[{"data":1,"prerenderedAt":239},["ShallowReactive",2],{"subject-mu-tong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1075,"mu-tong","牧童","牧童画高清赏析","精选中国历代牧童题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c2378d8477aaed596069548dd53bc79.jpg",0,13,[14,43,68,97,109,130,146,160,174,188,200,217,229],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":35,"material":36,"size":37,"collection":38,"collections":39,"showCount":41,"zanCount":11,"manualWeight":11,"mainColor":42},218914,"feng-ren-tu-han-huang-218914","丰稔图","唐","韩滉","北京故宫博物院","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[23,24,25,26,27,28,29,30,31,32,7,33,34],"高清","国画","长卷","设色","工笔","书法","行书","印章","牛","人物","树木","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg","绢本,水墨","","花鸟画精选",[38,40],"书法精选",75,"BDBDBD",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":61,"material":62,"size":63,"collection":37,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":67},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","宋","阎次平","南京博物院","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,52,24,53,25,54,27,55,31,32,7,56,57,34,58,59,60],"名画","书画","水墨","皴法","树","柳树","河岸","土地","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","绢本,设色","35x99.7x4",[],59,3,"795548",{"id":69,"slug":70,"title":71,"dynasty":47,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":92,"material":62,"size":93,"collection":94,"collections":95,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":67},219014,"mu-niu-tu-yi-ming-219014","牧牛图","佚名","台北故宫博物院","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,53,54,26,27,25,31,76,7,33,34,77,78,79,80,81,55,82,83,84,85,86,87,88,89,90,91],"兽","山石","小桥","溪流","山水","淡墨","田园","野趣","平远构图","草木","坡岸","小径","幼兽","动态","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3","宋画精选",[94],52,{"id":98,"slug":99,"title":71,"dynasty":47,"author":72,"museum":100,"description":101,"tags":102,"thumbUrl":106,"material":62,"size":107,"collection":94,"collections":108,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":67},219013,"mu-niu-tu-yi-ming-219013","日本大阪市立美术馆","在池塘边的一棵柳树下，一头奶牛在舔她的小牛；不远处，一个牧童背靠着柳树睡觉，狭长的柳叶在风中飘动，温暖的阳光让春天的日子充满生机。这幅画是李唐和晏子平的遗作，他们都是著名的畜牧业画家，应该是大师级画家的作品。",[24,103,54,31,76,7,57,104,105],"扇面","池塘","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa669771ee97905e8613b0c50bdb92e5a.jpg","24.7x25.6",[94],{"id":110,"slug":111,"title":112,"dynasty":113,"author":114,"museum":73,"description":115,"tags":116,"thumbUrl":123,"material":124,"size":125,"collection":126,"collections":127,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":42},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷","清","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,25,26,80,55,32,117,118,119,33,120,77,34,7,121,122],"马","羊","帐篷","飞鸟","牧民","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg","立轴，纸本，设色","112.2×53cm","山水画精选",[126,128],"设色画精选",18,{"id":131,"slug":132,"title":133,"dynasty":47,"author":72,"museum":73,"description":134,"tags":135,"thumbUrl":141,"material":37,"size":142,"collection":94,"collections":143,"showCount":144,"zanCount":145,"manualWeight":11,"mainColor":42},231083,"qing-xi-wan-mu-tu-yi-ming-231083","清溪晚牧图","画面铺陈出悠然的乡野暮色，清溪浅流舒缓漫过滩涂。一头水牛浸在水中，半隐于苇草间，抬首斜睨，慵懒消暑；另一头负着戴斗笠的牧童，踏水登上岸坡，牧童持杆闲坐，不见丝毫匆忙。侧畔老树盘根虬曲，坡岸蒹葭随风轻摆，两只水鸟振翅掠过天际，为静谧图景添上灵动生机。