹饰工笔细描，线条劲挺。设色浓淡相宜，既显神祇威严，又衬云端灵动。工笔技法传神，将天界神将的庄肃气势与传统绘画的细腻韵致融于一体，尽显神像画的艺术张力。",[24,28,29,30,7,721,5762,23],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5fe0d5badd2aeec5586e8a8bac2f64.jpg",[75],"967344",{"id":5767,"slug":5768,"title":5769,"dynasty":261,"author":5770,"museum":518,"description":5771,"tags":5772,"thumbUrl":5773,"material":98,"size":98,"collection":75,"collections":5774,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":5775},201806,"ta-xue-xun-mei-tu-zhou-zhang-feng-201806","踏雪寻梅图轴","张风","寒雪初霁，梅香若有若无地漫开，一翁策驴徐行，似赴一场与梅的清雅之约。笔墨极简却传神，寥寥数笔勾勒出人物衣袂的宽博与驴蹄踏雪的动态，墨色浓淡相间，尽显水墨写意的空灵。人物头戴斗笠，身形蜷曲却藏不住寻梅的殷切，驴的姿态生动，仿佛能听见蹄声轻叩雪地。上方题字笔意洒脱，诗画相生，更添文人雅趣。整幅画不重布景繁复，以意境取胜，将文人踏雪寻梅的幽兴浓缩于尺幅间，尽显书画相融的隽永之美。",[24,88,25,87,30,7,1938,223,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905b45955fb286d7b09bda07548f01e3.jpg",[75],"a4a4a1",{"id":5777,"slug":5778,"title":5779,"dynasty":261,"author":5780,"museum":518,"description":5781,"tags":5782,"thumbUrl":5783,"material":98,"size":98,"collection":137,"collections":5784,"showCount":186,"zanCount":58,"manualWeight":58,"mainColor":5785},201469,"li-shan-diao-gu-tu-zhou-wen-bo-ren-201469","骊山弔古图轴","文伯仁","层岩叠嶂间云雾轻笼，殿宇楼阁错落于苍松翠柏之中，栈道蜿蜒勾连起山间胜景。山麓车马徐行，似载古今幽思，将骊山的历史厚重与自然灵秀融于一纸。细劲笔触勾勒山石林木，淡墨晕染出空濛气韵，设色雅致而不失沉郁，尽显文人吊古的深婉心境。吴门画派的细腻与历史的沧桑交织，让观者于山水楼阁间，触摸到时光的脉动与人文的温度。",[24,90,31,89,29,28,30,7,87,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8e195250268bdea0237cb7068543ca.jpg",[137],"afa594",{"id":5787,"slug":5788,"title":5789,"dynasty":176,"author":454,"museum":234,"description":5590,"tags":5790,"thumbUrl":5791,"material":96,"size":283,"collection":98,"collections":5792,"showCount":5793,"zanCount":170,"manualWeight":58,"mainColor":59},289555,"mo-li-gong-lin-meng-ren-ma-tuo-tu-yi-ming-289555","摹李公麟蒙人马驼图",[68,24,29,30,7,809,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5238ca3dd3adf6b105dda13f3796c5.jpg",[],9,{"id":5795,"slug":5796,"title":5797,"dynasty":261,"author":262,"museum":234,"description":275,"tags":5798,"thumbUrl":5799,"material":96,"size":283,"collection":98,"collections":5800,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":171},288014,"wen-ji-gui-han-tu-shan-mian-chou-ying-288014","文姬归汉图扇面",[68,24,1808,28,29,30,7,94,90,279,3323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343b2d7148e59265a1451d9491a22cd.jpg",[],{"id":5802,"slug":5803,"title":5804,"dynasty":176,"author":442,"museum":234,"description":3367,"tags":5805,"thumbUrl":5806,"material":96,"size":283,"collection":98,"collections":5807,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":171},287666,"hua-ma-zhao-meng-fu-287666","画马",[24,25,87,7,222,88,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a1db87a9fd9fa10d9a5ba021cfd3b0.jpg",[],{"id":5809,"slug":5810,"title":5811,"dynasty":176,"author":454,"museum":234,"description":5590,"tags":5812,"thumbUrl":5813,"material":96,"size":283,"collection":98,"collections":5814,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":59},287582,"ming-fei-chu-sai-tu-yi-ming-287582","明妃出塞图",[24,68,87,29,28,30,210,7,90,36,94,279,70,5011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fb6880298a3f8f31f8ea0956c72786.jpg",[],{"id":5816,"slug":5817,"title":5818,"dynasty":106,"author":454,"museum":234,"description":5819,"tags":5820,"thumbUrl":5821,"material":98,"size":98,"collection":75,"collections":5822,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":171},238632,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238632","平定安南战图册","以铜版刀笔摹绘战地山川，全景铺陈层峦叠嶂，以传统山水皴法刻绘山石肌理，又融西洋写实技法还原行军实景。山林之间兵卒穿行、营寨错落掩映，将平叛征程的肃杀，糅合进山野苍莽的意境中。\n画面上方题诗点明平叛功绩，刀痕细腻克制，既如实记录战地风貌，又以沉凝的笔调烘托出征伐的沉雄庄重，在纪实叙事与山水意境间寻得平衡，让战事纪实兼具了艺术感染力。",[24,25,354,237,28,90,30,7,91,36,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79733f10eaf95e6af1a930687ca0f7c.jpg",[75],{"id":5824,"slug":5825,"title":5826,"dynasty":106,"author":454,"museum":234,"description":5827,"tags":5828,"thumbUrl":5834,"material":96,"size":283,"collection":98,"collections":5835,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":171},238621,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238621","平定两金川得胜图册","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。",[4948,279,665,90,30,7,5829,5830,5831,5832,5833],"营垒","烈焰","纪实","全景式","肃杀氛围","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc73a56d9e70e3fc5f7e3370aa28ac34.jpg",[],{"id":5837,"slug":5838,"title":5839,"dynasty":106,"author":5840,"museum":20,"description":5841,"tags":5842,"thumbUrl":5843,"material":72,"size":5844,"collection":98,"collections":5845,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":171},236151,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236151","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,25,354,29,28,30,90,7,1743,223,36,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb696297d6381471b6197b93f6a2b52.jpg","纵三二·二厘米 横四二·三厘米",[],{"id":5847,"slug":5848,"title":5849,"dynasty":261,"author":262,"museum":20,"description":1443,"tags":5850,"thumbUrl":5852,"material":166,"size":5853,"collection":98,"collections":5854,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":1661},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9",[68,24,25,354,28,29,90,30,534,7,36,149,70,5851],"重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff150a0f18d24abd56a8a4f1dc7a0f2.jpg","纵41.4厘米，横33.8厘米",[],{"id":5856,"slug":5857,"title":2037,"dynasty":176,"author":454,"museum":234,"description":5858,"tags":5859,"thumbUrl":5860,"material":72,"size":98,"collection":98,"collections":5861,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":59},231909,"san-ma-tu-yi-ming-231909","画面笼罩在沉朴古雅的暖褐烟霭之中，天地边界晕化成一片朦胧浑茫，将郊野的清寂荒旷铺陈开来。三匹骏马垂首啮草，姿态安闲松弛，身形以简练线条勾勒，筋骨宛然可见，墨色晕染区分出皮毛深浅，将马匹温顺静穆的神态尽数铺展。\n\n全幅无过多布景，以大片留白状似烟岚，以简驭繁，把秋日郊原的闲散一刻凝于绢素。带着散淡萧疏的意趣，不追工细却神韵自足，将悠远沉静的闲逸氛围晕染得淋漓尽致，淡远悠长的余韵弥于尺幅之间。",[24,25,29,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9478b80b54d33f60247b5d2dbce96d01.jpg",[],{"id":5863,"slug":5864,"title":5865,"dynasty":1760,"author":5866,"museum":234,"description":5867,"tags":5868,"thumbUrl":5869,"material":96,"size":283,"collection":98,"collections":5870,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":59},231720,"ri-ben-lian-cang-shi-dai-di-qi-juan-juan-ben-fa-yan-yuan-yi-231720","日本镰仓时代 第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,135,26,29,28,30,90,42,39,149,7,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],{"id":5872,"slug":5873,"title":5874,"dynasty":261,"author":495,"museum":234,"description":5875,"tags":5876,"thumbUrl":5877,"material":98,"size":98,"collection":98,"collections":5878,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":512},228482,"wen-dao-tu-jing-xin-tang-yin-228482","问道图镜心","此作用苍古暮色铺就底色，虬曲古木错立林间，枝叶以淡墨晕染，晕开幽寂沉敛的林下氛围。画面里旅人卸担驻足，与隐者对坐晤谈，人物情态宛然鲜活，衣纹线条清劲顿挫，兼取院体工致与文人写意之妙。\n\n整体色调沉郁古雅，古旧绢面更添静穆萧散的林下意趣，将寻问道义的幽寂心绪，与明代文人的林下襟怀融于尺幅之间，笔墨简淡却藏悠远禅意，尽显吴门画派雅致淡远的笔墨风神。",[23,24,25,29,28,30,7,376,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a33040bcc2b7fb57b1d476668426699.jpg",[],{"id":5880,"slug":5881,"title":5882,"dynasty":106,"author":454,"museum":84,"description":5883,"tags":5884,"thumbUrl":5885,"material":252,"size":5886,"collection":98,"collections":5887,"showCount":5793,"zanCount":170,"manualWeight":58,"mainColor":59},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,28,29,27,30,31,266,32,33,91,36,7,163,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":5889,"slug":5890,"title":5891,"dynasty":106,"author":2390,"museum":20,"description":5892,"tags":5893,"thumbUrl":5895,"material":51,"size":5896,"collection":98,"collections":5897,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":171},222645,"shuang-jun-tu-gao-qi-pei-222645","双骏图","《清高其佩双骏图轴》是清代画家高其佩创作的一幅国画，系其临终之作。该画描绘画、两匹无拘无束的骏马在尽性滚尘、蹭痒，构图自然且得体。\n《清高其佩双骏图轴》是高其佩的指画精品，系其临终之作。画两匹无拘无束的骏马在尽性滚尘、蹭痒，极为生动。其手法粗放豪爽，画风朴拙野悍。构图自然且得体，似不经意却胜过苦心经营。",[23,24,5894,29,88,7,376,111,222],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab957a64b2087ef2638cc880ff75039.jpg","纵185cm，横131.5cm",[],{"id":5899,"slug":5900,"title":5901,"dynasty":18,"author":398,"museum":65,"description":5902,"tags":5903,"thumbUrl":5904,"material":166,"size":5905,"collection":98,"collections":5906,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":59},221454,"lu-song-san-pian-ma-he-zhi-221454","鲁颂三篇","《鲁颂三篇》分别为《閟宫》、《駉》和《有駜》，缺少《鲁颂》中的第四篇《泮水》，《駉》中呈现出在青山绿水中众多马匹；《有駜》描绘的是鲁公和群臣宴会饮酒的场景；《閟宫》描绘鲁公建成宏伟庙宇的壮观景像。旧传赵构书，马和之画。",[23,68,24,25,26,237,27,30,31,7,222,90,36,266,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d532e107749e9c2ec1d277d48845.jpg","25.5X297.3cm",[],{"id":5908,"slug":5909,"title":5910,"dynasty":18,"author":5911,"museum":385,"description":5912,"tags":5913,"thumbUrl":5916,"material":198,"size":5917,"collection":137,"collections":5918,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":171},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","马逵","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,68,24,25,26,29,28,30,35,7,222,36,5914,33,267,47,4617,5915],"田野","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[137],{"id":5920,"slug":5921,"title":5922,"dynasty":261,"author":262,"museum":518,"description":5537,"tags":5923,"thumbUrl":5925,"material":198,"size":5540,"collection":98,"collections":5926,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":59},219767,"lin-song-ren-hua-ce-12-chou-ying-219767","临宋人画册-12",[24,28,29,69,30,7,91,5924],"帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b5d1447034db6a543ee9cff676a1b2.jpg",[],{"id":5928,"slug":5929,"title":5930,"dynasty":301,"author":454,"museum":4224,"description":5931,"tags":5932,"thumbUrl":5933,"material":29,"size":98,"collection":98,"collections":5934,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":59},217889,"guan-yin-jing-bian-tu-juan-16-yi-ming-217889","观音经变图卷-16","墨线勾勒的轮廓里藏着盛唐的鲜活气息：莲座旁菩萨衣纹流转如流云，武士铠甲凝着冷硬的光，凡间人物动态生动如昨。从庄严法相到烟火百态，画面以自然过渡串联经义与生活，残褪的色彩仍窥见当年浓艳。线条刚柔相济，既守宗教肃穆，又赋人物鲜活神情，将佛经救度场景化为可视图景。每一处细节都在诉说经变画的叙事张力，融神圣与人间烟火于一体，尽显唐代艺术的雄浑与灵动韵味。",[24,25,26,721,29,28,30,7,4227,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedfd4683dc2f1a959174ec81db40cc.jpg",[],{"id":5936,"slug":5937,"title":5938,"dynasty":4081,"author":315,"museum":518,"description":5939,"tags":5940,"thumbUrl":5941,"material":98,"size":98,"collection":55,"collections":5942,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":5943},203159,"ben-ma-tu-zhou-xu-bei-hong-203159","奔马图轴","画面中奔马昂首扬尾，鬃毛如墨丝翻飞，四蹄腾空似欲破壁而出。浓淡干湿的水墨交织，勾勒出马的矫健轮廓：肌肉块面以重墨晕染，线条刚劲如铁线，鬃尾笔触流畅带飞白，尽显动态张力。背景淡墨晕染的草地若隐若现，更衬出马的奔放不羁。整幅画以写意之笔捕捉瞬间奔腾之势，墨气淋漓间满溢生命力，仿佛能听见马蹄踏地的轰鸣，传递出昂扬向上的精神气脉。",[24,88,7,87,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57cf6c8cfa51159bd548c09a842e57ae.jpg",[55],"ada58f",{"id":5945,"slug":5946,"title":5947,"dynasty":261,"author":495,"museum":518,"description":5948,"tags":5949,"thumbUrl":5951,"material":98,"size":98,"collection":137,"collections":5952,"showCount":5793,"zanCount":58,"manualWeight":58,"mainColor":5953},202205,"xue-shan-hui-qin-tu-zhou-tang-yin-202205","雪山会琴图轴","寒林雪景铺展于幅，层峦叠嶂间枯木虬枝交错，山石以简练线条勾勒，皴擦晕染间显苍劲肌理。山间茅舍内，雅士围坐抚琴，暖意暗萦；山径之上，旅人策马徐行，似向雅集而来。笔墨兼具细腻与疏放，清冷雪景中藏人间雅趣，既彰山水雄浑之态，又显文人逸致情怀，韵致悠长。",[24,90,89,30,31,7,1142,5950,23],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4ea91b28215e094e76b2d9ca600f7f.jpg",[137],"ab9f96",{"id":5955,"slug":5956,"title":5957,"dynasty":176,"author":454,"museum":84,"description":5590,"tags":5958,"thumbUrl":5961,"material":906,"size":5962,"collection":98,"collections":5963,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},290721,"she-yan-tu-zhou-yi-ming-290721","射雁图轴",[24,87,30,7,5959,1142,630,90,88,5960],"雁","射猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f0c3cee47cb5137e4b63832844f6b1.jpg","131.8x93.9",[],8,{"id":5966,"slug":5967,"title":5968,"dynasty":1760,"author":454,"museum":234,"description":5969,"tags":5970,"thumbUrl":5972,"material":96,"size":283,"collection":98,"collections":5973,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},290030,"jiu-tu-ping-feng-yi-ming-290030","厩图屏风","这对六曲屏风以金地铺陈，定格厩舍日常。上层马厩中，良驹神态各异，或昂首振蹄、或垂首静立，牵马仆役悠然随侍，将骏马蹄下的灵动与驯养的平和日常细腻铺展。\n\n下层庭院间，贵族席地宴游交谈，侍从往来待命，灵犬、小雀点缀其间，晕开松弛闲逸的氛围。整体构图舒展平铺，设色调和古雅，带着唐风浸染的和风雅致，将贵族养马赏玩的闲情娓娓道来，在写实的场景里晕开古朴意趣，尽显中古贵族日常的雅致况味。",[23,24,68,25,4698,29,7,30,5971],"厩舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8735aaa206ea3cb27e650b73ac9b18f9.jpg",[],{"id":5975,"slug":5976,"title":3903,"dynasty":18,"author":454,"museum":234,"description":5977,"tags":5978,"thumbUrl":5980,"material":96,"size":283,"collection":98,"collections":5981,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},289228,"zheng-ren-xiao-fa-tu-yi-ming-289228","松荫浓翳，环抱着两间茅舍，晓色清寂里，即将远行的征人正与屋中友人对晤作别。案头堆叠起打点好的行装，篱边的白马垂首静立，等候着启程的时刻。\n\n整幅小品取景紧凑，以繁密的林木圈住方寸茅庐，将离别的缱绻私语藏在深幽静谧的氛围之中。淡墨轻施晕染出晨晓的朦胧，笔致工细朴拙，未刻意渲染离愁，却把羁旅远行的怅惘与友人相赠的温厚情意，融在这寻常晓发图景里，尽显宋代小品的雅致韵致，于细微处见悠远绵长的诗意。",[23,1808,24,25,28,30,7,5979,248,1197,29],"草舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165145a4bc26c006a7e754dbdfadc7cb.jpg",[],{"id":5983,"slug":5984,"title":5985,"dynasty":106,"author":454,"museum":234,"description":5986,"tags":5987,"thumbUrl":5990,"material":96,"size":283,"collection":98,"collections":5991,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},256916,"qian-long-kuan-fa-lang-cai-ying-xi-tu-he-huan-ping-yi-ming-256916","乾隆款珐琅彩婴戏图合欢瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[106,5988,29,28,4670,5989,401,30,3924,7],"珐琅彩","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b7eeebb3c2675f2e4171bbbb57ff13.jpg",[],{"id":5993,"slug":5994,"title":5995,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":5997,"thumbUrl":5999,"material":96,"size":283,"collection":98,"collections":6000,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},243360,"liu-jin-luo-tuo-wen-ma-shi-yi-ming-243360","鎏金骆驼纹马饰","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[4343,2431,5998,2433,809,7,4346],"鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137370d9d03a1cf8d222eda876894b7c.jpg",[],{"id":6002,"slug":6003,"title":6004,"dynasty":106,"author":6005,"museum":234,"description":6006,"tags":6007,"thumbUrl":6008,"material":96,"size":283,"collection":137,"collections":6009,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},239488,"shan-shui-ce-1-shang-guan-zhou-239488","山水册1","上官周","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[24,25,354,88,90,30,7,36,91,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fd742575828ecb404e7927cc21373c.jpg",[137],{"id":6011,"slug":6012,"title":6013,"dynasty":106,"author":454,"museum":234,"description":6014,"tags":6015,"thumbUrl":6016,"material":96,"size":283,"collection":98,"collections":6017,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},239030,"qing-ren-she-lu-tu-zhou-yi-ming-239030","清人射鹿图轴","此作以上下两段铺陈郊原射猎之景。上半幅中，猎手匿于花树间引弓待发，惊鹿仓皇奔逃，刹那间的张力跃然绢上。枯木与花树交错，晕染出春日郊野的清寂生机，松石点缀更衬出林野旷远。\n\n下半幅则绘扈从人马徐行，旌旗随风舒展，将射猎的紧绷感化为从容随行的闲缓，一动一静对比精妙。设色调古雅沉静，鞍马人物刻画灵动写实，衣袂、马鬃的细节皆见用心，将古时游猎的悍勇风雅揉入笔底，尽显郊猎野趣与出行的从容气度。",[24,29,28,87,30,7,735,376,91,1153,2709],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc7dd3f519478a9abc863e24f8e3b3b.jpg",[],{"id":6019,"slug":6020,"title":6021,"dynasty":106,"author":3942,"museum":234,"description":6022,"tags":6023,"thumbUrl":6024,"material":98,"size":98,"collection":98,"collections":6025,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},238739,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238739","画弘历和江文通诗意图册","淡墨晕染长空烟霭，岸堤垂柳依依拂水，晕开缱绻别意。画面之中主客执手对晤，眉宇间尽是临别喟叹，侍童垂立默立一侧，将别离的怅惘悄然铺展。右侧车马仆役整装待发，赶路的仓促与岸边的不舍形成细腻反差。\n整体笔致清逸温婉，以极简水墨勾勒人物景致，留白悠远空灵。题诗与画境呼应交融，将文人间临歧送别的深挚情谊藏在淡远的景致中，把黯然销魂的离别诗意，化作可视的水墨离愁，尽显雅致静穆的古典韵致。",[24,25,354,88,237,30,7,129,522,70,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67273436627451c00ef39357b7eb425f.jpg",[],{"id":6027,"slug":6028,"title":1718,"dynasty":261,"author":454,"museum":234,"description":6029,"tags":6030,"thumbUrl":6031,"material":96,"size":283,"collection":98,"collections":6032,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},238564,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238564","这幅工笔道释画以浓云划分天地，上方诸天护法与邪魔鏖战，仙神宝相端严、衣袂明丽，邪祟狞恶怪异，焰光翻卷，将斗法的炽烈烘托得淋漓尽致。下方城池烟气弥漫，水波之畔圣者垂怜施救，官民虔诚瞻拜，一侧将士挥旗整阵，尽显惶惶灾厄与护持之态。\n全作设色浓妍古雅，线条精细劲挺，以云气与焰光强化画面张力，将神幻战阵与人间世相并置，把护佑升平的祈愿寄于鲜活绘卷，叙事性与装饰性兼具，尽显传统道释工笔的精妙意趣。",[24,25,354,29,28,30,535,7,1068,31,1153,721,90,1829,149,2593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b38055df6753500fb166a111542903.jpg",[],{"id":6034,"slug":6035,"title":6036,"dynasty":106,"author":6037,"museum":234,"description":6038,"tags":6039,"thumbUrl":6041,"material":96,"size":283,"collection":98,"collections":6042,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},237961,"qiu-jing-shan-shui-ye-zhang-ke-237961","秋景山水页","张柯","此作以秋山平湖为景，近岸崖石皴法朴厚，丹红、苍蓝林木错落，点染出深秋斑斓意趣，层岩间垂落的山泉更添灵动。空阔湖面间，几艘帆船静泊浅滩，汀洲村舍隐在烟霭之中，远景峰峦晕染如黛，淡远朦胧。左下角溪桥上的行旅缓步徐行，为清寂秋山增添了烟火暖意。\n\n画作以浅绛设色糅合水墨皴擦，色调清雅温润，笔墨简淡却意境悠长，将秋日山湖的清旷淡远铺陈开来，尽显文人山水的闲澹野逸之美，藏着秋日山林的幽寂萧散况味。",[24,29,90,354,89,91,36,2464,6040,47,7,30,1239,4949,70],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f7609a10352d1d52dc64546c286f4b.jpg",[],{"id":6044,"slug":6045,"title":4128,"dynasty":261,"author":6046,"museum":234,"description":6047,"tags":6048,"thumbUrl":6049,"material":98,"size":98,"collection":98,"collections":6050,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},235971,"shan-shui-ce-cheng-jia-sui-235971","程嘉燧","此作用淡墨写意枯木寒林，虬枝疏朗无叶，遍染萧寒之意。林下路侧，两位戴笠旅人骑驴缓行，简笔轻勾，便将羁旅风尘之态尽显。留白铺陈出空寂辽远的天地，愈发衬出冬日荒寒。\n\n左侧行书清隽秀雅，诗句寄寓旧游怅惘，将暮春孤山的缱绻愁思与客途寂寥相融。诗画相生相合，以极简笔墨铺就清冷萧散的氛围，尽显简淡疏旷的文人意趣，将羁旅怀思的幽绪藏在淡墨素纸之间，淡而有味，雅韵悠长。",[24,25,354,88,90,224,70,30,7,94,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd722b1711789083249d79cb01d992b0e.jpg",[],{"id":6052,"slug":6053,"title":4128,"dynasty":261,"author":6054,"museum":234,"description":6055,"tags":6056,"thumbUrl":6057,"material":96,"size":283,"collection":98,"collections":6058,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},235349,"shan-shui-ce-zhang-fu-yang-235349","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[261,24,25,354,88,90,7,1143,91,36,70,223,224,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13af9b1f001365425e8bcea15c6d31a4.jpg",[],{"id":6060,"slug":6061,"title":6062,"dynasty":18,"author":398,"museum":20,"description":6063,"tags":6064,"thumbUrl":6065,"material":72,"size":6066,"collection":98,"collections":6067,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},233996,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233996","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[24,68,25,354,237,29,30,522,7,35,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a75c5a92be8096b6eefb899962094d0.jpg","60.33x41.04厘米",[],{"id":6069,"slug":6070,"title":5818,"dynasty":106,"author":454,"museum":20,"description":6071,"tags":6072,"thumbUrl":6073,"material":344,"size":6074,"collection":98,"collections":6075,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},233052,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233052","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[24,29,28,70,30,7,90,36,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f845f667357bdd6d9b44d6a636fb72.jpg","纵55.3cm，横90.3cm",[],{"id":6077,"slug":6078,"title":6079,"dynasty":176,"author":454,"museum":20,"description":6080,"tags":6081,"thumbUrl":6082,"material":166,"size":6083,"collection":98,"collections":6084,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},232978,"dong-shan-si-zhu-tu-zhou-yi-ming-232978","东山丝竹图轴","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[24,68,25,87,29,89,90,30,31,36,33,7,1722,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98e152ed9ac1c0e02b156c7be7bf14ca.jpg","纵188.5厘米，横103.3厘米",[],{"id":6086,"slug":6087,"title":6088,"dynasty":1760,"author":454,"museum":234,"description":6089,"tags":6090,"thumbUrl":6092,"material":96,"size":283,"collection":98,"collections":6093,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},231632,"lian-cang-shi-dai-ma-yi-cao-zhi-hua-juan-yi-ming-231632","镰仓时代 马医草纸画卷","此绘卷图文共生，一半是工笔晕染的本草写生，叶脉舒展、敷色清润，将药草形貌细腻还原；另一半以古雅铁线描勾勒和风古俗场景，人物衣袂翩跹，殿宇车马拙朴雅致，尽得古意。\n\n题跋与绘境交织，将本草物语与民俗轶事相融，既有博物图鉴的写实谨严，又带着古绘卷独有的雅致松弛。泛黄纸页晕开岁月的温度，清雅朴拙之间，尽显东洋中古绘卷的悠然意韵。",[25,26,29,30,7,6091,149,223,28],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682563a8668f46d15365053274079789.jpg",[],{"id":6095,"slug":6096,"title":6097,"dynasty":261,"author":454,"museum":234,"description":6098,"tags":6099,"thumbUrl":6100,"material":98,"size":98,"collection":98,"collections":6101,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},228806,"hu-jia-shi-ba-pai-tu-yi-ming-228806","胡笳十八拍图","长卷以文绘合璧铺陈离愁，清雅古拙的笔致勾勒出乱世行旅的沧桑。一侧行书墨色沉凝，诉尽别乡归汉的哀戚心事；一侧铺展城郭乡野、车马仪仗，人物衣袂舒展间带着羁旅的凄惶，队列的肃穆衬出归程的沉重。每一段场景都晕开沉郁旧韵，将半生流离的家国之悲具象化，把泣血诗意揉进绢本烟尘，织就一曲带着泪痕的乱世离歌。",[23,24,25,26,29,28,30,7,41,47,112,1153,90,36,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc832ea82b5e9aaa888f3517bdfe2c08d.jpg",[],{"id":6103,"slug":6104,"title":6105,"dynasty":261,"author":3582,"museum":234,"description":6106,"tags":6107,"thumbUrl":6108,"material":98,"size":98,"collection":98,"collections":6109,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},228327,"wei-yang-gu-du-tu-yuan-shang-tong-228327","维扬古渡图","《水墨城韵·中国历史文化名城画典:扬州卷》主要收录了穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》、至情至简——东山魁夷画《 》、扬州旧梦何处觅——陆俨少的《 》、记忆的符号展现——陆俨少画《扬州个园》等。\n《水墨城韵·中国历史文化名城画典:扬州卷》由 出版。\n贺万里，美术理论家、批评家、山水画家。\n1962年出生，安徽淮北人，祖籍河北。\n美术学博士。\n曾任教于 (现 )，现为 副院长、教授、研究生导师。\n会员， 会员，江苏省壁画学会常务理事，扬州市清代扬州画派研究会会长，石河子大学新疆大山水画研究所副所长。\n梦里他乡是瓜洲——明人袁尚统的《维扬古渡图》 置境平和《广陵茱萸湾图》 诗境与画境——从李白的《送孟浩然之广陵》到石涛、陆俨少的《李白诗意图》 明净疏朗维扬秋——石涛的《维扬洁秋图》 附录：石涛画扬州 附录：石涛《维扬洁秋图》的长款题跋 雅集盛会戾行合一——叶芳林、方士庶的《九目行庵文燕图》 樊川水榭苇上舟——高翔的《扬州即景册》 记忆深处的禅意——高翔的《弹指阁图》 附录：高翔的《弹指阁图》赏析 将军画本金碧色——李昭道、袁江 文人其乐融一园——袁江《东园胜概图》卷 亭台楼阁亦关情——解读袁耀之《扬州四景图》 深意画图余情休园——赏读王云《休园图》 念繁华前度，何时歌吹重闻？——解读汪望的《平山堂图》 邗江夜雨芦荻瑟——任堇与《邗沟夜泊图》 张大干画《瘦西湖》 附录：收藏扬州 附录：由张大千《瘦西湖》所见 穿越千年的心灵对话——鉴真和尚与东山魁夷的《扬州薰风》 至情至简——东山魁夷画《冶春园》 扬州旧梦何处觅——陆俨少的《扬州即景图》 记忆的符号展现——陆俨少画《扬州个园》 写运河，写扬州，写国之佳画——读宋文治《今日的运河》 钱松苗与《鉴真大和尚纪念堂》 秀媚大雅瘦美人——钱松曲两画“瘦西湖” 秀雅空灵性情自我——魏紫熙的《瘦西湖》 静谧空寂张力内蕴——亚明的《二十四桥明月夜》 水墨写实传真情——张安治的《扬州春郊》 散发着浓郁时代气息——《瘦西湖上》 周京新画扬州园林 附录：今月曾经照古人——扬州画苑《千年回眸》 石涛之后有石庄 东方的“巴洛克”——金农书画 江都别派 沉雄浑厚陈若木 虞蟾：天国画家第一人 写真丁门甘泉流韵 溥派真传姚兆明",[23,24,25,87,88,89,90,30,7,31,339,630,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347df80291e7dcba76749b7ed4b13a83.jpg",[],{"id":6111,"slug":6112,"title":6113,"dynasty":18,"author":454,"museum":234,"description":6114,"tags":6115,"thumbUrl":6116,"material":98,"size":98,"collection":98,"collections":6117,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},227538,"wu-gong-ma-tu-juan-yi-ming-227538","五贡马图卷","北宋，佚名（李公麟款)。画内为宋元佑初年天驷监中的五匹西域名马，五匹名马依次为“风头骢”、“锦膊骢”、“好头赤”、“照夜白”、“满川花”。",[23,68,24,25,26,237,29,7,30,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da9fadedef4d3ff60e1157eaee1c333.jpg",[],{"id":6119,"slug":6120,"title":6121,"dynasty":106,"author":2390,"museum":336,"description":6122,"tags":6123,"thumbUrl":6124,"material":6125,"size":6126,"collection":98,"collections":6127,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},222649,"zhi-hua-xi-lie-zhi-hua-bai-ma-gao-qi-pei-222649","指画系列-指画·白马","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,5894,88,676,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48a77b744234cff2586363df5d0d2d7e.jpg","浅设色","35.88x57.31cm",[],{"id":6129,"slug":6130,"title":6131,"dynasty":18,"author":233,"museum":234,"description":6132,"tags":6133,"thumbUrl":6134,"material":344,"size":6135,"collection":98,"collections":6136,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},221402,"fa-hai-ling-shan-tu-4-li-gong-lin-221402","法海灵山图4","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,1227,24,25,237,88,721,30,7,222,536],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dc8ae31066e200f62d122a2dd929a5.jpg","23x299cm",[],{"id":6138,"slug":6139,"title":6140,"dynasty":106,"author":6141,"museum":518,"description":6142,"tags":6143,"thumbUrl":6144,"material":344,"size":6145,"collection":98,"collections":6146,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":171},219833,"ren-wu-ce-ye-2-ren-xiong-219833","人物册页-2","任熊","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,25,354,29,30,7,91,4466,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ccf5311db022a9e95cdf7062721bb3f.jpg","27.2x34.3厘米",[],{"id":6148,"slug":6149,"title":6150,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6152,"thumbUrl":6153,"material":198,"size":6154,"collection":98,"collections":6155,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},218158,"wen-ji-gui-han-tu-ce-5-li-tang-218158","文姬归汉图册-5","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[24,25,354,29,30,7,1153,278,36,112,28,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b01800332ea34d715a40b85c68b77af.jpg","50.7x39.7",[],{"id":6157,"slug":6158,"title":6159,"dynasty":106,"author":454,"museum":6160,"description":6161,"tags":6162,"thumbUrl":6163,"material":198,"size":6164,"collection":98,"collections":6165,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":59},214331,"da-bei-shen-zhou-fo-xiang-7-yi-ming-214331","大悲神咒佛像-7","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,24,29,28,721,30,7,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce37d4267e5411668f8bbf388e414261.jpg","27.5x16",[],{"id":6167,"slug":6168,"title":4080,"dynasty":4081,"author":315,"museum":518,"description":6169,"tags":6170,"thumbUrl":6171,"material":98,"size":98,"collection":98,"collections":6172,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":4091},202745,"yin-ma-tu-zhou-xu-bei-hong-202745","笔墨挥洒间，骏马俯首临溪饮水，颈间鬃毛如墨瀑飞卷，尾梢劲扫似带长风。淡墨晕染身躯，线条勾勒筋骨，既得写生之精准，又含写意之灵动。水面浅蓝灰铺陈，波纹轻漾；岸坡赭色点染，简括质朴。简洁背景中，马的鲜活神韵跃然纸上，笔墨刚柔相济，尽显生命蓬勃与自然恬淡之趣。",[24,88,7,87,222,5733,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f541caaffad0dda48e22efb23ae4d00.jpg",[],{"id":6174,"slug":6175,"title":6176,"dynasty":106,"author":6177,"museum":518,"description":6178,"tags":6179,"thumbUrl":6180,"material":98,"size":98,"collection":137,"collections":6181,"showCount":5964,"zanCount":58,"manualWeight":58,"mainColor":6182},202135,"qun-xian-tu-zhou-lv-xue-202135","群仙图轴","吕学","画面铺展仙府胜境，群仙或乘云驾雾于天际，或策骑过桥于山间，或聚于楼阁畔，姿态各异神情生动。山石林木以细劲线条勾勒，敷色淡雅温润；人物衣袂飘飘，设色明艳却不张扬，尽显仙风道骨。楼阁界画工整，小桥流水相映成趣，飞鸟点缀天际，构图层次分明，从山麓到云端仙气氤氲，将神仙世界的逍遥奇幻展现得淋漓尽致，是清代人物画中兼具叙事性与艺术性的佳作。",[24,87,28,29,30,31,32,33,267,90,7,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cb814379d5ec32f4079213d2a8d2972.jpg",[137],"a28762",{"id":6184,"slug":6185,"title":6186,"dynasty":176,"author":454,"museum":234,"description":2798,"tags":6187,"thumbUrl":6190,"material":96,"size":283,"collection":98,"collections":6191,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},290900,"han-yuan-lie-qi-zhou-yi-ming-290900","寒原猎骑轴",[24,87,29,30,7,222,736,6188,2800,6189],"寒原","猎骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81329c528a44f9f56c91b39ccc730ca8.jpg",[],{"id":6193,"slug":6194,"title":6195,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":6197,"thumbUrl":6202,"material":96,"size":283,"collection":98,"collections":6203,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},269060,"zhu-diao-liu-qing-liu-yin-xi-ma-tu-bi-tong-yi-ming-269060","竹雕留青柳荫洗马图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[2433,6198,6199,7,30,6200,6201,401],"留青","竹质","柳荫","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffcbfb54c5d5c69e823c1a760cb6415.jpg",[],{"id":6205,"slug":6206,"title":6207,"dynasty":106,"author":454,"museum":234,"description":6208,"tags":6209,"thumbUrl":6213,"material":96,"size":283,"collection":98,"collections":6214,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},268350,"cai-se-ding-ling-xiu-an-ma-xing-xiang-nang-yi-ming-268350","彩色钉绫绣鞍马形香囊","以鞍马塑形，钉绫敷色勾勒神骏姿态，鬃尾劲挺灵动，鞍鞯绣纹精巧富丽，暗藏“马上平安”的美好祈愿。盘长结环缀周身，朱红饰珠提亮色彩，紫、褐、绿三色流苏柔丝垂坠，色彩浓艳和谐，相映成趣。\n\n它将实用佩香、工艺装饰与民俗寓意融于一体，既有闺中绣活的细腻雅致，又带着民间饰物的鲜活喜气，藏着旧时匠人巧思，尽显传统岁时雅趣。",[4346,6210,7,6211,6212,1827],"香囊","钉绫绣","流苏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca2dfa287d25d9922cdc6037128951d.jpg",[],{"id":6216,"slug":6217,"title":5309,"dynasty":301,"author":454,"museum":234,"description":6218,"tags":6219,"thumbUrl":6221,"material":96,"size":283,"collection":98,"collections":6222,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},253261,"san-cai-ma-yi-ming-253261","这匹陶马筋骨雄健，昂首挺立，鬃毛齐整利落，鼻翼贲张仿佛正喷吐热气，神骏之气扑面而来。褐黄主釉沉稳厚重，绿釉点缀于鞍鞯与络头饰件，鲜亮明快，釉色交融晕散，晕染出独有的雍容热烈。鞍具纹饰精巧细密，垂饰灵动雅致，将仪仗骏马的华贵气度尽显无遗。它早已跳脱陶土摆件的局限，带着长安市上良驹的昂扬意气，定格住那个时代对力量与风雅的极致追求，静静诉说着独属于盛唐的恢弘雄风。",[301,4670,6220,5312,7,222,401],"雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c2c4cc8cc8e9eb6ea2ae8f0cae57c5.jpg",[],{"id":6224,"slug":6225,"title":6226,"dynasty":106,"author":6227,"museum":234,"description":6228,"tags":6229,"thumbUrl":6231,"material":98,"size":98,"collection":98,"collections":6232,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","仿古山水屏","秦祖永","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[24,29,89,6230,87,90,523,694,266,376,47,607,7,30,630,5625,248],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":6234,"slug":6235,"title":6236,"dynasty":261,"author":454,"museum":234,"description":6237,"tags":6238,"thumbUrl":6239,"material":98,"size":98,"collection":98,"collections":6240,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},235842,"qian-gu-tuo-lin-tu-ye-yi-ming-235842","钱榖拓林图页","以淡赭晕染江岸沙碛，营垒依山临江矗立，堞楼严整森然。山道间商旅驿骑络绎往来，滩涂处役夫行迹历历分明，写实中带着文人画的雅致松弛。\n\n左侧行书题跋点明此地形胜，笔墨清隽疏朗，与画面淡远的色调浑然相融。全作用笔朴拙简淡，未以繁复皴擦堆叠层次，却将江海交汇的荒远之境，与江防重地的沉凝肃整烘托尽致，把纪实的地理描摹与文人的写意意趣融为一体，是兼具实景价值与审美意韵的小品佳作。",[24,29,90,89,354,266,94,7,33,30,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88f6cc4a23d0081160f45341b41ff9.jpg",[],{"id":6242,"slug":6243,"title":6244,"dynasty":261,"author":6245,"museum":234,"description":6246,"tags":6247,"thumbUrl":6248,"material":96,"size":283,"collection":98,"collections":6249,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},234837,"shan-shui-shan-wei-zhi-huang-234837","山水扇","魏之璜","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1808,89,88,90,523,694,36,47,249,607,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7cc7f21928c26b8bcab83a21cec25e.jpg",[],{"id":6251,"slug":6252,"title":6253,"dynasty":106,"author":6254,"museum":234,"description":6255,"tags":6256,"thumbUrl":6258,"material":98,"size":98,"collection":98,"collections":6259,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},234674,"gu-yun-xing-hua-you-qi-shan-mian-gu-yun-234674","顾沄杏花游骑扇面","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。",[24,25,1808,29,90,30,7,6257,36,94],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0231631c11e918ba33be85cb1e7065d.jpg",[],{"id":6261,"slug":6262,"title":4128,"dynasty":106,"author":4523,"museum":20,"description":6263,"tags":6264,"thumbUrl":6265,"material":252,"size":98,"collection":98,"collections":6266,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},234313,"shan-shui-ce-cha-shi-biao-234313","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[354,88,224,90,30,7,388,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ead96bc1ffc5bf506f5a5e573c082.jpg",[],{"id":6268,"slug":6269,"title":6270,"dynasty":18,"author":454,"museum":20,"description":6271,"tags":6272,"thumbUrl":6275,"material":6276,"size":6277,"collection":98,"collections":6278,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,25,1808,28,88,6273,129,6274,7,30,90,36,111,114,4617,89],"淡设色","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","绢本 设色","23.5×25.6cm",[],{"id":6280,"slug":6281,"title":1647,"dynasty":106,"author":4173,"museum":1118,"description":6282,"tags":6283,"thumbUrl":6284,"material":135,"size":6285,"collection":98,"collections":6286,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},231947,"shuang-ma-tu-yu-yuan-231947","虞沅（生卒年不详），字畹之，海虞画苑略作浣之，或作翰之， 江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[23,24,25,87,28,29,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4260e08880a972bb39bc262f6513a95a.jpg","172.6x 68.6",[],{"id":6288,"slug":6289,"title":6290,"dynasty":1760,"author":5181,"museum":234,"description":5182,"tags":6291,"thumbUrl":6293,"material":96,"size":283,"collection":98,"collections":6294,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},231752,"mu-ma-tu-ping-feng-di-er-ping-zhang-gu-chuan-deng-bo-231752","牧马图屏风第二屏",[23,24,25,4698,29,28,30,7,222,36,111,694,6292],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4eaf33f4fb0d88855c935dc14bf6b14.jpg",[],{"id":6296,"slug":6297,"title":6298,"dynasty":1760,"author":454,"museum":234,"description":6299,"tags":6300,"thumbUrl":6301,"material":96,"size":283,"collection":98,"collections":6302,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},231733,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-yi-ping-yi-ming-231733","江户时代 洛中洛外图屏风-一屏","以泥金为底晕染华贵底色，亭台楼阁错落隐于苍松翠色间，朱黛屋宇精致工丽，尽显雅致格调。整卷铺陈城邑百态：贩夫牵车穿梭街巷，雅客围坐厅堂宴饮，车马往来络绎，将市井烟火与士族闲趣交织一处。界画严整写实，屋宇建制分毫毕现，小人物亦形神兼具，把彼时城邑的鲜活世态揉入疏密错落的构图中，是复刻往昔日常、窥见旧时人情的绝佳风物长卷。",[23,29,27,28,4698,30,31,36,7,151,3992,248,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c69ce062142cb26af04ff392936794.jpg",[],{"id":6304,"slug":6305,"title":6306,"dynasty":1760,"author":6307,"museum":234,"description":6308,"tags":6309,"thumbUrl":6310,"material":98,"size":98,"collection":98,"collections":6311,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},231667,"ming-he-chang-nian-xiang-zhang-gu-chuan-231667","名和长年像","长谷川","画面以沉敛色调铺陈，主位武士光头蓄须，暗绿狩衣裹身，按刀执扇端坐，神色沉静不怒自威，尽显武家首领的厚重威仪。右侧侍童着彩纹小袖恭跪身侧，斜挎和弓悄然烘托主从礼法。下方马夫正竭力控住前蹄抬起的烈马，躁动的骏马与紧绷的牵马人，为肃穆的场景揉进鲜活生气。\n笔触凝练细致，衣袍暗纹、马具铜饰都被悉心勾勒，将武人出行前的片刻日常定格，在侘寂古雅的氛围里，藏着武家独有的刚硬气场，平淡叙事中晕开沉雄张力。",[23,24,87,29,28,30,7,164,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1090e99f26ee671509871b36d3f2435.jpg",[],{"id":6313,"slug":6314,"title":6315,"dynasty":106,"author":6316,"museum":234,"description":6317,"tags":6318,"thumbUrl":6319,"material":96,"size":283,"collection":98,"collections":6320,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},230101,"zheng-xi-tu-hua-xin-guo-chao-zuo-230101","征西图（画芯）","郭朝祚","郭朝祚，号硕斋，生卒年月待考。",[23,24,25,26,29,28,90,30,7,1153,278,42,2866,164,707,249,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20e6b15f1e24c8782fd41f118467348.jpg",[],{"id":6322,"slug":6323,"title":6324,"dynasty":176,"author":454,"museum":234,"description":6325,"tags":6326,"thumbUrl":6327,"material":96,"size":283,"collection":98,"collections":6328,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},228187,"ren-ma-tu-zhuang-biao-hou-yi-ming-228187","人马图（装裱后）","此作以简练笔墨铺陈胡人马饲意态，虬髯奚官身披宽袍，神色沉静内敛，尽显异域牧者的沉凝气质。画面主体白马筋骨丰腴矫健，抬首长嘶，鬃尾勾勒细致，将良驹桀骜灵动之态尽显。\n淡墨晕染的朦胧背景将视觉全然聚焦于人马之上，设色清雅柔和，白棕对比鲜明，既承袭唐宋鞍马画写实精微的余韵，又带有元画简淡空灵的审美意趣。画师以精湛写生功底，将人驯于马、马依于人的悠然情态娓娓道来，尽显游牧文化与中原笔墨融合的独特意韵。",[24,25,87,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c34399071ce5db339513f8461cfbbf7.jpg",[],{"id":6330,"slug":6331,"title":6332,"dynasty":176,"author":562,"museum":234,"description":6333,"tags":6334,"thumbUrl":6335,"material":98,"size":98,"collection":98,"collections":6336,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},228028,"lin-li-gong-lin-ren-ma-tu-hua-xin-zhao-yong-228028","临李公麟人马图（画芯）","画面里番官虬须深目，朱衣乌帽，双手笼袖牵马伫立，神情沉凝肃穆，尽显异域贵族的端凝气度。那匹花斑神骏肌理饱满丰腴，昂首垂尾静立，淡墨晕染出满身斑驳毛色，细劲圆润的铁线描勾勒出筋肉骨骼，将骏马矫健神骏的姿态尽显，得李公麟白描神髓又暗含自家笔意。\n\n设色调和古雅，朱红官衣与墨色骏马相互映衬，明快沉静。题诗与鉴藏印错落排布，晕开古朴厚重的书卷气，整幅画作简澹高古，把人马的雍容气度铺陈得淋漓尽致，是鞍马题材中的精妙之作。",[68,24,25,237,29,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa69533e4c540c81639542b1cc1539c.jpg",[],{"id":6338,"slug":6339,"title":6340,"dynasty":18,"author":454,"museum":234,"description":5229,"tags":6341,"thumbUrl":6342,"material":98,"size":98,"collection":98,"collections":6343,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页",[23,24,68,25,521,29,90,94,30,7,630,91,1197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":6345,"slug":6346,"title":6347,"dynasty":301,"author":454,"museum":1377,"description":1378,"tags":6348,"thumbUrl":6349,"material":96,"size":283,"collection":98,"collections":6350,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},226358,"ku-zhu-shi-dong-bi-yi-ming-226358","窟主室东壁",[733,29,721,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4809a7ac47bbed4c27c52d85617d89d9.jpg",[],{"id":6352,"slug":6353,"title":6354,"dynasty":261,"author":262,"museum":518,"description":5537,"tags":6355,"thumbUrl":6356,"material":198,"size":5540,"collection":98,"collections":6357,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},219765,"lin-song-ren-hua-ce-13-chou-ying-219765","临宋人画册-13",[24,25,354,1808,69,29,30,7,27,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F462b99ebafe1a8fc7b0a0a8893b005c2.jpg",[],{"id":6359,"slug":6360,"title":6361,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6362,"thumbUrl":6364,"material":198,"size":6154,"collection":98,"collections":6365,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},218159,"wen-ji-gui-han-tu-ce-4-li-tang-218159","文姬归汉图册-4",[68,24,354,29,30,7,809,94,223,1743,279,6363],"离别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f8a8e22c1eebe23d50aa2074d4ab61.jpg",[],{"id":6367,"slug":6368,"title":6369,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6370,"thumbUrl":6371,"material":198,"size":6154,"collection":98,"collections":6372,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},218157,"wen-ji-gui-han-tu-ce-6-li-tang-218157","文姬归汉图册-6",[68,24,25,354,29,30,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6eccbd62ae265216ef54a0c247f2dd.jpg",[],{"id":6374,"slug":6375,"title":6376,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6377,"thumbUrl":6378,"material":198,"size":6154,"collection":98,"collections":6379,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":59},218147,"wen-ji-gui-han-tu-ce-16-li-tang-218147","文姬归汉图册-16",[68,24,25,354,29,28,30,90,7,401,224,376,1722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ec0918549325d6606e6654d7d5bc7e.jpg",[],{"id":6381,"slug":6382,"title":6383,"dynasty":261,"author":6384,"museum":234,"description":6385,"tags":6386,"thumbUrl":6387,"material":344,"size":98,"collection":98,"collections":6388,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":512},217192,"shui-hu-quan-tu-1-du-jin-217192","水浒全图-1","杜堇","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。",[24,25,354,28,237,29,30,31,7,164,163,90,266,94,267,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262a05366f8cae91236b34689ff2ac4d.jpg",[],{"id":6390,"slug":6391,"title":6392,"dynasty":106,"author":107,"museum":234,"description":662,"tags":6393,"thumbUrl":6399,"material":88,"size":98,"collection":98,"collections":6400,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},216836,"zhan-zheng-tong-ban-hua-11-lang-shi-ning-216836","战争铜版画-11",[664,967,665,90,91,36,30,7,809,1066,2866,6394,4983,4981,6395,676,249,3065,6396,2432,6397,6398,5548],"丘陵","军队行进","战争场景","版画技法","历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c367603fd518661a182a9b31ba22bc.jpg",[],{"id":6402,"slug":6403,"title":6404,"dynasty":106,"author":107,"museum":234,"description":662,"tags":6405,"thumbUrl":6407,"material":88,"size":98,"collection":98,"collections":6408,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},216833,"zhan-zheng-tong-ban-hua-12-lang-shi-ning-216833","战争铜版画-12",[664,4948,1174,665,90,91,36,42,7,30,2866,278,6406,4920],"峡谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ec70d8b5648e77e5c725a112f26da7.jpg",[],{"id":6410,"slug":6411,"title":6412,"dynasty":106,"author":107,"museum":234,"description":662,"tags":6413,"thumbUrl":6414,"material":88,"size":98,"collection":98,"collections":6415,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},216832,"zhan-zheng-tong-ban-hua-10-lang-shi-ning-216832","战争铜版画-10",[106,664,665,90,653,36,249,30,7,4983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c2c38b4824f18d0ae453831a012fd.jpg",[],{"id":6417,"slug":6418,"title":6419,"dynasty":261,"author":6420,"museum":234,"description":6421,"tags":6422,"thumbUrl":6423,"material":182,"size":98,"collection":98,"collections":6424,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},216343,"xi-xiang-ji-cha-ye-9-min-qi-ji-216343","西厢记插页-9","闵齐伋","淡彩晕染的云气如流岚漫卷，墨线勾勒的峰峦叠嶂间，楼阁错落依山势铺展。左侧飞檐翘角的亭台隐于林麓，右侧峭壁上的楼宇凭高临远，山间小径蜿蜒，隐约有人影穿行。线描细腻灵动，淡彩清雅脱俗，山水与建筑相映成趣，既含文人画的写意韵致，又藏话本插图的叙事张力。云气的流动感打破空间滞重，将西厢故事的幽微情愫隐于层峦叠嶂间，引人循着笔墨脉络，探寻那藏在山水里的古典意趣，仿佛能听见风过亭台时，西厢的私语仍在耳畔流转。",[24,237,29,27,90,31,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc021bf7c06076aecf5b135123626678a.jpg",[],{"id":6426,"slug":6427,"title":6428,"dynasty":106,"author":6429,"museum":518,"description":6430,"tags":6431,"thumbUrl":6432,"material":391,"size":6433,"collection":98,"collections":6434,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":171},214715,"shan-shui-ce-3-gao-xiang-214715","山水册-3","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[24,25,88,354,89,90,7,94,36,278,536,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ff0a5ba972a4352c5e493ca9b6bb2e.jpg","纵23.9 厘米，横55.4 厘米",[],{"id":6436,"slug":6437,"title":6438,"dynasty":4081,"author":4463,"museum":518,"description":6439,"tags":6440,"thumbUrl":6441,"material":98,"size":98,"collection":76,"collections":6442,"showCount":120,"zanCount":58,"manualWeight":58,"mainColor":6443},203000,"ba-jun-tu-heng-pi-ge-quan-203000","八骏图横披","画面中八匹骏马神态各异，或昂首伫立，或交颈亲昵，或低头啮草，姿态生动自然。背景以淡墨晕染的柳树、嶙峋山石与疏草相映，营造出清雅旷远的郊野氛围。画家以细腻工笔勾勒马匹轮廓，设色淡雅温润，既表现出马体的肌理质感，又通过飘逸的鬃毛、灵动的四肢传递出骏马的矫健身姿与闲适意态。整体画风工写结合，笔墨简练却形神兼备，将自然之趣与骏马之美融为一体，尽显生机盎然之韵。",[24,29,28,7,129,91,2954,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd731bc9fd04aad6e5b1de37a2720bd1.jpg",[76],"c2b79d",{"id":6445,"slug":6446,"title":6447,"dynasty":176,"author":442,"museum":234,"description":3367,"tags":6448,"thumbUrl":6449,"material":96,"size":283,"collection":98,"collections":6450,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},290731,"ma-zhou-zhao-meng-fu-290731","马轴",[24,87,25,7,222,88,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88223ac4953ca40160a5216f841a37de.jpg",[],{"id":6452,"slug":6453,"title":6454,"dynasty":176,"author":442,"museum":234,"description":3367,"tags":6455,"thumbUrl":6456,"material":96,"size":283,"collection":98,"collections":6457,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},287538,"bai-bi-ju-zhao-meng-fu-287538","白鼻驹",[24,25,88,30,7,224,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24216b7a685cb3cc77d5b2f81edb5252.jpg",[],{"id":6459,"slug":6460,"title":6461,"dynasty":106,"author":454,"museum":234,"description":6462,"tags":6463,"thumbUrl":6466,"material":96,"size":283,"collection":98,"collections":6467,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},267674,"mi-se-ling-di-xiu-xue-jing-tan-mei-tu-zhou-yi-ming-267674","米色绫地绣雪景探梅图轴","此作以绣为笔，摹绘冬日雪岭孤寒之景。高岭覆雪素白如练，寒枝枯槎遍凝霜华，远景烟岚漫过山峦，留白晕染出清旷冷寂的冬日氛围。谷间山道盘绕，行旅人三两错落，暖艳衣色破开天地银白，策蹇徐行者似正奔赴梅林，负囊赶路的伴当衬出雅游之趣。\n\n针线追摹笔墨意趣，以米绫为底晕开雪色层次，淡青暗衬山石肌理，将荒寒冬景与探梅寻幽的暖融雅意相融，静穆萧索中暗藏生趣，把冬日寻幽的清冷闲情尽藏在细密针脚间。",[24,87,25,4658,1142,90,30,7,630,94,6464,29,6465],"探梅","溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede4c08cc2158f24bbc8c7152d4f8d2.jpg",[],{"id":6469,"slug":6470,"title":6471,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":6473,"thumbUrl":6481,"material":96,"size":283,"collection":98,"collections":6482,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":512},246354,"miao-you-jin-wen-qian-yu-ba-gua-wen-ba-fang-he-yi-ming-246354","描油锦纹嵌玉八卦纹八方盒","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[106,6474,6475,6476,6477,6478,6479,401,7,6480,2433],"漆器","描油","嵌玉","锦纹","八卦纹","八方","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8736e99ca07b01d129051452fc10fa03.jpg",[],{"id":6484,"slug":6485,"title":6486,"dynasty":106,"author":6487,"museum":234,"description":6488,"tags":6489,"thumbUrl":6494,"material":96,"size":283,"collection":98,"collections":6495,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},240845,"shi-zhou-li-fang-ying-240845","诗轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[25,87,224,223,70,6490,2680,6491,6492,6493,7,41],"雨","湖","田","渠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5141a41c616b5c4177e13d57a8186737.jpg",[],{"id":6497,"slug":6498,"title":6021,"dynasty":106,"author":3942,"museum":234,"description":6499,"tags":6500,"thumbUrl":6501,"material":98,"size":98,"collection":98,"collections":6502,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},238735,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238735","平远铺展的画面，将闲雅行旅与整肃江景相融。前景策马文士缓行于枯木寒林间，古木虬曲苍劲，淡墨晕染出萧散冷寂的林下意趣。中远景水寨樯桅如林，墨线劲挺勾勒出森严江防气象，与行旅的悠然形成动静对照。右侧题诗笔意清隽，诗画合璧，把文人情思与戍边壮怀悄然绾合。全作用笔秀雅清劲，水墨皴染简淡含蓄，以极简的笔墨营造出悠远沉静的意境，让林下风雅与家国襟怀相映成趣，尽显含蓄蕴藉的东方意韵。",[24,25,354,88,89,90,30,7,376,42,278,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f036e896d713b00d4c5bbf6a31717de.jpg",[],{"id":6504,"slug":6505,"title":6021,"dynasty":106,"author":3942,"museum":234,"description":6506,"tags":6507,"thumbUrl":6508,"material":98,"size":98,"collection":98,"collections":6509,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},238723,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238723","此作用淡墨轻皴绘就郊野别景，林烟轻笼山居古宅，古木扶疏间宾主执手话别，牵马车夫静立车旁，将饯别缱绻融入清寂山野。\n\n干笔勾勒山石林木，淡墨晕染出烟岚空濛，画面留白悠然，衬出离情悠远绵长。右侧题诗与图景呼应，诗画合璧，将诗作伤别意涵具象化。画风清逸雅致，以景托情，文人诗意与水墨笔意相融，淡远疏朗间尽显古典抒情的含蓄温婉。",[24,25,354,88,237,224,223,90,30,7,36,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f0c7bc1ebeff09d73e3effaf5f99bf5.jpg",[],{"id":6511,"slug":6512,"title":1718,"dynasty":261,"author":454,"museum":234,"description":6513,"tags":6514,"thumbUrl":6515,"material":96,"size":283,"collection":98,"collections":6516,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},238569,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238569","此作设色精工，以山间隘口为舞台铺展平叛激战。左侧部伍严整，甲胄鲜明的将士阵列齐整，旌旗猎猎提振军势；右侧叛军惶然奔逃，人马散乱尽显溃态。\n\n画师以劲挺线条勾勒衣袂甲叶，用朱赤、石青冷暖重彩区分阵营，视觉张力十足。山石皴擦凝练，林木苍劲苍郁，烘托出战场肃杀氛围，细节处对武备军阵考据详实，写实还原了平叛战事的激烈瞬间，尽显王师平乱的赫赫威仪。",[24,29,28,354,30,90,36,92,33,7,164,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65fc88697584680990a28cdd8a508217.jpg",[],{"id":6518,"slug":6519,"title":6520,"dynasty":106,"author":6521,"museum":234,"description":6522,"tags":6523,"thumbUrl":6524,"material":96,"size":283,"collection":98,"collections":6525,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},235534,"xi-xiang-tu-ce-ye-bu-235534","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。",[24,25,354,29,28,30,210,7,376,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cddb5470904f03a5de87ae7645156f1.jpg",[],{"id":6527,"slug":6528,"title":4551,"dynasty":176,"author":454,"museum":20,"description":6529,"tags":6530,"thumbUrl":6531,"material":51,"size":6532,"collection":98,"collections":6533,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},233180,"nong-cun-jia-nv-tu-juan-yi-ming-233180","此图原名《瘤女图》，后更名为《农村嫁女图》。全卷绘大小人物37人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。",[68,24,26,237,30,7,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa772f058d46d74fa4ba5a5d9ffc20222.jpg","纵22.5厘米，横131厘米",[],{"id":6535,"slug":6536,"title":2863,"dynasty":106,"author":454,"museum":20,"description":5458,"tags":6537,"thumbUrl":6538,"material":344,"size":2869,"collection":98,"collections":6539,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},233084,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233084",[28,29,89,30,90,7,4949,33,278,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa733c868361ebe2992d7e4e548d3aff3.jpg",[],{"id":6541,"slug":6542,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":6543,"thumbUrl":6544,"material":344,"size":2869,"collection":98,"collections":6545,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},233074,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233074",[68,24,25,354,29,30,7,665,279,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1900cf9fcf86e610c1b58cb17c0117d8.jpg",[],{"id":6547,"slug":6548,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":6549,"thumbUrl":6550,"material":344,"size":2869,"collection":98,"collections":6551,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},233072,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233072",[68,24,25,354,29,28,30,7,90,523,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052a21e0eecb680d2c451e6b327189c.jpg",[],{"id":6553,"slug":6554,"title":6555,"dynasty":106,"author":454,"museum":20,"description":6556,"tags":6557,"thumbUrl":6561,"material":252,"size":6562,"collection":98,"collections":6563,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},233042,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233042","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：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[24,354,29,30,7,90,6558,4984,6559,279,6560],"竹林","战图","平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feae5f0dd5c2a572bb27cced76f236d32.jpg","长55.6厘米，宽91.1厘米",[],{"id":6565,"slug":6566,"title":6567,"dynasty":1760,"author":5659,"museum":234,"description":5660,"tags":6568,"thumbUrl":6569,"material":96,"size":283,"collection":98,"collections":6570,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},231628,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-zhong-tu-zuo-guang-xin-231628","室町时代 清水寺缘起画卷(中)",[29,28,26,27,223,721,30,31,32,33,36,151,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a580c0d510cd600e0c22b55140b7c.jpg",[],{"id":6572,"slug":6573,"title":6574,"dynasty":261,"author":454,"museum":234,"description":6575,"tags":6576,"thumbUrl":6577,"material":98,"size":98,"collection":98,"collections":6578,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},228814,"xing-lv-tu-yi-ming-228814","行旅图","此作以淡墨晕染出江南暮野水畔之景。柔柳垂丝错落于画面边角，晕开朦胧氤氲的暮色氛围。郊野水泽间，行骑缓行，驮队紧随，简笔勾勒的旅人神态松弛，带着日暮赶路的闲淡倦意。远景中山丘村舍隐于墨色晕染间，虚实相生，将乡野暮色的清寂淡远尽数铺陈。整作笔墨简淡苍润，以简驭繁，留白处尽显空濛诗意，把羁旅暮归的悠然况味融于水乡烟霭之中，尽显小品山水的雅致意趣，于古旧绢色间晕开静谧悠远的古典意境。",[24,1808,88,29,30,7,376,90,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21df2211d26e0597c4692d204c60fc5e.jpg",[],{"id":6580,"slug":6581,"title":6582,"dynasty":261,"author":454,"museum":234,"description":6583,"tags":6584,"thumbUrl":6585,"material":98,"size":98,"collection":98,"collections":6586,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},228376,"ren-wu-gu-shi-ye-yi-ming-228376","人物故事页","此作用笔挺劲，以铁线描勾勒形象，线条简练流畅，将人物衣褶的起伏褶皱精准铺展，生动带出二人一马二牛的动态。骑者神色安然，坐姿舒展，仆从赤足束发，扬杆驱策双牛，朴拙情态呼之欲出。\n\n设色简淡清雅，以赭石、石绿晕染衣饰层次，古旧绢面晕开沉厚古韵。画面捕捉羁旅行役的日常一瞬，以小见大，无繁复铺陈却将赶路的平实氛围烘托尽致。留白与古印相映，暗合古韵悠长的雅致意趣，尽显写实中暗藏写意情致的风貌，浅淡间定格行旅的烟火日常。",[23,24,29,30,35,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b314c39166e2c1ee3b7573373fd05b.jpg",[],{"id":6588,"slug":6589,"title":6590,"dynasty":106,"author":5569,"museum":234,"description":6591,"tags":6592,"thumbUrl":6593,"material":98,"size":98,"collection":98,"collections":6594,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[23,24,25,88,29,87,90,30,7,94,1369,630,222,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0af847b142d6a46f5a7689443523df.jpg",[],{"id":6596,"slug":6597,"title":4242,"dynasty":261,"author":6598,"museum":518,"description":6599,"tags":6600,"thumbUrl":6601,"material":344,"size":6602,"collection":98,"collections":6603,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},221924,"za-hua-ce-guo-xu-221924","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 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。",[23,68,24,25,354,88,237,30,7,267,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18397b37f2fc2991484c8fbba5390e3.jpg","纵28.5 厘米横46.5 厘米",[],{"id":6605,"slug":6606,"title":6607,"dynasty":125,"author":6608,"museum":20,"description":6609,"tags":6610,"thumbUrl":6611,"material":6612,"size":6613,"collection":98,"collections":6614,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},221167,"shi-liu-luo-han-xiang-nuo-ju-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221167","十六罗汉像-诺距罗尊者（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。",[23,24,25,721,30,7,222,29,1827,28,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b58e379546cb7b1c2f2593c512afc40.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":6616,"slug":6617,"title":6618,"dynasty":18,"author":1739,"museum":207,"description":1740,"tags":6619,"thumbUrl":6620,"material":391,"size":1745,"collection":98,"collections":6621,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},220087,"jia-pai-tu-quan-juan-fen-juan-11-gong-kai-220087","笳拍图全卷-分卷11",[68,24,25,26,237,30,7,2591,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10fb61874a4f25715b4751fae5ead4ca.jpg",[],{"id":6623,"slug":6624,"title":6625,"dynasty":261,"author":6626,"museum":934,"description":6627,"tags":6628,"thumbUrl":6630,"material":182,"size":6631,"collection":98,"collections":6632,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},219063,"xiao-xiang-ba-jing-ce-7-zhang-fu-219063","潇湘八景册-7","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,68,354,29,88,90,1142,630,248,149,6040,30,7,91,1766,6629,70],"云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01daf9f4924b8c67e1bb62c82f7033f4.jpg","30x33厘米",[],{"id":6634,"slug":6635,"title":6636,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6637,"thumbUrl":6638,"material":198,"size":6154,"collection":98,"collections":6639,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},218156,"wen-ji-gui-han-tu-ce-7-li-tang-218156","文姬归汉图册-7",[354,29,28,89,30,7,278,94,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6052e2e14cf6edf1afe7db52d6d60111.jpg",[],{"id":6641,"slug":6642,"title":6643,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6644,"thumbUrl":6645,"material":198,"size":6154,"collection":98,"collections":6646,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":59},218145,"wen-ji-gui-han-tu-ce-18-li-tang-218145","文姬归汉图册-18",[24,25,354,29,28,30,7,112,223,2102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bef9b7e061ed409391791fc111ed8f.jpg",[],{"id":6648,"slug":6649,"title":6650,"dynasty":106,"author":107,"museum":234,"description":662,"tags":6651,"thumbUrl":6652,"material":88,"size":98,"collection":98,"collections":6653,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},216838,"zhan-zheng-tong-ban-hua-8-lang-shi-ning-216838","战争铜版画-8",[664,279,6396,30,7,90,2432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11ed3155c277d8f8dfd8e4d42fc03b48.jpg",[],{"id":6655,"slug":6656,"title":6657,"dynasty":261,"author":262,"museum":84,"description":6658,"tags":6659,"thumbUrl":6662,"material":198,"size":6663,"collection":98,"collections":6664,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},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",[23,24,28,29,30,7,27,149,6660,3964,163,6661,354],"台阶","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8c3e982c362e82e9e8920f78e88f8.jpg","32.5*32.6",[],{"id":6666,"slug":6667,"title":6668,"dynasty":261,"author":262,"museum":84,"description":6658,"tags":6669,"thumbUrl":6670,"material":198,"size":6663,"collection":98,"collections":6671,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":171},214904,"di-wang-dao-tong-wan-nian-tu-ce-11-chou-ying-214904","帝王道统万年图册-11",[23,24,25,354,28,29,27,30,7,36,31,3964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9691fc9bb74463cbea3192586d09effe.jpg",[],{"id":6673,"slug":6674,"title":2546,"dynasty":125,"author":6675,"museum":518,"description":6676,"tags":6677,"thumbUrl":6678,"material":98,"size":98,"collection":98,"collections":6679,"showCount":156,"zanCount":58,"manualWeight":58,"mainColor":6680},202462,"shen-jun-tu-juan-zhao-yan-chuan-202462","赵岩（传）","画面中人物衣袂轻扬，线条婉转如流，骏马身姿矫健，鬃毛墨韵飞扬。二者相倚成趣，神情交融间尽显灵动。笔墨细腻处勾勒精准，粗放处写意传神，气韵生动中藏五代风骨，雅致鲜活，引人沉醉于这帧人马相依的妙境里。",[24,26,30,7,28,5733,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1daf03fdedb4f146d7dba744930ba1ca.jpg",[],"cfbda8",{"id":6682,"slug":6683,"title":6684,"dynasty":106,"author":1606,"museum":234,"description":6685,"tags":6686,"thumbUrl":6688,"material":96,"size":283,"collection":98,"collections":6689,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":1661},288383,"bu-liao-qing-zan-cuo-tu-wei-xiang-sun-wen-288383","不了情暂撮土为香","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。",[23,24,28,29,30,7,31,32,33,90,129,151,27,6687],"伤情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb37f28bb6ef67198e5ff91fae70edc.jpg",[],{"id":6691,"slug":6692,"title":5309,"dynasty":301,"author":454,"museum":234,"description":6693,"tags":6694,"thumbUrl":6696,"material":96,"size":283,"collection":98,"collections":6697,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":512},256154,"san-cai-ma-yi-ming-256154","此马体态丰腴矫健，昂首伫立，筋骨线条劲挺舒展，尽显神骏昂扬之风。\n\n以白釉为底，褐釉如赭色流苏顺着颈鬃蜿蜒流淌，绿釉点缀鞍鞯与佩饰，三色交融晕染，古朴又明艳动人。鞍具纹饰精巧写实，垂坠的璎珞细腻生动，将大唐战马的华贵仪仗之气拉满。褪去疆场杀伐之态，凝住盛世雍容气度，静立间仿佛能窥见长安市上骏马骄行的往昔风貌，尽显彼时陶匠对鞍马的极致审美。",[301,4670,6695,7],"三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e70299bbdbb5073c7fdbd1211dcd5ff.jpg",[],{"id":6699,"slug":6700,"title":6701,"dynasty":603,"author":454,"museum":234,"description":6702,"tags":6703,"thumbUrl":6705,"material":96,"size":283,"collection":98,"collections":6706,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},254109,"tao-qi-ma-ji-le-yong-yi-ming-254109","陶骑马伎乐俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[3894,4670,5313,30,7,2433,6704],"伎乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32419e494f56a1ebf8f3f968c0df9b1c.jpg",[],{"id":6708,"slug":6709,"title":6710,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":6711,"thumbUrl":6712,"material":96,"size":283,"collection":98,"collections":6713,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":512},243747,"hu-ma-wen-pai-shi-yi-ming-243747","虎马纹牌饰",[4343,2432,2433,734,7,222,4346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85a979de819c21667caa5581494b001e.jpg",[],{"id":6715,"slug":6716,"title":6717,"dynasty":6718,"author":454,"museum":234,"description":6719,"tags":6720,"thumbUrl":6721,"material":96,"size":283,"collection":98,"collections":6722,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":1661},243531,"shuang-ma-tou-wen-pai-shi-yi-ming-243531","双马头纹牌饰","商","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[2431,2432,2433,7,222,6718,4346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab1a8b2d98157c33fb719331c597a8e9.jpg",[],{"id":6724,"slug":6725,"title":6726,"dynasty":106,"author":6727,"museum":234,"description":6728,"tags":6729,"thumbUrl":6733,"material":344,"size":98,"collection":405,"collections":6734,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},241019,"wu-gu-zhou-cao-ting-dong-241019","五古轴","曹廷栋","生于清圣祖康熙三十八年，卒于高宗乾隆五十年，年八十七岁。诸生。少嗜学工诗，中年后，绝意进取。于所居累土为山，环植花木，以奉母，名之日慈山，因自号慈山居士。时或弹琴赋诗写兰石摹篆隶以抒其闲寂。后益耽著述，不下楼者三十年，所坐木榻穿而复补。性旷达，晚自营生圹，手植梅花成林。廷栋生平最爱贺铸诗，故所为大似北宋人。