[{"data":1,"prerenderedAt":68},["ShallowReactive",2],{"subject-min-su-huo-dong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2925,"min-su-huo-dong","民俗活动","民俗活动画高清赏析","精选中国历代民俗活动题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3763cc4bb201a1b8b86ddc7581cfe77c.jpg",0,2,[14,48],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":46,"zanCount":12,"manualWeight":11,"mainColor":47},288062,"long-zhou-jing-du-juan-wang-gai-288062","龙舟竞渡卷","清","王槩","藏地不详","此卷由三段绘画组成，以江河为主线，渐渐展开端午时节赛龙舟的场面。画面用笔工细，场面宏大。几艘龙舟昂首翘尾，动感十足。船上人小如蚁，但奋力划桨之势尽显。在构图上，运用大片留白表现水天一色和浩渺的江河，给人以开阔的视野。而江中点缀的渔家小船及岸上人们争相观看的情景，又使画卷平添了几许情趣。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7],"高清","国画","长卷","书画","水墨","设色","龙舟","山水","流水","山峦","树木","屋舍","人物","舟船","印章","行书","书法","龙舟竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcf549de7dc2fe73f37c130e34dbc58.jpg","未知","Xcm*Xcm","",[],36,"BDBDBD",{"id":49,"slug":50,"title":51,"dynasty":52,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":10,"material":64,"size":65,"collection":44,"collections":66,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":47},216094,"tai-ping-le-shi-tu-ce-2-dai-jin-216094","太平乐事图册-2","明","戴进","台北故宫博物院","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,28,57,35,58,59,60,7,33,61,62,63],"册","牛","树","山石","地面路径","山石景观","人物互动","纸本,设色","22.8x22cm",[],14,1777535785636]