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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,25,26,7,27,28,29,30,31,32],"高清","国画","工笔","设色","鹤","狗","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米","人物画精选",[36,38],"设色画精选",15398,116,0,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":57,"material":58,"size":59,"collection":36,"collections":60,"showCount":61,"zanCount":62,"manualWeight":41,"mainColor":63},216930,"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[23,24,52,53,25,26,54,7,30,55,56],"名画","长卷","人物","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","绢本,设色","27.9x69",[36],6027,25,"BDBDBD",{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":70,"description":71,"tags":72,"thumbUrl":79,"material":58,"size":80,"collection":36,"collections":81,"showCount":82,"zanCount":83,"manualWeight":41,"mainColor":42},214875,"gui-fei-chu-yu-tu-gu-jian-long-214875","贵妃出浴图","清","顾见龙","美国克利夫兰艺术博物馆","该图描绘了杨贵妃沐浴的情景，她赤身裸体，身披绣花红纱，身体半遮半掩，有古画人体的失落感，腿长，三寸金莲。戒指上有湖泊、石头和竹子以及红色的窗帘等奢侈的装饰，表示皇室和财富。画笔和颜料很重但不浑浊，金泥的中间轮廓很独特。",[23,52,24,73,74,25,26,54,7,75,76,77,30,78],"书画","立轴","竹","荷","器","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39bc5a717a934b272fce5bd0a4f3c219.jpg","96.5x44.1",[36],5763,38,{"id":85,"slug":86,"title":87,"dynasty":88,"author":89,"museum":49,"description":90,"tags":91,"thumbUrl":102,"material":103,"size":104,"collection":105,"collections":106,"showCount":107,"zanCount":108,"manualWeight":41,"mainColor":63},228451,"han-gong-chun-xiao-tu-quan-juan-chou-ying-228451","汉宫春晓图全卷","明","仇英","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,73,53,25,26,92,54,7,93,94,95,96,97,98,99,100,101],"界画","楼阁","庭院","树木","山石","花鸟","孔雀","栏杆","屏风","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd722d077e75673c4e2d4185ed0fe78d.jpg","绢","纵30.6cm，横574.1cm","",[],4769,63,{"id":110,"slug":111,"title":112,"dynasty":113,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":129,"material":105,"size":105,"collection":105,"collections":130,"showCount":131,"zanCount":132,"manualWeight":41,"mainColor":42},238127,"luo-shen-fu-tu-juan-song-mo-gu-kai-zhi-238127","洛神赋图卷（宋摹）","晋","顾恺之","藏地不详","此作以辞赋为魂，以丹青为骨，将人神相恋的缱绻与别离的怅惋缓缓铺展。以山石林木为天然段落，串联起相遇、慕恋、惜别全程。\n笔下洛神衣袂翩跹，凌波顾盼间尽是柔婉仙姿，曹植凝睇神伤，将求而不得的怅惘藏于眉目。线条如春蚕吐丝，清劲连绵；设色古雅沉静，晕染细腻雅致，虽经摹写，仍留存晋人飘逸高古的气韵，把辞赋里的浪漫诗意落于绢素，让纸上风月跨越岁月，将这段人神殊途的遗憾永远定格。",[24,73,53,118,25,119,26,120,121,122,54,7,123,124,125,126,127,128],"临摹","白描","印章","书法","行书","孤舟","山水","流水","老树","亭","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc559154b02942ebb93772f3f28818bda.jpg",[],3737,24,{"id":134,"slug":135,"title":136,"dynasty":137,"author":138,"museum":139,"description":140,"tags":141,"thumbUrl":142,"material":143,"size":144,"collection":145,"collections":146,"showCount":147,"zanCount":148,"manualWeight":41,"mainColor":42},221330,"mo-zhang-xuan-dao-lian-tu-zhao-ji-221330","摹张萱捣练图","宋","赵佶","美国波士顿博物馆","卷中绘唐装仕女、女仆、女童十二人，依次为捣练、圈线、缝衣、熨练的情景。人物姿态雍容，线描挺劲，赋色浓丽。画中无款识，前隔水细花黄绫上有金章宗完颜璟仿徽宗瘦金体书题「天水摹张萱捣练图」。\n卷后有明初张绅、清高士奇、近人罗文彬题跋。画卷上分钤金章宗明昌七玺，清高士奇、金望乔等鉴藏印。《江村书画目》《大观录》《墨缘汇观续录》著录。\n「天水」为赵氏郡望，历来将此作系于宋徽宗赵佶名下，但丛用笔赋色的细腻精巧等特征来看，应出自宣和画院画家之手，不是徽宗亲笔。此图虽系摹本，但结合传世的如《挥扇仕女图》等唐人作品考察，可推知应为比较忠实的摹古之作，保留了十分珍贵的唐代绘画资料。特别是在张萱原作不存的情况下，我们据此可以探究张萱的绘画风貌。",[23,24,73,53,25,26,54,7,118,32,30,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ccfee95d303f5ca82b607f6c92ef6.jpg","扇面画","纵：37厘米，横：145.3厘米","宋画精选",[145,36,38],2907,23,{"id":150,"slug":151,"title":152,"dynasty":137,"author":153,"museum":154,"description":155,"tags":156,"thumbUrl":157,"material":158,"size":159,"collection":105,"collections":160,"showCount":161,"zanCount":162,"manualWeight":41,"mainColor":42},232933,"han-xi-zai-ye-yan-tu-juan-song-mo-ben-song-gong-ting-hua-jia-232933","韩熙载夜宴图卷(宋摹本)","宋宫廷画家","北京故宫博物院","原作为南唐画家顾闳中的绘画作品。此卷据各方面考证，当属南宋孝宗至宁宗朝（1163—1224年）摹本，其风格基本反映出原作面貌，且达到相当高水平，堪称流传有绪的古代绘画珍品。\n作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[52,24,73,53,118,25,26,54,7,55,56,30,120,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","绢本，设色","纵28.7厘米，横335.5厘米。",[],2675,16,{"id":164,"slug":165,"title":166,"dynasty":68,"author":167,"museum":168,"description":169,"tags":170,"thumbUrl":173,"material":58,"size":174,"collection":36,"collections":175,"showCount":176,"zanCount":177,"manualWeight":41,"mainColor":42},219988,"chun-gui-juan-du-tu-leng-mei-219988","春闺倦读图","冷枚","天津博物馆","美人卷珠帘，深坐颦蛾眉。《春闺倦读图》图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。",[23,24,73,25,26,7,28,171,77,30,172],"牡丹","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182d912c8259e91009a6158bea4db358.jpg","80*50",[36],2317,20,{"id":179,"slug":180,"title":181,"dynasty":137,"author":153,"museum":115,"description":155,"tags":182,"thumbUrl":188,"material":105,"size":105,"collection":105,"collections":189,"showCount":190,"zanCount":191,"manualWeight":41,"mainColor":42},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)",[23,118,25,26,53,121,120,54,7,183,55,56,184,100,185,30,186,187],"文人","床榻","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,14,{"id":193,"slug":194,"title":195,"dynasty":137,"author":196,"museum":154,"description":197,"tags":198,"thumbUrl":200,"material":58,"size":201,"collection":145,"collections":202,"showCount":203,"zanCount":204,"manualWeight":41,"mainColor":63},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","佚名","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,73,53,118,119,26,25,121,122,199,120,54,7,124,123,93,125,95],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[145],1270,10,{"id":206,"slug":207,"title":208,"dynasty":18,"author":19,"museum":154,"description":209,"tags":210,"thumbUrl":212,"material":213,"size":214,"collection":105,"collections":215,"showCount":216,"zanCount":217,"manualWeight":41,"mainColor":42},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,24,73,53,25,26,54,211,7,120,30,77],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 ，设色","纵33.7cm，横204.8cm",[],1203,11,{"id":219,"slug":220,"title":221,"dynasty":88,"author":89,"museum":49,"description":222,"tags":223,"thumbUrl":226,"material":58,"size":104,"collection":36,"collections":227,"showCount":228,"zanCount":229,"manualWeight":41,"mainColor":63},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,73,53,25,26,92,54,7,93,78,128,95,224,99,225,100],"花卉","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[36],977,17,{"id":231,"slug":232,"title":233,"dynasty":68,"author":234,"museum":235,"description":236,"tags":237,"thumbUrl":240,"material":241,"size":242,"collection":243,"collections":244,"showCount":245,"zanCount":11,"manualWeight":41,"mainColor":63},223230,"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","任颐","浙江省博物馆","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。",[23,24,26,54,7,238,211,239,73],"梅","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","纸本设色","103 1cmx36 6cm","花鸟画精选",[243,38],967,{"id":247,"slug":248,"title":249,"dynasty":113,"author":114,"museum":154,"description":250,"tags":251,"thumbUrl":252,"material":253,"size":254,"collection":36,"collections":255,"showCount":256,"zanCount":257,"manualWeight":41,"mainColor":42},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,24,53,119,26,25,54,7,30,121,120,75,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[36,38],944,15,{"id":259,"slug":260,"title":261,"dynasty":88,"author":262,"museum":263,"description":264,"tags":265,"thumbUrl":268,"material":58,"size":269,"collection":36,"collections":270,"showCount":271,"zanCount":229,"manualWeight":41,"mainColor":42},219525,"ren-mian-tao-hua-tu-zhang-ji-219525","人面桃花图","张纪","大英博物馆","去年今日此门中，人面桃花相映红。人面不知何处去，桃花依旧笑春风。",[23,24,25,26,74,7,266,267],"桃花","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ac97b44166d40664c733d6a911025b.jpg","纵101.2横49.7厘米",[36,38],926,{"id":273,"slug":274,"title":275,"dynasty":68,"author":276,"museum":277,"description":278,"tags":279,"thumbUrl":281,"material":282,"size":105,"collection":36,"collections":283,"showCount":284,"zanCount":285,"manualWeight":41,"mainColor":63},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","喻兰","上海博物馆","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[24,73,280,26,54,7,78,125,126,122,120],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg","纸本,设色",[36],863,4,{"id":287,"slug":288,"title":289,"dynasty":47,"author":290,"museum":49,"description":291,"tags":292,"thumbUrl":297,"material":58,"size":298,"collection":36,"collections":299,"showCount":300,"zanCount":217,"manualWeight":41,"mainColor":42},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[23,24,26,25,54,7,293,128,294,267,224,295,296,74],"猫","蝴蝶","石","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[36],820,{"id":302,"slug":303,"title":304,"dynasty":88,"author":89,"museum":154,"description":305,"tags":306,"thumbUrl":308,"material":158,"size":309,"collection":36,"collections":310,"showCount":311,"zanCount":312,"manualWeight":41,"mainColor":63},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","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。",[23,24,52,73,25,26,54,7,93,95,99,225,128,224,307,30],"器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[36,38],808,6,{"id":314,"slug":315,"title":316,"dynasty":137,"author":196,"museum":49,"description":317,"tags":318,"thumbUrl":322,"material":58,"size":105,"collection":36,"collections":323,"showCount":324,"zanCount":325,"manualWeight":41,"mainColor":42},215043,"mo-gu-kai-zhi-luo-shen-fu-yi-ming-215043","摹顾恺之洛神赋","《洛神赋图》，相传是东晋名画家顾恺之根据曹植文学作品《洛神赋》的故事情节所创作的故事画。曹植原文借对梦幻之镜中人神恋爱的追求，抒发了爱情失意的自我感伤。",[23,24,73,53,25,26,118,54,7,319,320,120,321],"龙","兽","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c126a717e9affa0b4017e209a0f9a9.jpg",[36],628,3,{"id":327,"slug":328,"title":329,"dynasty":68,"author":330,"museum":331,"description":332,"tags":333,"thumbUrl":342,"material":34,"size":343,"collection":36,"collections":344,"showCount":345,"zanCount":312,"manualWeight":41,"mainColor":63},222876,"hong-lou-meng-tu-ce-sun-wen-222876","红楼梦图册","孙温","旅顺博物馆","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",[23,25,26,54,93,94,99,334,7,78,95,335,336,211,337,338,339,340,341],"廊庑","古典园林","建筑","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[36],620,{"id":347,"slug":348,"title":349,"dynasty":113,"author":114,"museum":20,"description":350,"tags":351,"thumbUrl":354,"material":34,"size":355,"collection":356,"collections":357,"showCount":358,"zanCount":359,"manualWeight":41,"mainColor":42},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,73,53,25,26,54,7,352,124,95,353,128,127,120,121,122,199,52],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm","山水画精选",[356,38],613,9,{"id":361,"slug":362,"title":363,"dynasty":88,"author":364,"museum":49,"description":365,"tags":366,"thumbUrl":371,"material":372,"size":373,"collection":36,"collections":374,"showCount":375,"zanCount":359,"manualWeight":41,"mainColor":63},289743,"chang-e-ben-yue-tu-zhou-tang-yin-289743","嫦娥奔月图轴","唐寅","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”。",[24,74,26,54,7,367,368,369,370,121,120,211],"嫦娥","明月","兔","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg","未知","Xcm*Xcm",[36],539,{"id":377,"slug":378,"title":379,"dynasty":137,"author":196,"museum":49,"description":380,"tags":381,"thumbUrl":384,"material":58,"size":385,"collection":36,"collections":386,"showCount":387,"zanCount":285,"manualWeight":41,"mainColor":42},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[52,24,73,74,26,25,54,7,382,320,78,383],"鹿","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[36],533,{"id":389,"slug":390,"title":391,"dynasty":392,"author":393,"museum":115,"description":394,"tags":395,"thumbUrl":397,"material":372,"size":373,"collection":105,"collections":398,"showCount":399,"zanCount":11,"manualWeight":41,"mainColor":42},231825,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231825","花园仕女图轴","不详","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,52,24,74,25,26,54,7,396,32,296],"枫叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5291d70d90c2e3367d896a803781d8cf.jpg",[],507,{"id":401,"slug":402,"title":403,"dynasty":68,"author":167,"museum":263,"description":404,"tags":405,"thumbUrl":406,"material":282,"size":407,"collection":36,"collections":408,"showCount":409,"zanCount":325,"manualWeight":41,"mainColor":63},219543,"mei-ren-tu-leng-mei-219543","美人图","这幅画被称为美人画（“美人画”），传统可以追溯到唐代（618-906）周放（约730-800）的画作。 这位女士坐在质朴的座位上，手里拿着一本书。 她随意的姿势、精致的外表和透明的衣着表明冷梅可能一直在描绘一个妓女。 艺术家的技巧可以从纺织品设计的细腻渲染和帷幔的流畅线条中看出。",[23,24,25,26,54,7,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1e3b4f1eb980004fca2e6dfb0e546.jpg","纵90 厘米横31 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-1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,73,280,25,26,92,473,124,54,93,127,125,123,474,128,126,475,368,476,7,78],"青绿","小桥","夕阳","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[36],376,{"id":482,"slug":483,"title":484,"dynasty":68,"author":196,"museum":263,"description":485,"tags":486,"thumbUrl":487,"material":58,"size":105,"collection":36,"collections":488,"showCount":489,"zanCount":41,"manualWeight":41,"mainColor":42},219541,"luo-shen-tu-yi-ming-219541","洛神图","洛神凌波徐行，素色罗裙晕着浅蓝镶边，飘带随水波漾动缱绻，将乘虚而行的柔婉轻盈尽数勾勒。她手持灵草，眉含轻愁、眼波低垂，清冷眉目间带着神女独有的幽怨缱绻。暗沉底色衬出人物素洁清丽，线条秀雅工细，设色简淡古雅，将洛神出尘仙姿与脉脉情思揉入笔底，把缥缈神女的古典美感定格于绢素之上，尽显传统仕女画的含蓄温婉意韵。",[23,52,24,73,26,25,54,7,443,338],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93171803f70c792a8db19d4ca0123d4b.jpg",[36],367,{"id":491,"slug":492,"title":493,"dynasty":68,"author":196,"museum":115,"description":494,"tags":495,"thumbUrl":497,"material":105,"size":105,"collection":105,"collections":498,"showCount":499,"zanCount":325,"manualWeight":41,"mainColor":42},230349,"yong-zheng-shi-er-mei-ren-tu-yin-zhen-mei-ren-tu-yi-ming-230349","雍正十二美人图(胤禛美人图)","仕女侧身凭门，眉眼含柔静赏修竹，暗纹黄衫绣饰精巧，鬓边珠翠轻缀，温婉娴静的闺阁气韵尽显。庭院中奇石错落，盆梅初绽、兰草幽柔，案头盆花清雅动人。画作以框景巧构，将室内外景致相融，淡雅设色晕染出悠然氛围，笔触写实细腻，衣料柔润质感、竹影婆娑意态皆被精妙还原，将深闺女子的闲情意趣与中式园林的雅致意境融为一体，尽显东方古典美学含蓄温婉之韵。",[23,25,26,7,75,96,496,224,99,94,296,74],"盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a850643fba7892c7c56dbf39750b66e.jpg",[],362,{"id":501,"slug":502,"title":503,"dynasty":68,"author":504,"museum":154,"description":505,"tags":506,"thumbUrl":508,"material":58,"size":509,"collection":36,"collections":510,"showCount":511,"zanCount":435,"manualWeight":41,"mainColor":42},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","金廷标","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[23,25,26,54,7,77,30,31,224,99,507],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[36,38],360,{"id":513,"slug":514,"title":515,"dynasty":88,"author":516,"museum":277,"description":517,"tags":518,"thumbUrl":519,"material":58,"size":105,"collection":36,"collections":520,"showCount":511,"zanCount":521,"manualWeight":41,"mainColor":42},218253,"shi-nv-juan-du-jin-218253","仕女卷","杜堇","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[23,24,73,53,25,26,54,7,93,94,99,225,95,96,101,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[36],12,{"id":523,"slug":524,"title":525,"dynasty":137,"author":138,"museum":115,"description":526,"tags":527,"thumbUrl":528,"material":372,"size":373,"collection":105,"collections":529,"showCount":530,"zanCount":11,"manualWeight":41,"mainColor":42},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。",[23,52,24,53,26,54,430,7,25,118,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":532,"slug":533,"title":534,"dynasty":18,"author":196,"museum":49,"description":535,"tags":536,"thumbUrl":537,"material":58,"size":538,"collection":36,"collections":539,"showCount":540,"zanCount":312,"manualWeight":41,"mainColor":42},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,52,24,73,74,25,26,54,7,55,56,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[23,24,25,26,54,7,78,238,30,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[36,38],249,{"id":648,"slug":649,"title":650,"dynasty":651,"author":652,"museum":653,"description":654,"tags":655,"thumbUrl":656,"material":105,"size":105,"collection":105,"collections":657,"showCount":658,"zanCount":11,"manualWeight":41,"mainColor":63},220502,"xiu-zhu-shi-nv-zhang-da-qian-220502","修竹仕女","民国","张大千","龙美术馆西岸馆","画面里仕女黛眉轻蹙，腮凝新荔，手托香腮作沉思状，发髻簪花，温婉娴静的闺怨之态呼之欲出。衣纹勾勒秀劲舒展，青蓝衣袍配朱红卷草纹饰，浓丽雅致，尽显东方女性柔婉仪态。\n\n左侧修竹以淡墨写意挥就，笔致清劲挺秀，竹影扶疏间衬出仕女的幽寂怅惘，柔媚人物与清逸修竹相映成趣，将传统工笔的细腻与写意的简淡融为一体，晕染出清远雅致的古典意境，把闺中女子的缱绻情思藏进幽篁清影之中。",[24,26,25,54,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ed3ebfb17697cfd9745a87b1dadc6.jpg",[],247,{"id":660,"slug":661,"title":662,"dynasty":137,"author":663,"museum":664,"description":665,"tags":666,"thumbUrl":668,"material":58,"size":669,"collection":36,"collections":670,"showCount":671,"zanCount":285,"manualWeight":41,"mainColor":42},218667,"gong-nv-tu-liu-song-nian-218667","宫女图","刘松年","日本东京国立博物馆","画面铺展雅致静谧的宋式日常，几位宫女衣袂轻扬，或持物相待，或静立侧畔，神情温婉如春水。浴盆中孩童戏水喧闹，稚态可掬，与身旁娴静形成生动对照。背景苍劲的绿植与古朴小桌相映，笔墨细腻处见衣纹流转，设色淡雅间显器物温润。整幅画以细腻笔触捕捉宫廷生活的温情片刻，既藏宋画的精致风骨，又含人间烟火的柔软，似将千年的静谧与鲜活，凝于这一方绢素之上。",[23,52,24,73,667,26,25,54,7,78,77,624],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003e2340ab08b6d3bbb4b0c835b26ac.jpg","24.4x25.8",[36],240,{"id":673,"slug":674,"title":675,"dynasty":68,"author":676,"museum":263,"description":677,"tags":678,"thumbUrl":680,"material":58,"size":681,"collection":36,"collections":682,"showCount":683,"zanCount":563,"manualWeight":41,"mainColor":63},218354,"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[24,73,280,26,25,54,7,296,679,121],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[36],237,{"id":685,"slug":686,"title":687,"dynasty":88,"author":364,"museum":263,"description":688,"tags":689,"thumbUrl":690,"material":58,"size":691,"collection":36,"collections":692,"showCount":693,"zanCount":312,"manualWeight":41,"mainColor":42},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,24,52,74,26,25,54,7,267,224,77,30,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[36],231,{"id":695,"slug":696,"title":697,"dynasty":88,"author":89,"museum":427,"description":555,"tags":698,"thumbUrl":700,"material":58,"size":560,"collection":105,"collections":701,"showCount":702,"zanCount":41,"manualWeight":41,"mainColor":42},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8",[24,25,26,92,54,7,699,95,96,225,99,507],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg",[],226,{"id":704,"slug":705,"title":706,"dynasty":18,"author":19,"museum":115,"description":707,"tags":708,"thumbUrl":709,"material":105,"size":105,"collection":105,"collections":710,"showCount":711,"zanCount":285,"manualWeight":41,"mainColor":42},223650,"diao-qin-chuai-ming-tu-zhou-fang-223650","调琴啜茗图","画面铺陈出一段安闲的深闺日常，丰腴端丽的仕女们浸在松弛的氛围里。