尝以《宋诗钞》漏略尚多，因搜采遗佚，为《宋百家诗存》二十八卷；他着有《产鹤亭诗集》七卷，《老老恒言》五卷，《易准》四卷，《昏礼通考》二十四卷，《孝经通释》十卷，《逸语》十卷，及《琴学内篇》一卷，《外篇》一卷，均《清史列传》并传于世。",[223,87,224,70,7,210,6730,6731,6732,2066,1369,340],"渭水","秋水","孤帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5376f4e87589ee425ab452052d0c32.jpg",[405],{"id":6736,"slug":6737,"title":6738,"dynasty":106,"author":454,"museum":234,"description":6739,"tags":6740,"thumbUrl":6742,"material":98,"size":98,"collection":98,"collections":6743,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},238813,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238813","董诰律宣韶景册","此作以两段取景铺展早春江村之景。上段平岸柳林如烟，柔丝垂拂春水，堤畔策驴缓行，野意悠然。下段汀渚垂柳掩映，江帆停驻，舟头闲坐之人似在低语，漫溢松弛闲适。\n\n笔触秀润清雅，柳丝细毫勾勒，晕染出笼烟含翠之姿，水面以淡墨轻晕留白，漾出空濛春水的软润质感。全幅设色浅淡明净，舍去繁复皴擦，以简淡之笔写尽融融春意，将江南早春的慵懒恬和融于尺幅，尽显寄情丘山的文人雅趣，将春日江乡的闲淡之韵缓缓铺陈。",[24,25,354,29,88,90,36,6741,30,7,1766],"帆船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e9febcffb28fdf6aed328df824ef02.jpg",[],{"id":6745,"slug":6746,"title":6555,"dynasty":106,"author":454,"museum":234,"description":6747,"tags":6748,"thumbUrl":6751,"material":96,"size":283,"collection":75,"collections":6752,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},238622,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238622","这幅作品以全景山水承载战事纪实，层峦叠嶂间铺展水乡战地风貌，将行军、驻营的战事情节散落排布，既有山水笔墨的章法意趣，亦还原战事的真实脉络。\n前景将校策马引兵穿行谷道，右上角城池严整列阵，细节处将军士阵列、行军队形刻画详实入微。左侧题诗与画面呼应，以图文合璧记录战事历程。以传统山水画皴染勾勒地貌，工整细致复刻战地实景，让征伐往事具象呈现，兼具历史档案价值与军事题材绘画的独特表现力。",[24,25,354,28,237,88,30,7,90,31,94,164,2866,6749,91,36,1412,6750,3645,4088,6398,5548],"堡垒","战场景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a8e49b30110e036d279dab688753f.jpg",[75],{"id":6754,"slug":6755,"title":5826,"dynasty":106,"author":454,"museum":234,"description":6756,"tags":6757,"thumbUrl":6758,"material":96,"size":283,"collection":98,"collections":6759,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},238620,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238620","全景式构图铺展山地鏖战的宏阔场面，两侧陡山夹峙河谷，严整列阵的队伍与负隅顽抗的对手在此对垒。画师以细腻线条刻画出人马奔突、箭弩齐发的拼杀细节，将士悍勇姿态历历在目。山野间草木岩峦皴擦写实，烘托出战地荒蛮肃杀的氛围。\n\n整体画风冷峻写实，以纪实性的叙事还原战事的壮烈，将冷兵器时代山地攻防的紧张张力尽数铺陈于纸面，带着厚重的战地纪实感，让观者仿若亲临这硝烟弥漫的古战场。",[24,25,68,28,237,89,30,7,523,376,249,42,2866,665,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68c81815b4b6fe850b9a446c30fdbd.jpg",[],{"id":6761,"slug":6762,"title":6763,"dynasty":106,"author":650,"museum":84,"description":6764,"tags":6765,"thumbUrl":6766,"material":344,"size":98,"collection":98,"collections":6767,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},237382,"shan-shui-ce-xu-wen-yang-jin-liu-pu-gu-zhou-tu-ye-wang-hui-237382","山水册-徐玟、杨晋柳浦孤舟图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,354,88,89,90,339,630,267,7,30,129,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334f889706a97c80364d0d28a177adbb.jpg",[],{"id":6769,"slug":6770,"title":6771,"dynasty":106,"author":454,"museum":20,"description":6772,"tags":6773,"thumbUrl":6774,"material":344,"size":2869,"collection":98,"collections":6775,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},233081,"ping-ding-zhong-miao-zhan-tu-ce-yi-ming-233081","平定狆苗战图册","清乾隆五十九年（1794年），湖南、贵州的苗民起义失败后，小规模的苗民起义仍然不断，清政府同样采取了大举镇压的军事策略。嘉庆二年（1797年）贵州南笼（今安龙）苗寨民妇王囊仙率当地苗民起义，嘉庆帝命云贵总督勒保督师征剿。此套图表现的就是当时清廷对苗民起义的镇压。四幅图依次为：剿捕仲苗南笼围解、攻克洞灑当丈贼巢、攻克北乡巴林贼巢、剿净仲苗余党。",[24,354,29,30,7,90,279,6396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d69fc0ceafd93faa0f27fa096d17af9.jpg",[],{"id":6777,"slug":6778,"title":6779,"dynasty":106,"author":454,"museum":20,"description":6780,"tags":6781,"thumbUrl":6782,"material":344,"size":6074,"collection":98,"collections":6783,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},233062,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233062","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[24,25,354,28,29,30,7,809,195,1153,2866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a49c885727c2c9cf97dce68919e65d3.jpg",[],{"id":6785,"slug":6786,"title":6787,"dynasty":1760,"author":454,"museum":234,"description":6788,"tags":6789,"thumbUrl":6791,"material":96,"size":283,"collection":98,"collections":6792,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[23,6790,29,27,28,30,31,32,33,36,47,7,248],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":6794,"slug":6795,"title":6796,"dynasty":1760,"author":5659,"museum":234,"description":5660,"tags":6797,"thumbUrl":6798,"material":96,"size":283,"collection":98,"collections":6799,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},231630,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-shang-zhong-xia-shang-tu-zuo-guang-xin-231630","室町时代 清水寺缘起画卷上中下（上）",[24,25,26,29,28,27,721,30,31,90,7,36,267,151,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42489e41e6edbd1edcb14c072d8df156.jpg",[],{"id":6801,"slug":6802,"title":4071,"dynasty":261,"author":4072,"museum":234,"description":6803,"tags":6804,"thumbUrl":6805,"material":98,"size":98,"collection":98,"collections":6806,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[24,25,29,27,28,30,7,36,31,70,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":6808,"slug":6809,"title":6810,"dynasty":1760,"author":1761,"museum":234,"description":1762,"tags":6811,"thumbUrl":6814,"material":96,"size":283,"collection":98,"collections":6815,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":512},230625,"rembrandt-harmensz-van-rijn-026-lun-bo-lang-230625","Rembrandt Harmensz.van Rijn - 026",[1173,1174,29,30,7,6812,1764,6813],"荒野","废墟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01f8824fe6a3b2d9516f0193eb52a660.jpg",[],{"id":6817,"slug":6818,"title":6819,"dynasty":106,"author":6820,"museum":234,"description":6821,"tags":6822,"thumbUrl":6823,"material":98,"size":98,"collection":98,"collections":6824,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},229054,"shan-shui-ce-274-ye-xin-229054","山水册274","叶欣","此作以淡赭轻晕铺就雪野寒山，留白晕染间，天地漫着清寂冬意。远山以浅墨晕成朦胧雪色，不见繁复皴擦，只以简淡笔墨勾勒山形，将冬日山野荒寒铺展眼前。山道间车马旅人简笔写就，行色匆匆的羁旅之态跃然纸上，把凛冬行路的困顿萧索藏于笔底。\n\n整体笔墨清逸简淡，以少胜多，留白尽是寒雪，淡墨皆是荒丘，将冬日关山的空疏与行旅的孤寂相融，于尺幅之间晕染出悠远萧寒的意境，尽显小品山水的空灵诗意。",[24,25,354,88,90,522,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f683da4426a9134d7608944f202e2e.jpg",[],{"id":6826,"slug":6827,"title":6828,"dynasty":1760,"author":454,"museum":234,"description":6829,"tags":6830,"thumbUrl":6831,"material":96,"size":283,"collection":98,"collections":6832,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},225502,"fu-shi-hui-260-yi-ming-225502","浮世绘260","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。",[4946,29,4947,30,7,376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe697aa9dbb90d9bf62fedd1fcbaacc26.jpg",[],{"id":6834,"slug":6835,"title":6836,"dynasty":1760,"author":454,"museum":234,"description":6837,"tags":6838,"thumbUrl":6839,"material":98,"size":98,"collection":98,"collections":6840,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},225320,"fu-shi-hui-62-yi-ming-225320","浮世绘62","寒波漾着清蓝，木桥曲折如带牵起两岸雪色。旅人戴笠踏霜，牵驮货的瘦马缓行桥上，肩头落雪未掸，羁途匆匆。右侧茅庐雪压檐角，孤松疏枝擎着碎雪，静看行旅。远山素裹银装，暖调淡霞晕开在雪巅，冷暖撞色晕开清寂氛围。\n\n画面将冬日行旅的萧索，融在雪国水乡的静穆里，笔调雅致温婉，把冬郊羁愁与初雪诗意揉作一处，铺展出让人沉醉的雪国侘寂之美。",[4946,29,4947,1142,4949,7,47,36,694,523,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd748d6b44a119d42d7ca22eda0f7f54f.jpg",[],{"id":6842,"slug":6843,"title":4772,"dynasty":18,"author":454,"museum":234,"description":6844,"tags":6845,"thumbUrl":6846,"material":98,"size":98,"collection":98,"collections":6847,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},223685,"qi-shi-lie-gui-tu-ye-yi-ming-223685","胡风漫卷下猎罢而归，骑士毡帽胡服，神态悠然松弛，似正回味猎时快意。身旁骏马垂首缓息，鞍鞯纹饰细密华美，犹带着出猎时的矜贵气度，暗衬主人不凡。\n整幅设色调和淡雅，笔致凝练写实，将北地游侠猎归后的闲散意韵尽显。诗画合璧，题诗呼应着射猎的飒爽过往，把塞上猎游的疏野风情融于尺幅之间，寥寥数笔便将游侠卸甲稍歇的松弛情态勾勒传神，尽显古朴生动的写实格调。",[23,68,24,25,354,28,29,30,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c29f5851237d0ecd81db53402b7efe.jpg",[],{"id":6849,"slug":6850,"title":6851,"dynasty":261,"author":454,"museum":234,"description":6852,"tags":6853,"thumbUrl":6854,"material":96,"size":283,"collection":98,"collections":6855,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},223547,"xi-ma-tu-quan-juan-yi-ming-223547","洗马图全卷","马官们牵马临溪，或冲浴马身，或在岸边小憩。人物、鞍马分别施以不同色彩，丰富浓郁而又 清丽，做到了色不掩笔。用笔精细，色调浓润，风格清新秀丽。",[23,24,25,26,29,28,90,36,30,7,42,111,3404,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc55a22a730b92f31c6715f8624f45ae.jpg",[],{"id":6857,"slug":6858,"title":6859,"dynasty":18,"author":1739,"museum":207,"description":1740,"tags":6860,"thumbUrl":6861,"material":391,"size":1745,"collection":98,"collections":6862,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},220086,"jia-pai-tu-quan-juan-fen-juan-10-gong-kai-220086","笳拍图全卷-分卷10",[68,24,25,26,237,30,7,222,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F033e0f52be25204604c6531dfdfb38b0.jpg",[],{"id":6864,"slug":6865,"title":6866,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6867,"thumbUrl":6868,"material":198,"size":6154,"collection":98,"collections":6869,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},218160,"wen-ji-gui-han-tu-ce-3-li-tang-218160","文姬归汉图册-3",[24,25,354,29,30,90,7,94,36,112,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae9319dc329c43481864c3605f9550e.jpg",[],{"id":6871,"slug":6872,"title":6873,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6874,"thumbUrl":6877,"material":198,"size":6154,"collection":98,"collections":6878,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},218155,"wen-ji-gui-han-tu-ce-8-li-tang-218155","文姬归汉图册-8",[68,24,25,354,29,28,89,30,7,35,41,94,6875,36,681,6876,1572,1175],"土坡","历史场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfb6ffaf894a25f6f8dd74b66d18417a.jpg",[],{"id":6880,"slug":6881,"title":6882,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6883,"thumbUrl":6884,"material":198,"size":6154,"collection":98,"collections":6885,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},218153,"wen-ji-gui-han-tu-ce-10-li-tang-218153","文姬归汉图册-10",[24,25,354,29,28,89,30,7,31,36,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F542b4a02b40dec12d58414c41c98786d.jpg",[],{"id":6887,"slug":6888,"title":6889,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":6890,"thumbUrl":6891,"material":198,"size":6154,"collection":98,"collections":6892,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":59},218146,"wen-ji-gui-han-tu-ce-17-li-tang-218146","文姬归汉图册-17",[24,25,354,29,28,30,7,90,36,112,223,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767831759dc6f329dec393d3a284cedf.jpg",[],{"id":6894,"slug":6895,"title":6896,"dynasty":106,"author":107,"museum":234,"description":662,"tags":6897,"thumbUrl":6901,"material":88,"size":98,"collection":98,"collections":6902,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},216835,"zhan-zheng-tong-ban-hua-9-lang-shi-ning-216835","战争铜版画-9",[664,1174,665,6898,7,112,278,36,6899,149,6900,30,91,5914],"士兵","烟雾","战斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4d180386e98360415a2bfea86083d3.jpg",[],{"id":6904,"slug":6905,"title":6906,"dynasty":106,"author":107,"museum":234,"description":662,"tags":6907,"thumbUrl":6909,"material":88,"size":98,"collection":98,"collections":6910,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},216805,"zhan-zheng-tong-ban-hua-37-lang-shi-ning-216805","战争铜版画-37",[664,665,279,90,7,6898,223,6908],"硝烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70c24b5586aa674f189b6302c424f6a5.jpg",[],{"id":6912,"slug":6913,"title":6914,"dynasty":261,"author":262,"museum":84,"description":6658,"tags":6915,"thumbUrl":6916,"material":198,"size":6663,"collection":98,"collections":6917,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":171},214901,"di-wang-dao-tong-wan-nian-tu-ce-12-chou-ying-214901","帝王道统万年图册-12",[23,68,24,354,28,29,30,35,7,31,36,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cf2421f47dee07c35c9f8856a0ff71.jpg",[],{"id":6919,"slug":6920,"title":5287,"dynasty":4081,"author":6921,"museum":518,"description":6922,"tags":6923,"thumbUrl":6924,"material":98,"size":98,"collection":76,"collections":6925,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":6926},203354,"shuang-jun-tu-zhou-zhao-shu-ru-203354","赵叔孺","画面中两骏并立，低头啮草，姿态悠然自得。旁侧老柳虬枝舒展，柔条拂风，墨色浓淡间尽显苍劲与秀逸。设色清雅，马匹勾勒细致，鬃毛晕染自然，既得写实之真，又含写意之韵，传递出静谧闲适的田园意趣。笔墨间渗透着文人画的雅致，于简淡中见生机，尽显作者画马功底之深厚，将骏马的灵动与自然的清幽融为一体，令人观之忘俗。",[24,25,87,29,7,28,388,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ea7b0a6bee18a097b3932f4c934fc1.jpg",[76],"dacdc4",{"id":6928,"slug":6929,"title":6930,"dynasty":4081,"author":6931,"museum":518,"description":6932,"tags":6933,"thumbUrl":6934,"material":98,"size":98,"collection":76,"collections":6935,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":6936},203324,"shuang-ma-tu-zhou-chen-shu-ren-203324","双马图轴","陈树人","双马相依而立，白驹昂首俊朗，棕马垂首温顺，姿态鲜活灵动。柳枝轻飏于侧，暖晖铺陈天际，草地以淡墨晕染，间缀粉花几点，漾出清宁雅致的气息。马的造型兼具写实与写意，线条柔劲相济，设色雅淡温润，笔墨间既有传统国画的韵致，又含写生的生动质感，整体营造出静谧自然的生机之境。",[24,29,7,129,87,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4830aa78303cacb24da2a2f6be591c43.jpg",[76],"c9a87c",{"id":6938,"slug":6939,"title":6940,"dynasty":4081,"author":6941,"museum":518,"description":6942,"tags":6943,"thumbUrl":6944,"material":98,"size":98,"collection":137,"collections":6945,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":6946},203314,"yin-ma-chang-cheng-ku-tu-zhou-cheng-zhang-203314","饮马长城窟图轴","程璋","画面取长城附近峡谷景致，峭壁如削，松枝盘曲，墨色皴擦勾勒山石苍劲肌理。蓝衫牧马人驱策白驹行于坡岸，数匹骏马或低头饮水，或踏石穿行，姿态鲜活灵动。作者以传统笔墨为基，融入写实造型，马匹结构精准，明暗晕染自然；山石皴法兼具质感与雄浑气势，设色淡雅却见层次。整体意境苍凉中透着生机，将边塞牧马的野趣与山川之壮融为一体。",[24,87,29,89,90,7,1143,1174,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78126ce37b28e714f190cded4afa704.jpg",[137],"c6bcb1",{"id":6948,"slug":6949,"title":6950,"dynasty":4081,"author":6951,"museum":518,"description":6952,"tags":6953,"thumbUrl":6954,"material":98,"size":98,"collection":75,"collections":6955,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":6956},203245,"xi-guan-jun-ma-tu-zhou-pu-ru-203245","奚官骏马图轴","溥儒","奚官端坐骏马之上，衣纹线条婉转流畅，神态闲适从容；骏马四肢腾跃，鬃毛飞扬，墨色点染出斑驳肌理，动感十足。画面以水墨为主，笔触简洁却形神毕肖，留白处意蕴悠长，尽显文人画的清雅韵致。笔墨兼具工细与写意之妙，人物与马匹的互动自然生动，传递出一种悠然自在的古典意趣。",[24,88,237,30,7,70,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497e847f1b0e12e9d0c391881fe23b59.jpg",[75],"dfd2b9",{"id":6958,"slug":6959,"title":6960,"dynasty":4081,"author":315,"museum":518,"description":6961,"tags":6962,"thumbUrl":6963,"material":98,"size":98,"collection":55,"collections":6964,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":6965},203119,"qi-ma-tu-zhou-xu-bei-hong-203119","憩马图轴","画面中骏马低首伫立，似在小憩，静穆间却藏劲健风骨。徐悲鸿以奔放水墨勾勒轮廓，浓淡干湿的墨色变化赋予躯体丰腴体积感，鬃毛马尾挥洒如疾风，尽显写意之妙。马的姿态准确生动，骨骼结构隐于墨韵，融传统笔墨气韵与西画写实之法，将神骏与闲适完美结合，传递出静中有动、刚柔相济的艺术张力。",[24,88,7,222,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a176a30e362f780644724052b96c65c.jpg",[55],"b8ae9d",{"id":6967,"slug":6968,"title":6969,"dynasty":106,"author":6970,"museum":518,"description":6971,"tags":6972,"thumbUrl":6973,"material":98,"size":98,"collection":137,"collections":6974,"showCount":140,"zanCount":58,"manualWeight":58,"mainColor":6975},201676,"dian-cang-shan-se-tu-zhou-huang-xiang-jian-201676","点苍山色图轴","黄向坚","层峦叠嶂如黛，云雾似缕轻缠峰腰，远近山景因之错落有致。山石以皴擦显肌理，或浓墨点苔增苍劲，或淡笔晕染衬空灵。山下江流蜿蜒，孤舟泛于碧波，岸畔村舍隐于树影，小桥横卧溪上，行人策马路过，烟火气与清寂山光相融。笔墨干湿相济，设色淡雅温润，既展山川雄浑之态，又含水乡灵秀之韵，自然意趣与人文情致交织，尽得传统山水画气韵生动之妙。",[90,29,89,32,33,339,7,2484,5733,536,87,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2f80673801566b69d1f6606ddfe3dd1.jpg",[137],"8b7b70",{"id":6977,"slug":6978,"title":6979,"dynasty":106,"author":6980,"museum":84,"description":6981,"tags":6982,"thumbUrl":6983,"material":96,"size":283,"collection":98,"collections":6984,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},290600,"sa-wei-tu-zhou-zhang-ruo-cheng-290600","撒围图轴","张若澄","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[68,24,25,87,88,90,30,7,94,36,91,89,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087c925385026c895f7734ba6f0e8031.jpg",[],{"id":6986,"slug":6987,"title":6988,"dynasty":261,"author":6989,"museum":234,"description":6990,"tags":6991,"thumbUrl":6992,"material":96,"size":283,"collection":98,"collections":6993,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},289733,"wu-yan-lv-shi-liang-shou-wang-gu-xiang-289733","五言律诗两首","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。",[1808,24,25,68,223,224,70,210,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1324673e4269d867f8de67bf9e58bfa.jpg",[],{"id":6995,"slug":6996,"title":6997,"dynasty":1760,"author":454,"museum":234,"description":6998,"tags":6999,"thumbUrl":7001,"material":96,"size":283,"collection":98,"collections":7002,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":1661},289112,"nan-qin-san-lang-hua-juan-yi-ming-289112","男衾三郎画卷","整卷图文共生，左侧古题咏铺陈叙事，右幅拆分多段场景。深宅庭院里，仕女文士凭廊观游、私语晤面，木构屋宇细节雅致，淡彩晕染庭中花木，尽显贵族闲雅日常；郊野之上武士控马弯弓，身姿矫捷，动静相映。素纸因年岁晕染泛黄，浅淡青绿、朱红点缀其间古意盎然，将物语轶事缓缓铺展，融闲情英气于长卷，尽显中古绘卷特有的叙事审美意趣。",[23,68,26,29,30,31,7,223,5477,151,7000],"故事画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F342fda8928667199bec2164d428214aa.jpg",[],{"id":7004,"slug":7005,"title":7006,"dynasty":603,"author":454,"museum":234,"description":6702,"tags":7007,"thumbUrl":7008,"material":96,"size":283,"collection":98,"collections":7009,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},254110,"tao-qi-ma-yong-yi-ming-254110","陶骑马俑",[4670,2433,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ee2134e2362ca1a7574fbe98874cf3.jpg",[],{"id":7011,"slug":7012,"title":7013,"dynasty":603,"author":454,"museum":234,"description":7014,"tags":7015,"thumbUrl":7018,"material":96,"size":283,"collection":98,"collections":7019,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},253798,"tao-huang-you-ma-yi-ming-253798","陶黄釉马","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[3894,4670,7016,7,6220,7017],"黄釉","陶制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08fcb01ca7e1bd1b7a055c174a0f40e7.jpg",[],{"id":7021,"slug":7022,"title":7023,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":7024,"thumbUrl":7026,"material":96,"size":283,"collection":98,"collections":7027,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":512},253281,"san-cai-qi-ma-nan-yong-yi-ming-253281","三彩骑马男俑",[1380,6695,4670,5313,30,7,2355,7025,29],"低温釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F787a3b259b14ef1a68e831b83a2f62eb.jpg",[],{"id":7029,"slug":7030,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":7032,"thumbUrl":7034,"material":96,"size":283,"collection":98,"collections":7035,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":512},253216,"san-cai-la-ma-yong-yi-ming-253216","三彩拉马俑",[301,5313,4670,29,30,7,7033],"彩色釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b1ec6791e9aedb5be697c2637d4318f.jpg",[],{"id":7037,"slug":7038,"title":7039,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":7041,"thumbUrl":7044,"material":96,"size":283,"collection":98,"collections":7045,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},248846,"hei-qi-qian-luo-dian-ba-xian-tu-fang-xing-wei-jiao-he-yi-ming-248846","黑漆嵌螺钿八仙图方形委角盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[6474,7042,7043,30,7,222,401],"嵌螺钿","黑漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c29a0ba09bd7288304ea26d1e3faa65.jpg",[],{"id":7047,"slug":7048,"title":7049,"dynasty":106,"author":7050,"museum":234,"description":7051,"tags":7052,"thumbUrl":7053,"material":96,"size":283,"collection":98,"collections":7054,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},239483,"liu-yong-lang-hua-ma-wan-shan-liu-yong-lang-239483","刘用烺画马纨扇","刘用烺","清末北京著名画家。光绪年间在《启蒙画报》画插图，名声渐起。",[24,25,1808,29,28,7,388,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a052ea1cd96cfaba3aa93dad0263103.jpg",[],{"id":7056,"slug":7057,"title":7058,"dynasty":106,"author":7059,"museum":234,"description":7060,"tags":7061,"thumbUrl":7063,"material":98,"size":98,"collection":98,"collections":7064,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},239210,"za-hua-juan-tang-ying-239210","杂画卷","唐英","此卷兼工带写，笔意灵秀多变。起首松鼠戏食，墨色晕染出蓬松绒毛，灵动俏皮之态尽显；接绘双马，一匹徐行悠然，一匹滚地嬉憩，骏舒逸致扑面而来。\n\n中段丹冠雄鸡神采英挺，翎羽勾勒细腻又不失写意韵致，母鸡护雏尽显脉脉温情，山雀翻飞轻盈灵动。末段湖山清润，巉石隐现，幽篁茅舍伴扁舟泛波，野雁掠空尽得江南秋寂之味。\n\n题跋小字娟秀雅致，书画合璧，将花鸟走兽的灵动生机与山水的澹泊雅韵浑融无间，尽显扎实写生功底与清隽文人逸趣。",[23,24,25,26,88,29,90,266,339,267,1711,7,7062,35,36,249,223,70],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c768bfb539b8068f02787c67fb67aa.jpg",[],{"id":7066,"slug":7067,"title":4128,"dynasty":106,"author":7068,"museum":234,"description":7069,"tags":7070,"thumbUrl":7073,"material":98,"size":98,"collection":98,"collections":7074,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},239006,"shan-shui-ce-li-dong-239006","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,25,354,29,89,90,630,91,7,36,113,1766,266,7071,7072],"树林","石堆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e5bc217d192b673344b8a2d8cf36cf.jpg",[],{"id":7076,"slug":7077,"title":3941,"dynasty":106,"author":3942,"museum":234,"description":7078,"tags":7079,"thumbUrl":7080,"material":98,"size":98,"collection":98,"collections":7081,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},238756,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238756","此作用淡墨绘就行旅小景，左侧城堞隐于烟柳山峦间，石径沿陂岸迤逦延展。策马路过的士人衬出荒村的清寂。远景山峦以干笔皴擦，苍朴雅致，近岸林木简淡清润，虚实相映晕染出空濛悠远的氛围。配页书法端雅工稳，诗画呼应，将拟古羁旅诗意融于尺幅山水间。笔致松秀灵和，简净萧疏，把行旅幽寂的况味藏在淡墨山水里，诗画合璧，尽显清和淡远的绵长意韵。",[24,25,354,88,29,89,27,90,30,7,31,94,130,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f6b582e70bcee5d7540efab516672d.jpg",[],{"id":7083,"slug":7084,"title":7085,"dynasty":261,"author":7086,"museum":234,"description":7087,"tags":7088,"thumbUrl":7090,"material":96,"size":283,"collection":98,"collections":7091,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},237811,"jiang-gan-li-ma-shan-ye-ma-yi-237811","江干立马扇页","马逸","马逸，字南坪，晚号陔南，清代江苏常熟人。",[24,25,1808,88,89,90,30,7,7089,32,36,339],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf2dc4217e38e19041df8f18b637a45.jpg",[],{"id":7093,"slug":7094,"title":7095,"dynasty":261,"author":7096,"museum":234,"description":7097,"tags":7098,"thumbUrl":7099,"material":344,"size":98,"collection":98,"collections":7100,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},237269,"zhi-hua-ce-chen-dao-237269","指画册","陈道","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[24,25,354,5894,88,7,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6750588351e175e38801cd698b47173f.jpg",[],{"id":7102,"slug":7103,"title":4128,"dynasty":106,"author":4523,"museum":234,"description":7104,"tags":7105,"thumbUrl":7106,"material":98,"size":98,"collection":98,"collections":7107,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},237101,"shan-shui-ce-cha-shi-biao-237101","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,25,354,88,89,70,90,630,30,7,33,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec67ce600a8c63aeb36d198de39d77b.jpg",[],{"id":7109,"slug":7110,"title":7111,"dynasty":261,"author":454,"museum":234,"description":7112,"tags":7113,"thumbUrl":7114,"material":96,"size":283,"collection":98,"collections":7115,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},236298,"sha-shi-geng-qiu-mu-li-huai-tu-shan-ye-yi-ming-236298","沙士鲠秋暮离怀图扇页","秋郊暮色晕染出萧索况味，疏木寒林间藏着黯然离情。左侧车旁，旅人执手话别，衣袂轻扬，将千言万语凝在指尖；右侧故友勒马回首，马蹄徐缓，把不舍系在晚风里。\n\n浅设色铺就秋野底色，枯荣交织的林木点染暮秋清寂，留白处似漫着霜天薄霭，将缱绻离愁悄然晕开。线条清劲秀逸，人物神态宛然，把文人别离的含蓄深挚收在咫尺扇面中，淡墨轻皴写尽秋日送别的悠远意境，尺幅之间，铺展出绵长羁旅别愁。",[1808,24,29,90,30,7,32,36,91,94,89,70,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7233616f75777a8d6189fd1a0fb46c.jpg",[],{"id":7117,"slug":7118,"title":6062,"dynasty":18,"author":398,"museum":20,"description":6063,"tags":7119,"thumbUrl":7120,"material":72,"size":6066,"collection":98,"collections":7121,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},233991,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233991",[68,24,25,354,237,29,30,31,7,376,90,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a524317f8e8ee3a2cabb448aa3b0d79.jpg",[],{"id":7123,"slug":7124,"title":2863,"dynasty":106,"author":454,"museum":20,"description":5458,"tags":7125,"thumbUrl":7126,"material":344,"size":2869,"collection":98,"collections":7127,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},233092,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233092",[28,29,89,90,30,7,376,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb0af8976491b307f447c8f619b2b3f.jpg",[],{"id":7129,"slug":7130,"title":7131,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":7132,"thumbUrl":7133,"material":344,"size":2869,"collection":98,"collections":7134,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},233066,"ping-ding-yi-li-hui-bu-tu-xiang-ce-yi-ming-233066","平定伊犁回部图像册",[68,24,354,29,30,7,90,164,70,279,6396,4149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2efbdbddbb3716cdc8dea1c7c7345e0.jpg",[],{"id":7136,"slug":7137,"title":6779,"dynasty":106,"author":454,"museum":20,"description":6780,"tags":7138,"thumbUrl":7139,"material":344,"size":6074,"collection":98,"collections":7140,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},233061,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233061",[24,354,29,279,30,7,90,552,6396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b3a738a5061aa6ea51d537775ed9a1.jpg",[],{"id":7142,"slug":7143,"title":6779,"dynasty":106,"author":454,"museum":20,"description":6780,"tags":7144,"thumbUrl":7145,"material":344,"size":6074,"collection":98,"collections":7146,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},233057,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233057",[24,25,354,28,29,30,7,90,278,36,149,1153,4983,707,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F122263d56860712ccc26d30c524b4ae5.jpg",[],{"id":7148,"slug":7149,"title":6555,"dynasty":106,"author":454,"museum":20,"description":6556,"tags":7150,"thumbUrl":7151,"material":252,"size":6562,"collection":98,"collections":7152,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},233047,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233047",[24,354,29,279,30,90,7,6396,223,70,6559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea7cf63e28d061d90b431e5cc8c7536.jpg",[],{"id":7154,"slug":7155,"title":7156,"dynasty":1760,"author":7157,"museum":234,"description":7158,"tags":7159,"thumbUrl":7165,"material":96,"size":283,"collection":98,"collections":7166,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},232531,"mi-lai-si-75-yue-han-ai-fu-li-te-mi-lai-si-232531","米莱斯75","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。",[3604,4919,7160,7,30,6900,7161,7162,7163,7164],"战车","长矛","车轮","奔跑","倒地人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec497c34f92f9b95656db313198267f.jpg",[],{"id":7168,"slug":7169,"title":7170,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":7173,"thumbUrl":7176,"material":96,"size":283,"collection":98,"collections":7177,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":512},232073,"on-the-racecourse-circa-kunstmuseum-basel-switzerland-de-jia-232073","On the Racecourse - circa - - Kunstmuseum Basel (Switzerland)","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。",[1173,7174,7175,7,30,422],"印象派","赛马场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c9305742937d4e291dd5a8c7c865c96.jpg",[],{"id":7179,"slug":7180,"title":7181,"dynasty":1760,"author":454,"museum":234,"description":7182,"tags":7183,"thumbUrl":7186,"material":96,"size":283,"collection":98,"collections":7187,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},231729,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-shang-bu-yi-ming-231729","江户时期 乡村故事绘卷-上部","此绘卷为典型和汉物语长卷形制，图文错落排布。平假名草书舒展流丽，浅底衬着莳金暗纹，古雅沉静。三幅设色古画各有意趣：山林间高士凭崖闲坐，水畔处甲士趁舟行军，廊下众人雅集清谈。敷色沉稳古拙，线条朴拙生动，将乡野旧闻的叙事性藏于笔间，把文情画意融于长卷，带着旧纸特有的温润质感，铺展开一卷裹着古意的乡野往昔。",[23,26,29,28,223,1742,30,90,7,1143,340,277,33,534,36,7184,7185,681],"聚会场景","骑马场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ced2fa0e0a87ba1faa1d5cc78070d2e.jpg",[],{"id":7189,"slug":7190,"title":7191,"dynasty":1760,"author":454,"museum":234,"description":7192,"tags":7193,"thumbUrl":7195,"material":98,"size":98,"collection":98,"collections":7196,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},231653,"xi-ma-tu-juan-yi-ming-231653","戏马图卷","此卷以淡彩施绘，笔墨清简秀逸。右端平远郊野间，群马散游浅草坡地，或垂首啮草，或信步徐行，村舍隐于林麓，漾着乡野闲静意趣。随卷左移，画面渐次鲜活：仆役控缰牵马，骑手们或策马奔腾，或俯身控御烈马，更有健儿挥弄长械戏马，烈马扬鬃奋蹄，人马的灵动神态被简练线条勾勒尽致。浅青、淡赭的淡设色调雅致柔和，将牧养日常与游嬉之趣相融，把民间驯马戏马的鲜活图景缓缓铺展，尽显世俗生活的生动意韵。",[23,24,25,26,29,28,30,7,90,5914,278,891,7194],"动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8fcb02ee6658a46924bfa4d3b69f70.jpg",[],{"id":7198,"slug":7199,"title":7200,"dynasty":1760,"author":454,"museum":234,"description":7201,"tags":7202,"thumbUrl":7205,"material":98,"size":98,"collection":98,"collections":7206,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},225321,"fu-shi-hui-64-yi-ming-225321","浮世绘64","这幅绘作以旅人过桥铺展开市井行旅图景。前景木桥上，脚夫负货、骑手牵马，行旅匆匆，蓝衣纹章、竹笠货箱细节饱满，鲜活勾勒出江户出行的烟火日常。远景沙岸缓丘晕染出柔和的浅黄与黛色，屋舍松林错落河畔，水色清浅铺陈开开阔的水乡暮色。\n\n构图以桥身为视觉动线，将人间烟火与郊野闲淡揉合一处，明快平涂的色块带着典型的装饰意趣，把行旅奔波的日常晕染出悠然的江户风情，动静相映间，俗常光景里藏着旧时东瀛的鲜活气韵。",[4946,29,4947,32,33,7,30,36,47,278,7203,7204],"木桥","驮运","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254508edf3ec840f83465301da8ef94f.jpg",[],{"id":7208,"slug":7209,"title":7210,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":7211,"thumbUrl":7213,"material":198,"size":6154,"collection":98,"collections":7214,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":59},218149,"wen-ji-gui-han-tu-ce-14-li-tang-218149","文姬归汉图册-14",[68,24,25,354,29,28,30,7,112,7212,681,677],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708172381c7f741c5dec5d6569ff6f96.jpg",[],{"id":7216,"slug":7217,"title":7218,"dynasty":106,"author":107,"museum":234,"description":662,"tags":7219,"thumbUrl":7220,"material":88,"size":98,"collection":98,"collections":7221,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},216837,"zhan-zheng-tong-ban-hua-7-lang-shi-ning-216837","战争铜版画-7",[106,664,665,30,7,90,36,249,42,6898,707,4983,4981,1583,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209b9b1f02fa02291bae8381a37b9690.jpg",[],{"id":7223,"slug":7224,"title":7225,"dynasty":106,"author":107,"museum":234,"description":662,"tags":7226,"thumbUrl":7228,"material":88,"size":98,"collection":98,"collections":7229,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},216803,"zhan-zheng-tong-ban-hua-45-lang-shi-ning-216803","战争铜版画-45",[664,2433,665,30,7,90,91,36,31,1174,110,7227,149,6898,7194],"山石皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3098c59247a2c66922b1cf43f9ed3b88.jpg",[],{"id":7231,"slug":7232,"title":7233,"dynasty":106,"author":7234,"museum":234,"description":7235,"tags":7236,"thumbUrl":7237,"material":182,"size":98,"collection":98,"collections":7238,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":171},215101,"tui-bei-tu-ce-7-jiao-bing-zhen-215101","推背图册-7","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,25,354,28,29,7,3896,222,130,90,1668,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86763678f88afa62a40f3f9360dffeb8.jpg",[],{"id":7240,"slug":7241,"title":4990,"dynasty":4081,"author":4463,"museum":518,"description":7242,"tags":7243,"thumbUrl":7244,"material":98,"size":98,"collection":76,"collections":7245,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":7246},203004,"ma-tu-zhou-ge-quan-203004","画面中花斑骏马昂首伫立，姿态俊逸矫健。画家以工笔勾勒马的轮廓，线条精准流畅，尽显骨骼肌理之美；复以水墨晕染，浓淡相宜的墨色点染出斑驳斑纹与毛发质感，鬃尾飘逸灵动，似有风拂过。整体笔墨清雅脱俗，既承传统国画之韵，又融个人细腻观察，将马的神骏与灵秀尽显无遗，观之令人心生喜爱。",[24,7,28,88,29,87,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3682a1cc2f123664a25689d2aed1150b.jpg",[76],"dad7cc",{"id":7248,"slug":7249,"title":7250,"dynasty":106,"author":5750,"museum":518,"description":7251,"tags":7252,"thumbUrl":7253,"material":98,"size":98,"collection":98,"collections":7254,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":7255},202578,"zhi-dian-qian-cheng-tu-zhou-ren-yu-202578","指点前程图轴","寒林雪岭间，古道蜿蜒盘桓。骑马者衣袂轻扬，沿山道缓行，旁有侍者抬手遥指，似为前路指引方向。山石以皴法皴擦，覆雪处淡墨晕染，质感厚重；枯树枝桠虬劲，苍劲中透着疏朗。画面以水墨为基调，墨色浓淡相宜，留白巧妙，将行旅之景与“指点前程”的意涵相融，既显笔墨的苍润灵动，又含对前路的期许，尽显山水行旅图的人文韵致。",[24,88,90,30,7,89,94,87,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7da366ac3b67699abea0955e0f01680.jpg",[],"baaa97",{"id":7257,"slug":7258,"title":7259,"dynasty":106,"author":7260,"museum":518,"description":7261,"tags":7262,"thumbUrl":7264,"material":98,"size":98,"collection":98,"collections":7265,"showCount":11,"zanCount":58,"manualWeight":58,"mainColor":7266},202522,"han-wu-gong-gu-shi-tu-zhou-xiao-chen-202522","汉吴公故事图轴","萧晨","画面以庭院为核心，苍松虬劲枝叶蓊郁，掩映古朴建筑。人物往来有致，阶前交谈者神态生动，门边互动者情态自然；侧畔马匹静立，白鹤闲步，添雅致生机。笔墨细腻温润，山石以皴法勾勒肌理，树木枝叶繁密有致，建筑线条规整精准，尽显工笔之精。整体氛围静谧含生机，既再现历史场景温情，又蕴传统文人画雅致意趣。",[28,29,89,30,7,248,149,151,7263],"白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe409651aaba9be87ede5283c7459a965.jpg",[],"705d3a",{"id":7268,"slug":7269,"title":7270,"dynasty":106,"author":7271,"museum":234,"description":7272,"tags":7273,"thumbUrl":7274,"material":96,"size":283,"collection":98,"collections":7275,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},290568,"xing-e-jun-tu-zhou-xu-cheng-xiang-290568","星额骏图轴","徐呈祥","清代宫廷画家",[24,87,29,28,7,222,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581043677d1f7e6027698347c68344b8.jpg",[],{"id":7277,"slug":7278,"title":7279,"dynasty":1760,"author":454,"museum":234,"description":7280,"tags":7281,"thumbUrl":7283,"material":96,"size":283,"collection":98,"collections":7284,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},289449,"chuan-ming-he-chang-nian-xiang-yi-ming-289449","传名和长年像","画面主体端坐的武者面容沉毅，墨绿宽袍衬出煊赫气度，腰间横刀、手持短笏，暗显武家身份。身侧侍童持长弓垂首静立，满是恭谨肃穆。下方驯马场景鲜活灵动，仆役倾力安抚躁动骏马，动静对比鲜明。\n\n整体用色古雅凝练，线条拙朴写实，既铺陈上位者的威严气场，又以驯马的日常细节烘托世家氛围，将武家风骨与俗世烟火巧妙融合。古旧绢面晕开的色泽里，藏着对武人日常的细腻刻画，尽显东洋古绘的沉静意趣。",[23,24,25,87,29,30,7,164,7282],"肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa13f081eb32b788595ce4e8562653.jpg",[],{"id":7286,"slug":7287,"title":7288,"dynasty":1760,"author":454,"museum":234,"description":7289,"tags":7290,"thumbUrl":7291,"material":96,"size":283,"collection":98,"collections":7292,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},288876,"giovanni-battista-tiepolo-illustration-for-a-book-troops-advancing-toward-a-city-gate-yi-ming-288876","Giovanni Battista Tiepolo--Illustration for a Book Troops Advancing toward a City Gate","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。",[3604,665,30,7,49,164,1153,4983,6396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d2f3249028dd3b23a953fc1360f30b.jpg",[],{"id":7294,"slug":7295,"title":7296,"dynasty":106,"author":454,"museum":234,"description":7297,"tags":7298,"thumbUrl":7301,"material":96,"size":283,"collection":98,"collections":7302,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},267344,"man-xiu-ji-xiang-tian-mu-xiang-zhou-yi-ming-267344","满绣吉祥天母像轴","靛蓝身色的吉祥天母踞乘骡子，忿怒威严，诸护法仙众环伺左右。流云翻涌缠绕山峦，绣线晕染出明暗层次，将众神狞厉神威烘托得淋漓尽致。\n\n整作以满绣工艺织就，走线细密饱满，浓烈鲜亮的色块交织，既铺陈出藏地护法信仰的雄浑刚健，又尽显刺绣工艺的柔美精巧。四周红色绣框以重复梵文真言环绕，规整肃穆间更添神圣意蕴。构图繁密却层次分明，一针一线皆凝着匠人的虔敬心力，是信仰与技艺相融的典范，尽显此中顶尖水准。",[87,4658,7299,721,3668,30,7,222,29,7300,3667],"满绣","神话题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9003962ed2f76a683c8717b10c02b384.jpg",[],{"id":7304,"slug":7305,"title":7306,"dynasty":261,"author":454,"museum":234,"description":7307,"tags":7308,"thumbUrl":7309,"material":96,"size":283,"collection":98,"collections":7310,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},263686,"han-xi-meng-song-yuan-ming-ji-ce-hua-xi-yu-yin-tu-yi-ming-263686","《韩希孟宋元名迹册·花溪渔隐图》","此作为顾绣佳作，用工致针脚复刻古意。画面右侧柔柳垂溪，枝梢随风轻摆，花蹄骏马涉水徐行，骑乘的稚童安然惬意，水波漾着细碎涟漪，晕开郊野春日的悠然野趣。配题行书诗文与画面呼应，笔墨清逸雅致。整体设色浅淡清润，将宋画的空灵意境与刺绣工艺的精微相融，把溪岸牧马的闲恬童趣晕染得灵动鲜活，绣艺精细还原笔墨韵味，诗意与绣色交织，尽显古雅恬和的林下意境，复刻出宋元名迹的淡远意趣。",[24,25,354,28,29,7,30,129,33,223,224,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f17af2d5b3434a457c4801a825a7b2.jpg",[],{"id":7312,"slug":7313,"title":7314,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":7316,"thumbUrl":7319,"material":96,"size":283,"collection":98,"collections":7320,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},261264,"qing-hua-liu-shu-mu-ma-tu-bi-yan-hu-yi-ming-261264","青花柳树牧马图鼻烟壶","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。",[4670,7317,7318,129,7,222,401],"青花","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7acd1fd50bdad074aeaae2d1267b6e0d.jpg",[],{"id":7322,"slug":7323,"title":7324,"dynasty":603,"author":454,"museum":234,"description":7014,"tags":7325,"thumbUrl":7328,"material":96,"size":283,"collection":98,"collections":7329,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":512},254285,"tao-huang-you-qi-ma-chui-di-yong-yi-ming-254285","陶黄釉骑马吹笛俑",[3894,4670,7326,7016,5313,2355,30,1722,7327,7],"陶塑","笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f9294b76c98ca173a6643df2bc663.jpg",[],{"id":7331,"slug":7332,"title":7333,"dynasty":603,"author":454,"museum":234,"description":6702,"tags":7334,"thumbUrl":7337,"material":96,"size":283,"collection":98,"collections":7338,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},254210,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254210","陶画彩骑马男俑",[3894,7335,7336,5313,30,7,29,4670],"陶","画彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1223c4d044dee869bec4af4436f8916c.jpg",[],{"id":7340,"slug":7341,"title":7333,"dynasty":603,"author":454,"museum":234,"description":6702,"tags":7342,"thumbUrl":7343,"material":96,"size":283,"collection":98,"collections":7344,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":512},254209,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254209",[3894,4670,7336,29,5313,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd81619f7103bb02ad946f4a13bb20e4e.jpg",[],{"id":7346,"slug":7347,"title":7348,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":7349,"thumbUrl":7350,"material":96,"size":283,"collection":98,"collections":7351,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":512},254145,"san-cai-qi-ma-yong-yi-ming-254145","三彩骑马俑",[301,4670,5313,30,7,5312,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8758f16883eff222cac2bda029451c.jpg",[],{"id":7353,"slug":7354,"title":7013,"dynasty":603,"author":454,"museum":234,"description":7014,"tags":7355,"thumbUrl":7358,"material":96,"size":283,"collection":98,"collections":7359,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},253799,"tao-huang-you-ma-yi-ming-253799",[4670,7326,7356,7,5313,7357],"施釉","隋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3141d75b2b16a09818758b99a84a3ec9.jpg",[],{"id":7361,"slug":7362,"title":7363,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":7364,"thumbUrl":7366,"material":96,"size":283,"collection":98,"collections":7367,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},242941,"chun-yu-yi-ming-242941","錞于",[2431,2432,2433,222,7,7365],"汉代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39b7c0171e0eba3cae52533814cf783d.jpg",[],{"id":7369,"slug":7370,"title":7371,"dynasty":261,"author":7372,"museum":20,"description":7373,"tags":7374,"thumbUrl":7380,"material":7381,"size":7382,"collection":405,"collections":7383,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},240850,"shu-wu-lv-shi-zhou-liu-zheng-zong-240850","书五律诗轴","刘正宗","此轴书五言诗一首。点划方圆兼济，书风峻峭挺拔，与倪元璐、黄道周、王铎诸家书风一脉相传。\u2028 释文：\u2028 春日深且晏，和风吹翠林。暮云起层蔼，荣柯啭时禽。\n纷乘此尽遣，静阅参道心。物化归自然，寒暑无凌侵。\n逸我理可凭，一如节候临。偃仰对壶觞，夕籁发清音。\n近作似嵩石亲家词坛政。逋史刘正宗。\u2028 款署：“近作似嵩石亲家词坛政。逋史刘正宗。”钤“逋斋图书”朱文印、“刘正宗印”白文印。鉴藏印钤“百研室”朱文印。（撰稿人：华宁）",[223,224,87,70,7375,7376,7,7377,7378,7379],"西山","绿野","林","雨雪","山形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1f5f718fe15239984496365454a39d.jpg","绫本，行书","纵199.6厘米，横48.4厘米",[405],{"id":7385,"slug":7386,"title":7387,"dynasty":261,"author":7388,"museum":234,"description":7389,"tags":7390,"thumbUrl":7392,"material":344,"size":98,"collection":405,"collections":7393,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},240121,"shi-ye-li-ben-long-240121","诗页","李本漋","这件小楷结体端稳秀雅，笔致清劲匀整，点画筋骨内含，收放合宜。字间排布疏朗齐整，通篇气息静穆安和，尽显雅致文人气韵。浅棕纸底衬得乌亮墨色愈发温润沉静，古雅氛围油然而生。\n\n用笔一丝不苟，起收转折皆恪守法度，既带着唐人小楷的谨严工整，又暗含明代书法特有的隽秀风神。诗书雅意融于笔端，每一字都如谦谦君子，风骨暗藏却不张扬，缓缓铺陈出旧时文人心底的缱绻意绪，尽显翰墨清韵。",[223,224,88,7391,32,33,7],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b33745d225533c5dcc646efc85ba9.jpg",[405],{"id":7395,"slug":7396,"title":3941,"dynasty":106,"author":3942,"museum":234,"description":7397,"tags":7398,"thumbUrl":7399,"material":98,"size":98,"collection":98,"collections":7400,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},238750,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238750","此作分为两段景致，右幅层岩峻拔，山道隐于苍林茂叶间，水墨皴擦勾勒出山体质感，古意萧森，尽显林泉幽寂之致。左幅绘平野送别，篱舍错落、嘉木扶苏，驻车长者与将行友人相对，侍从恭立旁侧，人物情态温雅缱绻，惜别之意流于眉目之间。\n\n整幅以淡墨晕染，笔致松秀简淡，书画合璧，将诗文间的怀远别情融于尺幅。丘壑之静穆与赠别之温情相映，既有山野林泉的清远恬和，又藏人情往复的温润深挚，尽显文人诗意画的抒情意趣，意境清和雅致，暗合中式水墨的含蓄之美。",[24,354,88,89,90,30,7,266,36,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc34e80017b62c88abd7e87afbb22704a.jpg",[],{"id":7402,"slug":7403,"title":3941,"dynasty":106,"author":3942,"museum":234,"description":7404,"tags":7405,"thumbUrl":7406,"material":98,"size":98,"collection":98,"collections":7407,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},238737,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238737","此作以郊野饯别入画，淡墨绘就柳丝依依，荒坡浅溪蜿蜒迤逦。主客对揖作别，侍童牵马静立旁侧，萧疏景致暗合离人愁绪。线条清隽秀雅，皴擦简淡空灵，以水墨晕染出春日郊野的柔寂氛围。搭配题诗与朱红印章，诗画相映，将古人惜别心绪融于笔底。整幅书卷盎然，雅致清和，以极简笔墨烘托出缱绻离情，尽显含蓄韵致，淡远中藏着深长的送别意趣。",[24,25,354,237,88,30,7,376,91,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1102aa8993808b49edb1f67b105d02.jpg",[],{"id":7409,"slug":7410,"title":6021,"dynasty":106,"author":3942,"museum":234,"description":7411,"tags":7412,"thumbUrl":7413,"material":98,"size":98,"collection":98,"collections":7414,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},238729,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238729","此作为诗画合璧，左书右绘。书法笔致清隽，寄怀别绪。画面以淡墨铺陈，春柳垂丝轻拂岸渚，江波澹澹远景空濛，晕染出缱绻怅惘的送别氛围。\n\n驿卒牵马侍立，友人执手揖别，人物衣纹以铁线描勾勒，简练挺括，将离情藏于无言的仪态间。通幅不施重彩，留白衬出别意悠长，笔墨秀润简淡，将古典送别诗的含蓄况味融于方寸，于简净之中见深情，平淡笔墨里尽显雅致文心，把黯然销魂的离别意绪，化作具象悠远的画中意境。",[24,25,354,237,88,30,7,129,388,31,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6190c8367222c6b72051a5edd0966b90.jpg",[],{"id":7416,"slug":7417,"title":6021,"dynasty":106,"author":3942,"museum":234,"description":7418,"tags":7419,"thumbUrl":7420,"material":98,"size":98,"collection":98,"collections":7421,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},238714,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238714","此作诗画合璧，以淡墨晕染出春郊清和景致，柳丝拂岸，丘坡温润朴拙，右侧谯楼静立城隅，尽显古雅意趣。鞍上长者意态萧散，侍仆恭谨相随，人物衣纹简括灵动，将古风雅游的悠然意韵尽显。行书题诗笔致舒展俊逸，与水墨景致相得益彰，极简笔墨勾勒出悠远古意，将咏怀寄思的雅致心境融于尺幅之间，诗画相生相融，淡远清疏的意境里，藏着怀古抒情的悠悠余韵，尽显文人雅逸的审美意趣。",[24,25,354,88,29,30,7,31,36,91,94,223,224,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c38266c3dc0949230b1a13c7c2e3e2.jpg",[],{"id":7423,"slug":7424,"title":6021,"dynasty":106,"author":3942,"museum":234,"description":7425,"tags":7426,"thumbUrl":7428,"material":98,"size":98,"collection":98,"collections":7429,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},238710,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238710","以淡墨皴擦晕出清润底色，线条秀雅劲挺，勾勒出土筑城楼、错落村舍与层叠田垄。城楼上士人凭栏远眺，乡野间农夫驱牛耕作，柴扉半掩的村舍隐在疏林之中，淡远烟岚晕开山野轮廓。诗画相生相融，将仕宦闲情与耕读野趣揉为一处，笔意兼具整饬雅致与文人逸韵，铺展出太平乡居的安和图景，晕染出中式文人心中的隐逸悠然意趣。",[24,25,354,237,88,30,31,90,36,47,7,7427],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb97338ef48cfb16c2566c974c93e60.jpg",[],{"id":7431,"slug":7432,"title":2863,"dynasty":106,"author":454,"museum":234,"description":7433,"tags":7434,"thumbUrl":7435,"material":98,"size":98,"collection":98,"collections":7436,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},238661,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238661","本作属铜版纪实战图，以全景铺陈战事凯旋的盛大图景。右上御题诗文彰显军功赫赫，左侧关隘要塞人马攒动，尽显战后班师的忙碌荣归；右侧阵列齐整的官兵踏山而来，鞍马齐整、士气昂扬。\n\n以硬朗精准的线条勾勒出层叠山峦与关隘城防，细腻刀工复刻出山石肌理与行军阵列，中西技法相融，既如实还原了平疆战事的恢弘实况，也暗藏宣扬王朝武功的意涵。画面将凯旋的肃穆昂扬与战地山川的苍劲厚重交织，写实之中带着庄重的纪念性，是清代纪实战阵图的上乘之作。",[68,24,25,28,88,27,354,89,967,30,7,90,31,32,42,91,36,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21518810a7ad247a1e956fc7a658f2a5.jpg",[],{"id":7438,"slug":7439,"title":7440,"dynasty":106,"author":454,"museum":234,"description":7441,"tags":7442,"thumbUrl":7443,"material":98,"size":98,"collection":98,"collections":7444,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},238548,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-yi-ming-238548","陈书画历代帝王道统图钱陈群书赞合册","此作为书画合璧，右幅设色场景界画工稳，古松虬曲苍劲，楼阁层叠雅致。人马仪仗井然有序，人物神态恭谨端肃，细腻还原汉高帝祀圣的庄重场面，古雅色调烘托出肃穆的礼制氛围。左幅行书笔致舒展俊朗，墨韵流畅雅致，文辞追述高祖祀孔典故，图文相得益彰。整体工致清雅，将史事铺陈与翰墨意韵相融，既有纪实叙事的厚重感，又兼具文雅悠远的书卷气，尽显尊儒重道的内核与古典雅致的审美意趣。",[967,25,354,224,29,28,30,31,36,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167245fff3a5d53827667e8b6588bb3.jpg",[],{"id":7446,"slug":7447,"title":7448,"dynasty":106,"author":7449,"museum":234,"description":7450,"tags":7451,"thumbUrl":7453,"material":96,"size":283,"collection":98,"collections":7454,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},236945,"jiu-ru-zhi-ji-ce-wang-gai-236945","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,25,354,29,27,30,7,31,1153,7452,149],"军队场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39c675623a46f88f3890ba2d4fd536ce.jpg",[],{"id":7456,"slug":7457,"title":6520,"dynasty":106,"author":6521,"museum":234,"description":6522,"tags":7458,"thumbUrl":7459,"material":96,"size":283,"collection":98,"collections":7460,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},235537,"xi-xiang-tu-ce-ye-bu-235537",[24,25,354,29,28,223,70,30,7,376,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0e72e42d83dfe94d623d45f2bdf6cf.jpg",[],{"id":7462,"slug":7463,"title":2863,"dynasty":106,"author":454,"museum":20,"description":5458,"tags":7464,"thumbUrl":7465,"material":344,"size":2869,"collection":98,"collections":7466,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},233085,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233085",[24,29,28,89,90,30,7,36,1153,6899,707,249,4983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1942629a65d1a2e3847e6568374af80b.jpg",[],{"id":7468,"slug":7469,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":7470,"thumbUrl":7471,"material":344,"size":2869,"collection":98,"collections":7472,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},233067,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233067",[24,29,28,89,354,30,7,278,36,42,249,70,707,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936f83f7d178ad4af380ea6fca104210.jpg",[],{"id":7474,"slug":7475,"title":6779,"dynasty":106,"author":454,"museum":20,"description":6780,"tags":7476,"thumbUrl":7479,"material":344,"size":6074,"collection":98,"collections":7480,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},233056,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233056",[24,25,354,28,29,967,30,7,809,278,36,6899,164,249,7477,6908,91,3065,707,1585,1153,7478],"战斗场景","尘土","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64df6dfd321f04704fdaee3f6d80a08.jpg",[],{"id":7482,"slug":7483,"title":6555,"dynasty":106,"author":454,"museum":20,"description":6556,"tags":7484,"thumbUrl":7485,"material":252,"size":6562,"collection":98,"collections":7486,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},233048,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233048",[24,29,28,89,354,30,90,7,36,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb08ddd8c9f3ae814fd6abd0924b590.jpg",[],{"id":7488,"slug":7489,"title":6555,"dynasty":106,"author":454,"museum":20,"description":6556,"tags":7490,"thumbUrl":7492,"material":252,"size":6562,"collection":98,"collections":7493,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},233045,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233045",[24,354,29,30,7,278,7491,6396,279,6900],"烟火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ae94eb704e0df5ac7654085e2a7f7e.jpg",[],{"id":7495,"slug":7496,"title":7497,"dynasty":106,"author":3420,"museum":84,"description":7498,"tags":7499,"thumbUrl":7500,"material":135,"size":7501,"collection":98,"collections":7502,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},232968,"bao-ji-liu-zhou-ai-qi-meng-232968","宝吉骝轴","依纳爵·西歇尔巴特（Ignatius Sichelbart），（1708年－1780年），汉名艾启蒙，字醒庵，波西米亚（今属捷克）人，天主教耶稣会传教士。\n他乾隆十年（1745年）来到中国，师从郎世宁学画，很快受到清廷重视，奉召入内廷供奉。\n他擅长人物、走兽、翎毛类绘画，与郎世宁、王致诚、安德义被人称为四洋画家，形成新体画风。\n他已知的作品有紫光阁武功图中《准噶尔战功图》（乾隆二十年，1755年）；孝圣皇后八旬万寿（乾隆三十六年，1771年），《香山九老图》，著录于《国朝院画录》；《十骏图》（乾隆三十七年）。《宝吉骝图》轴（乾隆三十八年，1773年），绢本，设色，现均藏于台北故宫博物院。",[68,24,25,87,28,29,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59e5cf547e30459d378872c39b4f8eb.jpg","纵228.5厘米、横275厘米",[],{"id":7504,"slug":7505,"title":7506,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":7507,"thumbUrl":7511,"material":96,"size":283,"collection":98,"collections":7512,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},232087,"midieval-war-scene-musee-d-orsay-france-de-jia-232087","Midieval War Scene - - Musee d'Orsay (France)",[1173,29,7508,6396,7,30,7509,6898,630,1829,4983,7510,789,4920,1175],"中世纪","裸体人物","尸体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff621e3c45b09b3d92fe8b32435117374.jpg",[],{"id":7514,"slug":7515,"title":7516,"dynasty":1760,"author":7517,"museum":234,"description":7518,"tags":7519,"thumbUrl":7528,"material":96,"size":283,"collection":98,"collections":7529,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},231714,"lian-cang-shi-dai-hua-juan-nan-qin-san-lang-231714","镰仓时代 画卷","男衾三郎","此作是典型的和歌物语绘卷，叙事与绘写相融共生。左侧深宅雅室间，贵族闲坐叙谈，格子棂门与廊阶形制考究，细腻复刻古日本宅邸风貌，尽显平安贵族的优渥日常。\n\n中段平假名题跋铺陈故事脉络，与画面呼应成趣。右侧郊野水岸梅林绽花，远林覆绿，旅人策马于汀岸，将视野从深宅拓向天地。\n\n整体设色浅淡清隽，柔婉细线勾勒人物景致，晕染出古雅侘寂的和风意趣，让文字与丹青交织，缓缓铺展开一卷流动的古典叙事，藏着旧时光里的幽玄情致。",[23,26,29,30,7520,7521,7522,7,7523,7524,223,7525,7526,7527,422],"宅邸","梅林","水岸","和风","侘寂","绘卷物","贵族生活","叙事画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58bbf6f7a1584b88c6311ebab6647383.jpg",[],{"id":7531,"slug":7532,"title":7533,"dynasty":1760,"author":454,"museum":234,"description":7534,"tags":7535,"thumbUrl":7536,"material":96,"size":283,"collection":98,"collections":7537,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},231644,"nai-liang-shi-dai-hui-yin-guo-jing-tu-juan-yi-ming-231644","奈良时代 绘因果经图卷","该作为佛教叙事长卷，以分段连环式铺陈太子出家前的典故。设色调和沉稳，赭色底衬以朱砂、石绿，古雅庄重。人物造型端正凝练，侍从躬身肃穆，太子神态沉静，动作细节贴合经文情节，将太子决意出家的心路通过场景层层铺展。山水配景简拙写意，仅以程式化林木点缀空间。左侧楷书题字与画面呼应，图文并茂还原经文场景。线条稚朴古拙，带着早期宗教绘画的质朴特质，烘托出求道抉择的肃穆氛围，兼具宗教传播价值与古典审美意趣。",[24,25,26,29,28,30,90,36,7,721,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded943c0496f7b82e17a85451ef88eba.jpg",[],{"id":7539,"slug":7540,"title":7541,"dynasty":1760,"author":454,"museum":234,"description":6829,"tags":7542,"thumbUrl":7544,"material":96,"size":283,"collection":98,"collections":7545,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},225535,"fu-shi-hui-293-yi-ming-225535","浮世绘293",[4946,4947,29,30,210,7,163,7543],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb540117fa431f94d6558b182e7881c65.jpg",[],{"id":7547,"slug":7548,"title":7549,"dynasty":1760,"author":454,"museum":234,"description":7550,"tags":7551,"thumbUrl":7552,"material":98,"size":98,"collection":98,"collections":7553,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},225341,"fu-shi-hui-94-yi-ming-225341","浮世绘94","这幅作品以飞瀑山林为幕布，青蓝飞瀑裹挟着白浪层叠奔涌，暖赭岩壁与苍翠绿林撞色交织，强烈的色块对比拉开视觉张力。浅滩中两名力士牵引骏马涉水洗濯，飞溅的水花衬得马匹鬃毛油亮顺滑。奔涌的水势与静立的人马形成动静反差，将山野雄奇与日常意趣相融。明艳浓烈的用色带着典型的浮世绘特色，把旅途中洗马的寻常小事，铺陈在幽深山景里，让烟火气裹挟着山林野趣扑面而来，尽显寄情山水的闲适意韵。",[4946,4947,29,90,7,33,249,36,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef0b8116eea9d2a1925f737bd1c84a9.jpg",[],{"id":7555,"slug":7556,"title":7557,"dynasty":1760,"author":454,"museum":234,"description":6829,"tags":7558,"thumbUrl":7560,"material":96,"size":283,"collection":98,"collections":7561,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},225322,"fu-shi-hui-66-yi-ming-225322","浮世绘66",[4946,4947,29,7,30,5506,250,5507,36,47,7559],"海面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28371018a8fdb9234424dfa386a0a.jpg",[],{"id":7563,"slug":7564,"title":7565,"dynasty":261,"author":454,"museum":234,"description":7566,"tags":7567,"thumbUrl":7577,"material":98,"size":98,"collection":98,"collections":7578,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},223641,"shi-ying-sheng-hui-tu-quan-juan-yi-ming-223641","蓍英盛会图全卷","此卷以朱丝栏界格小楷书就，用笔秀挺雅致，结体端稳匀净，尽得晋唐小楷遗韵，通篇气息连贯从容，无一笔苟且。\n\n文字详实记述洛中耆英雅集诸位贤达生平、雅集始末，将记事述人与书法精妙融合。既是记录宋代文人群贤雅聚的珍贵文献，亦是极具观赏性的书法佳作。笔墨间尽显沉静内敛的文人意趣，点画精微法度谨严，工整秀雅中藏有灵动意致，书写者深厚功底尽显其间，古雅隽永的书卷风神浸透全卷。",[23,24,25,26,29,28,30,266,31,32,33,7568,223,224,1743,70,876,877,878,879,7569,163,4041,7570,7571,7572,1827,1938,7573,340,7574,7575,7576,4699,3625,35,7,222],"花鸟","礼器","饪食器","典籍","木质","兰","菊","荷","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff2ab5fb781f6a9b46ac0a60e31de28.jpg",[],{"id":7580,"slug":7581,"title":7582,"dynasty":18,"author":572,"museum":84,"description":6151,"tags":7583,"thumbUrl":7584,"material":198,"size":6154,"collection":98,"collections":7585,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},218152,"wen-ji-gui-han-tu-ce-11-li-tang-218152","文姬归汉图册-11",[24,25,354,29,30,7,90,94,1153,681,36,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec3befc7ae07fcfbd25e70a3aa15336.jpg",[],{"id":7587,"slug":7588,"title":7589,"dynasty":106,"author":107,"museum":234,"description":662,"tags":7590,"thumbUrl":7591,"material":88,"size":98,"collection":98,"collections":7592,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":171},216840,"zhan-zheng-tong-ban-hua-4-lang-shi-ning-216840","战争铜版画-4",[664,1174,665,30,7,90,36,91,4983,707,536,6394,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40c54aa776e0f6a4696da694a2a0b89.jpg",[],{"id":7594,"slug":7595,"title":7596,"dynasty":106,"author":454,"museum":4224,"description":7597,"tags":7598,"thumbUrl":7600,"material":198,"size":98,"collection":98,"collections":7601,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},215977,"di-jian-tu-shuo-cai-hui-ben-26-yi-ming-215977","帝鉴图说彩绘本-26","画面以山水为底色，蓝绿山峦层叠起伏，云雾似轻柔白练缠绕其间，将远景晕染得缥缈空灵。中部朱檐翠瓦的建筑隐于林树间，飞檐翘角与自然景致相融，透着静谧庄重。近景处人物活动鲜活：或策马扬尘，衣袂随马蹄翻动；或引弓瞄准，姿态劲健；或围聚交谈，神态各异。衣纹线条细腻流畅，色彩明丽却不失古雅，青绿主调衬出场景的生动与厚重。笔墨间既见传统工笔的精致，又含叙事的鲜活感，仿佛一段历史场景徐徐铺展，让观者于方寸间窥见往昔的鲜活片段。",[24,29,28,7599,90,31,30,7,94,36,1068,111],"青绿山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828163e74e0e92445ca9c725de2ad551.jpg",[],{"id":7603,"slug":7604,"title":7605,"dynasty":106,"author":454,"museum":4224,"description":7606,"tags":7607,"thumbUrl":7609,"material":198,"size":98,"collection":98,"collections":7610,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},215952,"di-jian-tu-shuo-cai-hui-ben-52-yi-ming-215952","帝鉴图说彩绘本-52","画面铺展一派热闹而雅致的园居图景。朱红廊柱与青瓦飞檐相映，亭榭错落于花木间，尽显古建之美。人物情态鲜活：或策骑缓行，衣袂轻扬；或凭栏观景，低语浅笑；或于池畔嬉戏，裙摆随水波轻晃。孩童追逐打闹，仕女拈花而立，动静交织间，满溢生活的闲逸与繁华。细腻笔触勾勒出衣纹褶皱、建筑雕饰，色彩柔和却层次分明，似将一段悠然时光凝于绢素之上，让观者不觉沉浸其中，感受那份穿越时空的古雅意趣。",[24,29,28,30,210,31,266,32,7,36,7608],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1435d9608c46db906f35ae065928af7d.jpg",[],{"id":7612,"slug":7613,"title":7614,"dynasty":106,"author":454,"museum":4224,"description":7615,"tags":7616,"thumbUrl":7617,"material":198,"size":98,"collection":98,"collections":7618,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},215951,"di-jian-tu-shuo-cai-hui-ben-59-yi-ming-215951","帝鉴图说彩绘本-59","画面以层叠山峦为远景，青绿晕染间透着清逸古雅；近景苍松虬劲，枝桠舒展如盖。朱红车轮的马车居于中央，帷幔轻垂，车内人物端坐，车旁仆从牵马引行，马匹姿态昂扬，蹄下似有生风。前方小吏奔跑引路，衣袂翻飞间显出行进的匆忙与生动。色彩以蓝绿为主调，辅以暖红点缀，对比和谐又不失明艳。线条细腻勾勒人物衣纹、树木纹理，细节处见匠心——仆从的专注动作、马匹的灵动神态，皆将一段历史场景凝练成鲜活的视觉叙事，尽显清代彩绘的工致与意趣，仿佛能听见车马辚辚的声响，窥见古人行旅的鲜活片段。",[24,29,28,90,30,7,36,41,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b7337d2cea9bc0f8b6aa4d0279ba4c0.jpg",[],{"id":7620,"slug":7621,"title":7622,"dynasty":106,"author":454,"museum":4224,"description":7623,"tags":7624,"thumbUrl":7626,"material":198,"size":98,"collection":98,"collections":7627,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},215939,"di-jian-tu-shuo-cai-hui-ben-68-yi-ming-215939","帝鉴图说彩绘本-68","林间枝桠交错，叶影疏淡，似笼着一层浅淡的秋意。数人或立或躬，衣袍色彩清雅，举灯者持饰彩灯笼，光晕流转间添了几分鲜活。帐幔覆处，蓝白纹饰隐约，旁侧白马静立，姿态温驯。画面笔触细腻，人物情态毕现，将古时某一幕场景娓娓道来，既有生活的烟火气，又透着古雅的意趣。林间静谧与人物互动相映，线条婉转中藏着叙事张力，色彩柔和里显传统审美韵味，仿佛能窥见彼时的悠然氛围，让观者在细节里触摸到岁月沉淀的温度。",[24,29,28,30,7,630,7625,91,112,36,967],"灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67aec5d7b0c9182c3f3573d0a27f8238.jpg",[],{"id":7629,"slug":7630,"title":7631,"dynasty":106,"author":454,"museum":4224,"description":7632,"tags":7633,"thumbUrl":7634,"material":198,"size":98,"collection":98,"collections":7635,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":59},215936,"di-jian-tu-shuo-cai-hui-ben-67-yi-ming-215936","帝鉴图说彩绘本-67","青蓝山石层叠如染，泼洒出苍莽气象；山间楼阁隐现于松影间，朱红檐角点缀苍翠，动静相宜。碧波细纹如鳞，与远山淡霭相映，漾开清旷悠远之境。画面中车马仪仗错落有致，行者或策马路途，衣袂飘举间尽现古雅意趣；或侍立轿侧，神态恭谨中藏着鲜活气息。工笔彩绘细腻勾勒每一处细节，色彩明快却不失古拙韵味，将叙事性与诗意山水巧妙交融，尽显古典画卷的雅致与生机，仿佛能让人窥见往昔场景的生动片段。",[24,29,277,28,354,90,30,7,31,266,36,91,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37134201a0cbfda4a5993f2a87dbae45.jpg",[],{"id":7637,"slug":7638,"title":5938,"dynasty":4081,"author":315,"museum":518,"description":7639,"tags":7640,"thumbUrl":7641,"material":98,"size":98,"collection":98,"collections":7642,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":5943},202794,"ben-ma-tu-zhou-xu-bei-hong-202794","墨韵流转间，骏马昂首扬蹄，鬃尾如墨丝狂舞，矫健的身躯似裹挟风雷之势，每一处肌肉线条都透着奔腾的力量。奔放的笔触勾勒出动态的张力，浓淡干湿的墨色晕染出躯体的体积感，背景浅淡的草色更衬出主体的昂扬。这幅奔马以写意之法捕捉生命的活力，将自由与进取的精神凝于尺幅之间，尽显水墨艺术的刚健灵动之美。",[24,88,7,68,25,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b204a4ca5ed7361941ccb7f260f89d.jpg",[],{"id":7644,"slug":7645,"title":7646,"dynasty":4081,"author":315,"museum":518,"description":7647,"tags":7648,"thumbUrl":10,"material":98,"size":98,"collection":98,"collections":7649,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":7650},202790,"bai-ma-tu-zhou-xu-bei-hong-202790","白马图轴","此画中白马身姿矫健，昂首微侧，墨色浓黑的鬃尾肆意飞扬，与浅淡晕染的身躯形成鲜明反差。徐悲鸿以洒脱的线条勾勒马匹轮廓，浓淡干湿的墨韵交织，精准捕捉肌肉的张力与动态，让静立的马匹亦透着蓄势待发的活力。背景的淡墨虚化处理，更凸显主体的灵动传神，尽显水墨写意的独特魅力，将马的奔放与优雅融于一纸。",[24,88,7,87,25,23],[],"ccc5b0",{"id":7652,"slug":7653,"title":7654,"dynasty":4081,"author":6921,"museum":518,"description":7655,"tags":7656,"thumbUrl":7657,"material":98,"size":98,"collection":98,"collections":7658,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":7659},202765,"chun-jiao-mu-ma-tu-zhou-zhao-shu-ru-202765","春郊牧马图轴","画面中苍松虬劲如铁，垂柳柔丝若烟，二者相映成趣。三匹骏马情态悠然：棕马昂首伫立，似凝望远岫；白马低首啃青，尽显闲适；黑马卧地静憩，姿态慵懒。马匹笔墨工细，毛色晕染层次丰富，肌肉轮廓隐然可见，灵动传神。远处水泊浅渚以淡墨晕染，衬出春日郊原的开阔静谧。整体风格典雅平和，工写兼备，将马匹的悠然之态与自然景致相融，传递出恬淡安闲的意境。",[24,25,87,28,29,7,222,1143,1131,422,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4f8a9a62f5274aef8fd437024e1c7a.jpg",[],"bcb1a1",{"id":7661,"slug":7662,"title":7663,"dynasty":106,"author":7664,"museum":518,"description":7665,"tags":7666,"thumbUrl":7667,"material":98,"size":98,"collection":98,"collections":7668,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":7669},202684,"xi-shan-xing-lv-tu-zhou-yang-cai-202684","溪山行旅图轴","杨埰","此图笔墨苍劲秀逸，山峦以细腻皴法勾勒皴染，岩石肌理毕现；溪流蜿蜒间，枯树疏枝点缀岸边。行旅者策马路过，马匹神态悠然，山间亭台隐于林麓，添文人雅致。