\n\n笔墨清润秀雅，以淡墨晕染出水色空濛的氛围感，将晚牧时分的松弛乡趣娓娓道来，把日常放牧的寻常景致，晕染成了意韵悠长的诗意画卷，尽显乡野间的自在野趣。",[52,24,53,136,26,27,54,31,7,120,137,33,138,77,82,139,80,140],"宋代","流水","芦苇","牧歌","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc81e794353e50d88ea22a19584279e31.jpg","75.6x44.3",[94],16,1,{"id":147,"slug":148,"title":149,"dynasty":47,"author":150,"museum":20,"description":151,"tags":152,"thumbUrl":154,"material":155,"size":156,"collection":157,"collections":158,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":42},221497,"mu-niu-tu-juan-mao-yi-221497","牧牛图卷","毛益","牧牛图卷描绘烟柳平丘、牧童牧牛之生动情景，造型准确，用笔简率，款署“毛益画”三字，似为后添款。",[23,153,24,53,25,54,27,28,31,32,80,33,7],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc508d5f86d0d8ce62bf271bbf921ecf.jpg","纸本墨笔","纵26.2厘米 横73厘米","人物画精选",[157],9,{"id":161,"slug":162,"title":163,"dynasty":47,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":171,"material":62,"size":172,"collection":126,"collections":173,"showCount":159,"zanCount":11,"manualWeight":11,"mainColor":42},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","马逵","私人收藏","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,52,24,53,25,26,27,32,31,117,76,33,168,137,120,169,7,170],"田野","房屋","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[126],{"id":175,"slug":176,"title":177,"dynasty":113,"author":178,"museum":179,"description":180,"tags":181,"thumbUrl":184,"material":37,"size":37,"collection":126,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":187},202212,"gui-mu-tu-juan-fei-dan-xu-202212","归牧图卷","费丹旭","上海博物馆","淡墨晕染间，柳丝轻垂如缕，枝叶繁密却不失空灵。树荫下牧童倚牛闲坐，神态悠然，似伴晚风低语。远景烟岚缥缈，水际孤舟静泊，天地间弥漫着归牧时分的闲适。用笔柔婉细腻，树木勾勒与墨色渲染相融，人物简括传神，尽显江南水乡的诗意清旷，将田园归牧的恬淡心境娓娓道来。",[54,27,182,7,31,183,80,25,23],"柳","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd7a571c417e9267ed6544190ff7561.jpg",[126],8,"bdab95",{"id":189,"slug":190,"title":191,"dynasty":47,"author":72,"museum":20,"description":192,"tags":193,"thumbUrl":195,"material":196,"size":197,"collection":37,"collections":198,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":42},234015,"liu-tang-mu-ma-tu-ye-yi-ming-234015","柳塘牧马图页","此图原为《历代名笔集胜册》之一幅，画我国北方游牧民族牧马情景。画中青山绿水，岸柳成荫，五十余匹骏马，在二十余人监视下放牧。马的姿态各异，有在岸上飞奔着，有在水中游泳者，也有嘶鸣嬉戏者，给人一种怡然自得之感。为南宋扇画之杰作。 画中无款印，清耿昭忠题为陈居中作，实误。曾经耿昭忠、庞莱臣等收藏。 经启功、徐邦达、刘九庵等鉴定，为南宋绘画精品。",[24,53,103,27,54,194,57,104,117,32,80,33,34,79,7,55],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F889481f88712cc838b8760e3fbc15223.jpg","绢本 设色","23.5×25.6cm",[],7,{"id":201,"slug":202,"title":203,"dynasty":204,"author":72,"museum":205,"description":206,"tags":207,"thumbUrl":211,"material":212,"size":213,"collection":214,"collections":215,"showCount":216,"zanCount":11,"manualWeight":11,"mainColor":67},255757,"peng-cheng-yao-mu-tong-qi-niu-yi-ming-255757","彭城窑牧童骑牛","明","藏地不详","彭城窑，古代北方民窑，磁州窑的中心窑场之一。彭城窑创始于宋，经过金元的发展，在元末明初达到顶峰，并且一直延续到民国时期。\n窑地位于河北省邯郸市峰峰矿区彭城镇，有盐店和大庙坡两处遗址。该窑产品十分丰富，尤其在元明时期，造型有碗、盘、瓶、罐、坛、盆、炉、枕、瓷俑及陶瓷玩具等，装饰技法有白地黑花、白地赭花、灰地白彩、刻划花、绿釉、五彩、翠蓝釉及黑釉、天目釉等。",[208,209,31,32,7,26,210],"陶瓷","器","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2015cdbccf28ca98e231fc96efe676.jpg","未知","Xcm*Xcm","瓷器精选",[214],5,{"id":218,"slug":219,"title":220,"dynasty":113,"author":72,"museum":205,"description":221,"tags":222,"thumbUrl":227,"material":212,"size":213,"collection":37,"collections":228,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":67},269859,"huang-yang-mu-diao-mu-tong-qi-niu-yi-ming-269859","黄杨木雕牧童骑牛","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[223,224,225,31,7,209,226],"雕刻","木刻","木质","童趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89161517cc24b5d3b15d74fe1c338d6.jpg",[],{"id":230,"slug":231,"title":232,"dynasty":113,"author":72,"museum":205,"description":233,"tags":234,"thumbUrl":237,"material":212,"size":213,"collection":37,"collections":238,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":42},269454,"ying-mu-gen-diao-mu-niu-yi-ming-269454","硬木根雕牧牛","这件根雕以天然瘿瘤塑就牛身，苍朴古拙，带着天然造物的野趣。匠人顺势施艺，将树根肌理化作牛身褶皱，嵌饰双目让老牛宛若活物，犄角硬朗锋利，尽显耕牛憨猛神态。\n\n骑坐的牧童神态悠然，袒胸赤足眉眼带笑，仿佛正伴着清风信口短歌，将乡野牧歌的闲逸具象化。他身形写意稚拙，与粗朴耕牛相映成趣，勾勒出田园悠然自适的烟火意趣。底座随形雕作盘根错节模样，和整体浑然一体，将根材天然意趣与人工雕琢完美相融，尽显民间手作的匠心巧思，把郊野闲适的诗意凝于木中。",[223,225,235,31,32,7,236],"根雕","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d61dafb47ac37e93fd27831ded73529.jpg",[],1777535727788]