左侧女子正俯身调弦，指尖起落间，仿佛已有泠泠琴音将要漫开，身侧侍女垂首持物，屏气静待。右侧仕女凭坐支颐，默然凝神，似在等候琴音漫入耳畔，身旁侍女低首伫立，敛声待命。\n画作设色柔雅清和，衣纹细劲流畅，将女子丰肌秀骨的仪态勾勒尽致。浅淡花木点缀背景，留白恰到好处，把庭院的静谧雅致烘托尽显。只以极简场景，将深闺女子慵懒温婉的情态，与平淡悠长的闲居意趣，细腻晕染，尽显仕女画的隽永韵致。",[23,24,52,25,26,7,54,55,78,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370401cc1eb8d1d6c4fbccb225172add.jpg",[],220,{"id":713,"slug":714,"title":715,"dynasty":88,"author":89,"museum":263,"description":716,"tags":717,"thumbUrl":718,"material":58,"size":719,"collection":36,"collections":720,"showCount":721,"zanCount":325,"manualWeight":41,"mainColor":42},219544,"xun-mei-tu-chou-ying-219544","寻梅图","仇英博取众长，多学于赵伯驹、刘松年，发展了南宋李唐、刘松年、马远、夏圭的'院体画'传统，集前人之大成，形成自己独特的艺术风格。他在山水、花卉、界画、人物、仕女等素材方面造诣极高，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'。",[23,52,24,25,26,54,7,238,126,96],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaa20363f9665e27d71a3435ec5364b.jpg","102.7x50.7厘米",[36],219,{"id":723,"slug":724,"title":725,"dynasty":88,"author":89,"museum":427,"description":555,"tags":726,"thumbUrl":730,"material":58,"size":560,"collection":105,"collections":731,"showCount":732,"zanCount":41,"manualWeight":41,"mainColor":42},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3",[24,25,26,92,727,54,7,728,93,95,593,729,99,94],"册页","男子","池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg",[],218,{"id":734,"slug":735,"title":736,"dynasty":68,"author":737,"museum":154,"description":738,"tags":739,"thumbUrl":740,"material":105,"size":105,"collection":36,"collections":741,"showCount":742,"zanCount":325,"manualWeight":41,"mainColor":63},237110,"shi-nv-ce-cui-wei-237110","仕女册","崔鏏","工人物、仕女，擅写真，宗法宫廷画家焦秉贞，略得西洋晕染技法，画面颇有古风，布局饱满，用笔细致，有宋院体画之风，带有受郎世宁画风影响的痕迹。描染净丽，格调婉约。",[24,26,25,280,54,7,77,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbff89887b390659e0e35416e22bea5.jpg",[36],213,{"id":744,"slug":745,"title":746,"dynasty":68,"author":747,"museum":49,"description":748,"tags":749,"thumbUrl":751,"material":282,"size":752,"collection":36,"collections":753,"showCount":754,"zanCount":325,"manualWeight":41,"mainColor":63},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,52,73,26,25,7,750,593,127,474,78,99,125],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[36],212,{"id":756,"slug":757,"title":758,"dynasty":88,"author":89,"museum":427,"description":555,"tags":759,"thumbUrl":760,"material":58,"size":560,"collection":105,"collections":761,"showCount":754,"zanCount":41,"manualWeight":41,"mainColor":42},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[52,24,73,26,25,54,93,125,7,75,94,95,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],{"id":763,"slug":764,"title":765,"dynasty":88,"author":89,"museum":427,"description":555,"tags":766,"thumbUrl":767,"material":58,"size":560,"collection":105,"collections":768,"showCount":769,"zanCount":41,"manualWeight":41,"mainColor":42},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[25,26,280,54,7,93,125,593,75,127,99,729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],211,{"id":771,"slug":772,"title":773,"dynasty":47,"author":290,"museum":49,"description":774,"tags":775,"thumbUrl":776,"material":58,"size":777,"collection":36,"collections":778,"showCount":779,"zanCount":325,"manualWeight":41,"mainColor":42},218748,"an-le-tu-zhou-wen-ju-218748","按乐图","这幅画描绘了一个有朱色栅栏的花园，花台上种着一棵香蕉，还有五个宫廷女乐师，两个人吹着竹笛和琵琶，一个人打着拍板，另外两个人拍着手掌，很和谐。这些人物身着双球，头发上插着半月形的角梳，每个人都有丰富的色彩。笔触如丝，色彩优雅明快，说明是南宋绘画大师所作。女士坐在朱漆的方凳上，藤椅的轮廓在两腿之间巧妙地形成了壶门的形状，腿和脚则是如意的形状。院子里的帐篷，有一根长长的横杆，两端都有灵芝花的装饰，上面挂着带有莲花图案的锦缎披风。",[23,24,667,25,26,54,7,55,78,624],"https:\u0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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。",[23,24,53,25,26,119,54,7,124,798,319,128,95,96,93,430,799],"舟船","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 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画，然观其时代气息，应为宋人所作。",[23,24,52,667,25,26,54,7,921,120,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],143,{"id":1064,"slug":1065,"title":1066,"dynasty":68,"author":1067,"museum":115,"description":1068,"tags":1069,"thumbUrl":1073,"material":105,"size":105,"collection":105,"collections":1074,"showCount":1075,"zanCount":285,"manualWeight":41,"mainColor":42},229035,"yue-man-qing-you-tu-ce-chen-mei-229035","月曼清游图册","陈枚","此作工致细腻，庭院春梅如云盛放，元宵宫灯悬于枝梢檐下，晕开融融暖意。楼下女眷三两围聚，私语笑谈，情态温婉柔媚；楼上闺人凭窗远眺，共赏灯景。设色明妍柔丽，线条精细雅致，将深闺女子元宵嬉游的闲雅意趣尽数铺展，仕女的温婉仪容、娇柔神态刻画入微，带着院体画的精致考究，晕染出古典深闺的春日雅兴，尽显清代仕女画的典雅意韵。",[23,52,24,280,25,26,54,211,7,238,1070,94,93,1071,1072],"宫灯","闲雅","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ff8b8e58621845ff72b54766a782f.jpg",[],141,{"id":1077,"slug":1078,"title":1079,"dynasty":68,"author":1080,"museum":263,"description":1081,"tags":1082,"thumbUrl":1083,"material":282,"size":105,"collection":36,"collections":1084,"showCount":1085,"zanCount":435,"manualWeight":41,"mainColor":63},219550,"xie-yi-xun-long-tu-yu-zhi-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[23,24,73,25,26,119,54,7,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[36,38],138,{"id":1087,"slug":1088,"title":1089,"dynasty":137,"author":1090,"museum":49,"description":1091,"tags":1092,"thumbUrl":1093,"material":103,"size":1094,"collection":36,"collections":1095,"showCount":1096,"zanCount":11,"manualWeight":41,"mainColor":63},221219,"liu-chao-qian-qin-su-hui-xuan-ji-tu-juan-zhu-shu-zhen-221219","六朝前秦苏蕙璇玑图卷","朱淑贞","（楷书璇玑图。文不录。又苏若兰织锦回文璇玑图序志一则。文不录）皇宋绍定三年（西元一二三０年）二月既望钱塘幽栖居士朱氏淑贞识。",[23,24,73,53,25,26,54,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b944c3884b1a33c0a64a2ef4c63382d.jpg","28.1×246.3",[36,38],136,{"id":1098,"slug":1099,"title":1100,"dynasty":88,"author":89,"museum":49,"description":1101,"tags":1102,"thumbUrl":1103,"material":954,"size":1104,"collection":36,"collections":1105,"showCount":1096,"zanCount":325,"manualWeight":41,"mainColor":63},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,73,53,25,26,122,121,54,7,93,94,30,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","27.9x388.3厘米",[36],{"id":1107,"slug":1108,"title":1109,"dynasty":68,"author":1110,"museum":154,"description":1111,"tags":1112,"thumbUrl":1113,"material":158,"size":1114,"collection":36,"collections":1115,"showCount":1116,"zanCount":285,"manualWeight":41,"mainColor":42},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[52,24,73,280,25,26,92,54,7,93,127,95,225,124,94,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[36,38],134,{"id":1118,"slug":1119,"title":1120,"dynasty":68,"author":196,"museum":154,"description":1121,"tags":1122,"thumbUrl":1123,"material":34,"size":1124,"collection":36,"collections":1125,"showCount":1126,"zanCount":285,"manualWeight":41,"mainColor":42},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[24,73,25,26,54,7,293,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","纵184厘米，横98厘米",[36,38],132,{"id":1128,"slug":1129,"title":1130,"dynasty":137,"author":196,"museum":808,"description":1131,"tags":1132,"thumbUrl":1133,"material":58,"size":105,"collection":36,"collections":1134,"showCount":1135,"zanCount":563,"manualWeight":41,"mainColor":42},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","画面晕染出幽谧清寂的林下氛围，修竹扶苏、虬枝横斜，苍苔覆着湖石，漫溢出山野闲静之气。白衣仕女款步而立，素裙曳地，怀拥器物，眉目温婉沉静，似在静听林风穿叶，将闺中闲思融于林泉烟霭之中。\n\n用笔细劲清润，设色浅淡古雅，虚实相生间将留白藏进幽独娴静的意韵里，不见丝毫喧嚣。把仕女的温婉闲情与林泉野趣糅合一处，尽显雅致内敛的东方意趣，寥寥尺幅间，澹澹诗意漫溢开来。",[52,24,73,25,26,54,7,75,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[36],130,{"id":1137,"slug":1138,"title":1139,"dynasty":47,"author":290,"museum":49,"description":1140,"tags":1141,"thumbUrl":1144,"material":58,"size":1145,"collection":36,"collections":1146,"showCount":1147,"zanCount":11,"manualWeight":41,"mainColor":63},218751,"shui-xie-kan-fu-tu-zhou-wen-ju-218751","水榭看凫图","亭子的窗户敞开，帘子高高卷起，内部装饰着水波纹的座屏，座屏的边缘是红色的悬卷金花，这是宋代的一种时尚。两张方凳并排放置，凳子是用棕色藤条编织的，脚是如意形状。另一边是一张单剖面和双剖面的方桌，上面覆盖着白色披肩，摆放着金铜香炉和书籍。湖中有鸭子和海凫相互嬉戏，自然景观丰富。水榭旁有桃花、竹子和柳树等植物，还有一个覆盖着河边花草树木的私人大厅和亭子。露台的边上是水边的栏杆，女士从那里惊讶地看着这一幕。",[23,24,73,26,25,92,54,7,1142,127,95,1143,125,99],"水榭","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6128558cce10db8152fce876cb20fb95.jpg","24.5x26.7厘米",[36],129,{"id":1149,"slug":1150,"title":1151,"dynasty":137,"author":196,"museum":277,"description":1152,"tags":1153,"thumbUrl":1155,"material":58,"size":1156,"collection":145,"collections":1157,"showCount":1158,"zanCount":11,"manualWeight":41,"mainColor":42},218600,"jiang-fei-wan-yue-tu-yi-ming-218600","江妃玩月图","月色如练，泼洒在虬枝瘦干间。墨笔勾勒的树影横斜，嶙峋枝干似在夜风中轻语。凭栏处，佳人衣袂翩然，或执扇凝睇，或侧首听月，身影与疏枝、栏杆相映成趣。夜的清寂被月色化开，淡墨晕染出朦胧意蕴，每一处线条都简劲有致，藏着宋人笔墨的雅致风骨。无需浓妆艳抹，仅以素淡之笔，便将玩月的悠然、月夜的幽远揉成一幅清绝画境，让人在静默中触碰到那份穿越时光的古雅与深情。",[23,24,73,239,119,54,7,368,126,474,1154,78],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbdeecfafad713f88037a5c5c52fa50.jpg","25.4x24.8",[145],127,{"id":1160,"slug":1161,"title":1162,"dynasty":47,"author":290,"museum":115,"description":1163,"tags":1164,"thumbUrl":1165,"material":105,"size":105,"collection":105,"collections":1166,"showCount":1167,"zanCount":325,"manualWeight":41,"mainColor":63},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[23,52,24,73,53,25,26,54,7,55,121,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],126,{"id":1169,"slug":1170,"title":1171,"dynasty":137,"author":1172,"museum":1173,"description":1174,"tags":1175,"thumbUrl":1177,"material":788,"size":1178,"collection":36,"collections":1179,"showCount":1180,"zanCount":312,"manualWeight":41,"mainColor":63},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","日本大阪市立美术馆","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。",[23,24,52,53,119,239,54,430,1176,7,120,137],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3db2cf109c619db1fdd8f9878077f27.jpg","30.2cm，横160.2cm",[36],124,{"id":1182,"slug":1183,"title":289,"dynasty":68,"author":1184,"museum":115,"description":1185,"tags":1186,"thumbUrl":1188,"material":372,"size":373,"collection":105,"collections":1189,"showCount":1190,"zanCount":563,"manualWeight":41,"mainColor":63},283778,"shi-nv-tu-wu-ying-zhen-283778","吴应贞","女。字含五，江苏吴江人，适同邑赵氏。工写生，风神婉约，自是闺房之秀。",[24,52,26,25,54,7,78,1187,74,120],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55007fbc6c66e7d3ac331b04cbec31f.jpg",[],120,{"id":1192,"slug":1193,"title":1194,"dynasty":88,"author":196,"museum":1195,"description":1196,"tags":1197,"thumbUrl":1200,"material":1017,"size":1201,"collection":105,"collections":1202,"showCount":1190,"zanCount":455,"manualWeight":41,"mainColor":42},223381,"qian-qiu-jue-yan-tu-yi-ming-223381","千秋绝艳图","中国国家博物馆","此卷在六米多长的画面上，绘写了近七十位古代仕女形象，画中女子采用工笔重彩，多用铁线描钩勒衣纹。服饰敷彩妍丽鲜明。每个人物都手持或配有最能代表和体现她们身份的配物，并在右上方，各题有七言绝句一首。",[23,24,73,53,25,26,54,7,55,1030,31,30,1198,224,1199],"家具","珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca25007acf93fb2441506aa6e02095e.jpg","29.5x667.5厘米",[],{"id":1204,"slug":1205,"title":459,"dynasty":68,"author":1206,"museum":115,"description":1207,"tags":1208,"thumbUrl":1209,"material":105,"size":105,"collection":36,"collections":1210,"showCount":1211,"zanCount":11,"manualWeight":41,"mainColor":63},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,25,26,92,54,7,93,267,77,94,99,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[36,38],119,{"id":1213,"slug":1214,"title":1215,"dynasty":88,"author":414,"museum":154,"description":1216,"tags":1217,"thumbUrl":1219,"material":1220,"size":1221,"collection":36,"collections":1222,"showCount":1223,"zanCount":325,"manualWeight":41,"mainColor":42},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,73,74,26,25,54,7,1218,224,78],"花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","绢本 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戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。\n嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。\n画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。\n她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。\n富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。\n图中的楼台房室建筑则采用西洋 绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（178年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。\n匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[25,26,92,7,54,238,77,120,296,93,507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],115,"F48FB1",{"id":1244,"slug":1245,"title":1246,"dynasty":68,"author":196,"museum":263,"description":1247,"tags":1248,"thumbUrl":1250,"material":58,"size":1251,"collection":36,"collections":1252,"showCount":1241,"zanCount":563,"manualWeight":41,"mainColor":42},219549,"nv-wang-wei-duo-lie-xiao-zhao-tu-yi-ming-219549","女王威多烈小照图","道光壬寅（1842年）英军围困南京，清廷被迫签订辱国丧权的《南京条约》。此图绘的正是当时的英国女王（威多烈）维多利亚，跋文称“其主人极英明，年仅廿一岁（实则二十三岁），择国人子雅那博为婿。”对照1843年英国本国留存的其油画像，此画颇有几分神似，身材短小，微胖，是以中国画方式绘制的写实肖像画。",[23,25,26,54,7,30,31,1249],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dba6020a464e8e7d9e9dcf6ae41be7.jpg","71x43厘米",[36,38],{"id":1254,"slug":1255,"title":1256,"dynasty":68,"author":1257,"museum":115,"description":1258,"tags":1259,"thumbUrl":1260,"material":372,"size":373,"collection":36,"collections":1261,"showCount":1262,"zanCount":563,"manualWeight":41,"mainColor":63},235120,"hua-hua-yan-shi-nv-tu-ce-wang-su-235120","画华严仕女图册","王素","王素（1794—1877）字小梅，晚号逊之，甘泉（今江苏扬州）人。幼拜师鲍芥田，又多临华岩，凡人物、花鸟、走兽、虫鱼，无不入妙。道光初与魏小眠、王应祥并驾。自悔书拙，每晨必临数百字，至老无间。 咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,73,280,25,26,54,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcbec6b44d875f6875f0d4a4e8faa49.jpg",[36],113,{"id":1264,"slug":1265,"title":1266,"dynasty":392,"author":1267,"museum":115,"description":1268,"tags":1269,"thumbUrl":1274,"material":372,"size":373,"collection":1275,"collections":1276,"showCount":1262,"zanCount":41,"manualWeight":41,"mainColor":791},225627,"rembrandt-harmensz-van-rijn-036-lun-bo-lang-225627","Rembrandt Harmensz.van Rijn - 036","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。",[907,54,7,1270,1271,1272,1273,296,1249],"明暗对比","花环","面纱","珍珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F909f83697b485096a6f00b4e0e7118c0.jpg","油画精选",[1275],{"id":1278,"slug":1279,"title":1280,"dynasty":88,"author":196,"museum":808,"description":1281,"tags":1282,"thumbUrl":1284,"material":58,"size":105,"collection":36,"collections":1285,"showCount":1262,"zanCount":325,"manualWeight":41,"mainColor":42},219577,"ting-zhong-shang-le-tu-yi-ming-219577","庭中赏乐图","画面绘闺中闲景，四位仕女各得幽趣。二人对坐似行猜枚之戏，指尖轻扬，情态灵动鲜活；侧坐仕女支臂观戏，慵懒悠然；侍立婢女持扇静候，恭谨安恬。衣褶线条柔婉舒展，晕染出绫罗软缎的垂坠质感，鬓间花钿衬出闺阁佳人的柔秀雅致。布景简淡，仅以浅绘草卉点染庭中清寂，古褐底色晕出庭院静谧松弛的氛围。笔致清逸简淡，将深闺日常的闲散意趣娓娓道来，尽显温婉含蓄的古典仕女审美意韵。",[24,73,25,26,54,7,1283,55,296],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86260b0dda74b3817ea2971ec93bb2fa.jpg",[36],{"id":1287,"slug":1288,"title":1289,"dynasty":47,"author":196,"museum":49,"description":1290,"tags":1291,"thumbUrl":1292,"material":372,"size":373,"collection":105,"collections":1293,"showCount":1294,"zanCount":41,"manualWeight":41,"mainColor":42},288517,"huan-yue-tu-yi-ming-288517","浣月图","庭院浓荫覆裹，夜色晕开朦胧柔光。仕女们姿态温婉舒展，正于池畔浣月戏玩。主角掬水揽月，月影随波轻漾，身侧女眷凝神静观，似沉溺在这静夜雅趣之中，案边侍女垂首侍立，屏声静气。\n\n衣袂线条柔婉凝练，寥寥几笔便勾勒出闺阁女子的柔婉体态，设色沉雅古拙，花木石台都晕染着幽幽夜色，将深宫院落的闲谧氛围尽数铺展。全画布景简淡却意蕴悠长，把月下清玩的闲情与深苑夜色相融，古雅沉静里藏着悠悠闺中意绪，尽显古画的含蓄雅致。",[23,24,26,25,54,7,94,224,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccd6842a037fe4359fde0eef99220dd.jpg",[],112,{"id":1296,"slug":1297,"title":1298,"dynasty":651,"author":196,"museum":115,"description":1299,"tags":1300,"thumbUrl":1303,"material":105,"size":105,"collection":1304,"collections":1305,"showCount":1294,"zanCount":41,"manualWeight":41,"mainColor":42},242155,"fei-cui-diao-shi-nv-xiang-yi-ming-242155","翡翠雕仕女像","此作取油青底翡翠，褐黄绺色晕染衣间，更以黄翡俏雕净瓶花枝，黄绿相映鲜活灵动。仕女发髻高绾，面容恬柔含笑，宽袖长衣垂坠舒展，衣褶如流云轻漾，身姿温婉袅娜。\n\n匠人依料施艺，将玉料天然肌理与仕女柔婉仪态相融，双手捧净瓶的端庄姿态，铺陈出东方女子端秀娴静的气韵，方寸间勾勒雅致国风意境，写实工巧又暗含春日生机，尽显雅致匠心。",[651,1301,1302,7,77],"玉石","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7419bde41437a6cd4207ded455ed410a.jpg","雕塑精选",[1304],{"id":1307,"slug":1308,"title":1309,"dynasty":425,"author":426,"museum":49,"description":1310,"tags":1311,"thumbUrl":1317,"material":58,"size":1318,"collection":36,"collections":1319,"showCount":1320,"zanCount":41,"manualWeight":41,"mainColor":63},215140,"zhao-liang-shi-nv-tu-qian-xuan-215140","招凉仕女图","本幅为「集古名绘」册第七幅。画二佳丽，头顶高冠，身披轻纱，手执纨扇于园中消暑。布局简约，设色雅淡，衣描用笔劲如游丝，纤秀清逸。确属名家之杰作，惟幅中无款印，旧传为钱选之作",[23,24,73,26,25,54,7,211,624,1312,1313,34,1314,1315,1316],"元风格","细描","古典人物","夏日","纳凉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb2232f9bdd27643d1136c5a47b2918.jpg","22.4x21.7cm",[36],110,{"id":1322,"slug":1323,"title":1324,"dynasty":68,"author":196,"museum":263,"description":1325,"tags":1326,"thumbUrl":1329,"material":58,"size":105,"collection":36,"collections":1330,"showCount":1331,"zanCount":11,"manualWeight":41,"mainColor":63},218429,"yang-gui-fei-you-yuan-ban-hua-yi-ming-218429","杨贵妃游园版画","红衣仕女身姿婉约，凝眸间似含游园的惬意；跪姿侍从持物躬身，恭谨神态跃然纸上。竹栏掩映的庭院里，花木扶疏，石径蜿蜒，衬出几分雅致清幽。右侧人物立于栏侧，目光轻落，似与仕女共享园景之美。画面以流畅线条勾勒衣纹，色彩古朴却明艳，将古典游园的闲适氛围与人物互动巧妙融合。飘动的衣袂、点缀的花木、竹栏的纹理，每一处细节都传递着千年雅致韵味，让人仿佛窥见那段悠然的园居时光，沉浸在古典生活的清幽与闲适中。",[23,24,1327,1328,26,54,7,93],"版画","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0caa96964a9db4f424c1e94abf61435.jpg",[36],109,{"id":1333,"slug":1334,"title":1335,"dynasty":68,"author":1336,"museum":427,"description":1337,"tags":1338,"thumbUrl":1342,"material":282,"size":1343,"collection":36,"collections":1344,"showCount":1345,"zanCount":563,"manualWeight":41,"mainColor":63},220140,"shi-nv-xi-ying-tu-juan-ding-guan-peng-220140","仕女戏婴图卷","丁观鹏","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。",[23,25,26,53,120,54,7,1339,296,1340,1341],"婴孩","羽扇","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310295ea2961dee759cc9fec13486b2.jpg","24.64*167.48厘米",[36],108,{"id":1347,"slug":1348,"title":662,"dynasty":137,"author":663,"museum":115,"description":1349,"tags":1350,"thumbUrl":1353,"material":105,"size":105,"collection":105,"collections":1354,"showCount":1355,"zanCount":455,"manualWeight":41,"mainColor":42},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,24,52,73,667,25,26,54,7,267,1351,1352,32,30],"桌子","凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],105,{"id":1357,"slug":1358,"title":1359,"dynasty":68,"author":276,"museum":154,"description":1360,"tags":1361,"thumbUrl":1362,"material":1363,"size":1364,"collection":36,"collections":1365,"showCount":1366,"zanCount":11,"manualWeight":41,"mainColor":63},238287,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238287","喻兰仕女清娱图册","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[52,24,73,280,26,25,54,7,128,55,77,30,750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f754f2a14cd591c9ca80e5a781de197.