整体意境悠远，融自然山水之雄浑与生活意趣于一体，尽显清代山水画典型风貌，传递出对山水行旅的诗意描摹，笔墨间饱含对自然与人文的深刻体察。",[24,90,89,7,1271,388,1197,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F579e206047fc4dadb71d8010e1dc9e82.jpg",[],"dab9a0",{"id":7671,"slug":7672,"title":7673,"dynasty":261,"author":1935,"museum":518,"description":7674,"tags":7675,"thumbUrl":7676,"material":98,"size":98,"collection":98,"collections":7677,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":7678},202659,"tan-mei-tu-zhou-chen-hong-shou-202659","探梅图轴","画面以绢本设色铺陈，古雅清幽。骑马文人衣袂飘举，持杖前行，线条凝练如铁线；侍从隐于虬松间，神情恭谨。松枝苍劲虬曲，笔墨工细中见刚健；远处山水淡墨皴染，朦胧悠远，暗合探梅之幽境。人物造型奇崛古拙，尽显陈氏独特变形之趣，整体风格沉静逸远，笔墨间流淌晚明文人画的风骨，将寻梅闲逸与自然意趣融为一体。",[24,87,29,30,7,1143,90,28,89,5733,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95425dd02e43b6765b6b24672ac7319.jpg",[],"463b1e",{"id":7680,"slug":7681,"title":7682,"dynasty":106,"author":1992,"museum":518,"description":7683,"tags":7684,"thumbUrl":7685,"material":98,"size":98,"collection":98,"collections":7686,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":7687},202307,"zhao-jun-chu-sai-tu-zhou-hua-yan-202307","昭君出塞图轴","画面以淡墨设色勾勒昭君出塞场景，昭君衣袂轻扬，面容温婉却隐带离乡怅然，侍女随侧，马夫牵马而立，马匹鞍鞯细节雅致。线条灵动兼具工致，墨色层次柔和，将人物神情与旅途萧瑟感巧妙融合，既存传统工笔细腻，又融写意洒脱，尽显独特艺术韵味。",[24,87,30,7,88,29,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12c443bab2fc7046d3a3d914f8ff4bb0.jpg",[],"a89b8b",{"id":7689,"slug":7690,"title":7691,"dynasty":261,"author":7692,"museum":518,"description":7693,"tags":7694,"thumbUrl":7695,"material":98,"size":98,"collection":137,"collections":7696,"showCount":296,"zanCount":58,"manualWeight":58,"mainColor":7697},201444,"yun-yang-zao-xing-tu-zhou-xie-jin-201444","云阳早行图轴","谢缙","晨雾轻笼峰峦，皴笔勾勒的山石苍劲，林木葱茏间云气流转。近坡古松虬枝盘曲，树下旅人策马路过，身影隐于霭色中。水墨浓淡晕染出虚实层次，远山近树在云雾里相映成趣，笔意苍秀兼具，传递出早行的清寂悠远。仿佛能嗅到山间朝露的清新，听见松风掠过的轻响，将清晨行旅的静谧氛围凝于画卷。",[90,88,89,7,94,36,536,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f23cd84a7cdcf121096e8863e796521.jpg",[137],"9f9990",{"id":7699,"slug":7700,"title":7701,"dynasty":1760,"author":454,"museum":234,"description":7702,"tags":7703,"thumbUrl":7709,"material":96,"size":283,"collection":98,"collections":7710,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},289497,"bernard-van-orley-otto-count-of-nassau-and-his-wife-adelheid-van-vianen-yi-ming-289497","Bernard van Orley--Otto, Count of Nassau and his Wife Adelheid van Vianen","这幅作品以柔润水彩结合精细素描，定格了贵族夫妇隔场相望的瞬间。左侧骑士甲胄锃亮，披风猎猎垂落，胯下骏马昂首抬蹄，尽显勇武飒爽；右侧夫人衣袂舒展华贵，骑姿端庄温婉，与丈夫遥遥对视间流淌着克制的柔情。\n\n画面两侧的家族纹章晕染出典雅的贵族氛围感，远景朦胧的乡野村落铺陈出静谧底色，将贵族风雅与世俗温情相融，细腻笔触复刻出文艺复兴时期尼德兰上层社会的婚恋意趣与体面风骨。",[30,7,7704,7705,7706,5743,3645,7707,7708,2558],"贵族夫妇","田园风景","城堡","西洋画","古典服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87079ba57f02bf200522a8c9739a374.jpg",[],{"id":7712,"slug":7713,"title":7714,"dynasty":1760,"author":454,"museum":234,"description":7715,"tags":7716,"thumbUrl":7717,"material":96,"size":283,"collection":98,"collections":7718,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},288650,"attributed-to-francesco-allegrini-horse5-yi-ming-288650","attributed to Francesco Allegrini--Horse5","这匹骏马扬蹄回身，鬃尾肆意翻飞，将野性张力凝于纸面。利落洗练的排线铺陈出肌肉轮廓，肩胛、后胯的块面起伏遒劲饱满，精准勾勒出骏马蓄力迸发的体态。淡墨晕染模糊了背景地面，让视线全然聚焦于奔马雄健身姿之上。粗粝线条带着未经雕琢的生猛意气，将骏马挣脱束缚的桀骜野性尽数释放，寥寥几笔就定格下生灵蓬勃的生命力，带着速写独有的即兴鲜活质感，粗朴间满是震撼人心的力量美感。",[7,222,3604,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24c98bf4ebafb805a21c4207110035d.jpg",[],{"id":7720,"slug":7721,"title":7722,"dynasty":1760,"author":454,"museum":234,"description":7723,"tags":7724,"thumbUrl":7726,"material":96,"size":283,"collection":98,"collections":7727,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},288649,"attributed-to-francesco-allegrini-horse6-yi-ming-288649","attributed to Francesco Allegrini--Horse6","这幅作品以蚀刻排线铺陈马匹肌理，前蹄凌空、后腿蹬地，骏马奔跃的动态被精准定格。鬃尾肆意张扬，将奔跃时的疾风与悍勇尽数展现。线条随肌肉起伏疏密有致，把骏马贲张的力量感勾勒得淋漓尽致，仿佛能听见马蹄踏地的震颤。背景仅以浅淡线条勾勒地面，舍弃繁复布景，将视线全然引向奔马本身，粗粝的纸面晕开复古质感，让这份蓬勃的野性生命力更显拙朴厚重，将骏马桀骜灵动的英姿凝于方寸纸面之中。",[7,222,3645,7725,3604],"动物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fbaaf32d484b98fa1401e206438439.jpg",[],{"id":7729,"slug":7730,"title":7731,"dynasty":1760,"author":454,"museum":234,"description":7732,"tags":7733,"thumbUrl":7734,"material":96,"size":283,"collection":98,"collections":7735,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},288647,"attributed-to-francesco-allegrini-horsemen-and-three-foot-soldiers-in-battle-yi-ming-288647","attributed to Francesco Allegrini--Horsemen and Three Foot Soldiers in Battle","这幅战地速写以棕褐墨水铺陈厮杀瞬间，骑手高举长剑俯身向前，战马昂首扬蹄，肌肉轮廓在晕染墨色中喷张着野性力量。地面三名步兵缠斗一处，挥剑者姿态狠厉，倒地者竭力挣扎，肢体扭结间满是紧绷的张力。\n\n作者以粗放随性的笔触省去细节雕琢，借浓淡不一的墨色区分光影层次，大片留白让画面更具呼吸感，将短兵相接的混乱与悍勇凝练定格。原始粗粝的线条仿佛裹挟着战场嘶吼与兵刃交击锐响，把搏斗最具冲击力的瞬间牢牢抓在纸面，带着即兴速写独有的鲜活动感，将冷兵器交锋的残酷与力量之美倾泻而出。",[30,7,665,88,6900,6898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a7a514ad6bfd6f34a878142a422a1e.jpg",[],{"id":7737,"slug":7738,"title":7739,"dynasty":4343,"author":454,"museum":234,"description":7740,"tags":7741,"thumbUrl":7744,"material":96,"size":283,"collection":98,"collections":7745,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},279416,"gan-yu-ma-cheng-yin-bi-niu-tong-yin-yi-ming-279416","“赣揄马丞印”鼻钮铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[70,2432,7742,7743,2431,7,3404],"篆刻","鼻钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abde9112dd6ca45efe7c9b5a3348600.jpg",[],{"id":7747,"slug":7748,"title":7749,"dynasty":106,"author":454,"museum":234,"description":7750,"tags":7751,"thumbUrl":7753,"material":96,"size":283,"collection":98,"collections":7754,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":512},275091,"qian-long-kuan-lv-di-fen-cai-ci-qi-zhen-ma-bao-yi-ming-275091","乾隆款绿地粉彩瓷七珍-马宝","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[4670,7752,7,7569,721,2433],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d489eff2401c5f6e7f1a3b9d2679438.jpg",[],{"id":7756,"slug":7757,"title":7758,"dynasty":106,"author":454,"museum":234,"description":7759,"tags":7760,"thumbUrl":7762,"material":96,"size":283,"collection":98,"collections":7763,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},273384,"meng-gu-xiang-qi-yi-ming-273384","蒙古象棋","这套棋以木为胎，彩漆虽已斑驳褪去，古雅意韵却未减分毫。棋子皆为立体圆雕，战马昂首蓄势、武士持戈伫立、战车形制古朴，将草原征战的图景凝缩于方寸之间。\n\n粗犷朴拙的刀工里藏着马背民族的刚健豪情，每一枚棋子都仿佛定格了冲锋列阵的瞬间，棋盘方格之间，好似能听见千年前草原上的马蹄声与呼喝声，对阵对弈间，尽是纵横捭阖的草原棋局意趣。岁月晕开了漆面，却晕不开棋子裹挟的风烟，将游牧文明的热血浪漫封存在这一方木盘之中。",[7758,7572,2433,7,222,29,7761],"工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad974b429cda94a7fed0a30a616a128f.jpg",[],{"id":7765,"slug":7766,"title":7767,"dynasty":106,"author":454,"museum":234,"description":7768,"tags":7769,"thumbUrl":7771,"material":96,"size":283,"collection":98,"collections":7772,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},262119,"fen-cai-xi-xiang-ren-wu-tu-da-pan-yi-ming-262119","粉彩西厢人物图大盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[4670,7752,30,7,522,129,4276,7770],"西厢记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b0c6602a9a2377453c59433fff94448.jpg",[],{"id":7774,"slug":7775,"title":7776,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":7777,"thumbUrl":7778,"material":96,"size":283,"collection":98,"collections":7779,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},261957,"de-xin-tang-zhi-kuan-qing-hua-ba-jun-tu-wan-yi-ming-261957","德馨堂制款青花八骏图碗",[4670,7317,7,401,7570,91,129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa51c8d557ac312f6e8bf324c96fab2f3.jpg",[],{"id":7781,"slug":7782,"title":7783,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":7784,"thumbUrl":7786,"material":96,"size":283,"collection":98,"collections":7787,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},261059,"qing-hua-ba-jun-tu-pie-kou-wan-yi-ming-261059","青花八骏图撇口碗",[4670,7317,7,7785,7318,401],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07ba97b28a557522c7b5bddbf86fd90.jpg",[],{"id":7789,"slug":7790,"title":7791,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":7792,"thumbUrl":7795,"material":96,"size":283,"collection":98,"collections":7796,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},260323,"qing-hua-di-bai-mu-dan-tu-tong-shi-ping-yi-ming-260323","青花地白牡丹图筒式瓶",[4670,7317,30,7793,7,164,7794],"武将","筒式瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2879df93e0d0e7fba6a150733d859bbb.jpg",[],{"id":7798,"slug":7799,"title":7800,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":7801,"thumbUrl":7802,"material":96,"size":283,"collection":98,"collections":7803,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":512},257947,"qing-hua-ba-jun-tu-feng-wei-zun-yi-ming-257947","青花八骏图凤尾尊",[4670,7317,29,7,340,401,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3410fce5d147ce957290e02a37c57300.jpg",[],{"id":7805,"slug":7806,"title":7807,"dynasty":106,"author":454,"museum":234,"description":7808,"tags":7809,"thumbUrl":7812,"material":96,"size":283,"collection":98,"collections":7813,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},256712,"bai-di-fan-hong-cai-miao-jin-ren-wu-tu-deng-long-zun-yi-ming-256712","白地矾红彩描金人物图灯笼尊","以素白釉为底，矾红配描金装饰，妍丽华贵。颈间垂叶娇柔灵动，器身以缠枝锦地开光，内绘钟馗出巡图景：钟馗威严安坐鬼背，侍从随侍身侧，线条刚劲凝练，矾红发色沉稳鲜亮，描金勾勒衣袂褶皱、神兽肌理，将钟馗的威仪神气尽显无遗。\n\n开光外锦地繁而不紊，与主题画面疏密相济，足部瑞兽纹饰古朴狞厉，呼应整体氛围。整器层次分明，构图协调，既见制瓷工艺的规整精细，又借钟馗出巡承载驱邪纳福的美好寓意，是彩瓷中装饰性与人文意趣兼备的精妙之作。",[4670,7810,7811,29,30,7,222,401],"矾红彩","描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa575f7f2b6a948f87452dec0db8920.jpg",[],{"id":7815,"slug":7816,"title":7817,"dynasty":301,"author":454,"museum":234,"description":7818,"tags":7819,"thumbUrl":7820,"material":96,"size":283,"collection":7821,"collections":7822,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},255913,"qiong-yao-qi-ma-ren-xiang-yi-ming-255913","邛窑骑马人像","邛窑,中国最古老的民窑之一，是中国彩绘瓷的发源地。其价值堪比三星堆、金沙遗址，被列入国家大遗址重点保护。它始创于东晋，成熟于南朝，盛于唐，是跨越八个多世纪的中国古代陶瓷名窑。\n邛窑分布在我国的四川省境内，以青釉、青釉褐斑、青釉褐绿斑和彩绘瓷为主，始烧于南北朝衰于宋朝，时间踌度约800年的中国古代陶瓷名窑。邛窑是我国著名民间瓷窑之一。器物有各种盘、碗、罐等日用器皿，其中以丰富的小瓷俑最为生动形象，以创造了陶瓷省油灯而闻名全国。\n善于将雕塑艺术的手法运用到瓷器的造型上。纵观邛窑瓷器，雕塑艺术品特别多，例如各类大小动物，胡商俑、武士俑、劳作俑、侍女俑、役仆俑等形象都用雕塑手法作出，就是一些实用生活用具、文房用具、储盛用具等雕塑艺术的作法也处处可见。另一个巨型三彩釉陶砚台，塑成一个伸颈昂首，瞪眼张嘴的大龟，四腿塑成兽蹄形，盖用雕塑手法塑成隆起的龟背，再刻划出背纹和裙边，既实用又具有很高的艺术性。有的执壶，口部以上塑一鼻孔上翻，鼓目张嘴的人头，整齐的牙齿外露，似乎正在歌唱。有的器盖塑成一个天真的儿童，光头，昂首，两眼上视，双臂伸开，两退上翻，脚交织在一起，天真活泼，很像现在的杂技表演。瓷枕也塑造成虎形，下为一个椭圆形底板，上塑的虎，咧嘴露齿，翻鼻鼓睛；作伏卧状，背上的枕面四角圆润，前部较小，后面较大，中间略微低下，虎的前额、眉眼、皮毛和枕面以褐绿彩点画成彩斑装饰。第二，彩绘装饰十分普遍，邛窑陶瓷有单色釉、如青釉、棕黄色釉、褐黑色釉，灰白色釉。由于泥料较粗，普遍含有细沙粒，胎面普遍施化妆土，用当地原料配出浅黄、深黄、棕黄、老绿、翠绿、孔雀蓝、藏蓝、紫黄、黑色等彩在瓷器上作画，大多数是釉下彩。由于邛窑瓷器釉层稀薄，釉下彩或釉上彩不易分辨，但大多数是釉下彩。以大片圆形彩斑、联珠、多层菱形、圆圈构成的图案，有些和刻花、划花、粘贴、捏塑、模印等共同组成装饰面。最突出的是彩画。这些釉下彩绘，由于工匠有深厚的文化根底和书画艺术的功力，以没骨画的技法，率然落笔，粗悍展开，画出的花纹潇洒豪放，韵味无穷。 贴近生活的创造，四川自古以来崇尚读书，学子们多贫寒清苦，邛窑创造出省油灯，陆游说“书灯勿用铜盏，惟瓷盏最省油。蜀有夹瓷盏，注水于盏唇窍中，可省油之半。”受到士大夫文人和广大庶民百姓欢迎。这种创造为文化教育的普及提供了条件。",[1380,4670,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd101fc55fd0a2ba513b566dc8e82afa2.jpg","瓷器精选",[7821],{"id":7824,"slug":7825,"title":7826,"dynasty":191,"author":454,"museum":234,"description":7827,"tags":7828,"thumbUrl":7829,"material":96,"size":283,"collection":98,"collections":7830,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},254567,"tao-ma-yi-ming-254567","陶马","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[191,4670,7326,29,2433,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155fad55bb61f2a936f7520148aebe7c.jpg",[],{"id":7832,"slug":7833,"title":5309,"dynasty":301,"author":454,"museum":234,"description":7834,"tags":7835,"thumbUrl":7836,"material":96,"size":283,"collection":98,"collections":7837,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":512},254563,"san-cai-ma-yi-ming-254563","昂首静立，身形劲挺舒展，尽显神骏雄健之姿。褐釉凝润如琥珀裹身，釉色晕染自然柔和，带着岁月沉淀的温润包浆。鞍鞯虽有斑驳残损，却晕开了时光的厚重质感，更添古拙韵味。\n\n它无奔腾嘶鸣的张扬，静默间自带昂扬气度，仿佛下一秒便要振鬣踏蹄，踏出长安盛世的漫卷烟尘。匠人的巧思融于陶土，将盛唐爱马尚武的风骨凝于一尊，静默中流淌着千年前的恢弘气象，藏着独属那个时代的热忱与豪迈。",[301,4670,6695,7,5313,7025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8bb4f234435f27b5bd4e31d5c4b9ac0.jpg",[],{"id":7839,"slug":7840,"title":7826,"dynasty":191,"author":454,"museum":234,"description":7827,"tags":7841,"thumbUrl":7842,"material":96,"size":283,"collection":98,"collections":7843,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},254293,"tao-ma-yi-ming-254293",[191,4670,5313,7,222,2433,7326,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b4e7053b569413cb786464b4e7076cf.jpg",[],{"id":7845,"slug":7846,"title":7847,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":7848,"thumbUrl":7850,"material":96,"size":283,"collection":98,"collections":7851,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},254287,"tao-huang-you-qi-ma-chui-xiao-yong-yi-ming-254287","陶黄釉骑马吹箫俑",[301,4670,5313,6220,7016,2355,30,1722,7849,7],"吹箫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef3cccadc76e52ad475844317bc77b4.jpg",[],{"id":7853,"slug":7854,"title":7855,"dynasty":603,"author":454,"museum":234,"description":7014,"tags":7856,"thumbUrl":7857,"material":96,"size":283,"collection":98,"collections":7858,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},254284,"tao-huang-you-qi-ma-yong-yi-ming-254284","陶黄釉骑马俑",[603,4670,7016,5313,30,7,7017,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c9b511e3d55b35e955e5ead97d4096.jpg",[],{"id":7860,"slug":7861,"title":7333,"dynasty":191,"author":454,"museum":234,"description":6702,"tags":7862,"thumbUrl":7863,"material":96,"size":283,"collection":98,"collections":7864,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},254214,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254214",[191,7335,7336,5313,30,7,29,4670,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d84a3e727863fb46b5e28de14565bf.jpg",[],{"id":7866,"slug":7867,"title":7868,"dynasty":603,"author":454,"museum":234,"description":6702,"tags":7869,"thumbUrl":7870,"material":96,"size":283,"collection":98,"collections":7871,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},254208,"tao-qi-ma-nan-yong-yi-ming-254208","陶骑马男俑",[7335,5313,7,30,7326,4279,3894,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6dfabdd695eb6879b4524cb34411c6.jpg",[],{"id":7873,"slug":7874,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":7877,"thumbUrl":7878,"material":96,"size":283,"collection":98,"collections":7879,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},253792,"tao-hua-cai-ma-tou-yi-ming-253792","陶画彩马头","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[4343,4670,29,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6615aab51e4b8a2fa87dfab9d8bd9b.jpg",[],{"id":7881,"slug":7882,"title":7883,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":7884,"thumbUrl":7885,"material":96,"size":283,"collection":98,"collections":7886,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},253775,"san-cai-qi-ma-nv-yong-yi-ming-253775","三彩骑马女俑",[1380,4670,6695,5313,30,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc571c714bc93ee6f414c2cf926f3f2d0.jpg",[],{"id":7888,"slug":7889,"title":7890,"dynasty":106,"author":454,"museum":234,"description":7891,"tags":7892,"thumbUrl":7893,"material":96,"size":283,"collection":98,"collections":7894,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},252367,"ma-nao-hou-ma-tu-bi-yan-hu-yi-ming-252367","玛瑙猴马图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[967,6480,2433,7,1476,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F224a4136ff08c2ca035ee8ca96526178.jpg",[],{"id":7896,"slug":7897,"title":7898,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":7899,"thumbUrl":7900,"material":96,"size":283,"collection":98,"collections":7901,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},251674,"qing-yu-ma-shang-feng-hou-yi-ming-251674","青玉马上封侯",[967,6480,2433,7,1476,222,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426cf05d3bb1c495d5a4392576463fd9.jpg",[],{"id":7903,"slug":7904,"title":7905,"dynasty":261,"author":454,"museum":234,"description":6472,"tags":7906,"thumbUrl":7907,"material":96,"size":283,"collection":98,"collections":7908,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},250846,"qing-yu-shi-er-chen-ma-yi-ming-250846","青玉十二辰-马",[261,6480,2433,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef440983f599ef4934b379090eb4d1f.jpg",[],{"id":7910,"slug":7911,"title":7912,"dynasty":261,"author":454,"museum":234,"description":7913,"tags":7914,"thumbUrl":7916,"material":96,"size":283,"collection":98,"collections":7917,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},250717,"bai-yu-wo-ma-yi-ming-250717","白玉卧马","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[6480,2433,7,222,7915],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b18802ae11c7906d6e7fb84c01d8225.jpg",[],{"id":7919,"slug":7920,"title":7921,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":7923,"thumbUrl":7924,"material":96,"size":283,"collection":98,"collections":7925,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},244893,"ma-shou-xing-ma-shi-yi-ming-244893","马首形马饰","周",[2431,2433,4346,7,222,2432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff282f66c9337994ba38be617ecb089b5.jpg",[],{"id":7927,"slug":7928,"title":7929,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":7930,"thumbUrl":7931,"material":96,"size":283,"collection":98,"collections":7932,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},244194,"shuang-ma-wen-pai-shi-yi-ming-244194","双马纹牌饰",[4668,2432,2433,7,222,4346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f42b9bfffce63fcff19527a3e4173c.jpg",[],{"id":7934,"slug":7935,"title":7936,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":7937,"thumbUrl":7938,"material":96,"size":283,"collection":98,"collections":7939,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},243970,"liu-jin-ma-wen-pai-shi-yi-ming-243970","鎏金马纹牌饰",[4343,5998,2433,7,4346,2432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932bba27e2822cea38563fa4ba901d51.jpg",[],{"id":7941,"slug":7942,"title":7943,"dynasty":106,"author":7944,"museum":234,"description":7945,"tags":7946,"thumbUrl":7950,"material":96,"size":283,"collection":98,"collections":7951,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},240884,"zhou-liang-gong-qi-lv-shi-zhou-zhou-liang-gong-240884","周亮工七律诗轴","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[223,224,87,70,7574,523,7,875,7947,7948,7949],"帷","堂","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ae57aec5d72a56413c9d534f985754.jpg",[],{"id":7953,"slug":7954,"title":7955,"dynasty":261,"author":7956,"museum":234,"description":7957,"tags":7958,"thumbUrl":7960,"material":96,"size":283,"collection":98,"collections":7961,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},240215,"qi-lv-shi-ye-yu-si-chong-240215","七律诗页","俞思冲","俞思冲（？－？），字似宗，號瞻白，浙江仁和（今杭州）人，明朝政治人物，同进士出身。",[25,223,224,29,354,7571,70,2066,266,340,7,1809,694,7959],"风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790455893bc2628a258f36ac5aea92a1.jpg",[],{"id":7963,"slug":7964,"title":7965,"dynasty":106,"author":6005,"museum":234,"description":6006,"tags":7966,"thumbUrl":7967,"material":96,"size":283,"collection":98,"collections":7968,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},239496,"shan-shui-ce-8-shang-guan-zhou-239496","山水册8",[24,354,88,29,89,90,32,30,7,376,523,1068,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ea919d3ef3fe9511db8b8ab46d8471.jpg",[],{"id":7970,"slug":7971,"title":3941,"dynasty":106,"author":3942,"museum":234,"description":7972,"tags":7973,"thumbUrl":7974,"material":98,"size":98,"collection":98,"collections":7975,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},238758,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238758","此作用淡墨轻皴出一派安闲的郊野军帐图景。错落营帐旌旗垂落，不见剑拔弩张的肃杀，只余下戍边日常的松弛静穆。几株垂柳柔枝舒展，墨色晕染出枝叶苍润之态，衬出郊野空阔疏朗。帐前军士垂手静立，牵马小卒徐行缓动，寥寥数笔便将人物神态勾勒尽致。\n\n画面留白开阔，搭配左上题诗，诗画呼应，将帝王笔底的军旅闲雅缓缓铺展。整幅笔墨秀逸清润，没有浓墨重彩，只以淡墨写意，把戎马之地画出林下幽居般悠然意趣，尽显清润淡远的文人山水意致。",[24,25,354,88,28,30,7,112,36,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766b5291c8256c8d845e5be4bf2faf94.jpg",[],{"id":7977,"slug":7978,"title":3941,"dynasty":106,"author":3942,"museum":234,"description":7979,"tags":7980,"thumbUrl":7981,"material":98,"size":98,"collection":98,"collections":7982,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},238743,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238743","这幅画以淡墨晕染平沙秋野，远山轻描淡写，恍若烟霭浮空。近岸枯木疏朗，衰草漫覆荒坡，清寂萧索的秋意浸透纸面。崖边士人负手远眺，似在牵惹羁旅乡思，身侧童子牵马静立，暗合行游倦憩之意。淡简笔墨不施浓艳，以留白铺展出平阔辽远的郊野空境，诗画相融，将行旅中的怅惘幽思寄寓荒寒淡远的景致里，笔意清润含蓄，尽显秋日行吟的澹泊诗意。",[24,25,354,88,89,90,30,7,376,94,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa459ca736e3a0c1534d05ecafdaf3c.jpg",[],{"id":7984,"slug":7985,"title":5818,"dynasty":106,"author":454,"museum":234,"description":7986,"tags":7987,"thumbUrl":7988,"material":96,"size":283,"collection":98,"collections":7989,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},238640,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238640","整幅作品以全景式构图铺展战事江色，翻涌的浪涛皴擦出逼人的水势，水师战船列阵破浪突进，楼橹严整、甲士森然。岸畔骑兵按辔待发，步卒云集呼应，将渡江攻坚的肃杀张力拉满。\n左侧题诗点明战事经纬，细密劲挺的线条勾勒出人物军马的错落排布，写实笔触还原出征伐的浩荡兵威，在纪实性中融入美术表现力，将临战前的紧绷氛围与行军的磅礴声势融为一体，尽展战地的雄浑质感。",[28,88,237,354,30,7,33,32,90,164,34,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c72102d787db874e642d713fd8ec447.jpg",[],{"id":7991,"slug":7992,"title":5826,"dynasty":106,"author":454,"museum":234,"description":7993,"tags":7994,"thumbUrl":7995,"material":98,"size":98,"collection":98,"collections":7996,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},238606,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238606","这幅作品以全景式构图铺展崇山绝壑，碉楼错落盘踞于险峰之间，阴云翻卷的天际晕染出肃杀的战前氛围。作者以细密写实的铜版线条，复刻出山地行军的逼仄艰险：山道间兵卒络绎攀援，碉垒旁军士严阵待命，人物动态与山石肌理皆被精细勾勒，将战地的紧迫与严酷如实铺陈。左上角题诗与画面呼应，图文合璧还原战事始末，没有写意的柔化修饰，以冷峻克制的笔触记录下边陲征程的铁血细节，仿佛带领观者踏入百年前的西南战地，在刀兵隐现的山岚间，窥见那段征剿征程的艰辛图景。",[24,25,354,28,89,90,91,36,30,149,6749,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd1e8f01925af2b8b5c5494d6cb0739.jpg",[],{"id":7998,"slug":7999,"title":5826,"dynasty":106,"author":454,"museum":234,"description":8000,"tags":8001,"thumbUrl":8002,"material":98,"size":98,"collection":98,"collections":8003,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},238593,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238593","这幅以铜版技法绘就，全景铺展河谷山峦，崖壁间碉楼鳞次栉比，还原出战事依托石碉顽抗的战地特征。清军或整队集结，或搜剿残敌，山道河谷间人马错落排布，紧张肃杀的战后氛围扑面而来。右上角题诗呼应战事余韵，冷峻写实的笔触复刻出攻坚实况，将平叛征伐的铁血征程定格纸面，兼具纪实性与艺术性，让观者得以触碰这段征伐过往的厚重质感。",[967,28,237,89,354,90,30,7,149,91,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4249f43fd5d78008b4044a8091e1af.jpg",[],{"id":8005,"slug":8006,"title":8007,"dynasty":106,"author":8008,"museum":234,"description":8009,"tags":8010,"thumbUrl":8011,"material":96,"size":283,"collection":98,"collections":8012,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},238471,"lie-qi-tu-ce-mian-yi-238471","猎骑图册","绵亿","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。",[24,29,354,30,7,735,222,789,4455,36,111,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbe8da90d48e079e8348137f45cb526.jpg",[],{"id":8014,"slug":8015,"title":8016,"dynasty":106,"author":2390,"museum":234,"description":8017,"tags":8018,"thumbUrl":8019,"material":96,"size":283,"collection":98,"collections":8020,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},238046,"zhi-hua-za-hua-ce-gao-qi-pei-238046","指画杂画册","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,5894,354,237,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9dd36b59c23ee700dc9d1cd8e34731b.jpg",[],{"id":8022,"slug":8023,"title":5155,"dynasty":106,"author":454,"museum":234,"description":8024,"tags":8025,"thumbUrl":8028,"material":96,"size":283,"collection":98,"collections":8029,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},237256,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237256","此作为图文合璧的册页小品。右侧设色人物场景写实清雅，渡口驿门前，蓝袍官员停驻拜谒，门内长者拱手答礼，从者牵马静立旁侧，浅滩林石隐现，衬出古朴雅致的晤面氛围，衣纹舒展灵动，树石晕染清润，尽显细腻的笔致意趣。\n左侧行书题颂笔力苍劲舒展，墨色匀净，文辞与图景呼应唱和，颂赞名臣风节。书画相映，将仕者敬贤之态融于幽寂林下，暗合贤德吏治的主题，尽显传统纪实题材的温婉意韵，以笔墨留存了对名臣贤行的追慕。",[24,29,28,224,223,354,30,7,376,91,607,8026,5625,1412,8027],"木门","人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7f46be44914fb3124a68b6b65751d7.jpg",[],{"id":8031,"slug":8032,"title":7448,"dynasty":106,"author":7449,"museum":234,"description":7450,"tags":8033,"thumbUrl":8034,"material":96,"size":283,"collection":98,"collections":8035,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},236943,"jiu-ru-zhi-ji-ce-wang-gai-236943",[24,25,354,29,224,90,30,7,32,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f6fd7db7eb92a2c01bbf63d903cb725.jpg",[],{"id":8037,"slug":8038,"title":8039,"dynasty":261,"author":8040,"museum":234,"description":8041,"tags":8042,"thumbUrl":8043,"material":98,"size":98,"collection":98,"collections":8044,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},236638,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236638","宋懋晋江南名胜图册","宋懋晋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[24,25,354,88,29,90,89,31,339,523,694,376,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6c1b764d1d0c5c68ad65722b2106ca.jpg",[],{"id":8046,"slug":8047,"title":8048,"dynasty":261,"author":454,"museum":234,"description":8049,"tags":8050,"thumbUrl":8051,"material":98,"size":98,"collection":98,"collections":8052,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},236430,"shu-zhi-shan-shui-ce-yi-ming-236430","殳执山水册","这幅山水小品以淡墨晕染出烟霭山城，虚实相生间尽显空寂萧疏之美。城垣逶迤盘桓山巅，楼阁隐现薄雾之中，恍若仙山琼宇藏于烟岚。林麓之下，旅人策蹇徐行，溪畔茅舍临流静立，远处佛塔淡影浮沉在朦胧烟霭中，将山野清寂与浅淡烟火意趣相融。\n\n笔墨简淡清润，以淡墨皴擦点染弱化山石棱角，留白与晕染交织出空濛诗意，将郊野山城的清旷雅致勾勒尽致，尽显简淡幽远的文人意趣，引人沉醉在这烟水山岚的悠然意境里。",[24,25,354,88,29,90,31,266,376,7,32,94,91,5743,889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f87642505a7b80225be89ce4786ca89.jpg",[],{"id":8054,"slug":8055,"title":8056,"dynasty":106,"author":454,"museum":234,"description":8057,"tags":8058,"thumbUrl":8059,"material":96,"size":283,"collection":98,"collections":8060,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},234415,"liu-shi-ban-chan-luo-sang-ba-dan-yi-xi-xiang-zhou-yi-ming-234415","六世班禅洛桑巴丹益西像轴","主尊安坐莲台法座，面容慈悲沉静，明黄僧衣衬出清贵仪容，结印说法，法座雕饰威严瑞兽，宝相庄严。上方云端化生三尊圣像，或忿怒伏魔，或跏趺圆寂，或持律安坐，尽显藏传佛教诸般法相。下方护法驰马踏焰，威赫慑人。背景青绿晕染出灵秀秘境，祥云缭绕托举天界殊胜。整幅设色浓丽厚重，金彩勾勒细节，线条流畅劲健，以分层构图铺陈佛国图景，将宗教的神圣肃穆与雪域灵境相融，兼具信仰厚重感与审美意趣。",[106,721,29,28,2810,30,535,7,90,36,1068,222,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006dc3394ef538d2aac7e7c1a5dd5d8a.jpg",[],{"id":8062,"slug":8063,"title":2863,"dynasty":106,"author":454,"museum":20,"description":5458,"tags":8064,"thumbUrl":8066,"material":344,"size":2869,"collection":98,"collections":8067,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},233083,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233083",[24,25,354,28,29,89,30,90,7,91,36,8065,2866,1412,6899],"战旗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7ef1593f0c5c71dc6bb2b858173222.jpg",[],{"id":8069,"slug":8070,"title":6779,"dynasty":106,"author":454,"museum":20,"description":6780,"tags":8071,"thumbUrl":8072,"material":344,"size":6074,"collection":98,"collections":8073,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},233058,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233058",[24,68,25,354,28,29,30,7,90,36,91,1153,6396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca06c44252317c1e035cd58e5c992f4a.jpg",[],{"id":8075,"slug":8076,"title":5818,"dynasty":106,"author":454,"museum":20,"description":6071,"tags":8077,"thumbUrl":8078,"material":344,"size":6074,"collection":98,"collections":8079,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},233053,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233053",[354,29,28,89,90,30,7,36,42,278,6396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde5ed1ce36e68598d77fe8a08a481123.jpg",[],{"id":8081,"slug":8082,"title":8083,"dynasty":106,"author":3420,"museum":84,"description":7498,"tags":8084,"thumbUrl":8085,"material":135,"size":7501,"collection":98,"collections":8086,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},232967,"sheng-ji-cong-zhou-ai-qi-meng-232967","胜吉骢轴",[24,25,87,29,28,7,222,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6d92959cd7cda99715de382fbd737ff.jpg",[],{"id":8088,"slug":8089,"title":8090,"dynasty":1760,"author":7157,"museum":234,"description":7158,"tags":8091,"thumbUrl":8094,"material":96,"size":283,"collection":98,"collections":8095,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},232562,"mi-lai-si-106-yue-han-ai-fu-li-te-mi-lai-si-232562","米莱斯106",[3604,237,1174,30,7,1098,522,1269,149,8092,3605,8093],"日常场景","明暗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda326b256351db28b51156f9b8bb95be.jpg",[],{"id":8097,"slug":8098,"title":8099,"dynasty":1760,"author":7157,"museum":234,"description":7158,"tags":8100,"thumbUrl":8101,"material":96,"size":283,"collection":98,"collections":8102,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},232560,"mi-lai-si-104-yue-han-ai-fu-li-te-mi-lai-si-232560","米莱斯104",[237,30,7,164,3605,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F669e17cd25a781634461db4014365157.jpg",[],{"id":8104,"slug":8105,"title":8106,"dynasty":1760,"author":7157,"museum":234,"description":7158,"tags":8107,"thumbUrl":8111,"material":96,"size":283,"collection":98,"collections":8112,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},232540,"mi-lai-si-84-yue-han-ai-fu-li-te-mi-lai-si-232540","米莱斯84",[68,3604,30,7,8108,8109,8110],"骑士","铅笔画","西方绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6befd7ce64c96234eac7fdcf3a6487.jpg",[],{"id":8114,"slug":8115,"title":8116,"dynasty":1760,"author":8117,"museum":234,"description":8118,"tags":8119,"thumbUrl":8125,"material":96,"size":283,"collection":98,"collections":8126,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},232304,"a-er-ma-31-lao-lun-si-a-er-ma-ta-de-ma-232304","阿尔玛31","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。",[1173,29,30,210,1809,8120,8121,8122,733,7,2557,8123,8124],"蕨类植物","棕榈科植物","几何图案地砖","红色墙体","古典场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f2fbb8637fd2d82c673b13f0ff9959.jpg",[],{"id":8128,"slug":8129,"title":8130,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":8131,"thumbUrl":8133,"material":96,"size":283,"collection":98,"collections":8134,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},232144,"horses-in-a-meadow-national-gallery-of-art-washington-usa-de-jia-232144","Horses in a Meadow – - National Gallery of Art - Washington (USA)",[7174,1173,7,111,2464,146,47,5914,8132,36],"黄昏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6891e26fe2f55d4379ea41f8c996fc.jpg",[],{"id":8136,"slug":8137,"title":8138,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":8139,"thumbUrl":8141,"material":96,"size":283,"collection":98,"collections":8142,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},232133,"de-jia-69-de-jia-232133","德加69",[1173,7174,7,30,111,3593,8140],"赛马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e6341a357b992e5bdd272ecb9bf116.jpg",[],{"id":8144,"slug":8145,"title":8146,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":8147,"thumbUrl":8153,"material":96,"size":283,"collection":98,"collections":8154,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},232037,"de-jia-21-de-jia-232037","德加21",[1173,7174,29,30,7,2464,8148,1239,1176,8149,8150,8151,8152],"岸边","风景","户外","骑马者","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d13ba0f77e0cf152aa023fa77e48b9.jpg",[],{"id":8156,"slug":8157,"title":8158,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":8159,"thumbUrl":8163,"material":96,"size":283,"collection":98,"collections":8164,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":512},232034,"racehorses-circa-1895-1900-national-gallery-of-canada-de-jia-232034","Racehorses - circa 1895-1900 - National Gallery of Canada",[1173,7174,7,30,111,3593,8160,8161,8162],"赛马场景","色彩明快","笔触奔放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec2d12d608684fd5709e204d0e0b2ee.jpg",[],{"id":8166,"slug":8167,"title":8168,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":8169,"thumbUrl":8175,"material":96,"size":283,"collection":98,"collections":8176,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":1661},232025,"rider-in-a-red-coat-1873-de-jia-232025","Rider in a Red Coat - 1873",[7174,7752,8170,4919,29,30,3593,7,8171,8172,8173,8174,676],"水彩","红色衣物","动态捕捉","动态表现","人物动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bfa97843759e5dbc86a22159d42f34.jpg",[],{"id":8178,"slug":8179,"title":8180,"dynasty":1760,"author":454,"museum":234,"description":8181,"tags":8182,"thumbUrl":8185,"material":96,"size":283,"collection":98,"collections":8186,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},231798,"chun-ri-ji-li-xing-fu-xing-shi-xia-juan-yi-ming-231798","春日祭礼兴福行事下卷","此作以全景长卷铺展祭典全貌，淡彩浅设辅以工整白描，将一场庄重古礼完整铺陈于绢素之上。\n左侧朝官按序列班，衣袍明黄齐整肃穆，仪杖陈设规制俨然；中段人马辚辚而行，扈从仪物森然有序，百官随扈的宏大仪仗历历在目；右侧水屋御殿临河而设，拜谒的臣僚进退有度，河畔林木葱郁衬出仪典的静穆氛围。\n画作细节考究，人物衣冠、官署形制皆贴合古礼，搭配题跋补全仪典始末，兼具纪实性与古韵美感，让旧日皇家祭礼的庄重排场宛在眼前。",[23,24,25,26,28,29,30,31,32,33,266,7,36,8183,151,8184,4545,149,90],"祭祀","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56da5d090e05a00fa387d5a52a4e401a.jpg",[],{"id":8188,"slug":8189,"title":8190,"dynasty":1760,"author":454,"museum":234,"description":8191,"tags":8192,"thumbUrl":8193,"material":98,"size":98,"collection":98,"collections":8194,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},231656,"yun-juan-tu-juan-yi-ming-231656","云卷图卷","此作以全景长卷铺展世间烟火，疏密有致的构图将郊野与町肆串联。画面里市集人流攒动，官绅出行的仪仗、贩夫走卒的行迹、乘马驱车的行人错落交织，朱红牌坊临水而立，乡野村居错落铺陈。\n工细的线条勾勒出各色人物的情态衣袂，古雅的设色晕染出郊野的温润底色，将市井喧嚷、仕宦排场与田舍闲趣融为一体。细节里藏着往昔日常的鲜活风貌，把旧岁世相凝于绢素之间，尽显写实叙事的古雅意趣。",[23,24,26,29,28,30,7,32,47,5914,7212,36,267,35,48,3991,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5c9e889cce3d7668f0cb97b6412eb.jpg",[],{"id":8196,"slug":8197,"title":8198,"dynasty":1760,"author":454,"museum":234,"description":8199,"tags":8200,"thumbUrl":8202,"material":96,"size":283,"collection":98,"collections":8203,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},231642,"shi-ting-shi-dai-jiu-tu-ping-feng-di-2-ping-yi-ming-231642","室町时代 厩图屏风第2屏","画面分野有致，左畔厩房静立，三匹良骏或垂首小憩或昂首敛息，系马木构细节妥帖，尽现驯牧日常。廊台之上，衣冠雅致的男女或闲坐低语，或垂首休憩，伴以嬉游的小犬，松弛的闲淡氛围漫开。\n\n右侧苍松虬劲盘绕，山池蜿蜒，白羽天鹅悠然浮于水面，幽谧野趣扑面而来。整作以柔缓的矿物淡彩晕染，线条朴拙细腻，将私邸日常闲情与郊野清趣相融，褪去刻意的华贵铺陈，只留平和温润的生活质感，尽显世俗雅致的日常况味。",[29,28,4698,7,30,248,8201,1019,149,694],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ccec7581d9a234ccb97692f6269b1.jpg",[],{"id":8205,"slug":8206,"title":8207,"dynasty":1760,"author":8208,"museum":234,"description":8209,"tags":8210,"thumbUrl":8211,"material":135,"size":283,"collection":98,"collections":8212,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},230565,"nuo-ju-luo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230565","诺距罗尊者","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",[23,24,29,721,30,7,222,36,1541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbda96ebe1f98130518da382d45f4398.jpg",[],{"id":8214,"slug":8215,"title":8216,"dynasty":106,"author":8217,"museum":234,"description":8218,"tags":8219,"thumbUrl":8220,"material":96,"size":283,"collection":98,"collections":8221,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},230227,"shu-qian-long-yu-zhi-ai-wu-han-si-jun-ge-cheng-shan-peng-yuan-rui-230227","书乾隆御制爱乌罕四骏歌成扇","彭元瑞","彭元瑞（1731—1803），字掌仍，一字辑五，号芸楣（一作云楣），江西南昌人，清代大臣、学者，楹联名家。乾隆二十二年进士，改庶吉士，授编修，官至工部尚书、协办大学士。元瑞博学强记，时有令誉。纪昀为《四库全书》总纂官时，彭元瑞是十个副总裁之一。与蒋士铨合称“江右两名士”。",[1808,223,224,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e89d137ba2f4d99b009305064d9d5bc.jpg",[],{"id":8223,"slug":8224,"title":8225,"dynasty":1760,"author":454,"museum":234,"description":6829,"tags":8226,"thumbUrl":8227,"material":96,"size":283,"collection":98,"collections":8228,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},225584,"fu-shi-hui-79-yi-ming-225584","浮世绘79",[4946,29,30,31,7,721,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc7126217ba5358658843fa4717816.jpg",[],{"id":8230,"slug":8231,"title":8232,"dynasty":1760,"author":454,"museum":234,"description":8233,"tags":8234,"thumbUrl":8235,"material":98,"size":98,"collection":98,"collections":8236,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},225361,"fu-shi-hui-117-yi-ming-225361","浮世绘117","这幅作品以木桥行旅为焦点，将赶路的旅人、驮货的马队收揽于前景，鲜活铺展出行路的日常烟火。远景以青蓝晕染水色，暖黄晕开沙洲浅山，柔化了天地边界，将旅途的奔波与水乡清寂融为一景。\n\n画面动静相映，负货的旅人神色匆匆，岸边堆放的木料、错落村舍晕开世俗暖意，远景的淡墨山林又晕开松弛悠远的氛围。雅致柔和的色调铺陈出悠然诗意，将市井行路的日常晕染出浮世独有的烟火温情。",[4946,29,4947,32,7,30,36,42,3643,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3d0ae1c9f6f01c11bdafee0de5148d.jpg",[],{"id":8238,"slug":8239,"title":8240,"dynasty":106,"author":107,"museum":234,"description":662,"tags":8241,"thumbUrl":8243,"material":88,"size":98,"collection":98,"collections":8244,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},216839,"zhan-zheng-tong-ban-hua-2-lang-shi-ning-216839","战争铜版画-2",[106,664,110,665,30,7,90,36,42,278,2866,707,6898,8242],"地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc3c70671345dae94b97b1c13326254c.jpg",[],{"id":8246,"slug":8247,"title":8248,"dynasty":106,"author":107,"museum":234,"description":662,"tags":8249,"thumbUrl":8250,"material":88,"size":98,"collection":98,"collections":8251,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},216813,"zhan-zheng-tong-ban-hua-33-lang-shi-ning-216813","战争铜版画-33",[967,664,665,90,30,7,6898,552,36,91,2867,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df12a9ea8b444fda1ecfe4a25c79cac.jpg",[],{"id":8253,"slug":8254,"title":8255,"dynasty":106,"author":107,"museum":234,"description":662,"tags":8256,"thumbUrl":8257,"material":88,"size":98,"collection":98,"collections":8258,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},216811,"zhan-zheng-tong-ban-hua-38-lang-shi-ning-216811","战争铜版画-38",[664,2432,665,30,7,90,223,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99e821c8bfe45a4ce19ef2131c122a4.jpg",[],{"id":8260,"slug":8261,"title":8262,"dynasty":106,"author":107,"museum":234,"description":662,"tags":8263,"thumbUrl":8264,"material":88,"size":98,"collection":98,"collections":8265,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},216790,"zhan-zheng-tong-ban-hua-51-lang-shi-ning-216790","战争铜版画-51",[664,30,7,90,36,149,164,91,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8b5bac3bf423c4b122982fe82ce10.jpg",[],{"id":8267,"slug":8268,"title":8269,"dynasty":106,"author":107,"museum":234,"description":662,"tags":8270,"thumbUrl":8271,"material":88,"size":98,"collection":98,"collections":8272,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},216784,"zhan-zheng-tong-ban-hua-57-lang-shi-ning-216784","战争铜版画-57",[106,664,2433,90,30,7,91,36,42,2866,164,665,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9b45c47f88179d7c4cbc4e2cf60cad.jpg",[],{"id":8274,"slug":8275,"title":8276,"dynasty":106,"author":107,"museum":234,"description":662,"tags":8277,"thumbUrl":8280,"material":88,"size":98,"collection":98,"collections":8281,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":171},216783,"zhan-zheng-tong-ban-hua-62-lang-shi-ning-216783","战争铜版画-62",[664,1174,665,90,36,30,7,6749,48,249,42,278,8278,2866,8279,8242,149],"丛林","战马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24fbbda1901a463b6beb4e00ff37d35a.jpg",[],{"id":8283,"slug":8284,"title":8285,"dynasty":106,"author":454,"museum":4224,"description":8286,"tags":8287,"thumbUrl":8288,"material":198,"size":98,"collection":98,"collections":8289,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},215996,"di-jian-tu-shuo-cai-hui-ben-9-yi-ming-215996","帝鉴图说彩绘本-9","敞轩之内，衣袂翩然的身影或坐或立，似在共话或待接，松枝苍劲斜倚院墙，庭院的静谧里漫着雅致气象。阶下郊野则别有意趣：青绿山峦间，骏马踏过坡岸，骑者衣袍随驰驱轻扬，枯树与新松相映成趣。一静一动，一院一野，线条细腻勾勒人物神情，设色清雅晕染景致韵致，每处笔触都藏着对往昔场景的细腻描摹，仿佛能让观者透过画面，触到那段时光里的从容与鲜活。画面以双重空间串联起古典生活的不同侧面，既见文人雅集的庄重，亦显郊野驰驱的生动，韵致悠长。",[24,29,28,27,354,30,31,7,36,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf18604d83aa83f37db4f35ddb3ac65f.jpg",[],{"id":8291,"slug":8292,"title":8293,"dynasty":106,"author":454,"museum":4224,"description":8294,"tags":8295,"thumbUrl":8297,"material":198,"size":98,"collection":98,"collections":8298,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},215958,"di-jian-tu-shuo-cai-hui-ben-48-yi-ming-215958","帝鉴图说彩绘本-48","青绿晕染的山峦层叠舒展，间杂赭石与墨色勾勒的树石，晕染出清润悠远的意境。飞檐翘角的屋宇隐于林麓间，朱红门窗与灰瓦相映，透出古朴雅致的气息。庭院内，数人或坐或立，衣袂翩跹间似有温言交谈，神态从容；院外小径上，骑马者衣袍鲜丽，随行仆从步履轻快，动态鲜活。整幅画以工细笔触勾勒人物与景物，色彩明丽却不失沉静，场景叙事性强，既展现自然山水的灵秀，又通过人物互动传递含蓄礼教意味，尽显清代绘本的精致典雅，仿佛将一段尘封典故缓缓铺展眼前。",[68,24,28,29,277,90,30,31,33,7,151,354,8296],"礼教典故","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9e81b1811d213205d54598c00890c3.jpg",[],{"id":8300,"slug":8301,"title":8302,"dynasty":106,"author":454,"museum":4224,"description":8303,"tags":8304,"thumbUrl":8305,"material":198,"size":98,"collection":98,"collections":8306,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},215944,"di-jian-tu-shuo-cai-hui-ben-62-yi-ming-215944","帝鉴图说彩绘本-62","画面层叠铺展，青绿山水间，朱红宫阙与灰褐城墙相映成趣。城楼下铁骑扬尘，将士披甲执旗，动感跃然纸上；城楼之上，帷幔轻垂，人物或对坐议事，或凭栏远眺，神态毕肖。笔触细腻勾勒衣袂褶皱、建筑斗拱，色彩明丽却不失古雅，将场景庄重与人物鲜活融于一体。构图疏密有致，从山间隘口到高台楼阁，叙事性与观赏性兼具，似在无声诉说尘封史事，尽显传统工笔重彩的韵味与张力。",[24,29,28,27,30,31,90,7,266,36,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13e2f66ce437cf48fbf744d4b60b150c.jpg",[],{"id":8308,"slug":8309,"title":8310,"dynasty":106,"author":454,"museum":4224,"description":8311,"tags":8312,"thumbUrl":8313,"material":198,"size":98,"collection":98,"collections":8314,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},215943,"di-jian-tu-shuo-cai-hui-ben-66-yi-ming-215943","帝鉴图说彩绘本-66","靛蓝峰峦如削，浅赭云天相映，青绿坡地间，溪流绕石矶蜿蜒。右侧旌旗微展，衣袂翩跹的行者与鞍马静待，似将启一段途程；左侧田埂旁，农人或倚或坐，神态闲适。工笔勾勒的人物情态毕肖，设色清丽雅致，山水的悠远与人间的鲜活相融，绘就一幅兼具自然意趣与生活温度的古卷图景。笔墨间藏着细腻的观察，无论是山石的纹理、草木的姿态，还是人物的衣纹动作，皆透着古朴的韵致，仿佛能让人窥见彼时的生活片段，于静谧中感受时光流转的温柔。",[24,29,277,28,354,90,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28697540cbb3f77033784725fc4dab0.jpg",[],{"id":8316,"slug":8317,"title":8318,"dynasty":106,"author":454,"museum":4224,"description":8319,"tags":8320,"thumbUrl":8321,"material":198,"size":98,"collection":98,"collections":8322,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},215942,"di-jian-tu-shuo-cai-hui-ben-61-yi-ming-215942","帝鉴图说彩绘本-61","远处宫阙隐于云霭之间，近处苍松虬劲，水岸开阔。人物群像鲜活生动：或立或跪，或低语议事，或躬身行礼，伞盖与马匹点缀其间，似是君臣巡行或问政的场景。工笔彩绘细腻雅致，衣袂纹理清晰，人物神态各异，将历史瞬间凝于绢素之上。松枝的苍劲与人物的鲜活相映成趣，云雾的朦胧与场景的真切交织，尽显传统叙事画的独特韵味，让观者仿佛能窥见往昔的庄重与生动，感受历史场景的温度。",[24,29,28,354,30,7,248,90,31,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbd66d9c327670a2ba6a89713b46a0d.jpg",[],{"id":8324,"slug":8325,"title":8326,"dynasty":106,"author":454,"museum":4224,"description":8327,"tags":8328,"thumbUrl":8329,"material":198,"size":98,"collection":98,"collections":8330,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},215925,"di-jian-tu-shuo-cai-hui-ben-84-yi-ming-215925","帝鉴图说彩绘本-84","画面铺展着一场威仪赫赫的行进盛景，疏密错落间尽显章法。前景青绿山水含烟带翠，树木葱茏如盖，溪流蜿蜒穿林而过，添了几分灵秀；中景仪仗队伍浩浩荡荡，旌旗猎猎翻卷如焰，车驾装饰华美若虹，人物姿态各异——或策马前驱，或拱手随行，衣袂翩跹间尽是生动。远景建筑红墙蓝瓦，与天边淡彩相映，层次分明。整幅画设色明快而不失雅致，动态与静态交织，既展现出仪式的庄重肃穆，又通过鲜活的人物细节，将历史场景的气韵娓娓道来，仿佛能听见旌旗猎猎与车马辚辚，让观者瞬间跌入那遥远而鲜活的时空画卷里。",[24,25,29,28,30,7,535,31,90,36,48,4545,553,681],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47ac3e452252240952f40cbf7aa2f8.jpg",[],{"id":8332,"slug":8333,"title":8334,"dynasty":301,"author":8335,"museum":20,"description":8336,"tags":8337,"thumbUrl":8339,"material":344,"size":8340,"collection":98,"collections":8341,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":59},214472,"da-tang-zhong-xing-song-xia-ce-12-yan-zhen-qing-214472","大唐中兴颂下册-12","颜真卿","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第二卷。",[223,1743,8338,7],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa73442b5790df4ece561ecfbc1283c36.jpg","29.3x15.5",[],{"id":8343,"slug":8344,"title":8345,"dynasty":4081,"author":8346,"museum":518,"description":8347,"tags":8348,"thumbUrl":8349,"material":98,"size":98,"collection":76,"collections":8350,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":8351},203075,"han-lin-si-ma-tu-zhou-wang-zhen-203075","寒林嘶马图轴","王震","一匹骏马昂首嘶鸣，立于寒林荒草间。鬃毛以浓墨挥洒，飞扬动感；躯干淡墨晕染，肌理自然。寒林枝干虬曲，枯笔皴擦显萧瑟；草叶泼墨点染，野趣横生。马的昂扬姿态与周遭荒寒之境相映，既见不羁风骨，亦含孤寂之韵。笔墨简练豪放，写意传神，于方寸间尽显生命张力与画家胸中意气。",[24,889,88,29,7,1640,87,1668,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74465b64c275b35cf8c4234e898d9e9b.jpg",[76],"bab2a4",{"id":8353,"slug":8354,"title":8355,"dynasty":106,"author":8356,"museum":518,"description":8357,"tags":8358,"thumbUrl":8359,"material":98,"size":98,"collection":98,"collections":8360,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":8361},202679,"shou-lie-tu-zhou-wang-yin-202679","狩猎图轴","王寅","画面定格狩猎的生动瞬间，猎手们或纵马弯弓，或驱犬疾驰，动态十足。人物衣纹线条简练流畅，设色清雅温润，枯树与远山以写意笔触点染，衬出旷野的苍茫意境。整体兼用工笔与写意，将狩猎的紧张氛围与自然的疏阔感相融，笔墨间尽显传统绘事的意趣与生机。",[24,29,30,7,1019,630,28,736,222,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb89fd9b21d1b4da53efd8e5bd783bfe.jpg",[],"daba96",{"id":8363,"slug":8364,"title":8365,"dynasty":106,"author":8366,"museum":518,"description":8367,"tags":8368,"thumbUrl":8370,"material":98,"size":98,"collection":98,"collections":8371,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":8372},202602,"qian-feng-xiao-xiang-tu-zhou-ding-gao-202602","钱沣肖像图轴","丁皋","这幅肖像图工写相济，人物端坐孤石之上，面部刻画精准传神，衣纹线条流畅自然，设色淡雅古朴。背景以写意笔触绘虬曲老树、平远田野，近侧马匹悠然觅食，清幽景致与人物沉静气质相融，尽显清代肖像画的精湛技艺与文人意境。",[8369,29,30,7,130,388,28,87,23],"标签：国画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c86b28f9c5d2a99cda48a2a0fc1577.jpg",[],"b9935f",{"id":8374,"slug":8375,"title":8376,"dynasty":106,"author":1992,"museum":518,"description":8377,"tags":8378,"thumbUrl":8379,"material":98,"size":98,"collection":98,"collections":8380,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":8381},202487,"guan-shan-lei-ma-tu-zhou-hua-yan-202487","关山勒马图轴","寒原积雪覆关山，寒烟如缕漫卷天际。红衣旅人勒马驻足，衣袂轻扬似凝思前路；骏马昂首矫健，神姿毕现。远处孤鹰振翅掠过苍茫，添几分寂寥辽远。笔墨兼工带写，人物马匹形神兼备，红衣设色明艳与背景水墨晕染相映，虚实相生间，尽展关山行旅的苍凉沉雄。简淡画面藏悠远意境，尽显画家笔底丘壑与人文情韵。",[24,29,30,7,267,90,88,87,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3824d1269fc4299c441edc6ed1cc54.jpg",[],"b3b3ab",{"id":8383,"slug":8384,"title":8385,"dynasty":106,"author":1423,"museum":518,"description":8386,"tags":8387,"thumbUrl":8388,"material":98,"size":98,"collection":75,"collections":8389,"showCount":256,"zanCount":58,"manualWeight":58,"mainColor":8390},201273,"feng-chen-san-xia-tu-zhou-ren-yi-201273","风尘三侠图轴","画面中虬髯客红衣如焰，骑驴欲行的身影尽显豪侠洒脱；李靖与红拂女倚立古木旁，眉眼间藏着知己相契的温情。画家以灵动线条勾勒人物形神，写意笔墨晕染衣袂与古木，设色清雅却于红衣处浓墨重彩——浓烈与素淡相映，人物个性跃然纸上。背景老树虬枝苍劲，枝叶间点染秋黄，既添萧疏古意，又衬出人物鲜活。整幅画作气韵生动，形神兼备，将风尘三侠的侠义风骨与知己相惜的瞬间凝于笔端，尽显传统人物画的笔墨意趣与传神之妙。",[24,29,30,7,388,88,889,28,87,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806694eda2a372e8a9689e12bb406fc7.jpg",[75],"afa18d",{"id":8392,"slug":8393,"title":8394,"dynasty":1760,"author":454,"museum":234,"description":8395,"tags":8396,"thumbUrl":8403,"material":96,"size":283,"collection":98,"collections":8404,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},290706,"sha-zhou-guan-ya-shi-wu-dian-jian-li-juan-ni-ti-shou-gao-yi-ming-290706","沙州官衙什物点检历卷（拟题）手稿","泛黄麻纸带着斑驳残损的岁月痕迹，工整朴拙的小楷密密排布，将沙州诸道的通塞行旅、道里远近一一录下。笔墨间藏着千年前丝路沙州的交通脉络，详实记载驿路水草通阻、行旅多寡，是沙州地方地理交通的珍贵一手实证。平淡的官牍文字背后，藏着丝路行旅的风霜与沙州城的行政日常，残卷之上，旧纸墨痕将边地交通图景静静铺展，带着厚重的古旧温度，成为丝路沙州往事的鲜活注脚。",[1377,223,26,7571,8397,8398,1743,94,7,8399,8400,8401,8402],"文书","写本","寺院","僧人","塔","石窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad9dda0dcbf6e4869f460487b780acc.jpg",[],{"id":8406,"slug":8407,"title":8408,"dynasty":106,"author":8217,"museum":234,"description":8218,"tags":8409,"thumbUrl":8410,"material":96,"size":283,"collection":98,"collections":8411,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},290574,"qian-long-yu-zhi-li-zhang-ma-shi-deng-er-shou-cheng-shan-peng-yuan-rui-290574","乾隆御制立仗马诗等二首成扇",[1808,223,224,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe117fa84dede2aa8820d43e13fcdfef5.jpg",[],{"id":8413,"slug":8414,"title":8415,"dynasty":1760,"author":454,"museum":234,"description":8416,"tags":8417,"thumbUrl":8423,"material":96,"size":283,"collection":98,"collections":8424,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289321,"francesco-albani-diana-bathing-yi-ming-289321","Francesco Albani--Diana Bathing","狩猎女神戴安娜沐浴方罢，侍从垂首为她打理足履，神态恭谨柔婉。灵动松弛的线条勾勒出女神柔美的躯体，淡墨晕染氤氲出朦胧林野，光影在肌肤与林间缓缓流淌，将神话场景揉进静谧郊野。\n\n背景里休憩的人马与蜷卧猎犬，晕开狩猎归来的余韵。随性却精准的笔触，将神祇的优雅闲适定格在暮色之中，古典柔美与自然意趣相融，寥寥几笔便晕生出悠然的神话诗意，把松弛静谧的郊野神性氛围铺陈开来。",[3604,989,8418,8419,8420,7,8421,36,8422],"神话场景","林间","裸女","沐浴","狩猎女神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969f13539b2635d22f5d39901b030bd1.jpg",[],{"id":8426,"slug":8427,"title":8428,"dynasty":1760,"author":454,"museum":234,"description":8429,"tags":8430,"thumbUrl":8434,"material":96,"size":283,"collection":98,"collections":8435,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289277,"pier-francesco-mola-conversion-of-saint-paul-yi-ming-289277","Pier Francesco Mola--Conversion of Saint Paul","这幅速写以强烈明暗对比锚定视觉重心，左侧跌下马的主角肌肉轮廓用浓墨晕染，瘫软躯体带着濒然失神的恍惚感，将瞬间冲击与顿悟揉合在顿挫线条中。\n\n右侧人群以潦草却极具张力的线条勾勒，高举的手臂、奔走姿态将骚乱氛围拉至顶点，远景淡墨轻扫虚化荒漠背景，把所有注意力集中在这一神圣时刻。\n\n画家舍弃精细刻画，以奔放写意的速写笔触，将宗教皈依的神圣感混在临场混乱情绪中，粗粝墨色裹挟着饱满情绪，让宗教场景褪去肃穆外衣，拥有直击人心的原始戏剧力量。",[3667,8431,3604,30,7,8432,8433,7707],"宗教题材","荒漠","圣保罗皈依","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f9270b9a672b84f2c17a0780d20e9e.jpg",[],{"id":8437,"slug":8438,"title":8439,"dynasty":1760,"author":454,"museum":234,"description":8440,"tags":8441,"thumbUrl":8444,"material":96,"size":283,"collection":98,"collections":8445,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289270,"pietro-jacopo-palmieri-trompe-l-oeil-exercise-prints-on-a-table-top-yi-ming-289270","Pietro Jacopo Palmieri--Trompe-l'Oeil Exercise Prints on a Table Top","这是一幅巧思盎然的错视佳作，将凌乱堆叠的速写稿铺陈于桌面之上，虚实交融模糊了画内画外的边界。\n小幅速写各有乾坤：戴羽饰的异域男子神情桀骜，鞍马奔踏带着旷野的风，旅人彳亍、水乡小镇晕开静谧烟火，每一页都封存着鲜活的采风日常。\n画稿看似随意摊放，带着刚被翻阅搁置的松弛感，仿佛能窥见画师方才辍笔的模样，将零散的灵感碎片定格成充满生活温度的创作一隅，尽显古典手绘的精妙意趣。",[3604,4919,8442,30,7,149,344,1174,8149,8443],"错视画","市井场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb75bb43ce9bc25a1738131ad9e5540.jpg",[],{"id":8447,"slug":8448,"title":8449,"dynasty":1760,"author":454,"museum":234,"description":8450,"tags":8451,"thumbUrl":8454,"material":96,"size":283,"collection":98,"collections":8455,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289269,"pietro-jacopo-palmieri-trompe-l-oeil-exercise-prints-yi-ming-289269","Pietro Jacopo Palmieri--Trompe-l'Oeil Exercise Prints","这是一幅精妙的错视佳作，以层层叠叠的画稿构造出逼真的桌面一隅。泛黄纸张带着自然褶皱错落摊开，将动态速写、人物肖像、装饰小稿与印着乐符的散页杂糅一处。骑手策马的画面张力十足，异邦人物肖像刻画传神，圆构图里的人物与猎犬细腻生动，每一帧小稿都带着古典写生的雅致质感。\n\n作者以细腻笔触还原纸张肌理，光影在层叠纸面间自然晕开，彻底模糊二维平面与现实桌面的边界，让观者如同凑近创作者的工作台，仿佛伸手便可触碰到这堆叠的习作，在这场视觉骗局里尽显写实功底的精妙，将日常创作的琐碎化为充满趣味的视觉盛宴。",[3604,8442,30,7,1019,8452,8453,7707,8092],"手绘","画稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15882f7c5db5f92e4efa24027d3b1034.jpg",[],{"id":8457,"slug":8458,"title":8459,"dynasty":1760,"author":454,"museum":234,"description":8460,"tags":8461,"thumbUrl":8463,"material":96,"size":283,"collection":98,"collections":8464,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289213,"giuseppe-maria-crespi-marcolfa-persuades-cacasenno-to-mount-a-horse-yi-ming-289213","Giuseppe Maria Crespi--Marcolfa Persuades Cacasenno to Mount a Horse","以红棕素描织就鲜活日常，老者攥紧缰绳稳稳控住昂首长嘶的骏马，排线顺着马身肌理铺展，将烈马的桀骜与劲力藏在笔触中。\n\n孩童挣开老者的臂弯，圆脸蛋满是雀跃莽撞，小胳膊奋力指向骏马，稚气的欢喜几乎要冲破纸面。老者眉眼弯着无奈又宠溺的笑意，布料褶皱随着动作自然垂落，粗粝又细腻的线条铺陈出布面软塌的质感。\n\n寥寥数笔晕开松弛的户外氛围，将长辈的包容、幼童的热忱与骏马的烈性揉作一处，让这个朴素的温情场景鲜活动人，满是治愈的烟火暖意。",[3604,30,7,8462],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d3159de8470cf9c89ef986b19412a.jpg",[],{"id":8466,"slug":8467,"title":8468,"dynasty":1760,"author":454,"museum":234,"description":8469,"tags":8470,"thumbUrl":8474,"material":96,"size":283,"collection":98,"collections":8475,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289165,"goya-the-celebrated-picador-yi-ming-289165","Goya--The Celebrated Picador","蚀刻的粗粝线条铺就出沉郁的斗牛场氛围，将斗牛瞬间的紧绷对峙定格。脊背绷紧的公牛昂首抬角，野性的威慑直指向端坐马背的长矛手，一动一静间拉扯出剑拔弩张的张力。左侧骑手仓促控马闪避，慌乱的姿态衬出公牛的凶悍。背景模糊的身影晕开临场的喧嚣，铜版肌理晕染出场地间浮动的烟尘，将斗牛的原始暴力揉进每一道刻痕里，把西班牙斗牛的狂热野性与残酷张力刻画得淋漓尽致，冷硬笔触下满是鲜活的临场气息。",[4948,8471,35,7,30,7707,8472,8473],"斗牛","竞技场景","黑白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38b2ca837b1949ec7bbd4ae922906a7b.jpg",[],{"id":8477,"slug":8478,"title":8479,"dynasty":1760,"author":454,"museum":234,"description":8480,"tags":8481,"thumbUrl":8483,"material":96,"size":283,"collection":98,"collections":8484,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289136,"marie-rosalie-bonheur-sheet-of-studies-for-the-horse-fair-yi-ming-289136","Marie-Rosalie Bonheur--Sheet of Studies for The Horse Fair","炭笔游走间，两名骑手驱策骏马奔腾向前，鬃毛飞扬如墨色流焰，精准勾勒出骏马贲张的肌肉轮廓，野性张力扑面而来。右侧以淡笔轻扫出马群残影，虚实相映间烘托出集市的喧嚣涌动，悄然铺展出鲜活的场域氛围。\n\n奔放的排线铺陈动势，浓淡光影错落晕开，潦草却精准的速写笔触，把奔跃瞬间的爆发力凝为永恒，细碎草稿线条还留存着创作时的灵动思绪，粗粝炭感揉合着牧场的鲜活生气，将烈马悍勇的生命力永远定格在纸面。",[3604,4919,7,3593,891,7725,8482,4446],"习作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7d26f83b8927d71d5b029eca7fffd4.jpg",[],{"id":8486,"slug":8487,"title":8488,"dynasty":1760,"author":454,"museum":234,"description":8489,"tags":8490,"thumbUrl":8492,"material":96,"size":283,"collection":98,"collections":8493,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},289078,"jonas-umbach-november-one-of-a-series-representing-the-labors-yi-ming-289078","Jonas Umbach--November (one of a series representing the labors","暖棕红调晕开郊野行旅的松弛日常，灵动线条勾勒出休憩的旅人图景。骑手勒马驻望天际，侍仆持枪前驱探路，猎犬逡巡脚畔，驮马垂首暂歇，将行将歇的松弛感跃然纸上。远景丘峦层叠，村舍隐在林莽间，飞鸟划破淡云天色，草木枝蔓的写意线条鲜活又蓬勃，揉合了深秋郊野的清寂与乡居烟火气。\n\n红粉笔粗粝又柔润的笔触带着速写特有的即兴鲜活，将行猎途中的片刻驻留定格为充满生活质感的一隅，仿佛能嗅见郊野草木的涩意，听见马蹄轻踏泥土地的闷响，把乡野行旅的日常诗意娓娓道来。",[3604,30,7,1019,422,36,8491,736,7707],"农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f403eb1db791c874f595516a86bd5.jpg",[],{"id":8495,"slug":8496,"title":8497,"dynasty":1760,"author":454,"museum":234,"description":7289,"tags":8498,"thumbUrl":8501,"material":96,"size":283,"collection":98,"collections":8502,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288904,"giovanni-battista-tiepolo-illustration-for-a-book-cardinal-receiving-a-general-yi-ming-288904","Giovanni Battista Tiepolo--Illustration for a Book Cardinal Receiving a General",[3604,8110,989,8431,6876,7,8499,4494,8500],"主教","石拱门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf5f691b63de008fa83ed64a37672b6.jpg",[],{"id":8504,"slug":8505,"title":8506,"dynasty":1760,"author":454,"museum":234,"description":7289,"tags":8507,"thumbUrl":8508,"material":96,"size":283,"collection":98,"collections":8509,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288903,"giovanni-battista-tiepolo-illustration-for-a-book-cardinal-with-troops-facing-yi-ming-288903","Giovanni Battista Tiepolo--Illustration for a Book Cardinal with Troops Facing",[3604,237,721,6898,7,4983,989,665,2866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e419976bf99fe00b1ba71e8b9f83dcf.jpg",[],{"id":8511,"slug":8512,"title":8513,"dynasty":1760,"author":454,"museum":234,"description":7289,"tags":8514,"thumbUrl":8517,"material":96,"size":283,"collection":98,"collections":8518,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288897,"giovanni-battista-tiepolo-illustration-for-a-book-keys-of-a-city-offered-to-a-procession-yi-ming-288897","Giovanni Battista Tiepolo--Illustration for a Book Keys of a City Offered to a Procession",[3604,989,8515,30,7,4545,1153,8516],"书籍插图","献城仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87e4660a4b89972933a1a1e97d329a38.jpg",[],{"id":8520,"slug":8521,"title":8522,"dynasty":1760,"author":454,"museum":234,"description":7289,"tags":8523,"thumbUrl":8524,"material":96,"size":283,"collection":98,"collections":8525,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288891,"giovanni-battista-tiepolo-illustration-for-a-book-reception-of-a-bishop-leading-yi-ming-288891","Giovanni Battista Tiepolo--Illustration for a Book Reception of a Bishop Leading",[3604,721,30,7,8110,8515,2556],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe239fb6efc3caac37aeb36e6f4976e5a.jpg",[],{"id":8527,"slug":8528,"title":8529,"dynasty":1760,"author":454,"museum":234,"description":7289,"tags":8530,"thumbUrl":8532,"material":96,"size":283,"collection":98,"collections":8533,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288877,"giovanni-battista-tiepolo-illustration-for-a-book-surrender-of-the-keys-of-a-city-to-an-emperor-yi-ming-288877","Giovanni Battista Tiepolo--Illustration for a Book Surrender of the Keys of a City to an Emperor",[3604,279,30,7,40,7203,8531,4984,149],"献城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29cd05bbffee687c21d00b7f53af1735.jpg",[],{"id":8535,"slug":8536,"title":8537,"dynasty":1760,"author":454,"museum":234,"description":8538,"tags":8539,"thumbUrl":8540,"material":96,"size":283,"collection":98,"collections":8541,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288772,"roelandt-savery-a-hungarian-horseman-yi-ming-288772","Roelandt Savery--A Hungarian Horseman","这帧速写以松弛却精准的线条，定格下骑手与骏马的刹那剪影。背身的骑手裹着披巾，顶戴羽饰的轮廓简练利落，将游牧武者的剽悍藏于随性勾勒间。座下骏马昂首抬蹄，肌肉起伏的粗粝线条里，满是即将奔赴前路的动感张力。\n\n没有繁复铺陈，仅凭简练排线晕出体积感，即兴的笔触留存住鲜活的临场感，仿佛下一刻人马便要扬蹄疾驰，把游牧骑手的飒爽气魄，与人马间浑然一体的默契传神定格。泛黄纸面承载着粗朴质感，让这份随性写实的韵味更显醇厚。",[3604,989,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f98e25af5196ffa1fbee1ed081aa409.jpg",[],{"id":8543,"slug":8544,"title":8545,"dynasty":1760,"author":454,"museum":234,"description":8546,"tags":8547,"thumbUrl":8551,"material":96,"size":283,"collection":98,"collections":8552,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},288769,"rosso-fiorentino-bust-of-a-woman-with-an-elaborate-coiffure-yi-ming-288769","Rosso Fiorentino--Bust of a Woman with an Elaborate Coiffure","这幅素描以凌厉刚劲的笔触，铺陈出极具张力的殉刑场景。受刑者仰天长啸，肌肉紧绷满是悲愤不屈，施暴者面目狞恶、动作粗野狂乱，将群体的盲目暴戾拉扯到极致。马上士兵冷眼旁观，更添悲剧的肃穆压抑，空中天使翻飞舞动，似在发出无声悲鸣，与人间暴行形成尖锐对照。\n\n作品以排线堆叠体积，明暗对比强化戏剧冲突，将宗教殉难的悲壮与人性幽暗撕扯开来，笔触间满是撼人的情绪冲击力，仿佛能让观者听见刑场的嘈杂嘶吼，窥见受难者的悲愤呼号。",[3604,989,8431,7,2561,8548,8549,8550,3008],"受难场景","天使","人体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11fb52c4004a0841da38d97e379861ad.jpg",[],{"id":8554,"slug":8555,"title":8556,"dynasty":1760,"author":454,"museum":234,"description":8557,"tags":8558,"thumbUrl":8559,"material":96,"size":283,"collection":98,"collections":8560,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},288747,"school-of-raphael-head-of-a-boy-and-section-of-a-horse-s-mane-yi-ming-288747","School of Raphael--Head of a boy and section of a horse's mane","这幅小品以局部为引，将柔与刚的质感精妙并置。流畅晕染的墨色铺陈马鬃，卷曲线条带着蓬勃野性张力，明暗晕开蓬松粗粝的毛发质感，仿佛能触摸到鬃毛的韧度与暖意。\n\n右侧少年侧脸刻画克制柔和，肤色晕染过渡自然，微张的唇线带着沉静鲜活的气息，和旁侧富有力量感的马鬃形成绝妙呼应。\n\n作品放弃完整构图，聚焦局部细节，将两种截然不同的生命质感并置，古典写生的松弛意趣铺满纸面，在方寸之间晕开鲜活的呼吸感。",[30,7,3604,5743,7707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf898bfbe8fad37bb777b4d0d171fdc8.jpg",[],{"id":8562,"slug":8563,"title":8564,"dynasty":1760,"author":454,"museum":234,"description":8565,"tags":8566,"thumbUrl":8567,"material":96,"size":283,"collection":98,"collections":8568,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288716,"vittorio-amedeo-rapous-the-vision-of-st-hubert-yi-ming-288716","Vittorio Amedeo Rapous--The Vision of St. Hubert","这幅素描淡彩以拱形框围合出神圣叙事场景，单膝跪地的骑士敛容屏息，将全部心神交付于林间异象——头顶灵光的圣鹿于林木间显现，这是天启降临的瞬间。身旁骏马温驯静立，脚边猎犬却警觉躁动，动静反差放大了此刻的超现实张力。