[{"data":1,"prerenderedAt":547},["ShallowReactive",2],{"subject-nong-geng":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},732,"nong-geng","农耕","农耕画高清赏析","精选中国历代农耕题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62420601270434ae4f3fbc3bc03a22e3.jpg",0,44,[14,47,67,85,101,119,134,148,166,185,198,210,225,242,253,263,273,280,288,300,315,326,335,345,352,360,369,381,387,395,402,411,419,425,432,438,453,465,483,496,504,518,529,539],{"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":44,"zanCount":45,"manualWeight":11,"mainColor":46},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","清","焦秉贞","北京故宫博物院","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36],"名画","国画","书画","册","设色","工笔","清代","人物","牛","农田","树木","流水","田园","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","","34.7cm×27.7cm","山水画精选",[40,42,43],"人物画精选","设色画精选",88,4,"BDBDBD",{"id":48,"slug":49,"title":50,"dynasty":51,"author":52,"museum":53,"description":54,"tags":55,"thumbUrl":60,"material":61,"size":62,"collection":42,"collections":63,"showCount":64,"zanCount":65,"manualWeight":11,"mainColor":66},219580,"nong-qian-tu-han-huang-219580","农迁图","唐","韩滉","藏地不详","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[24,25,56,28,27,30,31,57,58,59,7],"长卷","驴","狗","羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","绢本,设色","25.1x91.1厘米",[42],87,2,"795548",{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":73,"description":74,"tags":75,"thumbUrl":82,"material":61,"size":38,"collection":40,"collections":83,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":66},217262,"jiang-nan-nong-shi-tu-yi-ming-217262","江南农事图","明","佚名","大英博物馆","江南农事图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了江南农村的生活场景，包括农田耕作、收割、加工、运输、种植和养殖等内容。\n\n图画中有许多细节生动地展现了当时农村的生活方式。例如，图中的农夫们正在用牛耕地、用手提灌溉水桶灌溉农田，农妇们则在用手提筐采摘水果和蔬菜。图中还有农民们用手车运输农产品\n的场景。\n\n江南农事图还描绘了许多农村的建筑物，例如水井、磨坊、茅草屋等。这些建筑物是农民们生活中不可或缺的部分，在图中也得到了生动的展现。\n\n总之，江南农事图是一幅生动形象的作品，展现了明朝时期江南农村生活的精彩细节。它不仅是一幅艺术杰作，同时也是对历史的珍贵记录。",[76,24,23,27,7,32,31,30,77,78,79,80,81],"高清","茅草屋","水井","磨坊","山水","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg",[40],47,{"id":86,"slug":87,"title":88,"dynasty":71,"author":89,"museum":90,"description":91,"tags":92,"thumbUrl":97,"material":27,"size":98,"collection":43,"collections":99,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":46},219459,"chun-geng-tu-lu-zhi-219459","春耕图","陆治","台北故宫博物院","枯木疏枝间，春信暗生。农人执缰牵牛，缓步林间，牛蹄轻踏新萌的草色，似触到泥土苏醒的温度。前景孩童与幼畜嬉戏，憨态跃然纸上，为静谧春郊注入活泼意趣。笔墨简洁雅致，线条勾勒传神，枯树虬枝的苍劲与嫩草的轻软相映，尽显初春田园的质朴生机。画面未着浓艳色彩，却以日常劳作与嬉戏的细节，铺展耕读人家的恬淡岁月，于简淡中藏真趣，于寻常处蕴温情，让人沉浸在那份悠然自得的春日氛围里。",[24,25,93,28,27,31,30,94,95,96,7],"立轴","枯树","草地","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dc445f537eb335e6d015ab4d279241.jpg","59.4x30厘米",[43],43,{"id":102,"slug":103,"title":104,"dynasty":18,"author":105,"museum":106,"description":107,"tags":108,"thumbUrl":115,"material":116,"size":38,"collection":40,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":66},215647,"yu-zhi-geng-zhi-tu-kang-xi-215647","御制耕织图","康熙","哈佛艺术博物馆","画面分帧铺展耕织图景，左帧河畔竹架悬桶，农人躬身引泉入田，溪流潺潺绕岸，树影婆娑覆径，尽显水乡农作的静谧韵致；右帧阡陌间耕者俯身劳作，小径上二人低语，远处田埂延绵，草木葱茏。