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[36,38],101,{"id":1368,"slug":1369,"title":1370,"dynasty":88,"author":1371,"museum":154,"description":1372,"tags":1373,"thumbUrl":1375,"material":282,"size":1376,"collection":36,"collections":1377,"showCount":1366,"zanCount":563,"manualWeight":41,"mainColor":42},218517,"yun-hua-xi-hua-tu-lu-can-218517","云华惜花图","陆粲","活跃于乾隆年间的陆骧，生于常州（今江苏苏州），字兴山，号兴三。他出生于常州（今江苏苏州），精于物象和花卉，擅长山水画和肖像画，曾在1780年被召去写御用画像。",[24,73,74,26,25,54,7,1374,224,171,122,120],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efb92c4076b71e3e67e797005815a90.jpg","136.2x58.2",[36],{"id":1379,"slug":1380,"title":1381,"dynasty":137,"author":196,"museum":115,"description":1382,"tags":1383,"thumbUrl":1384,"material":372,"size":373,"collection":105,"collections":1385,"showCount":1386,"zanCount":41,"manualWeight":41,"mainColor":42},290369,"song-hui-zong-hou-zuo-xiang-zhou-yi-ming-290369","宋徽宗后坐像轴","北宋时期发达的社会经济，为宋代绘画 提供了许多前无古人的新的绘画题材。风 俗画是宋代人物画的一个特色，以表现村 童闹学、耕织、货郎、七夕夜市等题材的作 品，生动记录了宋代社会生活中的平民生 活，拓宽了以帝王、圣贤、贵妃为主的人物 画格局，并被后世固化为中国人物画的永 恒题材。同时，宋代画院为宋代绘画的发展 聚集了人才，一大批画院画家将用于表现 山水的水墨画法用于人物画的创作中。题材的扩大、形式的增多，为这时期人物画的发展开阔了前景。",[24,74,26,25,54,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33f44ef518a5b4bdfbc81b56937762d.jpg",[],100,{"id":1388,"slug":1389,"title":289,"dynasty":68,"author":1390,"museum":263,"description":1391,"tags":1392,"thumbUrl":1393,"material":282,"size":1394,"collection":36,"collections":1395,"showCount":1396,"zanCount":11,"manualWeight":41,"mainColor":42},218513,"shi-nv-tu-wang-zhao-xiang-218513","王兆祥","描绘了一个女人在喂养一只八哥，她的身体很轻盈，展示了她的三寸金莲。",[24,73,74,119,26,54,7,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960305f61098ea3cba367f9a0d72cb95.jpg","136.8x61.8",[36],97,{"id":1398,"slug":1399,"title":1400,"dynasty":47,"author":290,"museum":115,"description":1401,"tags":1402,"thumbUrl":1405,"material":372,"size":373,"collection":105,"collections":1406,"showCount":1407,"zanCount":325,"manualWeight":41,"mainColor":63},289987,"gong-zhong-tu-zhou-wen-ju-289987","宫中图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,52,24,53,119,54,7,1403,831,1176,55,1404,122,121],"宫女","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd82c5d2ffc57e3999164c6f4a0c240dd.jpg",[],96,{"id":1409,"slug":1410,"title":1411,"dynasty":425,"author":1412,"museum":49,"description":1413,"tags":1414,"thumbUrl":1415,"material":103,"size":1416,"collection":38,"collections":1417,"showCount":1419,"zanCount":563,"manualWeight":41,"mainColor":42},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,24,73,52,74,25,26,54,7,75,78,29,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[38,1418],"竹石精选",95,{"id":1421,"slug":1422,"title":1423,"dynasty":88,"author":1424,"museum":115,"description":1425,"tags":1426,"thumbUrl":1427,"material":282,"size":105,"collection":36,"collections":1428,"showCount":1419,"zanCount":41,"manualWeight":41,"mainColor":63},216347,"xi-xiang-ji-cha-ye-min-qi-ji-216347","西厢记插页","闵齐伋","眉眼低垂间，凝着西厢故事里的幽婉心事。墨线勾勒的衣袂似随微风轻漾，素色衣衫衬得身姿温婉窈窕。精致的发髻簪着小巧头饰，鬓角发丝垂落，添了几分柔媚。手中淡蓝团扇半掩，扇面纹路隐约，与轻拢衣襟的手势相映，似在掩饰心头的娇羞与沉思。古朴边框饰以卷草纹样，缠缠绕绕间晕开明清插画的雅致。左侧题款墨痕清逸，朱红印章点缀，笔墨与丹青相融，将剧中人物的情态凝于一纸，淡远而悠长，尽显古典仕女画的含蓄之美。",[24,73,280,119,26,54,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39940e524f20f38b6f876b1cdd2cf929.jpg",[36],{"id":1430,"slug":1431,"title":1432,"dynasty":68,"author":196,"museum":115,"description":1433,"tags":1434,"thumbUrl":1435,"material":58,"size":1436,"collection":36,"collections":1437,"showCount":1438,"zanCount":325,"manualWeight":41,"mainColor":42},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,24,26,25,92,54,7,93,238,77,55,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[36],94,{"id":1440,"slug":1441,"title":1442,"dynasty":137,"author":196,"museum":427,"description":1443,"tags":1444,"thumbUrl":1448,"material":58,"size":934,"collection":36,"collections":1449,"showCount":1438,"zanCount":11,"manualWeight":41,"mainColor":63},218235,"luo-shen-fu-tu-yi-ming-218235","洛神赋图","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,52,24,73,53,26,25,54,7,1445,123,125,95,931,1446,128,1447,985],"洛神","仙禽异兽","怅惘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[36],{"id":1451,"slug":1452,"title":1453,"dynasty":137,"author":1454,"museum":115,"description":1455,"tags":1456,"thumbUrl":1458,"material":372,"size":373,"collection":105,"collections":1459,"showCount":1460,"zanCount":41,"manualWeight":41,"mainColor":42},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","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。",[52,24,73,74,26,54,7,55,25,94,95,750,183,1457,185],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":1462,"slug":1463,"title":1464,"dynasty":88,"author":364,"museum":154,"description":545,"tags":1465,"thumbUrl":1466,"material":154,"size":548,"collection":36,"collections":1467,"showCount":1460,"zanCount":41,"manualWeight":41,"mainColor":63},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[23,24,73,74,25,26,54,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[36,38],{"id":1469,"slug":1470,"title":1471,"dynasty":137,"author":1472,"museum":115,"description":1473,"tags":1474,"thumbUrl":1477,"material":105,"size":105,"collection":105,"collections":1478,"showCount":1479,"zanCount":11,"manualWeight":41,"mainColor":42},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","苏汉臣","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,52,24,73,667,26,25,54,7,211,1475,101,1476,507],"兰","妆饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],90,{"id":1481,"slug":1482,"title":1483,"dynasty":392,"author":1484,"museum":115,"description":1485,"tags":1486,"thumbUrl":1493,"material":372,"size":373,"collection":105,"collections":1494,"showCount":1495,"zanCount":563,"manualWeight":41,"mainColor":42},226649,"wei-na-si-de-dan-sheng-sang-de-luo-bo-ti-qie-li-226649","维纳斯的诞生","桑德罗·波提切利","画面所表现的是西西里岛的一个美丽的传说：一片漂亮的大贝壳漂浮在碧波荡漾的海面上，上面站着纯洁而美丽的维纳斯，翱翔于天上的风神轻轻地将贝壳吹到岸边，等候在岸边的春之女神正张开红色绣花斗篷，准备为维纳斯换上新装。维纳斯身材修长，容貌秀美，双眼凝视着远方，眼神充满着幻想、迷惘与哀伤。体现了在佛罗伦萨流行一种新柏拉图主义的哲学思潮：美是不可能逐步完善或从非美中产生，美只能是自我完成，它是无可比拟的，美是不生不灭的永恒。",[1487,26,370,1488,7,1489,1490,1491,95,1492,32],"蛋彩画","裸体人物","贝壳","海浪","花朵","翅膀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca3edf2229ab9dd3bdba346df792dbd.jpg",[],89,{"id":1497,"slug":1498,"title":1499,"dynasty":18,"author":196,"museum":115,"description":1500,"tags":1501,"thumbUrl":1503,"material":105,"size":105,"collection":36,"collections":1504,"showCount":1495,"zanCount":11,"manualWeight":41,"mainColor":63},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,24,73,52,1502,118,119,26,25,54,7,30],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[36,38],{"id":1506,"slug":1507,"title":1508,"dynasty":68,"author":504,"museum":49,"description":1509,"tags":1510,"thumbUrl":1512,"material":282,"size":1513,"collection":38,"collections":1514,"showCount":1515,"zanCount":41,"manualWeight":41,"mainColor":63},219437,"yao-chi-xian-shou-zhou-jin-ting-biao-219437","瑶池献寿轴","画面以轻烟似的云气铺展仙境，两位仙子衣袂翩跹：一位手捧寿桃，红晕欲滴，似凝天地灵韵；另一位侧身相伴，眉宇间藏温婉笑意。衣纹线条流畅如行云，蓝白裙摆与淡墨云气交融，虚实相生。下方古木虬枝掩映朱红殿宇一角，与上方缥缈云境呼应，既显仙境高远，又隐人间烟火。笔墨细腻处，衣袂褶皱似有风动，寿桃艳色点染暖意；设色清雅间，云气淡墨晕染出空灵，古木深绿衬出沉静。整幅画将献寿的祥瑞与仙袂的灵动相融，工笔线条的雅致与水墨晕染的缥缈交织，尽显古典画韵里的温婉与高远，仿佛能闻云间仙乐，见寿意流转。",[24,25,26,54,7,353,267,336,1511],"寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d071f0e819e2c29432b9dc8116c7df3.jpg","90.7x56.5",[38],88,{"id":1517,"slug":1518,"title":1519,"dynasty":137,"author":663,"museum":49,"description":1520,"tags":1521,"thumbUrl":1524,"material":58,"size":1525,"collection":356,"collections":1526,"showCount":1527,"zanCount":41,"manualWeight":41,"mainColor":63},219388,"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[24,26,54,124,96,95,7,1522,1523,370],"麻姑","采芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[356,36],87,{"id":1529,"slug":1530,"title":1442,"dynasty":137,"author":1013,"museum":808,"description":1531,"tags":1532,"thumbUrl":1533,"material":58,"size":1534,"collection":105,"collections":1535,"showCount":1527,"zanCount":41,"manualWeight":41,"mainColor":63},218436,"luo-shen-fu-tu-li-gong-lin-218436","素绢铺展，墨线如缕，织就人神邂逅的幽渺篇章。洛神凌波微步，衣袂飘举若流云绕岫，眉目间凝着怅然的婉约；曹植凭栏遥望，神情中藏着难掩的眷恋，侍从们或立或顾，衬出场景的静谧与心绪的波澜。林木扶疏，水波澹澹，云气萦绕间，似有辞采漫溢：“翩若惊鸿，婉若游龙”的风姿，“凌波微步，罗袜生尘”的韵致，皆由简练传神的白描线条铺陈。不着浓彩却神采飞动，景物与人物交融成空灵意境，将虚幻炽热的情愫凝于绢素，让千年后的目光，仍能触碰到那份跨越人神之隔的怅惘与温柔。",[23,24,73,53,119,26,54,7,124,125,95,78,121,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28979b39f4e81a38082bfb84c091ac0.jpg","26.9x225.2",[],{"id":1537,"slug":1538,"title":1539,"dynasty":88,"author":196,"museum":427,"description":1540,"tags":1541,"thumbUrl":1542,"material":58,"size":1543,"collection":36,"collections":1544,"showCount":1545,"zanCount":563,"manualWeight":41,"mainColor":42},218275,"ji-le-tu-yi-ming-218275","伎乐图","衣袂相偎处，古调似欲漫出绢素。一人执杖而立，衣纹沉郁如暮云垂落；一人抱阮斜倚，弦上仿佛栖着未散的余音。线条简淡却藏韵致，服饰褶皱如流水舒展，古雅色调晕染出时光的温润。两人姿态亲昵，似共守一段静谧辰光，又或在乐声里彼此慰藉。无繁复布景，仅以人物相依与乐器呼应，便勾勒出伎乐生涯中的一抹温情——让千年后的观者，仍能触到那份含蓄暖意与悠然古意，于绢素间听见岁月的轻吟。",[24,74,26,25,54,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb577d3e5073e741217357fcfbccf10a8.jpg","83.4x38.2",[36],86,{"id":1547,"slug":1548,"title":1549,"dynasty":18,"author":1550,"museum":115,"description":1551,"tags":1552,"thumbUrl":1553,"material":105,"size":105,"collection":105,"collections":1554,"showCount":1555,"zanCount":563,"manualWeight":41,"mainColor":42},231005,"shi-nv-xiao-xiang-li-zhou-yan-li-ben-231005","仕女肖像立轴","阎立本","此作工致写实，仕女端然危坐，神态恬然沉静，尽显闺秀端凝气度。豆绿团衫温婉雅致，衣缘绣纹清丽柔润，发丝轻挽簪花素净，衣纹线条匀细凝练，晕染柔和自然，将仕女娴静温婉的风姿尽数铺展。身侧条案陈置清供法器，古雅沉静，暗合文人雅致意趣。整体设色柔澹沉稳，古绢晕开旧时光晕，笔意朴拙不失精细，将东方古典仕女内敛静穆的风华凝于绢素之上，静谧耐看，带着醇厚古雅的质感。",[23,52,24,74,26,25,54,7,30,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b73f886d81289c69433793116e980d.jpg",[],85,{"id":1557,"slug":1558,"title":1559,"dynasty":68,"author":1560,"museum":263,"description":1561,"tags":1562,"thumbUrl":1564,"material":282,"size":1565,"collection":36,"collections":1566,"showCount":1555,"zanCount":41,"manualWeight":41,"mainColor":63},214987,"zhi-tou-za-hua-ce-gao-qi-pei-214987","指头杂画册","高其佩","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[23,24,73,280,239,1563,54,7,368,120],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1303c0abf4226c4f79f47a932c622f9e.jpg","36.7x33.1cm",[36,243],{"id":1568,"slug":1569,"title":1570,"dynasty":68,"author":196,"museum":154,"description":1571,"tags":1572,"thumbUrl":1573,"material":1017,"size":1574,"collection":105,"collections":1575,"showCount":1576,"zanCount":11,"manualWeight":41,"mainColor":42},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[24,73,74,26,25,54,7,77,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],84,{"id":1578,"slug":1579,"title":1580,"dynasty":88,"author":89,"museum":154,"description":305,"tags":1581,"thumbUrl":1583,"material":158,"size":309,"collection":105,"collections":1584,"showCount":1576,"zanCount":41,"manualWeight":41,"mainColor":63},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞",[23,24,52,73,280,25,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290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[24,74,26,25,54,7,211,238,1283,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[36],75,{"id":1667,"slug":1668,"title":1309,"dynasty":425,"author":426,"museum":115,"description":1669,"tags":1670,"thumbUrl":1671,"material":372,"size":373,"collection":105,"collections":1672,"showCount":1665,"zanCount":563,"manualWeight":41,"mainColor":42},290085,"zhao-liang-shi-nv-tu-qian-xuan-290085","这幅“宋钱选招凉仕女图”以美人为主题。画中两位美人，举止娴雅，体态轻盈纤弱，削肩瓜子脸，正是宋人欣赏的美女典型。再看看她们的穿着：内穿低胸衣、窄长裙、外着对襟褙子，也是宋代妇女所常穿的时装。至于她们手中的圆扇，又名为团扇或纨扇。它们除了能够避暑、招凉之外，因为形式、材质、扇面巧富变化，所以也是仕女手中不可或缺的重要饰品。\n庭园里，两位纤细窈窕的美人，手持着圆扇，相偕漫步而来。园中植立着传统庭园中常见剔透嶙峋的太湖石，石后还有一株花树，绽放着好似月季的花朵。美人头上，戴着不同款式的高帽，尤其是那层层高起的花形冠，样子相当别致新颖，或许是当时最新流行的款式吧\n这幅传为钱选（1235-1303左右）所作的“招凉仕女”，由于仕女面容、衣服的白粉及花上的朱砂多已脱落，因此颜色显得相当素雅简淡。钱选是南宋末一位相当具有文才与气节的画家，画风以细腻见长。这幅作品画风与存世钱选作品风格不尽相同，但仍不失无一幅南宋典雅的仕女画佳作",[24,875,25,26,7,211,78,224,1592,1316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f42f52ef48908dcf2b212818ad4433.jpg",[],{"id":1674,"slug":1675,"title":1676,"dynasty":88,"author":414,"museum":115,"description":1677,"tags":1678,"thumbUrl":1680,"material":788,"size":105,"collection":36,"collections":1681,"showCount":1665,"zanCount":41,"manualWeight":41,"mainColor":42},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[24,73,53,25,26,54,7,55,96,95,125,1679],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg",[36],{"id":1683,"slug":1684,"title":1685,"dynasty":137,"author":196,"museum":115,"description":1686,"tags":1687,"thumbUrl":1689,"material":105,"size":105,"collection":105,"collections":1690,"showCount":1691,"zanCount":563,"manualWeight":41,"mainColor":63},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[23,52,24,73,25,26,54,7,1688,120,30],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],73,{"id":1693,"slug":1694,"title":1695,"dynasty":88,"author":414,"museum":49,"description":1696,"tags":1697,"thumbUrl":1699,"material":58,"size":1700,"collection":36,"collections":1701,"showCount":1702,"zanCount":563,"manualWeight":41,"mainColor":63},290358,"fu-qin-tu-zhou-chen-hong-shou-290358","抚琴图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,74,26,25,54,7,55,1698,120,238],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7228c7b03a44f4c904a47c8ffa7994b6.jpg","107.7x52.3",[36],71,{"id":1704,"slug":1705,"title":1706,"dynasty":88,"author":89,"museum":115,"description":1707,"tags":1708,"thumbUrl":1710,"material":105,"size":105,"collection":105,"collections":1711,"showCount":1702,"zanCount":41,"manualWeight":41,"mainColor":63},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,73,667,1709,25,26,54,211,7,93,94,97],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],{"id":1713,"slug":1714,"title":1715,"dynasty":68,"author":167,"museum":168,"description":1716,"tags":1717,"thumbUrl":1723,"material":34,"size":1724,"collection":36,"collections":1725,"showCount":1702,"zanCount":563,"manualWeight":41,"mainColor":42},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,1718,52,24,73,74,25,26,54,7,28,171,1719,1720,1721,1722,296],"清代","桌","凳","瓶","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[36],{"id":1727,"slug":1728,"title":1729,"dynasty":88,"author":414,"museum":20,"description":1730,"tags":1731,"thumbUrl":1733,"material":58,"size":1734,"collection":243,"collections":1735,"showCount":1702,"zanCount":563,"manualWeight":41,"mainColor":791},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,52,24,73,25,119,26,7,1732,96,54],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[243,38],{"id":1737,"slug":1738,"title":1739,"dynasty":651,"author":1740,"museum":1741,"description":1742,"tags":1743,"thumbUrl":1751,"material":1752,"size":105,"collection":105,"collections":1753,"showCount":1702,"zanCount":41,"manualWeight":41,"mainColor":63},220556,"sun-duo-ci-xiang-xu-bei-hong-220556","孙多慈像","徐悲鸿","中央美术学院美术馆","以明暗铺陈氛围感，少女慵懒斜倚摇椅，月白素旗袍勾勒出柔婉身形，湖蓝领结点亮素雅色调。温婉沉静的神态被细腻笔触精准捕捉，发丝晕染蓬松柔和，白袜高跟衬出少女青涩娇柔。\n\n画室的雕塑陈设铺展出雅致的创作氛围，暖棕底色晕开静谧温柔。以西画光影技法勾勒衣物柔润质感与面部细腻肌理，又揉进东方审美里的含蓄气韵，将少女灵动又沉静的独特气质定格，让画室的沉静创作氛围与少女的柔美融为一体，写实功力与抒情色彩兼具，尽显温柔雅致的隽永美感。",[907,1744,54,7,1745,1746,1747,1748,1749,30,1750,1249,26],"写实","摇椅","雕塑","画笔","容器","室内","民国风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca0855ccefd5119e84146509fa7ef5e.jpg","布面油彩",[],{"id":1755,"slug":1756,"title":1757,"dynasty":47,"author":290,"museum":115,"description":1401,"tags":1758,"thumbUrl":1761,"material":372,"size":373,"collection":105,"collections":1762,"showCount":1763,"zanCount":41,"manualWeight":41,"mainColor":42},287395,"ye-yan-tu-ye-zhou-wen-ju-287395","夜宴图页",[23,24,52,727,25,26,54,7,1759,56,266,121,122,1760],"宴饮","夜宴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55dccd52718d026c6ccf8e9eb9557d7d.jpg",[],70,{"id":1765,"slug":1766,"title":1767,"dynasty":68,"author":1768,"museum":115,"description":1769,"tags":1770,"thumbUrl":1771,"material":105,"size":105,"collection":36,"collections":1772,"showCount":1763,"zanCount":41,"manualWeight":41,"mainColor":63},239309,"shi-nv-tu-ye-huang-yao-239309","仕女图页","黄曜","柳荫垂覆，朱栏萦立，仕女素衣雅致，鬟发温婉，凭栏凝睇架上青鸟，眉眼间晕着淡淡幽思。浅设色晕染出枝叶清润质感，衣袂褶皱柔缓舒展，将闺中女子春日里的缱绻闲愁悄然铺陈。左侧题字配印，笔墨秀雅与画面相映。\n\n全画笔致清隽细腻，将江南春景的柔婉与仕女静穆怅惘相融，淡墨轻岚间静中生韵，把闺中闲绪糅入春日烟柳，含蓄绵长的古典情致漫溢纸面，余味悠然。",[24,73,280,25,26,54,7,128,95,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4560235a4bc933ed5d63f130017ba2f9.jpg",[36],{"id":1774,"slug":1775,"title":1776,"dynasty":137,"author":196,"museum":277,"description":1777,"tags":1778,"thumbUrl":1781,"material":1017,"size":1782,"collection":105,"collections":1783,"showCount":1784,"zanCount":11,"manualWeight":41,"mainColor":42},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,24,73,53,26,25,54,7,831,55,75,267,295,99,94,296,1779,1351,1780],"发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],69,{"id":1786,"slug":1787,"title":1788,"dynasty":68,"author":196,"museum":115,"description":1789,"tags":1790,"thumbUrl":1791,"material":58,"size":105,"collection":105,"collections":1792,"showCount":1784,"zanCount":41,"manualWeight":41,"mainColor":42},216721,"hong-lou-meng-fu-tu-ce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，名英，字实父，一作实甫，号十洲，又号十洲仙史，太仓（今江苏太仓）人，移家吴县(今江苏苏州)。约生于明弘治十一年左右（1498年）（注：也有人认为是1509年），卒于明世宗嘉靖三十年（1552年）。存世画迹有《赤壁图》、《玉洞仙源图》、《桃村草堂图》、《剑阁图》、《松溪论画图》等。 \u2028 明代表性的画家之一。与沈周，文征明和唐寅被后世并称为“明四家”，亦称“天门四杰”。早年为漆工，兼为人彩绘栋宇，后拜周臣门下学画。仇以善画为文征明、唐寅所器重。又在著名鉴藏家项元汴、周六观家中见识了大量古代名作。擅人物画，尤工仕女，特擅临摹。吸收南宋马和之及元人技法，笔力刚健，粉图黄纸，落笔乱真。至于发翠豪金，综丹缕素，精丽绝逸，无愧古人。善用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响。山水多学赵伯驹、刘松年，常见的是细润而风骨劲俏的青绿之作。有时作界画楼阁，尤为细密。常作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆忆写古贤名笔。张丑在《清河书画舫》中评说：仇英画“山石师王维，林木师李成，人物师吴元瑜，设色师赵伯驹，资诸家之长而浑合之，种种臻妙”。