朦胧晕染的林间背景将神迹包裹在氤氲雾气里，把狩猎的日常骤然拉向神性的感召。松弛却精准的线条勾勒出人物的虔敬神态，淡彩铺就柔和氛围感，定格住圣徒信仰觉醒的肃穆刹那，让神性的启迪与凡俗的悸动融为一体。",[721,30,735,7,1098,237,3667,3604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7dcd60520526f6015a06b47b73aa855.jpg",[],{"id":8570,"slug":8571,"title":8572,"dynasty":1760,"author":454,"museum":234,"description":8573,"tags":8574,"thumbUrl":8575,"material":96,"size":283,"collection":98,"collections":8576,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288666,"attributed-to-francesco-allegrini-cavalry-engagement-2-yi-ming-288666","attributed to Francesco Allegrini--Cavalry Engagement 2","这幅速写以灵动飞逸的线条裹挟着战场疾风，骑手与战马的轮廓在笔触的顿挫与飞白间呼之欲出。没有繁复刻画，仅以简练走线勾勒出人马奔腾的紧绷张力，前倾的身姿、扬起的马蹄，将短兵相接前的悍勇与焦灼尽数铺陈。潦草却精准的笔痕，仿佛将厮杀前的刹那凝固，战马的嘶鸣、甲胄的震颤似乎穿透纸面而来。创作者以极富韵律的走线，把混乱的对冲化为充满秩序感的视觉旋律，每一道线条都带着奔涌的力道，让静态画纸承载了千军突进的磅礴气势，尽显马背交锋的野性与壮烈。",[237,30,7,707,665,3604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f96a9767b3642ef5a9e6e3c9b746beb.jpg",[],{"id":8578,"slug":8579,"title":8580,"dynasty":1760,"author":454,"museum":234,"description":8581,"tags":8582,"thumbUrl":8583,"material":96,"size":283,"collection":98,"collections":8584,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288665,"attributed-to-francesco-allegrini-cavalry-engagement-yi-ming-288665","attributed to Francesco Allegrini--Cavalry Engagement","这幅速写以灵动线条捕捉骑兵混战的磅礴张力，简练的排线与顿挫的轮廓勾勒出奔马的肌肉起伏，鬃毛翻涌、马蹄腾跃，将骏马奔突的野性尽数彰显。骑手身形隐于跃动的马群间，模糊的轮廓烘托出战场的纷乱嘈杂，无需繁复铺陈，仅靠虚实交织的笔意便将短兵相接的紧张感倾泻而出。纸面的斑驳痕迹晕开岁月沉郁的质感，让这场古旧骑战更添厚重氛围。粗粝笔触下藏着酣畅动感，仿佛能听见马蹄踏地的轰鸣，将转瞬即逝的混战瞬间定格为永恒的视觉印记，尽显临场般的激昂与喧嚣。",[3604,7,30,665,3645],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221f52dd53c9546176053643681c175c.jpg",[],{"id":8586,"slug":8587,"title":8588,"dynasty":1760,"author":454,"museum":234,"description":8589,"tags":8590,"thumbUrl":8592,"material":96,"size":283,"collection":98,"collections":8593,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288662,"attributed-to-francesco-allegrini-enthroned-warrior-distributing-crowns-yi-ming-288662","attributed to Francesco Allegrini--Enthroned Warrior Distributing Crowns","以洗练的棕褐笔触铺陈群像，高台之上的授勋者抬手递出桂冠，成为视觉焦点。下方众人或躬身仰望满含敬慕，或托举承接满是郑重，动作里浸着仪式的张力。右侧留白处勾勒出备鞍骏马，暗合着军功的底色，烘托出肃穆庄重的氛围。\n线条灵动松弛，淡墨晕染晕开明暗层次，没有细碎的细节堆砌，却精准捕捉住人物的姿态与情绪，将这场荣誉礼赞的鲜活氛围跃然纸上。潦草却传神的手稿质感，留存下构思时的鲜活瞬间，让观者得以窥见这场古典仪式的生动侧影，尽显叙事速写的简约力量。",[237,4088,30,7,5477,8591],"授冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad707525114ce8341755794b0322617.jpg",[],{"id":8595,"slug":8596,"title":8597,"dynasty":1760,"author":454,"museum":234,"description":8598,"tags":8599,"thumbUrl":8601,"material":96,"size":283,"collection":98,"collections":8602,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288657,"attributed-to-francesco-allegrini-four-horsemen-in-battle-yi-ming-288657","attributed to Francesco Allegrini--Four Horsemen in Battle","这幅速写以奔放淋漓的棕褐笔墨，定格了混战瞬间。骑手们俯身控马，战马扬蹄腾挪，肢体的扭转、肌肉的紧绷都被狂放的线条晕染勾勒，将骑乘冲锋的冲击力喷薄而出。\n\n下方的坠马身影更添厮杀的混乱与野性，没有精细刻画，却依靠虚实交错的色块与飞白，让战马的鬃毛、皮革的紧绷感呼之欲出。短兵相接的肃杀与动感揉进每一笔晕染里，粗犷笔触自带原始张力，仿佛能听见马蹄轰鸣与兵器碰撞之声，用极简色调将古战场的悍勇与混乱牢牢锁在纸面之上。",[3604,4919,5743,30,7,665,6900,707,8600],"激烈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae573f6152f0006e7dbdc90cfdc04b2.jpg",[],{"id":8604,"slug":8605,"title":8606,"dynasty":1760,"author":454,"museum":234,"description":8607,"tags":8608,"thumbUrl":8609,"material":96,"size":283,"collection":98,"collections":8610,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288653,"attributed-to-francesco-allegrini-group-of-horsemen-yi-ming-288653","attributed to Francesco Allegrini--Group of Horsemen","这幅速写以棕褐线条铺陈出行扈从，灵动简练的笔触勾勒人马情态。马匹或扬蹄躁动或稳步徐行，短促排线晕染出肌肉的起伏张力，尽显骏骑矫健质感。骑士华冠峨服，仅以概括线条交代服饰层叠与冠饰形制，便烘托出仪仗队伍的华贵庄重。\n\n人物错落排布，既有群体出行的规整秩序，又带着松弛随性的鲜活氛围。纸面留存的岁月痕迹晕开古朴质感，极简的速写语言无需多余修饰，便将古典仪仗出行的庄重鲜活尽数传递，尽显写意传神的古典速写表现力。",[3604,237,4919,30,7,7707],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25177bffeec7fdf979fa7a946f4b63.jpg",[],{"id":8612,"slug":8613,"title":8614,"dynasty":1760,"author":454,"museum":234,"description":8615,"tags":8616,"thumbUrl":8618,"material":96,"size":283,"collection":98,"collections":8619,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288651,"attributed-to-francesco-allegrini-horse-and-rider-yi-ming-288651","attributed to Francesco Allegrini--Horse and Rider","这幅速写以奔放随性的线条，定格了惊险的一瞬。骑手仰身挥臂，肌肉线条带着惶急的张力，将突逢变故的惊惧流露无余。奔马以简练遒劲的块面勾勒轮廓，四蹄腾空，把疾驰的动感拉到极致，筋骨的爆发力仿佛要冲破纸面。\n\n下方仆地的人物线条松弛瘫软，与骑手骏马的紧绷姿态形成强烈对冲，暗合这场意外的猝然惨烈。潦草却精准的笔触未加多余修饰，以粗粝的生命力将突发变故的紧张感牢牢锁在纸面，寥寥数笔就把惊险的戏剧张力渲染得淋漓尽致。",[3604,4919,237,30,7,8617,7194],"线稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c94eb09070641367fa38f3b83175f8.jpg",[],{"id":8621,"slug":8622,"title":8623,"dynasty":1760,"author":454,"museum":234,"description":8624,"tags":8625,"thumbUrl":8627,"material":96,"size":283,"collection":98,"collections":8628,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288648,"attributed-to-francesco-allegrini-horsemen-and-archers-yi-ming-288648","attributed to Francesco Allegrini--Horsemen and Archers","浅淡的素描笔触灵动松弛，寥寥数笔定格下戎马时刻的鲜活瞬间。骑马者挺身握矛，身姿沉稳远眺，马匹的肌肉轮廓简练却满含张力，仿佛正蓄势待发。下方的弓箭手舒展身姿引弓待发，动作充满爆发力。\n整幅没有精雕细琢的描摹，依靠随性的线条精准捕捉住人物与马匹的神态动势，仿佛下一秒就要策马奔驰、箭矢离弦，将戎马倥偬的氛围感凝于纸面，尽显速写语言独有的写意魅力，带着草稿独有的生动气韵。",[3604,4919,237,30,7,8626,707],"弓箭手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c02c8e2e263dd8038bc5a318a2dc97e.jpg",[],{"id":8630,"slug":8631,"title":8632,"dynasty":1760,"author":454,"museum":234,"description":8633,"tags":8634,"thumbUrl":8635,"material":96,"size":283,"collection":98,"collections":8636,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288646,"attributed-to-francesco-allegrini-horses-heads-yi-ming-288646","attributed to Francesco Allegrini--Horses' Heads","这是一幅满含即兴生命力的写生稿，松弛的排线勾勒出骏马的俊朗风骨，寥寥数笔便抓住马头沉静威仪的神态，简练线条精准还原出肌肉轮廓与毛发蓬松的质感。\n\n右上角随性的小稿带着潦草的灵动，像是灵光乍现的速记，纸面的斑驳晕开时光的旧意，角落晕开的签名，留存下创作者落笔时的仓促热忱。整幅画作不加过多修饰，将观察时的鲜活感受定格纸面，把骏马的沉静气度藏在简练笔触之中，带着创作草稿独有的随性拙朴，动人又鲜活。",[7,222,237,4919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe002f007d5189d24ef9c7baa841bb0.jpg",[],{"id":8638,"slug":8639,"title":8640,"dynasty":1760,"author":454,"museum":234,"description":8641,"tags":8642,"thumbUrl":8643,"material":96,"size":283,"collection":98,"collections":8644,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288645,"attributed-to-francesco-allegrini-horses1-yi-ming-288645","attributed to Francesco Allegrini--Horses1","这幅速写以凝练线条捕捉骏马百态，左侧骏马静立悠然，利落笔线勾勒出舒展筋骨，尽显温驯体态；中间马匹抬蹄转身，鬃毛轻扬，将动静转换的瞬间定格；右侧骏马前蹄腾空，长尾肆意舒展，张扬出奔腾的野性张力。画师以入微观察力，用极简笔触贴合马匹肌肉走势，串联起骏马从安闲到勃发的神态变化，无繁复修饰，却让每匹马的灵动神气跃然纸面，带着古典写生的质朴生动，寥寥数笔便将生灵矫健昂扬的美感尽数展现。",[68,25,237,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa245e2ba0e79392e6906a7a7c79f0a20.jpg",[],{"id":8646,"slug":8647,"title":8648,"dynasty":1760,"author":454,"museum":234,"description":8649,"tags":8650,"thumbUrl":8652,"material":96,"size":283,"collection":98,"collections":8653,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288644,"attributed-to-francesco-allegrini-horses3-yi-ming-288644","attributed to Francesco Allegrini--Horses3","这幅速写以精准洗练的线条，定格两匹健硕骏马的背影。左侧骏马昂首曳尾，轮廓线条利落分明，顺着马匹脊背、腿部的肌肉起伏排布排线，将筋骨的力量感藏在疏密变化里，劲瘦的肌理呼之欲出。右侧的骏马微偏脖颈，臀部曲线圆润饱满，蓬松尾梢以松动的线条轻扫而过，添了几分悠然灵动。\n\n整幅画作没有繁复修饰，落笔笃定干脆，以极简的排线铺陈体积，寥寥数笔便将骏马的体态神韵凝练在纸面，带着速写独有的鲜活气韵，仿佛下一秒骏马就能踏步而去，尽显画者对马匹肌理神态的通透理解。",[237,7,3604,7725,8651],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbd255f56bbd66d0fb5425333586d94.jpg",[],{"id":8655,"slug":8656,"title":8657,"dynasty":1760,"author":454,"museum":234,"description":8658,"tags":8659,"thumbUrl":8661,"material":96,"size":283,"collection":98,"collections":8662,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},288626,"jean-baptiste-marie-pierre-the-flight-into-egypt-yi-ming-288626","Jean-Baptiste Marie Pierre--The Flight into Egypt","以棕褐色调铺就山野洞窟，逃难的圣家族暂作停留。怀拥圣婴的圣母周身晕着柔光，约瑟牵马立身侧，前景村民围拢跪拜，奉以蔬果敬奉神迹，牛群静卧在旁，消解了流亡的仓促。\n\n粗粝的笔触皴擦岩壁肌理，将山野荒蛮与人物的柔润线条交织，日常烟火与神圣叙事相融。随性松弛的速写感，让奔波的宗教故事落回俗世暖意，在幽寂的洞窟里，把流亡跋涉，化为一场温柔的林间驻留。",[721,3604,30,35,7,8660,7707],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3873bf61d65803ebf7c716c2c9f0465.jpg",[],{"id":8664,"slug":8665,"title":8666,"dynasty":1760,"author":454,"museum":234,"description":8667,"tags":8668,"thumbUrl":8669,"material":96,"size":283,"collection":98,"collections":8670,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288602,"attributed-to-francesco-allegrini-horses4-yi-ming-288602","attributed to Francesco Allegrini--Horses4","这组速写以利落遒劲的线条，将骏马的灵动野性尽数铺展。六匹骏马姿态各殊，或扬蹄奔跃，鬃尾随疾风肆意飞扬，肌肉的起伏张力被精准勾勒；或徐缓回身，沉稳的姿态里仍藏着悍马的筋骨气力。\n画师以极简的排线交代明暗结构，没有繁复晕染，却让每一匹马都带着鲜活生气，仿佛蹄声欲从纸面破空而来。寥寥数笔便定格下奔马的转瞬动态，将生灵蓬勃的生命力凝练在泛黄的纸页之上，尽显速写对动态捕捉的极致魅力。",[237,7,222,25,4919,3604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8ebe360a074596530941c09ccfdad8.jpg",[],{"id":8672,"slug":8673,"title":8674,"dynasty":1760,"author":454,"museum":234,"description":8675,"tags":8676,"thumbUrl":8678,"material":96,"size":283,"collection":98,"collections":8679,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288599,"attributed-to-francesco-allegrini-landscape-with-figures-the-silver-age-yi-ming-288599","attributed to Francesco Allegrini--Landscape with Figures The Silver Age","淡棕墨水晕染出朦胧乡野，线条松弛随性，铺展出一幅日常交织的田园图景。前景妇人拥着孩童闲坐，身旁男子似正待启程，静立的马匹晕开出行的悠然意趣。中远景则是热火朝天的耕作场景，农夫驱牛犁地，身影朴实有力，尽显劳作的蓬勃生机。疏朗林木与起伏坡地拉开开阔景深，明暗晕染揉合出柔和光影层次，将山野间的松弛与鲜活融为一体。整幅作品未做精雕细琢的刻画，写意笔触间带着鲜活的生活温度，将古典田园的质朴诗意娓娓道来。",[3604,7707,4822,3251,7,35,30,36,8677],"劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1274e5736a7cec001806ae7591aa276a.jpg",[],{"id":8681,"slug":8682,"title":8683,"dynasty":1760,"author":454,"museum":234,"description":8684,"tags":8685,"thumbUrl":8686,"material":96,"size":283,"collection":98,"collections":8687,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288595,"attributed-to-francesco-allegrini-man-on-horseback-with-attendant-yi-ming-288595","attributed to Francesco Allegrini--Man on Horseback with Attendant","灵动的墨线勾勒出行瞬间，骑手安坐马背，神态松弛舒展，引马仆从侧身向前，抬手遥指远方，似在引路通报。寥寥数笔便将马匹肌肉的起伏、衣袍褶皱的垂坠感精准呈现，洗练的笔触无需多余修饰，便将主仆赶路的氛围烘托尽致。\n\n泛黄斑驳的纸面带着岁月的痕迹，为画面晕开古朴厚重的质感，将旧时出行的日常瞬间定格。整幅速写随性生动，以极简笔力刻画出人物的神态动势，留白恰到好处，让观者得以自行遐想前路风光，尽显朴素又鲜活的叙事张力。",[237,3645,30,7,4919,989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa201ba3a0b2efc71e94662e2fdb1992c.jpg",[],{"id":8689,"slug":8690,"title":8691,"dynasty":1760,"author":454,"museum":234,"description":8692,"tags":8693,"thumbUrl":8694,"material":96,"size":283,"collection":98,"collections":8695,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288594,"attributed-to-francesco-allegrini-men-carrying-jars-yi-ming-288594","attributed to Francesco Allegrini--Men Carrying Jars","简练的水墨线条肆意勾勒出喧嚷的队伍，扛罐的役者们姿态各异，肌肉的张力随着笔锋流转尽显无遗。右侧骑手挥臂呼喝，将行进的韵律牢牢定格。潦草却精准的笔触，不着意细节修饰，仅以顿挫起伏的线条交代光影与体积，将劳作的粗粝与行进的动感揉合无间。\n\n即兴速写的鲜活生猛扑面而来，仿佛能听见队伍的脚步声与吆喝声交错，粗粝的笔意晕开市井劳作的蓬勃烟火气，把赶路的仓促与役者们的憨朴神态，尽数藏在笔墨的起落之间。",[237,30,7,3604,8677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb45d106cd9db6c2397c760b2733fe3.jpg",[],{"id":8697,"slug":8698,"title":8699,"dynasty":1760,"author":454,"museum":234,"description":8700,"tags":8701,"thumbUrl":8702,"material":96,"size":283,"collection":98,"collections":8703,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288590,"attributed-to-francesco-allegrini-six-horses-yi-ming-288590","attributed to Francesco Allegrini--Six Horses","这六匹马恰似一曲动静交织的生命短歌，自左向右铺陈开从腾跃到静立的姿态叙事。洗练灵动的线条顺着马匹的肌肉走势游走，寥寥数笔便将奔马紧绷的肌肉张力、翻飞的鬃毛勾勒得鲜活传神。左侧四匹骏马或扬颈嘶鸣、弓身腾跃，蓬勃野性喷薄而出；后两匹静立的骏马线条趋于沉稳舒展，将躁动归于柔和静谧。动与静的排布形成精妙的韵律呼应，没有冗余修饰，却精准捕捉了马匹的神韵姿态，把骏马的桀骜与温驯尽数铺陈纸面，尽显速写以少胜多的独特魅力，将马群鲜活的生命姿态永远定格在方寸之间。",[237,7,676,4919],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e52a38233334a3587d09b536132f80.jpg",[],{"id":8705,"slug":8706,"title":8707,"dynasty":1760,"author":454,"museum":234,"description":8708,"tags":8709,"thumbUrl":8710,"material":96,"size":283,"collection":98,"collections":8711,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288589,"attributed-to-francesco-allegrini-soldiers-yi-ming-288589","attributed to Francesco Allegrini--Soldiers","以奔放率性的棕褐线条，定格古战场的数个张力瞬间。没有繁复晕染，仅凭线条的轻重疾徐，精准勾勒出躯体发力的紧绷感。左侧近身缠斗的士兵肢体交错，肩胛与腿部的线条带着冲撞的惯性；挥械的步卒重心前倾，笔端带着挥击的余韵。右侧骑手俯身控马，奔马的轮廓简劲洗练，仿佛蹄下裹挟着猎猎疾风。\n\n整幅速写如同战场的即兴切片，潦草却极具生命力，将短兵相接的粗粝血性诉诸笔端，以极简的笔力抓住动势精髓，尽显动态捕捉的精妙功力。",[237,30,6898,7,4919,3604],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F620da8a62e31ddac95f0cad92b8185b6.jpg",[],{"id":8713,"slug":8714,"title":8715,"dynasty":1760,"author":454,"museum":234,"description":8716,"tags":8717,"thumbUrl":8720,"material":96,"size":283,"collection":98,"collections":8721,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288578,"attributed-to-francesco-allegrini-the-rape-of-the-sabines-yi-ming-288578","attributed to Francesco Allegrini--The Rape of the Sabines","以奔放粗粝的线条铺陈开这场劫掠叙事，左侧静立的人物冷眼旁观，右侧则是扭打拉扯、裹挟奔逃的群像，将冲突张力淋漓尽致地释放。寥寥数笔便勾勒出人物的肢体韵律，精准捕捉拉扯时的肌肉紧绷、奔逃时的仓皇姿态，留白恰到好处烘托出骚乱的空茫感，带着即兴创作的鲜活质感，将古典题材的戏剧冲突凝缩在方寸纸间，以速写特有的表现力定格下混乱又充满力量的瞬间。",[3604,237,30,7,4753,8718,8110,1175,8719],"劫掠场景","传说故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec1ad294945865462199b58af99fe81.jpg",[],{"id":8723,"slug":8724,"title":8725,"dynasty":1760,"author":454,"museum":234,"description":8726,"tags":8727,"thumbUrl":8728,"material":96,"size":283,"collection":98,"collections":8729,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288577,"attributed-to-francesco-allegrini-two-horses-yi-ming-288577","attributed to Francesco Allegrini--Two Horses","以棕褐墨色绘就的两匹骏马，线条灵动又不失力道。顿挫起伏的笔触顺着肌肉走势铺展，精准勾勒出健硕躯体，将骏马的筋骨虬结展现得淋漓尽致。前侧昂首的骏马侧目而立，鬃毛飞扬自带桀骜神采，后侧马儿姿态稍显内敛，二者一动一静呼应成趣。画面以极简淡墨晕染背景，将视觉焦点全然交付于马匹，随性的排线自然区分明暗层次，无需繁复雕琢，便将骏马昂扬雄健的气韵定格于纸面，尽显写生速写的率真意趣。",[3604,4919,7725,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecbdb03e89cd13b23a39f680b450716.jpg",[],{"id":8731,"slug":8732,"title":8733,"dynasty":1760,"author":454,"museum":234,"description":8734,"tags":8735,"thumbUrl":8738,"material":96,"size":283,"collection":98,"collections":8739,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288574,"attributed-to-francesco-allegrini-unidentified-subject-figures-before-a-palace-or-temple-yi-ming-288574","attributed to Francesco Allegrini--Unidentified Subject Figures before a Palace or Temple","以棕褐淡墨晕染铺陈，利落线条勾勒出古罗马形制的殿宇。挺拔立柱撑起舒展拱券，台阶上人群簇立，似正等候仪式启幕。左侧行人驻足低语，骑手勒马侧目望向内庭，赤膊侍者持盾疾步奔走；右侧骑手纵马飞驰，二楼凭栏看客遥遥观望。\n\n画面虚实相生，淡墨柔化建筑棱角，让肃穆的古典场景晕开鲜活烟火气。每处人物的动态都暗藏叙事张力，将仪式前夕的松弛与躁动细腻铺展，庄重古建与市井情态相融，让古典场景拥有了饱满的叙事氛围感，尽显手绘稿中藏着的细腻创作巧思。",[3604,7707,30,7,550,8736,8737,2560,2556],"神庙","柱廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95ff7202e8687f19202f507fadad099e.jpg",[],{"id":8741,"slug":8742,"title":8743,"dynasty":1760,"author":454,"museum":234,"description":8744,"tags":8745,"thumbUrl":8746,"material":96,"size":283,"collection":98,"collections":8747,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288573,"attributed-to-francesco-allegrini-unidentified-subject-nine-figures-and-a-horse-yi-ming-288573","attributed to Francesco Allegrini--Unidentified Subject Nine Figures and a Horse","这幅单色速写以极简却精准的线条，定格了充满张力的一幕。寥寥数笔便勾勒出马匹挺拔的身形，俊朗姿态跃然纸面。画面中的人物神态动作各异，有人簇拥低语，有人伸手对峙，地上蜷卧的身影又为场景添上了一丝戏剧化的凝重。\n\n画师以随性却老辣的笔触，摒弃多余修饰，用粗犷而鲜活的线条捕捉住人物最生动的动态，让观者能脑补出这一场景的前因后果，仿佛能窥见这幕街头或舞台上的故事切片。泛黄的纸面承载着拙朴的笔痕，将即兴捕捉的鲜活瞬间永久留存，尽显速写艺术直击心神的动人魅力。",[4919,237,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d1bc7d7e5abd1feb1329604a80781c.jpg",[],{"id":8749,"slug":8750,"title":8751,"dynasty":1760,"author":454,"museum":234,"description":8752,"tags":8753,"thumbUrl":8756,"material":96,"size":283,"collection":98,"collections":8757,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},288566,"attributed-to-giuseppe-zocchi-landscape-prospect-with-a-buggy-and-a-herd-of-goats-yi-ming-288566","attributed to Giuseppe Zocchi--Landscape Prospect with a Buggy and a Herd of Goats","这幅风景以淡墨晕染铺就朦胧底色，前景枯木虬曲，框住乡野闲情。坡头三五乡人歇坐闲话，目光追随着土道上辚辚驶过的马车。浅滩水光轻漾，驮队踱步过村舍拱廊，远处羊群漫过草甸，将烟火日常揉进氤氲晨雾里。\n\n画师以细腻排线区分光影，丘峦层叠着漫向天际，晕开的墨色晕染出山峦的朦胧，把乡野的松弛与静美缓缓铺展。无浓烈色彩，却用深浅墨色织就鲜活的田园日常，将郊野的悠然氛围定格在纸面之上。",[8754,7707,3604,5743,90,94,630,8755,30,7,522,1499],"风景画","乡村建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c07276728919b92534419c5a574b9a.jpg",[],{"id":8759,"slug":8760,"title":8761,"dynasty":106,"author":454,"museum":234,"description":8762,"tags":8763,"thumbUrl":8764,"material":96,"size":283,"collection":98,"collections":8765,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},288367,"she-xi-tu-ye-yi-ming-288367","涉溪图页","此作用开合之境铺展冬野行旅图景，一侧巨岩陡立，巉岩覆郁，另一侧古木虬曲，疏枝尽露荒寒。浅滩处旅人牵衣涉溪，水波微动漾起细碎涟漪；崖畔山道上骑者徐行，与溪间行人遥相呼应。远景佛塔隐于烟霭山峦间，晕染出空寂萧疏的氛围感。\n\n笔墨苍朴老辣，以斧劈皴勾勒山石肌理，枯笔写出老树荒寒之态，设色古雅沉静。将羁旅赶路的日常，晕染成悠远的山水诗韵，把行旅迢遥之意融于山野清寂之中，尽显以景寄情的传统意趣，带着清雅朴拙的古意。",[23,24,618,29,89,630,33,91,30,7,1197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d751b3682c24b460fdd522736a75857.jpg",[],{"id":8767,"slug":8768,"title":8769,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":8770,"thumbUrl":8771,"material":96,"size":283,"collection":98,"collections":8772,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},279514,"bu-qu-jiang-yin-ma-niu-tong-yin-yi-ming-279514","“部曲将印”马钮铜印",[70,2431,2432,7,222,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffc6a86f67ee911ce3ed1749783ede8.jpg",[],{"id":8774,"slug":8775,"title":8776,"dynasty":106,"author":454,"museum":234,"description":8777,"tags":8778,"thumbUrl":8782,"material":96,"size":283,"collection":98,"collections":8783,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},274418,"tong-du-jin-qi-shi-qian-ma-zhong-yi-ming-274418","铜镀金骑士牵马钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[2432,8779,8780,7,30,7761,8781],"镀金","钟表","金属器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e4e436fcb333b73b05f68bff16f33b.jpg",[],{"id":8785,"slug":8786,"title":8787,"dynasty":106,"author":454,"museum":234,"description":8788,"tags":8789,"thumbUrl":8791,"material":96,"size":283,"collection":98,"collections":8792,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},272996,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272996","紫檀边珐琅挂屏","金底澄澈如凝霜，冬山素雪覆层峦，青白山岩似玉琢冰雕，苍松虬劲翠色凌霜，枯木疏枝衬出冬日清寂。板桥跨寒溪，红袍策蹇徐行，旅人孤影融于荒寒山色间。右上角题诗清隽，与冷寂雪景相生，晕染出冬日行旅的幽寂况味。\n\n珐琅彩料填色匀净明丽，堆塑出山石林木的肌理层次，浅浮雕质感让景致错落立体，将冬日山水的清旷淡远与文人意趣揉合一处，是融精湛工艺与清雅画意的精妙之作。",[5989,7572,8790,29,90,32,30,7,630,248,1142,223,70],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b94097600ccab82723dec43700e82f7.jpg",[],{"id":8794,"slug":8795,"title":8796,"dynasty":106,"author":454,"museum":234,"description":8797,"tags":8798,"thumbUrl":8799,"material":96,"size":283,"collection":98,"collections":8800,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},272677,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-zhe-chong-xian-fu-huang-mo-yi-ming-272677","御制月令七十二候诗色墨-蛰虫咸俯黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[877,2433,30,7,267,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffec281752fd861210c1ee82bbdbb8e82.jpg",[],{"id":8802,"slug":8803,"title":8804,"dynasty":106,"author":454,"museum":234,"description":8805,"tags":8806,"thumbUrl":8808,"material":96,"size":283,"collection":98,"collections":8809,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},270531,"zhu-gu-diao-hua-bian-jia-qing-di-shu-feng-ning-hua-ma-tu-mian-zhe-shan-yi-ming-270531","竹股雕花边嘉庆帝书冯寜画马图面折扇","画面右侧白马神骏挺拔，伫立水岸昂首顾盼，筋骨劲健，俊朗昂扬。左侧绘秋林夕景，林木枯荣交错，坡岸迤逦向水，淡墨晕染烟波，晕开萧疏雅致的秋意。\n\n笔墨工细清润，设色柔和雅致，将鞍马的写实劲力与山水的悠远空灵相融，人马与秋林水岸浑然一体，尽显雅致内敛的风韵，骨韵兼备，是兼具画意与意境的精妙之作。",[1808,24,25,29,7,36,90,8807],"竹雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfab32648a5227ec7316473f38e15087.jpg",[],{"id":8811,"slug":8812,"title":8813,"dynasty":106,"author":454,"museum":234,"description":8814,"tags":8815,"thumbUrl":8818,"material":96,"size":283,"collection":98,"collections":8819,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},270328,"qian-long-kuan-tong-liu-jin-wu-feng-bi-jia-yi-ming-270328","乾隆款铜鎏金五峰笔架","此件笔架五峰层峦，鎏金莹亮如旭日覆山，尽显华贵质感。山间水浪卷舒起伏，驮宝神龟与负瑞骏马破水而出，神兽肌理刻画入微，灵动有神。水波錾刻细密层叠，宝器纹饰精巧雅致，将祥瑞寓意凝于方寸之间。\n\n它以山海灵韵融于文房雅具，实用之余更添吉庆意趣，尽显精湛工法，将案头小物化作山海瑞景，为文房晕染出古雅华贵的气韵，是匠心与祥瑞意蕴结合的精妙之作。",[2432,8816,2433,8817,6201,278,4580,7],"金器","笔架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82a45a5ae5d40e657b979122324825.jpg",[],{"id":8821,"slug":8822,"title":8823,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":8824,"thumbUrl":8826,"material":96,"size":283,"collection":98,"collections":8827,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},269333,"zi-tan-xiang-qian-si-jun-tu-chang-fang-he-yi-ming-269333","紫檀镶嵌四骏图长方盒",[7572,401,7318,7,222,8825,36],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a66cb21817df582e6ad6ee21d611229.jpg",[],{"id":8829,"slug":8830,"title":8831,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":8832,"thumbUrl":8834,"material":96,"size":283,"collection":98,"collections":8835,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},269266,"zhu-diao-ba-jun-tu-bi-tong-yi-ming-269266","竹雕八骏图笔筒",[8807,2433,8833,7],"笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0020dc365c52d7c5ab3341ab0a34befb.jpg",[],{"id":8837,"slug":8838,"title":8839,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":8840,"thumbUrl":8841,"material":96,"size":283,"collection":98,"collections":8842,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":1396},269164,"lu-zhen-kuan-zhu-diao-shou-lie-tu-bi-tong-yi-ming-269164","鲁珍款竹雕狩猎图笔筒",[8807,2433,8833,30,7,2127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcf5849f5db35816d9ff082803aaa5ad.jpg",[],{"id":8844,"slug":8845,"title":8846,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":8847,"thumbUrl":8849,"material":96,"size":283,"collection":98,"collections":8850,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},261352,"qing-hua-ying-luo-shi-kai-guang-jun-ma-tu-hua-kou-wan-yi-ming-261352","青花璎珞式开光骏马图花口碗",[4670,7317,7,8848,7318,401],"花口碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2489b0fe7a5196a5af22b746e36b15de.jpg",[],{"id":8852,"slug":8853,"title":8854,"dynasty":106,"author":454,"museum":234,"description":7750,"tags":8855,"thumbUrl":8856,"material":96,"size":283,"collection":98,"collections":8857,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},260855,"fan-ci-mu-ma-tu-bi-tong-yi-ming-260855","反瓷牧马图笔筒",[4670,2433,8833,30,7,35,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8059e07e5ffdad0f9616f2dabb19daed.jpg",[],{"id":8859,"slug":8860,"title":8861,"dynasty":106,"author":454,"museum":234,"description":5986,"tags":8862,"thumbUrl":8866,"material":96,"size":283,"collection":98,"collections":8867,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},258943,"qian-long-kuan-dou-cai-jin-bao-tu-chi-er-pie-kou-ping-yi-ming-258943","乾隆款斗彩进宝图螭耳撇口瓶",[967,8863,4670,401,535,8864,90,30,7,8865],"斗彩","螭耳","进宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b2e8f56ad903e88f11dee3b38b88a6.jpg",[],{"id":8869,"slug":8870,"title":8871,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":8872,"thumbUrl":8873,"material":96,"size":283,"collection":98,"collections":8874,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},257211,"qing-hua-ren-wu-wen-san-zu-lu-yi-ming-257211","青花人物纹三足炉",[7915,4670,7317,30,7,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3a20913fd2fb7d19ae6e990aa7b19.jpg",[],{"id":8876,"slug":8877,"title":8878,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":8879,"thumbUrl":8880,"material":96,"size":283,"collection":98,"collections":8881,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},256429,"cheng-hua-kuan-qing-hua-long-ma-wen-gao-zu-wan-yi-ming-256429","成化款青花龙马纹高足碗",[7915,7317,4670,535,7,222,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354c0e455870a1665b5b1cbe09afe53d.jpg",[],{"id":8883,"slug":8884,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":8887,"thumbUrl":8888,"material":96,"size":283,"collection":98,"collections":8889,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},256091,"tao-hua-cai-ma-yi-ming-256091","陶画彩马","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[301,4670,29,7,5313,4279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa532ef7c97230fe5d0afd5cea6e97c9d.jpg",[],{"id":8891,"slug":8892,"title":7013,"dynasty":603,"author":454,"museum":234,"description":7014,"tags":8893,"thumbUrl":8895,"material":96,"size":283,"collection":98,"collections":8896,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},255953,"tao-huang-you-ma-yi-ming-255953",[4670,8894,7016,6220,7,5313,7357],"釉陶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa7e174b8130ba0c6ecf7d38beb4be3.jpg",[],{"id":8898,"slug":8899,"title":7023,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":8900,"thumbUrl":8901,"material":96,"size":283,"collection":98,"collections":8902,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},255788,"san-cai-qi-ma-nan-yong-yi-ming-255788",[301,6695,4670,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1276f325bd8da84a1c193e03b6c35a30.jpg",[],{"id":8904,"slug":8905,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":8908,"thumbUrl":8910,"material":96,"size":283,"collection":98,"collections":8911,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},255332,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255332","木雕镂空彩绘骑马人像","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[7572,8909,5133,4279,30,7],"木雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d741e888671cb423ae549c02efc7bd.jpg",[],{"id":8913,"slug":8914,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":8915,"thumbUrl":8916,"material":96,"size":283,"collection":98,"collections":8917,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},255331,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255331",[7915,8909,5133,4279,30,7,7572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be759cf470a13a22442f824a3ddba6f.jpg",[],{"id":8919,"slug":8920,"title":8921,"dynasty":18,"author":454,"museum":234,"description":8922,"tags":8923,"thumbUrl":8925,"material":96,"size":283,"collection":98,"collections":8926,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},255073,"qi-ma-ren-wu-zhuan-yi-ming-255073","骑马人物砖","陶土粗粝的肌理裹着岁月的斑驳残损，浮雕里藏着鲜活的古早意气。左侧力士扛戟伫立，肌肉线条虬结紧绷，悍勇之气扑面而来；马上骑手俯身控缰，骏马昂首抬蹄，奔跃的动感冲破砖石的桎梏。\n\n朴拙的刀工没有繁复修饰，却精准刻画出人物与坐骑的精气神，把武勇鲜活的一瞬凝在方寸陶土之间。粗粝的质感里浸着民间匠人的巧思，残损的边角更添古意，让冰冷砖石拥有温热的生命力，尽显民间造像朴拙厚重的独特美学。",[1572,8924,4671,30,7],"砖雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421f2e8482e10fd5e136ccefb371179.jpg",[],{"id":8928,"slug":8929,"title":8921,"dynasty":18,"author":454,"museum":234,"description":8930,"tags":8931,"thumbUrl":8933,"material":96,"size":283,"collection":98,"collections":8934,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},255070,"qi-ma-ren-wu-zhuan-yi-ming-255070","残砖带着岁月摩挲的质感，浅浮雕铺展开一段鲜活的出行日常。骑马者衣袍垂贴鞍辔，身形虽已斑驳，却仍能窥见端坐驭行的从容。身侧侍仆躬身随行，姿态谦卑恭谨，将主仆间的分寸藏在凝练的轮廓里。左下角幼童稚拙灵动，为肃穆的出行添了几分市井烟火气。\n\n粗粝的泥土肌理裹着旧时光的温度，朴拙的线条无繁复修饰，却把日常的鲜活凝在青砖之上，哪怕残损也难掩其生动，静静复刻着千年前的市井剪影。",[18,2433,4671,30,7,4669,8932],"古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d28179de97c235cb7a600a2b29786af.jpg",[],{"id":8936,"slug":8937,"title":8938,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":8939,"thumbUrl":8941,"material":96,"size":283,"collection":98,"collections":8942,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},254766,"tao-lv-you-qi-ma-nan-yong-yi-ming-254766","陶绿釉骑马男俑",[4670,8940,5313,30,7,7326,2433],"绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76b0b7dcbf63d313d5ce60933f3897fa.jpg",[],{"id":8944,"slug":8945,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":8946,"thumbUrl":8947,"material":96,"size":283,"collection":98,"collections":8948,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},254640,"tao-hua-cai-ma-yi-ming-254640",[4670,7326,4279,29,7,222,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa5ac9e0626b8f8c7433bc322e15f30.jpg",[],{"id":8950,"slug":8951,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":8952,"thumbUrl":8953,"material":96,"size":283,"collection":98,"collections":8954,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},254631,"tao-hua-cai-ma-tou-yi-ming-254631",[4343,4670,4279,29,7,7326,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec85a8daec70649aaa37f82381cc1fb.jpg",[],{"id":8956,"slug":8957,"title":7883,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":8958,"thumbUrl":8959,"material":96,"size":283,"collection":98,"collections":8960,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},254612,"san-cai-qi-ma-nv-yong-yi-ming-254612",[301,5313,4670,6695,30,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3638abb05dc48b2ca1f51a071073aac6.jpg",[],{"id":8962,"slug":8963,"title":8964,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":8965,"thumbUrl":8966,"material":96,"size":283,"collection":98,"collections":8967,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},254611,"san-cai-dai-mao-qi-ma-yong-yi-ming-254611","三彩戴帽骑马俑",[301,4670,5313,7,30,6695,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4be7f378ac147aece34e9c3ae549189.jpg",[],{"id":8969,"slug":8970,"title":7826,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":8971,"thumbUrl":8972,"material":96,"size":283,"collection":98,"collections":8973,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},254564,"tao-ma-yi-ming-254564",[4343,7326,4279,4670,5313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F084da7e6d0a3f26fe2ab7c548a93c526.jpg",[],{"id":8975,"slug":8976,"title":7868,"dynasty":603,"author":454,"museum":234,"description":6702,"tags":8977,"thumbUrl":8978,"material":96,"size":283,"collection":98,"collections":8979,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},254558,"tao-qi-ma-nan-yong-yi-ming-254558",[4670,5313,7,30,6220,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803a2c3065267b8b63e7ce1be5459a5d.jpg",[],{"id":8981,"slug":8982,"title":7333,"dynasty":191,"author":454,"museum":234,"description":6702,"tags":8983,"thumbUrl":8984,"material":96,"size":283,"collection":98,"collections":8985,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},254216,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254216",[191,4670,29,2433,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62708e5ac87fa30424e7c3e668a9e921.jpg",[],{"id":8987,"slug":8988,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":8989,"thumbUrl":8990,"material":96,"size":283,"collection":98,"collections":8991,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":1661},254213,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254213",[301,7335,7336,29,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf20b42120e233694a6ef9a7ff80a498.jpg",[],{"id":8993,"slug":8994,"title":8995,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":8996,"thumbUrl":8997,"material":96,"size":283,"collection":98,"collections":8998,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},254207,"tao-huang-you-qi-ma-nan-yong-yi-ming-254207","陶黄釉骑马男俑",[301,4670,5313,7,30,7016,7326,2355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b27264204d8dc71693d6b1a14556c87.jpg",[],{"id":9000,"slug":9001,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":9002,"thumbUrl":9003,"material":96,"size":283,"collection":98,"collections":9004,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},254203,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254203",[301,4670,7336,29,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9297509ff7fa076c352eed09575cb115.jpg",[],{"id":9006,"slug":9007,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":9008,"thumbUrl":9009,"material":96,"size":283,"collection":98,"collections":9010,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},254199,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254199",[4670,5313,30,7,29,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2371fb0740752419f6d8d9953eb2e9f9.jpg",[],{"id":9012,"slug":9013,"title":7023,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":9014,"thumbUrl":9015,"material":96,"size":283,"collection":98,"collections":9016,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},254146,"san-cai-qi-ma-nan-yong-yi-ming-254146",[1380,5313,4670,6695,29,2433,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17aff8c6f3654fcc071a8dc16347a836.jpg",[],{"id":9018,"slug":9019,"title":7868,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":9020,"thumbUrl":9021,"material":96,"size":283,"collection":98,"collections":9022,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},254019,"tao-qi-ma-nan-yong-yi-ming-254019",[5313,4670,30,7,29,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6360b060897faffcc7761398160ea862.jpg",[],{"id":9024,"slug":9025,"title":8885,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9026,"thumbUrl":9027,"material":96,"size":283,"collection":98,"collections":9028,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253883,"tao-hua-cai-ma-yi-ming-253883",[4343,4670,4279,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d296f9478abb1f979be69cc5880f616.jpg",[],{"id":9030,"slug":9031,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9032,"thumbUrl":9033,"material":96,"size":283,"collection":98,"collections":9034,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},253797,"tao-hua-cai-ma-tou-yi-ming-253797",[4668,4670,4279,2433,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c14d7df15f756d140630bac5efda5d1.jpg",[],{"id":9036,"slug":9037,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9038,"thumbUrl":9039,"material":96,"size":283,"collection":98,"collections":9040,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253794,"tao-hua-cai-ma-tou-yi-ming-253794",[4343,4670,29,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed826717efce623abcafa4edd3f1552.jpg",[],{"id":9042,"slug":9043,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9044,"thumbUrl":9045,"material":96,"size":283,"collection":98,"collections":9046,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253793,"tao-hua-cai-ma-tou-yi-ming-253793",[4343,4670,29,7,5313,2433,4279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda860b813fa0b0bbbbe5bcb1dbf3071f.jpg",[],{"id":9048,"slug":9049,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9050,"thumbUrl":9051,"material":96,"size":283,"collection":98,"collections":9052,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253790,"tao-hua-cai-ma-tou-yi-ming-253790",[4668,4670,4279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982e6b6927082ae516ac52ced7977bd4.jpg",[],{"id":9054,"slug":9055,"title":9056,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":9057,"thumbUrl":9059,"material":96,"size":283,"collection":98,"collections":9060,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":1661},253784,"tao-hua-cai-chi-pai-xiao-qi-ma-nan-yong-yi-ming-253784","陶画彩持排箫骑马男俑",[301,7335,7336,29,5313,30,7,1722,9058],"排箫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac506b08b389dc3fd0b20e21b41ca30b.jpg",[],{"id":9062,"slug":9063,"title":8885,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9064,"thumbUrl":9065,"material":96,"size":283,"collection":98,"collections":9066,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},253782,"tao-hua-cai-ma-yi-ming-253782",[4343,7335,4670,29,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ca212092f6068caa4fcdafb0cc1f45.jpg",[],{"id":9068,"slug":9069,"title":7826,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9070,"thumbUrl":9071,"material":96,"size":283,"collection":98,"collections":9072,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253447,"tao-ma-yi-ming-253447",[4343,4670,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef98899dd3d419c7b9bd14758d78a83c.jpg",[],{"id":9074,"slug":9075,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":9076,"thumbUrl":9077,"material":96,"size":283,"collection":98,"collections":9078,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253409,"tao-ma-yi-ming-253409",[301,4670,5313,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ad07329b00ae10b7825dfba8b6b660.jpg",[],{"id":9080,"slug":9081,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":9082,"thumbUrl":9083,"material":96,"size":283,"collection":98,"collections":9084,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253393,"tao-hua-cai-ma-tou-yi-ming-253393",[7335,4670,29,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60aedda2396c4432086e50620130c798.jpg",[],{"id":9086,"slug":9087,"title":7868,"dynasty":4343,"author":454,"museum":234,"description":6702,"tags":9088,"thumbUrl":9089,"material":96,"size":283,"collection":98,"collections":9090,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253362,"tao-qi-ma-nan-yong-yi-ming-253362",[4343,4670,5313,30,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b46d1099446ffd314890c399da71fbe.jpg",[],{"id":9092,"slug":9093,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":9095,"thumbUrl":9096,"material":96,"size":283,"collection":98,"collections":9097,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253307,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253307","陶画彩骑马女俑",[301,4670,29,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706fede2926c58f5053fd4289b44d9db.jpg",[],{"id":9099,"slug":9100,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":9101,"thumbUrl":9102,"material":96,"size":283,"collection":98,"collections":9103,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253300,"tao-hua-cai-ma-yi-ming-253300",[301,4670,5313,4279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931884689f4a8184c1384a0673c5e46e.jpg",[],{"id":9105,"slug":9106,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":9107,"thumbUrl":9108,"material":96,"size":283,"collection":98,"collections":9109,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253299,"tao-hua-cai-ma-yi-ming-253299",[301,4670,5313,29,4279,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf38f9a879bea050b1aeca5b6fff1ad3.jpg",[],{"id":9111,"slug":9112,"title":9113,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":9114,"thumbUrl":9118,"material":96,"size":283,"collection":98,"collections":9119,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},253089,"tao-hu-ren-la-ma-yong-yi-ming-253089","陶胡人拉马俑",[1380,4670,5313,30,1796,7,2433,9115,9116,9117],"陶俑","人物俑","胡人俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a61273b0979e1116916e9a1e371ec9e.jpg",[],{"id":9121,"slug":9122,"title":9123,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":9124,"thumbUrl":9125,"material":96,"size":283,"collection":98,"collections":9126,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},252971,"tao-zi-lv-you-qi-ma-yong-yi-ming-252971","陶紫绿釉骑马俑",[4670,29,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4687149bd25a459f95e31e97ea0b601c.jpg",[],{"id":9128,"slug":9129,"title":7905,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":9130,"thumbUrl":9132,"material":96,"size":283,"collection":98,"collections":9133,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},251207,"qing-yu-shi-er-chen-ma-yi-ming-251207",[6480,2433,222,7,9131],"生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e47e564654d63361f2b2e97cac8714.jpg",[],{"id":9135,"slug":9136,"title":7905,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":9137,"thumbUrl":9138,"material":96,"size":283,"collection":98,"collections":9139,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},251187,"qing-yu-shi-er-chen-ma-yi-ming-251187",[967,6480,401,7,222,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b1cdae579b224d9b40d77dc569886c.jpg",[],{"id":9141,"slug":9142,"title":9143,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":9144,"thumbUrl":9146,"material":96,"size":283,"collection":98,"collections":9147,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},251063,"qing-yu-shi-er-chen-fu-xing-pei-wu-yi-ming-251063","青玉十二辰斧形佩-午",[6480,2433,4346,401,9145,7],"十二辰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986642daacf2d6d21136a0aaf34b8e41.jpg",[],{"id":9149,"slug":9150,"title":9151,"dynasty":106,"author":454,"museum":234,"description":7768,"tags":9152,"thumbUrl":9155,"material":96,"size":283,"collection":98,"collections":9156,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},250217,"qian-long-kuan-hua-fa-lang-ren-wu-tu-pan-yi-ming-250217","乾隆款画珐琅人物图盘",[9153,9154,29,30,401,7],"琺瑯器","画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762fa7e671c652f3f6b8ebc7da74db28.jpg",[],{"id":9158,"slug":9159,"title":9160,"dynasty":106,"author":454,"museum":234,"description":9161,"tags":9162,"thumbUrl":9164,"material":96,"size":283,"collection":98,"collections":9165,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},249747,"tong-zhi-kuan-qia-si-fa-lang-tian-ma-wen-zun-yi-ming-249747","同治款掐丝珐琅天马纹尊","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[967,9163,9153,401,7,222],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f98eab50a43ee0bea7860df64c53c2.jpg",[],{"id":9167,"slug":9168,"title":9169,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":9170,"thumbUrl":9172,"material":96,"size":283,"collection":98,"collections":9173,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},248812,"ti-hong-she-lie-tu-yuan-he-yi-ming-248812","剔红射猎图圆盒",[967,6474,2433,9171,30,7,222,90,36,5960],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716a71bf63a8a549d4f50c87230ee56f.jpg",[],{"id":9175,"slug":9176,"title":9177,"dynasty":106,"author":454,"museum":234,"description":9178,"tags":9179,"thumbUrl":9181,"material":96,"size":283,"collection":98,"collections":9182,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},245350,"jin-qian-zhu-qi-zhen-ma-bao-yi-ming-245350","金嵌珠七珍-马宝","鎏金马身姿劲挺矫健，鞍鞯纹饰华美繁复，满缀圆润珍珠与錾刻金饰，宝石坠饰随形摇曳，尽显威仪华贵。底座层叠有致，紫檀座身嵌饰螺钿，垂悬红蓝宝流苏灵动雅致，莹润白玉镂雕瑞兽承托整体，翠色饰件点缀呼应，将金工、玉作、珠宝镶嵌与木艺精妙糅合。\n\n整器集范金、累丝、镶嵌诸艺于一体，配色明丽和谐，细节考究入微，既承载礼器的庄重规制，又饱含吉祥福瑞的祈愿，尽显清代花丝镶嵌工艺的巅峰水准，诠释出盛世匠造的极致工巧与审美意趣。",[967,8816,8825,9180,7,721,677],"珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b296f7716ad5bd68d960023a4cf354.jpg",[],{"id":9184,"slug":9185,"title":9186,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":9187,"thumbUrl":9188,"material":96,"size":283,"collection":98,"collections":9189,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},244891,"ma-shi-yi-ming-244891","马饰",[7922,2431,2432,2433,5133,4346,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f6b7a75505b009d26df136ac9daef7.jpg",[],{"id":9191,"slug":9192,"title":9193,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":9194,"thumbUrl":9195,"material":96,"size":283,"collection":98,"collections":9196,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},244674,"lou-kong-pai-shi-yi-ming-244674","镂空牌饰",[4343,2431,5133,2433,7,4346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8471c1fa40ee9f8c7a26ea5ae99541f.jpg",[],{"id":9198,"slug":9199,"title":4342,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":9200,"thumbUrl":9201,"material":96,"size":283,"collection":98,"collections":9202,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},244141,"ma-xing-pai-shi-yi-ming-244141",[4343,2432,2433,4346,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9826b3d8dc2da0a440f9e3caf49be69b.jpg",[],{"id":9204,"slug":9205,"title":9206,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":9207,"thumbUrl":9208,"material":96,"size":283,"collection":98,"collections":9209,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},244140,"ma-pai-shi-yi-ming-244140","马牌饰",[4668,2432,2433,4346,7,2431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22aad6855c708b376d77a65a9c6cd1cc.jpg",[],{"id":9211,"slug":9212,"title":9186,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":9213,"thumbUrl":9215,"material":96,"size":283,"collection":98,"collections":9216,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},244116,"ma-shi-yi-ming-244116",[2431,4346,2432,2433,401,7,9214],"周代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85c384df8eaed3d25146934973d28b92.jpg",[],{"id":9218,"slug":9219,"title":9220,"dynasty":4343,"author":454,"museum":234,"description":9221,"tags":9222,"thumbUrl":9224,"material":96,"size":283,"collection":98,"collections":9225,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},243967,"shi-er-chen-wen-jing-yi-ming-243967","十二辰纹镜","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[4343,2431,2432,2433,222,535,734,722,3895,1476,3896,7,2591,1711,1098,3897,1831,9223],"圆形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b8a02fe5129932613f3e87f91c6ec.jpg",[],{"id":9227,"slug":9228,"title":9229,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":9230,"thumbUrl":9231,"material":96,"size":283,"collection":98,"collections":9232,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},243828,"ma-wen-pai-shi-yi-ming-243828","马纹牌饰",[4668,2432,2433,4346,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa95cc458543112c20bcbe717d0a88faa.jpg",[],{"id":9234,"slug":9235,"title":2863,"dynasty":106,"author":454,"museum":234,"description":9236,"tags":9237,"thumbUrl":9238,"material":98,"size":98,"collection":98,"collections":9239,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238652,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238652","以全景式构图铺展平叛战事，山峦层叠间林木苍莽葱郁，左畔坚壁临水矗立，山壑之中兵马云集。人马或整队开拔、或列阵待命，衣甲兵器细节皆清晰逼真，生动还原出平叛行军的肃穆阵仗。\n\n左上御题诗文与画面呼应，兼具中式山水的悠远意境与西洋铜版技法的写实质感，将征伐行军的雄浑气势融于山水之间，以画笔复刻战事实景，御题点明赫赫军功，是纪实叙事与宫廷审美的绝妙结合，尽显纪功图特有的庄重厚重。",[967,4947,237,28,30,7,90,36,278,42,552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd02a0b74e449f03dccb578d0b806acb.jpg",[],{"id":9241,"slug":9242,"title":6555,"dynasty":106,"author":454,"museum":234,"description":9243,"tags":9244,"thumbUrl":9245,"material":96,"size":283,"collection":98,"collections":9246,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238629,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238629","全景铺陈开战地山河，层叠峰峦间散落村寨烟火，将山野清寂与战地肃杀相融。近景处兵卒列阵穿梭，或是搜剿残敌，或是押解俘囚，还原出平乱终局的紧张瞬间。\n\n笔触细密劲挺，山石皴擦尽显山峦肌理，人物动作分毫毕现，将纪实叙事与山水章法巧妙结合。右上方题笔诗文与画面呼应，以丹青复刻军功时刻，既留存传统山水的雅致意韵，又带着纪功特有的庄重厚重，让硝烟战事定格在绢素之上，兼具史料价值与笔墨美感。",[24,28,89,90,30,7,31,94,354,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffc8910d2f661ab5b2b3e95f9a4bf8a.jpg",[],{"id":9248,"slug":9249,"title":5826,"dynasty":106,"author":454,"museum":234,"description":9250,"tags":9251,"thumbUrl":9252,"material":96,"size":283,"collection":98,"collections":9253,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238619,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238619","全景式构图铺展战事全貌，左侧清军整肃列阵，将官立马调度，部伍森严规整；右侧短兵相接，人马错杂扭打，喊杀之气似透纸而出。苍劲山石为幕，将运筹帷幄的沉稳与喋血搏杀的悍烈形成强烈对冲。\n刻绘线条精细入微，山峦皴擦写实，人马姿态纤毫毕现，既借中式山水营造出宏大意境，又以西洋铜版技法勾勒出战场细节，写实再现征伐平叛的肃杀与雄浑，定格冷兵战事的张力，将平叛武功的威赫与战场残酷融为一体。",[28,88,354,89,90,30,7,91,36,42,278,4961,6898,164,665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa79202de1deed1a2e8b1f9aff06432e0.jpg",[],{"id":9255,"slug":9256,"title":5826,"dynasty":106,"author":454,"museum":234,"description":9257,"tags":9258,"thumbUrl":9263,"material":96,"size":283,"collection":98,"collections":9264,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238615,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238615","以全景铺展战地全貌，左方营寨错落相连，似能窥见帐中余温；右处奔骑突进、短兵相接，将战场的喧嚣撕开。前景人马扭缠厮杀，将官振臂呼喝，兵卒刀锋相向，衣褶崩紧、战马嘶鸣的张力凝于刻痕之间。远景山峦层叠、林木苍郁，以静穆底色衬出战事的肃杀喧嚣。线条洗练精准，既还原出征伐战事的磅礴规模，也定格下兵燹里的悍勇与惨烈，将铁血气脉藏在疏密有致的刀痕之中，兼具纪实的冷峻质感与艺术表现力。",[68,354,4948,4947,30,7,4983,9259,90,5582,665,5831,9260,9261,9262],"营寨","肃杀","惨烈","平定两金川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114831c739de908f1cd6d657604420c.jpg",[],{"id":9266,"slug":9267,"title":5826,"dynasty":106,"author":454,"museum":234,"description":9268,"tags":9269,"thumbUrl":9270,"material":98,"size":98,"collection":98,"collections":9271,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238604,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238604","全景式铺展山地战事，前景骑兵缠斗厮杀，人马奔突腾挪，兵刃相向的焦灼张力扑面而来。溃退的败军与衔尾追击的将士，将战场的激烈动感拉满。\n中军营帐错落排布，后续兵马整队驰援，远景层叠山峦延向天际，左侧屯城隐现，层层递进的构图铺展出恢弘的战场纵深感。\n细密劲挺的刻线，精准勾勒山石皴理、甲胄肌理与战马雄健身姿，明暗晕染烘托出肃杀战地氛围，将平叛战事的浩大壮烈凝于纸面，尽显冷兵战场的铁血气势。",[4947,4948,90,30,7,665,278,36,249,707,4983,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e06259b603d3094b2847f49609e18df.jpg",[],{"id":9273,"slug":9274,"title":5826,"dynasty":106,"author":454,"museum":234,"description":9275,"tags":9276,"thumbUrl":9277,"material":98,"size":98,"collection":98,"collections":9278,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238597,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238597","这幅画作以全景式构图铺陈受降阅兵的盛大场景，营帐错落规整，甲士阵列肃然齐整，静立的旌旗衬出得胜后的庄严威仪。远景层峦逶迤，烘托出场地开阔宏阔的气势。左上方题满诗文，为画面赋予纪功表彰之意。\n\n画师以精细工稳的线描，细致勾勒将士衣甲细节、营寨规制，如实复刻平叛凯旋后的受捷场面，笔意肃穆沉稳，将军功盛典的恢弘厚重淋漓尽致展现而出，堪称清代纪实战图的典型之作，留存下得胜盛典图景，承载着宣功纪威的内核。",[24,28,27,29,354,30,90,36,31,7,1153,2866,149,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffadcc1c8dbb89126211b877fe6d7c6fd.jpg",[],{"id":9280,"slug":9281,"title":5826,"dynasty":106,"author":454,"museum":234,"description":9282,"tags":9283,"thumbUrl":9284,"material":98,"size":98,"collection":98,"collections":9285,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238591,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238591","本作以全景式构图铺展战地实景，苍劲皴笔绘就层叠山峦，尽显川西山地的崎岖冷峻。山间错落排布碉楼工事，壁垒森严，还原征伐阵地的险峻格局。河谷山道间兵勇奔突厮杀，动态跃然纸上，将战地的肃杀紧张凝于笔端。\n\n左侧题字以工整小楷记述战事细节，图文相辅，既是纪实绘卷，亦是军功纪实的载体。笔墨克制肃穆，以冷峻写实的笔触复刻铁血战事，兼具纪实史料价值与古典绘画的厚重质感，将征伐过往定格为纸面史痕。",[24,28,89,27,90,31,30,7,164,91,36,48,6749,1584],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F260fa1acbd54f8d4ec982a429c25fdd6.jpg",[],{"id":9287,"slug":9288,"title":8007,"dynasty":106,"author":8008,"museum":234,"description":8009,"tags":9289,"thumbUrl":9290,"material":96,"size":283,"collection":98,"collections":9291,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238470,"lie-qi-tu-ce-mian-yi-238470",[24,29,28,89,30,7,222,90,376,70,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ca01bf900bd28af119276f19c5670b.jpg",[],{"id":9293,"slug":9294,"title":4128,"dynasty":106,"author":9295,"museum":84,"description":9296,"tags":9297,"thumbUrl":9298,"material":29,"size":9299,"collection":98,"collections":9300,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},238265,"shan-shui-ce-zhang-yan-238265","张演","此作用笔秀润，以浅绛设色铺就林泉幽境。层叠山峦以披麻皴写就，云气留白晕出山峦空濛深远，山坳瀑流垂落，浅滩回环串联远近，让整幅山水灵动鲜活。\n\n前景林木蓊郁，古松虬枝盘曲，杂树点叶各具意态。树荫下幽坐一人，静听松风涧鸣，右侧岩畔野鹿闲游，为山林添生机。设色清隽柔和，淡赭铺底石青缀苔点叶，全无浓艳堆砌，将幽居林泉的静穆隐逸之趣铺陈开来，把林下幽栖的闲雅心境融在烟岚林壑间，尽显江南山林温润淡远的文人意趣。",[24,29,89,354,90,36,32,33,30,91,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbdcc83f55b3d7182015c6e2645c45f4.jpg","37.1x31.7",[],{"id":9302,"slug":9303,"title":7448,"dynasty":106,"author":7449,"museum":234,"description":7450,"tags":9304,"thumbUrl":9305,"material":96,"size":283,"collection":98,"collections":9306,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},236944,"jiu-ru-zhi-ji-ce-wang-gai-236944",[24,68,354,27,29,30,31,7,3624,223,1743,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138f5ab3783cc65a625c58cc6cc2fb05.jpg",[],{"id":9308,"slug":9309,"title":8016,"dynasty":106,"author":2390,"museum":234,"description":8017,"tags":9310,"thumbUrl":9311,"material":96,"size":283,"collection":98,"collections":9312,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},235950,"zhi-hua-za-hua-ce-gao-qi-pei-235950",[24,68,354,5894,88,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f36c9d844a9030b28e35b107757999.jpg",[],{"id":9314,"slug":9315,"title":9316,"dynasty":106,"author":454,"museum":234,"description":9317,"tags":9318,"thumbUrl":9323,"material":96,"size":283,"collection":98,"collections":9324,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},234439,"qing-ren-ji-xiang-tian-mu-xiang-zhou-yi-ming-234439","清人吉祥天母像轴","此作为藏传佛教护法题材佳作，主尊忿怒威严，靛蓝躯体乘黄骡奔踏血海，遍身珠宝严饰，法器具足，慑人气魄尽显护法威仪。画面以黑底铺陈，金墨勾勒流云、诸天眷属与部众，华丽金彩在沉暗底色中愈发醒目，层次分明。整体构图饱满繁复，线条精细流畅，设色沉艳厚重，将藏地唐卡极致装饰性与宗教氛围感融合一体，尽显精湛工艺，神圣庄严的护法气韵扑面而来。",[24,25,87,721,28,29,30,7,222,2593,9319,9320,9321,5548,5851,9322],"装饰图案","神佛形象","传统纹样","线条精细","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43dd297ca66960d16e602156f312bdb9.jpg",[],{"id":9326,"slug":9327,"title":9328,"dynasty":106,"author":454,"museum":234,"description":9329,"tags":9330,"thumbUrl":9331,"material":96,"size":283,"collection":98,"collections":9332,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},234400,"min-ning-ce-jun-qing-chen-tu-xiang-zhou-yi-ming-234400","旻宁策骏清尘图像轴","此作工笔写实，尽显雍容气度。帝王身着明黄常服，面容苍劲沉稳，端坐骏骑之上，轻握缰绳，神态从容内敛，自有九五之尊的威仪。宝马身形矫健，棕毛晕染细腻柔和，鞍鞯配饰刻画精工，朱红流苏垂坠灵动，细节处见匠心巧思。\n\n整体设色明丽雅致，线条匀净流畅，写实逼真又不失庄重典雅。画面题字与鉴藏印，更添古雅气韵，将帝王骑猎闲逸的情态定格绢素，兼具纪实精准与宫廷绘画特有的规整雍容，尽显古典肖像画的精妙。",[24,68,25,87,28,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1852ab6f6e8b805c7906aa1981b52b5.jpg",[],{"id":9334,"slug":9335,"title":9336,"dynasty":106,"author":454,"museum":234,"description":9337,"tags":9338,"thumbUrl":9339,"material":96,"size":283,"collection":98,"collections":9340,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},234398,"min-ning-xing-jian-si-cang-xiang-zhou-yi-ming-234398","旻宁行健思藏像轴","此作为工笔肖像佳作，主人公面容清癯沉静，身着常服安坐于马背，神情端严内敛，自带沉凝威仪。所乘白马神俊挺拔，鬃尾柔润飘逸，缓步徐行的姿态被刻画得鲜活灵动，画师细腻勾勒出马匹的肌理骨骼，晕染写实自然，将骏马神形尽显。\n\n画面色调层次分明，衣袍的沉暗与白马的莹润、鞍鞯的明丽形成柔和对比，雅致和谐。右上角题字呼应主题，整作工细写实，既精准记录人物形貌气度，又以精妙笔触烘托出静穆雅致的氛围，尽显扎实写实功力，将主人建行思沉稳的心境融于笔端。",[24,87,967,28,29,30,7,70,163],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919c71adb8b2e2f9924a490fa79efc60.jpg",[],{"id":9342,"slug":9343,"title":9344,"dynasty":106,"author":454,"museum":234,"description":9345,"tags":9346,"thumbUrl":9349,"material":96,"size":283,"collection":98,"collections":9350,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},234397,"min-ning-rong-zhuang-xiang-zhou-yi-ming-234397","旻宁戎装像轴","整作工致写实，画中主人公身着遍饰缠枝龙纹的华贵铠甲，头戴暖帽，神色沉稳威严，自带帝王的从容气度。他背负箭囊，缓控马缰徐行，将清代帝王重骑射、尚武勇的风貌尽显无遗。\n\n胯下骏马神骏矫健，棕黄色皮毛晕染细腻，质感逼真，鞍鞯绣饰妍丽精巧，与铠甲华纹呼应。