[{"data":1,"prerenderedAt":188},["ShallowReactive",2],{"subject-niao-lei":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},819,"niao-lei","鸟类","鸟类画高清赏析","精选中国历代鸟类题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbebf742f7521edb6349d5d6902a8f565.jpg",0,10,[14,36,67,85,99,120,136,151,165,176],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":29,"material":30,"size":31,"collection":32,"collections":33,"showCount":34,"zanCount":11,"manualWeight":11,"mainColor":35},225615,"rembrandt-harmensz-van-rijn-0197-lun-bo-lang-225615","Rembrandt Harmensz.van Rijn - 0197","不详","伦勃朗","藏地不详","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[23,24,25,26,7,27,28],"油画","写实","明暗对比","人物","衣帽","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6af52e2b4bac5a46bf2d140aea52df.jpg","未知","Xcm*Xcm","油画精选",[32],152,"37474F",{"id":37,"slug":38,"title":39,"dynasty":40,"author":41,"museum":20,"description":42,"tags":43,"thumbUrl":61,"material":62,"size":62,"collection":62,"collections":63,"showCount":64,"zanCount":65,"manualWeight":11,"mainColor":66},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","明","佚名","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[44,45,46,47,48,49,50,51,52,53,54,55,56,57,58,59,60,7],"高清","国画","书画","长卷","设色","工笔","临摹","书法","花鸟","飞鸟","孔雀","鹤","树木","山石","花草","日","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg","",[],73,1,"795548",{"id":68,"slug":69,"title":70,"dynasty":71,"author":41,"museum":72,"description":73,"tags":74,"thumbUrl":79,"material":80,"size":81,"collection":82,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":66},216670,"shuang-ge-tu-yi-ming-216670","双鸽图","元","私人收藏","双鸽图是一幅元朝时期的图画，作者不详。这幅图展示了两只鸽子相互依偎的情景。它是元朝时期著名的一幅婚姻主题的图画，象征着爱情和婚姻的美好。图中的两只鸽子代表夫妻，它们形态优美，相互依偎，象征着夫妻之间的亲密感情。双鸽图被广泛用于装饰家庭和公共场所，作为对美好婚姻的祝福。",[75,45,46,49,48,52,76,77,7,78],"名画","鸽子","禽鸟","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ba5c03c75a12c756a61bed0e670df3.jpg","绢本,设色","30x44cm","花鸟画精选",[82],56,{"id":86,"slug":87,"title":88,"dynasty":89,"author":41,"museum":90,"description":91,"tags":92,"thumbUrl":94,"material":80,"size":95,"collection":82,"collections":96,"showCount":98,"zanCount":65,"manualWeight":11,"mainColor":66},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","宋","台北故宫博物院","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[44,45,46,48,49,53,56,58,93,7],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 154.8x101.5公分、全幅 114公分",[82,97],"宋画精选",50,{"id":100,"slug":101,"title":102,"dynasty":18,"author":103,"museum":20,"description":104,"tags":105,"thumbUrl":117,"material":30,"size":31,"collection":62,"collections":118,"showCount":119,"zanCount":11,"manualWeight":11,"mainColor":66},232292,"a-er-ma-19-lao-lun-si-a-er-ma-ta-de-ma-232292","阿尔玛19","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[23,48,24,106,26,7,107,108,109,110,111,112,113,114,115,116],"古典","古建筑","壁画","柱子","象形文字","烟雾","地面","裸体","饰品","织物","祭品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b27c01d81e1292695bebf5710757803.jpg",[],5,{"id":121,"slug":122,"title":123,"dynasty":18,"author":41,"museum":20,"description":124,"tags":125,"thumbUrl":132,"material":30,"size":31,"collection":62,"collections":133,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":135},288690,"attributed-to-andre-s-de-melgar-five-birds-two-snails-and-a-cartouche-with-masks-yi-ming-288690","attributed to Andrés de Melgar--Five Birds, Two Snails and a Cartouche with masks","这页速写满溢奇诡浪漫的狂想，创作者将禽鸟、螺贝与假面饰框揉为一体，以灵动排线勾勒出妖异的幻想生灵。尖喙弯扭如缠结藤蔓，躯体盘绕巴洛克式涡卷纹，羽毛纹路随曲面舒展，兼具生物肌理与装饰曲线的柔媚。\n\n上方饰框以假面与云气托举神祇形象，怪诞中带着古典装饰的庄重感。草稿带着即兴创作的松弛随性，线条虚实交织，潦草却精准捕捉形态张力，将自然生灵的野性与古典装饰的华丽诡谲相融，仿佛脑海中古灵精怪的幻思挣脱纸笔，跃然纸上，留存着原始创作的鲜活张力。",[126,7,127,128,26,129,130,131],"白描","蜗牛","面具","奇幻生物","装饰纹样","线稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3847de44914c39170a8f857a0f7ace2a.jpg",[],4,"BDBDBD",{"id":137,"slug":138,"title":139,"dynasty":140,"author":41,"museum":20,"description":141,"tags":142,"thumbUrl":149,"material":30,"size":31,"collection":62,"collections":150,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":35},245420,"yin-chui-die-hua-niao-tu-cha-bei-yi-ming-245420","银锤碟花鸟图茶杯","清","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[143,144,145,146,52,7,147,148,24],"清代","银器","锤揲","浮雕","花卉","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e05a2934e93560ce1ab2ea26ba67f60.jpg",[],{"id":152,"slug":153,"title":154,"dynasty":140,"author":41,"museum":20,"description":155,"tags":156,"thumbUrl":163,"material":30,"size":31,"collection":62,"collections":164,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},274395,"tong-du-jin-qian-ma-nao-zhuan-hua-biao-yi-ming-274395","铜镀金嵌玛瑙转花表","中国清宫内所存以机械为动力、用珍贵材料做外壳、构造复杂的艺术性计时器。中国本是世界上发明计时器最早的国家。但自1601年意大利 传教士 利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[157,158,159,160,147,7,161,162,114],"金器","铜制","钟表","玛瑙","雕刻","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75558ac020d56a8fd855efc2629aabec.jpg",[],{"id":166,"slug":167,"title":168,"dynasty":140,"author":41,"museum":20,"description":155,"tags":169,"thumbUrl":174,"material":30,"size":31,"collection":62,"collections":175,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},274132,"tong-du-jin-qian-fa-lang-ping-shi-xiao-niao-yin-biao-yi-ming-274132","铜镀金嵌珐琅瓶式小鸟音表",[170,158,157,159,7,171,172,173],"珐琅器","音表","日用具","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8ab4edc3e8f4176003623e6d196b7b.jpg",[],{"id":177,"slug":178,"title":179,"dynasty":180,"author":41,"museum":20,"description":181,"tags":182,"thumbUrl":186,"material":30,"size":31,"collection":62,"collections":187,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":35},254664,"tao-xiao-niao-yi-ming-254664","陶枭鸟","汉","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[183,184,161,7,185],"陶瓷","汉代风格","三足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2e1491a6819e3df26b73af13ee6fee5.jpg",[],1777535733578]