董其昌题其《仙弈图》谓：“仇实父是赵伯驹后身，即文、沈亦未尽其法”。",[23,24,73,53,119,25,54,7,30,1889,186,187,1890],"笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e82c8009fef999707062820078b6da.jpg","长卷，纸本水墨白描","纵27厘米，横677.8厘米",[],{"id":1896,"slug":1897,"title":1898,"dynasty":68,"author":1899,"museum":277,"description":1900,"tags":1901,"thumbUrl":1902,"material":58,"size":105,"collection":36,"collections":1903,"showCount":1904,"zanCount":11,"manualWeight":41,"mainColor":63},218387,"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[24,73,74,119,26,54,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[36],64,{"id":1906,"slug":1907,"title":1908,"dynasty":137,"author":1909,"museum":115,"description":1910,"tags":1911,"thumbUrl":1912,"material":372,"size":373,"collection":105,"collections":1913,"showCount":108,"zanCount":41,"manualWeight":41,"mainColor":42},288991,"shi-nv-pu-die-tu-xu-chong-ju-288991","仕女扑蝶图","徐崇矩","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。",[24,25,26,54,7,294,1072],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f63fff7f725a432c5603c8ef3f3dea.jpg",[],{"id":1915,"slug":1916,"title":1917,"dynasty":88,"author":414,"museum":115,"description":1918,"tags":1919,"thumbUrl":1920,"material":105,"size":105,"collection":105,"collections":1921,"showCount":108,"zanCount":563,"manualWeight":41,"mainColor":42},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[24,73,52,74,26,25,119,54,7,55,238,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":1923,"slug":1924,"title":1925,"dynasty":68,"author":196,"museum":49,"description":1926,"tags":1927,"thumbUrl":1929,"material":241,"size":1930,"collection":36,"collections":1931,"showCount":1932,"zanCount":41,"manualWeight":41,"mainColor":63},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[24,74,25,26,54,7,557,593,1928,96,99,224,729,1718],"荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纵169cm，横90cm",[36,38],62,{"id":1934,"slug":1935,"title":1936,"dynasty":425,"author":196,"museum":972,"description":1937,"tags":1938,"thumbUrl":1939,"material":58,"size":1940,"collection":36,"collections":1941,"showCount":1932,"zanCount":563,"manualWeight":41,"mainColor":63},219584,"ting-yuan-chui-di-tu-yi-ming-219584","庭院吹笛图","淡墨轻勾围栏，赭石晕染庭阶，古奇湖石倚立一旁，皴笔苍劲朴拙，带着幽古意态。仕女团髻簪花，罗裙垂曳覆地，静坐凝神，柔婉秀雅的身姿融于空寂庭院中。\n\n设色简淡古雅，沉郁绢色衬出静穆氛围，留白处漫着清寂闲淡，将深闺女子的幽怅藏于无声里。笔致工细却不繁缛，人物情态含蓄温婉，寥寥笔墨便将庭院幽闲意趣与仕女静柔风姿相融，古淡悠长的韵致漫开，把深闺的闲静怅惘晕在空庭里。",[24,73,26,54,7,55,78,94,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d0463155dcdec810230aaf5d57bc7c.jpg","纵25.4横23.5厘米",[36],{"id":1943,"slug":1944,"title":1945,"dynasty":47,"author":290,"museum":115,"description":1401,"tags":1946,"thumbUrl":1949,"material":372,"size":373,"collection":105,"collections":1950,"showCount":1951,"zanCount":41,"manualWeight":41,"mainColor":42},290013,"he-le-shi-nv-tu-zhou-wen-ju-290013","合乐仕女图",[23,24,53,875,25,26,7,211,55,1947,1005,1948,121,122,120,857],"奏乐","闺阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66132f9f2e6e9d33fbf23643535dd1c2.jpg",[],61,{"id":1953,"slug":1954,"title":1955,"dynasty":68,"author":330,"museum":331,"description":332,"tags":1956,"thumbUrl":1958,"material":34,"size":343,"collection":105,"collections":1959,"showCount":1951,"zanCount":563,"manualWeight":41,"mainColor":42},230108,"hong-lou-meng-189-sun-wen-230108","红楼梦189",[24,25,26,92,54,7,93,95,94,1957,30],"门窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756da37c1938489cc2f2aab0645c8766.jpg",[],{"id":1961,"slug":1962,"title":1963,"dynasty":425,"author":196,"museum":115,"description":1964,"tags":1965,"thumbUrl":1966,"material":105,"size":105,"collection":105,"collections":1967,"showCount":1951,"zanCount":563,"manualWeight":41,"mainColor":42},228206,"gong-nv-you-yuan-tu-li-zhou-yi-ming-228206","宫女游园图立轴","以青绿晕染出苍润苑囿，层叠亭台随山势铺展，界画工致严整，朱红飞檐掩映在古松奇石间。\n高台上仕女凭栏远眺，廊庑间宫人行止悠然，或低语相伴，或缓步行游，素衣翩跹打破殿宇的厚重沉静。\n设色古雅柔和，山石松枝的沉郁底色，衬得仕女身姿愈发轻盈灵秀，将深宫之中片刻偷闲的游园意趣晕染在绢素之上，藏着深闺里难得的松弛意态，古韵内敛悠长。",[23,24,74,26,25,92,54,7,93,124,95,474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2765d101e95a8b69919d662341f6dace.jpg",[],{"id":1969,"slug":1970,"title":1971,"dynasty":651,"author":1972,"museum":653,"description":1973,"tags":1974,"thumbUrl":1975,"material":105,"size":105,"collection":105,"collections":1976,"showCount":1977,"zanCount":563,"manualWeight":41,"mainColor":63},220485,"du-shu-shi-nv-lin-feng-mian-220485","读书仕女","林风眠","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[23,24,26,239,54,7,77,1283,30,32,1871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff110702a58344acdddb690c44d20b44c.jpg",[],60,{"id":1979,"slug":1980,"title":1981,"dynasty":88,"author":89,"museum":154,"description":1982,"tags":1983,"thumbUrl":1984,"material":158,"size":1985,"collection":356,"collections":1986,"showCount":5,"zanCount":11,"manualWeight":41,"mainColor":42},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,52,24,73,74,25,26,92,54,7,211,93,94,55,267,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[356,38],{"id":1988,"slug":1989,"title":1990,"dynasty":88,"author":89,"museum":1991,"description":1992,"tags":1993,"thumbUrl":1995,"material":1017,"size":1996,"collection":105,"collections":1997,"showCount":1998,"zanCount":563,"manualWeight":41,"mainColor":63},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","日本京都国立博物馆","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[23,24,73,667,25,26,54,7,123,267,75,1994],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],58,{"id":2000,"slug":2001,"title":2002,"dynasty":68,"author":196,"museum":263,"description":2003,"tags":2004,"thumbUrl":2005,"material":58,"size":2006,"collection":36,"collections":2007,"showCount":1998,"zanCount":41,"manualWeight":41,"mainColor":42},218525,"li-xiang-jun-xiao-xiang-yi-ming-218525","李香君小像","画有李香君的小像，面板左上方有侯方域《李姬传》的小楷长诗。",[24,667,25,26,54,7,121,122,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa138eb64d00fad7bfd083254678fc512.jpg","22.8x25.5",[36],{"id":2009,"slug":2010,"title":2011,"dynasty":392,"author":1267,"museum":115,"description":1268,"tags":2012,"thumbUrl":2015,"material":372,"size":373,"collection":1275,"collections":2016,"showCount":2017,"zanCount":41,"manualWeight":41,"mainColor":42},225671,"rembrandt-harmensz-van-rijn-081-lun-bo-lang-225671","Rembrandt Harmensz.van Rijn - 081",[907,54,7,31,26,1744,1270,296,1249,2013,2014],"光影","厚涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab503ac9945a61b8bca38c7d03deeb99.jpg",[1275],57,{"id":2019,"slug":2020,"title":2021,"dynasty":425,"author":196,"museum":49,"description":2022,"tags":2023,"thumbUrl":2025,"material":280,"size":2026,"collection":105,"collections":2027,"showCount":2017,"zanCount":563,"manualWeight":41,"mainColor":63},223477,"zhao-liang-shi-nv-tu-yi-ming-223477","招涼仕女图","在这幅钱选的《招凉仕女图》中，以瘦为美的审美品味依旧可以被观众窥得。侍女身穿低胸衣、下身窄长裙，外套长褙子，修长了整个身形。右侧仕女头戴“重楼子”花冠。这种花冠据考证甚至高至两尺。它以漆纱制成的冠还能隐约透露出里面的发髻，让人感觉到轻盈精巧。左侧仕女头戴“玉兰花苞”花冠，像极了《瑶台步月图》中带团冠的贵妇，均由于装束打扮显现出修长而文弱的姿态。手中的圆扇子，把微风吹起，更突显了女子“犹抱琵琶半遮面”的含蓄娇柔之美。",[23,24,26,25,54,7,30,2024],"扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23d01f5d1870e7232b8d79ac68c4fc55.jpg","22.4 x 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》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[23,24,73,74,119,239,54,7,55,121,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":2354,"slug":2355,"title":2356,"dynasty":68,"author":196,"museum":115,"description":2357,"tags":2358,"thumbUrl":2360,"material":58,"size":105,"collection":105,"collections":2361,"showCount":2343,"zanCount":41,"manualWeight":41,"mainColor":42},216716,"hong-lou-meng-fu-tu-ce-2-yi-ming-216716","红楼梦赋图册-2","亭榭隐于蕉荫间，几缕倩影或凭栏凝思，或低语浅笑。衣袂如流云轻覆青石板，罗裙纹样似浸了江南的柔润。案头器物精巧，窗边陈设雅致，恰是红楼闺阁的寻常光景——无需喧哗，只那眼波流转的默契，便将女子们的温婉灵秀凝在笔墨间。园林清幽裹着人情暖意，软语里的细碎心事，随风散入芭蕉叶隙。笔墨清润，色彩雅致，将书中含蓄韵致化作眼前可触的静谧温柔，仿佛能闻见空气中浮动的淡香，窥见那段红楼旧梦的一角，让观者沉湎于这纸间流转的古典情长。",[23,25,26,280,54,7,127,93,95,94,2359,99,2274],"古装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a767b05f29544d7c431926bc0754ea6.jpg",[],{"id":2363,"slug":2364,"title":2365,"dynasty":425,"author":196,"museum":49,"description":2366,"tags":2367,"thumbUrl":2371,"material":58,"size":2372,"collection":36,"collections":2373,"showCount":2374,"zanCount":41,"manualWeight":41,"mainColor":42},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[52,24,74,26,54,25,7,831,2368,238,2369,2370,77],"柳","货郎","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg","196.8x104.3",[36],45,{"id":2376,"slug":2377,"title":2378,"dynasty":425,"author":196,"museum":115,"description":2379,"tags":2380,"thumbUrl":2383,"material":372,"size":373,"collection":105,"collections":2384,"showCount":2374,"zanCount":563,"manualWeight":41,"mainColor":63},290785,"xian-nv-zhou-yi-ming-290785","仙女轴","该幅绘女仙高髻素衣，趺坐蒲团，手拈笔毫，膝前置贝多叶，似欲书经传道。旁有筠篮系锄上，中贮芝草。一狮一虎伏侍在侧，状甚温驯，盖表现女仙道高，足以降服猛兽。",[24,74,54,7,2381,320,2382,370,26,120],"虎","仙女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba9881fccc86160614489a9c319fe7b.jpg",[],{"id":2386,"slug":2387,"title":2388,"dynasty":137,"author":2389,"museum":115,"description":2390,"tags":2391,"thumbUrl":2393,"material":372,"size":373,"collection":105,"collections":2394,"showCount":2374,"zanCount":563,"manualWeight":41,"mainColor":63},290074,"xiu-long-xiao-jing-tu-wang-shen-290074","绣栊晓镜图","王诜","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[667,24,26,25,54,7,211,2392,121,120,1749],"镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3850122dec566e5bbd67ec8ee7158ba.jpg",[],{"id":2396,"slug":2397,"title":736,"dynasty":68,"author":737,"museum":154,"description":738,"tags":2398,"thumbUrl":2399,"material":105,"size":105,"collection":105,"collections":2400,"showCount":2374,"zanCount":41,"manualWeight":41,"mainColor":42},237117,"shi-nv-ce-cui-wei-237117",[52,24,73,280,25,26,54,7,30,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa5fa588e85cf48557097697d8534b1.jpg",[],{"id":2402,"slug":2403,"title":736,"dynasty":68,"author":737,"museum":154,"description":738,"tags":2404,"thumbUrl":2405,"material":105,"size":105,"collection":105,"collections":2406,"showCount":2374,"zanCount":563,"manualWeight":41,"mainColor":42},237116,"shi-nv-ce-cui-wei-237116",[24,280,25,26,54,7,171,77,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48791ca3b376c9bae3fe3c7fd9a2802.jpg",[],{"id":2408,"slug":2409,"title":2410,"dynasty":68,"author":330,"museum":331,"description":332,"tags":2411,"thumbUrl":2414,"material":34,"size":343,"collection":105,"collections":2415,"showCount":2374,"zanCount":41,"manualWeight":41,"mainColor":42},230102,"hong-lou-meng-183-sun-wen-230102","红楼梦183",[1718,25,26,24,54,93,127,94,750,95,99,7,296,2412,2413,858],"群像","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c666a7a5a3b8395196307e5628ac27.jpg",[],{"id":2417,"slug":2418,"title":2419,"dynasty":88,"author":414,"museum":115,"description":2420,"tags":2421,"thumbUrl":2422,"material":105,"size":105,"collection":105,"collections":2423,"showCount":2374,"zanCount":563,"manualWeight":41,"mainColor":42},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,73,52,74,26,54,7,126,96,368,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":2425,"slug":2426,"title":459,"dynasty":68,"author":1206,"museum":115,"description":2427,"tags":2428,"thumbUrl":2429,"material":372,"size":373,"collection":105,"collections":2430,"showCount":2431,"zanCount":41,"manualWeight":41,"mainColor":63},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,73,280,26,25,54,93,94,224,99,7,336,267,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],44,{"id":2433,"slug":2434,"title":2435,"dynasty":18,"author":196,"museum":115,"description":2436,"tags":2437,"thumbUrl":2438,"material":372,"size":373,"collection":105,"collections":2439,"showCount":2431,"zanCount":563,"manualWeight":41,"mainColor":42},230935,"shi-nv-xiang-yi-ming-230935","仕女像","这幅泥壁画虽历经风霜漆面龟裂斑驳，却依旧神韵斐然。交臂跪坐的仕女身姿柔婉娴静，盛唐丰腴的体态在简练铁线描下尽显雍容。绿调头光晕染出清寂氛围感，赭褐上衣配碧色飘带，古旧色彩晕染层次尚存，宝冠璎珞的细节暗合供养人身份，带着佛境的超脱柔媚。残损的肌理裹着岁月沉韵，将盛唐雅致的审美风骨，凝在这一方泥壁之上。",[24,73,1502,26,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc26d91d8cfee475b78ad024bc28a63.jpg",[],{"id":2441,"slug":2442,"title":1464,"dynasty":88,"author":364,"museum":115,"description":2443,"tags":2444,"thumbUrl":2445,"material":105,"size":105,"collection":105,"collections":2446,"showCount":2431,"zanCount":563,"manualWeight":41,"mainColor":63},228478,"wang-shu-gong-ji-tu-tang-yin-228478","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,52,24,73,74,26,54,7,30,31,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":2448,"slug":2449,"title":2450,"dynasty":425,"author":196,"museum":115,"description":2451,"tags":2452,"thumbUrl":2453,"material":105,"size":105,"collection":105,"collections":2454,"showCount":2431,"zanCount":41,"manualWeight":41,"mainColor":42},228215,"you-xing-shi-nv-tu-yi-ming-228215","游行仕女图","古绢底色晕染岁月沉浑，雄健湖石倚立，芭蕉阔叶舒展如伞，猩红花穗挺立于叶隙，墨色浓淡晕开草木蓬勃生机。仕女衣袂轻扬雅致，或垂眸敛容，或侧身顾盼，柔缓徐行间尽显端静含蓄的仪态。画作以大石丛蕉衬出仕女窈窕娟秀，上下分景疏密相宜，设色古淡沉静，笔致简净含蓄，藏雅致余韵，将庭院闲游的松弛意趣，融在古朴沉静的画境之内，淡墨轻彩晕开旧时光里的闺中清致。",[23,24,73,74,25,26,54,7,96,750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb2be621dcd64401a64de5a6e7d8444.jpg",[],{"id":2456,"slug":2457,"title":2458,"dynasty":68,"author":2459,"museum":277,"description":2460,"tags":2461,"thumbUrl":2462,"material":954,"size":2463,"collection":36,"collections":2464,"showCount":2431,"zanCount":41,"manualWeight":41,"mainColor":63},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[24,74,26,25,54,124,95,96,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 厘米",[36],{"id":2466,"slug":2467,"title":2468,"dynasty":68,"author":676,"museum":263,"description":677,"tags":2469,"thumbUrl":2470,"material":58,"size":681,"collection":105,"collections":2471,"showCount":2431,"zanCount":41,"manualWeight":41,"mainColor":63},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2",[24,73,26,25,54,7,30,31,121,120,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg",[],{"id":2473,"slug":2474,"title":2475,"dynasty":137,"author":1472,"museum":115,"description":2476,"tags":2477,"thumbUrl":2479,"material":372,"size":373,"collection":105,"collections":2480,"showCount":2481,"zanCount":41,"manualWeight":41,"mainColor":42},289345,"jing-zhuang-shi-nv-tu-su-han-chen-289345","靓妆仕女图","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[24,667,25,26,211,7,1005,2478,100,2311,496,856],"妆扮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461f3a441637bef355b5e52fce686547.jpg",[],43,{"id":2483,"slug":2484,"title":2485,"dynasty":88,"author":2348,"museum":154,"description":2486,"tags":2487,"thumbUrl":2488,"material":2489,"size":2490,"collection":105,"collections":2491,"showCount":2481,"zanCount":563,"manualWeight":41,"mainColor":63},233701,"wu-ling-chun-tu-juan-wu-wei-233701","武陵春图卷","图中女子武陵春的面部和衣纹均以细匀的淡墨线条绘成，只在眼眸、发髻处用重墨点染，这种特殊的用墨方法不仅形成了生动的墨韵，同时也令画面清雅秀润，更贴切地表现出女主人的纤秀文静之美。此外，吴伟在创作上还采用了借物言志的艺术手法，以石桌上陈设的琴、笔、砚等文房用具揭示出武陵春内在的文化修养，以石桌左侧的盆景梅花象征武陵春心志如梅的高尚情操。以这些带有寓意性的物品作为衬景点缀画面，无疑在充实武陵春形象的同时也丰富了画面的视觉感受。吴伟凭藉其精湛的艺术造诣曾分别于明成化和弘治年间奉召进京供奉宫廷。他性情孤傲，不慕权势，为朝廷内外的恶浊环境所排斥。返回江南后，他常以饮酒狎妓遣释郁闷的心境，所以，他对青楼女子的生活有一定的接触和了解。当他闻知富有文采的武陵春身在青楼而不受所处境地的影响、对爱情忠贞不渝时，为之深深感动，遂援笔作此图，以示对武陵春的同情与敬仰。清吴麒《图绘宝鉴续纂》认为吴伟“画人物落笔健壮，白描尤佳”。此幅便是吴伟晚期白描画中的精品。吴伟的白描人物宗法唐代吴道子和宋代李公麟，强调线条自身婉转流动的韵律感和塑造形象的精确性。",[24,73,53,119,239,54,7,121,122,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c183031801a15d9b56e62fc7c52ea46.jpg","纸本，白描","纵27.5厘米，横93.9厘米",[],{"id":2493,"slug":2494,"title":2495,"dynasty":88,"author":89,"museum":154,"description":1982,"tags":2496,"thumbUrl":2497,"material":158,"size":1985,"collection":356,"collections":2498,"showCount":2499,"zanCount":563,"manualWeight":41,"mainColor":42},222220,"nv-le-tu-chou-ying-222220","女乐图",[23,24,25,26,7,55,93,94,54,296,101,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773ae43fc8291acbb6e1133fb797250.jpg",[356,38],42,{"id":2501,"slug":2502,"title":2503,"dynasty":137,"author":2504,"museum":115,"description":2505,"tags":2506,"thumbUrl":2507,"material":105,"size":105,"collection":105,"collections":2508,"showCount":2509,"zanCount":41,"manualWeight":41,"mainColor":63},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,52,24,73,667,26,25,54,93,7,368,121,122,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],41,{"id":2511,"slug":2512,"title":2513,"dynasty":68,"author":196,"museum":115,"description":2514,"tags":2515,"thumbUrl":2516,"material":105,"size":105,"collection":105,"collections":2517,"showCount":2509,"zanCount":41,"manualWeight":41,"mainColor":63},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,53,26,25,92,54,93,94,95,593,1198,100,99,496,96,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":2519,"slug":2520,"title":2521,"dynasty":68,"author":196,"museum":115,"description":2522,"tags":2523,"thumbUrl":2524,"material":58,"size":105,"collection":105,"collections":2525,"showCount":2509,"zanCount":41,"manualWeight":41,"mainColor":42},216714,"hong-lou-meng-fu-tu-ce-8-yi-ming-216714","红楼梦赋图册-8","山石错落间，粉艳花簇点缀，绿意轻缠石畔。一女子彩衣立石侧，凝睇花影；另一人红衣闲坐石前，姿态悠然。远处屋宇半隐，草木葱茏，水光依稀，晕开清宁之境。画面设色柔婉，线条细腻，将红楼场景的雅致闲情藏于笔底。人物神情含蓄，景物相映成趣，尽显古典园林的清幽意韵与闺阁间的温婉情致，似截取书中一段静谧时光，让观者在柔美的画面里，触到那份属于红楼的细腻与诗意。",[23,24,26,25,54,7,78,171,75,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c11c867ee2dca3bab7da81bc83a524a.jpg",[],{"id":2527,"slug":2528,"title":2529,"dynasty":392,"author":1267,"museum":115,"description":1268,"tags":2530,"thumbUrl":2531,"material":372,"size":373,"collection":1275,"collections":2532,"showCount":2533,"zanCount":41,"manualWeight":41,"mainColor":791},225647,"rembrandt-harmensz-van-rijn-057-lun-bo-lang-225647","Rembrandt Harmensz.van Rijn - 057",[907,1249,54,7,26,1270,296,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71035e942aa07b8e236473d4047797e1.jpg",[1275],40,{"id":2535,"slug":2536,"title":2537,"dynasty":68,"author":917,"museum":115,"description":2538,"tags":2539,"thumbUrl":2540,"material":105,"size":105,"collection":105,"collections":2541,"showCount":2533,"zanCount":41,"manualWeight":41,"mainColor":63},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[23,24,73,26,25,54,7,120,121,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":2543,"slug":2544,"title":2545,"dynasty":88,"author":89,"museum":277,"description":2546,"tags":2547,"thumbUrl":2548,"material":158,"size":2549,"collection":356,"collections":2550,"showCount":2533,"zanCount":325,"manualWeight":41,"mainColor":42},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。",[23,52,24,73,53,25,26,92,54,7,430,95,93,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[356,38],{"id":2552,"slug":2553,"title":2554,"dynasty":88,"author":414,"museum":884,"description":2555,"tags":2556,"thumbUrl":2557,"material":58,"size":105,"collection":105,"collections":2558,"showCount":2533,"zanCount":41,"manualWeight":41,"mainColor":63},218019,"za-hua-ce-11-chen-hong-shou-218019","杂画册-11","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[52,24,73,280,26,25,54,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1922d884b4ff6a8569e2c2b78a1b5aae.jpg",[],{"id":2560,"slug":2561,"title":2562,"dynasty":47,"author":290,"museum":49,"description":1401,"tags":2563,"thumbUrl":2565,"material":372,"size":373,"collection":105,"collections":2566,"showCount":2567,"zanCount":41,"manualWeight":41,"mainColor":42},287702,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-287702","荷亭奕钓仕女图",[23,24,26,25,92,54,7,211,93,127,593,2564,74],"弈棋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e62cdcbf6ac380cde864e575745bd4.jpg",[],39,{"id":2569,"slug":2570,"title":620,"dynasty":88,"author":196,"museum":427,"description":2571,"tags":2572,"thumbUrl":2575,"material":58,"size":105,"collection":36,"collections":2576,"showCount":2567,"zanCount":563,"manualWeight":41,"mainColor":42},219497,"juan-xiu-tu-yi-ming-219497","朱红绣案上绿绸随意铺陈，仕女凭案敛臂休憩，绣活未竟便沉沉暂歇。