设色雅致沉稳，线条精细流畅，既精准还原清代戎装规制，又细腻描摹出人物与坐骑的神韵，是兼具纪实性与艺术性的肖像佳作。",[68,24,25,87,29,28,30,7,9347,789,9348,70],"戎装","龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c9179f22061ec8bcc9ae379bf4c3bd.jpg",[],{"id":9352,"slug":9353,"title":4128,"dynasty":106,"author":5163,"museum":234,"description":5164,"tags":9354,"thumbUrl":9356,"material":98,"size":98,"collection":98,"collections":9357,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},234340,"shan-shui-ce-jin-ting-biao-234340",[24,25,354,29,89,224,70,90,32,33,36,654,7,30,9355,47,129,250],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35dde4c19bf31999408a992d8a81474.jpg",[],{"id":9359,"slug":9360,"title":9361,"dynasty":261,"author":9362,"museum":234,"description":9363,"tags":9364,"thumbUrl":9365,"material":98,"size":98,"collection":98,"collections":9366,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},233634,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233634","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,354,4947,29,88,30,130,7,2720,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bde464b6f1a59ae5b31cc01b1a57c80.jpg",[],{"id":9368,"slug":9369,"title":9361,"dynasty":261,"author":9362,"museum":234,"description":9363,"tags":9370,"thumbUrl":9371,"material":98,"size":98,"collection":98,"collections":9372,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},233603,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233603",[354,4947,237,88,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa287f4b2f51d45d7a8aa5a55fda342ab.jpg",[],{"id":9374,"slug":9375,"title":5640,"dynasty":106,"author":454,"museum":234,"description":5641,"tags":9376,"thumbUrl":9379,"material":98,"size":5644,"collection":98,"collections":9380,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},233111,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233111",[237,4947,90,30,7,42,36,249,2866,2867,9377,9378],"武器","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd54f8e81e6dad77e117084c00f209da.jpg",[],{"id":9382,"slug":9383,"title":5640,"dynasty":106,"author":454,"museum":234,"description":5641,"tags":9384,"thumbUrl":9388,"material":98,"size":5644,"collection":98,"collections":9389,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},233108,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233108",[28,4947,30,7,90,36,91,665,4983,789,536,278,4920,9385,249,9386,9387],"战骑","远景","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9d4649f4a1254642ca9e039373ed85.jpg",[],{"id":9391,"slug":9392,"title":5640,"dynasty":106,"author":454,"museum":234,"description":5641,"tags":9393,"thumbUrl":9394,"material":98,"size":5644,"collection":98,"collections":9395,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},233101,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233101",[106,28,89,1174,30,7,90,164,4981,42,36,249,114,707,6898,665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42789c6dd2d563dcf85652832e40824f.jpg",[],{"id":9397,"slug":9398,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":9399,"thumbUrl":9400,"material":344,"size":2869,"collection":98,"collections":9401,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},233073,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233073",[24,29,28,354,30,7,809,112,278,6899,164,1829,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6407408da90601cadf3eb23ad46e2103.jpg",[],{"id":9403,"slug":9404,"title":6555,"dynasty":106,"author":454,"museum":20,"description":6556,"tags":9405,"thumbUrl":9406,"material":252,"size":6562,"collection":98,"collections":9407,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},233049,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233049",[24,25,29,28,30,7,146,90,42,278,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fc4d78ac787b3c0e3cb6d6612f123c.jpg",[],{"id":9409,"slug":9410,"title":9411,"dynasty":1760,"author":9412,"museum":234,"description":9413,"tags":9414,"thumbUrl":9416,"material":96,"size":283,"collection":98,"collections":9417,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},232511,"he-er-bai-yin-170-he-er-bai-yin-232511","荷尔拜因170","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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。",[237,29,30,7,149,9415,1153],"铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066e1738eeafa9119776020b22faaadc.jpg",[],{"id":9419,"slug":9420,"title":9421,"dynasty":1760,"author":9412,"museum":234,"description":9413,"tags":9422,"thumbUrl":9426,"material":96,"size":283,"collection":98,"collections":9427,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},232404,"he-er-bai-yin-63-he-er-bai-yin-232404","荷尔拜因63",[3604,1174,30,7,9423,9424,9425,7161,1178,3605,8093],"帽子","衣物","靴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f0bb9764dd77ea22e495df9dc478bc5.jpg",[],{"id":9429,"slug":9430,"title":9431,"dynasty":1760,"author":8117,"museum":234,"description":8118,"tags":9432,"thumbUrl":9436,"material":96,"size":283,"collection":98,"collections":9437,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232331,"a-er-ma-58-lao-lun-si-a-er-ma-ta-de-ma-232331","阿尔玛58",[1173,30,8108,9433,7,7706,9434,9435],"贵妇","蔷薇","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37f55d42866d5a25ed5c9a4575d8739.jpg",[],{"id":9439,"slug":9440,"title":9441,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9442,"thumbUrl":9444,"material":96,"size":283,"collection":98,"collections":9445,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232160,"de-jia-79-de-jia-232160","德加79",[1173,7174,7,30,5914,36,111,4920,1765,9443],"笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd85c9c0fdc01d165b8e33a6c5f332846.jpg",[],{"id":9447,"slug":9448,"title":9449,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9450,"thumbUrl":9452,"material":96,"size":283,"collection":98,"collections":9453,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232145,"de-jia-72-de-jia-232145","德加72",[1173,7174,7,30,1369,5914,36,7163,9451,4920],"暖色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7de171a30729b27a3298670fa5aedc.jpg",[],{"id":9455,"slug":9456,"title":9457,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9458,"thumbUrl":9460,"material":96,"size":283,"collection":98,"collections":9461,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232134,"jockey-in-blue-on-a-chestnut-horse-circa-virginia-museum-of-fine-arts-usa-de-jia-232134","Jockey in Blue on a Chestnut Horse - circa - Virginia Museum of Fine Arts (USA)",[1173,7174,29,30,7,111,5914,9459],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7829719d8d81b52de5cfd22a7c8af76c.jpg",[],{"id":9463,"slug":9464,"title":9465,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9466,"thumbUrl":9467,"material":96,"size":283,"collection":98,"collections":9468,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232132,"jockeys-yale-university-art-gallery-usa-de-jia-232132","Jockeys - - Yale University Art Gallery (USA)",[7174,1173,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34c2f9e4796dd0cb32b06a6561287f54.jpg",[],{"id":9470,"slug":9471,"title":9472,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9473,"thumbUrl":9474,"material":96,"size":283,"collection":98,"collections":9475,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232131,"de-jia-68-de-jia-232131","德加68",[1173,7174,7,30,111,36,1176,4920,8160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd25aac1203efe15897c7083ed2968734.jpg",[],{"id":9477,"slug":9478,"title":9479,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9480,"thumbUrl":9481,"material":96,"size":283,"collection":98,"collections":9482,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232130,"de-jia-67-de-jia-232130","德加67",[68,7174,7752,4920,7,3593,30,111,1176,8150,8160,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac53ce5d5f6cea853e7fcaa3c9713f3a.jpg",[],{"id":9484,"slug":9485,"title":9486,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9487,"thumbUrl":9489,"material":96,"size":283,"collection":98,"collections":9490,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},232129,"jockeys-before-the-start-with-flagpoll-circa-barber-institute-of-fine-arts-england-de-jia-232129","Jockeys before the Start with Flagpoll - circa - Barber Institute of Fine Arts (England)",[1173,7174,30,7,111,2066,9488],"旗杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b2e7f1173159cfdc2f9e4534c932ff6.jpg",[],{"id":9492,"slug":9493,"title":9494,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9495,"thumbUrl":9497,"material":96,"size":283,"collection":98,"collections":9498,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232128,"jockeys-in-the-rain-glasgow-art-gallery-and-museum-scotland-de-jia-232128","Jockeys in the Rain - - Glasgow Art Gallery and Museum (Scotland)",[7174,1173,29,30,7,6490,111,9496],"天空 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7925f68a8b78e546b77ab637147da8ce.jpg",[],{"id":9500,"slug":9501,"title":9502,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9503,"thumbUrl":9504,"material":96,"size":283,"collection":98,"collections":9505,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232085,"mlle-fiocre-in-the-ballet-la-source-brooklyn-museum-of-art-usa-de-jia-232085","Mlle Fiocre in the Ballet - La Source - - - Brooklyn Museum of Art (USA)",[1173,29,30,7,33,249,1722,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e0d8a7639b9073c379b9e6206d9370.jpg",[],{"id":9507,"slug":9508,"title":9509,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9510,"thumbUrl":9512,"material":96,"size":283,"collection":98,"collections":9513,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},232071,"de-jia-38-de-jia-232071","德加38",[68,1173,7174,30,7,9511],"户外赛场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86aa1d67dac52240f536dd745661ff5a.jpg",[],{"id":9515,"slug":9516,"title":9517,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9518,"thumbUrl":9519,"material":96,"size":283,"collection":98,"collections":9520,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232036,"race-horses-circa-cleveland-museum-of-art-usa-de-jia-232036","Race Horses - circa - Cleveland Museum of Art (USA)",[7174,1173,7,30,111,36,1176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5f06e4d4820f24dcb8d746dee3c36bc.jpg",[],{"id":9522,"slug":9523,"title":9524,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9525,"thumbUrl":9526,"material":96,"size":283,"collection":98,"collections":9527,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232035,"de-jia-20-de-jia-232035","德加20",[1173,7174,30,7,111,3643,1239,1176,8140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47b95ff1bc882f6df99435b6b359de4.jpg",[],{"id":9529,"slug":9530,"title":9531,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9532,"thumbUrl":9535,"material":96,"size":283,"collection":98,"collections":9536,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232032,"racehorses-at-longchamp-national-gallery-of-art-washington-usa-de-jia-232032","Racehorses at Longchamp - - - National Gallery of Art - Washington (USA)",[1173,7174,7,30,3593,111,9533,9423,9534],"开阔地","红布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a2fd54a78190bb9c5d79dc762d99d5.jpg",[],{"id":9538,"slug":9539,"title":9540,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9541,"thumbUrl":9542,"material":96,"size":283,"collection":98,"collections":9543,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232030,"racehorses-in-a-landscape-thyssen-bornemisza-museum-spain-de-jia-232030","Racehorses in a Landscape - - Thyssen-Bornemisza Museum (Spain)",[7174,1173,29,9443,7,30,111,278,1176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa575017585d140988ba461e9bce4a2e4.jpg",[],{"id":9545,"slug":9546,"title":9547,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9548,"thumbUrl":9549,"material":96,"size":283,"collection":98,"collections":9550,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232024,"riders-on-a-road-1864-1868-de-jia-232024","Riders on a Road - 1864-1868",[1173,7174,29,30,7,94,36,1369,8149,4920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4e1b9bc1d715b04381cafbf2264a7.jpg",[],{"id":9552,"slug":9553,"title":9554,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9555,"thumbUrl":9559,"material":96,"size":283,"collection":98,"collections":9560,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},232015,"de-jia-12-de-jia-232015","德加12",[1173,7174,7,30,3593,111,36,1176,8172,1765,9556,8150,9557,9558,7163],"色彩","运动场景","摔倒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16f998f278265e549c99fd8855add68d.jpg",[],{"id":9562,"slug":9563,"title":9564,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9565,"thumbUrl":9566,"material":96,"size":283,"collection":98,"collections":9567,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},231999,"semiramis-building-babylon-musee-d-orsay-france-de-jia-231999","Semiramis Building Babylon - - Musee d'Orsay (France)",[1173,29,30,7,149,31,42,7708,6876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fed00243ab5415131179a278a37dacb.jpg",[],{"id":9569,"slug":9570,"title":9571,"dynasty":1760,"author":7171,"museum":234,"description":7172,"tags":9572,"thumbUrl":9575,"material":96,"size":283,"collection":98,"collections":9576,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},231998,"semiramis-building-a-city-1861-private-collection-de-jia-231998","Semiramis Building a City - 1861 - Private collection",[1173,30,7,4111,9573,1369,9574,149],"古城","河畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12d89d958999f64d4a318f5c38b1f0b.jpg",[],{"id":9578,"slug":9579,"title":9580,"dynasty":1760,"author":9581,"museum":234,"description":9582,"tags":9583,"thumbUrl":9584,"material":96,"size":283,"collection":98,"collections":9585,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},231842,"chun-ri-quan-xian-yan-ji-hui-tu-juan-9-gao-jie-long-jian-231842","春日権现验记 绘图卷-9","高阶隆兼","镰仓时代 传高阶隆兼(活跃于1309-1330年)",[23,68,25,26,29,30,7,149,721,5477,2030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc72421c1d6759f4e6f4b4a77cf7b2b0.jpg",[],{"id":9587,"slug":9588,"title":9589,"dynasty":1760,"author":454,"museum":234,"description":9590,"tags":9591,"thumbUrl":9592,"material":96,"size":283,"collection":98,"collections":9593,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},231778,"gu-hua-fen-ben-hua-ce-yi-ming-231778","古画粉本 画册","此作为水墨写意小品，笔简意丰。淡墨寥寥勾勒出驴子缓步的情态，形神兼备，简劲空灵。老者身披浅黄衣衫，造型稚拙古雅，神态悠然超脱。画面奇趣横生，将扁舟置于老者头顶，打破日常图景，揉合出行与泛舟的意象，带着老庄式的出世逍遥，尽显世外高人的放旷襟怀。浅淡设色与水墨晕染相映，留白舒朗宽和，以极简笔墨铺陈出悠远禅韵，把东方写意的留白美学发挥尽致，随性天真的笔意中，藏着文人画独有的清逸玄思，予人悠长遐思。",[23,24,25,354,88,29,30,7,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c10766e1f1a1ce84d1a9033d6f85c0.jpg",[],{"id":9595,"slug":9596,"title":9597,"dynasty":1760,"author":454,"museum":234,"description":9598,"tags":9599,"thumbUrl":9600,"material":96,"size":283,"collection":98,"collections":9601,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},231750,"jiang-hu-shi-dai-za-hua-ce-yi-ming-231750","江户时代杂画册","这幅白描奔马以凝练铁线勾勒形神。四蹄腾空的骏马，鬃尾随着疾风肆意飞扬，将疾驰的动感全然定格。画家舍弃繁复晕染，仅以洗练笔触，便把骏马肌肉起伏的张力、奔腾时的矫健身姿尽显无遗。寥寥数笔勾勒下，骏马御风疾驰的野性与灵动呼之欲出，留白的构图更延展了遐想空间，仿佛能听见马蹄踏破长风的脆响，尽显写意白描以形写神的精妙魅力，将奔马脱缰飞驰的蓬勃生命力永远定格在纸面之上。",[23,24,25,354,237,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f84ea8b9dfab98ac6ce0048c9312f.jpg",[],{"id":9603,"slug":9604,"title":9605,"dynasty":1760,"author":9606,"museum":234,"description":9607,"tags":9608,"thumbUrl":9613,"material":96,"size":283,"collection":98,"collections":9614,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},231234,"su-miao-488-xi-fang-231234","素描488","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[3604,1174,7,676,9609,8473,3605,8093,1765,9610,5108,9611,9612],"头部特写","西画技法","毛发刻画","马具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b594d6d080e46ac4d02625766faa76b.jpg",[],{"id":9616,"slug":9617,"title":9618,"dynasty":106,"author":454,"museum":234,"description":9619,"tags":9620,"thumbUrl":9622,"material":96,"size":283,"collection":98,"collections":9623,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},229244,"diao-zhu-gen-ma-shang-feng-hou-yi-ming-229244","雕竹根马上封侯","依竹根天然肌理晕出马身皮毛质感，卧马姿态舒展温驯，鬃尾刻画纤毫毕现，神态写实传神。小猴踞于马背，灵动俏皮，一派嬉闹情态，二者动静相映，意趣盎然。\n\n借谐音暗合吉祥意涵，将世俗祈愿融于刀笔。循竹根本形施艺，顺材造境，刀工藏而不露，于朴拙质感间见精妙匠心，把文人雅趣与民间吉庆巧然相融，尽显传统竹刻工艺的灵动意韵。",[967,9621,2433,7,1476,401],"竹根雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facb074fd0cdc88ce54e449cf2f5c0c79.jpg",[],{"id":9625,"slug":9626,"title":9627,"dynasty":261,"author":454,"museum":234,"description":6472,"tags":9628,"thumbUrl":9630,"material":96,"size":283,"collection":98,"collections":9631,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},228733,"diao-yu-shu-xiang-shi-er-sheng-xiao-ma-yi-ming-228733","雕玉属像十二生肖（马）",[7915,6480,2433,222,7,9629],"十二生肖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5677d9872caa5a8d5a6b60b2bbb6bcf3.jpg",[],{"id":9633,"slug":9634,"title":9635,"dynasty":261,"author":454,"museum":234,"description":6196,"tags":9636,"thumbUrl":9637,"material":96,"size":283,"collection":98,"collections":9638,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},228708,"diao-zhu-guo-zi-yi-mian-zhou-tu-bi-tong-yi-ming-228708","雕竹郭子仪免胄图笔筒",[7915,8807,2433,340,401,30,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b2428e44592d02650800316c20bce3.jpg",[],{"id":9640,"slug":9641,"title":9642,"dynasty":176,"author":454,"museum":234,"description":6472,"tags":9643,"thumbUrl":9654,"material":96,"size":283,"collection":98,"collections":9655,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},228157,"yu-ma-yi-ming-228157","玉马",[6480,2433,7,222,987,9644,9645,9646,9647,9648,9649,9650,5408,9651,9652,1174,9653],"圆雕","玉质","卧姿","动物题材","元代风格","玉雕工艺","神兽","玉器","立体雕刻","古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8b30f4118cf8864253c06a5eb9ab94.jpg",[],{"id":9657,"slug":9658,"title":9659,"dynasty":18,"author":454,"museum":234,"description":7750,"tags":9660,"thumbUrl":9661,"material":96,"size":283,"collection":98,"collections":9662,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},227443,"ren-ma-tu-mu-ju-yi-ming-227443","人马图模具",[18,4670,2433,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd179ee11ed31a1245e7ffebde34210f.jpg",[],{"id":9664,"slug":9665,"title":9666,"dynasty":1760,"author":454,"museum":234,"description":6829,"tags":9667,"thumbUrl":9671,"material":96,"size":283,"collection":98,"collections":9672,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},225510,"fu-shi-hui-268-yi-ming-225510","浮世绘268",[4946,9668,29,30,7,523,111,1176,9669,9670],"木刻版画","远景山脉","近景地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8629ce95e49cb56c997cc68d5cd3d97.jpg",[],{"id":9674,"slug":9675,"title":9676,"dynasty":261,"author":6384,"museum":234,"description":6385,"tags":9677,"thumbUrl":9678,"material":344,"size":98,"collection":98,"collections":9679,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":512},217191,"shui-hu-quan-tu-4-du-jin-217191","水浒全图-4",[24,25,30,28,237,29,26,31,32,33,94,266,164,7,90,7568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee5d79c2e88704ca94184f23a489429.jpg",[],{"id":9681,"slug":9682,"title":9683,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9684,"thumbUrl":9685,"material":88,"size":98,"collection":98,"collections":9686,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216814,"zhan-zheng-tong-ban-hua-34-lang-shi-ning-216814","战争铜版画-34",[68,967,664,665,30,7,90,36,91,164,4983,278,7071,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a68d52ddf21b567078e13e757bb15a8.jpg",[],{"id":9688,"slug":9689,"title":9690,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9691,"thumbUrl":9692,"material":88,"size":98,"collection":98,"collections":9693,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216809,"zhan-zheng-tong-ban-hua-36-lang-shi-ning-216809","战争铜版画-36",[967,664,2433,6396,30,7,90,36,278,164,4983,1174,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f26e8987168908f69ecc21ab71d84d.jpg",[],{"id":9695,"slug":9696,"title":9697,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9698,"thumbUrl":9699,"material":88,"size":98,"collection":98,"collections":9700,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216806,"zhan-zheng-tong-ban-hua-39-lang-shi-ning-216806","战争铜版画-39",[106,664,90,30,7,665,89,2433,3605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b9af103903a05f0830e304570f703c.jpg",[],{"id":9702,"slug":9703,"title":9704,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9705,"thumbUrl":9706,"material":88,"size":98,"collection":98,"collections":9707,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216802,"zhan-zheng-tong-ban-hua-40-lang-shi-ning-216802","战争铜版画-40",[664,665,90,249,36,30,7,2866,278,48,149,6406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb9b5d4a11728cc9c9f4c05a96bf2b47.jpg",[],{"id":9709,"slug":9710,"title":9711,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9712,"thumbUrl":9713,"material":88,"size":98,"collection":98,"collections":9714,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216801,"zhan-zheng-tong-ban-hua-48-lang-shi-ning-216801","战争铜版画-48",[664,90,30,665,89,249,36,223,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18db4bf1ca918aa7acb5463537058ac.jpg",[],{"id":9716,"slug":9717,"title":9718,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9719,"thumbUrl":9721,"material":88,"size":98,"collection":98,"collections":9722,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216800,"zhan-zheng-tong-ban-hua-47-lang-shi-ning-216800","战争铜版画-47",[664,665,90,30,7,149,36,249,223,9720,1174,278,6898,707,47,1099],"线刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe970eb56cba585be91d743eee5622a40.jpg",[],{"id":9724,"slug":9725,"title":9726,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9727,"thumbUrl":9734,"material":88,"size":98,"collection":98,"collections":9735,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216794,"zhan-zheng-tong-ban-hua-53-lang-shi-ning-216794","战争铜版画-53",[664,665,90,30,7,91,36,48,4983,278,6898,8279,1174,9728,9729,9730,9731,8174,9732,9733],"战场场景","山峦叠嶂","树木丛生","骑兵作战","山石刻画","道路蜿蜒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f9d1d1f2fde56c26ac68ba24576fa22.jpg",[],{"id":9737,"slug":9738,"title":9739,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9740,"thumbUrl":9741,"material":88,"size":98,"collection":98,"collections":9742,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216793,"zhan-zheng-tong-ban-hua-50-lang-shi-ning-216793","战争铜版画-50",[664,665,90,30,7,36,91,42,94,3605],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccb3be8a86562fe51f1f7eb0a4ecbbd.jpg",[],{"id":9744,"slug":9745,"title":9746,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9747,"thumbUrl":9748,"material":88,"size":98,"collection":98,"collections":9749,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216788,"zhan-zheng-tong-ban-hua-56-lang-shi-ning-216788","战争铜版画-56",[967,664,2433,665,90,30,7,40,49,42,36,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a4247dae304008f31fefea96b76b29.jpg",[],{"id":9751,"slug":9752,"title":9753,"dynasty":106,"author":107,"museum":234,"description":662,"tags":9754,"thumbUrl":9755,"material":88,"size":98,"collection":98,"collections":9756,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},216787,"zhan-zheng-tong-ban-hua-60-lang-shi-ning-216787","战争铜版画-60",[2432,4948,665,30,7,90,4984],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00dfe1f2fff330bba16b7aae219eebf.jpg",[],{"id":9758,"slug":9759,"title":9760,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":9762,"thumbUrl":9763,"material":3648,"size":98,"collection":98,"collections":9764,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},216649,"xuan-da-shan-xi-san-zhen-tu-6-yi-ming-216649","宣大山西三镇图-6","万历三十一年秘阁本",[23,24,25,26,29,277,90,30,7,112,149,94,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70fd59538239517f21d6b66d2c0d6e56.jpg",[],{"id":9766,"slug":9767,"title":9768,"dynasty":106,"author":454,"museum":4224,"description":9769,"tags":9770,"thumbUrl":9771,"material":198,"size":98,"collection":98,"collections":9772,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},215941,"di-jian-tu-shuo-cai-hui-ben-65-yi-ming-215941","帝鉴图说彩绘本-65","画面中，骑马者或驰或驻，动作矫健灵动，衣袂飞扬间尽显飒爽；围观人群簇拥而立，神态专注，衣袍色彩错落有致，勾勒出庄重而鲜活的场景。前景建筑檐角翘起，青瓦朱栏，与中景的绿茵、远景的树木楼阁相映成趣，层次分明。线条细腻流畅，设色明丽雅致，既还原了场景的热闹氛围，又透着传统绘画的含蓄韵味，仿佛能让人窥见古代宫廷生活的一角，兼具叙事性与艺术感染力。",[24,29,28,27,354,30,7,31,36,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f79effeb13d23e26b6260239440e33.jpg",[],{"id":9774,"slug":9775,"title":9776,"dynasty":106,"author":454,"museum":4224,"description":9777,"tags":9778,"thumbUrl":9779,"material":198,"size":98,"collection":98,"collections":9780,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},215932,"di-jian-tu-shuo-cai-hui-ben-77-yi-ming-215932","帝鉴图说彩绘本-77","画面铺展着古雅的底色，青绿点染的树石间，一行骑马人穿行市井。衣袍轻扬的身影隐于队伍中，似携着悄然的行迹；路边百姓或驻足回望，或围坐闲谈，孩童追着车马跑过石径，烟火气漫过矮檐。细劲线条勾出屋舍飞檐与衣褶纹理，设色温润不燥，土黄衬着浅蓝的山石，人物衣袍的彩调鲜活却不艳俗。远近层次分明，远景亭台隐在云气里，近景的车马、家禽与中景的行旅相映，将“微行”的悄然与市井的热闹揉成生动画卷。每处细节藏着生活本真——闲谈的老者、忙碌的妇孺，让古卷里的场景鲜活如昨，暗合着体察民情的题旨。",[24,25,68,29,28,354,30,7,36,47,31,94,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe763f2c6bed8e6eb21ac1e415069bc2a.jpg",[],{"id":9782,"slug":9783,"title":9784,"dynasty":106,"author":454,"museum":4224,"description":9785,"tags":9786,"thumbUrl":9787,"material":198,"size":98,"collection":98,"collections":9788,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":59},215918,"di-jian-tu-shuo-cai-hui-ben-86-yi-ming-215918","帝鉴图说彩绘本-86","青绿晕染的山峦如黛，云雾轻笼处隐现屋舍几重，似有炊烟欲散未散。近景里，牵马的仆从、执礼的士人、倚门的老者衣袂流转，古雅意趣尽显。马匹鬃毛与车舆纹饰细致入微，人物神情鲜活：或躬身问候，或牵缰伫立，动静相宜间似有低语随风轻传。淡赭铺底的绢素上，树木枝叶扶苏，屋舍错落于青溪旁，山水与人物相映成趣。画面既藏自然清幽，又含人间温情，仿佛将一段尘封故事凝于方寸，每处笔触都裹着岁月余韵，引人驻足探寻那些隐于画中的古雅时光。",[24,25,354,29,28,30,7,31,36,90,47,41,91,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c57c751410f1661fe1cc426f038b210.jpg",[],{"id":9790,"slug":9791,"title":9792,"dynasty":106,"author":7234,"museum":234,"description":7235,"tags":9793,"thumbUrl":9794,"material":182,"size":98,"collection":98,"collections":9795,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":171},215060,"tui-bei-tu-ce-48-jiao-bing-zhen-215060","推背图册-48",[23,24,25,354,29,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff312e3a8dc4c8548b3ed09b12c3f4d73.jpg",[],{"id":9797,"slug":9798,"title":9799,"dynasty":261,"author":9800,"museum":518,"description":9801,"tags":9802,"thumbUrl":9803,"material":98,"size":98,"collection":98,"collections":9804,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":9805},203451,"xing-shu-ma-ge-ce-zhang-rui-tu-203451","行书马歌册","张瑞图","笔锋如剑戟破纸，方折锐劲的线条裹挟着“马歌”的奔腾意气。字形欹侧跌宕，于失衡中见奇险之稳，转折处棱角分明，全无柔媚之态。墨色浓淡相间，燥润相生，每一笔皆似骏马扬蹄，力透纸背。通篇气韵雄健奇崛，打破平正格局，尽显晚明书家特有的狂放不羁，于法度之外开辟出独树一帜的书境，读之如闻马嘶风啸，心魄为之一振。",[223,224,354,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82cf995baa4bff945e4e26e76d25ff2.jpg",[],"ada195",{"id":9807,"slug":9808,"title":8355,"dynasty":106,"author":8356,"museum":518,"description":9809,"tags":9810,"thumbUrl":9812,"material":98,"size":98,"collection":98,"collections":9813,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":8361},202678,"shou-lie-tu-zhou-wang-yin-202678","荒野坡地间，狩猎图景鲜活铺展：数骑者或引弓欲发，或策马来奔，猎犬腾跃向前，动态十足。设色淡雅却见精神，红衣骑者尤为醒目，与蓝绿衣袍相映成趣；线条灵动流畅，人物衣袂飘举、兽类姿态矫健皆具生趣。背景枯树疏枝，衬出旷野疏阔，画面层次分明，狩猎的紧张与自然的旷远交织，尽显游牧生活的生动意趣。",[24,87,29,30,7,222,1019,28,9811,736,23],"旷野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65cbd75ed416064c7af98e6d417206c.jpg",[],{"id":9815,"slug":9816,"title":9817,"dynasty":106,"author":9818,"museum":518,"description":9819,"tags":9820,"thumbUrl":9821,"material":98,"size":98,"collection":98,"collections":9822,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":9823},202627,"bai-miao-ren-wu-tu-zhou-min-zhen-202627","白描人物图轴","闵贞","这幅画作以白描手法绘就，线条勾勒精准流畅，衣纹婉转间尽显人物的庄重与飘逸。画面中人物或骑于马上，或立于旁侧，神态各异，马匹姿态生动；虽未设色，却通过线条的粗细、转折与疏密，巧妙呈现衣物质感、人物神情及马匹动态，整体构图简洁却富叙事感，尽显传统白描人物画的凝练传神之美。",[237,30,7,24,87,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2decbb9523db8ca45497ecd50f971bd.jpg",[],"e3d3c3",{"id":9825,"slug":9826,"title":8385,"dynasty":106,"author":9827,"museum":518,"description":9828,"tags":9829,"thumbUrl":9830,"material":98,"size":98,"collection":98,"collections":9831,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":9832},202587,"feng-chen-san-xia-tu-zhou-huang-shen-202587","黄慎","画面以简练笔墨勾勒风尘三侠的相遇瞬间：李靖躬身揖礼，红拂女侧身凝眸，虬髯客扶鞍回望，驴儿垂首立旁，动态鲜活传神。孤石嶙峋，树木疏朗，背景留白恰到好处，衬出江湖侠气。笔墨挥洒如草书入画，线条流转灵动，设色淡雅却见神采，将三人的豪爽与默契尽融于写意笔触中，尽显扬州八怪的放逸风骨，让千年传奇在尺幅间生动再现。",[29,30,130,88,388,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b58123a3895072145a2ac6a31a6dbc9.jpg",[],"b6a391",{"id":9834,"slug":9835,"title":9836,"dynasty":106,"author":9837,"museum":518,"description":9838,"tags":9839,"thumbUrl":9840,"material":98,"size":98,"collection":98,"collections":9841,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":9842},202582,"fang-wang-shu-ming-qiu-shu-tu-zhou-xiao-yun-cong-202582","仿王叔明秋树图轴","萧云从","画面层峦叠嶂间，秋水潺湲，小桥横卧溪上，老树疏枝带秋意，山间屋舍隐现，行人策马路旁，一派清旷悠远的秋山胜景。笔墨承袭王叔明苍劲之韵，山石以皴法勾勒，线条细腻灵动，设色淡雅温润，将秋林的疏朗、溪山的静谧与人物的闲逸融为一体，尽显文人山水的雅致意趣。",[24,90,87,89,29,32,33,388,7,69,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a614dda1aac4c15661f555b555186f5.jpg",[],"c0a171",{"id":9844,"slug":9845,"title":4462,"dynasty":106,"author":5750,"museum":518,"description":9846,"tags":9847,"thumbUrl":9849,"material":98,"size":98,"collection":98,"collections":9850,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":9851},202289,"ba-jun-tu-zhou-ren-yu-202289","数匹骏马聚于绿茵之上，或相互嬉戏，前蹄扬起似亲昵打闹；或静立侧望，神态悠然；或低头啃食青草，姿态闲适。马的造型丰腴矫健，线条勾勒细腻流畅，皮毛晕染层次丰富，尽显柔软质感与肌肉张力。背景松石苍劲，松针以蓝绿设色清新雅致，山石用淡墨皴擦，与青绿草地相映，营造出静谧安逸的自然氛围。整体画风工细灵动，既展现对马的细致观察，又以淡雅设色传递出悠然生机，给人和谐舒畅之感。",[24,28,29,7,222,9848,87,23],"松石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b7e579eb3d78786852337f9a1f49c.jpg",[],"beb3a2",{"id":9853,"slug":9854,"title":9855,"dynasty":106,"author":9856,"museum":518,"description":9857,"tags":9858,"thumbUrl":9861,"material":98,"size":98,"collection":98,"collections":9862,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":9863},201402,"qiu-feng-gui-mu-tu-zhou-qian-feng-201402","秋风归牧图轴","钱沣","秋日风微，牧归时分。数匹骏马姿态各异，或奔腾或徐行，鬃毛飞扬间尽显灵动；牧人悠然侧立，衣纹简练却见神情闲适。古松枝干虬劲，笔墨苍劲有力；山石以皴法晕染，纹理嶙峋毕现。画面以水墨为底，线条精准传神，晕染层次分明，将秋意的清寂与归程的悠然融于一体。布局疏密得当，动静相生，尽显传统书画的笔墨韵味与田园牧歌的恬淡意境。",[88,89,7,9859,91,30,3251,9860],"古松","秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4637c176763521f73a24b0965103082.jpg",[],"adafa9",{"id":9865,"slug":9866,"title":4990,"dynasty":106,"author":9856,"museum":518,"description":9867,"tags":9868,"thumbUrl":9869,"material":98,"size":98,"collection":76,"collections":9870,"showCount":170,"zanCount":58,"manualWeight":58,"mainColor":9871},201320,"ma-tu-zhou-qian-feng-201320","画面中群马神态各异，或扬蹄奔腾，或低头啮草，或静立顾盼，动静交织间尽显生机。笔墨以水墨为底，线条劲挺勾勒马匹身形，鬃毛挥洒见笔意，肌肉纹理隐现质感；老树虬枝盘曲，墨色浓淡相叠，孤石点缀其间，与马群相映成趣。整体气韵生动，既捕捉到骏马的矫健之姿，又以清雅笔墨营造出自然意趣，彰显出笔墨与造型的精妙融合。",[24,88,7,222,87,130,388,70,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe42ca1fb626778d549f2c60b4bcfcca7.jpg",[76],"bab5ac",{"id":9873,"slug":9874,"title":9875,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":9876,"thumbUrl":9878,"material":96,"size":283,"collection":98,"collections":9879,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},281461,"qian-ma-tou-chang-fang-he-yi-ming-281461","铅马头长方盒",[401,7,30,2433,8816,9877,7318],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba43eab7dbcdb60e280a6fbe3ac0ed6.jpg",[],{"id":9881,"slug":9882,"title":9883,"dynasty":106,"author":454,"museum":234,"description":7827,"tags":9884,"thumbUrl":9889,"material":96,"size":283,"collection":98,"collections":9890,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},281451,"lan-you-kai-guang-shan-shui-ren-wu-tu-jia-jin-shuang-er-dai-gai-ping-yi-ming-281451","蓝釉开光山水人物图加金双耳带盖瓶",[4670,9885,9886,9887,29,30,90,7,1019,9888],"蓝釉","加金","双耳带盖瓶","开光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d6fd66dc12a6637b9be0910b606466.jpg",[],{"id":9892,"slug":9893,"title":9883,"dynasty":106,"author":454,"museum":234,"description":7827,"tags":9894,"thumbUrl":9896,"material":96,"size":283,"collection":98,"collections":9897,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},281450,"lan-you-kai-guang-shan-shui-ren-wu-tu-jia-jin-shuang-er-dai-gai-ping-yi-ming-281450",[4670,9153,401,30,7,90,29,9895],"金饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f3b7b5011f1b8e239af7eaef82403eb.jpg",[],{"id":9899,"slug":9900,"title":9901,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":9902,"thumbUrl":9903,"material":96,"size":283,"collection":98,"collections":9904,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},281182,"gui-zhao-hou-yin-ma-niu-tong-yin-yi-ming-281182","“归赵矦印”马钮铜印",[70,7742,2432,7,222,2431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93fbfff75381fa7d23579135df3ea3f9.jpg",[],{"id":9906,"slug":9907,"title":9908,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":9909,"thumbUrl":9910,"material":96,"size":283,"collection":98,"collections":9911,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},280849,"jiang-jun-zhi-yin-ma-niu-tong-yin-yi-ming-280849","“□□将军之印”马钮铜印",[70,7742,2432,7,2431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe1ad5d7319177aa736688f04376a588.jpg",[],{"id":9913,"slug":9914,"title":9915,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":9916,"thumbUrl":9917,"material":96,"size":283,"collection":98,"collections":9918,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},280554,"lv-yi-hou-yin-ma-niu-tong-yin-yi-ming-280554","“率义矦印”马钮铜印",[70,7742,2431,2432,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F399ff373abb65412983ecbedbd26a152.jpg",[],{"id":9920,"slug":9921,"title":9922,"dynasty":4343,"author":454,"museum":234,"description":7740,"tags":9923,"thumbUrl":9924,"material":96,"size":283,"collection":98,"collections":9925,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},280093,"qi-shi-wen-bi-niu-tong-yin-yi-ming-280093","骑士纹鼻钮铜印",[70,2432,2431,7742,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1db8c0ae5b5f544a8ae12783f1a2a534.jpg",[],{"id":9927,"slug":9928,"title":9901,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":9929,"thumbUrl":9930,"material":96,"size":283,"collection":98,"collections":9931,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},279657,"gui-zhao-hou-yin-ma-niu-tong-yin-yi-ming-279657",[70,7742,2432,7,222,2431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83869519909374bd04cdba0151b36333.jpg",[],{"id":9933,"slug":9934,"title":9935,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":9936,"thumbUrl":9937,"material":96,"size":283,"collection":98,"collections":9938,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},279521,"fu-bu-qu-jiang-ma-niu-tong-yin-yi-ming-279521","“副部曲将”马钮铜印",[70,2431,2432,7,222,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F294068899950bb9187f256f958a75930.jpg",[],{"id":9940,"slug":9941,"title":8769,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":9942,"thumbUrl":9943,"material":96,"size":283,"collection":98,"collections":9944,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},279515,"bu-qu-jiang-yin-ma-niu-tong-yin-yi-ming-279515",[70,2432,7742,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d66e60049ddf72e478302c09ebd573.jpg",[],{"id":9946,"slug":9947,"title":9948,"dynasty":639,"author":454,"museum":234,"description":7740,"tags":9949,"thumbUrl":9950,"material":96,"size":283,"collection":98,"collections":9951,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},279404,"guan-nei-hou-yin-ma-niu-tong-yin-yi-ming-279404","“关内矦印”马钮铜印",[70,2431,7742,2432,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a36e6c55dcd96e3591147fcbc653637.jpg",[],{"id":9953,"slug":9954,"title":9955,"dynasty":7922,"author":454,"museum":234,"description":7740,"tags":9956,"thumbUrl":9957,"material":96,"size":283,"collection":98,"collections":9958,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},279257,"ma-shi-bi-niu-tong-yin-yi-ming-279257","“马是□”鼻钮铜印",[70,7742,2432,2431,3404,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c261952b7574a80fed590e429b9b2ce.jpg",[],{"id":9960,"slug":9961,"title":9962,"dynasty":639,"author":454,"museum":234,"description":7740,"tags":9963,"thumbUrl":9964,"material":96,"size":283,"collection":98,"collections":9965,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},279073,"jiang-jun-zhang-ma-niu-tong-yin-yi-ming-279073","“□□将军章”马钮铜印",[70,2432,7742,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0506717952245dbc38eded689b56eace.jpg",[],{"id":9967,"slug":9968,"title":9901,"dynasty":191,"author":454,"museum":234,"description":7740,"tags":9969,"thumbUrl":9970,"material":96,"size":283,"collection":98,"collections":9971,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},279065,"gui-zhao-hou-yin-ma-niu-tong-yin-yi-ming-279065",[70,2431,2432,7,222,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F047e2ca900ee535d4655852d4da24df3.jpg",[],{"id":9973,"slug":9974,"title":9975,"dynasty":4343,"author":454,"museum":234,"description":7740,"tags":9976,"thumbUrl":9977,"material":96,"size":283,"collection":98,"collections":9978,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},278628,"ma-wen-bi-niu-tong-yin-yi-ming-278628","马纹鼻钮铜印",[70,2431,2432,7,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e302f994a5d8c8927d005d9f07db391.jpg",[],{"id":9980,"slug":9981,"title":9922,"dynasty":4343,"author":454,"museum":234,"description":7740,"tags":9982,"thumbUrl":9984,"material":96,"size":283,"collection":98,"collections":9985,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},278620,"qi-shi-wen-bi-niu-tong-yin-yi-ming-278620",[70,2431,2432,7742,9983,30,7],"骑士纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90797e7b9e2cf09960dbfba4a18d7a4b.jpg",[],{"id":9987,"slug":9988,"title":9989,"dynasty":7922,"author":454,"museum":234,"description":7740,"tags":9990,"thumbUrl":9992,"material":96,"size":283,"collection":98,"collections":9993,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},278559,"ma-zhong-bi-niu-tong-yin-yi-ming-278559","“马重□”鼻钮铜印",[70,2431,2432,7742,9991,7],"鼻钮印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03488c544cd1e916783eefc80ed65066.jpg",[],{"id":9995,"slug":9996,"title":9997,"dynasty":261,"author":454,"museum":234,"description":9998,"tags":9999,"thumbUrl":10000,"material":96,"size":283,"collection":98,"collections":10001,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},278094,"hou-la-ma-niu-zheng-xin-cheng-yi-yin-yi-ming-278094","猴拉马纽“正心诚意”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[70,7742,6480,2433,1476,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f3be2576ad286dc5d4251f4cba544.jpg",[],{"id":10003,"slug":10004,"title":10005,"dynasty":106,"author":454,"museum":234,"description":10006,"tags":10007,"thumbUrl":10008,"material":96,"size":283,"collection":98,"collections":10009,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},277060,"shi-kan-hua-liu-shou-zhang-yi-ming-277060","“试看骅骝寿”章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[70,7742,6480,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf660ddc6b0401b40e355c2af8a5f01.jpg",[],{"id":10011,"slug":10012,"title":10013,"dynasty":106,"author":454,"museum":234,"description":9998,"tags":10014,"thumbUrl":10015,"material":96,"size":283,"collection":98,"collections":10016,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},276957,"ma-niu-lv-zhong-ying-zhong-chang-fang-yin-yi-ming-276957","马纽“律中应钟”长方印",[70,6480,7,222,7742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff388b9088352662c6b451d2f541d5d.jpg",[],{"id":10018,"slug":10019,"title":10020,"dynasty":106,"author":454,"museum":234,"description":9998,"tags":10021,"thumbUrl":10023,"material":96,"size":283,"collection":98,"collections":10024,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},276377,"ma-niu-du-bi-tang-zhen-cang-yin-yi-ming-276377","马纽“笃弼堂珍藏印”",[70,7742,7,10022,2433],"水晶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e707f72564e32b42dc319ca44e5dfb.jpg",[],{"id":10026,"slug":10027,"title":10028,"dynasty":106,"author":454,"museum":234,"description":10029,"tags":10030,"thumbUrl":10031,"material":96,"size":283,"collection":98,"collections":10032,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},275913,"bi-yu-qian-long-yu-bi-kuo-er-ka-suo-gong-xiang-ma-zhi-jing-shi-yi-zhi-shi-ce-yi-ming-275913","碧玉乾隆御笔廓尔喀所贡象马至京诗以志事册","以碧玉仿典籍成册，青底色泽匀净温润，以描金工艺饰于板面。中心双囍被双龙拱卫，缠枝纹细密铺陈环绕，金线流转柔劲兼具，将皇家华贵气度融于方寸。\n\n玉质清透沉静，衬得金彩愈发鲜亮明丽，雕绘间尽显工匠精湛功力。此册将纪事御笔镌于玉页，把边疆来贡的盛事凝为永恒藏品，让文风雅韵与礼制威仪共生，是清代玉雕工艺与宫廷典藏美学的精妙融合。",[6480,354,223,7571,2433,535,7,7811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ea60601c24b3f5a3206b005b6b9107.jpg",[],{"id":10034,"slug":10035,"title":10036,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":10037,"thumbUrl":10038,"material":96,"size":283,"collection":98,"collections":10039,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},275264,"yu-ma-shou-bing-jin-tao-pi-qiao-pu-lian-yao-dao-yi-ming-275264","玉马首柄金桃皮鞘铺炼腰刀",[164,6480,8816,2433,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6d09b770f128cb95154a33d14a0076.jpg",[],{"id":10041,"slug":10042,"title":10043,"dynasty":106,"author":454,"museum":234,"description":10044,"tags":10045,"thumbUrl":10047,"material":96,"size":283,"collection":98,"collections":10048,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},275062,"tong-qi-zhen-ma-bao-yi-ming-275062","铜七珍-马宝","鎏金外框以缠枝卷草满铺，饱满柔婉的线条裹起一方内芯，明暗色调相映成趣。内中神骏昂首挺立，背驮宝辇，其上尊容肃穆沉静，錾刻纹路古拙细腻，将藏传信仰中的福瑞具象成型。\n\n整体形制精巧匀整，鎏金亮泽华贵，与内芯沉暗的铜色冷暖对冲，既有庙堂供奉的庄严华贵，也留存着手工造像的朴拙质感。层层舒展的莲瓣底座稳稳托起瑞相，把信仰的神圣凝结在金属锻铸之间，静穆之中尽显造艺与信仰交融的精妙。",[2432,2433,721,7,8816,10046,401],"佛教珍宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a0c39438fe23d0910d885c03c835bb.jpg",[],{"id":10050,"slug":10051,"title":10052,"dynasty":106,"author":454,"museum":234,"description":10053,"tags":10054,"thumbUrl":10056,"material":96,"size":283,"collection":98,"collections":10057,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},275050,"tong-du-jin-qi-zhen-ma-bao-yi-ming-275050","铜镀金七珍-马宝","骏马劲健饱满，鞍鞯錾刻繁丽纹饰，垂悬璎珞饰件，尽显华贵雅致。背负的摩尼宝焰灵动舒展，暗合富足昌隆的祈愿。通体鎏金莹润匀净，光泽灿然内敛。莲台底座层次分明，仰莲丰腴饱满，下座浅刻缠枝纹样，线条婉转柔润。整器工艺精湛细腻，将瑞兽的威仪与礼器的庄重融于一处，把藏地佛供的神圣意涵凝结于精巧方寸间，尽显规整大气的造办风格。",[2432,8816,2433,7,721,10055,401],"佛教七珍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38ebf95874f2daafd8d9c610201cf42.jpg",[],{"id":10059,"slug":10060,"title":10061,"dynasty":106,"author":454,"museum":234,"description":10062,"tags":10063,"thumbUrl":10066,"material":96,"size":283,"collection":98,"collections":10067,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},274887,"tong-xiang-yin-qi-zhen-ma-bao-yi-ming-274887","铜镶银七珍-马宝","桃形牌身錾刻缠枝卷草，柔婉舒展的线条框定神异造像，驭天神人安坐昂首神驹之上，周身祥纹环绕，鬃毛飞扬的神驹雄健挺拔，细节饱满生动，尽显庄严神异。\n\n莲台瓣叶分明饱满，鎏金包浆凝厚沉郁，暗哑金调晕开经年岁月的温润。下部卷草立柱虚实相生，与覆莲底座呼应，整体线条流转圆润，将厚重质朴与精工錾刻的细腻相融，把供养祈福的至诚心意凝于每一处刀痕，是兼具审美与信仰价值的供器佳作。",[2432,9877,2433,721,3669,7,10064,10065,401],"七珍","莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4790a3f8518a09c0cda00cf7e2f26f7a.jpg",[],{"id":10069,"slug":10070,"title":10071,"dynasty":106,"author":454,"museum":234,"description":10072,"tags":10073,"thumbUrl":10074,"material":96,"size":283,"collection":98,"collections":10075,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},274853,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274853","银胎嵌珐琅供养","整器以银为胎，莲台云纹底座沉稳雅致，托起仿佛龛形制的嵌珐琅牌位。珐琅面板之上，护法尊神乘马驱车，宝衣纹饰明丽华贵，朱红、鎏金与天青底色相映，色彩鲜亮饱和，尽显珐琅工艺的精细入微。银胎拱顶錾刻繁复纹饰，勾勒出庄重肃穆的宗教氛围。\n\n它融錾银与珐琅工艺于一体，肃穆中带着灵动装饰美感，将信仰的庄严与匠心工艺完美结合，静静承载着旧时礼佛的虔诚之心。",[9877,9153,721,30,7,7575,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275be5fb959191f712687bba3b9f90d9.jpg",[],{"id":10077,"slug":10078,"title":10071,"dynasty":106,"author":454,"museum":234,"description":10079,"tags":10080,"thumbUrl":10083,"material":96,"size":283,"collection":98,"collections":10084,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},274850,"yin-tai-qian-fa-lang-gong-yang-yi-ming-274850","整体造型层次分明，自上而下由本尊龛、莲台、缠枝束腰与如意云纹底座衔接而成，古韵典雅。龛门以珐琅为地，填色鲜亮明快，护法尊神驾战车驰骋云海，威严灵动，线条勾勒利落明快，将护法神威跃然其上。银胎錾刻古拙细腻，舒展饱满的莲瓣与婉转柔美的缠枝底座相映，贵金属的厚重质感衬得珐琅明丽色彩愈发鲜活，藏地佛教的庄严神圣与匠作巧思融为一体，尽显虔诚供养之心与清代宗教工艺的精巧水准。",[9877,9153,2433,721,10081,7,1828,10082],"神话人物","供器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51233399ae0efde5965a34b266d773b8.jpg",[],{"id":10086,"slug":10087,"title":10052,"dynasty":106,"author":454,"museum":234,"description":10088,"tags":10089,"thumbUrl":10091,"material":96,"size":283,"collection":98,"collections":10092,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},274811,"tong-du-jin-qi-zhen-ma-bao-yi-ming-274811","鎏金莹润厚重，宝马昂首矫然，翠色鬃毛鲜亮醒目，鞍鞯纹饰规整肃穆，尽显瑞兽神性。莲台承托瑞兽，下接缠枝卷草镂空座身，线条婉转灵动，錾刻铭文暗藏岁月脉络，底足铺展如意云纹，沉稳端庄。整器以信仰意蕴为骨，精工为魂，宝马静中藏动，将昂扬威仪与灵动神韵相融。细节处一丝不苟，鎏金光泽晕开庄重美感，沉淀着造艺的匠心与虔诚。",[721,7,10090,677,2433],"铜镀金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7369fdaa18f1d20dd59c9414266ebeed.jpg",[],{"id":10094,"slug":10095,"title":10096,"dynasty":106,"author":454,"museum":234,"description":8777,"tags":10097,"thumbUrl":10100,"material":96,"size":283,"collection":98,"collections":10101,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},274439,"tong-du-jin-le-xiang-shui-fa-pao-ren-shuang-ma-tuo-zhong-yi-ming-274439","铜镀金乐箱水法跑人双马驮钟",[10098,2432,8816,2433,7,30,1722,10099],"钟","水法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf12bfd0cb3b200b64fdbfd412f2fcc.jpg",[],{"id":10103,"slug":10104,"title":10105,"dynasty":106,"author":454,"museum":234,"description":8777,"tags":10106,"thumbUrl":10110,"material":96,"size":283,"collection":98,"collections":10111,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":1396},274424,"tong-du-jin-si-ma-tuo-zhuan-hua-shui-fa-zhuan-ren-zhong-yi-ming-274424","铜镀金四马驮转花水法转人钟",[10098,2432,8816,7,2433,10107,10108,10099,10109],"机械钟","转人","转花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb25014408400a28efc3bdaef210383.jpg",[],{"id":10113,"slug":10114,"title":10115,"dynasty":106,"author":454,"museum":234,"description":8777,"tags":10116,"thumbUrl":10120,"material":96,"size":283,"collection":98,"collections":10121,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},274423,"tong-du-jin-si-ma-tuo-shui-fa-zhuan-hua-zhong-yi-ming-274423","铜镀金四马驮水法转花钟",[2432,8816,7,2433,8780,10117,10118,10119],"水法转花","金属工艺","装饰器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa941c8d6aa98531966e35b0d8dfcc1cc.jpg",[],{"id":10123,"slug":10124,"title":10125,"dynasty":106,"author":454,"museum":234,"description":10126,"tags":10127,"thumbUrl":10129,"material":96,"size":283,"collection":98,"collections":10130,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},274412,"tong-du-jin-zhi-ji-shan-shi-qi-shi-qian-ma-biao-yi-ming-274412","铜镀金雉鸡山石骑士牵马表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[8816,2432,8780,7,10128,30,91,2433,7761],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b621f03ff05acae9fbe4035a2d380ca.jpg",[],{"id":10132,"slug":10133,"title":10134,"dynasty":106,"author":454,"museum":234,"description":10135,"tags":10136,"thumbUrl":10138,"material":96,"size":283,"collection":98,"collections":10139,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},273368,"ni-ma-yi-ming-273368","泥马","这件彩塑以泥为胎，施彩古雅沉静。骑手头戴暖帽，衣袍纹饰细致，神情肃穆沉凝，还原出旗人骑手的装束风貌，衣褶晕染自然，带着手工塑作的朴拙意趣。座下骏马躯体劲健，鬃尾施白提亮，鞍鞯晕染绿朱两色并点缀纹饰，四蹄错落，仿佛正缓步行进，动感十足。\n\n整体造型简约却传神，未作繁复修饰，却将人马的神态气度勾勒到位，带着民间手工的鲜活温度，是兼具写实意趣与装饰美感的民俗小品，静静诉说着旧时的风物意韵。",[10137,4279,30,7,5313],"泥塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2996072cdd068654eb2f4a002eaf1cdb.jpg",[],{"id":10141,"slug":10142,"title":10143,"dynasty":106,"author":454,"museum":234,"description":8797,"tags":10144,"thumbUrl":10145,"material":96,"size":283,"collection":98,"collections":10146,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},272693,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-zheng-niao-li-ji-huang-mo-yi-ming-272693","御制月令七十二候诗色墨-征鸟厉疾黄墨",[877,2433,7,30,1938,267,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2313ee539146ec49f37b6ca9dda6e344.jpg",[],{"id":10148,"slug":10149,"title":10150,"dynasty":261,"author":454,"museum":234,"description":8797,"tags":10151,"thumbUrl":10152,"material":96,"size":283,"collection":98,"collections":10153,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},272493,"jun-fang-shi-fang-zhi-gui-ma-fang-niu-tu-mo-yi-ming-272493","君房士芳制归马放牛图墨",[877,35,7,222,2433,401,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd685fedc0dc8c203c52e17f656ac10a1.jpg",[],{"id":10155,"slug":10156,"title":10157,"dynasty":106,"author":454,"museum":234,"description":10158,"tags":10159,"thumbUrl":10161,"material":96,"size":283,"collection":98,"collections":10162,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},271912,"duan-shi-ma-chi-chao-shou-chang-fang-yan-yi-ming-271912","端石马池抄手长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[879,10160,7572,2433,7,4121,401],"端石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3b4aae9d90d8d2e369aff4d660f8b7.jpg",[],{"id":10164,"slug":10165,"title":10166,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":10167,"thumbUrl":10168,"material":96,"size":283,"collection":98,"collections":10169,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},270023,"zhu-diao-xi-ma-tu-bi-tong-yi-ming-270023","竹雕洗马图笔筒",[8807,2433,401,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be2951a847a705dc77d07378e05bb9.jpg",[],{"id":10171,"slug":10172,"title":10173,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":10174,"thumbUrl":10175,"material":96,"size":283,"collection":98,"collections":10176,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":1661},270005,"zi-tan-xiang-qian-shou-lie-tu-chang-fang-he-yi-ming-270005","紫檀镶嵌狩猎图长方盒",[7572,2433,8825,736,30,7,222,267,7318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716b381e7c098c26febf50e0284fdc45.jpg",[],{"id":10178,"slug":10179,"title":10180,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":10181,"thumbUrl":10183,"material":96,"size":283,"collection":98,"collections":10184,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},269940,"zhu-diao-dong-shan-bao-jie-tu-bi-tong-yi-ming-269940","竹雕东山报捷图笔筒",[8807,2433,8833,30,7,90,248,10182],"山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3622c7f3042ab79b9e67910699882337.jpg",[],{"id":10186,"slug":10187,"title":10166,"dynasty":261,"author":454,"museum":234,"description":6196,"tags":10188,"thumbUrl":10189,"material":96,"size":283,"collection":98,"collections":10190,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},269919,"zhu-diao-xi-ma-tu-bi-tong-yi-ming-269919",[8807,2433,401,8833,7,30,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8789c327347581fafa694d1557c5f445.jpg",[],{"id":10192,"slug":10193,"title":10194,"dynasty":261,"author":454,"museum":234,"description":10195,"tags":10196,"thumbUrl":10197,"material":96,"size":283,"collection":98,"collections":10198,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},269914,"zhu-gen-diao-qi-ma-ren-yi-ming-269914","竹根雕骑马人","依随竹根天然肌理施刀塑形，老者宽袍缓带，清癯面容上双目微阖，长髯垂胸，身形松弛地倚坐马背，仿佛正沉醉于郊野林泉间的悠然意趣，尽显林下文人的散淡风骨。骏马劲骨嶙峋，垂颈徐行，肌肉轮廓顺着竹料纹理自然起伏，鞍辔细节简约却写实生动。\n\n整器刀法藏锋于拙，不见刻意斧凿之痕，却将老者的萧散神态与良驹温顺沉稳的气质相融无间，把文人寄情丘壑、优游世外的风雅意韵凝于一方竹材间，形神兼备，是兼具匠心意趣与文人情致的雕刻佳构。",[2433,30,7,9621,401,7572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f15848850bb6d18ce2323b8aa850b5c.jpg",[],{"id":10200,"slug":10201,"title":10202,"dynasty":261,"author":454,"museum":234,"description":10203,"tags":10204,"thumbUrl":10205,"material":96,"size":283,"collection":98,"collections":10206,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},269804,"xi-jiao-diao-liu-yin-fang-ma-tu-bei-yi-ming-269804","犀角雕柳荫放马图杯","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。",[401,4041,2433,30,7,129,6200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e87f80e9d7d2a06226a80130a00a019.jpg",[],{"id":10208,"slug":10209,"title":10210,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":10211,"thumbUrl":10212,"material":96,"size":283,"collection":98,"collections":10213,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},269281,"wen-you-kuan-zhu-diao-song-yin-si-ma-tu-bi-tong-yi-ming-269281","文佑款竹雕松荫饲马图笔筒",[8807,2433,401,8833,248,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121085601e60abf970e25f948ca63a1a.jpg",[],{"id":10215,"slug":10216,"title":10217,"dynasty":106,"author":454,"museum":234,"description":10218,"tags":10219,"thumbUrl":10222,"material":96,"size":283,"collection":98,"collections":10223,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},269242,"zhu-gen-diao-hai-shui-long-ma-tu-shan-zi-yi-ming-269242","竹根雕海水龙马图山子","此件以竹根随形施艺，巧借天然肌理布局。龙马身姿劲健昂扬，鬃尾舒展灵动，四蹄踏于翻涌浪涛之上，肌肉线条刻画写实流畅。上方依循竹根枯节雕作虬松古木，孔洞天成，宛若历经风霜的山巅一隅。\n\n刀工细腻入微，浪涛层叠翻卷，将水波奔涌之势凝于方寸。整器朴拙根材与精妙雕工相融，静中藏动，把瑞兽踏浪的磅礴意象悄然铺展，勾勒出祥瑞意韵，尽显苍古雅致的匠心巧思。",[2433,6199,7,535,10220,10221],"海水","山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f891ffe5999784a23db3c89a5a52ed4.jpg",[],{"id":10225,"slug":10226,"title":10227,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":10228,"thumbUrl":10229,"material":96,"size":283,"collection":98,"collections":10230,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},269118,"zhu-diao-qi-ma-tu-bi-tong-yi-ming-269118","竹雕憩马图笔筒",[8807,2433,401,7,30,1938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb2efcfe298ac40c3d2614ba1e9d75a.jpg",[],{"id":10232,"slug":10233,"title":10234,"dynasty":106,"author":454,"museum":234,"description":6196,"tags":10235,"thumbUrl":10236,"material":96,"size":283,"collection":98,"collections":10237,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},269066,"zhu-diao-song-yin-si-ma-tu-bi-tong-yi-ming-269066","竹雕松荫饲马图笔筒",[8807,2433,8833,1143,7,30,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cf12947239013732db32e605c42892.jpg",[],{"id":10239,"slug":10240,"title":10241,"dynasty":106,"author":454,"museum":234,"description":7827,"tags":10242,"thumbUrl":10244,"material":96,"size":283,"collection":98,"collections":10245,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},263545,"you-li-san-se-ba-ma-tu-gu-yi-ming-263545","釉里三色八马图觚",[4670,401,7,1143,1068,10243],"釉里三色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47445d3c3df716900630a88e6495b12c.jpg",[],{"id":10247,"slug":10248,"title":10249,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":10250,"thumbUrl":10252,"material":96,"size":283,"collection":98,"collections":10253,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},262006,"qing-hua-ren-wu-tu-bang-chui-ping-yi-ming-262006","青花人物图棒槌瓶",[4670,7317,30,7,10251],"棒槌瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3c6fdf662e0d9cf873320a2bef840d.jpg",[],{"id":10255,"slug":10256,"title":10257,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":10258,"thumbUrl":10260,"material":96,"size":283,"collection":98,"collections":10261,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},261606,"qing-hua-qi-shi-tu-guan-yi-ming-261606","青花骑士图罐",[4670,7317,10259,30,7,39,1382,36],"罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f133036e40da880e8988e23336a31.jpg",[],{"id":10263,"slug":10264,"title":10265,"dynasty":106,"author":454,"museum":234,"description":10266,"tags":10267,"thumbUrl":10270,"material":96,"size":283,"collection":98,"collections":10271,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},261263,"wu-cai-ren-wu-tu-hua-gu-yi-ming-261263","五彩人物图花觚","花觚这一瓷器品种产生于清初，主要盛行于顺治、康熙、乾隆时期。随着瓷器从乾隆后期及嘉庆开始衰退，这一品种已渐消失。我们欣赏不同时期得花觚时，可领略到不同时期的艺术风格，造型的变化，在欣赏它的艺术美感的同时，从色彩、胎釉、造型、胎体去辨别不同时期的品种，增强鉴别真伪得能力。",[4670,10268,10269,30,7,90,36,149],"花觚","五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051764dad45c281a72130e083d274dba.jpg",[],{"id":10273,"slug":10274,"title":10275,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":10276,"thumbUrl":10277,"material":96,"size":283,"collection":98,"collections":10278,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},260984,"qing-hua-ren-wu-gu-shi-tu-gang-yi-ming-260984","青花人物故事图缸",[4670,7317,30,7,266,340,4276,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d91393dc7685c77c72112f8b686a89.jpg",[],{"id":10280,"slug":10281,"title":10282,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":10283,"thumbUrl":10284,"material":96,"size":283,"collection":98,"collections":10285,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},260979,"qing-hua-ren-wu-gu-shi-tu-bi-tong-yi-ming-260979","青花人物故事图笔筒",[4670,7317,30,7,36,91,8833,4276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f1a578849131b8e234cd58eb0a0b0b.jpg",[],{"id":10287,"slug":10288,"title":10289,"dynasty":106,"author":454,"museum":234,"description":7315,"tags":10290,"thumbUrl":10292,"material":96,"size":283,"collection":98,"collections":10293,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},260906,"qing-hua-bo-gu-tu-xi-shuai-gai-guan-yi-ming-260906","青花博古图蟋蟀盖罐",[4670,7317,10291,1143,3624,7,401],"博古图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e635845296d642e96cfb289690bf334.jpg",[],{"id":10295,"slug":10296,"title":10297,"dynasty":106,"author":454,"museum":234,"description":7014,"tags":10298,"thumbUrl":10299,"material":96,"size":283,"collection":98,"collections":10300,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},260856,"wang-bing-rong-kuan-huang-you-diao-zhu-wen-bi-tong-yi-ming-260856","王炳荣款黄釉雕竹纹笔筒",[4670,2433,8833,7,30,340,7016,6201],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6a7d8b3553713d6590fdead3093466.jpg",[],{"id":10302,"slug":10303,"title":10304,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":10305,"thumbUrl":10309,"material":96,"size":283,"collection":98,"collections":10310,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},260537,"fen-cai-shi-er-chen-yuan-he-yi-ming-260537","粉彩十二辰圆盒",[7752,4670,401,9629,10306,10307,1382,10308,3895,35,734,722,535,3896,7,2591,1476,1711,1098,3897,7318],"太极","八卦","蝙蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d4f5efbcf4b804c18c0b9202545a3e.jpg",[],{"id":10312,"slug":10313,"title":10314,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":10315,"thumbUrl":10317,"material":96,"size":283,"collection":98,"collections":10318,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},260460,"qing-hua-fei-ma-wen-san-zu-lu-yi-ming-260460","青花飞马纹三足炉",[4670,7317,7,10316],"三足炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56bca8eb6924e85abf29ca33563ae6b1.jpg",[],{"id":10320,"slug":10321,"title":10322,"dynasty":106,"author":454,"museum":234,"description":10323,"tags":10324,"thumbUrl":10327,"material":96,"size":283,"collection":98,"collections":10328,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},257802,"su-san-cai-hai-shou-tu-wan-yi-ming-257802","素三彩海兽图碗","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。",[4670,10325,29,401,222,7,10326,10220],"素三彩","海兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c640655a4ccae0c740db96f951b97f7.jpg",[],{"id":10330,"slug":10331,"title":10332,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":10333,"thumbUrl":10334,"material":96,"size":283,"collection":98,"collections":10335,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},257704,"cheng-hua-kuan-qing-hua-ren-wu-tu-wan-yi-ming-257704","成化款青花人物图碗",[7317,4670,30,90,32,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9a208c60c3157bc791f373c57d1610.jpg",[],{"id":10337,"slug":10338,"title":10332,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":10339,"thumbUrl":10340,"material":96,"size":283,"collection":98,"collections":10341,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},257685,"cheng-hua-kuan-qing-hua-ren-wu-tu-wan-yi-ming-257685",[7915,7317,4670,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24497ae52055370eaf8879dcde43ad.jpg",[],{"id":10343,"slug":10344,"title":10345,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":10346,"thumbUrl":10348,"material":96,"size":283,"collection":98,"collections":10349,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},257220,"qing-hua-ren-wu-tu-guan-yi-ming-257220","青花人物图罐",[4670,7317,30,7,90,1382,10347],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863c812410490d34cb496f2411adfccc.jpg",[],{"id":10351,"slug":10352,"title":10353,"dynasty":261,"author":454,"museum":234,"description":7315,"tags":10354,"thumbUrl":10356,"material":96,"size":283,"collection":98,"collections":10357,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},256209,"qing-hua-long-ma-wen-gao-zu-wan-yi-ming-256209","青花龙马纹高足碗",[4670,7317,535,7,222,4041,10355],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e00ef5a337e90c4d7dd122de12c47a8.jpg",[],{"id":10359,"slug":10360,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10361,"thumbUrl":10362,"material":96,"size":283,"collection":98,"collections":10363,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},256146,"tao-hua-cai-ma-tou-yi-ming-256146",[4343,7326,4279,4670,7,222,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a84f402d9740194859517c93aef6d5e.jpg",[],{"id":10365,"slug":10366,"title":10367,"dynasty":18,"author":454,"museum":234,"description":10368,"tags":10369,"thumbUrl":10371,"material":96,"size":283,"collection":98,"collections":10372,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},256097,"shan-zi-lu-ru-feng-qin-zhuan-diao-yi-ming-256097","睒子鹿乳奉亲砖雕","浅浮雕以垂落蕉叶框定场景，还原经典孝行瞬间。左侧睒子披毛跽身，持勺承接鹿乳，身侧置放盛乳器皿，恭谨神态暗藏其间；右侧骑手挽弓欲射，定格睒子险遭误伤的紧张时刻。\n\n雕刻刀法朴拙洗练，无繁复修饰，却精准勾勒人物情态：睒子的惊惶与恭敬，骑手的刚劲果决，皆在粗粝线条间自然流露。