[{"data":1,"prerenderedAt":181},["ShallowReactive",2],{"subject-na-liang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},592,"na-liang","纳凉","纳凉画高清赏析","精选中国历代纳凉题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a987d31d29ddc5b1cfa996e34c7eb8.jpg",0,10,[14,44,62,84,101,110,126,140,154,166],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":43},215140,"zhao-liang-shi-nv-tu-qian-xuan-215140","招凉仕女图","元","钱选","台北故宫博物院","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",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7],"高清","国画","书画","设色","工笔","人物","美人","仕女","植物","元风格","细描","绢本","古典人物","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb2232f9bdd27643d1136c5a47b2918.jpg","绢本,设色","22.4x21.7cm","人物画精选",[40],110,"BDBDBD",{"id":45,"slug":46,"title":17,"dynasty":18,"author":19,"museum":47,"description":48,"tags":49,"thumbUrl":54,"material":55,"size":56,"collection":57,"collections":58,"showCount":59,"zanCount":60,"manualWeight":11,"mainColor":61},290085,"zhao-liang-shi-nv-tu-qian-xuan-290085","藏地不详","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",[24,50,27,26,29,30,51,52,53,7],"人物画","孤石","花卉","团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f42f52ef48908dcf2b212818ad4433.jpg","未知","Xcm*Xcm","",[],75,1,"795548",{"id":63,"slug":64,"title":65,"dynasty":66,"author":67,"museum":20,"description":68,"tags":69,"thumbUrl":77,"material":78,"size":79,"collection":80,"collections":81,"showCount":83,"zanCount":11,"manualWeight":11,"mainColor":43},222765,"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）","清","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,27,26,70,71,72,73,74,28,7,75,76],"楼阁","水面","荷花","孤舟","树木","消夏","行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg","绢本设色","188.2*102.2cm","山水画精选",[80,82],"设色画精选",48,{"id":85,"slug":86,"title":87,"dynasty":88,"author":89,"museum":20,"description":90,"tags":91,"thumbUrl":96,"material":55,"size":97,"collection":98,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":61},287646,"gong-zhao-na-liang-tu-yi-ming-287646","宫沼纳凉图","宋","佚名","此作晕染着深宫夏景的松弛意趣，仕女斜坐朱漆榻上，执扇闲憩，眉目温婉静和。随侍侍女撑着素面团扇，一旁案头冰盆镇暑，悄藏消夏的精巧心思。背景垂柳轻遮，池间粉白芙蕖亭亭绽露，朱红栏干衬着古雅褐底，把纳凉的幽谧日常铺陈开来。笔触工细柔丽，设色沉静雅致，将慢度暑时的安然闲淡藏进每处细节，尽显写实雅致的隽永韵味。",[92,24,25,93,26,28,29,94,27,95,7],"名画","立轴","荷","宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d902d357ef15261ebcdcd371757b5.jpg","82.4x44.3","宋画精选",[98],20,{"id":102,"slug":103,"title":104,"dynasty":88,"author":89,"museum":20,"description":105,"tags":106,"thumbUrl":107,"material":55,"size":97,"collection":57,"collections":108,"showCount":109,"zanCount":11,"manualWeight":11,"mainColor":61},290622,"gong-zhao-na-liang-tu-zhou-yi-ming-290622","宫沼纳凉图轴","南宋时期《宫沼纳凉图》描绘了南宋宫掖妃子在池边纳凉赏花的场景，画面正中妃子闲坐于榻上，面容圆润，神情闲适，双手盘于膝上。其身后有一名官宦及一名侍女，官宦执白色蒲扇，扇面之上绘有凤纹，喻示后妃身份。侍女立于桌前，手中所捧之物似为香料。三人身后绘有莲花池，占据了整幅画卷的上半部分。时值盛夏之日，池中群花盛开，岸边垂柳成荫，主仆三人纳凉于池塘边，惬意从容。