淡墨轻施勾勒出松弛倦态，素绢古旧的底色晕开沉静氛围，没有繁复华饰，只以极简笔意定格闺阁日常里的慵懒闲逸。将绣女劳顿后的松弛心绪藏在素雅笔墨间，未完成的针线暗合着闺中往复的日常细碎，静穆画面里漫出平淡悠长的闺中况味，把细碎倦怠揉进古雅色调里，尽显内敛温柔的东方意趣。",[24,73,26,25,54,7,296,2573,2574,1005],"榻","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a4c0ec9f990f6ad692fcb7681f4b5.jpg",[36],{"id":2578,"slug":2579,"title":289,"dynasty":137,"author":1013,"museum":115,"description":2580,"tags":2581,"thumbUrl":2582,"material":372,"size":373,"collection":105,"collections":2583,"showCount":83,"zanCount":41,"manualWeight":41,"mainColor":42},289118,"shi-nv-tu-li-gong-lin-289118","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。",[24,52,119,54,7,93,238,94,100,211,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33af21ee25f2aae5b718472616b4b91.jpg",[],{"id":2585,"slug":2586,"title":2587,"dynasty":88,"author":196,"museum":115,"description":2588,"tags":2589,"thumbUrl":2593,"material":372,"size":373,"collection":105,"collections":2594,"showCount":83,"zanCount":41,"manualWeight":41,"mainColor":42},288078,"xuan-zong-gui-fei-zou-di-tu-li-zhou-yi-ming-288078","玄宗贵妃奏笛图立轴","垂柳拂过嶙峋湖石，水榭临波，贵妃执笛缓吹，玄宗近身侧耳，目光沉醉。一旁乐师斜倚朱栏，击节相和。衣纹线条流转灵动，敷色古雅沉静，将人物神态尽数勾勒：贵妃温婉柔媚，玄宗含情脉脉，乐师随性悠然，复刻出盛唐宫苑宴乐的缱绻雅致。画作带着明代人物画的典型意韵，以细腻笔触铺陈出往昔宫廷的闲情柔意，古意悠然，余韵绵长。",[23,52,24,73,74,26,54,7,55,2590,557,2591,99,124,1947,2592],"笛子","怪石","历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d70c31c909eb5fda8b5faa14daa6288.jpg",[],{"id":2596,"slug":2597,"title":736,"dynasty":68,"author":737,"museum":154,"description":738,"tags":2598,"thumbUrl":2599,"material":105,"size":105,"collection":105,"collections":2600,"showCount":83,"zanCount":41,"manualWeight":41,"mainColor":63},237115,"shi-nv-ce-cui-wei-237115",[24,73,280,25,26,54,7,30,77,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a9e178aab2ac2740e50cc503c1b5e.jpg",[],{"id":2602,"slug":2603,"title":2604,"dynasty":68,"author":2605,"museum":115,"descr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。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,52,24,73,667,26,54,25,7,77,30,31,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":2678,"slug":2679,"title":2680,"dynasty":425,"author":2681,"museum":49,"description":2682,"tags":2683,"thumbUrl":2685,"material":58,"size":105,"collection":36,"collections":2686,"showCount":2658,"zanCount":41,"manualWeight":41,"mainColor":63},218743,"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","盛懋","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[23,24,73,280,26,54,2684,238,7,78],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[36],{"id":2688,"slug":2689,"title":2690,"dynasty":68,"author":676,"museum":263,"description":2691,"tags":2692,"thumbUrl":2693,"material":58,"size":681,"collection":105,"collections":2694,"showCount":2658,"zanCount":41,"manualWeight":41,"mainColor":63},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[52,24,73,280,25,26,54,7,30,121,122,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg",[],{"id":2696,"slug":2697,"title":2698,"dynasty":68,"author":196,"museum":115,"description":2699,"tags":2700,"thumbUrl":2701,"material":58,"size":105,"collection":105,"collections":2702,"showCount":2658,"zanCount":41,"manualWeight":41,"mainColor":42},216712,"hong-lou-meng-fu-tu-ce-12-yi-ming-216712","红楼梦赋图册-12","柳丝轻垂如帘，将内外景致温柔分隔。室外女子衣袂轻扬，或低语或凝眸，衣色淡雅如春日烟霞；栏杆旁草色萌新，山石间点缀细花，尽是闺中闲静之态。室内帐幔层叠，朱红与素白交织出朦胧暖意，卧榻人影隐约，似含一缕慵懒或幽思。笔墨细腻处，人物神态温婉流转，陈设精巧如真——案上器物、窗边棂格，皆藏着古典生活的雅致余韵。整幅画晕染着红楼特有的幽微情致，似将一段闺阁闲情定格，让观者窥见旧时光里的细腻光影，心绪也随那轻垂的柳丝，坠入这绢素间的温柔梦境。",[23,24,26,25,280,54,7,336,95,94,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c66a7352a3be6cd1b31ff1a6fead007.jpg",[],{"id":2704,"slug":2705,"title":2706,"dynasty":68,"author":330,"museum":115,"description":2127,"tags":2707,"thumbUrl":2711,"material":372,"size":373,"collection":105,"collections":2712,"showCount":2713,"zanCount":563,"manualWeight":41,"mainColor":42},288399,"lin-dai-yu-chong-jian-tao-hua-she-sun-wen-288399","林黛玉重建桃花社",[23,24,73,25,26,54,7,93,474,125,128,75,2708,2709,2710],"风筝","桃花社","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg",[],36,{"id":2715,"slug":2716,"title":2717,"dynasty":68,"author":961,"museum":115,"description":2718,"tags":2719,"thumbUrl":2721,"material":105,"size":105,"collection":105,"collections":2722,"showCount":2713,"zanCount":41,"manualWeight":41,"mainColor":63},230148,"shi-er-jin-chai-tu-fei-dan-xu-230148","十二金钗图","《十二金钗图》是清代画家费丹旭创作的一幅绘画作品，现藏于 。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[24,73,25,26,7,238,2720,474,78,126,120],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":2724,"slug":2725,"title":413,"dynasty":68,"author":2726,"museum":115,"description":2727,"tags":2728,"thumbUrl":2729,"material":105,"size":105,"collection":105,"collections":2730,"showCount":2713,"zanCount":41,"manualWeight":41,"mainColor":42},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","黄山寿","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[24,73,74,26,25,54,7,77,30,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":2732,"slug":2733,"title":2734,"dynasty":425,"author":196,"museum":115,"description":2735,"tags":2736,"thumbUrl":2737,"material":372,"size":373,"collection":105,"collections":2738,"showCount":2713,"zanCount":563,"manualWeight":41,"mainColor":42},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,1502,24,73,26,25,54,7,267,124,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":2740,"slug":2741,"title":2742,"dynasty":68,"author":330,"museum":331,"description":332,"tags":2743,"thumbUrl":2746,"material":34,"size":343,"collection":105,"collections":2747,"showCount":2713,"zanCount":41,"manualWeight":41,"mainColor":1242},223066,"hong-lou-meng-52-sun-wen-223066","红楼梦52",[23,24,73,25,26,92,54,7,93,95,99,94,101,1198,296,100,625,1721,2744,2194,32,1749,2745],"罐","室外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6e4bfd16dd262ed724295b75a151d0.jpg",[],{"id":2749,"slug":2750,"title":2751,"dynasty":68,"author":196,"museum":784,"description":2752,"tags":2753,"thumbUrl":2754,"material":788,"size":105,"collection":105,"collections":2755,"showCount":2713,"zanCount":41,"manualWeight":41,"mainColor":791},216877,"xi-xiang-ji-tu-ce-6-yi-ming-216877","西厢记图册-6","庭院深深，草木清嘉。前景双姝衣袂翩然，低语间神态温婉，衣纹细腻如织；背景二人立于阶上，衣袍素雅，与朱红窗棂相映成趣。虬曲的古树枝叶婆娑，绿草点缀阶前，笔墨勾勒间尽显生趣。淡彩晕染出清雅色调，建筑的庄重与人物的灵动交织，空间层次错落有致。画面将古典情境凝于方寸，人物互动自然生动，似能窥见西厢故事中的温婉瞬间，尽显传统绘画的细腻韵味与含蓄意境。",[24,73,280,25,26,54,7,93,267,94,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09efc3508687631c699e7cb591e4d1b6.jpg",[],{"id":2757,"slug":2758,"title":2759,"dynasty":392,"author":2097,"museum":115,"description":2098,"tags":2760,"thumbUrl":2763,"material":372,"size":373,"collection":1275,"collections":2764,"showCount":2765,"zanCount":41,"manualWeight":41,"mainColor":42},225909,"camille-with-green-umbrella-1876-mo-nai-225909","Camille with Green Umbrella, 1876",[2100,907,2013,2761,54,7,2106,224,624,2762],"色彩","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3d1c765c21303492ef7dd87966f882.jpg",[1275],35,{"id":2767,"slug":2768,"title":2769,"dynasty":137,"author":196,"museum":70,"description":2770,"tags":2771,"thumbUrl":2772,"material":1017,"size":2773,"collection":105,"collections":2774,"showCount":2765,"zanCount":41,"manualWeight":41,"mainColor":63},223435,"song-mo-zhou-wen-ju-gong-zhong-tu-di-yi-duan-yi-ming-223435","宋摹周文矩宫中图（第一段）","此图是描绘宫中妇女生活的长卷，存残卷四段，画八十余人。\n《宫中图》原作已经不存在,目前所见为南宋摹本,共有三段。1947年左右散佚海外,分存在美国三个不同的博物馆。第一段藏美国克里夫兰美术馆,曾名《仕女图》第二段名《宫中图》,藏美国哈佛大学福格博物馆;第三段名《唐宫春晓图》,原为英国私人藏,现入藏美国大都会美术馆。 [1] 《宫中图》，宫女童子多达八十令人，分十余组，人物穿插得体，彼此照庇，统一和谐；除人物面部行极少淡彩外，均用白描，笔法活泼，线条流畅，造型准确生动。 [2]\n此图是描绘宫中妇女生活的长卷，现残存四段，画中宫女童子多达81人，分成十余组。人物的活动有着诸多的场面，有的对镜梳妆，有的在奏乐，有的在无聊闲坐，有的在盥洗，有的在逗着小儿，童子正在逗玩小狗，有的在观鱼等等；画中的人物，除儿童显得天真活泼外，其余人物显得有些懒散、忧郁，尤其是年长者，地位较显者为甚，画中诸多人物的安排和组合，穿插得体，疏密相间，构图富有变化，错落有致。\n画卷附有宋绍兴庚申十年（1140）张激跋文，郁逢庆的（书画题跋记）把这段题跋保存下来，录在下面:\n周文矩“”宫中图”，妇人小儿，其数八十，一男子写神，而装具乐器盆孟扇椅席鷃鹉犬蝶不与。文矩句容人，为江南翰林待诏，作仕女体近周，而加纤丽，尝为后主画“南庄图”，号一时绝笔，他日上之朝廷，诏籍之秘阁。“官中图”云是真迹，藏前太府卿朱载家，或摹以见馈，妇人高自唐以来如此，此卷丰肌长裙，周法也。余在峤南于端溪陈高祖之裔，见其世藏诸帝像，左右官人梳与此略同，而丫乃作两大垂肩项间，虽丑而有真态。李氏自谓南唐故衣冠多用唐制，然风流寔是六朝之余，画家者官辩古今当先问衣冠车服，盖谓此也。绍兴庚申五月乙西岩居士张激题。”\n卷后有岳居土张激绍兴十年（1140）跋：“周文矩宫中图，妇人小儿，其数八十。男子写神。”",[23,52,24,73,53,118,119,54,7,831,55,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856d5daed2a1792353467f6670b4d6b6.jpg","纵28.3cm，横168.5cm",[],{"id":2776,"slug":2777,"title":2778,"dynasty":68,"author":167,"museum":277,"description":2779,"tags":2780,"thumbUrl":2781,"material":105,"size":105,"collection":356,"collections":2782,"showCount":2765,"zanCount":563,"manualWeight":41,"mainColor":2783},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。",[23,74,25,26,54,7,430,124,476,95,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b016e1170af82440aad8ae186415c2.jpg",[356],"8a6741",{"id":2785,"slug":2786,"title":2787,"dynasty":137,"author":196,"museum":277,"description":2788,"tags":2789,"thumbUrl":2790,"material":105,"size":105,"collection":145,"collections":2791,"showCount":2765,"zanCount":285,"manualWeight":41,"mainColor":2792},201548,"ge-le-tu-juan-yi-ming-201548","歌乐图卷","画卷铺陈宋代闲适宴乐之景，庭院间虬枝缀花之木与青竹、怪石相映，景致清雅。男子持乐器奏乐，红衣女子或凝神倾听、或轻执器物互动，孩童稚态可掬，众人神情姿态生动传神。画作以工笔见长，线条细腻流畅，衣纹勾勒精准，设色典雅沉稳，将宴乐场景的悠然氛围尽显无遗，体现宋代绘画的精致匠心与艺术韵味。",[25,26,54,55,94,75,78,7,831,238,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f7c94786ca092c3352478aabf9437e.jpg",[145],"745f47",{"id":2794,"slug":2795,"title":2796,"dynasty":137,"author":196,"museum":115,"description":2797,"tags":2798,"thumbUrl":2799,"material":105,"size":105,"collection":36,"collections":2800,"showCount":2801,"zanCount":41,"manualWeight":41,"mainColor":42},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。",[52,24,73,53,25,119,26,54,124,798,93,95,799,319,430,127,7,118,120,125,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[36],34,{"id":2803,"slug":2804,"title":2805,"dynasty":137,"author":196,"museum":49,"description":2806,"tags":2807,"thumbUrl":2808,"material":103,"size":2809,"collection":105,"collections":2810,"showCount":2801,"zanCount":41,"manualWeight":41,"mainColor":42},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,53,25,26,119,54,94,95,93,750,557,625,7,78,127,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":2812,"slug":2813,"title":2814,"dynasty":68,"author":2815,"museum":277,"description":2816,"tags":2817,"thumbUrl":2818,"material":239,"size":105,"collection":36,"collections":2819,"showCount":2801,"zanCount":41,"manualWeight":41,"mainColor":63},219751,"su-xiao-mei-xiang-chen-zhuan-219751","苏小妹像","陈撰","此作以极简白描勾勒仕女，凝练舒展的墨线塑就身形，少女垂首捧卷，眉梢眼底尽是沉浸书卷的静雅温婉，将才女的灵秀聪慧藏于无言。画面左侧题诗与人物相映成趣，诗画共生，晕染出清雅脱俗的文人意趣。全作不施多余敷色，纯以墨线写形传神，寥寥数笔便将闺中才女耽于诗书的娴静情态刻画入微，笔墨清逸秀朗，尽显写意雅致的格调，把人物的温婉灵韵全然铺陈开来，尽显文人仕女画的写意风神。",[24,73,74,119,239,54,7,121,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c45638293df21733715bda30704781.jpg",[36],{"id":2821,"slug":2822,"title":2823,"dynasty":137,"author":196,"museum":49,"description":2824,"tags":2825,"thumbUrl":2828,"material":58,"size":2829,"collection":145,"collections":2830,"showCount":2801,"zanCount":41,"manualWeight":41,"mainColor":63},218860,"xiao-shi-sheng-luan-tu-yi-ming-218860","萧史乘鸾图","这幅画是根据秦国公的女儿鲁豫的传说创作的。作者巧妙地利用扇面的圆形框架，将人物、建筑和凤凰围成一圈，在中间留出空隙，以扩大画作的意义。",[23,24,26,25,280,54,7,2826,2827,95,799],"鸾鸟","台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780e13d780ec8d0ca13d6d3282b6afad.jpg","22.8x23厘米",[145],{"id":2832,"slug":2833,"title":2834,"dynasty":68,"author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笔 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Abbott McNeill Whistler，1834.07.11—1903.07.17）美国画家、蚀刻家，父亲是美国工程师，全家曾经住过圣彼得堡。惠斯勒曾于西点军校肄业，之后选择做画家。深受日本绘画影响。代表作有：灰与黑的协奏曲、画家母亲肖像、白衣少女（系列）、瓷器公主。",[907,26,54,7,2871,2946,100,2947,224,32,128],"扇子","地毯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9ef3d59526e363f8bff5ec7a8aa0a.jpg",[],{"id":2951,"slug":2952,"title":2953,"dynasty":392,"author":196,"museum":115,"description":2954,"tags":2955,"thumbUrl":2958,"material":372,"size":373,"collection":105,"collections":2959,"showCount":2930,"zanCount":41,"manualWeight":41,"mainColor":1242},225511,"fu-shi-hui-269-yi-ming-225511","浮世绘269","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。",[2141,26,1328,54,7,679,101,296,2956,95,2957],"建筑局部","夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9477f0c79b912efa6ccb9ab290224577.jpg",[],{"id":2961,"slug":2962,"title":2963,"dynasty":425,"author":2964,"museum":49,"description":2965,"tags":2966,"thumbUrl":2967,"material":954,"size":2968,"collection":105,"collections":2969,"showCount":2930,"zanCount":41,"manualWeight":41,"mainColor":63},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[24,73,74,119,239,54,7,124,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":2971,"slug":2972,"title":2973,"dynasty":651,"author":1972,"museum":2974,"description":1973,"tags":2975,"thumbUrl":2977,"material":105,"size":105,"collection":105,"collections":2978,"showCount":2930,"zanCount":563,"manualWeight":41,"mainColor":63},220483,"hua-yuan-li-de-nv-shi-men-lin-feng-mian-220483","花园里的女士们","Hong Kong Museum of Art",[24,26,7,127,267,474,2976],"花园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234c27c6f796494ae7f1dd0aa3d3eaa3.jpg",[],{"id":2980,"slug":2981,"title":2982,"dynasty":68,"author":2983,"museum":263,"description":2984,"tags":2985,"thumbUrl":2986,"material":58,"size":105,"collection":36,"collections":2987,"showCount":2930,"zanCount":563,"manualWeight":41,"mainColor":42},219559,"yu-jia-miao-e-tu-min-zhen-219559","渔家媌娥图","闵贞","垂柳依依拂过空蒙水岸，将江南水乡的柔婉晕染开来。画中渔女荷秤伫立，衣袂线条简劲爽利，带着写意的疏朗，却把渔家劳作后的倦怠质朴刻画入微。人物面部晕染柔和，神情恬淡安然，静望着烟水澹澹的江天，仿佛正等候归船。\n\n背景以淡墨虚化远山，柳枝细笔密叶写出，繁而不乱，与人物的简淡形成虚实对比，烘托出幽寂清旷的氛围。整作以水墨写就，墨色干湿浓淡层次分明，尽显文人写意雅致，又饱含烟火情味，将平凡渔家日常升化为诗意图景，在简淡笔墨间蕴藏悠悠江南意趣。",[23,24,73,74,119,54,7,126,78,557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3e252e59b1f535e258aa0277d37b52.jpg",[36],{"id":2989,"slug":2990,"title":2991,"dynasty":68,"author":196,"museum":115,"description":2992,"tags":2993,"thumbUrl":2994,"material":58,"size":105,"collection":105,"collections":2995,"showCount":2930,"zanCount":41,"manualWeight":41,"mainColor":42},216711,"hong-lou-meng-fu-tu-ce-13-yi-ming-216711","红楼梦赋图册-13","树荫匝地，顽石旁聚起数人。或围案对弈，指尖起落藏着雅趣；或凭石闲立，衣袂轻扬映出闲情。远处水色朦胧，近处枝叶扶疏，漫着江南园林的温润气息。人物眉眼细腻，衣纹流转如溪，举手投足尽是红楼儿女的鲜活模样——低头凝思的，可是忖度棋路？浅笑低语的，又在说些什么闺中絮语？淡墨晕染的背景里，时光似慢了下来，将一段红楼旧梦，静静铺展在这尺幅之间。画面以工笔细描见真章，色彩淡雅却藏着人物情态的生动，于细微处勾连起小说里的诗意日常，让观者不自觉沉入那旧时风月的温柔里。",[23,24,280,26,25,54,7,267,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439ee78c66287f6b6759f6e9f650c91f.jpg",[],{"id":2997,"slug":2998,"title":2999,"dynasty":68,"author":330,"museum":115,"description":2127,"tags":3000,"thumbUrl":3003,"material":372,"size":373,"collection":105,"collections":3004,"showCount":3005,"zanCount":41,"manualWeight":41,"mainColor":63},288413,"ku-jiang-zhu-hun-gui-li-hen-tian-sun-wen-288413","苦绛珠魂归离恨天",[24,25,26,54,7,75,93,370,3001,3002],"悲情","红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2a994a7271acf4c863f79f520cba24a.jpg",[],29,{"id":3007,"slug":3008,"title":1256,"dynasty":68,"author":1257,"museum":115,"description":1258,"tags":3009,"thumbUrl":3010,"material":372,"size":373,"collection":105,"collections":3011,"showCount":3005,"zanCount":41,"manualWeight":41,"mainColor":63},239544,"hua-hua-yan-shi-nv-tu-ce-wang-su-239544",[24,73,280,25,26,239,54,7,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868d343a424f933ec64dc07b7c9db6e4.jpg",[],{"id":3013,"slug":3014,"title":736,"dynasty":68,"author":737,"museum":154,"description":738,"tags":3015,"thumbUrl":3016,"material":105,"size":105,"collection":105,"collections":3017,"showCount":3005,"zanCount":41,"manualWeight":41,"mainColor":63},237112,"shi-nv-ce-cui-wei-237112",[24,73,280,25,26,54,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604717feee653eeafc529f2f93948e3.jpg",[],{"id":3019,"slug":3020,"title":3021,"dynasty":137,"author":196,"museum":154,"description":3022,"tags":3023,"thumbUrl":3024,"material":158,"size":3025,"collection":105,"collections":3026,"showCount":3005,"zanCount":41,"manualWeight":41,"mainColor":63},234013,"xian-nv-cheng-luan-tu-ye-yi-ming-234013","仙女乘鸾图页","图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。此图线条工谨精细，如春蚕吐丝，柔中见刚，与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。",[24,52,73,280,667,25,26,7,2826,368,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","纵25.3厘米，横26.2厘米",[],{"id":3028,"slug":3029,"title":3030,"dynasty":68,"author":961,"museum":331,"description":3031,"tags":3032,"thumbUrl":3034,"material":158,"size":3035,"collection":105,"collections":3036,"showCount":3005,"zanCount":563,"manualWeight":41,"mainColor":63},231571,"xian-qiao-qi-zi-tu-fei-dan-xu-231571","闲敲棋子图","该图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花。左上角款题：“翠羽声中春梦残，扑襟香雪影珊珊。可知一样梅花骨，不畏东风料峭寒。”