整作以方寸砖石承载孝义内核，尽显民间工艺质朴意趣，将传统德行的厚重意蕴融于具象刻画之中。",[8924,4671,30,735,7,10370,2433,222],"孝亲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c084b5a9a252f559bd82103a6d7d9.jpg",[],{"id":10374,"slug":10375,"title":10376,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":10377,"thumbUrl":10379,"material":96,"size":283,"collection":98,"collections":10380,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},256012,"tao-huang-you-nv-qi-yong-yi-ming-256012","陶黄釉女骑俑",[301,4670,5313,30,7,10378,7016],"女骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16670da7ae317e56b40ad6f0e79e1d27.jpg",[],{"id":10382,"slug":10383,"title":10384,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10385,"thumbUrl":10386,"material":96,"size":283,"collection":98,"collections":10387,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},256009,"tao-ma-tou-yi-ming-256009","陶马头",[4343,4670,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65967f5e4e5c37478b531c739ab29872.jpg",[],{"id":10389,"slug":10390,"title":10391,"dynasty":18,"author":454,"museum":234,"description":7750,"tags":10392,"thumbUrl":10394,"material":96,"size":283,"collection":98,"collections":10395,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255979,"bai-ci-qi-ma-ren-xiang-yi-ming-255979","白瓷骑马人像",[1572,4670,10393,30,7,5313],"白瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71daca96cc3b1a9528d122c45f70320.jpg",[],{"id":10397,"slug":10398,"title":10391,"dynasty":18,"author":454,"museum":234,"description":7750,"tags":10399,"thumbUrl":10400,"material":96,"size":283,"collection":98,"collections":10401,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255978,"bai-ci-qi-ma-ren-xiang-yi-ming-255978",[4670,10393,30,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf83744c8798afd1a91a60ff18f4241.jpg",[],{"id":10403,"slug":10404,"title":10391,"dynasty":18,"author":454,"museum":234,"description":7750,"tags":10405,"thumbUrl":10408,"material":96,"size":283,"collection":98,"collections":10409,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255977,"bai-ci-qi-ma-ren-xiang-yi-ming-255977",[1572,4670,6220,10406,30,7,2355,10407],"白釉","人像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9071993131807fd31c873103b094cdab.jpg",[],{"id":10411,"slug":10412,"title":10391,"dynasty":18,"author":454,"museum":234,"description":7750,"tags":10413,"thumbUrl":10414,"material":96,"size":283,"collection":98,"collections":10415,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255976,"bai-ci-qi-ma-ren-xiang-yi-ming-255976",[18,4670,2433,5313,30,7,10406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F382ea1e45dfa02144b36283d2b8fbe49.jpg",[],{"id":10417,"slug":10418,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10419,"thumbUrl":10421,"material":96,"size":283,"collection":98,"collections":10422,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255951,"tao-hua-cai-ma-tou-yi-ming-255951",[4668,7335,4670,7336,29,2433,7,10420,5313],"马头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7585147b8dbf18612ed99d31bead460.jpg",[],{"id":10424,"slug":10425,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10426,"thumbUrl":10427,"material":96,"size":283,"collection":98,"collections":10428,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255950,"tao-hua-cai-ma-tou-yi-ming-255950",[4670,29,4279,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe381a9dec96e76bfc6bee70fbb9cc1f.jpg",[],{"id":10430,"slug":10431,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10432,"thumbUrl":10433,"material":96,"size":283,"collection":98,"collections":10434,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255949,"tao-hua-cai-ma-tou-yi-ming-255949",[4343,4670,7336,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbde99b30b0197bf2298c128d6c8309e.jpg",[],{"id":10436,"slug":10437,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10438,"thumbUrl":10439,"material":96,"size":283,"collection":98,"collections":10440,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255948,"tao-hua-cai-ma-tou-yi-ming-255948",[4343,7335,7336,7,5313,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0676ee831a371ffa9c1ab0320d9db5df.jpg",[],{"id":10442,"slug":10443,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10444,"thumbUrl":10445,"material":96,"size":283,"collection":98,"collections":10446,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255947,"tao-hua-cai-ma-tou-yi-ming-255947",[4343,4670,29,4279,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F039a6296bdf54599517a3b4747fed073.jpg",[],{"id":10448,"slug":10449,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10450,"thumbUrl":10451,"material":96,"size":283,"collection":98,"collections":10452,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255946,"tao-hua-cai-ma-tou-yi-ming-255946",[4668,4670,4279,7,222,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb920a0f0368b7cc24559a9bd8c9ea80f.jpg",[],{"id":10454,"slug":10455,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10456,"thumbUrl":10457,"material":96,"size":283,"collection":98,"collections":10458,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255945,"tao-hua-cai-ma-tou-yi-ming-255945",[4670,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F987f85990aa99a1294951ce05ba2f4c4.jpg",[],{"id":10460,"slug":10461,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10462,"thumbUrl":10463,"material":96,"size":283,"collection":98,"collections":10464,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255944,"tao-hua-cai-ma-tou-yi-ming-255944",[4343,4670,29,7,222,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ddaddd57e9d04712ff35614ff7eca0f.jpg",[],{"id":10466,"slug":10467,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10468,"thumbUrl":10469,"material":96,"size":283,"collection":98,"collections":10470,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255943,"tao-hua-cai-ma-tou-yi-ming-255943",[4343,4670,29,7,5313,4279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7be038ee805a45736df2187b72783c.jpg",[],{"id":10472,"slug":10473,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10474,"thumbUrl":10475,"material":96,"size":283,"collection":98,"collections":10476,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255942,"tao-hua-cai-ma-tou-yi-ming-255942",[4343,4670,7336,29,7326,7,222,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ff834ef7f3a40d0b8fcfa0cdcf109c8.jpg",[],{"id":10478,"slug":10479,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10480,"thumbUrl":10481,"material":96,"size":283,"collection":98,"collections":10482,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255941,"tao-hua-cai-ma-tou-yi-ming-255941",[4343,7326,4279,29,7,222,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0386669c8954ad0ae847ea9d9823a320.jpg",[],{"id":10484,"slug":10485,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10486,"thumbUrl":10487,"material":96,"size":283,"collection":98,"collections":10488,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255940,"tao-hua-cai-ma-tou-yi-ming-255940",[4343,7335,4279,29,7,222,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe7d3fab9875ef466c54c2e6a4b26d.jpg",[],{"id":10490,"slug":10491,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10492,"thumbUrl":10494,"material":96,"size":283,"collection":98,"collections":10495,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255939,"tao-hua-cai-ma-tou-yi-ming-255939",[4670,7,4279,10493],"明器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bdac1facc4d1d641a053813e9aebc8f.jpg",[],{"id":10497,"slug":10498,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10499,"thumbUrl":10501,"material":96,"size":283,"collection":98,"collections":10502,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255938,"tao-hua-cai-ma-tou-yi-ming-255938",[4343,7335,4279,29,10500,7,222],"彩塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0cb8c9b0d08f2cd67b7dd5ef6218247.jpg",[],{"id":10504,"slug":10505,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10506,"thumbUrl":10507,"material":96,"size":283,"collection":98,"collections":10508,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255937,"tao-hua-cai-ma-tou-yi-ming-255937",[4343,4670,29,7336,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd18bbd08bc6502bd4f5d7d527f0f5e20.jpg",[],{"id":10510,"slug":10511,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10512,"thumbUrl":10513,"material":96,"size":283,"collection":98,"collections":10514,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255936,"tao-hua-cai-ma-tou-yi-ming-255936",[4343,7335,7336,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff355ef1e94518259b2be9ca23d2215aa.jpg",[],{"id":10516,"slug":10517,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10518,"thumbUrl":10519,"material":96,"size":283,"collection":98,"collections":10520,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255935,"tao-hua-cai-ma-tou-yi-ming-255935",[4343,7017,7336,2433,7,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36f1538565d96e8cc7065e07bc5d4a6.jpg",[],{"id":10522,"slug":10523,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10524,"thumbUrl":10525,"material":96,"size":283,"collection":98,"collections":10526,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255934,"tao-hua-cai-ma-tou-yi-ming-255934",[4343,4670,29,7,7326,4279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8bb517734ad0ee05d1006e91909822a.jpg",[],{"id":10528,"slug":10529,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10530,"thumbUrl":10531,"material":96,"size":283,"collection":98,"collections":10532,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255933,"tao-hua-cai-ma-tou-yi-ming-255933",[4343,4670,7336,29,7,222,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9c74224078086bcd06f47cd0bd76a54.jpg",[],{"id":10534,"slug":10535,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10536,"thumbUrl":10537,"material":96,"size":283,"collection":98,"collections":10538,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255932,"tao-hua-cai-ma-tou-yi-ming-255932",[4670,4279,7,222,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd45c0f2d7fab73af4473e253109ecad5.jpg",[],{"id":10540,"slug":10541,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10542,"thumbUrl":10543,"material":96,"size":283,"collection":98,"collections":10544,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255931,"tao-hua-cai-ma-tou-yi-ming-255931",[4343,4670,29,7,4279,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40970210672d99b139ba1436af69d24a.jpg",[],{"id":10546,"slug":10547,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10548,"thumbUrl":10549,"material":96,"size":283,"collection":98,"collections":10550,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255930,"tao-hua-cai-ma-tou-yi-ming-255930",[4343,7335,4279,7,222,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43c731440cbd1cdd19037860fe70ae15.jpg",[],{"id":10552,"slug":10553,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10554,"thumbUrl":10555,"material":96,"size":283,"collection":98,"collections":10556,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255929,"tao-hua-cai-ma-tou-yi-ming-255929",[4343,7335,4279,7,222,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3f67385f05018e224bf46dad603659a.jpg",[],{"id":10558,"slug":10559,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10560,"thumbUrl":10561,"material":96,"size":283,"collection":98,"collections":10562,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255928,"tao-hua-cai-ma-tou-yi-ming-255928",[4343,7335,4279,7,6220,7326,7336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed5ed35fdf469d76b338db832b22c26.jpg",[],{"id":10564,"slug":10565,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10566,"thumbUrl":10567,"material":96,"size":283,"collection":98,"collections":10568,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255927,"tao-hua-cai-ma-tou-yi-ming-255927",[4343,4670,29,4279,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffd3fd26983ee64d4d22e7503ca5ebea.jpg",[],{"id":10570,"slug":10571,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10572,"thumbUrl":10573,"material":96,"size":283,"collection":98,"collections":10574,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255926,"tao-hua-cai-ma-tou-yi-ming-255926",[4343,4670,29,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81eb3c7b7831d3b652211e0ebddd7dd1.jpg",[],{"id":10576,"slug":10577,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10578,"thumbUrl":10579,"material":96,"size":283,"collection":98,"collections":10580,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255925,"tao-hua-cai-ma-tou-yi-ming-255925",[4343,7017,7336,29,7,6220,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F544b16548c7752f7188644fe27a2ea98.jpg",[],{"id":10582,"slug":10583,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10584,"thumbUrl":10585,"material":96,"size":283,"collection":98,"collections":10586,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255924,"tao-hua-cai-ma-tou-yi-ming-255924",[4343,7326,4279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f54dea3c80840609152a3f2e39ea405.jpg",[],{"id":10588,"slug":10589,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10590,"thumbUrl":10592,"material":96,"size":283,"collection":98,"collections":10593,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255922,"tao-hua-cai-ma-tou-yi-ming-255922",[4343,10591,7336,7],"陶质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe840f6703eb26f5af76037f94ebf5bff.jpg",[],{"id":10595,"slug":10596,"title":10597,"dynasty":18,"author":454,"museum":234,"description":10598,"tags":10599,"thumbUrl":10600,"material":96,"size":283,"collection":98,"collections":10601,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255808,"tao-ma-fan-yi-ming-255808","陶马范","宋代的美学，是以沉静雅素见长。虽有热烈绽放的玫瑰紫、天蓝釉瓷器，但也总是不如唐三彩给人以更为直接的视觉冲击。宋代瓷器釉色绚烂夺目，既有汝窑恬静温润的天青色，又有钧窑热情奔放的玫瑰紫、海棠红；既有定窑自然淳朴的象牙色，又有龙泉窑清新匀净的梅子青、粉青。宋人的审美已经不再是追求简单的透明釉，而是追求精致的乳浊釉和结晶釉。这与宋代的经济发展水平有极大的关系，著名史学家陈寅恪说“华夏民族之文化，历数千载之演进，造极于赵宋之世”。文化的盛极体现在文人的日常生活之中，即点茶、挂画、插花和熏香。以点茶为例，陆游的《临安春雨初霁》，诗中有句云：“矮纸斜行闲作草，晴窗细乳戏分茶”，北宋初年人陶谷在《荈茗录》中已经说到一种叫“茶百戏”的游艺：“茶至唐始盛。近世有下汤运匕，别施妙诀，使汤纹水脉成物象者，禽兽虫鱼花草之属，纤巧如画。但须臾即就散灭。此茶之变也，时人谓之茶百戏。”将饮茶从最初的解毒解渴功能升华成陶冶情操的雅事乐事，唯有宋代达到极致。\n器物的发展依赖于风尚，反过来器物又促进风尚的延续，在相对稳定的政治经济局面和尚古之风影响下，宋代陶瓷业得到了空前的发展。首先是五大名窑汝官哥钧定的异军突起，其次是定窑系、磁州窑系、耀州窑系、钧窑系、龙泉窑系、景德镇窑系、越窑系、建窑系八大窑系的百花齐放。\n除此之外，宋代的陶器发展也呈现出新的局面。宋三彩（为仿唐三彩制作而成。它虽高岭土做胎，但烧成温度低，属于低温铅釉陶，因此也放在陶器之中）、辽三彩是陶器中比较特殊的一类。",[4670,7,222,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe602d9201e290447e819bb64c455a6.jpg",[],{"id":10603,"slug":10604,"title":10605,"dynasty":18,"author":454,"museum":234,"description":10606,"tags":10607,"thumbUrl":10608,"material":96,"size":283,"collection":98,"collections":10609,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255772,"bai-you-ci-ma-yi-ming-255772","白釉瓷马","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[4670,10406,401,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d5c803af7c32cb63d2c27dabc939d94.jpg",[],{"id":10611,"slug":10612,"title":10605,"dynasty":18,"author":454,"museum":234,"description":10606,"tags":10613,"thumbUrl":10615,"material":96,"size":283,"collection":98,"collections":10616,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255768,"bai-you-ci-ma-yi-ming-255768",[18,4670,10406,10614,7,222],"瓷塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F731f28245f10ffb1fb0971cd009daf46.jpg",[],{"id":10618,"slug":10619,"title":10620,"dynasty":18,"author":454,"museum":234,"description":10606,"tags":10621,"thumbUrl":10622,"material":96,"size":283,"collection":98,"collections":10623,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255766,"bai-you-ci-qi-ma-xiang-yi-ming-255766","白釉瓷骑马像",[18,4670,10406,2433,7,30,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb5505362195a3cc68099cf43b78f0d.jpg",[],{"id":10625,"slug":10626,"title":10627,"dynasty":18,"author":454,"museum":234,"description":7827,"tags":10628,"thumbUrl":10630,"material":96,"size":283,"collection":98,"collections":10631,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255763,"hei-you-ci-qi-ma-ren-xiang-yi-ming-255763","黑釉瓷骑马人像",[4670,10629,30,7],"黑釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cac773e7f2dcfc76d481d5a1880bff0.jpg",[],{"id":10633,"slug":10634,"title":10635,"dynasty":18,"author":454,"museum":234,"description":10636,"tags":10637,"thumbUrl":10639,"material":96,"size":283,"collection":98,"collections":10640,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255750,"qing-you-ci-ma-yi-ming-255750","青釉瓷马","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[4670,10638,7,222,401],"青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa53679bed3ba235c85ce0323e5d33c.jpg",[],{"id":10642,"slug":10643,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10644,"thumbUrl":10645,"material":96,"size":283,"collection":98,"collections":10646,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255739,"tao-ma-yi-ming-255739",[4670,5313,7,7326,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85fe55c5d7f594e544306420ee2d855.jpg",[],{"id":10648,"slug":10649,"title":10650,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10651,"thumbUrl":10652,"material":96,"size":283,"collection":98,"collections":10653,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255690,"tao-qi-ma-nv-yong-yi-ming-255690","陶骑马女俑",[4670,5313,30,7,29,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb698abecd38b8ccc73b31a6ea613f00e.jpg",[],{"id":10655,"slug":10656,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10657,"thumbUrl":10660,"material":96,"size":283,"collection":98,"collections":10661,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255655,"tao-hua-cai-ma-yi-ming-255655",[4670,29,7,222,5313,7326,10658,4279,10659,10137],"唐代风格","动物造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbf5fce05df20b411740a317546fc6a.jpg",[],{"id":10663,"slug":10664,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10665,"thumbUrl":10666,"material":96,"size":283,"collection":98,"collections":10667,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255653,"tao-ma-yi-ming-255653",[1380,4670,5313,7,29,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa857bf172bf9486a750f132d53d933f7.jpg",[],{"id":10669,"slug":10670,"title":10671,"dynasty":18,"author":454,"museum":234,"description":10672,"tags":10673,"thumbUrl":10674,"material":96,"size":283,"collection":98,"collections":10675,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255637,"san-cai-qi-ma-ren-xiang-yi-ming-255637","三彩骑马人像","它带着浓郁的世俗意趣，造型朴拙憨态尽显。工匠未作繁复雕琢，仅以大刀阔斧的线条，便勾勒出人马驰行的松弛瞬间。骑手姿态利落，仿佛正稳坐马背徐行。褐黄釉色与青釉在素胎上晕染交融，晕开温润斑驳的光泽，粗粝胎土与柔润釉色碰撞出独特质感，将郊野出行的鲜活日常凝于方寸之间，藏着民间造物的随性意韵，把宋代世俗审美的质朴底色揉进陶土之中，灵动又饱满。",[18,4670,6695,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4e579b3f98a0085cc1cfedd073f6e8.jpg",[],{"id":10677,"slug":10678,"title":10679,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10680,"thumbUrl":10681,"material":96,"size":283,"collection":98,"collections":10682,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255567,"mu-diao-tong-zi-qi-ma-xiang-yi-ming-255567","木雕童子骑马像",[7915,8909,2433,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b7ca9526ac39f47ff00f1e8a04786a.jpg",[],{"id":10684,"slug":10685,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10686,"thumbUrl":10687,"material":96,"size":283,"collection":98,"collections":10688,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255519,"tao-hua-cai-ma-yi-ming-255519",[1380,4670,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe21ed0f8828a63f063ef1849ecbc1d8.jpg",[],{"id":10690,"slug":10691,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10692,"thumbUrl":10693,"material":96,"size":283,"collection":98,"collections":10694,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255517,"tao-hua-cai-ma-yi-ming-255517",[1380,4670,4279,5313,7,7326,7336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf3be56e6e3521184f97dcd579d8e2a.jpg",[],{"id":10696,"slug":10697,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10698,"thumbUrl":10699,"material":96,"size":283,"collection":98,"collections":10700,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255516,"tao-hua-cai-ma-yi-ming-255516",[301,7335,4279,7,5313,7336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc045e6fd20f48da7afb9c1302b1701bf.jpg",[],{"id":10702,"slug":10703,"title":10704,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10705,"thumbUrl":10706,"material":96,"size":283,"collection":98,"collections":10707,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255510,"mu-diao-cai-hui-wo-ma-yi-ming-255510","木雕彩绘卧马",[261,8909,4279,2433,7572,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f9cfb19ef96625f8b8d935f1ea385d.jpg",[],{"id":10709,"slug":10710,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10711,"thumbUrl":10712,"material":96,"size":283,"collection":98,"collections":10713,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255335,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255335",[261,7572,8909,5133,4279,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecf7141691657365c28f65fbab6c64e.jpg",[],{"id":10715,"slug":10716,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10717,"thumbUrl":10718,"material":96,"size":283,"collection":98,"collections":10719,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255334,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255334",[7915,8909,5133,4279,30,7,7572,2433,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8e287ddf89ea22f127bbe7ea77f688.jpg",[],{"id":10721,"slug":10722,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10723,"thumbUrl":10724,"material":96,"size":283,"collection":98,"collections":10725,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255333,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255333",[261,8909,5133,4279,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de5561a79f90471d4b846267f639e45.jpg",[],{"id":10727,"slug":10728,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10729,"thumbUrl":10730,"material":96,"size":283,"collection":98,"collections":10731,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255330,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255330",[7572,2433,5133,4279,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b1a249d40feb842a4a107a3183fe706.jpg",[],{"id":10733,"slug":10734,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10735,"thumbUrl":10736,"material":96,"size":283,"collection":98,"collections":10737,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255329,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255329",[7915,7572,2433,5133,4279,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af057ebc755f4479e9b1acfcd38a66e.jpg",[],{"id":10739,"slug":10740,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10741,"thumbUrl":10742,"material":96,"size":283,"collection":98,"collections":10743,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255328,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255328",[7915,8909,5133,4279,30,7,2433,7572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd53d1a7138e8a8327d27b738596fc3d.jpg",[],{"id":10745,"slug":10746,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10747,"thumbUrl":10748,"material":96,"size":283,"collection":98,"collections":10749,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255327,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255327",[7915,8909,5133,4279,2433,7572,29,30,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017e37d63e14c57af0deadb6dca67d3b.jpg",[],{"id":10751,"slug":10752,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10753,"thumbUrl":10754,"material":96,"size":283,"collection":98,"collections":10755,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255326,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255326",[7915,7572,8909,5133,4279,2433,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59eb34865916a763f7f23f738f7d0fc9.jpg",[],{"id":10757,"slug":10758,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10759,"thumbUrl":10760,"material":96,"size":283,"collection":98,"collections":10761,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255325,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255325",[261,8909,5133,4279,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12e05b16a1153d6fb62a434fb58b24dd.jpg",[],{"id":10763,"slug":10764,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10765,"thumbUrl":10766,"material":96,"size":283,"collection":98,"collections":10767,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255324,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255324",[7915,8909,5133,4279,30,7,7572,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efafe36384744ef11d8f57dd4a711c7.jpg",[],{"id":10769,"slug":10770,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10771,"thumbUrl":10772,"material":96,"size":283,"collection":98,"collections":10773,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255323,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255323",[7915,8909,5133,4279,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf19172355a005d6496654ee1d6f5a24.jpg",[],{"id":10775,"slug":10776,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10777,"thumbUrl":10778,"material":96,"size":283,"collection":98,"collections":10779,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255322,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255322",[7915,8909,5133,4279,30,7,7572,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe867b20656528f2153a4f8b2b0368f75.jpg",[],{"id":10781,"slug":10782,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10783,"thumbUrl":10784,"material":96,"size":283,"collection":98,"collections":10785,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255321,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255321",[7915,7572,2433,5133,4279,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b2d4edb58e945e80c76378ad17f5d20.jpg",[],{"id":10787,"slug":10788,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10789,"thumbUrl":10790,"material":96,"size":283,"collection":98,"collections":10791,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255320,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255320",[7915,8909,5133,4279,30,7,7572,2433,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676a9320bd64d8941c6e4088ebe124ec.jpg",[],{"id":10793,"slug":10794,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10795,"thumbUrl":10796,"material":96,"size":283,"collection":98,"collections":10797,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255319,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255319",[261,8909,5133,4279,30,7,2433,7572,29,2355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73ffc93efcfc257cbee6bd28b87e62d.jpg",[],{"id":10799,"slug":10800,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10801,"thumbUrl":10802,"material":96,"size":283,"collection":98,"collections":10803,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255318,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255318",[7915,8909,5133,4279,10407,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc05a8c2ff3a49b009604c3b5bf7075.jpg",[],{"id":10805,"slug":10806,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10807,"thumbUrl":10808,"material":96,"size":283,"collection":98,"collections":10809,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255317,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255317",[261,7572,8909,5133,4279,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfac768a40bb197930a7e150eb41eb5c.jpg",[],{"id":10811,"slug":10812,"title":8906,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10813,"thumbUrl":10814,"material":96,"size":283,"collection":98,"collections":10815,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255315,"mu-diao-lou-kong-cai-hui-qi-ma-ren-xiang-yi-ming-255315",[7915,7572,8909,5133,4279,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4137932b75da4a2bbfe7f187bca33a.jpg",[],{"id":10817,"slug":10818,"title":10819,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10820,"thumbUrl":10822,"material":96,"size":283,"collection":98,"collections":10823,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},255235,"tao-ren-shou-wen-jing-lan-yi-ming-255235","陶人兽纹井栏",[4343,4670,2433,10821,222,7],"人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b75fdb6a0038bca91a227f09f8f644.jpg",[],{"id":10825,"slug":10826,"title":10827,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10828,"thumbUrl":10830,"material":96,"size":283,"collection":98,"collections":10831,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255229,"tao-yin-you-hua-cai-qi-ma-yong-yi-ming-255229","陶银釉画彩骑马俑",[1380,4670,5313,30,7,29,10829,7336],"银釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e58fbddc7a92e4f43e0c67b1eadece.jpg",[],{"id":10833,"slug":10834,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10835,"thumbUrl":10836,"material":96,"size":283,"collection":98,"collections":10837,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255095,"tao-hua-cai-qi-ma-nv-yong-yi-ming-255095",[4670,5313,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83678a3bcc56ddb8a2cbe8a379a6a38.jpg",[],{"id":10839,"slug":10840,"title":10841,"dynasty":261,"author":454,"museum":234,"description":8907,"tags":10842,"thumbUrl":10843,"material":96,"size":283,"collection":98,"collections":10844,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255089,"mu-diao-cai-hui-la-ma-ren-xiang-yi-ming-255089","木雕彩绘拉马人像",[7915,8909,4279,29,30,7,7572],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726a97ed9a6bce811b8fc41573774080.jpg",[],{"id":10846,"slug":10847,"title":10848,"dynasty":18,"author":454,"museum":234,"description":7827,"tags":10849,"thumbUrl":10851,"material":96,"size":283,"collection":98,"collections":10852,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255081,"he-you-ci-qi-ma-ren-xiang-yi-ming-255081","褐釉瓷骑马人像",[4670,10850,30,7],"褐釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b3a5255f59db8621625d4e9986d880.jpg",[],{"id":10854,"slug":10855,"title":7826,"dynasty":18,"author":454,"museum":234,"description":10598,"tags":10856,"thumbUrl":10857,"material":96,"size":283,"collection":98,"collections":10858,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},255007,"tao-ma-yi-ming-255007",[18,4670,7,222,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b472e18106db525e372f49b9cdc7711.jpg",[],{"id":10860,"slug":10861,"title":5309,"dynasty":301,"author":454,"museum":234,"description":10862,"tags":10863,"thumbUrl":10865,"material":96,"size":283,"collection":98,"collections":10866,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254905,"san-cai-ma-yi-ming-254905","此马身形劲挺饱满，昂首垂目，神态温驯沉静。素白釉色为底，鬃毛、颜面与尾梢点缀赭黄釉彩，釉色晕染柔和自然，尽显温润古朴的质感。鞍鞯虽经岁月磨蚀，带着斑驳旧痕，却更添厚重古意。整器将唐马矫健俊朗的风神凝练其中，静立姿态暗含腾跃之势，把盛唐对骏马的审美意趣融于陶土之上，是兼具写实生动与写意传神的陶塑佳作。",[4670,7326,6695,10864,7,5313],"釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902e18c92373a771b6f498271a655064.jpg",[],{"id":10868,"slug":10869,"title":10870,"dynasty":18,"author":454,"museum":234,"description":10871,"tags":10872,"thumbUrl":10873,"material":96,"size":283,"collection":98,"collections":10874,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},254843,"ren-wu-chang-fang-zhuan-yi-ming-254843","人物长方砖","这方砖以浅浮雕定格饯别场景，骑马者怀携幼童正待启程，对面立者抬手殷殷嘱托。旁侧枯树伶仃，卷云边框收拢画面，烘托出羁旅的淡淡怅惘。\n\n模刻线条简练朴拙，人物形貌虽无精细雕琢，却藏着十足的市井意趣。粗粝陶土之上，匠者以刀代笔，将古人远行相送的离愁揉入方寸之间，把日常温情与漂泊况味凝为永恒，带着宋代民俗雕刻的写实底色，让千年前的共情穿越岁月，古拙厚重的质地更添沉静的历史余韵。",[1572,4669,2433,4671,30,7,676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350d29fdac124e58cdf5fc11ca5def9b.jpg",[],{"id":10876,"slug":10877,"title":10878,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":10879,"thumbUrl":10880,"material":96,"size":283,"collection":98,"collections":10881,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254840,"tao-huang-you-hua-cai-ma-yi-ming-254840","陶黄釉画彩马",[301,4670,7336,7016,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b50d656ce9cb9c7b2678840bc2f279.jpg",[],{"id":10883,"slug":10884,"title":7006,"dynasty":4343,"author":454,"museum":234,"description":6702,"tags":10885,"thumbUrl":10886,"material":96,"size":283,"collection":98,"collections":10887,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254808,"tao-qi-ma-yong-yi-ming-254808",[4343,4670,7326,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a222984ef643b09eb84a9986738b196.jpg",[],{"id":10889,"slug":10890,"title":7826,"dynasty":639,"author":454,"museum":234,"description":7827,"tags":10891,"thumbUrl":10893,"material":96,"size":283,"collection":98,"collections":10894,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254802,"tao-ma-yi-ming-254802",[10892,7326,4670,7,2433,4279],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc326b95c8144ef8a5cfc53c6c464a2b5.jpg",[],{"id":10896,"slug":10897,"title":10384,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10898,"thumbUrl":10899,"material":96,"size":283,"collection":98,"collections":10900,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254795,"tao-ma-tou-yi-ming-254795",[4668,4670,7326,2433,29,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bed9bfb9e1e2f76943229fb857bbbb.jpg",[],{"id":10902,"slug":10903,"title":7023,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":10904,"thumbUrl":10905,"material":96,"size":283,"collection":98,"collections":10906,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254777,"san-cai-qi-ma-nan-yong-yi-ming-254777",[4670,6695,5313,30,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576ca39ed1258dcc160dea0b6346a460.jpg",[],{"id":10908,"slug":10909,"title":10910,"dynasty":176,"author":454,"museum":234,"description":6702,"tags":10911,"thumbUrl":10912,"material":96,"size":283,"collection":98,"collections":10913,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254774,"tao-nan-yong-yi-ming-254774","陶男俑",[7335,5313,30,7,4670,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a2d627c808cca58ce1bc44ab820b8c.jpg",[],{"id":10915,"slug":10916,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10917,"thumbUrl":10918,"material":96,"size":283,"collection":98,"collections":10919,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254738,"tao-hua-cai-qi-ma-nv-yong-yi-ming-254738",[4670,5313,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8ef1e033bbe58e89f1e21acd47b43e.jpg",[],{"id":10921,"slug":10922,"title":10878,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":10923,"thumbUrl":10924,"material":96,"size":283,"collection":98,"collections":10925,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254737,"tao-huang-you-hua-cai-ma-yi-ming-254737",[4670,1380,7,7016,7336,7326,4279,8894,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537a6fbf060370478b53668054fb97e2.jpg",[],{"id":10927,"slug":10928,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10929,"thumbUrl":10930,"material":96,"size":283,"collection":98,"collections":10931,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254736,"tao-ma-yi-ming-254736",[301,4670,7,5313,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99998b6a465e42d61562179573bf015a.jpg",[],{"id":10933,"slug":10934,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10935,"thumbUrl":10936,"material":96,"size":283,"collection":98,"collections":10937,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254709,"san-cai-la-ma-yong-yi-ming-254709",[4670,5313,6695,29,30,7,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa66861d9b67988d063c2207fad700b73.jpg",[],{"id":10939,"slug":10940,"title":7006,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10941,"thumbUrl":10942,"material":96,"size":283,"collection":98,"collections":10943,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254706,"tao-qi-ma-yong-yi-ming-254706",[4670,5313,7,30,7326,4279,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3681ce990cf50cc9825bb57ca7d3cb4a.jpg",[],{"id":10945,"slug":10946,"title":10947,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":10948,"thumbUrl":10949,"material":96,"size":283,"collection":98,"collections":10950,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254701,"tao-lv-you-qi-ma-ji-le-yong-yi-ming-254701","陶绿釉骑马伎乐俑",[4670,7335,8940,30,7,5313,6704,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b4204e389cc7e2fefc00393ad16a6d.jpg",[],{"id":10952,"slug":10953,"title":8885,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10954,"thumbUrl":10956,"material":96,"size":283,"collection":98,"collections":10957,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254685,"tao-hua-cai-ma-yi-ming-254685",[4343,7326,4279,7,10955,10591,7336],"动物俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b815700b8db057801f8202f9e7bc2ac.jpg",[],{"id":10959,"slug":10960,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10961,"thumbUrl":10963,"material":96,"size":283,"collection":98,"collections":10964,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254682,"san-cai-la-ma-yong-yi-ming-254682",[4670,5313,30,7,29,6695,10658,10962,6220],"低温铅釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06db7bb845a7149096aff82307a177d.jpg",[],{"id":10966,"slug":10967,"title":8885,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10968,"thumbUrl":10969,"material":96,"size":283,"collection":98,"collections":10970,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254660,"tao-hua-cai-ma-yi-ming-254660",[4343,4670,4279,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaaeb8388df623ba0eb1b9f46dc49815.jpg",[],{"id":10972,"slug":10973,"title":10974,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":10975,"thumbUrl":10976,"material":96,"size":283,"collection":98,"collections":10977,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254659,"tao-cai-hui-wu-ma-yi-ming-254659","陶彩绘舞马",[4670,4279,5313,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0d811a240166e51d84dd251f98fd59.jpg",[],{"id":10979,"slug":10980,"title":7826,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":10981,"thumbUrl":10982,"material":96,"size":283,"collection":98,"collections":10983,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254658,"tao-ma-yi-ming-254658",[4668,4670,7326,2433,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff756bf4a3715a64fe56b080687a1cd45.jpg",[],{"id":10985,"slug":10986,"title":8995,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":10987,"thumbUrl":10989,"material":96,"size":283,"collection":98,"collections":10990,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254650,"tao-huang-you-qi-ma-nan-yong-yi-ming-254650",[1380,7335,4670,7016,5313,10988,7,30,6220,2355],"男俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf78480a6ce11516c5bdbf3d8ab133d.jpg",[],{"id":10992,"slug":10993,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":10994,"thumbUrl":10995,"material":96,"size":283,"collection":98,"collections":10996,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254649,"tao-hua-cai-qi-ma-nv-yong-yi-ming-254649",[301,4670,5313,30,7,4279,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7389541382de83cacdc1fd0dbadb3ab.jpg",[],{"id":10998,"slug":10999,"title":11000,"dynasty":191,"author":454,"museum":234,"description":7014,"tags":11001,"thumbUrl":11003,"material":96,"size":283,"collection":98,"collections":11004,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254646,"tao-huang-you-hua-cai-qi-ma-nv-yong-yi-ming-254646","陶黄釉画彩骑马女俑",[4670,5313,30,7,29,10864,7326,11002],"南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570076ceefb5ca3cbc2a465e9141a200.jpg",[],{"id":11006,"slug":11007,"title":7013,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11008,"thumbUrl":11009,"material":96,"size":283,"collection":98,"collections":11010,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254644,"tao-huang-you-ma-yi-ming-254644",[4670,5313,7,7016,1380,7356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6ba355f88fe1fcc33300b307f5800c.jpg",[],{"id":11012,"slug":11013,"title":7883,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11014,"thumbUrl":11015,"material":96,"size":283,"collection":98,"collections":11016,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254613,"san-cai-qi-ma-nv-yong-yi-ming-254613",[301,4670,5313,30,7,6695,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d765d7742fa609dbef0b71604be87b7.jpg",[],{"id":11018,"slug":11019,"title":11020,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11021,"thumbUrl":11023,"material":96,"size":283,"collection":98,"collections":11024,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254585,"tao-huang-you-qi-ma-nv-yong-yi-ming-254585","陶黄釉骑马女俑",[1380,4670,7016,5313,30,7,2355,11022],"模塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d7f78f99f1169c963316dcb9b593fc.jpg",[],{"id":11026,"slug":11027,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11028,"thumbUrl":11029,"material":96,"size":283,"collection":98,"collections":11030,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254562,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254562",[301,7335,5313,29,2433,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41fdfbc31dcbfb6fed7947287423e40.jpg",[],{"id":11032,"slug":11033,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11034,"thumbUrl":11035,"material":96,"size":283,"collection":98,"collections":11036,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254559,"tao-ma-yi-ming-254559",[1380,4670,5313,7,222,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d91de9af48e99ba207e5ceac139191.jpg",[],{"id":11038,"slug":11039,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11040,"thumbUrl":11041,"material":96,"size":283,"collection":98,"collections":11042,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},254526,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254526",[301,5313,4670,29,4279,7326,30,7,2355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109bac1eb1db65076aba699c4c0aa72a.jpg",[],{"id":11044,"slug":11045,"title":11046,"dynasty":191,"author":454,"museum":234,"description":6702,"tags":11047,"thumbUrl":11048,"material":96,"size":283,"collection":98,"collections":11049,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254445,"tao-hua-cai-qi-ma-yong-yi-ming-254445","陶画彩骑马俑",[5313,4670,2433,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90125883188499eb864f8fa8dd132bcc.jpg",[],{"id":11051,"slug":11052,"title":11046,"dynasty":191,"author":454,"museum":234,"description":6702,"tags":11053,"thumbUrl":11054,"material":96,"size":283,"collection":98,"collections":11055,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254444,"tao-hua-cai-qi-ma-yong-yi-ming-254444",[7335,4279,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a2c182c1817d38c8c0475701b224c9.jpg",[],{"id":11057,"slug":11058,"title":7868,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11059,"thumbUrl":11064,"material":96,"size":283,"collection":98,"collections":11065,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254434,"tao-qi-ma-nan-yong-yi-ming-254434",[301,7335,5313,2355,30,7,7326,4279,10658,11060,11061,10988,11062,9116,11063],"彩绘陶俑","骑马俑","陶器","马俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c0c2bc0a2d6b64ec3fa31229dae59c.jpg",[],{"id":11067,"slug":11068,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11069,"thumbUrl":11070,"material":96,"size":283,"collection":98,"collections":11071,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254433,"tao-hua-cai-qi-ma-nv-yong-yi-ming-254433",[1380,4670,29,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08cfa2b4eb92ab975ca5933113460cb1.jpg",[],{"id":11073,"slug":11074,"title":7868,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11075,"thumbUrl":11076,"material":96,"size":283,"collection":98,"collections":11077,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254432,"tao-qi-ma-nan-yong-yi-ming-254432",[4670,5313,30,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ea9c077ebf5d7186e8ee659a43aad2.jpg",[],{"id":11079,"slug":11080,"title":10650,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11081,"thumbUrl":11082,"material":96,"size":283,"collection":98,"collections":11083,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254431,"tao-qi-ma-nv-yong-yi-ming-254431",[301,7335,5313,30,7,4670,29,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94333580793da3a053c2bcbe0019022e.jpg",[],{"id":11085,"slug":11086,"title":6701,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11087,"thumbUrl":11088,"material":96,"size":283,"collection":98,"collections":11089,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254430,"tao-qi-ma-ji-le-yong-yi-ming-254430",[301,4670,5313,30,7,1722,2433,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96c9f23b8a5290a8815f20048145d754.jpg",[],{"id":11091,"slug":11092,"title":7006,"dynasty":4343,"author":454,"museum":234,"description":6702,"tags":11093,"thumbUrl":11094,"material":96,"size":283,"collection":98,"collections":11095,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254383,"tao-qi-ma-yong-yi-ming-254383",[4343,7326,5313,7,30,6220,7017,9653,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8869b7e945d229873094997e40f059e8.jpg",[],{"id":11097,"slug":11098,"title":7348,"dynasty":176,"author":454,"museum":234,"description":6702,"tags":11099,"thumbUrl":11100,"material":96,"size":283,"collection":98,"collections":11101,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254372,"san-cai-qi-ma-yong-yi-ming-254372",[4670,6695,5313,30,7,29,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b0c9853d52d1984370fbbd1416fac7.jpg",[],{"id":11103,"slug":11104,"title":11105,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11106,"thumbUrl":11108,"material":96,"size":283,"collection":98,"collections":11109,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},254286,"tao-huang-you-qi-ma-ji-gu-yong-yi-ming-254286","陶黄釉骑马击鼓俑",[301,4670,5313,7016,2355,30,7,11107,2433],"击鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c9307b2f7a4208120b2c48e6250e91.jpg",[],{"id":11111,"slug":11112,"title":7348,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11113,"thumbUrl":11114,"material":96,"size":283,"collection":98,"collections":11115,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254282,"san-cai-qi-ma-yong-yi-ming-254282",[4670,5313,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649a2dfa9b9bd725129473cb7b845ed0.jpg",[],{"id":11117,"slug":11118,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11119,"thumbUrl":11120,"material":96,"size":283,"collection":98,"collections":11121,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254281,"tao-hua-cai-ma-yi-ming-254281",[301,7335,4279,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0240b4488c702e567a540e6b30e70007.jpg",[],{"id":11123,"slug":11124,"title":6701,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11125,"thumbUrl":11126,"material":96,"size":283,"collection":98,"collections":11127,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254268,"tao-qi-ma-ji-le-yong-yi-ming-254268",[4670,5313,30,7,1722,1380,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7701c138796673ea5a2e352c438101ff.jpg",[],{"id":11129,"slug":11130,"title":11131,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11132,"thumbUrl":11133,"material":96,"size":283,"collection":98,"collections":11134,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254253,"tao-lv-you-la-ma-yong-yi-ming-254253","陶绿釉拉马俑",[1380,4670,8940,5313,30,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3c0a76d97491841b438844da7be861.jpg",[],{"id":11136,"slug":11137,"title":11138,"dynasty":18,"author":454,"museum":234,"description":7827,"tags":11139,"thumbUrl":11141,"material":96,"size":283,"collection":98,"collections":11142,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254249,"tao-you-hei-dian-ma-yi-ming-254249","陶釉黑点马",[4670,11140,7,222],"陶釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe5cdb4ba751dcaf5ccdf1f9b9d26aa.jpg",[],{"id":11144,"slug":11145,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11146,"thumbUrl":11147,"material":96,"size":283,"collection":98,"collections":11148,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254241,"tao-hua-cai-ma-yi-ming-254241",[4670,29,4279,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625ffc45fde1c79b9ac21600c0f39402.jpg",[],{"id":11150,"slug":11151,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11152,"thumbUrl":11153,"material":96,"size":283,"collection":98,"collections":11154,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254230,"san-cai-la-ma-yong-yi-ming-254230",[301,4670,6695,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b251b0cc6ebff2e26b0fc54d707d79d.jpg",[],{"id":11156,"slug":11157,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11158,"thumbUrl":11159,"material":96,"size":283,"collection":98,"collections":11160,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254223,"tao-ma-yi-ming-254223",[1380,4670,5313,7,222,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95252a83d827252a14dfc56c152e09a9.jpg",[],{"id":11162,"slug":11163,"title":7826,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11164,"thumbUrl":11165,"material":96,"size":283,"collection":98,"collections":11166,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254222,"tao-ma-yi-ming-254222",[4343,7326,4279,7,5313,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2eb4dac093ac9875be6860b4da7a244.jpg",[],{"id":11168,"slug":11169,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11170,"thumbUrl":11171,"material":96,"size":283,"collection":98,"collections":11172,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254221,"tao-hua-cai-ma-tou-yi-ming-254221",[4343,7326,4279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d1fa7dd99227feefefebf168dbd825.jpg",[],{"id":11174,"slug":11175,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11176,"thumbUrl":11177,"material":96,"size":283,"collection":98,"collections":11178,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254219,"tao-ma-yi-ming-254219",[301,4670,7,5313,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9539ebf005ac7fd05b9947af4f1f37df.jpg",[],{"id":11180,"slug":11181,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11182,"thumbUrl":11183,"material":96,"size":283,"collection":98,"collections":11184,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254218,"tao-ma-yi-ming-254218",[1380,4670,7,5313,2433,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8902017f3d5cfce8e087966a862fc70.jpg",[],{"id":11186,"slug":11187,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11188,"thumbUrl":11189,"material":96,"size":283,"collection":98,"collections":11190,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254217,"tao-ma-yi-ming-254217",[301,4670,5313,7,222,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55b1097722b5f04d5a71de7bebdf865.jpg",[],{"id":11192,"slug":11193,"title":7333,"dynasty":191,"author":454,"museum":234,"description":6702,"tags":11194,"thumbUrl":11195,"material":96,"size":283,"collection":98,"collections":11196,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254215,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254215",[191,4670,5313,7,30,4279,2433,7017],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52f7613c03c63693d5072dba0a4d9ba8.jpg",[],{"id":11198,"slug":11199,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11200,"thumbUrl":11201,"material":96,"size":283,"collection":98,"collections":11202,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254212,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254212",[301,4670,5313,29,30,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd632d1ce99a504256c418b645aeca97.jpg",[],{"id":11204,"slug":11205,"title":10650,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11206,"thumbUrl":11207,"material":96,"size":283,"collection":98,"collections":11208,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254211,"tao-qi-ma-nv-yong-yi-ming-254211",[301,4670,5313,30,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b0e35f80db7ce7768dfb43a4263d4b3.jpg",[],{"id":11210,"slug":11211,"title":8995,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11212,"thumbUrl":11213,"material":96,"size":283,"collection":98,"collections":11214,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254206,"tao-huang-you-qi-ma-nan-yong-yi-ming-254206",[4670,5313,7,30,7326,7016,10658,2355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38720b8d7e3b45a9668e93ff583e97d.jpg",[],{"id":11216,"slug":11217,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11218,"thumbUrl":11219,"material":96,"size":283,"collection":98,"collections":11220,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254205,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254205",[1380,4670,29,4279,5313,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53d1955c77256ce1150765bd1e3cf6c7.jpg",[],{"id":11222,"slug":11223,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11224,"thumbUrl":11225,"material":96,"size":283,"collection":98,"collections":11226,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254204,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254204",[301,4670,29,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61235143b726791019a010c8019c1235.jpg",[],{"id":11228,"slug":11229,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11230,"thumbUrl":11231,"material":96,"size":283,"collection":98,"collections":11232,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254202,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254202",[301,4670,5313,30,7,7336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5912a50261a039c047c49697533d87.jpg",[],{"id":11234,"slug":11235,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11236,"thumbUrl":11237,"material":96,"size":283,"collection":98,"collections":11238,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},254201,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254201",[1380,4670,5313,29,7336,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf6875a654cac838b7533e06f11b1c45.jpg",[],{"id":11240,"slug":11241,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11242,"thumbUrl":11243,"material":96,"size":283,"collection":98,"collections":11244,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":1661},254200,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254200",[4670,5313,29,30,7,2433,10658,4279,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F297963003175d691d5dc0b64c14530fe.jpg",[],{"id":11246,"slug":11247,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11248,"thumbUrl":11249,"material":96,"size":283,"collection":98,"collections":11250,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254120,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254120",[301,7335,4279,29,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b829d074118310a48c53dda2feae82.jpg",[],{"id":11252,"slug":11253,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11254,"thumbUrl":11255,"material":96,"size":283,"collection":98,"collections":11256,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254101,"san-cai-la-ma-yong-yi-ming-254101",[301,4670,5313,30,7,29,6695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365950166078a4489b04f1693ab16aab.jpg",[],{"id":11258,"slug":11259,"title":10384,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11260,"thumbUrl":11261,"material":96,"size":283,"collection":98,"collections":11262,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254036,"tao-ma-tou-yi-ming-254036",[4343,4670,7326,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906f6b17202f85f01fccfac1ff3859f.jpg",[],{"id":11264,"slug":11265,"title":11266,"dynasty":176,"author":454,"museum":234,"description":6702,"tags":11267,"thumbUrl":11268,"material":96,"size":283,"collection":98,"collections":11269,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254026,"tao-lv-you-hua-cai-qi-ma-yong-yi-ming-254026","陶绿釉画彩骑马俑",[4670,5313,7,30,8940,7336,29,9648],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6027967825acab011d9dd208ce0a53.jpg",[],{"id":11271,"slug":11272,"title":11266,"dynasty":176,"author":454,"museum":234,"description":6702,"tags":11273,"thumbUrl":11274,"material":96,"size":283,"collection":98,"collections":11275,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254025,"tao-lv-you-hua-cai-qi-ma-yong-yi-ming-254025",[4670,5313,30,7,8940,7336,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7bebd6b5d6470d4e2810a6bb19aa5b4.jpg",[],{"id":11277,"slug":11278,"title":11279,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11280,"thumbUrl":11281,"material":96,"size":283,"collection":98,"collections":11282,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},254020,"tao-nan-qi-ma-yong-yi-ming-254020","陶男骑马俑",[301,4670,5313,10988,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77db9e8fb556479aeeb48f8f2e97b4d4.jpg",[],{"id":11284,"slug":11285,"title":11286,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11287,"thumbUrl":11288,"material":96,"size":283,"collection":98,"collections":11289,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},254012,"tao-la-ma-yong-yi-ming-254012","陶拉马俑",[301,4670,5313,30,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8425a4982e7ba1cb607cc2d1b4fcdc5.jpg",[],{"id":11291,"slug":11292,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11293,"thumbUrl":11294,"material":96,"size":283,"collection":98,"collections":11295,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253973,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253973",[4670,5313,29,30,7,2355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b02d12f61ae70de310a19a5712bd1.jpg",[],{"id":11297,"slug":11298,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11299,"thumbUrl":11300,"material":96,"size":283,"collection":98,"collections":11301,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253972,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253972",[4670,29,30,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fd9e633e9c7cbb9d63ea482ddb50359.jpg",[],{"id":11303,"slug":11304,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11305,"thumbUrl":11306,"material":96,"size":283,"collection":98,"collections":11307,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253971,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253971",[4670,5313,30,7,29,7326,10500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33fa41fbecd5c81eed2eaeda8186b93f.jpg",[],{"id":11309,"slug":11310,"title":11131,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11311,"thumbUrl":11312,"material":96,"size":283,"collection":98,"collections":11313,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253955,"tao-lv-you-la-ma-yong-yi-ming-253955",[301,4670,5313,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26aa635ea7ed7179adfeeb01302c8647.jpg",[],{"id":11315,"slug":11316,"title":8885,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11317,"thumbUrl":11318,"material":96,"size":283,"collection":98,"collections":11319,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253918,"tao-hua-cai-ma-yi-ming-253918",[4668,4670,29,7,5313,10500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fccd5431189f034227cc9e9dca92e02.jpg",[],{"id":11321,"slug":11322,"title":5309,"dynasty":301,"author":454,"museum":234,"description":11323,"tags":11324,"thumbUrl":11325,"material":96,"size":283,"collection":98,"collections":11326,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253917,"san-cai-ma-yi-ming-253917","此马劲健挺拔，昂首伫立，身形舒展匀停，将神骏矫健的风姿凝于陶土。米黄釉色为底，赭色斑釉随性晕染，如霞光落于肌理，带着独有的斑驳古意。没有华饰，却以写实手法刻画出骏马沉静内敛的神态，蹄足稳稳踏于方台，尽显雄浑厚重的盛唐气韵，将爱马的热忱与审美融于其中，历经岁月冲刷，依旧带着千年前的昂扬生机，朴拙灵动间，尽显盛世风华。",[301,4670,5313,7,222,6695,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc09ae311013db360dbc23adf5ce12b2.jpg",[],{"id":11328,"slug":11329,"title":5309,"dynasty":301,"author":454,"museum":234,"description":11330,"tags":11331,"thumbUrl":11332,"material":96,"size":283,"collection":98,"collections":11333,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253915,"san-cai-ma-yi-ming-253915","此马造型劲挺饱满，伫立姿态沉稳悠然，线条舒展流畅，将唐马雄俊矫健的风骨尽显无遗。米白釉为底，鬃尾晕染暖黄釉色，鞍鞯之上红彩虽已斑驳残存，却更衬出釉色交融的柔和自然。古朴苍润的包浆带着岁月沉淀的质感，静立间仿佛仍带着盛唐长安的华贵从容，凝缩着彼时尚马的风潮与匠人的制器巧思，将大唐的昂扬气度藏于陶土与釉色之中。",[4670,5313,7,222,6695],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed99948551a529d1c037e61516197ed1.jpg",[],{"id":11335,"slug":11336,"title":5309,"dynasty":301,"author":454,"museum":234,"description":11337,"tags":11338,"thumbUrl":11340,"material":96,"size":283,"collection":98,"collections":11341,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253913,"san-cai-ma-yi-ming-253913","此马劲健挺拔，昂首伫立，身形饱满流畅，将神骏剽悍的风骨尽显无遗。