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整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[23,24,25,26,27,28,29,30,7,31,32,33],"高清","国画","书画","设色","工笔","人物","器","市井","服饰","生活场景","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","绢本,设色","59.3x108cm","人物画精选",[37,39],"设色画精选",463,10,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":20,"description":49,"tags":50,"thumbUrl":65,"material":26,"size":66,"collection":67,"collections":68,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":71},221319,"qing-ming-yi-jian-tu-juan-zhang-ze-duan-221319","清明易简图卷","宋","张择端","在画卷尾端的山石上有“翰林画史臣张择端进呈”签名，台湾中研院刘渊临认为其代表“金人入主汴京时的短时间风格”。北宋风俗画作品，北宋画家张择端所作。它生动地记录了中国十二世纪城市生活的面貌，是一幅举世闻名的现实主义风俗画卷。",[23,51,24,25,52,27,53,54,26,28,55,56,57,58,59,60,61,62,63,30,7,64],"名画","长卷","界画","白描","桥梁","船只","楼阁","店铺","街市","车马","河流","树木","建筑","宋代风貌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2dad2c8025aad97b6171fce959ff9.jpg","该幅 38x673.4公分；隔水一 38x14.5公分；引首一 38x98.5公分；隔水二 38x14.3公分；引首二 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14.2公分。","宋画精选",[67,39],177,2,"795548",{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":84,"material":85,"size":86,"collection":37,"collections":87,"showCount":88,"zanCount":70,"manualWeight":11,"mainColor":42},289911,"sheng-ping-le-shi-tu-ce-shi-er-kai-yi-ming-289911","升平乐事图册十二开","佚名","藏地不详","设色雅致柔润，取景精妙入微。水岸雕栏楼阁内，仕女孩童凭栏观览，孩童探身嬉玩，仕女悠然垂目，神态鲜活尽显闲逸松弛。水滩货幌高挑，摊贩游人往来鲜活，将市井升平的融融暖意铺陈开来。\n\n画面远近疏密相宜，浅淡水色晕染出空濛柔美的水岸氛围，细碎笔触勾摹衣饰、风物细节，将日常里的安乐太平藏进雅致笔墨里，把俗世闲情的脉脉温情揉进方寸画幅间，尽显清和悠然的盛世烟火意趣。",[24,80,26,27,28,81,62,82,83,7],"册","牛","廊台","喜乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4559f7002287957a6986f15ff5dae2.jpg","未知","Xcm*Xcm",[37],102,{"id":90,"slug":91,"title":92,"dynasty":93,"author":94,"museum":20,"description":95,"tags":96,"thumbUrl":100,"material":101,"size":102,"collection":37,"collections":103,"showCount":104,"zanCount":105,"manualWeight":11,"mainColor":42},216095,"tai-ping-le-shi-tu-ce-dai-jin-216095","太平乐事图册","明","戴进","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。",[24,26,80,28,97,98,99,7,27],"孩童","桌椅","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d6277ebff97c525e8c808b42e4ea48.jpg","纸本,设色","22.8x22cm",[37],73,1,{"id":107,"slug":108,"title":109,"dynasty":47,"author":76,"museum":77,"description":110,"tags":111,"thumbUrl":117,"material":85,"size":86,"collection":118,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":71},290101,"da-nuo-tu-yi-ming-290101","大傩图","此画面上共画有十二个人。他们都穿着奇异的服装，戴着各式的帽子和插着花枝。帽子的式样毫不重复，除了斗笠、巾和冠之外，有的是戴着粗角的兽头，有的是农家场院器具斗、箩、箕之属。他们的手中或身上携拿着鼓、铃、檀板等乐器，或为扇、篓、帚等用具，或为花枝、瓜之属。所有人的面部都化了妆，可能戴的是假面具。十二个人团团围住，手舞足蹈，充满着欢乐的气氛。旧题《大傩图》。\n描写民间风俗习惯的绘画，宋代特别发展，《大傩图》轴即是一幅风俗画。傩(音挪)，是一种古老的驱除疠疫的民间习俗。《论语》中就有“乡人傩”的记载。《后汉书》记载：“先腊一日，大傩，选中黄门子弟，十岁以上十二岁以下百二十人为侲子。”唐代《乐府杂录》中描写说：“用四方相，戴冠及面具，黄金为四目，衣熊裘，持戈扬盾，口作傩傩之声，似除也。侲子五百，小儿为之，朱褶青襦，戴面具，晦日于紫宸殿前傩，张宫悬乐。”这些描述与画上的情况基本相似。当然到了宋代，傩时的具体情形和细节，又会有许多的发展变化。从画面情形来看，其中增加了许多农具，可见这种古老的习俗，到了宋代除了驱除邪祟之外，还有祈求丰收的意味，同时也是一种民间娱乐活动。所以此幅画，从艺术到内容，都值得珍视。",[23,24,112,26,27,113,7,114,28,115,116],"人物画","傩仪","宗教","乐器","驱疫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0214edf785d84df72358586c5782c05d.jpg","",[],48,{"id":122,"slug":123,"title":124,"dynasty":18,"author":76,"museum":77,"description":125,"tags":126,"thumbUrl":133,"material":85,"size":86,"collection":118,"collections":134,"showCount":135,"zanCount":105,"manualWeight":11,"mainColor":71},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,24,52,26,27,53,28,57,127,128,129,130,30,131,7,132],"龙舟","流水","桃花","亭台","节庆","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],47,{"id":137,"slug":138,"title":139,"dynasty":18,"author":76,"museum":77,"description":140,"tags":141,"thumbUrl":147,"material":85,"size":86,"collection":118,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":71},288090,"qing-ming-shang-he-tu-juan-yi-ming-288090","清明上河图卷","长卷铺展旧京烟火，屋舍连楹错落，行人摩肩接踵，漕船泊于汴河，酒旗随风招展。