\n该图仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，姿态自然生动，十分传神，充分体现出费丹旭仕女图的美学特征。",[23,24,73,74,26,25,54,7,3033,30],"棋具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eb5aa27513dfa8005db724ff4b6b3cf.jpg","137cmx33cm",[],{"id":3038,"slug":3039,"title":3040,"dynasty":68,"author":196,"museum":115,"description":3041,"tags":3042,"thumbUrl":3044,"material":372,"size":373,"collection":105,"collections":3045,"showCount":3005,"zanCount":41,"manualWeight":41,"mainColor":63},230346,"jin-ping-mei-cha-tu-ce-ye-6-kai-yi-ming-230346","金瓶梅插图册页6开","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。",[23,24,73,280,26,25,54,7,93,99,3043,238,75,77,30],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a5e05634aa376be46434f42b70072b.jpg",[],{"id":3047,"slug":3048,"title":3049,"dynasty":68,"author":196,"museum":115,"description":3050,"tags":3051,"thumbUrl":3052,"material":105,"size":105,"c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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。",[52,24,53,26,54,430,7,3149],"出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e5c06b27d66314b6ea8a81ff447653.jpg",[],27,{"id":3154,"slug":3155,"title":662,"dynasty":137,"author":663,"museum":115,"description":3156,"tags":3157,"thumbUrl":3158,"material":372,"size":373,"collection":105,"collections":3159,"showCount":3152,"zanCount":563,"manualWeight":41,"mainColor":42},288328,"gong-nv-tu-liu-song-nian-288328","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”。",[23,667,24,26,25,54,7,94,625,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F657b8807b0393ba2f560b75b5e316386.jpg",[],{"id":3161,"slug":3162,"title":736,"dynasty":68,"author":737,"museum":154,"description":738,"tags":3163,"thumbUrl":3164,"material":105,"size":105,"collection":105,"collections":3165,"showCount":3166,"zanCount":41,"manualWeight":41,"mainColor":42},237113,"shi-nv-ce-cui-wei-237113",[24,25,26,7,78,77,32,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa18e0eb7b2b5fb8db3b2eaacaa345097.jpg",[],26,{"id":3168,"slug":3169,"title":3170,"dynasty":88,"author":414,"museum":115,"description":3171,"tags":3172,"thumbUrl":3174,"material":34,"size":3175,"collection":105,"collections":3176,"showCount":3166,"zanCount":563,"manualWeight":41,"mainColor":42},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,52,24,73,74,26,25,119,54,7,77,30,1029,3173,1218,120,121],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":3178,"slug":3179,"title":3180,"dynasty":68,"author":330,"museum":331,"description":332,"tags":3181,"thumbUrl":3185,"material":34,"size":343,"collection":105,"collections":3186,"showCount":3166,"zanCount":41,"manualWeight":41,"mainColor":42},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172",[23,24,25,26,54,7,93,75,750,96,94,3182,95,3183,3184],"栅栏","黄叶树","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg",[],{"id":3188,"slug":3189,"title":3190,"dynasty":68,"author":196,"museum":49,"description":3191,"tags":3192,"thumbUrl":3193,"material":58,"size":105,"collection":105,"collections":3194,"showCount":3166,"zanCount":41,"manualWeight":41,"mainColor":63},215194,"sheng-ping-le-shi-tu-ce-10-yi-ming-215194","升平乐事图册-10","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,280,26,25,54,7,831,267,238,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc7f1602648ee0adcb4a7a28e023748.jpg",[],{"id":3196,"slug":3197,"title":3198,"dynasty":68,"author":1067,"museum":154,"description":3199,"tags":3200,"thumbUrl":3201,"material":158,"size":3202,"collection":105,"collections":3203,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":42},234295,"yue-man-qing-you-ce-chen-mei-234295","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,73,280,25,26,54,7,238,93,122,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2494860570445bcd18e06e11d86184.jpg","纵37厘米，横31.8厘米",[],{"id":3205,"slug":3206,"title":3207,"dynasty":425,"author":1412,"museum":49,"description":3208,"tags":3209,"thumbUrl":3210,"material":34,"size":3211,"collection":105,"collections":3212,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":42},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[24,73,52,25,26,54,7,75,96,583],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":3214,"slug":3215,"title":3216,"dynasty":425,"author":196,"museum":115,"description":3217,"tags":3218,"thumbUrl":3219,"material":105,"size":105,"collection":105,"collections":3220,"showCount":62,"zanCount":563,"manualWeight":41,"mainColor":63},228239,"xiang-yue-chao-yin-wan-shan-ye-yi-ming-228239","香月潮音纨扇页","右幅工笔晕染，墨云翻涌间寒梅虬枝横斜，素衣嫦娥凭枝独立，绿袂随风翩跹，两轮圆月晕出柔润清辉，将月宫清寂融在缥缈云气中，勾勒出幽冷出尘的仙庭之景。\n\n左侧行书题诗笔致秀雅疏朗，诗中月夜潮声、倚梅凝伫的意境与画中景致相互呼应，书画合璧，将清冷出尘的幽思晕染开来，整体雅静淡远，尽显古雅的文人意趣与仙逸之美，把月宫孤清又柔婉的氛围烘托得如梦似幻。",[23,24,73,667,26,54,7,368,2311,2105,122,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6f728d00ca1270b82eb5fb174b1f88.jpg",[],{"id":3222,"slug":3223,"title":3224,"dynasty":392,"author":196,"museum":115,"description":2954,"tags":3225,"thumbUrl":3226,"material":372,"size":373,"collection":105,"collections":3227,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":63},225370,"fu-shi-hui-127-yi-ming-225370","浮世绘127",[2141,26,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba741f2970851efa9bed07991e1a6626.jpg",[],{"id":3229,"slug":3230,"title":3231,"dynasty":68,"author":330,"museum":331,"description":332,"tags":3232,"thumbUrl":3236,"material":34,"size":343,"collection":105,"collections":3237,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":42},223012,"hong-lou-meng-137-sun-wen-223012","红楼梦137",[23,24,25,26,53,875,92,124,93,94,7,3233,3002,3234,3235],"花卉树木","古典题材","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d51b49ad3ae0a6342c15fbbb315de6.jpg",[],{"id":3239,"slug":3240,"title":3241,"dynasty":68,"author":330,"museum":331,"description":332,"tags":3242,"thumbUrl":3243,"material":34,"size":343,"collection":105,"collections":3244,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":42},222944,"hong-lou-meng-69-sun-wen-222944","红楼梦69",[23,24,73,25,26,54,127,474,125,557,96,93,7,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7e8b93ac1840b7ff844acf13c31046.jpg",[],{"id":3246,"slug":3247,"title":3248,"dynasty":68,"author":330,"museum":331,"description":332,"tags":3249,"thumbUrl":3250,"material":34,"size":343,"collection":105,"collections":3251,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":63},222884,"hong-lou-meng-9-sun-wen-222884","红楼梦9",[23,24,26,25,92,54,93,7,30,238,1889,186,187,1890,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26646dcb54d322d9a32c26b4994b0b51.jpg",[],{"id":3253,"slug":3254,"title":3255,"dynasty":68,"author":167,"museum":154,"description":3256,"tags":3257,"thumbUrl":3258,"material":158,"size":3259,"collection":105,"collections":3260,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":42},222871,"shi-gong-ci-tu-ce-10-leng-mei-222871","十宫词图册10","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,73,280,26,25,92,54,93,127,224,96,121,120,7,94,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd2236aae6940996a247db8ce2dd9c7.jpg","纵33.1厘米，横29.3厘米",[],{"id":3262,"slug":3263,"title":3264,"dynasty":68,"author":196,"museum":115,"description":3265,"tags":3266,"thumbUrl":3267,"material":58,"size":105,"collection":105,"collections":3268,"showCount":62,"zanCount":41,"manualWeight":41,"mainColor":42},216708,"hong-lou-meng-fu-tu-ce-15-yi-ming-216708","红楼梦赋图册-15","木桥横卧溪上，涟漪轻漾着细碎的光。两位女子立于桥间，红衣者凭栏远眺，眉目间似凝着云边的愁绪；白衣者执扇低眉，身姿柔婉如风中垂柳。岸边树影婆娑，枝叶错落间漏下天光，远处屋宇隐在绿意里，飞鸟掠过天际，带起的风拂动了树的影、水的纹。整幅画晕染着江南园林的雅致，将红楼闺阁的闲静时光，凝成一抹诗意的温柔。每处细节都藏着细腻情思：树的繁荫、屋的隐现、鸟的翩跹，仿佛能让人嗅到那时的草木香，听见风穿过叶隙的轻响，触到闺中女儿未说出口的幽思。这抹水墨里的静，恰是红楼故事里最动人的闲愁与清欢。",[23,24,280,26,25,54,7,474,125,95,128,93,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd36dfa8e558b65b38a8956433ff60ad.jpg",[],{"id":3270,"slug":3271,"title":3272,"dynasty":68,"author":196,"museum":115,"description":3273,"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创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 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图中女子的画法承袭了宋元以来的“白描”技法。作者以墨笔勾描人物面部及衣纹服饰。线条遒劲圆转，富有表现力度并有轻重缓急等诸多变化，显示出作者以线造型的精湛造诣。此外，作者还根据所绘物象的不同巧妙地运用了墨染法，人物的头部以浓墨晕染，芦荻、芙蓉叶等为深墨晕染，衣装饰带用淡墨晕染，深浅程度不同的墨韵无疑起到了扩大画面的层次和空间感的作用。此图不仅是张灵的代表作，亦是明代白描人物画的精品之作。 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、顾西津切磋吴门，诗画唱酬，堪称一时风雅。",[24,73,26,25,239,54,7,211,1732,126,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332b332c4460e4b0b5a1cfad5585ece8.jpg",[],{"id":3872,"slug":3873,"title":3874,"dynasty":392,"author":3875,"museum":115,"description":3876,"tags":3877,"thumbUrl":3884,"material":372,"size":373,"collection":105,"collections":3885,"showCount":229,"zanCount":41,"manualWeight":41,"mainColor":42},232276,"wei-lian-a-dao-fu-bu-ge-luo-2-wei-lian-a-dao-fu-bu-ge-luo-232276","威廉·阿道夫·布格罗2","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n1875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[907,908,1744,26,54,3878,7,1341,95,125,3879,1492,1271,3880,3881,2013,3882,3883],"天使","芦苇","裸足","长裙","田园场景","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967a547850493b6d8e640c4dd6471c11.jpg",[],{"id":3887,"slug":3888,"title":3889,"dynasty":392,"author":3890,"museum":115,"description":3891,"tags":3892,"thumbUrl":3896,"material":105,"size":105,"collection":105,"collections":3897,"showCount":229,"zanCount":41,"manualWeight":41,"mainColor":42},231698,"da-xing-ge-wu-tu-ping-bei-chuan-xi-duo-231698","大型歌舞图屏","北川喜多","这幅作品以雅致内宅铺陈叙事，前景蓝衣女子独坐托腮，眉宇漫着怅惘神伤，身侧女伴俯身凝视，眼底藏着关切共情。回廊之上，仆童携物奔走，侍女凭栏远眺，层层延伸出宅邸的幽纵深阔。\n\n画家以秀逸柔婉的线条勾勒和服精美纹样，柔和雅致的色调晕染出温婉日常，将闺中私密的细腻心事，与宅邸里松弛鲜活的烟火气相融，把片刻幽微情绪定格为隽永的市井剪影，尽显对世俗人情的精妙捕捉。",[23,2141,26,25,54,7,30,3893,507,338,3894,3895],"日用具","灯","箱具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c40e7fa072fb2f2bfcfd20a661f7522.jpg",[],{"id":3899,"slug":3900,"title":3901,"dynasty":392,"author":3902,"museum":115,"description":3903,"tags":3904,"thumbUrl":3906,"material":372,"size":373,"collection":105,"collections":3907,"showCount":229,"zanCount":41,"manualWeight":41,"mainColor":42},231100,"su-miao-354-xi-fang-231100","素描354","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。",[3905,1744,54,7,224,32],"素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da24b998ed355e84a77b01b3b8e368.jpg",[],{"id":3909,"slug":3910,"title":3911,"dynasty":137,"author":196,"museum":115,"description":3912,"tags":3913,"thumbUrl":3916,"material":105,"size":105,"collection":105,"collections":3917,"showCount":229,"zanCount":41,"manualWeight":41,"mainColor":63},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 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画面最左边一名侍女，身穿交领窄袖上襦，领襟及袖端处缘边。下身着黄褐色长裙。上襦之外为白色披帛，内着白色中单。侍女腰间佩戴组绶。古人佩玉，组绶是用以系玉的丝带，穿衣时通常系在衣服的最外面，由彩色的丝线编织而成。《礼记·玉藻》记载：“天子佩白玉而玄组绶，公侯佩山玄玉而朱组绶，大夫佩水苍玉而纯组绶，世子佩瑜玉而綦组绶，士佩瓀玟而緼组绶。” 该侍女发式为双平髻，髻上插梳。双平髻是双挂式的一种，起源于秦朝。其特点是将发顶平分两大股，梳结成对称的环，相对垂挂于两侧。这种发式多用于宫廷。",[24,74,26,54,25,7,593,3085,1316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bedfc707d44a7540422c8ce063b6905.jpg",[],{"id":4286,"slug":4287,"title":4288,"dynasty":88,"author":2260,"museum":115,"description":4289,"tags":4290,"thumbUrl":4293,"material":372,"size":373,"collection":105,"collections":4294,"showCount":191,"zanCount":563,"manualWeight":41,"mainColor":42},290602,"peng-shan-yu-nian-zhou-zhang-chong-290602","蓬山遇辇轴","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",[52,24,74,473,26,25,54,124,266,430,7,4291,4292,370],"仙山","辇车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74639a5bcfa89c2ad174b07008010f8.jpg",[],{"id":4296,"slug":4297,"title":221,"dynasty":137,"author":196,"museum":115,"description":4298,"tags":4299,"thumbUrl":4302,"material":372,"size":373,"collection":105,"collections":4303,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":63},290510,"han-gong-chun-xiao-tu-yi-ming-290510","此作以圆扇为幅，绘就苑囿春晓盛景。层叠宫宇隐于烟岚佳木之间，朱阶玉栏之上宫人簇立，或整肃侍立，或执礼待驾，细节暗藏宫廷朝会的端严秩序。界画工细，将殿宇飞檐勾勒得精巧古雅，设色调和沉静，晕染出未央清晨的暖煦韶光。画作与题诗呼应，把宫娥盛饰争妍、御苑春和景明的皇家气派尽数收揽于尺幅之内，尽显宋代院画写实精妙的特质，铺展出汉宫春日早朝的雍容雅致。",[24,73,25,26,92,54,7,93,4300,121,4301,120],"宫殿","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe23e3eb117990c39592b138524fed620.jpg",[],{"id":4305,"slug":4306,"title":4307,"dynasty":68,"author":330,"museum":115,"description":2127,"tags":4308,"thumbUrl":4310,"material":372,"size":373,"collection":105,"collections":4311,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":63},288404,"mai-xiang-dai-yu-qi-can-hong-sun-wen-288404","埋香黛玉泣残红",[23,24,25,26,54,7,93,96,125,266,3753,94,4309,3002],"感伤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f5a93a293765d05d3699f420615283.jpg",[],{"id":4313,"slug":4314,"title":4315,"dynasty":392,"author":196,"museum":115,"description":4316,"tags":4317,"thumbUrl":4319,"material":105,"size":105,"collection":105,"collections":4320,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":42},231697,"you-yuan-si-tiao-ping-yi-ming-231697","游园四条屏","此作以古松虬枝框景，留白衬出林下清寂悠远。仕女分作数组，情态各别：执伞侍者垂首侍立，闺中眷侣私语相和，携幼仕女缓行顾盼，执巾侍女恭谨相随。\n\n线条细劲秀逸，敷色淡雅明净，朱红白衫与黛色衣袂相映，晕染柔和自然，将仕女温婉丰腴的体态神韵尽显。整幅画作把游园的松弛闲静，融在松风云影之间，将贵族春日游园的悠然意趣铺陈开来，尽显古典仕女画的雅致情致。",[23,24,73,26,25,54,7,126,338,4318,1314,95],"游园场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127e8cff6c8c717373302cc855931e79.jpg",[],{"id":4322,"slug":4323,"title":4324,"dynasty":392,"author":196,"museum":115,"description":4325,"tags":4326,"thumbUrl":4327,"material":105,"size":105,"collection":105,"collections":4328,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":63},225383,"fu-shi-hui-140-yi-ming-225383","浮世绘140","这幅作品定格了春日亭台宴游的闲雅片刻，亭台木构拉展出通透纵深感，前景盛放的白花衬起融融春意，远景溪岸蜿蜒、山樱初绽晕染出淡远的春日山水底色。\n\n四位仕女情态各有韵致，接引的侍女温婉颔首，登阶的佳人柔躯微倾，带着初见春景的娇怯，凭栏远眺的少女托腮出神，抱琴静坐的仕女娴静悠然。和服纹样繁丽精巧，格纹、云纹与繁花纹样交织，将江户女性的柔美雅致尽数铺展。笔触舒展秀雅，设色调和清丽，把和风春日里的慵懒闲情晕染开来，尽显描摹世俗风物的诗意美感。",[2141,1328,26,54,7,55,125,95,336,99,225,2871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f420ee1cf6a3866d8c47396fe8bfea.jpg",[],{"id":4330,"slug":4331,"title":4332,"dynasty":68,"author":330,"museum":331,"description":332,"tags":4333,"thumbUrl":4334,"material":34,"size":343,"collection":105,"collections":4335,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":42},222977,"hong-lou-meng-102-sun-wen-222977","红楼梦102",[23,25,26,92,54,93,94,750,699,95,7,335,211,1005,336,3691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f29d4f96bae2ac203a1e271aaabb89e.jpg",[],{"id":4337,"slug":4338,"title":4339,"dynasty":68,"author":330,"museum":331,"description":332,"tags":4340,"thumbUrl":4341,"material":34,"size":343,"collection":105,"collections":4342,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":63},222947,"hong-lou-meng-72-sun-wen-222947","红楼梦72",[23,24,52,53,25,26,92,54,93,127,75,267,474,94,1653,96,99,1957,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd807b15e590283a3a76a6a485663721.jpg",[],{"id":4344,"slug":4345,"title":4346,"dynasty":68,"author":330,"museum":331,"description":332,"tags":4347,"thumbUrl":4348,"material":34,"size":343,"collection":105,"collections":4349,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":63},222931,"hong-lou-meng-56-sun-wen-222931","红楼梦56",[23,24,25,26,53,875,3002,94,93,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f55da093f54203f7d792795bc674235.jpg",[],{"id":4351,"slug":4352,"title":4353,"dynasty":651,"author":652,"museum":115,"description":4354,"tags":4355,"thumbUrl":4357,"material":954,"size":105,"collection":105,"collections":4358,"showCount":191,"zanCount":563,"manualWeight":41,"mainColor":63},218176,"da-qian-kuang-tu-ce-2-zhang-da-qian-218176","大千狂涂册-2","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,73,280,239,122,4356,54,7,121],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec1a29f6db7046fda3f7e1627277b6c.jpg",[],{"id":4360,"slug":4361,"title":4362,"dynasty":68,"author":196,"museum":784,"description":4363,"tags":4364,"thumbUrl":4366,"material":788,"size":105,"collection":105,"collections":4367,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":791},216850,"xi-xiang-ji-tu-ce-28-yi-ming-216850","西厢记图册-28","月辉轻笼草舍，薄雪覆檐，疏枝横斜间缀着几点红，似把秋冬清寒揉进暖意。屋内案前，人影静对笔墨，一室幽寂里藏着未言的心事。溪边石上，素衣女子执花伫立，眸光落向水面，衣袂与青丝随微风轻漾，手中花枝如诉如慕。\n\n笔触细腻温润，淡彩晕染出朦胧月夜。人物眉间的轻蹙、指尖的微滞，都藏着西厢故事里的缱绻怅惘。风过枝叶的轻响、溪水的低吟似在耳畔，将古典情愫里的含蓄温柔，静静铺展成一幅可感可触的诗画——每一处细节都在低语，把千年前的幽微心绪，凝在这方纸页上。",[24,280,26,25,7,474,125,54,368,126,4365,95,583],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F760d951c02b48612d921e06a314b57f4.jpg",[],{"id":4369,"slug":4370,"title":4371,"dynasty":68,"author":196,"museum":115,"description":4372,"tags":4373,"thumbUrl":4374,"material":58,"size":105,"collection":105,"collections":4375,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":42},216691,"hong-lou-meng-fu-tu-ce-32-yi-ming-216691","红楼梦赋图册-32","冰纹窗棂映着素雪覆阶，室内暖光浮动。仕女们围案而聚，鬓影衣香间，或执盏浅笑，或凝眸细语，案上陈设雅致，似藏着闺阁间的温软心事。窗外枯枝覆雪，与室内鲜妍的衣色相映，冷暖交织间，尽展红楼女儿的闲雅情致。笔墨细腻处，衣袂的褶皱、窗棂的纹路皆清晰可见，人物神态鲜活灵动，将冬日里的一场雅集，定格成意蕴悠长的画中诗。画面融工笔之精巧与写意之空灵，于细节处见匠心，尽显古典闺阁生活的雅致与温情。",[23,24,26,25,280,54,7,93,2311,2270,3067,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa520e04b9ab60fdd0c14ce14e0e579b5.jpg",[],{"id":4377,"slug":4378,"title":4379,"dynasty":68,"author":196,"museum":115,"description":4380,"tags":4381,"thumbUrl":4382,"material":282,"size":105,"collection":105,"collections":4383,"showCount":191,"zanCount":563,"manualWeight":41,"mainColor":63},215869,"qing-dai-gong-ting-ren-wu-hua-ce-3-yi-ming-215869","清代宫廷人物画册-3","画面中女子发髻挽得雅致，簪花缀翠，眉目温婉似含轻愁。身着的袄裙层次错落：宝蓝缎面绣着隐现的花纹，粉袖织锦细腻如雾，翠绿流苏下摆随衣褶轻晃，腕间白帕垂落，每一处细节都藏着旧时光的精致。\n\n线条勾勒柔中带劲，色彩经岁月晕染仍见明丽，人物姿态娴静端庄，似能窥见清代宫廷女性的温婉气韵。纸页上的斑驳痕迹，像时光留下的浅印，让这幅画多了几分沉静的故事感——仿佛能透过画面，触到那个时代的细腻与优雅，听见裙裾拂过地面的轻响。\n\n整幅画以细腻笔触定格了一段逝去的风华，将宫廷女性的娴雅气质与服饰之美，凝在时光的褶皱里。",[1718,25,26,54,7,30,1404,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334d637c67b5c7dbfd3b97a6414f9adc.jpg",[],{"id":4385,"slug":4386,"title":4387,"dynasty":2914,"author":3655,"museum":277,"description":4388,"tags":4389,"thumbUrl":4391,"material":105,"size":105,"collection":36,"collections":4392,"showCount":191,"zanCount":41,"manualWeight":41,"mainColor":4393},203168,"xun-hu-shi-nv-tu-zhou-zhang-shan-ma-203168","驯虎仕女图轴","画中仕女温婉伫立，衣纹流转如行云，眉目含情带浅笑，尽显柔婉风姿；卧虎伏于其侧，斑纹劲利，毛发蓬松，虽静卧却虎目炯炯，隐透威猛。笔墨技法上，仕女以细腻线条勾勒，设色淡雅清润；老虎则工写结合，皮毛质感毕现，虎姿生动传神。构图疏密有致，留白处与右侧题跋相映，添空灵之韵，驯虎主题奇趣横生，柔与刚的碰撞在画面中和谐交融，尽显两位画坛名家的联袂妙思。",[24,74,26,54,7,2381,320,25,4390,23],"笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e29d7f12d098347df74e7977aadcc52.jpg",[36],"e0d3c2",{"id":4395,"slug":4396,"title":4397,"dynasty":88,"author":196,"museum":115,"description":4398,"tags":4399,"thumbUrl":4400,"material":372,"size":373,"collection":105,"collections":4401,"showCount":4402,"zanCount":41,"manualWeight":41,"mainColor":63},287334,"ming-huang-yi-qi-tu-juan-yi-ming-287334","明皇弈棋图卷","画面以弈棋为引，明皇与仕女对坐枰前，二人蹙眉凝思，指尖似将落未落，把对弈间的静气雅致渲染尽致。旁侧侍女或躬身奉茶，或垂手侍立，柔婉身姿衬出殿内松弛闲淡的氛围。\n\n设色古雅清浅，衣纹线条秀劲温婉，承宋院体人物的精工写实，又具明人笔墨的写意柔润，将唐宫日常的慵懒华贵铺陈开来。