乌黑釉色匀净莹亮，鞍鞯装饰华美繁丽，橙黄鞍面衬以湖绿地障，缀有鎏金质感的贴花饰件，华贵雅致。缰绳络头刻画细致写实，分毫毕现匠人的精妙技艺。整体配色沉稳又不失明艳，古朴厚重间流淌着飞扬意气，尽显雍容豪迈的时代气象，是古陶瓷雕塑中的上乘之作。",[1380,4670,8894,6695,11339,29,7,10955,7326],"低温釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9b0841fb0803289eaa96f51125161a6.jpg",[],{"id":11343,"slug":11344,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11345,"thumbUrl":11346,"material":96,"size":283,"collection":98,"collections":11347,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253909,"san-cai-la-ma-yong-yi-ming-253909",[6695,4670,5313,30,7,29,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c3f93844daaec8b1a258a356075434.jpg",[],{"id":11349,"slug":11350,"title":8995,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11351,"thumbUrl":11352,"material":96,"size":283,"collection":98,"collections":11353,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253899,"tao-huang-you-qi-ma-nan-yong-yi-ming-253899",[1380,7326,7016,5313,7,30,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab4746e7e738c87bddfa98f073a58e1.jpg",[],{"id":11355,"slug":11356,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11357,"thumbUrl":11358,"material":96,"size":283,"collection":98,"collections":11359,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253882,"tao-hua-cai-ma-tou-yi-ming-253882",[4668,4670,29,7,5313,10500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd51646206bc48831631292e923103f00.jpg",[],{"id":11361,"slug":11362,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11363,"thumbUrl":11364,"material":96,"size":283,"collection":98,"collections":11365,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253853,"san-cai-la-ma-yong-yi-ming-253853",[4670,5313,6695,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebf1c75b3703288721c0e6f74b08844.jpg",[],{"id":11367,"slug":11368,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11369,"thumbUrl":11370,"material":96,"size":283,"collection":98,"collections":11371,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253804,"tao-ma-yi-ming-253804",[4670,7326,1380,7,5313,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80cb1d5869e8441eb653aec45b5a0406.jpg",[],{"id":11373,"slug":11374,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11375,"thumbUrl":11376,"material":96,"size":283,"collection":98,"collections":11377,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253796,"tao-hua-cai-ma-tou-yi-ming-253796",[4343,7326,4279,7,222,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e56eb147acd7cf034836cf6aa39c05.jpg",[],{"id":11379,"slug":11380,"title":7875,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11381,"thumbUrl":11382,"material":96,"size":283,"collection":98,"collections":11383,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253795,"tao-hua-cai-ma-tou-yi-ming-253795",[4343,4670,7336,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12e5f48ee6c5193313bd40d8abc0713.jpg",[],{"id":11385,"slug":11386,"title":8995,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11387,"thumbUrl":11388,"material":96,"size":283,"collection":98,"collections":11389,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253788,"tao-huang-you-qi-ma-nan-yong-yi-ming-253788",[301,4670,5313,7,30,7326,7016],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60026d99bf0f0d60228ea53a5b40d384.jpg",[],{"id":11391,"slug":11392,"title":8995,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11393,"thumbUrl":11394,"material":96,"size":283,"collection":98,"collections":11395,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253787,"tao-huang-you-qi-ma-nan-yong-yi-ming-253787",[4670,5313,30,7,7016,1380,2355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d6944753ebaae4bfc37282d23c658ad.jpg",[],{"id":11397,"slug":11398,"title":8885,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11399,"thumbUrl":11400,"material":96,"size":283,"collection":98,"collections":11401,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253783,"tao-hua-cai-ma-yi-ming-253783",[4668,4670,7336,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ffb23224cfe349a5194c4d5f2f3d2a0.jpg",[],{"id":11403,"slug":11404,"title":11405,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11406,"thumbUrl":11407,"material":96,"size":283,"collection":98,"collections":11408,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253774,"tao-mi-you-qi-ma-nv-yong-yi-ming-253774","陶米釉骑马女俑",[301,5313,4670,30,7,29,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7914b25b2c534008132c76b425697600.jpg",[],{"id":11410,"slug":11411,"title":11412,"dynasty":176,"author":454,"museum":234,"description":6702,"tags":11413,"thumbUrl":11415,"material":96,"size":283,"collection":98,"collections":11416,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253764,"tao-huang-lv-you-qi-ma-yong-yi-ming-253764","陶黄绿釉骑马俑",[4670,5313,7,30,2433,11414,29],"黄绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923cb5658e430bb53f381e34063dc459.jpg",[],{"id":11418,"slug":11419,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11420,"thumbUrl":11423,"material":96,"size":283,"collection":98,"collections":11424,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253741,"tao-hua-cai-ma-yi-ming-253741",[301,4670,4279,7,5313,29,7326,7017,7336,676,10658,11421,11422],"陶塑技法","彩色装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae72adadcd976a5a772ea77512557cb.jpg",[],{"id":11426,"slug":11427,"title":7006,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11428,"thumbUrl":11429,"material":96,"size":283,"collection":98,"collections":11430,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253736,"tao-qi-ma-yong-yi-ming-253736",[7915,4670,7326,5313,30,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa983e8f9225106a79ce90bb9d5e561ce.jpg",[],{"id":11432,"slug":11433,"title":7006,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11434,"thumbUrl":11435,"material":96,"size":283,"collection":98,"collections":11436,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253735,"tao-qi-ma-yong-yi-ming-253735",[4670,5313,30,7,29,7915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60a354e0adf22477ac0434b817eb414e.jpg",[],{"id":11438,"slug":11439,"title":7023,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11440,"thumbUrl":11441,"material":96,"size":283,"collection":98,"collections":11442,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253734,"san-cai-qi-ma-nan-yong-yi-ming-253734",[4670,6695,5313,30,7,29,7915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2731c4f81dace7f4615af5c2430c976.jpg",[],{"id":11444,"slug":11445,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11446,"thumbUrl":11447,"material":96,"size":283,"collection":98,"collections":11448,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253733,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253733",[7335,4279,29,5313,30,7,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ede18fd3e99dfaf6407a7a74643cc14.jpg",[],{"id":11450,"slug":11451,"title":9094,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11452,"thumbUrl":11453,"material":96,"size":283,"collection":98,"collections":11454,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253732,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253732",[4670,5313,30,7,29,4279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a4264e30c0932bf1078fea9a76dcbd.jpg",[],{"id":11456,"slug":11457,"title":9094,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11458,"thumbUrl":11459,"material":96,"size":283,"collection":98,"collections":11460,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253731,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253731",[4670,29,30,7,5313,7336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad937546d71d45ecc9de04d8f8a9a39.jpg",[],{"id":11462,"slug":11463,"title":7023,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11464,"thumbUrl":11465,"material":96,"size":283,"collection":98,"collections":11466,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253730,"san-cai-qi-ma-nan-yong-yi-ming-253730",[6695,4670,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8d7c3dc9e7c689329683a5974133c1.jpg",[],{"id":11468,"slug":11469,"title":8885,"dynasty":639,"author":454,"museum":234,"description":7827,"tags":11470,"thumbUrl":11471,"material":96,"size":283,"collection":98,"collections":11472,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253729,"tao-hua-cai-ma-yi-ming-253729",[4670,7326,7336,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dbbd98716964a2ae70dc380b091e143.jpg",[],{"id":11474,"slug":11475,"title":8885,"dynasty":639,"author":454,"museum":234,"description":7827,"tags":11476,"thumbUrl":11477,"material":96,"size":283,"collection":98,"collections":11478,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253728,"tao-hua-cai-ma-yi-ming-253728",[10892,4670,29,5313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d092ca3ee19f8abf66d64bd45a87fe.jpg",[],{"id":11480,"slug":11481,"title":5309,"dynasty":261,"author":454,"museum":234,"description":11482,"tags":11483,"thumbUrl":11484,"material":96,"size":283,"collection":98,"collections":11485,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253707,"san-cai-ma-yi-ming-253707","此马雄姿沉稳挺拔，静立于方台之上，自带蓄势待发的英武气度。墨色釉面匀净厚重，孔雀蓝釉点染鬃毛，冷暖釉色碰撞鲜明，视觉张力十足。鞍鞯装饰写实细致，釉色晕染柔和自然，缰绳、络头细节雕琢入微，将骏马的仪范尽数勾勒。整器粗朴古拙，无繁杂饰纹，却以精准的造型拿捏和沉静的釉色对比，尽显古陶塑的厚重质感，把良驹神骏的飒爽风骨凝于静态之中。",[7915,6695,4670,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38a94f1b3415da0b5bb94b06b9354cb.jpg",[],{"id":11487,"slug":11488,"title":5309,"dynasty":18,"author":454,"museum":234,"description":11489,"tags":11490,"thumbUrl":11491,"material":96,"size":283,"collection":98,"collections":11492,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253677,"san-cai-ma-yi-ming-253677","这匹马膘肥体健，静立姿态沉稳敦实。枣红色躯体搭配明黄饰带，晕染出蓬松质感的鬃毛发丝可见，额头点翠俏皮灵动。鞍鞯以绿彩铺陈，釉面带着岁月摩挲出的斑驳磨损，沉淀着旧时光的温度。\n\n整体塑作洗练质朴，无繁复雕琢，却将骏马温顺沉静的神态拿捏得当。褪去了前朝骏马的矫健张扬，尽显内敛雅致的审美意趣，静静伫立间，诉说着千年前的风物日常，裹挟着世俗生活的温润烟火气，将平淡岁月里的鲜活意态凝于陶土之中。",[4670,7,6695,29,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ada94a5b4a48c4e744e24fd59f49edd.jpg",[],{"id":11494,"slug":11495,"title":7348,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11496,"thumbUrl":11497,"material":96,"size":283,"collection":98,"collections":11498,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253655,"san-cai-qi-ma-yong-yi-ming-253655",[1380,4670,29,5313,30,7,10864],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe126c5a14562b5c91a6819147615f1c1.jpg",[],{"id":11500,"slug":11501,"title":11502,"dynasty":639,"author":454,"museum":234,"description":6702,"tags":11503,"thumbUrl":11504,"material":96,"size":283,"collection":98,"collections":11505,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253649,"tong-qi-ma-wu-shi-yong-yi-ming-253649","铜骑马武士俑",[2431,5313,2432,2433,30,7,5477,10892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bececbf9cb01089cc5b176e13f13473.jpg",[],{"id":11507,"slug":11508,"title":8885,"dynasty":4343,"author":454,"museum":234,"description":7876,"tags":11509,"thumbUrl":11510,"material":96,"size":283,"collection":98,"collections":11511,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253638,"tao-hua-cai-ma-yi-ming-253638",[4670,4279,7,5313,7365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa73951eeb41274d9658e48abf2047a.jpg",[],{"id":11513,"slug":11514,"title":7031,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11515,"thumbUrl":11516,"material":96,"size":283,"collection":98,"collections":11517,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253585,"san-cai-la-ma-yong-yi-ming-253585",[301,4670,6695,30,5313,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5528d304fc215f7ac0a08ac2bcb92e.jpg",[],{"id":11519,"slug":11520,"title":5309,"dynasty":301,"author":454,"museum":234,"description":11521,"tags":11522,"thumbUrl":11523,"material":96,"size":283,"collection":98,"collections":11524,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253569,"san-cai-ma-yi-ming-253569","此马造型敦厚朴拙，并未刻意复刻骏马奔腾矫姿，反倒自带憨态天真。釉色随胎体自然流淌交融，褐黄与青绿色泽晕染斑驳，如同将原野暮色凝于陶身，带着随性天成的古雅意趣。\n\n匠师以极简手法勾勒出马的轮廓，鬃首、躯体比例虽不甚写实，却精准抓住骏马温驯沉静的神态，将爱马情结凝缩在小巧陶塑之中。粗粝胎土与柔润釉彩相映，尽显不拘细节、重意趣神韵的特质，藏着千年前手作的温度与巧思。",[301,4670,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d3e2e5a00877ac9b8bc06d10df8f4e0.jpg",[],{"id":11526,"slug":11527,"title":7023,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11528,"thumbUrl":11529,"material":96,"size":283,"collection":98,"collections":11530,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253542,"san-cai-qi-ma-nan-yong-yi-ming-253542",[301,4670,6695,29,30,7,5313,7025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6cca4b273fccfb418eda49452e74389.jpg",[],{"id":11532,"slug":11533,"title":11534,"dynasty":18,"author":454,"museum":234,"description":10606,"tags":11535,"thumbUrl":11537,"material":96,"size":283,"collection":98,"collections":11538,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253535,"bai-you-ci-hei-hua-ma-yi-ming-253535","白釉瓷黑花马",[18,4670,10406,11536,7,222,401],"黑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0964e39848f0ef9200c73f7bc9a5c9d.jpg",[],{"id":11540,"slug":11541,"title":11542,"dynasty":18,"author":454,"museum":234,"description":7827,"tags":11543,"thumbUrl":11544,"material":96,"size":283,"collection":98,"collections":11545,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253526,"lv-you-ci-ma-yi-ming-253526","绿釉瓷马",[18,4670,8940,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd863f5568db70e03f10b7367b62eab20.jpg",[],{"id":11547,"slug":11548,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11549,"thumbUrl":11550,"material":96,"size":283,"collection":98,"collections":11551,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253484,"tao-ma-yi-ming-253484",[1380,4670,7335,7,222,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d5899527fe7ed60f74baa0413d5fe.jpg",[],{"id":11553,"slug":11554,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11555,"thumbUrl":11556,"material":96,"size":283,"collection":98,"collections":11557,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253414,"tao-ma-yi-ming-253414",[1380,7017,7,5313,4279,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4007133dc058d1ba9899bb664723e2.jpg",[],{"id":11559,"slug":11560,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11561,"thumbUrl":11562,"material":96,"size":283,"collection":98,"collections":11563,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253413,"tao-ma-yi-ming-253413",[1380,4670,7326,7,5313,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde2efff916f1904ad8d7ba80be2826f.jpg",[],{"id":11565,"slug":11566,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11567,"thumbUrl":11568,"material":96,"size":283,"collection":98,"collections":11569,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253412,"tao-hua-cai-ma-yi-ming-253412",[4670,5313,7,29,7326,4279,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c76a7b8b74bd5e610d750c8889d0de.jpg",[],{"id":11571,"slug":11572,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11573,"thumbUrl":11574,"material":96,"size":283,"collection":98,"collections":11575,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253410,"tao-ma-yi-ming-253410",[301,4670,5313,7,7017,6220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa934a3e3d8020483438d397047a2ef1c.jpg",[],{"id":11577,"slug":11578,"title":10650,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11579,"thumbUrl":11580,"material":96,"size":283,"collection":98,"collections":11581,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253408,"tao-qi-ma-nv-yong-yi-ming-253408",[301,4670,5313,7,30,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b453019c85f219f45c019d67b985d4.jpg",[],{"id":11583,"slug":11584,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11585,"thumbUrl":11586,"material":96,"size":283,"collection":98,"collections":11587,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253407,"tao-ma-yi-ming-253407",[301,9115,7,4670,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfc4e723605907e6a81b68fe6ead5b.jpg",[],{"id":11589,"slug":11590,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11591,"thumbUrl":11592,"material":96,"size":283,"collection":98,"collections":11593,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253406,"tao-ma-yi-ming-253406",[301,4670,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4924c82c753e8b2d4c09dd0f94fc52d.jpg",[],{"id":11595,"slug":11596,"title":7868,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11597,"thumbUrl":11598,"material":96,"size":283,"collection":98,"collections":11599,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253405,"tao-qi-ma-nan-yong-yi-ming-253405",[301,4670,5313,30,7,29,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f440800dba68069646abf8fb52c0b9.jpg",[],{"id":11601,"slug":11602,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11603,"thumbUrl":11604,"material":96,"size":283,"collection":98,"collections":11605,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253363,"tao-hua-cai-ma-yi-ming-253363",[4670,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29210ae7fde8150395bb65976bc2301e.jpg",[],{"id":11607,"slug":11608,"title":11609,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11610,"thumbUrl":11611,"material":96,"size":283,"collection":98,"collections":11612,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253324,"tao-hua-cai-la-ma-yong-yi-ming-253324","陶画彩拉马俑",[4670,5313,29,2433,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e23b9a617205991dd7c7f71aa3fcdec.jpg",[],{"id":11614,"slug":11615,"title":8885,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11616,"thumbUrl":11617,"material":96,"size":283,"collection":98,"collections":11618,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253315,"tao-hua-cai-ma-yi-ming-253315",[301,4670,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d732a7fd1eeb06065d8e6d1c6734c7.jpg",[],{"id":11620,"slug":11621,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11622,"thumbUrl":11624,"material":96,"size":283,"collection":98,"collections":11625,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253314,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253314",[301,5313,4670,7336,30,7,11623],"女俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae21d0204886e0316cec9a710830e8.jpg",[],{"id":11627,"slug":11628,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11629,"thumbUrl":11630,"material":96,"size":283,"collection":98,"collections":11631,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253313,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253313",[4670,29,5313,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe4fa4230c82948bd272f9f48326e63.jpg",[],{"id":11633,"slug":11634,"title":11020,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11635,"thumbUrl":11636,"material":96,"size":283,"collection":98,"collections":11637,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253312,"tao-huang-you-qi-ma-nv-yong-yi-ming-253312",[301,4670,2433,5313,30,7,7016,2355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70962129fb1f4d7b9335682189d4e25f.jpg",[],{"id":11639,"slug":11640,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11641,"thumbUrl":11642,"material":96,"size":283,"collection":98,"collections":11643,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253311,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253311",[301,4670,5313,30,7,4279,29,7326,2355,11623],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2365dc8a82c9be3938939f6d450328a8.jpg",[],{"id":11645,"slug":11646,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11647,"thumbUrl":11648,"material":96,"size":283,"collection":98,"collections":11649,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253310,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253310",[1380,4670,29,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d30d457dc2b5d7ad5574f2d6d883e23.jpg",[],{"id":11651,"slug":11652,"title":9094,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11653,"thumbUrl":11654,"material":96,"size":283,"collection":98,"collections":11655,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253309,"tao-hua-cai-qi-ma-nv-yong-yi-ming-253309",[4670,5313,7,30,210,29,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0fa3f1b3db5ddf2722f88bc650450c.jpg",[],{"id":11657,"slug":11658,"title":7868,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11659,"thumbUrl":11660,"material":96,"size":283,"collection":98,"collections":11661,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253308,"tao-qi-ma-nan-yong-yi-ming-253308",[4670,5313,2433,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8b8861dcbdea870139548f914d0fa3.jpg",[],{"id":11663,"slug":11664,"title":7333,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11665,"thumbUrl":11667,"material":96,"size":283,"collection":98,"collections":11668,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253306,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253306",[7335,4279,5313,30,7,2433,11666],"彩画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff42547a06920432e092aed4aa7341927.jpg",[],{"id":11670,"slug":11671,"title":7013,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11672,"thumbUrl":11673,"material":96,"size":283,"collection":98,"collections":11674,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253305,"tao-huang-you-ma-yi-ming-253305",[301,7326,7016,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d34475b7c26affbf12946825860cb25.jpg",[],{"id":11676,"slug":11677,"title":11678,"dynasty":261,"author":454,"museum":234,"description":11679,"tags":11680,"thumbUrl":11682,"material":96,"size":283,"collection":98,"collections":11683,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253260,"liu-li-ma-yi-ming-253260","琉璃马","此马虽残损不减英武，棕黄釉色如皮毛油亮顺滑，墨鬃倒竖，圆目朗睁，昂首呲鼻，筋骨棱峋尽显悍马桀骜。鞍鞯装饰精巧，翠绿鞍垫搭配土黄障泥，垂环悬穗细节入微，尽显匠者用心。断肢未折其奔腾意气，静立间仿佛仍带着驰骋的尘土余温，釉色晕染出厚重古拙的岁月质感，把骏马飒爽风骨永远定格，凝住了古朴奔放的陶塑意趣。",[7915,4670,5313,7,11681,29,2433],"琉璃工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84418085c6bce5cbd86875c528b3d20.jpg",[],{"id":11685,"slug":11686,"title":11678,"dynasty":261,"author":454,"museum":234,"description":11687,"tags":11688,"thumbUrl":11690,"material":96,"size":283,"collection":98,"collections":11691,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253259,"liu-li-ma-yi-ming-253259","此马挺拔俊朗，黄釉塑身，褐釉晕染鬃尾，绿釉妆点鞍鞯，色彩古雅明快。马首低垂，双目有神，络头革带纹理细腻，系带垂拂躯干，为静立的骏马添了几分灵动。\n\n鞍鞯上塑出威严兽面纹饰，与骏马矫健身姿相得益彰，素朴基座稳稳承托整体，尽显明塑雄浑质朴的气质。它写实中带着装饰意趣，凝缩着匠人的细致观察与精湛技艺，静立之间，仿佛能窥见旧日驿路上的阵阵风尘，是写实性与装饰性兼具的琉璃造像佳例。",[7915,7,4670,11689,29,401],"琉璃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8f90827be5f7fd5fbf097790e49691.jpg",[],{"id":11693,"slug":11694,"title":11695,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11696,"thumbUrl":11697,"material":96,"size":283,"collection":98,"collections":11698,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253258,"tao-lv-you-qi-ma-yong-yi-ming-253258","陶绿釉骑马俑",[4670,5313,30,7,8940,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfccf68a8831e7b600c304ac71b932.jpg",[],{"id":11700,"slug":11701,"title":11702,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11703,"thumbUrl":11705,"material":96,"size":283,"collection":98,"collections":11706,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253257,"tao-kong-que-lv-hua-cai-qi-ma-yong-yi-ming-253257","陶孔雀绿画彩骑马俑",[4670,5313,30,7,7336,11704],"孔雀绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19fd0f8f7cb921760223291b615da59f.jpg",[],{"id":11708,"slug":11709,"title":7013,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11710,"thumbUrl":11711,"material":96,"size":283,"collection":98,"collections":11712,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253226,"tao-huang-you-ma-yi-ming-253226",[10658,4670,7016,7326,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb319f7de41a23e886d0072ffc75fb807.jpg",[],{"id":11714,"slug":11715,"title":11716,"dynasty":18,"author":454,"museum":234,"description":11717,"tags":11718,"thumbUrl":11719,"material":96,"size":283,"collection":98,"collections":11720,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253191,"liu-ming-da-mai-er-zhuan-diao-yi-ming-253191","刘明达卖儿砖雕","这方砖雕以浅浮雕刻画诀别场景，骑马者怀携幼儿即将远去，道旁妇人抬手作别，似在强忍呜咽。枯松虬枝、远山浅淡，衬出诀别的萧索凄凉。\n\n粗粝的砖面之上，衣袂褶皱、马匹步履都被细致勾勒，将卖儿救亲的两难悲戚凝于方寸之间。朴拙厚重的凿痕，精准揉碎了舐犊情深与孝义重压的矛盾，旧时代底层家庭的血泪与温情藏在每一处细节里，让古朴砖石拥有了直击人心的力量，将这份沉郁的孝义底色永远定格。",[8924,2433,4671,1572,30,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf97f7a46549bf538b7210bf3f2d3a35.jpg",[],{"id":11722,"slug":11723,"title":7826,"dynasty":301,"author":454,"museum":234,"description":8886,"tags":11724,"thumbUrl":11725,"material":96,"size":283,"collection":98,"collections":11726,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253181,"tao-ma-yi-ming-253181",[301,4670,5313,7,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e1d78569973e89a535278c7a1d574a.jpg",[],{"id":11728,"slug":11729,"title":11730,"dynasty":261,"author":454,"museum":234,"description":7827,"tags":11731,"thumbUrl":11732,"material":96,"size":283,"collection":98,"collections":11733,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253128,"tao-lv-you-ma-yi-ming-253128","陶绿釉马",[4670,277,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8027bb2c55b8c91bb920f3f0cca66a2b.jpg",[],{"id":11735,"slug":11736,"title":11020,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11737,"thumbUrl":11738,"material":96,"size":283,"collection":98,"collections":11739,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253085,"tao-huang-you-qi-ma-nv-yong-yi-ming-253085",[4670,5313,30,7,29,2433,1380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1952338ac44801a2b47f1685360fe0b.jpg",[],{"id":11741,"slug":11742,"title":7006,"dynasty":301,"author":454,"museum":234,"description":6702,"tags":11743,"thumbUrl":11744,"material":96,"size":283,"collection":98,"collections":11745,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253084,"tao-qi-ma-yong-yi-ming-253084",[1380,4670,5313,7,30,2433,4279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39eb7ed80d33e822b7782645c514ec28.jpg",[],{"id":11747,"slug":11748,"title":11749,"dynasty":301,"author":454,"museum":234,"description":10606,"tags":11750,"thumbUrl":11751,"material":96,"size":283,"collection":98,"collections":11752,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253083,"tao-bai-you-qi-ma-yong-yi-ming-253083","陶白釉骑马俑",[1380,4670,5313,30,7,10406,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86551410e2938ff9943c5c11824b38b.jpg",[],{"id":11754,"slug":11755,"title":7826,"dynasty":261,"author":454,"museum":234,"description":7827,"tags":11756,"thumbUrl":11757,"material":96,"size":283,"collection":98,"collections":11758,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253042,"tao-ma-yi-ming-253042",[261,4670,5313,7,222,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c0202a90fd21364fdd5a75db1c8ea1.jpg",[],{"id":11760,"slug":11761,"title":10878,"dynasty":301,"author":454,"museum":234,"description":7014,"tags":11762,"thumbUrl":11763,"material":96,"size":283,"collection":98,"collections":11764,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253040,"tao-huang-you-hua-cai-ma-yi-ming-253040",[301,7335,7016,7336,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e4c8eda72ce72145c9e02cbd22e919.jpg",[],{"id":11766,"slug":11767,"title":8885,"dynasty":261,"author":454,"museum":234,"description":7827,"tags":11768,"thumbUrl":11769,"material":96,"size":283,"collection":98,"collections":11770,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},253034,"tao-hua-cai-ma-yi-ming-253034",[261,4670,29,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9107e460565f3c2d4e7979448e4b6d03.jpg",[],{"id":11772,"slug":11773,"title":8885,"dynasty":261,"author":454,"museum":234,"description":7827,"tags":11774,"thumbUrl":11775,"material":96,"size":283,"collection":98,"collections":11776,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253033,"tao-hua-cai-ma-yi-ming-253033",[4670,29,7,4279,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec953da3bdd4ae910e8bcbc0fca90bb.jpg",[],{"id":11778,"slug":11779,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11780,"thumbUrl":11781,"material":96,"size":283,"collection":98,"collections":11782,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253032,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253032",[261,4670,29,30,7,5313,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a036f2d6ddd4adedf88c558de3227ee.jpg",[],{"id":11784,"slug":11785,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11786,"thumbUrl":11787,"material":96,"size":283,"collection":98,"collections":11788,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253031,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253031",[261,4670,29,30,7,5313,10500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a14b403eed293458112e85e3f822707.jpg",[],{"id":11790,"slug":11791,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11792,"thumbUrl":11793,"material":96,"size":283,"collection":98,"collections":11794,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253030,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253030",[4670,5313,30,7,29,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a1d4e23cff3c18b9b09def629fd4b93.jpg",[],{"id":11796,"slug":11797,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11798,"thumbUrl":11799,"material":96,"size":283,"collection":98,"collections":11800,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253029,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253029",[4670,5313,29,4279,30,7,7915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36069dcc6dec48123eb6ff88af09763a.jpg",[],{"id":11802,"slug":11803,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11804,"thumbUrl":11805,"material":96,"size":283,"collection":98,"collections":11806,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253028,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253028",[4670,29,5313,30,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f48470a8c29c68a1d900eca6649e6a0.jpg",[],{"id":11808,"slug":11809,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11810,"thumbUrl":11811,"material":96,"size":283,"collection":98,"collections":11812,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253027,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253027",[261,7335,29,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69d09b76cba96b62dd712f4de28632a.jpg",[],{"id":11814,"slug":11815,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11816,"thumbUrl":11817,"material":96,"size":283,"collection":98,"collections":11818,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253026,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253026",[7915,4670,29,4279,30,7,5313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9c23ae051c14043d9173c665bafc56.jpg",[],{"id":11820,"slug":11821,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11822,"thumbUrl":11823,"material":96,"size":283,"collection":98,"collections":11824,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},253025,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253025",[4670,5313,30,7,29,4279,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0159e5c92931f09343e277a95b5523ff.jpg",[],{"id":11826,"slug":11827,"title":7333,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11828,"thumbUrl":11829,"material":96,"size":283,"collection":98,"collections":11830,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},253024,"tao-hua-cai-qi-ma-nan-yong-yi-ming-253024",[4670,5313,29,30,7,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87030aca2406986948aef48fe92e6615.jpg",[],{"id":11832,"slug":11833,"title":11834,"dynasty":261,"author":454,"museum":234,"description":7827,"tags":11835,"thumbUrl":11837,"material":96,"size":283,"collection":98,"collections":11838,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},252987,"tao-zi-lv-you-ma-yi-ming-252987","陶紫绿釉马",[4670,11836,7,5313,29,7017],"紫绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4426b787f63357c9d5c32486271c32.jpg",[],{"id":11840,"slug":11841,"title":9123,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11842,"thumbUrl":11843,"material":96,"size":283,"collection":98,"collections":11844,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},252986,"tao-zi-lv-you-qi-ma-yong-yi-ming-252986",[4670,5313,30,7,11836,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7361a7023e655ee3efc2c6c8d48c616d.jpg",[],{"id":11846,"slug":11847,"title":11848,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11849,"thumbUrl":11850,"material":96,"size":283,"collection":98,"collections":11851,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},252975,"tao-zi-lv-you-qi-ma-yi-zhang-yong-yi-ming-252975","陶紫绿釉骑马仪仗俑",[4670,8894,29,30,7,5313,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022806d4befe0563a1a0c87f340f6895.jpg",[],{"id":11853,"slug":11854,"title":11855,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11856,"thumbUrl":11857,"material":96,"size":283,"collection":98,"collections":11858,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},252974,"tao-lv-you-qi-ma-zou-yue-yong-yi-ming-252974","陶绿釉骑马奏乐俑",[4670,5313,8940,30,7,1722,7915,7326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d63dd24cff73fed5b7bef2bdb71237.jpg",[],{"id":11860,"slug":11861,"title":11862,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11863,"thumbUrl":11865,"material":96,"size":283,"collection":98,"collections":11866,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},252973,"tao-zi-lv-you-qi-ma-zou-yue-yong-yi-ming-252973","陶紫绿釉骑马奏乐俑",[4670,5313,7,30,11836,7326,11864],"奏乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a90cf62abf73c1bfdc17bb9d02f92ca.jpg",[],{"id":11868,"slug":11869,"title":11848,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11870,"thumbUrl":11871,"material":96,"size":283,"collection":98,"collections":11872,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},252972,"tao-zi-lv-you-qi-ma-yi-zhang-yong-yi-ming-252972",[4670,11836,2433,5313,30,7,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedfb4d4e96e403c777c229a066b76d4.jpg",[],{"id":11874,"slug":11875,"title":11855,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11876,"thumbUrl":11877,"material":96,"size":283,"collection":98,"collections":11878,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},252970,"tao-lv-you-qi-ma-zou-yue-yong-yi-ming-252970",[4670,5313,30,7,1722,29,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa2eeb740aa709158c893f45998f0c.jpg",[],{"id":11880,"slug":11881,"title":11848,"dynasty":261,"author":454,"museum":234,"description":6702,"tags":11882,"thumbUrl":11883,"material":96,"size":283,"collection":98,"collections":11884,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},252969,"tao-zi-lv-you-qi-ma-yi-zhang-yong-yi-ming-252969",[7915,4670,5313,30,7,11836,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c89bbd3295b956682dbb26e70e225ec.jpg",[],{"id":11886,"slug":11887,"title":11888,"dynasty":261,"author":454,"museum":234,"description":6472,"tags":11889,"thumbUrl":11890,"material":96,"size":283,"collection":98,"collections":11891,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},252631,"qing-yu-wo-ma-qian-jian-yi-ming-252631","青玉卧马嵌件",[6480,2433,7,4346,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cfc805ddde2b949829666a94b95bd15.jpg",[],{"id":11893,"slug":11894,"title":11895,"dynasty":261,"author":454,"museum":234,"description":6472,"tags":11896,"thumbUrl":11897,"material":96,"size":283,"collection":98,"collections":11898,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},252615,"huang-yu-tian-ma-pei-yi-ming-252615","黄玉天马佩",[7915,6480,2433,7,222,4346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c8cc8907a42ac10d673e301e4b7214.jpg",[],{"id":11900,"slug":11901,"title":11902,"dynasty":106,"author":454,"museum":234,"description":11903,"tags":11904,"thumbUrl":11906,"material":96,"size":283,"collection":98,"collections":11907,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},252472,"hua-shou-shan-shi-lao-ren-qi-ma-tu-shan-zi-yi-ming-252472","花寿山石老人骑马图山子","这件石雕以圆雕结合透镂技法施艺，长髯老者安坐马背，神情悠然恬和，衣褶层叠舒展，写实自然。身侧侍童躬身随行，神态恭谨，与老者形成呼应。上方虬曲梅枝缀满繁花，流云缭绕周身，底座以卷浪流云承托整体，将仙家逍遥出尘的意趣融于刀石之中。\n\n寿山石质色韵柔润古朴，红褐肌理如天然晕染的霞光，匠师依形施艺，既保留石材本身的自然意趣，又将人物情态刻画入微，把隐逸逍遥的游世图景雕琢得灵动传神，尽显清代民间石雕的精巧意匠。",[967,2433,30,7,11905,6480],"寿山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334c16bcef2242716e984156941c947d.jpg",[],{"id":11909,"slug":11910,"title":11911,"dynasty":106,"author":454,"museum":234,"description":11912,"tags":11913,"thumbUrl":11914,"material":96,"size":283,"collection":98,"collections":11915,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},251947,"shui-jing-wo-ma-zhen-zhi-yi-ming-251947","水晶卧马镇纸","此件卧马取天然水晶雕琢而成，质地澄澈莹润似化冻春冰。骏马蜷身静卧，颔首低垂，眉眼温婉柔和，尽显憩息时的松弛安然。匠人意蕴独到，以浅浮雕细细刻绘鬃尾，丝缕蓬松分明，将软毛质感描摹入微。随形施造，巧借水晶天然肌理，消弭斧凿痕迹，将石材清透特质与骏马娴静身姿相融，浑然天成。乌木底座沉实古雅，与莹亮水晶相映成趣，深浅配色更衬器物清隽出尘。作为案头镇纸，既有文房器物的沉静内敛，又暗潜骏马蓄势的隽逸神采，是兼具雅致与意趣的精巧之作。",[106,10022,2433,7,222,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8252492101f4a4fd536fb864bacf1fe.jpg",[],{"id":11917,"slug":11918,"title":11919,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":11920,"thumbUrl":11921,"material":96,"size":283,"collection":98,"collections":11922,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},251685,"qing-yu-shuang-ma-yi-ming-251685","青玉双马",[6480,2433,7,222],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca949f6ffccba043d41a9ccfef178b9a.jpg",[],{"id":11924,"slug":11925,"title":7905,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":11926,"thumbUrl":11927,"material":96,"size":283,"collection":98,"collections":11928,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},251453,"qing-yu-shi-er-chen-ma-yi-ming-251453",[6480,2433,7,222,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0e4e06ba5136a063f4925231feb15f.jpg",[],{"id":11930,"slug":11931,"title":11932,"dynasty":106,"author":454,"museum":234,"description":7913,"tags":11933,"thumbUrl":11934,"material":96,"size":283,"collection":98,"collections":11935,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},251357,"bai-yu-shou-lie-tu-bi-tong-yi-ming-251357","白玉狩猎图笔筒",[6480,401,2433,4671,30,222,7,90,736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8aa0e127361eb0b6d3a8c225c654567.jpg",[],{"id":11937,"slug":11938,"title":11939,"dynasty":106,"author":454,"museum":234,"description":9161,"tags":11940,"thumbUrl":11941,"material":96,"size":283,"collection":98,"collections":11942,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},249466,"qia-si-fa-lang-qi-zhen-ma-bao-yi-ming-249466","掐丝珐琅七珍-马宝",[9163,5989,2432,7,721,401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059af54a226c39ad40ddb6568d8a280d.jpg",[],{"id":11944,"slug":11945,"title":11946,"dynasty":261,"author":454,"museum":234,"description":5986,"tags":11947,"thumbUrl":11952,"material":96,"size":283,"collection":98,"collections":11953,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},249061,"qia-si-fa-lang-gou-lian-tian-ma-ba-bao-wen-wan-yi-ming-249061","掐丝珐琅勾莲天马八宝纹碗",[9163,9153,2432,29,7915,11948,11949,11950,11951,7,222,2594],"勾莲纹","天马","八宝纹","莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6e863ab445e7d739bcab9c83c44382.jpg",[],{"id":11955,"slug":11956,"title":11957,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":11958,"thumbUrl":11961,"material":96,"size":283,"collection":98,"collections":11962,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":1661},247613,"ti-hong-shan-shui-ren-wu-tu-kui-ban-shi-he-yi-ming-247613","剔红山水人物图葵瓣式盒",[967,6474,11959,9171,2433,90,30,7,11960],"雕漆","葵瓣式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d8238457c1d3e52b610299474915240.jpg",[],{"id":11964,"slug":11965,"title":11966,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":11967,"thumbUrl":11969,"material":96,"size":283,"collection":98,"collections":11970,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},247271,"ti-hong-ba-xian-zhu-shou-tu-yuan-he-yi-ming-247271","剔红八仙祝寿图圆盒",[967,6474,2433,9171,401,11968,30,31,32,33,7],"八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b41c3123a2a1361028b463360e8f81b.jpg",[],{"id":11972,"slug":11973,"title":11974,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":11975,"thumbUrl":11977,"material":96,"size":283,"collection":98,"collections":11978,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},247078,"qian-long-kuan-ti-hong-fei-cong-tu-kai-guang-bo-gu-wen-si-fang-wei-jiao-he-yi-ming-247078","乾隆款剔红飞骢图开光博古纹四方委角盒",[967,6474,9171,2433,9888,11976,7,401],"博古纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34c46dcb5e7c41f9a5b1e9c3290545.jpg",[],{"id":11980,"slug":11981,"title":11982,"dynasty":106,"author":454,"museum":234,"description":7040,"tags":11983,"thumbUrl":11985,"material":96,"size":283,"collection":98,"collections":11986,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},246353,"lu-kui-sheng-kuan-qiang-jin-cai-qi-shuang-jun-tu-chang-fang-wen-ju-he-yi-ming-246353","卢葵生款戗金彩漆双骏图长方文具盒",[967,11984,6474,29,7,401],"戗金彩漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb924cf2c8c0a7ff45bd4a0a6bd4924.jpg",[],{"id":11988,"slug":11989,"title":4342,"dynasty":4343,"author":454,"museum":234,"description":5996,"tags":11990,"thumbUrl":11991,"material":96,"size":283,"collection":98,"collections":11992,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},245256,"ma-xing-pai-shi-yi-ming-245256",[4343,2432,2433,7,4346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb05185047ce323ce3e8cfd0da2ee30.jpg",[],{"id":11994,"slug":11995,"title":11996,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":11997,"thumbUrl":11999,"material":96,"size":283,"collection":98,"collections":12000,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},245052,"ma-wen-ma-shi-yi-ming-245052","马纹马饰",[2431,2432,2433,7,222,11998,9214,8932,4346],"动物纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6608b71d0081b3500349a8c86c886a0.jpg",[],{"id":12002,"slug":12003,"title":12004,"dynasty":4343,"author":454,"museum":234,"description":12005,"tags":12006,"thumbUrl":12007,"material":96,"size":283,"collection":98,"collections":12008,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},244992,"wo-ma-xing-pei-shi-yi-ming-244992","卧马形佩饰","礼仪性的玉器 (所谓“瑞玉” )较前减少，组成佩饰的各种佩玉在种类上趋于简化，用于丧葬的玉器显著增加，玉制的日用品和装饰品也有较大的发展。在雕琢工艺方面，圆雕、高浮雕、透雕的玉器和镶玉器物较前增多。纹饰的风格由以抽象为主转向以写实为主，一些像生类玉器也有了现实感和生命力，形神能巧妙地结合于一体，这些都为先秦玉器所不及。",[4343,2432,2433,4346,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30032ecb47b9d2ba953edae7490d5dc3.jpg",[],{"id":12010,"slug":12011,"title":12012,"dynasty":4343,"author":454,"museum":234,"description":12005,"tags":12013,"thumbUrl":12014,"material":96,"size":283,"collection":98,"collections":12015,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},244990,"shuang-li-shou-wen-pei-shi-yi-ming-244990","双立兽纹佩饰",[2432,2433,4346,222,7,7365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F757feef498d87c18422af53edaa92ab8.jpg",[],{"id":12017,"slug":12018,"title":12019,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":12020,"thumbUrl":12021,"material":96,"size":283,"collection":98,"collections":12022,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},244855,"niao-shou-ma-shi-yi-ming-244855","鸟首马饰",[7922,2431,2432,2433,4346,7,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94110362064e4791807e602e6ac10e2c.jpg",[],{"id":12024,"slug":12025,"title":9186,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":12026,"thumbUrl":12028,"material":96,"size":283,"collection":98,"collections":12029,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},244854,"ma-shi-yi-ming-244854",[2431,2432,2433,4346,7,12027],"周代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa58b91d99776bf7a67915d4bea47c20e.jpg",[],{"id":12031,"slug":12032,"title":12033,"dynasty":4343,"author":454,"museum":234,"description":12005,"tags":12034,"thumbUrl":12035,"material":96,"size":283,"collection":98,"collections":12036,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},244839,"ma-xing-pei-shi-yi-ming-244839","马形佩饰",[4343,2431,7,4346,2432,2433],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5afad6cb7291c089adaacdde79552aec.jpg",[],{"id":12038,"slug":12039,"title":12040,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":12041,"thumbUrl":12042,"material":96,"size":283,"collection":98,"collections":12043,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},244818,"liu-jin-ma-shi-yi-ming-244818","鎏金马饰",[9214,2431,5998,4346,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529000e93089213bdd665f75bc0e877d.jpg",[],{"id":12045,"slug":12046,"title":9186,"dynasty":7922,"author":454,"museum":234,"description":6719,"tags":12047,"thumbUrl":12048,"material":96,"size":283,"collection":98,"collections":12049,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},243703,"ma-shi-yi-ming-243703",[2431,2432,2433,4346,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88e94ac867d67dd35e722f1e4ac11c4.jpg",[],{"id":12051,"slug":12052,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12053,"tags":12054,"thumbUrl":12056,"material":96,"size":283,"collection":98,"collections":12057,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":1661},238659,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238659","全景式铺陈开苗疆山地战场，以类铜版画的刚劲线条勾勒层峦沟壑，工细写实。左侧屯城壁垒森严，甲士整列森然，山间林莽中潜行的兵卒还原出山地作战的险仄。\n诗画合璧，以笔锋刀痕凝固行军攻坚、收抚诸苗的跌宕战事。线条冷峻利落，既刻画了关山征伐的肃杀，也带出战后初定的秩序感，将平叛绥边的全过程藏于重山隘路间，以静态画面留存下那段铁血征伐的过往，兼具纪实史学价值与叙事性绘画的表现力。",[68,24,25,354,28,88,89,27,90,30,7,12055,36,91,267],"城郭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F410597fad851068ed990732209ec7e4e.jpg",[],{"id":12059,"slug":12060,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12061,"tags":12062,"thumbUrl":12063,"material":98,"size":98,"collection":98,"collections":12064,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238657,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238657","以全景构图铺展整场战事，左侧阵列齐整的兵马摧锋直前，山麓间短兵相接，奔逃的溃军匍匐在泥泞沟壑，厮杀的张力扑面而来。村寨浓烟翻涌，火光吞噬屋舍，兵燹过后的残破尽显眼前。左侧题满细密小字，以文字补叙战事经纬，将视觉冲击与纪实叙事相融。\n全作用劲挺刚硬的铁线白描勾勒山石甲胄，线条精准刻画出战场的肃杀冷冽，不着一色却自带冷峻压迫感，将平叛战事的残酷与浩荡全然铺陈，是兼备纪实性与艺术性的战争叙事佳作。",[24,25,68,354,28,237,88,30,7,90,36,149,91,42,4983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968a66be7cec2d0f554f352127f1b16d.jpg",[],{"id":12066,"slug":12067,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12068,"tags":12069,"thumbUrl":12070,"material":98,"size":98,"collection":98,"collections":12071,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},238656,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238656","全景式铺展崇山峻岭，将山地战事的行军、攻坚排布于险隘之间。左侧官兵沿栈道攀援突进，右侧火炮摧破土寨，浓烟翻卷腾涌，动静张力尽显。\n\n线条刚劲利落，精准刻画出崖壁陡绝、兵卒悍锐，将山地作战的艰险尽数铺陈。题诗配文呼应画面叙事，以写实笔法复刻征剿战况，兼具纪实性与艺术性，既是纪功绘卷，也尽显战事版画的表现力，还原出平乱战事的紧迫悍勇。",[24,25,28,89,29,90,30,7,36,42,94,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91218a070f41f03319c4b91351a1910d.jpg",[],{"id":12073,"slug":12074,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12075,"tags":12076,"thumbUrl":12077,"material":98,"size":98,"collection":98,"collections":12078,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238655,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238655","这幅以全景式构图铺展战场，层叠山峦拉开纵深，将行军队列、攻坚厮杀分置谷壑之间，排布错落有序。线条刚劲利落，嶙峋山石、苍劲林木，与军士甲胄兵器细节一一勾勒铺陈，写实还原战事的肃杀紧张。\n\n山谷间旌旗猎猎、马蹄扬尘，将领挥斥调度与士卒奋勇突进的神态动作细腻生动，既有纪实画作的精准刻画，又带着宫廷纪实版画的庄重凝练。右上角题诗纪事，图文呼应，以笔锋复刻平疆战事的宏大场面，兼具历史记录价值与古典军事画作的表现力，仿佛将那阵马蹄厮杀声复刻于眼前。",[24,25,68,967,28,89,354,90,30,7,31,36,91,94,2866,4983,47],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8738829ae125a47fc082bf03cb221222.jpg",[],{"id":12080,"slug":12081,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12082,"tags":12083,"thumbUrl":12084,"material":98,"size":98,"collection":98,"collections":12085,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238654,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238654","画面以全景式铺展山地战事，层叠峰峦间兵戈相向，水陆两处皆见厮杀奔突。硬挺细密的铜版线条，冷峻刻画出山石皴理与战火硝烟，将平叛战地的险峻尽数还原。\n\n山林间阵列严整的兵卒与对手短兵相接，奔逃、格斗、阻截的细节生动冷峻，动静交织间尽显战役的肃杀紧张。右上角御笔题诗点明战事经纬，令画作兼具纪实纪功的双重属性，以克制写实的雕刻技法，将山地征伐的残酷与行军规制融于一图，是纪实战图里极具代表性的写实佳作。",[24,28,89,88,354,90,30,7,91,36,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b98e701e6d2e7644a41ed31a283cf5a.jpg",[],{"id":12087,"slug":12088,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12089,"tags":12090,"thumbUrl":12091,"material":98,"size":98,"collection":98,"collections":12092,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238653,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238653","这幅铜版画以全景式铺陈开山地平叛战况，嶙峋喀斯特峰峦间，山道上兵卒衔枚疾进，谷地硝烟翻涌，还原攻坚厮杀的肃杀氛围。右侧主将勒马整军，阵列严整尽显军纪森严。\n\n创作者以精细线条勾勒山石肌理，明暗晕染塑造出层叠山势的立体感，将战场的紧迫张力尽显纸面。右上角御题诗文呼应战事功过，使得作品兼具纪实征战场面的档案价值，又以中西融合的版画技法，描摹出山地征伐的壮阔图景，写实复刻出平苗一役的激烈瞬间，肃穆且极具纪功图的厚重质感。",[24,25,354,237,88,28,89,90,30,7,523,42,36,249,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F099552331f1937403457da9040e47880.jpg",[],{"id":12094,"slug":12095,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12096,"tags":12097,"thumbUrl":12098,"material":98,"size":98,"collection":98,"collections":12099,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":1661},238649,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238649","以全景式构图铺展这场战事，层叠山峦环围出厮杀战场，苍劲线条勾勒出山野村寨，将烽烟肃杀的氛围尽数烘托。\n画面里兵马缠斗不休，有人奔溃逃窜，有人死战不退，檐角边硝烟暗涌，远景的兵卒动向、近前的搏杀细节皆刻画入微，将平疆战事的壮烈紧张全然还原。右上角题诗呼应此战功勋，让纪实叙事染上沉郁厚重的史诗感，既以精妙的线条功力展现古典绘事章法，又留存下详实的战事细节，兼具审美价值与史料意义，将边陲平叛的铁血过往凝于尺幅之间。",[28,237,89,4947,354,30,7,90,36,149,91,48,47,4983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cdcdce13eafa566f486359db7dcdf3.jpg",[],{"id":12101,"slug":12102,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12103,"tags":12104,"thumbUrl":12105,"material":98,"size":98,"collection":98,"collections":12106,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238648,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238648","全景式构图铺展浩荡战事，远山层叠河谷蜿蜒，将清军列阵行军、攻坚平叛的场景错落排布。左侧题笺点明战事背景，画面前方将领挥斥策马，甲士阵列严整肃然，右侧战场烽烟翻涌，短兵相接的厮杀仿佛声闻于耳。画作以精细线描勾勒出山峦苍劲质感，将士甲胄衣袂细节分毫毕现，既兼具传统界画的工致写实，又糅合西洋铜版画明暗层次，精准还原平乱战事的宏大意象，将行伍整肃、攻坚激烈与山野雄浑融为一体，笔墨间承载纪实叙事的厚重，尽显清代战史图绘的严谨表现力。",[24,28,88,89,354,30,7,90,36,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4cc8d1034d51c633c0775814fa4e48.jpg",[],{"id":12108,"slug":12109,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12110,"tags":12111,"thumbUrl":12112,"material":98,"size":98,"collection":98,"collections":12113,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238647,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238647","以全景视角铺展苗疆崇山险壑，山道间清军策马挺进，远处营寨森然列阵，将平叛行军的肃杀氛围淋漓呈现。画面线条凌厉精细，山石皴刻尽显地势陡绝，既还原了山地平叛的艰险，也刻画出清军整肃军容。右上方题诗与图景呼应，笔墨载录克捷之功，将纪实叙事与军功宣扬融为一体，以画笔复刻王朝征伐史事，带着厚重的纪史质感。",[24,25,28,88,89,223,90,30,7,278,36,31,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff94fcd4e79e8f17638699ba5ca75a71b.jpg",[],{"id":12115,"slug":12116,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12117,"tags":12118,"thumbUrl":12119,"material":98,"size":98,"collection":98,"collections":12120,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238646,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238646","这幅全景式战图以硬朗的铜版画排线刻绘层叠险峰，山道河谷间兵勇整列挺进，隘口烽烟暗起，将平叛行军的肃杀紧迫铺陈开来。左上题字以规整小楷详述战事经纬，图文相映，兼顾舆图纪实性与叙事画感染力。\n\n山石皴擦利落刚劲，精准勾勒出西南山地的峭拔险峻，将士甲胄旌旗细节分明，把行军威仪刻画得详实入微。画面冷峻克制，以纪实笔触定格边地平叛的历史瞬间，承载着军功纪实的肃穆厚重。",[24,354,28,89,90,30,7,164,91,36,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6c1738edbffd432d53460f49927ba1.jpg",[],{"id":12122,"slug":12123,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12124,"tags":12125,"thumbUrl":12127,"material":98,"size":98,"collection":98,"collections":12128,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238645,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238645","这幅纪实铜版画以全景式构图铺展平叛鏖战全貌。远山烽烟翻涌，村寨壁垒森然，清军步骑协同突进，与敌短兵相接。画面疏密得宜，线条劲挺工细，将人马错杂的厮杀场景精细摹刻，士卒或死战不退，或仆地挣扎，神态动作各有其态，硝烟裹挟着肃杀之气扑面而来。\n它以冷峻纪实的刀笔留存战地实景，将冷兵器时代平叛战事的惨烈壮阔凝于尺幅，既是对一役战事的鲜活复刻，也尽显清代战争版画兼具史料价值与艺术表现力的独特质感。",[967,28,988,89,354,30,7,278,36,12126,31,4983,164,249,6875],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058bdfc4b39bc9702a2ce3018e703267.jpg",[],{"id":12130,"slug":12131,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12132,"tags":12133,"thumbUrl":12134,"material":98,"size":98,"collection":98,"collections":12135,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238644,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238644","以全景式构图铺展山地平叛战事，左侧崇山峻岭间，清军沿险道衔枚疾进，烟焰翻涌，还原出攻坚破隘的激烈战况；右侧营寨严整肃静，军士待命整装，动静对照烘托出战事的紧绷氛围。\n刀刻笔触锐利写实，山石皴擦尽显崖壁崎岖，人物排布错落有序，将山地行军的艰险展露无遗。右上角题诗呼应画面，纪实感拉满，既复刻出平叛过程的运筹进击，凸显清军悍勇严明的军容，也以冷峻细腻的工艺，留存下边疆战事的鲜活细节，兼具艺术表现力与史料价值。",[24,28,89,88,354,90,30,7,523,376,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c34fa9510c6abfe09b536f33497d35.jpg",[],{"id":12137,"slug":12138,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12139,"tags":12140,"thumbUrl":12141,"material":96,"size":283,"collection":98,"collections":12142,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},238643,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238643","以刀代笔，以铜为纸，嶙峋喀斯特山峦层叠铺展，栈道盘绕危崖，尽现苗疆蛮荒天险。画面左下方清军将士策马奔袭，甲胄兵刃的细节皆以细密排线勾勒区分明暗，分毫毕现。\n\n全景式构图纵伸开山地战场，既还原了清军穿行险境平叛的临场实景，又以冷峻的线刻技法，将纪实叙事与版画工艺相融。右侧御题诗文点明战事功绩，刀痕墨影间藏着对平苗战事的细致描摹，带着清代纪实版画特有的官方叙事底色，将军功纪实与山水刻画技法精妙结合，兼具历史纪实价值与美术造诣。",[24,354,28,89,88,90,30,7,36,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23738bc699cbc6624de1816ca357b3d2.jpg",[],{"id":12144,"slug":12145,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12146,"tags":12147,"thumbUrl":12148,"material":96,"size":283,"collection":98,"collections":12149,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238642,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238642","全景铺展苗疆奇崛山势，以三段式叙事织就战事全貌。左上栈道奇兵衔枚疾行，右下崖谷短兵相接，中军营帐前主帅按辔点兵，错落排布让战场层次分明。\n\n铁线勾勒山石肌理，皴擦晕染间尽显崖壁苍劲质感，将士甲胄纹路、猎猎旌旗褶皱分毫毕现，把山地征伐的肃杀凝于纸面。冷峻纪实的笔触复刻出战事细节，将平乱攻坚的紧迫与雄浑定格，兼具历史实录的厚重与工笔画的精妙。",[28,237,4947,354,30,7,164,90,249,36,94,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F269dec5135978c2d6c2741c894d13b17.jpg",[],{"id":12151,"slug":12152,"title":2863,"dynasty":106,"author":454,"museum":234,"description":12153,"tags":12154,"thumbUrl":12155,"material":96,"size":283,"collection":98,"collections":12156,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238641,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-238641","远景层叠峰峦铺展出辽远开阔的战地格局，近景聚焦激烈的攻城攻坚场面。清军或涉水架梯、或纵马弯弓仰攻，守军凭城据守反击，人马排布错落有致，将短兵相接的紧张凶险尽数铺陈。\n\n创作者以铜版蚀刻技法入画，线条锐利精细，山石林木的皴刻兼具写实质感与传统山水章法，光影明暗层次分明，既还原了战地细节的纪实性，又以细腻刻画渲染出冷兵器战场的肃杀之气，将战事的激烈瞬间定格于纸面，兼具历史记录价值与艺术表现力。",[967,24,25,354,28,27,89,237,88,70,30,7,90,164,31,33,388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246dbd65781bab34de8097fdbd0e8f22.jpg",[],{"id":12158,"slug":12159,"title":5818,"dynasty":106,"author":454,"museum":234,"description":12160,"tags":12161,"thumbUrl":12162,"material":98,"size":98,"collection":98,"collections":12163,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238636,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238636","全景式铺展寿昌江血战，近岸骑兵列阵前驱，水师破浪抢滩，炮火掀卷水浪，将士争先冲锋，硝烟漫过江渚，将战事焦灼烘托尽致。远景山峦静穆，营寨错落其间，动静交织反衬出鏖战之急切。左侧题笔详述破敌经过，图文呼应，完整还原此役始末。\n\n笔触细密写实，甲胄的寒芒、翻涌的怒涛与猎猎旌旗皆刻画入微，以西式铜版画的写实质感，糅合中式题跋叙事，纪实性与艺术性兼具，将征伐的悍勇与军功赫赫的主旨融为一体，尽显这类纪实战绘的独特风貌。",[28,354,223,70,30,7,90,36,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c403ca18a5b22ebe5908d02a4d4ce7d.jpg",[],{"id":12165,"slug":12166,"title":5818,"dynasty":106,"author":454,"museum":234,"description":12167,"tags":12168,"thumbUrl":12169,"material":98,"size":98,"collection":98,"collections":12170,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238635,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238635","此作为纪实铜版画，以全景构图铺陈山地水泽间的战事图景，线条细密劲挺，将层叠山峦、盘曲栈道与行军阵列的细节一一复刻还原。右上角御题诗点明此战功绩，画面里清军或潜行突袭、或据岸列阵，将士甲胄严整、行伍有序。刻工以明暗排线晕染山石阴阳，兼具传统界画的工整与西洋铜版画的写实质感，既还原了实战地形的险峻，又渲染出平乱战事的肃杀威仪，是纪实性与艺术性相融的佳作，藏着纪功表彰的厚重肃穆。",[354,28,89,88,90,36,30,7,278,6898,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0f71c8ba0d2d6a6dbd8f302ca118e9.jpg",[],{"id":12172,"slug":12173,"title":6555,"dynasty":106,"author":454,"museum":234,"description":12174,"tags":12175,"thumbUrl":12176,"material":98,"size":98,"collection":98,"collections":12177,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238634,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238634","全景式铺展山地战事，层叠峰峦间，清军列阵攻坚，藤牌开路、水师呼应，番众凭隘顽抗，攻守之势跃然纸上。铜版画技法让山石林木写实逼真，军士厮杀的悍勇、阵前调度的严整皆被精细捕捉，每处细节都在还原战役的激烈壮烈。右上角题诗与画面呼应，以纪实笔触复刻平叛瞬间，将战事的紧张肃杀尽数定格，兼具纪实性与艺术性，是清代战史的鲜活注脚，尽显纪实版画的独特表现力。",[24,25,354,28,89,90,30,7,91,36,149,2866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b1b22678af262c9a68cf68eedb19ae.jpg",[],{"id":12179,"slug":12180,"title":6555,"dynasty":106,"author":454,"museum":234,"description":12181,"tags":12182,"thumbUrl":12183,"material":98,"size":98,"collection":98,"collections":12184,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238631,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238631","全景式铺陈山野战事，层叠山峦勾勒出战地的险峻格局。右侧烟焰腾涌，是清军攻坚激战之处，火光翻卷渲染出破阵的焦灼；山道间兵卒次第推进，人马错落排布，行伍细节清晰详实，将奔袭驰援的紧迫节奏藏进山谷沟壑间。\n以白描版画技法绘就，兼具传统界画的工整细腻与纪实叙事的厚重感，山峦雄峙烘托出兵事的壮阔，人物排布疏密得当，把山地平叛的行军攻坚全貌复刻纸上，让观者仿若置身战地，窥见这场平乱战事的紧张瞬间，兼具历史存证价值与古典军事纪实画的审美意趣。",[24,25,354,28,89,90,30,7,36,91,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3564166c989985137854734dbad8f213.jpg",[],{"id":12186,"slug":12187,"title":6555,"dynasty":106,"author":454,"museum":234,"description":12188,"tags":12189,"thumbUrl":12190,"material":96,"size":283,"collection":98,"collections":12191,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238630,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238630","画面以中西技法相融，左半侧层岩峻岭逶迤，山道崎岖间，清军将士鱼贯挺进，人马错落于林崖沟壑，尽现征途跋涉的艰涩。右侧水泽舒展，劲旅沿江疾行，沉凝战意隐于烟波之间。右上角御笔题诗，笔墨苍劲，点明战局。\n\n创作者以明暗晕染复刻西洋铜版画手法，又暗合东方山水的留白意境，将平乱行军的肃杀与山川雄奇交织一处，既如实记录征途危隘，又烘托出王师征伐的浩荡气势，让观者仿佛能听见山泽间旌旗猎猎、马蹄踏踏，身临那段金戈铁马的平叛征程。",[24,28,89,29,354,90,30,7,91,36,42,6396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18760a8b739e9edc3c062c01b9669f4a.jpg",[],{"id":12193,"slug":12194,"title":6555,"dynasty":106,"author":454,"museum":234,"description":12195,"tags":12196,"thumbUrl":12197,"material":96,"size":283,"collection":98,"collections":12198,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238628,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238628","全景式构图铺展激烈战事，层叠山峦与苍郁林木间，兵勇鏖战正酣。