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康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。着有《湛园集》《苇间集》《海防总论》。",[62,61,64,191,75,7,192,193,194,77,195,80,196,197,198],"风","瀑布","酒","草","树","鱼","水","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213bd352cd92152c238af991318ac0c9.jpg","纸本，行书","64.5×32.1cm",[85],3,{"id":205,"slug":206,"title":207,"dynasty":18,"author":159,"museum":20,"description":208,"tags":209,"thumbUrl":214,"material":44,"size":45,"collection":113,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":88},225486,"fu-shi-hui-244-yi-ming-225486","浮世绘244","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。",[123,124,26,39,210,211,212,213,7],"室内场景","西式服饰","格子地板","柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e32091d0770f2e6a4d0f4879e2d5d73.jpg",[],2,{"id":218,"slug":219,"title":220,"dynasty":93,"author":159,"museum":221,"description":222,"tags":223,"thumbUrl":228,"material":229,"size":113,"collection":113,"collections":230,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":49},215988,"di-jian-tu-shuo-cai-hui-ben-18-yi-ming-215988","帝鉴图说彩绘本-18","法国国家图书馆","红柱支起青瓦飞檐，朱墙围合的庭院层次错落。阶前众人或躬身揖让，或垂首静候，衣袂飘飘间尽显古礼之序；门侧卫士执戟肃立，身姿挺拔，守着朝堂的威严。左下角推车人躬身前行，木轮轻转，似把尘世烟火悄悄揉进这庄重画面。画中藏“隐迹待时”之典，贤士韬光的沉静与君臣相期的期许交织，每处细节皆含深意：既有礼制的肃穆之美，亦显贤才处世的智慧，色彩明丽却不失雅致，线条细腻又藏风骨，静静铺展着古代贤士与朝堂间的微妙联结。",[98,99,26,100,163,39,102,106,7,36,224,225,226,227,40,75],"车","台阶","柱","屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6a6117e9c0933e7fd172079ffee785.jpg","绢本,设色",[],{"id":232,"slug":233,"title":234,"dynasty":93,"author":159,"museum":221,"description":235,"tags":236,"thumbUrl":241,"material":229,"size":113,"collection":113,"collections":242,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":49},215959,"di-jian-tu-shuo-cai-hui-ben-45-yi-ming-215959","帝鉴图说彩绘本-45","画面分境铺陈，上层殿宇朱楹碧瓦，帘幕轻垂处，人物或坐或立，似有政事相商的沉静；下层庭院青槐倚墙，稚子携犬逐戏于阶前，井栏边人影绰绰，烟火气暗浮。青绿瓦当、朱红廊柱与碧蓝檐角相映成趣，每一处窗棂的纹路、檐下的斗拱皆细致入微，工笔重彩的精致扑面而来。既见帝王生活的仪范，亦藏市井般的鲜活，浓淡之间，晕开一段生动的往昔图景。",[23,98,99,237,26,100,163,39,102,238,106,239,7,240,225,107,227],"册","松树","犬","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6256aced4bf6af0cc813c92dcfa62149.jpg",[],{"id":244,"slug":245,"title":246,"dynasty":93,"author":159,"museum":221,"description":247,"tags":248,"thumbUrl":249,"material":229,"size":113,"collection":113,"collections":250,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":49},215957,"di-jian-tu-shuo-cai-hui-ben-50-yi-ming-215957","帝鉴图说彩绘本-50","朱红宫墙与青蓝瓦顶相映成趣，亭台敞轩内，尊者端坐于上，衣饰华美，神色端凝。两侧侍从或侍立或躬身，姿态恭谨；阶下数人或拱手或静立，似在禀事或聆听训诲。庭院间，苍树葱茏，石径蜿蜒，花木点缀其间，既显宫廷规制的庄重，又含园林小景的雅致。整幅画作色彩明丽却不失古雅，人物排布疏密有致，细节处尽显礼仪秩序，仿佛将一段帝王往事凝于绢素之上。观者于无声中感知古代宫廷的仪轨与威仪，窥见往昔历史的片段，画中情境如在眼前，引人遐思。",[98,26,100,39,102,106,36,7,225,40,75,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a1b8fd9b0287d38d6553e4204e03ca.jpg",[],{"id":252,"slug":253,"title":254,"dynasty":93,"author":159,"museum":221,"description":255,"tags":256,"thumbUrl":257,"material":229,"size":113,"collection":113,"collections":258,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":49},215927,"di-jian-tu-shuo-cai-hui-ben-79-yi-ming-215927","帝鉴图说彩绘本-79","亭台红柱飞檐，掩映于绿树间，古雅清幽。阶上人物姿态各异，或拱手致意，或缓步趋近，亭中坐者神情庄重，似在与下属交流。下方门庭前守卫肃立，青松苍劲，石径通幽，庭院静谧有序。画作线条细腻流畅，设色明丽温润，人物刻画鲜活传神，场景布局疏密相宜。工笔技法精谨，将宫廷仪轨与生活气息相融，于细节处见古典韵味，尽显传统绘画的雅致与叙事之妙，仿佛能窥见古代宫廷的一角风貌。",[98,26,100,163,39,102,36,106,225,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c0a35cfe2952bad23192ce318774fc.jpg",[],1777535727756]