\n\n卷后题跋与篆字引首相映成趣，字画合璧，把宫廷雅事的闲情逸趣藏于绢素间，让千年的从容雅致流转至今。",[24,53,26,875,2564,7,920,1176,199,121,120,2340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9fb8d9737927c943bc5e03748c8434.jpg",[],13,{"id":4404,"slug":4405,"title":1359,"dynasty":68,"author":276,"museum":154,"description":1360,"tags":4406,"thumbUrl":4409,"material":1363,"size":1364,"collection":105,"collections":4410,"showCount":4402,"zanCount":41,"manualWeight":41,"mainColor":63},238292,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238292",[52,24,73,280,25,26,54,7,211,296,55,4407,224,4408,77],"花篮","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39c6b93343df97dee8c1f459ef89645.jpg",[],{"id":4412,"slug":4413,"title":4414,"dynasty":392,"author":196,"museum":115,"description":2954,"tags":4415,"thumbUrl":4417,"material":372,"size":373,"collection":105,"collections":4418,"showCount":4402,"zanCount":41,"manualWeight":41,"mainColor":63},225440,"fu-shi-hui-198-yi-ming-225440","浮世绘198",[2141,1328,26,54,7,2270,4416,128],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf0d221a3b9b7b0aff602b828a639a0.jpg",[],{"id":4420,"slug":4421,"title":4422,"dynasty":68,"author":330,"museum":331,"description":332,"tags":4423,"thumbUrl":4425,"material":34,"size":343,"collection":105,"collections":4426,"showCount":4402,"zanCount":41,"manualWeight":41,"mainColor":42},222948,"hong-lou-meng-73-sun-wen-222948","红楼梦73",[23,52,24,73,25,26,54,3519,1759,507,4037,3002,7,4424],"博古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6359730aa5e71398982eff2318bb16a0.jpg",[],{"id":4428,"slug":4429,"title":4430,"dynasty":68,"author":330,"m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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。",[907,26,54,7,4602],"舞者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa677a309eba161f4b8d3d696a082890.jpg",[],"0D904F",{"id":4607,"slug":4608,"title":4609,"dynasty":392,"author":196,"museum":115,"description":4610,"tags":4611,"thumbUrl":4613,"material":372,"size":373,"collection":105,"collections":4614,"showCount":217,"zanCount":41,"manualWeight":41,"mainColor":63},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。",[23,53,119,26,54,430,4612,7,183,121,120,30,25],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":4616,"slug":4617,"title":4618,"dynasty":392,"author":196,"museum":115,"description":4619,"tags":4620,"thumbUrl":4621,"material":372,"size":373,"collection":105,"collections":4622,"showCount":217,"zanCount":41,"manualWeight":41,"mainColor":42},231655,"shi-ting-shi-qi-ren-wu-tu-zhou-yi-ming-231655","室町时期 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Leys）的画室学习。",[907,26,1744,4941,54,7,4942,172,1871,1302,4943,32,225,1005],"古典风格","大理石","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d69d0fe4c253f427ebc397002a8f949.jpg",[],{"id":4947,"slug":4948,"title":4949,"dynasty":392,"author":196,"museum":115,"description":2954,"tags":4950,"thumbUrl":4955,"material":372,"size":373,"collection":105,"collections":4956,"showCount":359,"zanCount":41,"manualWeight":41,"mainColor":63},225457,"fu-shi-hui-215-yi-ming-225457","浮世绘215",[2141,1328,26,54,7,4951,4952,4953,101,4954,296],"鬼神","火焰","烟雾","文书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc9dd2b995d6a76a2e0bf7855daaa5e.jpg",[],{"id":4958,"slug":4959,"title":4960,"dynasty":392,"author":196,"museum":115,"description":4961,"tags":4962,"thumbUrl":4965,"material":105,"size":105,"collection":105,"collections":4966,"showCount":359,"zanCount":41,"manualWeight":41,"mainColor":63},225387,"fu-shi-hui-144-yi-ming-225387","浮世绘144","这幅浮世绘以柔婉笔触定格乡野劳作日常。女子低眉垂目，发间软帽衬出憨朴神态，暗褐和服配柔粉纹袖，团花、龟甲纹样层叠交错，雅致又带着市井鲜活气。她持杵俯身，将日常劳作晕染出娴静温柔。背景红枫斜枝疏淡，浅草溪石晕开秋郊清寂，把烟火日常揉入诗意秋景。清劲流畅的线稿，柔和雅致的淡彩晕染，将江户平民的闲逸日常定格，褪去刻意雕琢，以细腻笔触勾勒出和风市井里的温婉意趣，尽显浮世绘独有的世俗美学韵味。",[2141,1328,26,7,4963,4964,3573],"枫树","木桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89d62b4e87d44fd15a8ad705a556a30.jpg",[],{"id":4968,"slug":4969,"title":4970,"dynasty":68,"author":196,"museum":115,"description":4971,"tags":4972,"thumbUrl":4974,"material":58,"size":105,"collection":105,"collections":4975,"showCount":359,"zanCount":41,"manualWeight":41,"mainColor":42},216690,"hong-lou-meng-fu-tu-ce-34-yi-ming-216690","红楼梦赋图册-34","亭榭临阶，绿阴覆檐。亭内女眷凭栏凝睇，或执扇低语，鬓边钗环衬着素色衫裙；庭中三姝款步，一伞轻撑，衣袂沾着淡粉的花影。院角石案上盆花静静吐蕊，围墙漏窗映出远处苔痕。笔墨细腻如丝，设色清雅温润，将红楼闺阁的温婉与庭院幽致融于一纸。人物眉眼间藏着细碎情致，亭内与庭外的呼应似有未言故事，风过枝桠的轻响仿佛在画中流转，尽显清代仕女画的雅致与红楼场景的细腻动人。",[23,24,26,25,280,92,54,93,95,99,4973,7,94,1653,2271,558,3067,336,624,337,338,4257,225,3528,851],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ff7f875c5cffd7c564ec18ca19e6ea.jpg",[],{"id":4977,"slug":4978,"title":4979,"dynasty":88,"author":1424,"museum":115,"description":4980,"tags":4981,"thumbUrl":4982,"material":282,"size":105,"collection":105,"collections":4983,"showCount":359,"zanCount":41,"manualWeight":41,"mainColor":63},216341,"xi-xiang-ji-cha-ye-10-min-qi-ji-216341","西厢记插页-10","纤细墨线勾勒出古典意韵，圆面内仕女衣袂翩跹，或低语浅笑，或凝眸沉思，身旁小犬轻踱添灵动。背景纹饰繁复精致，缠枝纹与建筑轮廓交织，尽显明代工艺细腻。左侧橙红构件线条婉转，与墨线清雅形成对比，似器物一角延伸，虚实相生拓层次。画风承明代版画工致韵味，以简淡之笔绘《西厢记》情境，人物情态含蓄，场景静谧雅致，将文学里的温婉风月凝于尺幅，观之如沐古风，仿佛听见书页间软语轻笑，梦回缱绻动人的古典时光。",[24,73,280,119,26,54,7,93,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc50d5f6c0404801450a7fa85175ee7b9.jpg",[],{"id":4985,"slug":4986,"title":4987,"dynasty":88,"author":414,"museum":115,"description":4988,"tags":4989,"thumbUrl":4990,"material":954,"size":105,"collection":105,"collections":4991,"showCount":359,"zanCount":41,"manualWeight":41,"mainColor":42},216306,"xi-xiang-ji-zhen-ben-tu-ce-15-chen-hong-shou-216306","西厢记真本图册-15","左幅闺阁内，仕女凭栏静思，衣纹线条凝练如铁线，鬓边簪花与案上陈设隐现雅致；窗外柳枝垂拂，廊檐瓦当勾勒古拙，柔意与苍劲相融。右幅水岸间，柳堤蜿蜒，山石错落，一人独立岸畔似在遥望，水面微波轻漾，远处云气氤氲，笔墨疏朗见清旷。题字墨色沉厚，与画面气韵交织。整幅以虚实相衬，闺中幽思与水岸怅望呼应，暗合西厢情愫流转。笔意古雅奇崛，人物景物皆具韵味，细节精致处见匠心，空濛处显悠远，将古典爱情的含蓄怅惘凝于尺幅，耐人寻味。",[24,73,280,119,92,54,7,93,125,128,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb592cd575b7ecc55af68a56d1ec8414.jpg",[],{"id":4993,"slug":4994,"title":4995,"dynasty":68,"author":196,"museum":115,"description":4996,"tags":4997,"thumbUrl":4998,"material":282,"size":105,"collection":105,"collections":4999,"showCount":359,"zanCount":563,"manualWeight":41,"mainColor":63},215864,"qing-dai-gong-ting-ren-wu-hua-ce-8-yi-ming-215864","清代宫廷人物画册-8","画面中女子侧身缓步，身姿纤柔似携风。深蓝长袍裹身，袖口白边如流云轻曳；腰间红裙缀繁复蓝纹，裙摆扫过处余温隐隐。鬓发高挽，翠羽与彩饰点缀其间，眉目温婉唇角微扬，怀中锦盒绘着精巧纹样，似藏着未语心事。画作经岁月浸染，斑驳底色如时光笺纸，色彩却依旧鲜活，每一笔都晕染着旧朝精致与温柔，将宫廷女子的娴雅灵动定格成永恒，衣袂间藏着旧时光的细腻，鬓边翠羽轻颤着宫廷余韵。",[1718,25,26,54,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa04ccb57e093a972e677049678f7d82.jpg",[],{"id":5001,"slug":5002,"title":5003,"dynasty":2914,"author":5004,"museum":277,"description":5005,"tags":5006,"thumbUrl":5007,"material":105,"size":105,"collection":36,"collections":5008,"showCount":359,"zanCount":41,"manualWeight":41,"mainColor":5009},203271,"xiang-jun-tu-zhou-fu-bao-shi-203271","湘君图轴","傅抱石","湘君立于孤石之上，衣袂翩跹，手持花枝，神情温婉中藏着一丝怅然。傅抱石以灵动笔墨勾勒人物，线条流畅如泻玉，鹅黄衣衫与素白裙裾设色淡雅，青绿花枝点缀其间，简约却韵致十足。背景水墨晕染出朦胧水汽，孤石以粗墨皴擦，与人物轻盈形成反差，尽显楚辞缥缈的楚地风情。发髻耳饰简而传神，古典美人的婉约气质毕现，笔墨间漫溢着浪漫诗意与文人雅致，将楚辞中的湘君形象化为可视的艺术韵致。",[24,26,54,7,78,239,1604,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6887ea3340a5245ca8ef513b031177a8.jpg",[36],"cebfa6",{"id":5011,"slug":5012,"title":5013,"dynasty":2914,"author":1740,"museum":277,"description":5014,"tags":5015,"thumbUrl":5016,"material":105,"size":105,"collection":243,"collections":5017,"showCount":359,"zanCount":41,"manualWeight":41,"mainColor":5018},202924,"yan-yan-yu-fei-zhou-xu-bei-hong-202924","燕燕于飞轴","画面中，女子着素衣紫衫立于松石之侧，衣纹流转间尽显温婉气质。上方飞燕以灵动墨笔绘就，羽翼舒展似欲乘风，与人物的写实勾勒相映成趣。淡染的远山晕出朦胧意境，松枝苍劲点染生机。整作融中西技法于一体，设色淡雅却见情韵，笔墨间藏着悠远诗意，仿佛将“燕燕于飞”的古典情致凝于尺幅之中。",[24,26,54,128,25,239,7,78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[2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[5306,5307,26,54,7,5308],"珐琅器","画珐琅","西方仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb444397515efd90adc6c143bad7fbc66.jpg",[],{"id":5312,"slug":5313,"title":5314,"dynasty":88,"author":414,"museum":115,"description":5315,"tags":5316,"thumbUrl":5317,"material":954,"size":105,"collection":105,"collections":5318,"showCount":435,"zanCount":41,"manualWeight":41,"mainColor":42},216308,"xi-xiang-ji-zhen-ben-tu-ce-17-chen-hong-shou-216308","西厢记真本图册-17","左幅水天浩渺，芦荻扶风，归鸿掠影划破岑寂；右幅古木盘虬，仕女独立，衣袂轻扬似带流云。笔墨如铁线银钩，刚劲中藏柔婉，人物发髻的螺钿纹理、衣袍的褶皱层次，皆以精细线条勾勒，尽显古典韵致。远景淡墨晕染的山水与近景工笔描摹的人物相映成趣，虚实之间，西厢故事里的幽情暗绪似在纸间流转。每一笔都凝着旧时光的风雅，让观者于方寸之间，窥见那个年代的诗意与缠绵。",[24,73,280,119,54,7,95,128,125,3879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a7d7c36701d886dacfc3d679562989.jpg",[],{"id":5320,"slug":5321,"title":5322,"dynasty":68,"author":5323,"museum":277,"description":5324,"tags":5325,"thumbUrl":5326,"material":105,"size":105,"collection":36,"collections":5327,"showCount":435,"zanCount":41,"manualWeight":41,"mainColor":5328},202097,"ma-gu-tu-zhou-fang-yue-juan-202097","麻姑图轴","方月娟","画面中麻姑衣袂翩跹，手持仙杖立于浪涛之上，周身花卉环绕，宝瓶静置一旁。工笔线条细腻灵动，勾勒出衣纹的飘逸与海浪的起伏；设色雅致温润，青绿飘带与暖调衣衫相映成趣，尽显仙娥的温婉神韵。整体构图疏朗有致，将神话人物的飘逸与工笔技法的精致完美融合，传递出清逸出尘的艺术氛围。",[25,26,54,7,77,171,76,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778f693120dbfcb4f7dfadc4f7214e0e.jpg",[36],"ac7f45",{"id":5330,"slug":5331,"title":5332,"dynasty":68,"author":167,"museum":277,"description":5333,"tags":5334,"thumbUrl":5335,"material":105,"size":105,"collection":36,"collections":5336,"showCount":435,"zanCount":41,"manualWeight":41,"mainColor":5337},202020,"xue-yan-tu-zhou-leng-mei-202020","雪艳图轴","画面铺展冬日雪景，仕女仪态娴雅，衣饰华丽细腻，仆从执伞相伴。梅枝覆雪缀花，暗香浮动；山石皴染层次分明，建筑勾勒精巧。笔墨工致细腻，设色温润雅致，人物神情生动自然。雪韵与美人相映，清寂中透着温婉，尽显宫廷仕女画的精致韵致，将冬日里的娴静之美悄然呈现。",[25,26,54,238,96,7,74,24,52,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92984f9cd6ab2c2beb573997ca96eaca.jpg",[36],"918064",{"id":5339,"slug":5340,"title":5341,"dynasty":68,"author":5342,"museum":277,"description":5343,"tags":5344,"thumbUrl":5346,"material":105,"size":105,"collection":356,"collections":5347,"showCount":435,"zanCount":41,"manualWeight":41,"mainColor":5348},201425,"yao-dao-chun-shen-tu-juan-liu-yan-chong-201425","瑶岛春深图卷","刘彦冲","画中瑶岛仙境云雾缭绕，苍松虬劲挺拔，青绿山水间飞瀑倾泻而下，衣袂轻盈的仙子立于松下，望云听泉，神情悠然。笔墨工细中见写意之趣，山石以皴法显质感，流水用晕染衬灵动，设色淡雅清新，层次分明。整体意境空灵悠远，将春深的盎然生机与仙岛的缥缈虚幻相融合，尽显古典书画的诗意韵味。",[24,53,25,26,1604,124,1732,5345,7,73,120,23],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c7163ff4d47d144883f039cc9d3e53.jpg",[356],"b2bbb6",{"id":5350,"slug":5351,"title":5352,"dynasty":88,"author":2621,"museum":49,"description":5353,"tags":5354,"thumbUrl":5355,"material":372,"size":373,"collection":105,"collections":5356,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":42},290969,"dong-shan-xie-ji-tu-zhou-guo-xu-290969","东山携妓图轴","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。",[52,24,74,239,119,54,7,121,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd29a6636a34bf364a33faca445077a.jpg",[],{"id":5358,"slug":5359,"title":5360,"dynasty":392,"author":5361,"museum":115,"description":5362,"tags":5363,"thumbUrl":5364,"material":372,"size":373,"collection":105,"collections":5365,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},289368,"jing-tong-zhong-ju-juan-rong-song-zhai-zhang-xi-289368","井筒中居卷","荣松斋长喜","荣松斋长喜(1762—1831年)活跃于日本宽政年间的浮世绘画师,以绘制美人画而著名。",[23,2141,26,54,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd22c15cca6cf1f3a2d8e7259bc80f63.jpg",[],{"id":5367,"slug":5368,"title":5369,"dynasty":392,"author":196,"museum":115,"description":5370,"tags":5371,"thumbUrl":5374,"material":372,"size":373,"collection":105,"collections":5375,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},288804,"peter-paul-rubens-the-garden-of-love-left-portion-yi-ming-288804","Peter Paul Rubens--The Garden of Love (left portion)","彼得·保罗·鲁本斯（Peter Paul Rubens）（1577年6月28日—1640年5月30日），教名伯多禄·保禄·鲁宾斯，17世纪佛兰德斯画家，西班牙哈布斯堡王朝外交使节。鲁本斯是佛兰德斯画家，是巴洛克画派早期的代表人物。\n鲁本斯出生于德国锡根，在他的父亲去世后，12岁的鲁本斯跟随母亲回到了西班牙统治下的家乡安特卫普，并在那里接受了天主教洗礼。而宗教也成为鲁本斯画家生涯中十分重要的一个主题。",[5372,3905,26,54,7,3878,94,985,5373],"西洋画","贵族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74cfc76c2d7c35b8632244807430e244.jpg",[],{"id":5377,"slug":5378,"title":5379,"dynasty":392,"author":196,"museum":115,"description":5380,"tags":5381,"thumbUrl":5384,"material":372,"size":373,"collection":105,"collections":5385,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},288800,"peter-van-lint-flemish-venus-de-medici-view-from-the-front-yi-ming-288800","Peter van Lint, Flemish--Venus de' Medici; view from the front","铅色笔触轻落在灰蓝纸面上，将雕像的优雅凝于画中。细腻线条顺着躯体起伏铺展，柔化了大理石的冷硬，把女性躯体的圆润肌理勾勒得舒展自然，静穆的古典神性藏在每一处柔和的转折里。\n\n左下角的骷髅添上了别样意趣，古典人体的永恒之美，对照着凡俗生命的虚幻无常，生出淡淡的怅惘隐喻。右下角的手写题注，为这幅严谨的写生晕开一丝松弛的纪实温度，让静态的复刻多了写生时的鲜活临场感。整体笔触克制又精准，兼顾雕塑的庄重与纸面写生的柔和层次，将古典人体的沉静美感融在朴素的素描细节中。",[3905,875,1041,5382,1488,7,5383],"维纳斯","骷髅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e20c4bb1454843c81c9d0b4729b4d7.jpg",[],{"id":5387,"slug":5388,"title":5389,"dynasty":68,"author":330,"museum":115,"description":2127,"tags":5390,"thumbUrl":5392,"material":372,"size":373,"collection":105,"collections":5393,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":42},288400,"lin-xiao-xiang-kui-duo-ju-hua-shi-sun-wen-288400","林潇湘魁夺菊花诗",[23,24,26,25,54,93,127,858,128,27,5391,1759,7],"游船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8680ac2375a247993af1aa51a1c52151.jpg",[],{"id":5395,"slug":5396,"title":5397,"dynasty":68,"author":196,"museum":115,"description":5398,"tags":5399,"thumbUrl":5400,"material":372,"size":373,"collection":105,"collections":5401,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},288311,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-kang-xi-fei-pin-wu-ya-shi-yi-ming-288311","历代帝王贵妃大臣朝服像(康熙妃嫔乌雅氏)","整幅画像工致写实，主人公端然正坐，神色温婉肃穆，尽显后宫妃嫔的端庄气度。石青色朝服上团龙纹盘绕，绣工细密平整，金线隐于织纹间流露华贵底色，护甲与长挑垂落，衬出身份尊荣。\n\n座椅披覆瑞兽纹锦缎，威严灵动的纹饰呼应主人地位，身下地毯缠枝花卉间游龙蜿蜒，繁复纹饰层次分明，晕染考究。画作设色沉稳雅致，恪守宫廷肖像画仪制规范，写实还原仪容之余，以精细织绣细节烘托出雍容端方的宫廷气韵，将礼制要求与肖像美感融为一体。",[23,24,25,26,54,7,319,30,2234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc7acf96a92961cf7f3af40e2233fa2.jpg",[],{"id":5403,"slug":5404,"title":5405,"dynasty":68,"author":196,"museum":115,"description":5406,"tags":5407,"thumbUrl":5409,"material":372,"size":373,"collection":105,"collections":5410,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":791},261499,"wu-cai-shi-nv-tu-bi-tong-yi-ming-261499","五彩仕女图笔筒","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。",[3314,77,54,7,211,26,5408],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7032df54cbbeb7296322a473a70e9d.jpg",[],{"id":5412,"slug":5413,"title":5414,"dynasty":68,"author":196,"museum":115,"description":5415,"tags":5416,"thumbUrl":5418,"material":372,"size":373,"collection":105,"collections":5419,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},256542,"kang-xi-kuan-wu-cai-ma-gu-xian-shou-tu-pan-yi-ming-256542","康熙款五彩麻姑献寿图盘","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。",[3314,5408,26,54,7,5417,1511],"动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1336f22edfccb59a0701d39deaa2694.jpg",[],{"id":5421,"slug":5422,"title":5166,"dynasty":137,"author":196,"museum":115,"description":5423,"tags":5424,"thumbUrl":5425,"material":372,"size":373,"collection":105,"collections":5426,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":42},253193,"nv-ren-hua-xiang-zhuan-yi-ming-253193","她眉眼弯如新月，笑意漫上圆腴面庞，将世俗女子的温婉鲜活定格青砖之上。双手拢捧妆盒，指尖轻贴盒沿，恭谨温顺的侍奉情态呼之欲出。衣袍垂坠褶皱写实朴拙，腰间系带纹饰精巧细腻，处处可见对日常细节的悉心雕琢。\n\n泥土的粗粝肌理裹着人间烟火的暖意，没有繁复镂刻，仅凭沉厚朴拙的刀工，将深宅侍女的鲜活情态凝在方寸之间，让千年前的市井日常跃然眼前，尽显对俗世温情的细腻体察。",[1870,5169,1302,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6305e1d6ac5c3c7903f8dd47da2c05.jpg",[],{"id":5428,"slug":5429,"title":5430,"dynasty":88,"author":5431,"museum":115,"description":5432,"tags":5433,"thumbUrl":5434,"material":372,"size":373,"collection":105,"collections":5435,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":42},236305,"xi-xiang-qu-yi-shan-ye-li-shi-guang-236305","西厢曲意扇页","李世光","此作取景疏密得宜，近岸虬枝拂水、柳丝垂柔，将缱绻心绪融于尺幅之间。二人相对而立，衣袂轻扬，含情神态宛然可见，工细中带着灵动写意。设色清隽柔和，石青淡赭晕染远山，墨色分染草木，泛黄的扇底更衬古雅韵味。布景以小见大，咫尺之内铺展平远之境，将离别的悱恻揉入湖山烟霭，淡远水天消解了伤别之恸，晕开怅惘含蓄的诗意，尽显仕女雅事画的隽秀情致。",[667,24,73,26,25,54,124,126,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8264d87b46757cfdc99ab8e44b68007c.jpg",[],{"id":5437,"slug":5438,"title":5439,"dynasty":68,"author":5440,"museum":115,"description":5441,"tags":5442,"thumbUrl":5443,"material":372,"size":373,"collection":105,"collections":5444,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},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。",[24,73,280,26,25,54,7,430,267,121,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cddb5470904f03a5de87ae7645156f1.jpg",[],{"id":5446,"slug":5447,"title":3198,"dynasty":68,"author":1067,"museum":115,"description":5448,"tags":5449,"thumbUrl":5452,"material":372,"size":373,"collection":105,"collections":5453,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},234947,"yue-man-qing-you-ce-chen-mei-234947","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,73,26,25,54,7,93,94,496,120,122,99,225,95,5450,4502,1718,280,121,5451],"石桌","诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa802a71d4482087ccb76c4c0c68fc81e.jpg",[],{"id":5455,"slug":5456,"title":3198,"dynasty":68,"author":1067,"museum":115,"description":5448,"tags":5457,"thumbUrl":5458,"material":372,"size":373,"collection":105,"collections":5459,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":42},234945,"yue-man-qing-you-ce-chen-mei-234945",[52,24,73,280,26,25,54,7,95,474,125,78,122,121,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a79bb60951349b844904bd5a72956c6.jpg",[],{"id":5461,"slug":5462,"title":3198,"dynasty":68,"author":1067,"museum":115,"description":5448,"tags":5463,"thumbUrl":5464,"material":372,"size":373,"collection":105,"collections":5465,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":63},234939,"yue-man-qing-you-ce-chen-mei-234939",[25,26,121,120,54,93,267,96,2270,7,94,225,2106,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b1973c46c586d785e4a0d0caa553b6.jpg",[],{"id":5467,"slug":5468,"title":5469,"dynasty":88,"author":196,"museum":115,"description":5470,"tags":5471,"thumbUrl":5472,"material":105,"size":105,"collection":105,"collections":5473,"showCount":312,"zanCount":41,"manualWeight":41,"mainColor":42},234695,"ming-ren-dong-shan-si-zhu-tu-wan-sh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Cignani--Head of a Young Woman in Three-Quarter View Facing Left","棕色调晕染铺陈，虚实之间将少女温婉神韵尽数勾勒。头巾褶皱以松弛又精准的线条排布，阴影顺着织物垂坠走向晕开，把布料柔软质感悄然托显。少女垂眸颔首，睫间阴影轻覆眼下肌肤，鼻唇弧线柔和舒展，噙着近乎虔诚的恬然笑意。\n\n明暗过渡细腻自然，脸颊柔光与发丝、头巾的沉色织就温柔层次，将少女凝神静思的瞬间凝定。笔触精简却极具表现力，把人物柔美的气质与沉静的内蕴刻画得动人心扉，古典雅致的静谧氛围感扑面而来。",[3905,875,7,2234,1744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed9b3c13400f2c624086ccfb6efdcb7.jpg",[],{"id":6724,"slug":6725,"title":6726,"dynasty":392,"author":2868,"museum":115,"description":2869,"tags":6727,"thumbUrl":6729,"material":372,"size":373,"collection":105,"collections":6730,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},289366,"wu-ji-hei-tian-qing-hui-289366","舞姬",[907,875,7,2871,6728,1994,6726],"窗边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b1f6e7dbb8749b2e684a8b3fc9b07c.jpg",[],{"id":6732,"slug":6733,"title":6734,"dynasty":392,"author":196,"museum":115,"description":6735,"tags":6736,"thumbUrl":6738,"material":372,"size":373,"collection":105,"collections":6739,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},289201,"goya-a-nude-woman-seated-beside-a-brook-yi-ming-289201","Goya--A Nude Woman Seated Beside a Brook","这幅水墨速写以浓淡晕染织就幽密林野，溪畔裸女支颐静憩，似沉眠又若凝思。暗沉树丛揉碎天光，将郊野晕成朦胧暗影，唯有少女柔润躯体破开深郁，成为画面鲜活的锚点。\n\n画家以写意铺陈林野苍茫，又以细腻线条勾勒肩颈起伏与松弛肢体，明暗对照里晕开慵懒寂寥的氛围。干湿变化的墨色晕出郊野湿润清寂，隔绝白日喧扰，只剩独属少女的松弛片刻。私密又温柔的静穆里，漫溢出怅然诗意，层次丰盈的笔墨让幽谧氛围浸透纸面。",[3905,239,875,7,125,95,6737],"沉思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626de93bd8a8e0a2f080f529a4ddabd.jpg",[],{"id":6741,"slug":6742,"title":6743,"dynasty":392,"author":196,"museum":115,"description":6744,"tags":6745,"thumbUrl":6752,"material":372,"size":373,"collection":105,"collections":6753,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":63},289027,"louis-lagrene-e-les-gra-ces-lutine-es-par-les-amours-yi-ming-289027","Louis Lagrenée--Les Grâces lutinées par les amours","帷幔低垂晕开慵懒缱绻的闺中氛围，三位裸女舒展的体态柔润饱满，带着古典理想美人的松弛圣洁。\n\n小爱神们或是拽动衣袂，或是环身嬉戏，将静谧闺房揉进跳脱稚趣。细腻排线糅合柔和晕染，将肌肤的莹润起伏、织物的垂坠褶皱描摹得真实动人，光影在人体与纱幔间流淌，勾勒出柔美的明暗层次。