\u2028 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。",[24,93,26,28,27,29,72,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bedfc707d44a7540422c8ce063b6905.jpg",[],14,{"id":111,"slug":112,"title":113,"dynasty":88,"author":89,"museum":47,"description":114,"tags":115,"thumbUrl":123,"material":55,"size":56,"collection":57,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":43},289443,"na-liang-guan-pu-tu-yi-ming-289443","纳凉观瀑图","此作以小品尺幅绘就幽寂夏夜，水墨晕染出氤氲湿润的暮色氛围。错落山石环伺水榭，清浅碧波绕阶而过，廊下一人凭栏默然，隐于浓荫翠色间。\n\n画笔工致细腻，以浓淡墨色区分远近层次，林木苍润沉郁，屋舍雅致简净，将炎夏里林泉一隅的凉意尽数铺展。全画不见奔涌飞瀑，却以幽谧氛围烘托出观瀑听泉的雅兴，将宋代文人寄情林泉、消暑寻幽的闲淡心境藏于尺幅间，尽显雅致沉静的古典意趣。",[23,92,24,116,26,117,28,70,118,51,119,120,121,122,7],"扇面","界画","亭","流水","印章","书法","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2499ae694906cd477b1746fe1a72d544.jpg",[],8,{"id":127,"slug":128,"title":129,"dynasty":130,"author":89,"museum":47,"description":131,"tags":132,"thumbUrl":137,"material":55,"size":56,"collection":57,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":43},289113,"na-liang-tu-ping-feng-yi-ming-289113","纳凉图屏风","不详","以淡墨写意勾勒茅舍藤架，阔叶藤蔓缠绕垂覆，浓淡墨色晕染出叶片错落的阴阳生姿，自带溽夏清润凉意。画面留白疏阔，空濛底色晕开幽寂乡居意趣，半掩的柴门、朴拙木柱不见冗余修饰，隐约露出行将消夏的竹席一角，不见纳凉人却处处漫着偷闲松弛的慵懒况味。笔致萧疏散淡，舍去繁复皴染，寥寥数笔便将炎夏里乡居的清宁淡远铺陈开来，把暑热间的安闲散逸藏在淡墨疏影之中，尽显水墨留白造境的悠远禅意。",[23,24,25,133,28,7,134,135,136],"水墨","茅舍","藤蔓","消暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19555733da3bcd59130100a11039297b.jpg",[],4,{"id":141,"slug":142,"title":143,"dynasty":66,"author":89,"museum":47,"description":144,"tags":145,"thumbUrl":152,"material":55,"size":56,"collection":57,"collections":153,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":61},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅，奇峰错落淡溶于朦胧暮色里，将天地晕染出沉静古拙的氛围感。水面空阔留白，扁舟缓行，似载着闲客趁晚风消暑。\n\n全图以景托情，把文人寄情山水、寻幽纳凉的隐逸雅趣藏在湖山烟柳间，带着唐宋青绿小品的遗韵，清寂雅致，尽显消暑闲情。",[23,24,146,147,26,70,73,119,148,149,150,36,7,151],"山水画","青绿","垂柳","亭台","山峦","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39017a063b82ab63adc2028fc6edc752.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":66,"author":158,"museum":47,"description":159,"tags":160,"thumbUrl":164,"material":57,"size":57,"collection":57,"collections":165,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":61},224538,"jiao-yin-na-liang-tu-deng-wen-ju-224538","焦荫纳凉图","邓文举","浓荫覆蔽的蕉林之下，宽袍高士斜倚凉榻，案头书卷茶盏错落，眉眼舒展间尽显松弛自适。稚童三两环绕，或俯身摆弄茶器，或嬉玩低语，鲜活稚气晕开了幽寂氛围，一动一静相映成趣。\n\n设色调和古雅，苍润蕉叶晕染出沉凝绿意，衬得绢底古褐愈发柔暖沉静。线条清隽秀逸，将蕉叶婆娑之态与高士闲散之姿勾勒传神，把夏日林下消暑的雅逸意趣尽数铺陈。仿佛能窥见晚风穿林、蕉影轻摇，将文人幽居消夏的闲情雅兴融于尺幅之中，恍若将溽热暑气隔绝在外，只留一室清宁，尽显林下风流与雅致襟怀。",[23,24,25,161,26,27,28,162,163,7],"清代","孩童","蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e75c9094b8bc0063c73467689305ca.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":170,"author":171,"museum":47,"description":172,"tags":173,"thumbUrl":178,"material":55,"size":56,"collection":57,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":43},241022,"he-jing-na-liang-shi-shan-mian-lu-guang-ming-241022","荷静纳凉诗扇面","明","陆广明","此作为泥金小楷扇面，笔墨隽秀雅致，结体端稳舒展，笔锋清劲内敛，墨色匀净沉静，与泥金地的华贵底色相融相衬，愈发显得清雅出尘。\n所书纳凉咏荷诗句，将幽居赏夏的闲淡襟怀藏于笔墨间，文辞意境与书法气韵浑然相合，尽显文人寄情林泉、从容自适的风雅意趣，是一件兼具笔墨审美与文人情思的精妙小品。",[174,116,25,121,175,176,177,94,7],"明代","行书","墨书","纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b1d9632d0f72edb0bcfb4a68bad167.jpg",[],2,1777535733708]