旌旗猎猎翻卷，人马奔突厮杀，短兵相接的紧张感跃然纸面，细节处将兵卒格斗、奔逃溃退的动态刻画入微，题诗呼应战局，点明智取克敌的战事脉络。\n\n画作以精细线描勾勒山野形貌与人姿马态，写实还原征战场面，兼具纪实性与艺术性。笔墨沉凝肃杀刚劲，将工笔绘法与纪实特质相融，让观者仿若踏入烽烟烈烈的平叛现场，触摸那段金戈铁马的过往。",[68,24,354,28,88,3645,279,5831,90,5582,30,7,164,706,665,9260,223,6560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbbd2bcfc8379931c4747e16a3b09a1.jpg",[],{"id":12200,"slug":12201,"title":6555,"dynasty":106,"author":454,"museum":234,"description":12202,"tags":12203,"thumbUrl":12204,"material":96,"size":283,"collection":98,"collections":12205,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":1661},238627,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238627","全景式铺陈战场，以淡墨白描勾勒山地攻防实景。层叠山峦间壁垒严整，清军将士穿梭奔袭，攻克隘口的紧张战况跃然纸上，山石林木皴擦细致，还原出闽南山地的崎岖地貌。右上题诗纪事，诗画相映，将平叛的军功战绩融于笔端。笔触劲挺写实，既复刻出征伐的肃杀氛围，也承载着纪实史料的厚重，让这场战事以静态画面留存下鲜活的征伐细节，兼具叙事性与历史价值。",[28,237,89,354,90,30,31,36,91,48,149,7,42,4983,6898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d9420428d3341bfb9113d2fcc2db90.jpg",[],{"id":12207,"slug":12208,"title":6555,"dynasty":106,"author":454,"museum":234,"description":12209,"tags":12210,"thumbUrl":12211,"material":96,"size":283,"collection":98,"collections":12212,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},238626,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238626","采用全景式构图，以层叠山峦铺展战地格局，近景短兵相接，人马错杂，炮火硝烟翻涌，将厮杀的肃杀张力拉满。清兵阵列严整推进，叛军负隅顽抗，草木间尽是兵刃交锋的激烈瞬间，每一处线条都细致勾勒出军士的悍勇与战事的胶着。\n\n右上角题诗点明此战功绩，整体以铜版画的精工笔触复刻战地细节，将纪实性与艺术性相融，鲜活还原平叛战事的热血瞬间，既是承载史实的珍贵载体，亦尽显纪实战绘的写实功力。",[24,28,88,89,90,30,7,36,42,164,2866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd34e921ba1f280789221563ac513dcfb.jpg",[],{"id":12214,"slug":12215,"title":5826,"dynasty":106,"author":454,"museum":234,"description":12216,"tags":12217,"thumbUrl":12218,"material":96,"size":283,"collection":98,"collections":12219,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238617,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238617","这幅全景式战地版画以疏密错落的排线铺展战事。河谷山峦间，左侧骑兵催马冲锋，甲胄铿锵似在耳畔震颤，右侧营帐星罗棋布，兵卒或整戈驰援，或待命蓄力。远山层叠晕染，将战地的肃杀晕开，山野的沉穆对冲着奔突的战势。刻绘入微，山石棱面、战马奔跃之态、旌旗翻飞的褶皱皆历历在目，将平乱鏖战的紧张激烈凝于纸面，纪实性与艺术性相融，尽显精湛的刻绘功力。",[4947,4948,354,90,30,7,112,249,36,42,278,2866,8279,1153,4983,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a330a27159ee86012560d1d2e2b4191.jpg",[],{"id":12221,"slug":12222,"title":5826,"dynasty":106,"author":454,"museum":234,"description":12223,"tags":12224,"thumbUrl":12230,"material":96,"size":283,"collection":98,"collections":12231,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238614,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238614","这幅作品以全景式铺陈，将川地层叠山峦与河谷林海尽揽卷中。远景峰峦间隐见戍城，晕染出边地苍茫的战地氛围。近中景人马如潮，骑兵阵列齐整肃然，步卒、辎重依次排布，将士甲胄鲜明、战马昂然，把平叛大军的雄壮声势淋漓展现。\n\n画师以精细写实的线条，将将士的悍勇神态、战马的昂扬体态，还有山野林木的肌理逐一勾勒，纪实感浓厚，把这场平叛战事的雄浑瞬间凝于纸面，尽显军旅征伐的厚重威严。",[68,24,25,354,664,28,30,7,90,36,249,42,278,2866,6396,3065,9729,12225,12226,9730,12227,12228,8279,12229,4278,1688],"人马队列","河流景观","岩石分布","群体人物","山水背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d911897dcf091a7b8a49017dd6bc12.jpg",[],{"id":12233,"slug":12234,"title":5826,"dynasty":106,"author":454,"museum":234,"description":12235,"tags":12236,"thumbUrl":12237,"material":98,"size":98,"collection":98,"collections":12238,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238609,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238609","这幅铜版画以全景式构图铺陈战事，前景处将领立马坡前，麾下士卒陷身厮杀，人马扭打叠错，兵刃交锋的张力扑面而来。层叠山峦延展向远景，苍劲林木错落排布，山道河谷间满是推进的军士，将战场的浩大规模铺展开来。\n\n画作以精细线条勾勒山石肌理、人马动态，明暗晕染拉开空间纵深，写实还原出战事的激烈浩大，带着纪实画特有的肃穆厚重，将平叛征程的磅礴与肃杀氛围尽数烘托而出，尽显征伐场面的震撼冲击力。",[4947,28,89,30,7,90,91,36,665,42,9669],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5c6fe886bcbc8592c9fa58fa56b2c9.jpg",[],{"id":12240,"slug":12241,"title":5826,"dynasty":106,"author":454,"museum":234,"description":12242,"tags":12243,"thumbUrl":12244,"material":98,"size":98,"collection":98,"collections":12245,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238608,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238608","全景式铺展山地鏖战，沟壑峰峦间人马奔突厮杀。细密雕纹勾勒出将士衔刃冲锋、铁骑踏尘逐寇的激烈动态，岩壁伏兵疾出截杀，河谷之内溃兵奔逃，远山硝烟袅袅晕开肃杀之气。\n雕工精细入微，将川西险峻地貌与战时张力尽数呈现，既还原平乱战事的壮阔惨烈，又以静态刀痕定格金戈铁马的烽火瞬间，尽显纪实战争版画的厚重质感。",[28,4947,29,354,90,30,7,222,91,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d75ac56deaeb15dc0d69f41b64dd515.jpg",[],{"id":12247,"slug":12248,"title":4128,"dynasty":106,"author":9295,"museum":84,"description":12249,"tags":12250,"thumbUrl":12254,"material":29,"size":9299,"collection":98,"collections":12255,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},238262,"shan-shui-ce-zhang-yan-238262","此作用笔秀雅温静，铺展出一段山乡行旅闲趣远景。危崖高耸，古松横斜探出，栈道行人拾级缓行；中景溪岸垂柳依依，车马络绎，旅人策蹇赶路；近处板桥卧波，茅檐驿店前，商旅解鞍歇脚，烟火漫溢。淡赭皴染山石，清妍敷色林木，将文人山水的秀润格调，揉进山野行旅的鲜活日常里。清冷山光间点缀行路暖意，把恬淡乡野与行旅匆匆的烟火温情融于一帧，处处漫着安宁悠远的世外闲情，将观者轻轻揽入这清寂又充满生机的山乡驿路之中。",[24,354,90,29,89,32,33,94,7,30,9859,12251,4406,12252,1197,12253],"危崖","驿店","世外闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32fa8b21fcee535afaf3e2047ab72960.jpg",[],{"id":12257,"slug":12258,"title":4128,"dynasty":106,"author":454,"museum":234,"description":12259,"tags":12260,"thumbUrl":12261,"material":96,"size":283,"collection":98,"collections":12262,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},235396,"shan-shui-ce-yi-ming-235396","此作用淡墨晕染铺就沙碛荒漠，以虚渺留白勾勒出辽远空寂的天地格局。画面中顽石兀立，苍朴的石形与周遭晕染的虚柔沙地形成强烈虚实对比，沉凝的块面破开荒芜的单调。远景关隘隐现于淡墨烟霭，三两旅人驱策而行，渺小身影衬出塞外天地的阔大清冷。\n全幅设色浅淡素雅，以极简笔触勾勒行旅意象，无繁复皴擦，只以水墨晕染传递出塞下荒原的荒寒萧索，将塞外行旅的孤寂与天地浩渺的清寂融为一体，尽显悠远淡宕的山水意趣。",[24,25,354,88,29,90,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4c187e3a92cc620c53b2211f654771.jpg",[],{"id":12264,"slug":12265,"title":12266,"dynasty":106,"author":454,"museum":234,"description":12267,"tags":12268,"thumbUrl":12269,"material":96,"size":283,"collection":98,"collections":12270,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},234448,"qing-ren-qing-ga-la-xiang-zhou-yi-ming-234448","清人庆嘠拉像轴","主尊白肤圆面，眉眼含威带笑，端坐神骏之上，周身珠宝璎珞环身，朱红鎏金衣纹华丽庄严。神骏鞍辔精美，四蹄腾空踏于翻涌云海之间，灵动有神。\n\n画面层次饱满，上部诸佛安坐莲台，法相慈悲静谧；下部兵将列阵呼喝，旌旗翻卷，动感迸发。背景晕染青白云霭，翠色林木点缀其间，藏地重彩技法尽显：红金配色华贵热烈，蓝绿铺陈柔润沉静，冷暖交织烘托出护法圣域的威严意境，将护法神祇的慑人气魄与极乐净土的祥和相融，尽显藏地宗教绘画的独特魅力。",[24,87,25,29,28,721,30,7,222,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e182892f155c9b869fb1bdadc239664.jpg",[],{"id":12272,"slug":12273,"title":12274,"dynasty":106,"author":454,"museum":234,"description":12275,"tags":12276,"thumbUrl":12277,"material":96,"size":283,"collection":98,"collections":12278,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},234401,"min-ning-yao-de-chong-wei-tu-zhou-yi-ming-234401","旻宁耀德崇威图轴","此作工致细腻，以沉厚绢底衬出主体。骑手明黄锁子棉甲纹饰规整，金饰玄甲错落排布，华贵威仪尽显，盔顶黑缨挺然，更添凛然气势。黑马神骏矫健，油亮鬃毛搭配朱红辔缨，明丽醒目，与整体色调相映。\n\n整作线条匀净精准，设色雍雅厚重。武将面容肃穆沉静，静中暗藏骑猎的飒爽张力，将骑者威严肃穆的气度与鞍马劲健姿态相融，尽显皇家仪卫的庄重堂皇，写实入微又不失庙堂礼制的规整庄重，是清代纪实鞍马肖像画中的精良之作。",[24,25,87,29,28,30,7,163,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e81a4a9be8bc69abb9b0c1636169cd.jpg",[],{"id":12280,"slug":12281,"title":9361,"dynasty":261,"author":9362,"museum":234,"description":9363,"tags":12282,"thumbUrl":12283,"material":98,"size":98,"collection":98,"collections":12284,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233633,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233633",[24,25,354,88,237,30,130,7,2720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3272e34b0a85814af532f1167443ca9.jpg",[],{"id":12286,"slug":12287,"title":9361,"dynasty":261,"author":9362,"museum":234,"description":9363,"tags":12288,"thumbUrl":12289,"material":98,"size":98,"collection":98,"collections":12290,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233602,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233602",[24,25,354,4947,237,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578ed6b5661afb05bd78dc6d1cf846e6.jpg",[],{"id":12292,"slug":12293,"title":5640,"dynasty":106,"author":454,"museum":234,"description":5641,"tags":12294,"thumbUrl":12295,"material":98,"size":5644,"collection":98,"collections":12296,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233106,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233106",[664,30,7,90,36,91,42,2866,4983,28,1174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F052a28834e1a547b215b21366b11dcec.jpg",[],{"id":12298,"slug":12299,"title":5640,"dynasty":106,"author":454,"museum":234,"description":5641,"tags":12300,"thumbUrl":12301,"material":98,"size":5644,"collection":98,"collections":12302,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233100,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233100",[24,25,354,28,89,30,7,809,90,91,36,665,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb723da2ed3b51eab521b889c03dfeb98.jpg",[],{"id":12304,"slug":12305,"title":5640,"dynasty":106,"author":454,"museum":234,"description":5641,"tags":12306,"thumbUrl":12307,"material":98,"size":5644,"collection":98,"collections":12308,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233099,"ping-ding-xi-yu-zhan-tu-ye-yi-ming-233099",[28,89,29,30,7,90,36,249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa014012fb1fa53601430eb6d4064dcb4.jpg",[],{"id":12310,"slug":12311,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":12312,"thumbUrl":12313,"material":344,"size":2869,"collection":98,"collections":12314,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233078,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233078",[24,25,354,28,29,89,30,7,90,36,91,6750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69be274f96d2cd8c48fa0e2ecc921bd8.jpg",[],{"id":12316,"slug":12317,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":12318,"thumbUrl":12319,"material":344,"size":2869,"collection":98,"collections":12320,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233076,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233076",[68,24,25,29,28,30,7,90,36,112,1153,278,149,6750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc242bcbeabe68142c71f02e235c2a13.jpg",[],{"id":12322,"slug":12323,"title":4146,"dynasty":106,"author":454,"museum":20,"description":4147,"tags":12324,"thumbUrl":12325,"material":344,"size":2869,"collection":98,"collections":12326,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},233075,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233075",[68,24,29,28,354,30,7,112,278,36,1153,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05ad88c16bba83b7e15772ab646f871.jpg",[],{"id":12328,"slug":12329,"title":12330,"dynasty":106,"author":454,"museum":84,"description":12331,"tags":12332,"thumbUrl":12333,"material":72,"size":12334,"collection":98,"collections":12335,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},232673,"xiang-yu-cong-tu-yi-ming-232673","翔玉骢图","玉骢是一个汉语词语，读音yù cōng，即玉花骢。泛指骏马。\n唐 韩翃 《少年行》：“千里斑斓喷玉骢，青丝结尾绣缠鬃。” 元 王实甫 《西厢记》第四本第三折：“柳丝长玉骢难系，恨不倩疏林挂住斜晖。” 清 赵翼 《香山夜归即事》诗：“玉骢亦解人良会，故踏花阴缓缓归。” 郑泽 《杏花》诗：“闲策玉骢游暖昼，春风红到 宋 家东。”",[68,24,25,28,29,7,222,70,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3c8b4c721bc0388f04c2e9130ae1f5.jpg","292.6x257.3厘米",[],{"id":12337,"slug":12338,"title":12339,"dynasty":106,"author":454,"museum":234,"description":7913,"tags":12340,"thumbUrl":12342,"material":96,"size":283,"collection":98,"collections":12343,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},229868,"bai-yu-ma-yi-ming-229868","白玉马",[6480,2433,7,222,967,12341],"玉雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8346bd246536dcc866aa32682a64971e.jpg",[],{"id":12345,"slug":12346,"title":12347,"dynasty":106,"author":454,"museum":234,"description":6472,"tags":12348,"thumbUrl":12349,"material":96,"size":283,"collection":98,"collections":12350,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},229653,"han-yu-shuang-ma-yi-ming-229653","汉玉双马",[6480,2433,7,222,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d25d9a31aaaf64f552c3a08af9a6d7.jpg",[],{"id":12352,"slug":12353,"title":12354,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12355,"thumbUrl":12356,"material":96,"size":283,"collection":98,"collections":12357,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227211,"dun-huang-82-yi-ming-227211","敦煌82",[68,24,25,733,721,29,30,7,1377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e77f2b51f83d01e1e6587749bbb0a72.jpg",[],{"id":12359,"slug":12360,"title":12361,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12362,"thumbUrl":12363,"material":96,"size":283,"collection":98,"collections":12364,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227206,"dun-huang-77-yi-ming-227206","敦煌77",[733,721,29,30,1381,7,222,1829,2593,1828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4059cda53cb672587fd030f3de27b50.jpg",[],{"id":12366,"slug":12367,"title":12368,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12369,"thumbUrl":12370,"material":96,"size":283,"collection":98,"collections":12371,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227183,"dun-huang-54-yi-ming-227183","敦煌54",[1377,24,29,30,31,721,3669,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5d92cb2e1411bd170491112c5e6b7c.jpg",[],{"id":12373,"slug":12374,"title":12375,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12376,"thumbUrl":12377,"material":96,"size":283,"collection":98,"collections":12378,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227182,"dun-huang-53-yi-ming-227182","敦煌53",[24,733,1377,1380,29,28,30,90,7,339,91,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ae8e7fbacee7c7c5895864d59b0fca.jpg",[],{"id":12380,"slug":12381,"title":12382,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12383,"thumbUrl":12385,"material":96,"size":283,"collection":98,"collections":12386,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227180,"dun-huang-51-yi-ming-227180","敦煌51",[1377,733,29,28,30,7,36,91,498,12384],"棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cac66906e6baf5b994cbd168607afd.jpg",[],{"id":12388,"slug":12389,"title":12390,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12391,"thumbUrl":12392,"material":96,"size":283,"collection":98,"collections":12393,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227179,"dun-huang-50-yi-ming-227179","敦煌50",[24,25,1541,1377,733,29,35,7,2591,222,30,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e0c25bb731d254761555df4d963f2b.jpg",[],{"id":12395,"slug":12396,"title":12397,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12398,"thumbUrl":12399,"material":96,"size":283,"collection":98,"collections":12400,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227178,"dun-huang-49-yi-ming-227178","敦煌49",[1377,29,237,30,7,222,721,1827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe08dc3cc1a3371e4e26968a02691df13.jpg",[],{"id":12402,"slug":12403,"title":12404,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12405,"thumbUrl":12406,"material":96,"size":283,"collection":98,"collections":12407,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227177,"dun-huang-48-yi-ming-227177","敦煌48",[1380,1377,29,28,30,7,31,90,151,6091,1153,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc47535af3fc50dcd2f06a59bb891d1.jpg",[],{"id":12409,"slug":12410,"title":12411,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12412,"thumbUrl":12415,"material":96,"size":283,"collection":98,"collections":12416,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227172,"dun-huang-43-yi-ming-227172","敦煌43",[1377,733,29,28,30,7,376,49,149,12413,12414,27],"病人","老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91cd2dad2491e2cbb7d96838bbde6dc9.jpg",[],{"id":12418,"slug":12419,"title":12420,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12421,"thumbUrl":12422,"material":96,"size":283,"collection":98,"collections":12423,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},227170,"dun-huang-41-yi-ming-227170","敦煌41",[24,25,1377,29,28,30,7,90,266,1827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcabc0662fc728c911c62306327c27462.jpg",[],{"id":12425,"slug":12426,"title":12427,"dynasty":301,"author":454,"museum":234,"description":1378,"tags":12428,"thumbUrl":12429,"material":96,"size":283,"collection":98,"collections":12430,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":512},227168,"dun-huang-39-yi-ming-227168","敦煌39",[24,733,721,27,29,30,31,7,267,1377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc373e717cc26771a5fbdae8351ed849e.jpg",[],{"id":12432,"slug":12433,"title":12434,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12435,"thumbUrl":12436,"material":3648,"size":98,"collection":98,"collections":12437,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216652,"xuan-da-shan-xi-san-zhen-tu-8-yi-ming-216652","宣大山西三镇图-8",[23,24,29,27,90,32,94,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc151786c198b62c08a97880d781da3d6.jpg",[],{"id":12439,"slug":12440,"title":12441,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12442,"thumbUrl":12443,"material":3648,"size":98,"collection":98,"collections":12444,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216648,"xuan-da-shan-xi-san-zhen-tu-10-yi-ming-216648","宣大山西三镇图-10",[23,24,29,90,27,30,32,7,94,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bdd96d24e8a9e940c4429e5a06195.jpg",[],{"id":12446,"slug":12447,"title":12448,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12449,"thumbUrl":12450,"material":3648,"size":98,"collection":98,"collections":12451,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216645,"xuan-da-shan-xi-san-zhen-tu-11-yi-ming-216645","宣大山西三镇图-11",[23,24,25,29,90,653,48,149,7,30,6040,552,27,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa79fe6499e25bb72d2e728781953366.jpg",[],{"id":12453,"slug":12454,"title":12455,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12456,"thumbUrl":12458,"material":3648,"size":98,"collection":98,"collections":12459,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216639,"xuan-da-shan-xi-san-zhen-tu-18-yi-ming-216639","宣大山西三镇图-18",[23,24,29,277,90,12457,48,7,28],"城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00011b5a40115817f0ded61e3d3fc622.jpg",[],{"id":12461,"slug":12462,"title":12463,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12464,"thumbUrl":12465,"material":3648,"size":98,"collection":98,"collections":12466,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216633,"xuan-da-shan-xi-san-zhen-tu-27-yi-ming-216633","宣大山西三镇图-27",[23,24,29,27,90,33,7,35,94,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F016b68b4cb86324a9a792b0f4455d7fa.jpg",[],{"id":12468,"slug":12469,"title":12470,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12471,"thumbUrl":12472,"material":3648,"size":98,"collection":98,"collections":12473,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216632,"xuan-da-shan-xi-san-zhen-tu-29-yi-ming-216632","宣大山西三镇图-29",[23,24,29,28,25,90,30,7,149,112,42,94,40,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d92ac0819d6ce4ab374f04b267bb721.jpg",[],{"id":12475,"slug":12476,"title":12477,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12478,"thumbUrl":12479,"material":3648,"size":98,"collection":98,"collections":12480,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216631,"xuan-da-shan-xi-san-zhen-tu-28-yi-ming-216631","宣大山西三镇图-28",[23,24,29,277,27,90,7,39,223,94,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e60970309b0bec22bb6f627d484a9e.jpg",[],{"id":12482,"slug":12483,"title":12484,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12485,"thumbUrl":12486,"material":3648,"size":98,"collection":98,"collections":12487,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216628,"xuan-da-shan-xi-san-zhen-tu-26-yi-ming-216628","宣大山西三镇图-26",[23,24,29,277,90,89,223,94,7,30,653,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecdce5a6fb4dd5ab52aff64315c7e31.jpg",[],{"id":12489,"slug":12490,"title":12491,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12492,"thumbUrl":12493,"material":3648,"size":98,"collection":98,"collections":12494,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216621,"xuan-da-shan-xi-san-zhen-tu-36-yi-ming-216621","宣大山西三镇图-36",[23,24,29,277,27,90,30,7,32,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88d9427d1fe4ba05fc1ca986cf49b262.jpg",[],{"id":12496,"slug":12497,"title":12498,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12499,"thumbUrl":12500,"material":3648,"size":98,"collection":98,"collections":12501,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216619,"xuan-da-shan-xi-san-zhen-tu-41-yi-ming-216619","宣大山西三镇图-41",[23,24,29,277,90,12055,30,7,94,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca1cfc031ea5afec562e1f1700356809.jpg",[],{"id":12503,"slug":12504,"title":12505,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12506,"thumbUrl":12507,"material":3648,"size":98,"collection":98,"collections":12508,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216617,"xuan-da-shan-xi-san-zhen-tu-42-yi-ming-216617","宣大山西三镇图-42",[23,24,29,277,28,90,523,694,146,7,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaecd3d50679642fa0b5268749daf0f1.jpg",[],{"id":12510,"slug":12511,"title":12512,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12513,"thumbUrl":12514,"material":3648,"size":98,"collection":98,"collections":12515,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216616,"xuan-da-shan-xi-san-zhen-tu-38-yi-ming-216616","宣大山西三镇图-38",[23,24,26,29,28,90,7,30,94,552,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c0026924af91e3e344879c2688c80e7.jpg",[],{"id":12517,"slug":12518,"title":12519,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12520,"thumbUrl":12521,"material":3648,"size":98,"collection":98,"collections":12522,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216613,"xuan-da-shan-xi-san-zhen-tu-48-yi-ming-216613","宣大山西三镇图-48",[23,24,25,29,277,90,523,36,30,7,48,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbcd67142725388fec644d4e133440b.jpg",[],{"id":12524,"slug":12525,"title":12526,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12527,"thumbUrl":12529,"material":3648,"size":98,"collection":98,"collections":12530,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216611,"xuan-da-shan-xi-san-zhen-tu-46-yi-ming-216611","宣大山西三镇图-46",[23,24,29,277,28,90,653,48,112,7,30,70,12528],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484544fc49ed31f7cd09426f27e9b17f.jpg",[],{"id":12532,"slug":12533,"title":12534,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12535,"thumbUrl":12538,"material":3648,"size":98,"collection":98,"collections":12539,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216609,"xuan-da-shan-xi-san-zhen-tu-43-yi-ming-216609","宣大山西三镇图-43",[23,24,29,27,90,30,7,12536,12537,278,48,112],"城防","烽火台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe582d76b833ad7a1a732fbf3dfc2bd.jpg",[],{"id":12541,"slug":12542,"title":12543,"dynasty":261,"author":454,"museum":234,"description":9761,"tags":12544,"thumbUrl":12546,"material":3648,"size":98,"collection":98,"collections":12547,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},216605,"xuan-da-shan-xi-san-zhen-tu-50-yi-ming-216605","宣大山西三镇图-50",[23,24,25,29,28,27,90,552,94,7,30,36,40,278,48,12545],"兵营","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60ab947e6351841959a4cc80a06116b4.jpg",[],{"id":12549,"slug":12550,"title":12551,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12553,"thumbUrl":12554,"material":198,"size":98,"collection":98,"collections":12555,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216588,"xuan-da-shan-xi-san-zhen-tu-58-yi-ming-216588","宣大山西三镇图-58","明万历三十一年秘阁本",[23,24,25,29,27,28,90,39,40,146,30,7,36,42,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e42c251d96908a25781a923ffb9517.jpg",[],{"id":12557,"slug":12558,"title":12559,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12560,"thumbUrl":12561,"material":198,"size":98,"collection":98,"collections":12562,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216585,"xuan-da-shan-xi-san-zhen-tu-55-yi-ming-216585","宣大山西三镇图-55",[23,24,29,90,28,523,48,7,30,7915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddce90bb189d7359c6422b90280197dc.jpg",[],{"id":12564,"slug":12565,"title":12566,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12567,"thumbUrl":12568,"material":198,"size":98,"collection":98,"collections":12569,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216584,"xuan-da-shan-xi-san-zhen-tu-61-yi-ming-216584","宣大山西三镇图-61",[23,24,25,68,29,277,90,223,1743,32,267,30,7,91,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40368b3ea7e888647b85bc024bdd6c2.jpg",[],{"id":12571,"slug":12572,"title":12573,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12574,"thumbUrl":12575,"material":198,"size":98,"collection":98,"collections":12576,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216580,"xuan-da-shan-xi-san-zhen-tu-63-yi-ming-216580","宣大山西三镇图-63",[23,24,25,29,90,7,94,149,223,552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc87952e1942798fddee310d95bc0b98a.jpg",[],{"id":12578,"slug":12579,"title":12580,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12581,"thumbUrl":12583,"material":198,"size":98,"collection":98,"collections":12584,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216579,"xuan-da-shan-xi-san-zhen-tu-60-yi-ming-216579","宣大山西三镇图-60",[23,24,25,29,27,28,523,7,149,48,39,112,1153,12582,653,1412],"堡寨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e863519d08e0188fc00a1b44da00ad.jpg",[],{"id":12586,"slug":12587,"title":12588,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12589,"thumbUrl":12590,"material":198,"size":98,"collection":98,"collections":12591,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216578,"xuan-da-shan-xi-san-zhen-tu-62-yi-ming-216578","宣大山西三镇图-62",[23,24,29,27,90,552,94,7,809,30,112,149,1153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b9bf2cb30ee2090d084ace13af939b9.jpg",[],{"id":12593,"slug":12594,"title":12595,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12596,"thumbUrl":12597,"material":198,"size":98,"collection":98,"collections":12598,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216577,"xuan-da-shan-xi-san-zhen-tu-64-yi-ming-216577","宣大山西三镇图-64",[23,24,25,29,90,32,7,30,31,91,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e438fe0b3361cb17093e79ec53379b.jpg",[],{"id":12600,"slug":12601,"title":12602,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12603,"thumbUrl":12604,"material":198,"size":98,"collection":98,"collections":12605,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216576,"xuan-da-shan-xi-san-zhen-tu-65-yi-ming-216576","宣大山西三镇图-65",[23,24,29,277,223,354,90,552,94,7,809,149,653,12528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60846477c3b3602c01395e8d8d951783.jpg",[],{"id":12607,"slug":12608,"title":12609,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12610,"thumbUrl":12611,"material":198,"size":98,"collection":98,"collections":12612,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216561,"xuan-da-shan-xi-san-zhen-tu-79-yi-ming-216561","宣大山西三镇图-79",[23,24,29,28,27,277,90,12457,48,7,30,112,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e458a5cd7d81db81ab1444446c1083c.jpg",[],{"id":12614,"slug":12615,"title":12616,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12617,"thumbUrl":12618,"material":198,"size":98,"collection":98,"collections":12619,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216558,"xuan-da-shan-xi-san-zhen-tu-81-yi-ming-216558","宣大山西三镇图-81",[23,24,25,29,90,94,7,149,266,267,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c9dddc13cd804b329e704d8bd6bf7a.jpg",[],{"id":12621,"slug":12622,"title":12623,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12624,"thumbUrl":12626,"material":198,"size":98,"collection":98,"collections":12627,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216557,"xuan-da-shan-xi-san-zhen-tu-84-yi-ming-216557","宣大山西三镇图-84",[23,24,29,90,27,523,694,48,12625,7],"城邑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c125ecd41337a3dd69fba2748bc365.jpg",[],{"id":12629,"slug":12630,"title":12631,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12632,"thumbUrl":12633,"material":198,"size":98,"collection":98,"collections":12634,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216555,"xuan-da-shan-xi-san-zhen-tu-85-yi-ming-216555","宣大山西三镇图-85",[23,24,25,29,277,90,30,7,31,32,94,278,552,36,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06e61fe34c7766e54a3faa3cba6d3a8e.jpg",[],{"id":12636,"slug":12637,"title":12638,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12639,"thumbUrl":12640,"material":198,"size":98,"collection":98,"collections":12641,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216553,"xuan-da-shan-xi-san-zhen-tu-87-yi-ming-216553","宣大山西三镇图-87",[23,24,29,27,223,90,12055,653,2464,146,39,30,7,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd58ae2789ae1129bca3a1497d32979.jpg",[],{"id":12643,"slug":12644,"title":12645,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12646,"thumbUrl":12648,"material":198,"size":98,"collection":98,"collections":12649,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216551,"xuan-da-shan-xi-san-zhen-tu-91-yi-ming-216551","宣大山西三镇图-91",[23,24,29,27,90,7,12647,4949,1153,278,552],"城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb52f71dc0e58c36803dd028cc5c2cb4.jpg",[],{"id":12651,"slug":12652,"title":12653,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12654,"thumbUrl":12655,"material":198,"size":98,"collection":98,"collections":12656,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216535,"xuan-da-shan-xi-san-zhen-tu-104-yi-ming-216535","宣大山西三镇图-104",[23,24,29,277,28,90,523,94,12055,7,809,30,266,4949],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7d7c04200741f941442d31f9ef5ce5.jpg",[],{"id":12658,"slug":12659,"title":12660,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12661,"thumbUrl":12662,"material":198,"size":98,"collection":98,"collections":12663,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216534,"xuan-da-shan-xi-san-zhen-tu-108-yi-ming-216534","宣大山西三镇图-108",[23,24,25,277,29,90,28,523,694,7,30,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c6b0ef5ea43875b11600b3247a701a.jpg",[],{"id":12665,"slug":12666,"title":12667,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12668,"thumbUrl":12669,"material":198,"size":98,"collection":98,"collections":12670,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216533,"xuan-da-shan-xi-san-zhen-tu-107-yi-ming-216533","宣大山西三镇图-107",[23,24,25,29,277,90,30,7,552,48,278,36,1153,70,27,223,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd751303c54509d0498367562e42ee8.jpg",[],{"id":12672,"slug":12673,"title":12674,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12675,"thumbUrl":12676,"material":198,"size":98,"collection":98,"collections":12677,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216529,"xuan-da-shan-xi-san-zhen-tu-112-yi-ming-216529","宣大山西三镇图-112",[23,24,29,28,90,27,523,694,7,30,149,36,48,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3934a9f2de4bd0212f416711164bf52d.jpg",[],{"id":12679,"slug":12680,"title":12681,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12682,"thumbUrl":12683,"material":198,"size":98,"collection":98,"collections":12684,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216528,"xuan-da-shan-xi-san-zhen-tu-111-yi-ming-216528","宣大山西三镇图-111",[23,24,29,90,27,223,354,523,266,35,7,39,48,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d75306fa62d608626e1cd60fdb716d4.jpg",[],{"id":12686,"slug":12687,"title":12688,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12689,"thumbUrl":12690,"material":198,"size":98,"collection":98,"collections":12691,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216526,"xuan-da-shan-xi-san-zhen-tu-115-yi-ming-216526","宣大山西三镇图-115",[23,24,25,29,28,277,90,30,7,809,112,94,12457,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ca1d28f212d5d352e4b1123162d5b.jpg",[],{"id":12693,"slug":12694,"title":12695,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12696,"thumbUrl":12697,"material":198,"size":98,"collection":98,"collections":12698,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216525,"xuan-da-shan-xi-san-zhen-tu-120-yi-ming-216525","宣大山西三镇图-120",[23,24,25,29,27,224,90,31,32,7,267,91,36,30,7915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d2e384585dc9e952efef865ec686427.jpg",[],{"id":12700,"slug":12701,"title":12702,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12703,"thumbUrl":12704,"material":198,"size":98,"collection":98,"collections":12705,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216523,"xuan-da-shan-xi-san-zhen-tu-116-yi-ming-216523","宣大山西三镇图-116",[23,24,25,27,223,1743,70,88,7,94,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e3e768a500a105a6caeb23e69ea68f.jpg",[],{"id":12707,"slug":12708,"title":12709,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12710,"thumbUrl":12711,"material":198,"size":98,"collection":98,"collections":12712,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216522,"xuan-da-shan-xi-san-zhen-tu-119-yi-ming-216522","宣大山西三镇图-119",[23,24,29,277,27,90,30,7,94,266,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8085006677b039caa1f4b7ad31ef15.jpg",[],{"id":12714,"slug":12715,"title":12716,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12717,"thumbUrl":12718,"material":198,"size":98,"collection":98,"collections":12719,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216521,"xuan-da-shan-xi-san-zhen-tu-118-yi-ming-216521","宣大山西三镇图-118",[23,7915,24,25,29,27,90,30,7,12055,48,1153,1271,91,36,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91ea779ae5a7e1c7c1e1547cd4b604c.jpg",[],{"id":12721,"slug":12722,"title":12723,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12724,"thumbUrl":12725,"material":198,"size":98,"collection":98,"collections":12726,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216520,"xuan-da-shan-xi-san-zhen-tu-121-yi-ming-216520","宣大山西三镇图-121",[23,24,25,29,277,27,223,70,90,7,30,42,4949,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a04e9755b1dc5146d780fd1c377e5b3.jpg",[],{"id":12728,"slug":12729,"title":12730,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12731,"thumbUrl":12732,"material":198,"size":98,"collection":98,"collections":12733,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216518,"xuan-da-shan-xi-san-zhen-tu-125-yi-ming-216518","宣大山西三镇图-125",[23,24,29,277,28,90,653,42,7,30,112,48,12536,89],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac853049f9261c539dad429da730e88.jpg",[],{"id":12735,"slug":12736,"title":12737,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12738,"thumbUrl":12739,"material":198,"size":98,"collection":98,"collections":12740,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216511,"xuan-da-shan-xi-san-zhen-tu-128-yi-ming-216511","宣大山西三镇图-128",[23,24,25,29,277,354,223,70,90,31,30,7,94,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c53129aa29e963ca52b6082bf3cdb2.jpg",[],{"id":12742,"slug":12743,"title":12744,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12745,"thumbUrl":12746,"material":198,"size":98,"collection":98,"collections":12747,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216509,"xuan-da-shan-xi-san-zhen-tu-131-yi-ming-216509","宣大山西三镇图-131",[23,24,29,277,27,224,70,90,30,7,94,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd89da50d50d9633683a0c4622425f131.jpg",[],{"id":12749,"slug":12750,"title":12751,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12752,"thumbUrl":12753,"material":198,"size":98,"collection":98,"collections":12754,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216507,"xuan-da-shan-xi-san-zhen-tu-134-yi-ming-216507","宣大山西三镇图-134",[23,24,29,277,27,223,90,30,7,94,12647],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf180d7d902d5fb52ebc90c49d4622cc.jpg",[],{"id":12756,"slug":12757,"title":12758,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12759,"thumbUrl":12760,"material":198,"size":98,"collection":98,"collections":12761,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216506,"xuan-da-shan-xi-san-zhen-tu-135-yi-ming-216506","宣大山西三镇图-135",[23,24,29,277,28,27,26,90,278,48,552,30,7,809,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0069999512f769c6b404c461a40e80.jpg",[],{"id":12763,"slug":12764,"title":12765,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12766,"thumbUrl":12767,"material":198,"size":98,"collection":98,"collections":12768,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216504,"xuan-da-shan-xi-san-zhen-tu-137-yi-ming-216504","宣大山西三镇图-137",[23,24,25,354,29,277,27,28,90,30,7,39,12055,48,653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aa43bb80950991e223373eb605c3940.jpg",[],{"id":12770,"slug":12771,"title":12772,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12773,"thumbUrl":12775,"material":198,"size":98,"collection":98,"collections":12776,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216498,"xuan-da-shan-xi-san-zhen-tu-142-yi-ming-216498","宣大山西三镇图-142",[23,24,25,29,27,28,223,224,90,149,7,12528,12774,42,653],"地图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9152291837cc32b5aa7d84081d7475fe.jpg",[],{"id":12778,"slug":12779,"title":12780,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12781,"thumbUrl":12782,"material":198,"size":98,"collection":98,"collections":12783,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216497,"xuan-da-shan-xi-san-zhen-tu-144-yi-ming-216497","宣大山西三镇图-144",[23,24,25,29,277,90,30,7,94,12647,266,149,278,27,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3398d806aaed95bdb081d879a678b1b2.jpg",[],{"id":12785,"slug":12786,"title":12787,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12788,"thumbUrl":12789,"material":198,"size":98,"collection":98,"collections":12790,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216496,"xuan-da-shan-xi-san-zhen-tu-143-yi-ming-216496","宣大山西三镇图-143",[23,24,277,29,90,94,7,223,70,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33cefc7c9ca5180275bfd34695f5426a.jpg",[],{"id":12792,"slug":12793,"title":12794,"dynasty":261,"author":454,"museum":234,"description":12552,"tags":12795,"thumbUrl":12796,"material":198,"size":98,"collection":98,"collections":12797,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216494,"xuan-da-shan-xi-san-zhen-tu-147-yi-ming-216494","宣大山西三镇图-147",[23,24,25,29,277,90,523,694,94,266,4949,7,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f0d3fb7925713ad0a401b5b755129d.jpg",[],{"id":12799,"slug":12800,"title":12801,"dynasty":261,"author":454,"museum":234,"description":12802,"tags":12803,"thumbUrl":12804,"material":198,"size":98,"collection":98,"collections":12805,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216492,"xuan-da-shan-xi-san-zhen-tu-154-yi-ming-216492","宣大山西三镇图-154","层叠的青绿山峦勾勒出边地地形脉络，蜿蜒驿路与隐约城墙串联起标注的堡寨，尽显边防体系的严谨布局。骑马的戍卒或信使穿梭于道路间，帐篷与聚落点染出鲜活生活气息。泛黄绢本底色上，青绿山水与赭石地貌相映成趣，古朴雅致。这幅图既承载军事舆图实用价值，又融入传统山水画意境，生动再现明代边镇地理风貌与戍守场景，是研究当时边防格局与舆图艺术的珍贵遗存。",[23,24,25,26,29,277,90,30,7,94,266,36,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf30806252a58d103aa8a28ea2e892f4.jpg",[],{"id":12807,"slug":12808,"title":12809,"dynasty":261,"author":454,"museum":234,"description":12810,"tags":12811,"thumbUrl":12812,"material":198,"size":98,"collection":98,"collections":12813,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216490,"xuan-da-shan-xi-san-zhen-tu-151-yi-ming-216490","宣大山西三镇图-151","画面左右相契，左以工整小楷详述边塞地理沿革与戍守事宜，笔锋稳健；右绘青绿山水式疆域图，层叠山峦以淡彩晕染，墨线勾连路径，城郭、烽燧、营帐等符号错落其间，虚实相映。色彩淡雅古拙，青绿设色承宋元山水遗意，线条简练却精准勾勒边塞格局。文字与图像互文，既具舆图纪实性，又含文人画雅致，于笔墨间凝缩明代边塞风貌——纪实中藏匠心，山河里见兵防，是当时边塞地理认知与视觉表达融合的鲜活见证。",[23,24,29,28,27,90,149,48,7,552,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf59c8490942cc3727b8fea2560e844.jpg",[],{"id":12815,"slug":12816,"title":12817,"dynasty":261,"author":454,"museum":234,"description":12818,"tags":12819,"thumbUrl":12820,"material":198,"size":98,"collection":98,"collections":12821,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216488,"xuan-da-shan-xi-san-zhen-tu-153-yi-ming-216488","宣大山西三镇图-153","画面以图文相契的方式铺展，左侧竖排小楷详述边镇形胜，笔意谨严；右侧青绿设色勾勒山川脉络，墨线清劲。长城如巨龙蜿蜒于峰峦间，烽燧与营堡星罗棋布，“威胡堡”的标识点明军事要冲之位。人马行迹点缀其间，似携戍守的沉凝气息。山峦以简括的青绿晕染，既具地理图籍的精准写实，又含文人画的雅致意趣。文字与图像互为表里，将边地防御格局与自然风貌融于一卷，尽显明代边镇图“实用与审美共生”的独特韵致，仿佛能窥见彼时戍边的壮阔与幽微。",[23,24,25,29,90,7,2483,523,149,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d080458de8ebb81fb87aa42811f6ad.jpg",[],{"id":12823,"slug":12824,"title":12825,"dynasty":261,"author":454,"museum":234,"description":12826,"tags":12827,"thumbUrl":12828,"material":198,"size":98,"collection":98,"collections":12829,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216487,"xuan-da-shan-xi-san-zhen-tu-156-yi-ming-216487","宣大山西三镇图-156","这幅图以图文相映的形式呈现，左侧小楷详陈地理与防御脉络，右侧青绿设色晕染山峦，线条古朴苍劲。城池关隘以方框标识，道路蜿蜒串联其间，营帐、行旅等细节点缀，生动还原边镇风貌。画面兼具军事地理的实用记录与传统舆图的艺术意趣，青绿山水的沉稳色调与简洁勾勒相得益彰，既展现明代边镇防御体系的严谨，又蕴含舆图特有的审美韵味，是研究当时边防与视觉文化的珍贵遗存。",[23,24,25,29,277,223,90,30,7,94,149,42,70,36,12457,653,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96e02a74cc0ae838f3b8ea7447a235a.jpg",[],{"id":12831,"slug":12832,"title":12833,"dynasty":261,"author":454,"museum":234,"description":12834,"tags":12835,"thumbUrl":12836,"material":198,"size":98,"collection":98,"collections":12837,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216484,"xuan-da-shan-xi-san-zhen-tu-157-yi-ming-216484","宣大山西三镇图-157","这幅图以图文交织的形式铺展边塞地理的壮阔与细节。右侧青绿晕染的山峦层叠起伏，木桥横跨云霭间，方框标注的城邑如星点缀，简劲线条精准勾勒山川形胜。左侧细密文字注记与图像互为表里，详述方位与防务布局。笔墨既有舆图的实用严谨，亦含绘事雅趣——青绿的温润、纸张的岁月肌理，让边防记录更添古朴质感。它不仅是明代边塞防务的地理密码，更以简淡生动的笔触，留存了那个时代对山河的认知与守护之心。",[23,24,25,29,28,27,90,39,278,30,7,48,42,223,12528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689cbc3d7fd0dac7c494de660478af86.jpg",[],{"id":12839,"slug":12840,"title":12841,"dynasty":261,"author":454,"museum":234,"description":12842,"tags":12843,"thumbUrl":12844,"material":198,"size":98,"collection":98,"collections":12845,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216483,"xuan-da-shan-xi-san-zhen-tu-159-yi-ming-216483","宣大山西三镇图-159","青绿晕染的峰峦如黛，错落间一方“四海冶”城堡静立，山道上人马辚辚，帐篷与驼马相映，似见边地戍守与往来的鲜活场景。左侧题跋以工整墨字铺陈，图文交织间，勾勒出宣大山西一带的地理形胜与防务细节。画风古朴雅致，山水勾勒简练却层次分明，人物车马的描绘虽小却生动传神。这幅图籍既承载着军事地理的实用信息，又蕴含着绘画的审美意趣，图文并茂的形式尽显明代边防图籍的独特风貌，悄然传递出彼时边地的地理格局与戍边生活的点滴气息。",[23,24,25,29,277,27,354,223,90,30,7,94,266,4949,552,278,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8617c0c4184785e3bd87487afe1db5.jpg",[],{"id":12847,"slug":12848,"title":12849,"dynasty":261,"author":454,"museum":234,"description":12850,"tags":12851,"thumbUrl":12852,"material":198,"size":98,"collection":98,"collections":12853,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216481,"xuan-da-shan-xi-san-zhen-tu-163-yi-ming-216481","宣大山西三镇图-163","画面分左右两帧，左帧蝇头小楷详述边镇防务，笔致端谨；右帧绘层峦叠嶂，青绿设色晕染出山川苍莽肌理，“耿相堡”以粉框蓝边醒目标出。蜿蜒驿路穿梭峰岭间，偶见人马行迹，似暗合文字中戍守场景。图文相契，既承舆图的实用精准，又蕴山水画的悠远意境，将边塞地理与军事防御融于一纸，尽显古代边镇图籍的独特韵味与历史厚重感。",[23,24,29,277,90,30,7,149,223,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8461f05a42813c5548def8fb81ed830b.jpg",[],{"id":12855,"slug":12856,"title":12857,"dynasty":261,"author":454,"museum":234,"description":12858,"tags":12859,"thumbUrl":12860,"material":198,"size":98,"collection":98,"collections":12861,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216480,"xuan-da-shan-xi-san-zhen-tu-164-yi-ming-216480","宣大山西三镇图-164","绢本的古雅肌理中，墨笔蝇头小字细密铺陈，似在低语边地的地理脉络与戍守旧事。右侧青绿山峦层叠有致，墨线勾出的驿道如丝带蜿蜒，串起方正城邑与鲜活的人马剪影。山峦晕染带着传统山水的写意韵致，驿道曲折藏着边地迢遥，人马点染虽简却生动，城邑标识透出军事舆图的严谨。文字与图像交织，实用与艺术相融，笔墨间凝着明代边镇的风烟，方寸间窥见当时边塞的地理布局与历史气息，尽显古舆图的独特魅力。",[23,24,29,277,90,94,7,12528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f5df90aa873b23c9ccb677a6e6b775.jpg",[],{"id":12863,"slug":12864,"title":12865,"dynasty":261,"author":454,"museum":234,"description":12866,"tags":12867,"thumbUrl":12868,"material":198,"size":98,"collection":98,"collections":12869,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216478,"xuan-da-shan-xi-san-zhen-tu-160-yi-ming-216478","宣大山西三镇图-160","青绿晕染的山峦层叠错落，勾勒出边关的山河形胜。蜿蜒的道路穿梭其间，串联起“平虏城”“威远城”等城塞据点，暗合宣大山西三镇的边防格局。左上角的牧群与毡帐，点染出边地的生活气息，与军事标注相映成趣。画面既承载舆图的实用信息，又以传统山水画的笔墨意趣营造意境，线条工细，设色古朴雅致。于写实的地理脉络中，藏着明代边镇的军事智慧与人文风情，是军事舆图与艺术创作融合的典型之作，尽显那个时代的独特风貌。",[23,24,26,29,277,90,7,30,94,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb862fc7e1cbb39578a77bba75eaf4320.jpg",[],{"id":12871,"slug":12872,"title":12873,"dynasty":261,"author":454,"museum":234,"description":12874,"tags":12875,"thumbUrl":12876,"material":198,"size":98,"collection":98,"collections":12877,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216477,"xuan-da-shan-xi-san-zhen-tu-165-yi-ming-216477","宣大山西三镇图-165","墨笔题跋与青绿山水相映成趣，左文详述边镇形胜与防务，右画勾勒山峦驿路之态。淡彩晕染的峰峦间，驿道蜿蜒如带，骑马者行色匆匆，似传军情；“阻胡堡”的标注醒目，点出戍守要冲。文字纪实与图像写意交融，既具舆图的精准，又含绘事的生动。线条简练却见筋骨，色彩清雅而富层次，将明代边塞的地理格局与军事氛围凝于尺幅，是边塞文化与艺术结合的缩影，藏着历史烽烟里的边地脉动。",[23,24,25,29,90,523,94,7,32,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cff2654ddf8322200d957b6fb679f0.jpg",[],{"id":12879,"slug":12880,"title":12881,"dynasty":261,"author":454,"museum":234,"description":12882,"tags":12883,"thumbUrl":12884,"material":198,"size":98,"collection":98,"collections":12885,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216476,"xuan-da-shan-xi-san-zhen-tu-166-yi-ming-216476","宣大山西三镇图-166","长城如龙蛇蜿蜒横亘，青绿山峦层叠起伏，环抱出一方地理格局。城邑以方框醒目标注，与交错路径相连，清晰勾勒区域脉络。山间点缀营帐与人物，或骑行或驻留，似有往来之态，为沉静舆图添了几分烟火气。设色古朴雅致，线条简练却精准，既保留舆图实用信息，又藏传统绘画审美意趣，尽显明代舆图兼具实用与艺术的独特风貌。",[23,24,29,277,28,90,12647,653,48,7,112,36,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da810634c7f4dfd53e089be7eb1778a.jpg",[],{"id":12887,"slug":12888,"title":12889,"dynasty":261,"author":454,"museum":234,"description":12890,"tags":12891,"thumbUrl":12892,"material":198,"size":98,"collection":98,"collections":12893,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216450,"xuan-da-shan-xi-san-zhen-tu-194-yi-ming-216450","宣大山西三镇图-194","画面左侧满布细密注记，详载山川里程、隘口险夷，尽显军事舆图的实用内核；右侧以写意笔触勾勒青黛山峦，城池、营帐与人物错落其间，虽非精准测绘，却生动铺陈边镇地理脉络与戍守氛围。笔墨简练却意涵丰沛，兼具舆图纪实性与传统山水画气韵，是明代边防舆图的典型范本，静静承载着彼时边镇的战略图景与戍卫日常，让观者得以窥见那段烽火与守望交织的边地岁月。",[23,24,25,26,29,277,90,30,7,112,94,266,223,1743],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7260419eb02b29b07522502ab8cec80.jpg",[],{"id":12895,"slug":12896,"title":12897,"dynasty":261,"author":454,"museum":234,"description":12898,"tags":12899,"thumbUrl":12901,"material":198,"size":98,"collection":98,"collections":12902,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216448,"xuan-da-shan-xi-san-zhen-tu-190-yi-ming-216448","宣大山西三镇图-190","这幅舆图以传统山水绘法铺展边疆图景，山峦用青绿晕染，勾勒出起伏的地理骨架；城池关隘以方框标注，道路蜿蜒其间，清晰呈现边防节点的布局。画面将军事信息与自然地貌相融，既保留了舆图的实用参考性，又兼具绘画的艺术韵致。古朴的设色与简练的线条，传递出明代边疆防御的战略思路，每个标注的城邑都似静默的哨卡，诉说着当时三镇边防的严密与重要性。它是军事舆图与传统绘画结合的范例，于山水间见兵防，于古卷中窥历史，尽显那个时代对边疆治理的重视与舆图创作的独特风貌。",[23,24,29,27,28,90,12457,39,7,278,42,552,48,12900,6749,1561,653],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edeb88f61867148d34a99f59519fd2e.jpg",[],{"id":12904,"slug":12905,"title":12906,"dynasty":261,"author":454,"museum":234,"description":12907,"tags":12908,"thumbUrl":12909,"material":198,"size":98,"collection":98,"collections":12910,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216445,"xuan-da-shan-xi-san-zhen-tu-195-yi-ming-216445","宣大山西三镇图-195","画面左右分呈，左页墨书详陈边地沿革，右页丹青绘就山河布防。青绿晕染的山峦层叠起伏，河道蜿蜒间“河会堡”标识醒目，凸显其军事枢纽地位。远处骑兵队伍旌旗微动，似携戍守的肃杀之气。图文相契，既载地理形胜之实，又传边镇防御之重。笔墨简括却生动，设色古雅而沉稳，于一纸间凝萃明代边地的战略格局与舆图艺术的独特韵味，足见当时舆图绘制的匠心与纪实精神。",[23,24,25,29,277,90,7,42,91,149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ec92543cf3f1a0ca002647ae02f502.jpg",[],{"id":12912,"slug":12913,"title":12914,"dynasty":261,"author":454,"museum":234,"description":12915,"tags":12916,"thumbUrl":12917,"material":198,"size":98,"collection":98,"collections":12918,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216444,"xuan-da-shan-xi-san-zhen-tu-198-yi-ming-216444","宣大山西三镇图-198","这幅图以青绿晕染山峦，线条勾勒城垣关隘，将军事地理与传统画意融于一纸。画面中星罗棋布的标注串联起纵横驿路，再现明边镇防御体系的格局。上部人马队列似戍守巡行之态，添了几分生动。它既是研究明代北边防务的珍贵文献，亦以雅致笔墨展现古代舆图特质——实用与审美在此悄然共生，于方寸间铺展边塞的雄浑与筹防的细密。",[23,24,29,277,28,27,90,552,30,7,48,12900,6749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886be1efd0627d4460b3e35efe6cb2b.jpg",[],{"id":12920,"slug":12921,"title":12922,"dynasty":261,"author":454,"museum":234,"description":12923,"tags":12924,"thumbUrl":12925,"material":198,"size":98,"collection":98,"collections":12926,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216443,"xuan-da-shan-xi-san-zhen-tu-197-yi-ming-216443","宣大山西三镇图-197","画面分左右两帧，右帧以青绿设色绘边镇图景：层峦叠嶂环伺，核心城池与周遭营垒、道路错落有致，简练线条勾勒出军事要地的布局肌理；左帧墨笔书就的文字，详述地理形胜与布防策略，文图互证，尽显边镇防务的严谨考量。整幅作品以细腻笔触与详实记载，再现了特定历史时期边镇的军事与地理风貌，既是研究当时边防体系的珍贵视觉文献，也流露着古人对疆土防务的深谋远虑，于无声处传递出历史的厚重与边防智慧的沉淀。",[23,24,29,90,552,149,7,30,48,653,42,112,1153,224,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F907642b2c88a70f676c70dd029086bec.jpg",[],{"id":12928,"slug":12929,"title":12930,"dynasty":261,"author":454,"museum":234,"description":12931,"tags":12932,"thumbUrl":12933,"material":198,"size":98,"collection":98,"collections":12934,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216441,"xuan-da-shan-xi-san-zhen-tu-202-yi-ming-216441","宣大山西三镇图-202","青绿设色晕染层叠峰峦，关隘壁垒与城防工事错落其间，蒙古包、巡骑点缀，鲜活还原北疆戍守图景。左侧题跋详述防务细节：城墙规制、粮饷转运、屯田事宜，文字与舆图互证，既藏军事档案的严谨，又含传统绘画的雅致韵致。线条简练却精准勾勒地理脉络，色彩古朴温润，于壮阔边疆景致里，暗蕴戍边战略智慧。作品融实用与审美于一体，是兼具文献价值与艺术魅力的珍贵遗存，尽显传统舆图的独特韵味与历史厚重感。",[23,24,25,29,277,27,28,90,523,12647,40,112,7,149,6749],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd251369110476e168d43f27799191c4a.jpg",[],{"id":12936,"slug":12937,"title":12938,"dynasty":261,"author":454,"museum":234,"description":12939,"tags":12940,"thumbUrl":12941,"material":198,"size":98,"collection":98,"collections":12942,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216437,"xuan-da-shan-xi-san-zhen-tu-204-yi-ming-216437","宣大山西三镇图-204","画面左卷以墨笔详述边镇地理防务，文字古朴凝重，记录山川险易、驻军分布与粮秣供给，尽显戍守之艰。右卷青绿设色绘山川形胜，峰峦叠翠间驿路蜿蜒，营垒烽燧错落，核心城垣标注清晰，兼具军事地图实用与山水画雅致。画风古朴沉郁，线条简练却精准勾勒边防格局，色彩淡雅中透出边塞苍凉肃穆，既是明代边防战略的直观呈现，也暗含对戍边将士的深切致意，笔墨间藏历史厚重。",[23,24,29,277,90,653,48,112,7,149,223],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222b3cefb1accefa41ac9afa3fc5e583.jpg",[],{"id":12944,"slug":12945,"title":12946,"dynasty":261,"author":454,"museum":234,"description":12947,"tags":12948,"thumbUrl":12949,"material":198,"size":98,"collection":98,"collections":12950,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216436,"xuan-da-shan-xi-san-zhen-tu-205-yi-ming-216436","宣大山西三镇图-205","这幅舆图以青绿设色晕染层叠峰峦，笔墨古朴雅致。画面中央标注“偏头关城”，周围营帐星罗棋布，山道间人马行迹隐约，生动呈现边关防御布局与地理态势。左侧蝇头小楷详述地理沿革与军事要事，图文互证，兼具纪实性与叙事性。它既展现明代北部军事防御体系，又体现“图史结合”的绘制特色，笔墨间承载边塞战略记忆，是研究明代边防的珍贵视觉文献，静静诉说着往昔边关的风云岁月。",[23,24,29,28,277,90,30,7,112,552,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98e6dff600915b39dfe6e4693e12584c.jpg",[],{"id":12952,"slug":12953,"title":12954,"dynasty":261,"author":454,"museum":234,"description":12955,"tags":12956,"thumbUrl":12957,"material":198,"size":98,"collection":98,"collections":12958,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216433,"xuan-da-shan-xi-san-zhen-tu-206-yi-ming-216433","宣大山西三镇图-206","画面分左右两帧，左帧墨笔小楷细密如织，详述边塞地理沿革与戍防旧事，笔致端谨；右帧以青蓝晕染峰峦，赭石勾勒路径，将层叠山川、蜿蜒道路、营垒烽燧与“得胜堡”城垣一一铺展。峰峦间营帐错落，人马往来，或驰或驻，炊烟袅袅隐现于林麓，既显边塞的雄浑苍凉，又藏生活的细腻温情。图文相映成趣，既为实用的舆图纪实，亦属饱含历史温度的艺术佳作，于古朴纸页间，再现往昔边塞的风云激荡与日常烟火。",[23,24,25,29,277,90,30,7,112,48,27,354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2311f6ff987a9524ea524b24297faea.jpg",[],{"id":12960,"slug":12961,"title":12962,"dynasty":261,"author":454,"museum":234,"description":12963,"tags":12964,"thumbUrl":12965,"material":198,"size":98,"collection":98,"collections":12966,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216426,"xuan-da-shan-xi-san-zhen-tu-217-yi-ming-216426","宣大山西三镇图-217","画面图文并置，左页墨书古朴，详述边塞地理与防务脉络；右图以青绿设色晕染山峦，层叠错落间尽显雄浑气象。道路如蜿蜒丝带，串联起醒目的“右卫城”与星散的烽燧，驼马队伍点缀其间，似闻丝路驼铃与戍边号角隐隐交织。山石用简洁线条勾勒，青绿深浅相宜，既还原了边塞地貌的壮阔，又暗含文人画的雅致意趣。图文相契处，不仅是实用的舆图档案，更凝萃着明代边塞的历史温度——戍守的坚毅、往来的烟火，皆在笔墨间静静流淌，尽显那段岁月里边塞大地的壮阔与鲜活。",[23,24,29,277,28,90,94,7,223,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bece2a89fa5cc5cec32825175f713a0.jpg",[],{"id":12968,"slug":12969,"title":12970,"dynasty":261,"author":454,"museum":234,"description":12971,"tags":12972,"thumbUrl":12973,"material":198,"size":98,"collection":98,"collections":12974,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216425,"xuan-da-shan-xi-san-zhen-tu-219-yi-ming-216425","宣大山西三镇图-219","这幅图将舆图纪实与山水意趣相融。右侧以青绿晕染山峦，层叠间见丘壑之致，线条简练却勾勒出地形肌理；城邑标注清晰，周边防线与零星人马活动，生动再现边防态势。左侧题跋以工整笔墨详述地理沿革与军事布局，图文互证，兼具实用价值与文献意义。整体画风古朴雅致，墨色与青绿相映成趣，既恪守舆图的纪实性，又暗合传统山水画的意境营造，是窥见明代边防格局与古舆图艺术特质的珍贵载体。",[23,24,25,26,29,90,30,7,278,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aed27399c1e83e6404f620ac32fc449.jpg",[],{"id":12976,"slug":12977,"title":12978,"dynasty":261,"author":454,"museum":234,"description":12979,"tags":12980,"thumbUrl":12981,"material":198,"size":98,"collection":98,"collections":12982,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},216423,"xuan-da-shan-xi-san-zhen-tu-216-yi-ming-216423","宣大山西三镇图-216","青绿染就的峰峦如翠屏列峙，皴擦间显地形险厄。蜿蜒道路穿梭山谷，桥梁横架溪涧，关隘标注点睛，暗合军事防御的缜密布局。左侧蝇头小楷详述地理沿革与戍守要略，图文相契，既是实用边镇舆图，又具文人画雅致韵致。线条古朴简练，设色清雅沉静，边塞雄浑与绘图精细融于一纸，尽显明代舆图实用与审美兼备之妙，于笔墨间藏边地防务的深谋远虑。",[23,24,25,29,277,90,30,7,32,33,91,36,48,70,224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c00de953b33f00d92dab7e51ce0213.jpg",[],{"id":12984,"slug":12985,"title":12986,"dynasty":106,"author":454,"museum":234,"description":12987,"tags":12988,"thumbUrl":12989,"material":391,"size":98,"collection":98,"collections":12990,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},215597,"tian-xia-ming-shan-tu-28-yi-ming-215597","天下名山图-28","画面以清劲线条勾勒山水神韵，层峦叠嶂如黛染屏，皴擦间见石骨嶙峋。左侧峰麓，几椽屋宇隐于苍松翠柏，石阶蜿蜒入林，似藏烟霞逸趣。右侧平畴开阔，溪流如练，三五行人策蹇徐行，衣袂轻扬间添几分人间烟火。远近林木疏密有致，或挺拔如盖，或虬曲含姿，与山势相映成趣。整幅图于简淡中见深远，既有山川雄秀，又含隐逸清寂，更兼市井鲜活，尽展名山灵韵与人文之味。",[24,25,354,237,90,523,376,32,33,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a3a6bd166d4db149c98e1e329f9b8e9.jpg",[],{"id":12992,"slug":12993,"title":12994,"dynasty":106,"author":454,"museum":234,"description":12995,"tags":12996,"thumbUrl":12997,"material":391,"size":98,"collection":98,"collections":12998,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":171},215571,"tian-xia-ming-shan-tu-53-yi-ming-215571","天下名山图-53","层岩叠嶂间，林木扶疏，溪流蜿蜒穿绕。数匹骏马散落其间：或悠然伫立溪畔，或扬蹄欲驰坡前，动静相谐，生气盎然。近岸水纹细腻，远岫轮廓简练，山石皴法与树木枝桠交错，尽显自然野趣。线条勾勒见功底，墨色淡而层次明，将山野牧歌景致铺展得淋漓尽致。既见山林幽寂，亦闻骏马嘶鸣，一派天人相融的野逸氛围，仿佛能嗅到草木清香，感受到风过林梢的轻响，沉醉于这方自在天地。",[24,25,354,237,90,7,36,91,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1df2e88fcffac04e86a7b212f9ba41.jpg",[],{"id":13000,"slug":13001,"title":13002,"dynasty":106,"author":454,"museum":234,"description":13003,"tags":13004,"thumbUrl":13005,"material":182,"size":98,"collection":98,"collections":13006,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":59},215124,"er-shi-si-xiao-tu-ce-15-yi-ming-215124","二十四孝图册-15","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,24,25,354,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7905d40f07d098031e482e924bdb1a7.jpg",[],{"id":13008,"slug":13009,"title":13010,"dynasty":106,"author":13011,"museum":518,"description":13012,"tags":13013,"thumbUrl":13019,"material":98,"size":98,"collection":98,"collections":13020,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":13021},202228,"qiu-shan-xing-lv-tu-zhou-wu-qing-yun-202228","秋山行旅图轴","吴庆云","秋山逶迤，云雾氤氲间，行旅者策马穿行于山间古道，蹄声似隐若现。崖边亭阁嵌于丹枫与枯树交错处，溪畔茅舍内有人凭栏远眺，溪流婉转，红叶点染秋光。笔墨以皴法写山石之峻厚，水墨晕染云雾之轻盈，淡彩敷陈秋意之浓，动静相生间，尽显秋山行旅的幽远清寂与生活意趣。",[90,88,29,89,7,266,94,114,630,1217,1197,536,13014,13015,13016,13017,13018],"茅舍","丹枫","行旅者","山间小径","淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17cb812743982270e7f5700cf22276f7.jpg",[],"a8a092",{"id":13023,"slug":13024,"title":13025,"dynasty":106,"author":13026,"museum":518,"description":13027,"tags":13028,"thumbUrl":13029,"material":98,"size":98,"collection":98,"collections":13030,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":13031},202000,"shan-shui-tu-zhou-zhou-quan-202000","山水图轴","周荃","寒林疏枝错落，枯藤缠绕老树虬干，枝桠间群鸟振翅掠过，翅影点染空寂。近景处，策马路过的旅人身影悠然，似与树下隐者遥相呼应，添了几分尘世温度。远景山峦层叠，皴法勾勒岩石肌理，山间亭台在淡墨晕染中隐现，如藏着文人的悠远情思。整幅以水墨写意，笔意简淡却意境深幽，枯寂中藏生机，尽显清雅风骨。",[88,90,389,388,267,7,89,87,10821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3cf0f7980f11fcca022606371b1181.jpg",[],"ad906a",{"id":13033,"slug":13034,"title":13035,"dynasty":261,"author":13036,"museum":518,"description":13037,"tags":13038,"thumbUrl":13039,"material":98,"size":98,"collection":98,"collections":13040,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":13041},201618,"xue-zhan-xing-lv-tu-zhou-cao-xi-201618","雪栈行旅图轴","曹羲","寒冬雪覆群山，峰峦似裹银装，枯木虬枝凝霜挂雪，山道蜿蜒隐于琼瑶间。旅人策骑缓行，衣袂带暖，马蹄踏破静谧，为冷峭景致添几分生气。笔墨技法上，以留白衬积雪之厚，淡墨染山峦之幽，线条勾勒山石轮廓，皴法表现岩骨肌理。人物动态鲜活，马匹神态宛然，于清冷雪景中藏行旅意趣，尽显传统山水之雅致韵致。",[24,90,88,29,30,7,94,904,89,4099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0380112196f6d5d68f56285056797b6.jpg",[],"c1bbb4",{"id":13043,"slug":13044,"title":13045,"dynasty":261,"author":13046,"museum":518,"description":13047,"tags":13048,"thumbUrl":13049,"material":98,"size":98,"collection":75,"collections":13050,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":13051},201596,"lin-song-ren-ren-ma-tu-juan-wen-cong-jian-201596","临宋人人马图卷","文从简","这幅临作取法宋人，既葆有写实工致的传统，又融入文人画的雅逸气质。人物着红衣立岸，衣纹线条流畅婉转，设色清丽；马匹或静立或卧饮，造型精准，鬃毛蹄足勾勒细腻，神态鲜活。背景树石以皴染结合，枝叶婆娑有致，水面留白映出清旷之境。笔墨间兼具细腻描摹与洒脱意趣，虽为临摹却暗含作者对宋画精髓的体悟，尽显人马相依的闲逸氛围，传递出古典画韵中的悠然情致。",[24,25,26,69,30,7,28,89,29,130,376,224,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728f69b3fe8b3702dd685e79d0d3d319.jpg",[75],"e1cfb8",{"id":13053,"slug":13054,"title":13055,"dynasty":106,"author":1992,"museum":518,"description":13056,"tags":13057,"thumbUrl":13058,"material":98,"size":98,"collection":137,"collections":13059,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":13060},201288,"qiu-pu-bing-pei-tu-zhou-hua-yan-201288","秋浦并辔图轴","秋浦清浅，两岸坡石错落，枯树虬枝斜出，点染萧瑟秋意。二人并辔徐行，红衫者策白马，白衣人跨黑马，衣袂轻扬间尽显闲适。远山以淡墨晕染，云雾缭绕似隐似现；近景山石皴擦有致，树木枝干苍劲。人物勾勒简练传神，马匹动态鲜活，兼工带写的笔触融合写意洒脱与工笔细腻，营造出清旷悠远的意境，恍若友人同行、闲话秋光的悠然之趣。",[24,87,29,28,89,30,7,90,630,130,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d12fb06b6333bdabe5374554608e7.jpg",[137],"d2c6b0",{"id":13062,"slug":13063,"title":13064,"dynasty":106,"author":13065,"museum":518,"description":13066,"tags":13067,"thumbUrl":13068,"material":98,"size":98,"collection":137,"collections":13069,"showCount":58,"zanCount":58,"manualWeight":58,"mainColor":13070},201238,"xue-man-shan-cun-tu-zhou-wang-yun-201238","雪满山村图轴","王云","雪覆峰峦如素裹，枯木枝桠戟指寒空。山间屋舍错落，隐于雪影林隙；小桥横架溪涧，行人策马路过，步履间携来淡淡烟火。笔墨以皴擦勾勒山石肌理，淡墨晕染积雪，虚实相生中，冬日山村的清冷静谧与生活气息悄然交融。简劲的线条裹着寒意，却在屋舍与行人处藏了温软，尽显雪天山林的幽远之趣与生机暗涌。",[24,90,89,32,7,630,87,1142,5396,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dee6d64bdfe12583c826b300dfa9e1e.jpg",[137],"74643b",1777535695494]