青绿晕染瓦舍林木，古旧绢色晕开千年余温，挑担货郎、赶脚行人、雅集文士各安其态，将汴梁的升平世象尽数铺陈。\n复刻宋韵盛景的笔触里藏着鲜活日常：虹桥下舟楫穿梭避让，茶肆中宾主对坐言欢，巷陌间孩童嬉闹追逐。以细腻工笔留住旧朝市井的鲜活肌理，将汴河沿岸的晨昏烟火凝于绢素，让观者坠入千年前的街巷，触摸藏在笔墨褶皱里的人间暖意，静赏定格的岁时繁华。",[23,51,24,52,26,27,53,28,57,142,128,143,60,30,144,145,7,146],"小桥","舟船","商铺","城郭","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0fcd5ccc35c36ffe3f68d92523b06b.jpg",[],37,{"id":151,"slug":152,"title":153,"dynasty":47,"author":154,"museum":77,"description":155,"tags":156,"thumbUrl":159,"material":85,"size":86,"collection":118,"collections":160,"showCount":161,"zanCount":105,"manualWeight":11,"mainColor":71},287584,"huo-lang-tu-li-gong-lin-287584","货郎图","李公麟","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。",[51,24,25,28,27,26,97,157,158,29,30,7],"货郎","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed448f9ab717e072dfdea305383f70ef.jpg",[],35,{"id":163,"slug":164,"title":165,"dynasty":93,"author":166,"museum":77,"description":167,"tags":168,"thumbUrl":179,"material":118,"size":118,"collection":118,"collections":180,"showCount":161,"zanCount":11,"manualWeight":11,"mainColor":42},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","李士达","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[23,24,169,26,28,97,142,170,171,172,128,173,174,175,176,7,177,178],"水墨","村舍","水榭","枯柳","水乡","新年","贺岁","温情","写实","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],{"id":182,"slug":183,"title":184,"dynasty":93,"author":166,"museum":77,"description":185,"tags":186,"thumbUrl":194,"material":118,"size":118,"collection":118,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":42},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,187,26,27,188,28,170,142,128,189,190,191,192,97,193,62,61,63,7],"立轴","皴法","枯树","房屋","庭院","行人","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],28,{"id":198,"slug":199,"title":200,"dynasty":47,"author":76,"museum":77,"description":201,"tags":202,"thumbUrl":204,"material":85,"size":86,"collection":118,"collections":205,"showCount":206,"zanCount":105,"manualWeight":11,"mainColor":71},288960,"qi-qiao-tu-yi-ming-288960","乞巧图","此作用精谨界画描摹层叠深宅，飞檐翘角、回廊层楼尽显清雅规制。画中人物错落排布，仕女凭栏低语、仆从往来，将七夕乞巧的闺阁雅景铺陈开来。苍木点缀院落间，淡墨轻彩晕染出沉静古雅的氛围，工笔细绘的衣袂、檐下饰纹处处见巧思，把古时女子祈愿巧手灵心的温婉情态，与深宅里的悠然日常相融，让千年前的岁时闲情历历在目，尽显旧时世情风物的雅致意趣。",[24,53,26,27,28,57,7,203],"乞巧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ef82e46bd4daaf32a94598833aa93f3.jpg",[],26,{"id":208,"slug":209,"title":210,"dynasty":18,"author":76,"museum":77,"description":211,"tags":212,"thumbUrl":224,"material":118,"size":118,"collection":225,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":42},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[24,27,26,28,132,7,213,214,215,216,217,218,219,220,221,222,223],"苗寨","男子","妇人","兵器","村居","山野","青山","花木","小屋","山道","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg","山水画精选",[225],23,{"id":229,"slug":230,"title":231,"dynasty":232,"author":233,"museum":234,"description":235,"tags":236,"thumbUrl":241,"material":242,"size":243,"collection":118,"collections":244,"showCount":227,"zanCount":105,"manualWeight":11,"mainColor":42},222607,"xi-cheng-gui-le-tu-tu-juan-zhao-meng-fu-222607","西成归乐图图卷","元","赵孟頫","美国大都会艺术博物馆","这幅画以人和家畜为材料，描绘了人们的欢乐。 图中的家畜包括牛、驴和狗。 人物包括老、中、轻、女人和婴儿。 他们手里拿着东西，脸上挂着微笑。 