[{"data":1,"prerenderedAt":405},["ShallowReactive",2],{"subject-nian-zhu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2428,"nian-zhu","念珠","念珠画高清赏析","精选中国历代念珠题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2663af6b54fbb2314a9a289590607349.jpg",0,37,[14,45,71,88,110,122,131,141,163,172,181,192,200,208,216,223,230,237,244,251,258,267,275,284,292,300,310,319,328,335,342,349,359,368,376,385,394],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":28,"size":39,"collection":40,"collections":41,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},221777,"ying-zhen-xiang-liu-zhou-yi-ming-221777","应真像（六）轴","元","佚名","台北故宫博物院","全幅线条运笔相当流畅，有简洁净雅的韵味，人物五官手足以细瘦而轻淡的描线，衣服褶纹则笔致较为粗重而浓厚，全身并施以薄薄的晕染，袈裟水田纹有华丽的图案。\n尊者的容颜是肖像画的手法完成的，或浓眉大眼，或胡须横腮，或皱纹满面，眼窝四周并涂上厚厚蛤粉。此种造形给人以一股沉郁之感。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36,37],"高清","国画","书画","立轴","宗教","设色","工笔","人物","老树","孤石","山水","岩石","衣帽","拐杖","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e946c6fb32967bbf5ea25f7204f80cc.jpg","该幅104.1x50.3公分；全幅 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供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,25,54,26,55,29,56,30,27,57,58,59,60,61,62,7,63],"名画","白描","水墨","松树","竹子","石头","植物","童子","尊者","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","纸本","52.8x117.8","山水画精选",[67,69],"水墨画精选",11,{"id":72,"slug":73,"title":74,"dynasty":75,"author":19,"museum":76,"description":77,"tags":78,"thumbUrl":81,"material":82,"size":83,"collection":84,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":87},268713,"chen-xiang-nian-zhu-yi-ming-268713","沉香念珠","清","藏地不详","珠体取沉香斫磨而成，色泽沉暗温润，肌理凝敛着岁月浸润出的柔光。胭红色珊瑚作为隔珠点缀其间，柔润的暖调中和了沉香的厚重，两相映衬更显雅致庄重。\n\n朱红绶带配鎏金饰件垂下，流苏轻摆，为禅意器物添了几分柔婉灵动。整串念珠形制周正，暗合持诵的肃穆禅心，纵然沉香幽淡的香韵已随年月消散，却依旧能由凝润珠身，遥想旧时指尖捻动、静心礼佛的清寂时光，是兼具审美意趣与禅思内涵的精致器物。",[79,80,7,27],"饰品","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e780cdf8e1640458fcff187fca3e6df.jpg","未知","Xcm*Xcm","",[],4,"37474F",{"id":89,"slug":90,"title":91,"dynasty":75,"author":92,"museum":76,"description":93,"tags":94,"thumbUrl":106,"material":82,"size":83,"collection":84,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":109},236038,"di-qi-ga-na-ba-long-zun-zhe-ding-guan-peng-236038","第七嘎纳巴蕯尊者","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[95,29,28,96,97,98,99,100,37,101,102,7,103,104,105],"清代","人物画","宗教题材","神态刻画","细节描绘","题跋","服饰纹样","坐具","脚踏","线描","设色细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfda79887b1aa8cf64de71a8ad8017f5.jpg",[],3,"BDBDBD",{"id":111,"slug":112,"title":113,"dynasty":75,"author":19,"museum":76,"description":114,"tags":115,"thumbUrl":119,"material":82,"size":83,"collection":84,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":87},268974,"tian-xiang-nian-zhu-yi-ming-268974","甜香念珠","匀净规整的深褐串珠带着哑光温润，肌理细腻内敛，四颗清透碧色配珠错落点缀其间，沉郁色调里晕开鲜活绿意，让整体多了灵动生机。附随的金丝囊蓬松柔卷，如揉碎的日光缱绻缠绕，细密金丝织就朦胧肌理，专为贮存甜香所制。\n\n此物将实用与审美相融，礼佛时嗅甜香静心，串珠摩挲间带着清寂安然的禅意，藏着旧时礼佛者松弛平和的心境，是禅意雅趣与工艺匠心的温柔结合。",[79,7,27,116,117,118],"金饰","玉石","香珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f68abcd3eadd9a875405facd2db8694.jpg",[],1,{"id":123,"slug":124,"title":125,"dynasty":75,"author":19,"museum":76,"description":126,"tags":127,"thumbUrl":129,"material":82,"size":83,"collection":84,"collections":130,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":87},268906,"hei-xiang-ni-nian-zhu-yi-ming-268906","黑香泥念珠","珠体匀净黝黑，泛着内敛哑光，沉静肃穆的气韵扑面而来。历经岁月摩挲，珠身凝出温润包浆，藏着过往持诵间的虔诚温度。\n\n搭配的配饰简约拙朴，与素净珠体相得益彰，褪去所有浮华修饰，以本真素朴暗合禅意极简之道。每一颗念珠都沉淀着悠悠时光的沉静力量，是信仰与器物相融的拙朴美学载体，静静诉说着曾经的清净心念。",[27,79,7,128],"香泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9e1a7b7f5c7ee43f9047f9c3921931.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":75,"author":19,"museum":76,"description":135,"tags":136,"thumbUrl":139,"material":82,"size":83,"collection":84,"collections":140,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":87},268717,"xiang-ya-xiang-zhu-shi-nian-zhu-yi-ming-268717","象牙镶珠石念珠","这串念珠以象牙为骨，扁珠周身错金走线，嵌缀细小石珠，暗里流转细碎宝光。四颗饱满的珊瑚圆珠错落排布，凝脂朱色晕染开温润暖意，柔化牙骨的清冷。\n三绺朱红流苏垂悬而下，鎏金饰件与细珠串联其间，金红相映，晕开藏地礼器特有的华贵庄严。匠意融于细节，将材质肌理之美与佛韵禅意相合，静穆间尽显礼重佛法的精致匠心。",[79,137,7,138,27],"象牙","珠石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a49ba271c8a19b41b8e9433331f2de4.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":145,"author":146,"museum":76,"description":147,"tags":148,"thumbUrl":161,"material":82,"size":83,"collection":84,"collections":162,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":44},232459,"he-er-bai-yin-118-he-er-bai-yin-232459","荷尔拜因118","不详","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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