神性的端庄与孩童的天真交织碰撞，让私密场景兼具优雅诗意与缱绻浪漫，将古典情爱主题诠释得温柔又富有生机。",[3905,6746,7,6747,6748,6749,1749,6750,6751],"西方绘画","小爱神","裸女","床帏","神话题材","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe473784c4321d86fdf9b63a995870aad.jpg",[],{"id":6755,"slug":6756,"title":6757,"dynasty":392,"author":196,"museum":115,"description":6758,"tags":6759,"thumbUrl":6764,"material":372,"size":373,"collection":105,"collections":6765,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":63},288773,"rodolphe-bresdin-group-of-figures-yi-ming-288773","Rodolphe Bresdin--Group of Figures","这幅蚀刻版画以虚实交织的叙事铺陈画面，下半隅是两位长裙仕女牵犬漫游郊野，衣褶柔婉舒展，漫溢着闲游行止松弛惬意的氛围感。而上半段岩穴与灌丛间，古典衣装的人物群像悄然浮现，如同郊野林间沉眠的旧影幽灵。\n作者以疏密错落的线条区分山石、植被与衣袂肌理，将日常闲步的松弛和超现实的幽诡交融，让郊野漫游化作一场朦胧幻梦，漫步的轻愉里裹挟着挥之不去的神秘恍惚，恍若踏入现世与异界交界的朦胧狭间。",[54,7,831,6760,6761,3639,5726,6762,6763],"小狗","洞穴","黑白","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc858b739ff401c3d9a184b49cf9f6a12.jpg",[],{"id":6767,"slug":6768,"title":6769,"dynasty":392,"author":196,"museum":115,"description":6770,"tags":6771,"thumbUrl":6774,"material":372,"size":373,"collection":105,"collections":6775,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":1242},288567,"attributed-to-giuseppe-cades-design-for-a-frieze-with-two-women-flanking-an-urn-yi-ming-288567","attributed to Giuseppe Cades--Design for a Frieze with Two Women Flanking an Urn","这幅古典壁饰稿本，以棕调晕染铺陈复古质感。左侧翼女踏金球静立，神情肃穆矜贵。中央两位仕女身姿柔婉慵懒，一人支颐回望，一人背手垂首，环绕雕花古瓮，蛇形饰件盘绕瓮沿，明暗线条勾勒出衣褶垂坠的韵律，复刻出古罗马湿壁画的典雅意趣。右侧菱形饰板内，托举的女神与卷草浮雕呼应整体氛围，构图对称均衡，将神话意象与装饰美学相融，细腻笔触尽显人体柔美与装饰纹样的精巧，静穆中流淌着文艺复兴复古风格的诗意庄重。",[3905,119,6772,54,7,3878,6773,4941],"装饰画","瓮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8425550542be6db46f14990aec77825f.jpg",[],{"id":6777,"slug":6778,"title":6779,"dynasty":68,"author":330,"museum":115,"description":2127,"tags":6780,"thumbUrl":6781,"material":372,"size":373,"collection":105,"collections":6782,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},288408,"jin-lan-qi-hu-pou-jin-lan-yu-sun-wen-288408","金澜契互剖金澜语",[23,24,25,26,54,7,124,93,127,474,125,78,2270,2106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1711a4116bf9c4f211193501edc48129.jpg",[],{"id":6784,"slug":6785,"title":6786,"dynasty":68,"author":196,"museum":115,"description":6787,"tags":6788,"thumbUrl":6789,"material":372,"size":373,"collection":105,"collections":6790,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":791},288203,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yong-zheng-qian-fei-liu-shi-yi-ming-288203","历代帝王贵妃大臣朝服像(雍正谦妃刘氏)","紫幔斜垂，将视线轻轻引向画面中心。此作工笔精妙，将妃嫔仪态尽显：旗头饰点翠镶宝，纹饰玲珑华贵，衬得人物气度雍容。面部晕染柔润，眉如远黛，神色沉静温婉，细腻刻画出闺中贵女的端雅。衣料笔触入微，石青团花缎衣搭配彩绣领边，层次分明，质感逼真。女子轻拈白花于掌心，为端庄添了几分柔婉灵秀。\n\n整画设色妍雅不俗，写实传神，将清宫妃嫔的沉静含蓄定格绢上，尽显清代肖像画的细腻工致，把宫廷礼制下的温婉气韵描摹得淋漓尽致。",[23,24,25,26,54,7,30,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7e05318a01795ca8f7053da9f821ad.jpg",[],{"id":6792,"slug":6793,"title":6794,"dynasty":68,"author":196,"museum":115,"description":6795,"tags":6796,"thumbUrl":6798,"material":372,"size":373,"collection":105,"collections":6799,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},269108,"xiang-ya-diao-yue-man-qing-you-ba-yue-jing-ce-yi-ming-269108","象牙雕月曼清游八月景册","此作以牙雕镂刻拼接出仲秋赏月图景，素洁牙片裁作霜林覆雪、飞檐翘角，玉宇楼台清雅出尘。仕女或凭高远眺银汉婵娟，或于廊下低语，衣袂宛转灵动，尽显闺人夜游的闲柔意态。\n右侧书法笔致清雅流丽，诗境呼应画中幽景，将清秋夜色里桂风暗度、露凉衣薄的缱绻意趣融于一处。整作以牙雕温润质感衬月色清寒，工艺细巧入微，楼台窗棂、花木枝桠分毫毕现，书画与雕景相映成趣，把古时深闺中秋夜游的闲雅意兴，定格为一方雅致隽永的清宵图景，尽显旧时匠造的灵思与工致。",[280,5923,1302,7,93,94,368,121,4301,26,6797],"月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ff8c830112d1159ae71b71c1acc7af.jpg",[],{"id":6801,"slug":6802,"title":6803,"dynasty":68,"author":196,"museum":115,"description":6804,"tags":6805,"thumbUrl":6806,"material":372,"size":373,"collection":105,"collections":6807,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":63},269105,"xiang-ya-diao-yue-man-qing-you-shi-yue-jing-ce-yi-ming-269105","象牙雕月曼清游十月景册","此作以牙雕通景定格闺房雅集，仕女环伺共赏花鸟长卷，衣袂柔婉、神态恬和。厅堂花窗玲珑，条案陈设精巧，将深宅雅致闲情一一复刻。旁侧御题行书笔致隽秀，诗境呼应景中深闺春慵，把赏画寻幽的闺中逸趣晕染开来。牙雕工艺细腻入微，将仕女温婉情态、厅堂雅致氛围尽数雕琢，诗与工艺相融，定格下春日深闺的娴静意趣，尽显匠造的雅致心思。",[280,5923,1302,54,7,26,121,4301,77,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3059bc6de23cf50c2e8b0b2311824630.jpg",[],{"id":6809,"slug":6810,"title":6811,"dynasty":68,"author":196,"museum":115,"description":5415,"tags":6812,"thumbUrl":6813,"material":372,"size":373,"collection":105,"collections":6814,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},262086,"fen-cai-shi-nv-tu-pan-yi-ming-262086","粉彩仕女图盘",[3314,3315,7,54,26,3893,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec912f13d99d467a2ed98ddf4ce9a99d.jpg",[],{"id":6816,"slug":6817,"title":6818,"dynasty":68,"author":196,"museum":115,"description":6819,"tags":6820,"thumbUrl":6823,"material":372,"size":373,"collection":105,"collections":6824,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":63},259794,"qing-hua-shi-nv-tu-xiao-pan-yi-ming-259794","青花仕女图小盘","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。",[3314,6821,54,7,78,6822],"青花","日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0787a4fa8e854a493e1aba293499cf6.jpg",[],{"id":6826,"slug":6827,"title":6828,"dynasty":6829,"author":196,"museum":115,"description":6830,"tags":6831,"thumbUrl":6832,"material":372,"size":373,"collection":105,"collections":6833,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},255136,"tao-hua-cai-nv-yong-yi-ming-255136","陶画彩女俑","汉","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。",[6829,3314,6297,54,7,26,1302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9fa0da6c8933301e68744f3e4cd76a.jpg",[],{"id":6835,"slug":6836,"title":6837,"dynasty":6838,"author":196,"museum":115,"description":6830,"tags":6839,"thumbUrl":6843,"material":372,"size":373,"collection":105,"collections":6844,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":791},254571,"tao-hua-cai-wu-dao-nv-yong-yi-ming-254571","陶画彩舞蹈女俑","南北朝",[6838,3314,26,6840,54,7,6841,6297,6842],"画彩","舞蹈","陶塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56ab2a0be6d6f777f13a26cde6ec3929.jpg",[],{"id":6846,"slug":6847,"title":6848,"dynasty":88,"author":196,"museum":115,"description":6849,"tags":6850,"thumbUrl":6854,"material":372,"size":373,"collection":105,"collections":6855,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":791},254302,"tong-shi-nv-deng-tai-yi-ming-254302","铜仕女灯台","此件造像身姿灵动婉约，仕女右臂上扬托举灯盏，衣袂随身形舒展垂落，线条婉转流畅如微风拂过。面容温婉恬和，发髻高绾尽显柔媚端雅。基座处螭龙蜿蜒攀附，刚劲的瑞兽线条与仕女的柔婉身形相互映衬，刚柔相融。\n\n整体铜色沉敛古雅，写实细腻的雕刻将东方仕女的娴静韵致尽数展现，既承载灯台的实用功能，又兼具雕塑的美学价值，尽显匠人精妙的塑形功底，将明代造像的写实特质与古典雅致的审美意趣融为一体。",[6851,6852,1302,7,54,77,6853],"青铜器","铜制","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bde8b59912e6606f75b50f3cb60126.jpg",[],{"id":6857,"slug":6858,"title":6859,"dynasty":18,"author":196,"museum":115,"description":6830,"tags":6860,"thumbUrl":6861,"material":372,"size":373,"collection":105,"collections":6862,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":63},252842,"tao-hua-cai-nv-li-yong-yi-ming-252842","陶画彩女立俑",[18,3314,26,54,7,1302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef98991c2e449dba4a97025d86864385.jpg",[],{"id":6864,"slug":6865,"title":6866,"dynasty":68,"author":196,"museum":115,"description":6867,"tags":6868,"thumbUrl":6869,"material":372,"size":373,"collection":105,"collections":6870,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":791},251004,"qing-yu-xian-nv-yi-ming-251004","青玉仙女","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。",[1301,1302,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7673aa2a26f59dfed04dcf24ecfefc8.jpg",[],{"id":6872,"slug":6873,"title":6874,"dynasty":392,"author":6875,"museum":115,"description":6876,"tags":6877,"thumbUrl":6878,"material":372,"size":373,"collection":105,"collections":6879,"showCount":11,"zanCount":41,"manualWeight":41,"mainColor":42},232571,"mi-lai-si-115-yue-han-ai-fu-li-te-mi-lai-si-232571","米莱斯115","约翰·埃弗里特米莱斯","John 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to Piero di Cosimo--Bust of a Young Woman","这帧素描以银笔轻绘于灰底之上，笔触柔婉细腻，顺着少女的轮廓缓缓铺陈。垂首敛目的姿态晕开静谧安然的氛围，低垂的眉眼间藏着似有若无的沉思，神情温婉柔和。\n\n头巾与发丝的线条流畅舒展，轻软地勾勒出柔和体积感，淡晕的笔触柔化了轮廓边界，让光影顺着衣料与肌肤自然过渡。没有繁复修饰，仅以简约的素描语言，便将少女沉静柔美的气质尽数晕染开来，将一瞬的温柔凝于纸面，满是含蓄悠长的古典诗意。",[3905,875,7,7186,855],"半身像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486afa75d4debb590f1f9f4f00c7d81a.jpg",[],{"id":7190,"slug":7191,"title":7192,"dynasty":392,"author":196,"museum":115,"description":7193,"tags":7194,"thumbUrl":7197,"material":372,"size":373,"collection":105,"collections":7198,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},289541,"attributed-to-richard-parkes-bonington-the-proposal-recto-unfinished-drawing-yi-ming-289541","Attributed to Richard Parkes Bonington--The Proposal (recto); Unfinished drawing","水彩晕染铺就朦胧室内，跪地的华服男子姿态热切，指尖轻触女子裙摆，将爱慕与忐忑揉进动作中。白衣女子背身僵直，侧脸带着疏离的犹豫，华贵裙装的褶皱在水色晕染下柔润舒展，将她的迟疑具象为凝滞的身形。\n\n镜中窥伺的侍女藏起好奇，壁龛肖像沉在暖棕色调里，衬得这场私密求婚暧昧又紧绷。松弛的笔触晕开柔化色块，把心动与迟疑拉扯的情绪藏进朦胧画面，如同古典戏剧里按下暂停的一幕，将未尽的话语与涌动心绪定格在这方寸之间。",[54,26,5372,7195,1749,7196,7,5373],"水彩","求婚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d0fddc1aa0b6b6676202dd8b89e051.jpg",[],{"id":7200,"slug":7201,"title":7202,"dynasty":392,"author":196,"museum":115,"description":7203,"tags":7204,"thumbUrl":7205,"material":372,"size":373,"collection":105,"collections":7206,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},289539,"attributed-to-sahib-ram-singer-and-sarangi-player-yi-ming-289539","Attributed to Sahib Ram--Singer and Sarangi Player","此作为白描稿本，纤细匀净的铁线游丝，将两位盛装乐女的形神尽皆勾勒。前者持萨朗吉琴，指节轻扣弦柄，姿态娴静舒展；后者垂纱覆首，眉眼柔婉低垂，静立身侧。\n\n繁复的花钿头饰、层叠的璎珞项饰，均以流畅线条细致铺陈，将异域宫廷女子的华贵装束描摹入微，不见一处冗余笔意。素纸留白消解了色彩的喧扰，只余线条交织出的温柔韵律，静静晕开古早宫廷乐舞场合里那份松弛雅致的氛围感。",[119,54,7,55,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6084e98732465572e3cce0a6a437f04f.jpg",[],{"id":7208,"slug":7209,"title":7210,"dynasty":392,"author":196,"museum":115,"description":7211,"tags":7212,"thumbUrl":7214,"material":372,"size":373,"collection":105,"collections":7215,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":42},289475,"carle-charles-andre-vanloo-bust-of-a-young-girl-profile-to-left-yi-ming-289475","Carle (Charles André) Vanloo--Bust of a Young Girl, Profile to Left","炭笔晕开朦胧背景，将视线全然引向少女侧颜。她轮廓柔润舒展，鼻尖小巧挺翘，唇角噙着淡若轻烟的笑意，沉静里揉着少女独有的娇憨。发丝刻画尤为精妙，鬓边卷发蓬松柔软，束起的长发带着自然卷曲垂落，发丝的蓬松与发网的紧致形成细腻反差。画师以深浅笔触，晕出皮肤莹润质感，又用排线烘托衣物蕾丝的柔婉层次，将少女的温婉气质描摹得淋漓尽致，凭细腻笔触抓住少女鲜活情态，静穆雅致间藏着灵动生机，尽显古典肖像素描的动人魅力。",[3905,5987,7,7186,7213],"侧面像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5267fd12a73ad97450d61d1a78472205.jpg",[],{"id":7217,"slug":7218,"title":7219,"dynasty":392,"author":196,"museum":115,"description":7220,"tags":7221,"thumbUrl":7223,"material":372,"size":373,"collection":105,"collections":7224,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":42},289279,"piat-joseph-sauvage-venus-and-cupid-yi-ming-289279","Piat Joseph Sauvage--Venus and Cupid","这幅作品以素描复刻浅浮雕质感，将温柔缱绻揉进笔锋里。裸身的女神拥住懵懂的小爱神，亲昵依偎间，神性褪却，只剩软和温情。细腻排线晕开肌肤的柔润光泽，毛发、织物的层次铺陈恰到好处，洛可可式的甜雅藏在每一处明暗过渡中。朦胧林野帷幔虚化了背景边界，将所有目光锁在二人亲昵互动里，把神话里的爱之日常，描摹得浪漫又动人。",[370,875,7,831,5382,7222,3905],"丘比特","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4adc26d0300e2335e20183e85d03d1.jpg",[],{"id":7226,"slug":7227,"title":7228,"dynasty":392,"author":196,"museum":115,"description":7229,"tags":7230,"thumbUrl":7231,"material":372,"size":373,"collection":105,"collections":7232,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},289240,"raphael-lucretia-yi-ming-289240","Raphael--Lucretia","以红棕粉笔落笔，线条循着躯体的柔缓起伏游走，精准勾勒出女性柔和又充满力量感的体态。袒露的肩颈与半掩的胸腹，带着古典理想主义的克制优雅。人物双臂舒展，头微侧仰，神情沉静凛然，身姿挺拔舒展，带着庄重肃穆的气韵。\n\n层叠衣褶疏密有致，粉笔线条利落刻画出织物垂坠的重量感，同时烘托出舒展的动势。整幅作品以纯粹的素描语言，将古典静穆气质与鲜活的形体韵律相融，尽显古典审美的典雅张力。",[3905,875,119,7,5711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55d862dbe1a2cae14ca2d3d7a095f9b.jpg",[],{"id":7234,"slug":7235,"title":7236,"dynasty":392,"author":196,"museum":115,"description":7237,"tags":7238,"thumbUrl":7239,"material":372,"size":373,"collection":105,"collections":7240,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":5729},289205,"goya-a-maja-and-two-companions-yi-ming-289205","Goya--A Maja and Two Companions","淡墨与简笔勾勒出松弛暧昧的瞬间。侧坐的女子身形柔婉，垂落的长发晕开朦胧韵致，裙摆褶皱以顿挫线条交代面料的厚重质感，姿态带着慵懒疏离。身旁男子轮廓模糊，前倾的身姿流露亲昵的靠近感。\n\n仅用寥寥数笔勾出椅架，地面以大片淡墨晕染烘托光影。没有繁复细节，却将市井里偷闲的缱绻张力藏在随性笔触间，像一场未经刻意定格的亲昵片刻，晕开慵懒松弛的浮生氛围。",[3905,5372,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38c46f3cea77537fc418f146382afa16.jpg",[],{"id":7242,"slug":7243,"title":7244,"dynasty":392,"author":196,"museum":115,"description":7245,"tags":7246,"thumbUrl":7248,"material":372,"size":373,"collection":105,"collections":7249,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":5729},289196,"goya-a-young-woman-and-a-bull-yi-ming-289196","Goya--A Young Woman and a Bull","少女舒展双臂扬着脸，眉眼漾着明亮笑意，卷发垂落肩头，衬得身姿鲜活灵动，仿佛正踩着热烈节拍翩然起舞，纱裙褶皱蓬松柔软，笔触勾勒出裙摆翻飞的轻盈质感。一旁公牛静立石墙沿，粗粝线条晕出厚重野性，沉郁沉默地注视着眼前的鲜活。\n\n热烈与钝重、轻盈与粗粝在此碰撞，将西班牙市集独有的民俗烟火气揉在画面里，仿佛能听见响板脆响与周遭欢呼，鲜活的人间意趣顺着笔尖漫溢开来。",[3905,7,7247,54,5417,6841],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3ed8694606de4d1e56e534400454c6.jpg",[],{"id":7251,"slug":7252,"title":7253,"dynasty":392,"author":196,"museum":115,"description":7254,"tags":7255,"thumbUrl":7257,"material":372,"size":373,"collection":105,"collections":7258,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":5729},289176,"goya-maja-and-an-officer-yi-ming-289176","Goya--Maja and an Officer","逼仄的墙角被阴影牢牢包裹，男子探身捂住少女的唇，松垂的佩剑敛去了杀伐冷硬，只剩幽会的拉扯暧昧与难言局促。少女垂着头瑟缩着，绷紧的肩颈泄露出慌乱无措。\n\n淡晕的灰调晕开私密氛围，不加修饰的素描笔触克制又传神，将隐秘胁迫与欲说还休的暧昧揉合，留白间溢满呼之欲出的情绪张力，让这场角落的邂逅藏着道不清的暗流涌动。",[3905,5372,875,7,7256],"佩剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5736bc666522e72857c54b41c49cb8e7.jpg",[],{"id":7260,"slug":7261,"title":7262,"dynasty":392,"author":196,"museum":115,"description":7263,"tags":7264,"thumbUrl":7268,"material":372,"size":373,"collection":105,"collections":7269,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},289063,"karel-van-mander-i-the-challenge-of-the-pierides-yi-ming-289063","Karel van Mander I--The Challenge of the Pierides","这幅素描以棕调晕染铺陈，构图繁而不乱。石台之上的阿波罗沉静俯瞰，成为画面锚点。左侧缪斯衣袂舒展，神色带着诘问的锋芒；右侧神女或拨弦展卷，伸臂抗辩，将诗艺竞逐的张力拉满。林间天使翔集，古木虬枝掩映出幽谧神域氛围，地面弃置的乐器暗合竞技主题。\n线条兼具柔婉与劲挺，衣褶的垂坠柔感与神祇躯体的硬朗轮廓形成鲜明反差，明暗层次区分开空间远近，把神话里的诗艺对决定格为充满戏剧感的林间盛景，肃穆叙事感与素描松弛质感相融，尽显古典主题的庄重张力。",[3905,54,370,3878,55,7265,128,7,7266,7267],"树林","裸像","集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6867cfb173b35621fa05c5bcdbb3bb.jpg",[],{"id":7271,"slug":7272,"title":7273,"dynasty":392,"author":196,"museum":115,"description":7274,"tags":7275,"thumbUrl":7277,"material":372,"size":373,"collection":105,"collections":7278,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},288908,"giovanni-battista-piazzetta-girl-with-a-hen-yi-ming-288908","Giovanni Battista Piazzetta--Girl with a Hen","少女垂眸敛目，神情柔恬松弛，与怀中小母鸡亲昵相依，将日常里松弛治愈的瞬间定格。\n画师以炭笔晕染明暗，细腻勾勒出少女柔润的面部轮廓，晕染出皮肤在柔光下的通透肌理。禽鸟蓬松的羽毛与少女肌肤的温润形成鲜明质感对比，寥寥数笔便刻画出二者间信赖亲昵的氛围，用极简的素描语言，揉合出质朴动人的温情日常，尽显写实笔触下的细腻情绪张力。",[3905,54,7,7276,1744,855],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27c2b600535e67c1790a3eb0a568027.jpg",[],{"id":7280,"slug":7281,"title":7282,"dynasty":392,"author":196,"museum":115,"description":5370,"tags":7283,"thumbUrl":7287,"material":372,"size":373,"collection":105,"collections":7288,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},288803,"peter-paul-rubens-the-garden-of-love-right-portion-yi-ming-288803","Peter Paul Rubens--The Garden of Love (right portion)",[5372,875,3905,5983,7,7284,858,6750,7285,5711,7286],"小天使","群像人物","欢愉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354ffe34c0a663f6a3d86f3a89f7859d.jpg",[],{"id":7290,"slug":7291,"title":7292,"dynasty":392,"author":196,"museum":115,"description":7293,"tags":7294,"thumbUrl":7297,"material":372,"size":373,"collection":105,"collections":7298,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":1242},288795,"pierre-alexandre-wille-two-women-in-an-elegant-interior-yi-ming-288795","Pierre Alexandre Wille--Two Women in an Elegant Interior","闺房之内，执诗琴的少女垂眸拨弦，伴立的女伴持羽扇缓摇，为她驱散溽暑。高耸繁复的假发、曳地蓬松的长裙，尽显洛可可时代独有的精致柔美。背景中的古典雕塑、软包座椅与华纹地毯，铺陈出雅致雍容的室内氛围。\n画家以细腻笔触晕染衣物质感，褶皱明暗过渡自然，将闺中密友闲适松弛的午后时光定格。静室里似有琴音流淌，慵懒悠然漫溢其间，将贵族女性的闲逸日常尽数展现，尽显洛可可艺术柔媚优雅的独特意趣。",[875,5372,3905,5983,1005,7,5711,55,7295,3105,7296],"鲁特琴","闺房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7fed7fe920b0495c3f04d297113f94.jpg",[],{"id":7300,"slug":7301,"title":7302,"dynasty":392,"author":196,"museum":115,"description":7303,"tags":7304,"thumbUrl":7307,"material":372,"size":373,"collection":105,"collections":7308,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},288793,"pierre-antoine-baudouin-le-matin-morning-yi-ming-288793","Pierre Antoine Baudouin--Le Matin (Morning)","蓝调帷幔围起一方私密闺房，鎏金饰边晕着华贵暖意。榻上女子尚陷在晨睡余韵中，手臂交叠枕于脑后，肌肤被晨光晕出柔润光泽，慵懒松弛漫溢开来。男子止步侧身，目光凝向榻上，似被这晨间慵态绊住脚步，一旁孩童扯住他的衣袍，为这暧昧氛围添上几分稚拙的拉扯感。\n\n笔触细腻晕开织物褶皱的柔光，以雅致配色铺就贵族晨间日常图景，将洛可可式的缱绻意趣藏在光影里，让私邸晨光里的松弛与暧昧，都融在人物细微的神态互动间。",[907,875,1005,7305,7,5230,831,26,4941,7306],"卧室","晨起","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab80b5e9afb5f726df2bf7b031e3390.jpg",[],{"id":7310,"slug":7311,"title":7312,"dynasty":392,"author":196,"museum":115,"description":7313,"tags":7314,"thumbUrl":7316,"material":372,"size":373,"collection":105,"collections":7317,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},288631,"jean-baptiste-greuze-florentine-woman-wearing-a-butterfly-cap-yi-ming-288631","Jean-Baptiste Greuze--Florentine Woman Wearing a Butterfly Cap","这幅速写以灵动洗练的笔墨，定格了少女柔婉鲜活的情态。侧身回望的少女眼波带着柔婉的好奇，宽檐软帽衬得面庞愈发娇俏动人。画家以浓淡变化的墨线勾勒衣褶，虚实之间贴合人体轮廓，裙摆垂坠褶皱写意又生动，将布料的蓬松柔软尽数展现。少女指尖轻搭膝上小鼓，漫不经心的慵懒松弛扑面而来，一旁台面随意搭着织物，更添日常松弛的氛围感。整幅画作无冗余修饰，以极简笔墨抓住瞬间气韵，尽显速写捕捉鲜活情态的动人魅力。",[3905,54,7,30,7315],"速写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6d94d26ec1f86584c5cbd57fe57420.jpg",[],{"id":7319,"slug":7320,"title":7321,"dynasty":392,"author":196,"museum":115,"description":7322,"tags":7323,"thumbUrl":7328,"material":372,"size":373,"collection":105,"collections":7329,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},288625,"jean-baptiste-marie-pierre-the-rape-of-europa-yi-ming-288625","Jean-Baptiste Marie Pierre--The Rape of Europa","以暖红素描晕开这场宿命邂逅，线条柔婉舒展，将洛可可式轻盈揉进古典神话之中。欧罗巴倚坐白牛身侧，神色懵懂恍惚，侍女们环伺周遭，或牵衣低语或俯身注视，衣袂褶皱随动作自然垂落，柔美的情态跃然纸上。\n\n空中小天使乘飞鹰俯瞰，静静凝望这场隐秘邂逅。远景林木朦胧，古堡隐现于枝叶之后，晕开氤氲浪漫氛围。整体笔触松弛细腻，将相遇时的暧昧绮丽悉数铺陈，把神话的旖旎诗意藏在暖红色调中，让古典浪漫缓缓漫溢。",[5372,7324,875,7325,7,7247,7284,128,2639,7326,7327],"神话画","红褐素描","古建筑","欧罗巴被劫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08c110e71ec670449c7b973dd52fa7ee.jpg",[],{"id":7331,"slug":7332,"title":7333,"dynasty":392,"author":196,"museum":115,"description":7334,"tags":7335,"thumbUrl":7341,"material":372,"size":373,"collection":105,"collections":7342,"showCount":563,"zanCount":41,"manualWeight":41,"mainColor":63},288619,"jean-michel-moreau-the-younger-perfect-harmony-yi-ming-288619","Jean-Michel Moreau the Younger--Perfect 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