作者用丰富自然的表情精心绘制了每一张笑脸，表达了人们幸福的心情！",[23,24,25,52,26,28,81,237,238,27,239,146,240,7,31],"驴","狗","行书","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","绢本，设色","22.9×89.5",[],{"id":246,"slug":247,"title":248,"dynasty":18,"author":249,"museum":77,"description":250,"tags":251,"thumbUrl":254,"material":85,"size":86,"collection":118,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":42},288241,"bei-jing-dian-pu-zhao-huang-hua-ce-zhou-pei-chun-288241","北京店舖招幌画册","周培春","周培春，清末北京民俗画家，以绘制民俗图见长。曾居广州，替外国油画家经营油画作品销售。国内鲜为人知、其作品国内基本上没有收藏而在国外影响很大。他的画作对世界各国和后世的人们了解清代北京的社会生活和风俗习惯，作出了巨大的贡献。",[80,26,24,252,7,253,99],"店铺招幌","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e80b1587a8c4e68a34e73246620891.jpg",[],22,{"id":258,"slug":259,"title":260,"dynasty":93,"author":166,"museum":77,"description":261,"tags":262,"thumbUrl":265,"material":85,"size":86,"collection":118,"collections":266,"showCount":267,"zanCount":105,"manualWeight":11,"mainColor":42},289920,"sui-chao-cun-qing-tu-li-shi-da-289920","岁朝村庆图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,24,187,26,28,57,142,128,263,264,131,7,33],"老树","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56d27c8d01085a12f2d89f30e70b61a8.jpg",[],21,{"id":269,"slug":270,"title":271,"dynasty":18,"author":76,"museum":77,"description":272,"tags":273,"thumbUrl":287,"material":85,"size":86,"collection":118,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":71},268359,"huang-se-duan-ping-jin-xiu-wu-du-hu-lu-wen-huo-ji-ming-xing-pian-tao-yi-ming-268359","黄色缎平金绣五毒葫芦纹活计-名姓片套","以姜黄缎为底，平金绣葫芦居中，针脚攒出“大吉”二字，葫芦顶生艾草，暗合端午驱邪古俗。周边绣制五毒生灵，蝎、蜈、蜍、蜥、蛇身形鲜活，以缉珠、平金工艺勾勒纹路，细密灵动。绣纹配色雅致鲜亮，于质朴底色上铺陈出饱满构图，将纳福避害的美好祈愿，尽数藏入分毫针脚中。兼具实用收纳的功能与民俗审美意趣，把岁时节令的祈福心意，凝练成一方精巧鲜活的绣作，尽显民间手作的温婉匠心。",[274,275,276,253,277,278,279,280,281,282,283,284,285,286,7],"布料","刺绣","平金绣","活计","五毒","葫芦","蟾蜍","蝎子","蜈蚣","壁虎","蛇","大吉","名姓片套","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da96ce3920b1ec19f00a1f787503bc5.jpg",[],15,{"id":291,"slug":292,"title":293,"dynasty":47,"author":294,"museum":77,"description":295,"tags":296,"thumbUrl":298,"material":85,"size":86,"collection":118,"collections":299,"showCount":300,"zanCount":11,"manualWeight":11,"mainColor":71},288373,"huo-lang-tu-juan-li-song-288373","货郎图卷","李嵩","这是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负的弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的南宋时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹，李嵩在图中就描绘了这样一幅场景。画家借助货郎这一题材表现了南宋市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了南宋百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,24,52,54,28,97,297,157,30,33,62,7],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20c2505b942b79ffebacc34ad26001c.jpg",[],14,{"id":302,"slug":303,"title":17,"dynasty":93,"author":76,"museum":77,"description":304,"tags":305,"thumbUrl":308,"material":85,"size":86,"collection":118,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":71},287928,"mai-jiang-tu-yi-ming-287928","画面定格了巷陌贩售的鲜活日常，众人各司其职、动静交织。有人俯身倾浆注盏，手腕轻扬间带着利落的市井熟稔，有人捧碗啜饮、神态松弛，忙闲相映间将街头买卖的热络尽数铺展。\n\n衣纹线条简劲顿挫，带着朴拙的力道，挑担上的瓷盏、提梁壶历历分明，器物形制分毫毕现。画家以细腻入微的笔触，将贩浆营生的寻常生计描摹得饱满鲜活，未加刻意修饰，只把闾巷间的烟火暖意揉进笔底，尽显世俗浮生的生动意趣，将平凡日常里的鲜活生机定格成永恒。",[24,112,27,26,306,307,7],"市井生活","饮具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e83a5af6cf9b7237579d2783256166.jpg",[],13,{"id":312,"slug":313,"title":314,"dynasty":47,"author":315,"museum":77,"description":316,"tags":317,"thumbUrl":320,"material":85,"size":86,"collection":118,"collections":321,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":42},287717,"zhi-ai-tu-li-zhou-li-tang-287717","炙艾图（立轴）","李唐","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 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