以细腻白描勾勒人物情态与田园景致，写实中藏温婉意趣。笔墨凝注农桑日常的质朴细节，既显农人之勤苦，亦含对稼穑民生的深切关切。每一道线条都似在诉说土地与民生相依的厚重，让观者触摸到农耕生活里土地的温度、劳作的质感，以及那份对民生根本的珍视与叩问。",[23,24,26,109,110,30,34,33,35,111,112,7,113,114],"白描","书法","田埂","小径","农作","民生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ce01c004b9fb45e00d5c4f46f7b72.jpg","水墨",[40],40,{"id":120,"slug":121,"title":17,"dynasty":18,"author":122,"museum":53,"description":123,"tags":124,"thumbUrl":131,"material":38,"size":38,"collection":42,"collections":132,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":46},238432,"geng-zhi-tu-ce-mian-yi-238432","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。\n乾隆廿九年八月十五日生。生母索绰罗氏，即左都御史观保之女。绵亿聪慧机敏，文静内敛，又熟读经史，擅长书法，乾隆帝十分欣赏，遂亲命绵亿在尚书房读书。加上永琪英年早逝，而其六子中仅绵亿一人能长成，故乾隆特别疼惜自幼失去父亲的他。绵亿于乾隆四十九年，封贝勒。\n嘉庆四年（1799年），晋荣郡王，嘉庆帝对这位只小自己几岁的侄子倒也十分照顾。话虽如此，但在嘉庆十一年（1806年），绵亿为两子取名时私用金字偏旁被嘉庆帝斥责，更以“不似近支，自同疏远”为由，命绵亿退出乾清门并在外廷当差，也革除他领侍卫内大臣、管园大臣等职务。及后绵亿替两子更名为糸字偏旁，加上嘉庆十八年的癸酉之变，绵亿眼看有些王公们毫不在乎的样子，就正色道：“皇上是吾辈何人。即使以亲谊论，也应当代上分忧，况万乘之尊乎。”绵亿遂恳请嘉庆帝速还京师，以稳定人心。其英勇刚直得嘉庆赞赏，刮目相看，官职不但一阵子就恢复了，还倍受嘉庆帝的宠爱与重用。皇帝自此常说道：“朕侄辈惟绵亿有骨肉情也”。嘉庆二十年三月五日，与父亲一样体弱的绵亿病逝，终年五十一岁，谥曰“恪”。",[24,27,28,26,30,125,33,126,127,81,128,129,130,35,7],"房屋","篱笆","农具","劳作场景","民居","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe770663013436f33ad642d28eb3111f1.jpg",[42,43],38,{"id":135,"slug":136,"title":137,"dynasty":18,"author":72,"museum":90,"description":138,"tags":139,"thumbUrl":145,"material":61,"size":38,"collection":40,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":46},214619,"yu-ti-mian-hua-tu-ce-bu-zhong-yi-ming-214619","御题棉花图册-布种","御题棉花图册是一本清代的册页艺术作品，其中包含了一系列用棉花制作的图案。这本册子是在皇帝的指示下制作的，因此被称为“御题”，意思是“皇帝指示”。\n\n这本册子是在清代早期制作的，具体时间不详。它由多位艺术家共同创作，但是由于当时记录不够完整，我们无法确定具体的作者名字。\n\n这本册子的图案涵盖了许多不同的主题，包括自然景观、动物、人物以及传统的中国图案。所有的图案都是用棉花制作的，并且由多种颜色组成。这种艺术技巧叫做“棉花画”，是一种古老而传统的中国艺术形式。\n\n御题棉花图册是一件非常珍贵的艺术品，因为它是清代皇帝的御制作品，并且因为棉花画技巧的稀罕性而具有极高的收藏价值。如果你有机会看到这本册子，一定要好好欣赏它的精美图案和精湛的艺术技巧。",[27,28,30,140,33,127,7,141,125,142,143,32,144],"田亩","土地","劳作","小路","播种","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4823b7f9fb4c84d6e1492ad9a53881e8.jpg",[40],24,{"id":149,"slug":150,"title":151,"dynasty":152,"author":153,"museum":154,"description":155,"tags":156,"thumbUrl":160,"material":161,"size":162,"collection":38,"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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！",[76,24,25,56,27,30,31,57,58,28,157,110,7,158,159],"行书","民俗","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3dd48200465c183774dfee6b68d610.jpg","绢本，设色","22.9×89.5",[],23,1,{"id":167,"slug":168,"title":169,"dynasty":18,"author":72,"museum":53,"description":170,"tags":171,"thumbUrl":179,"material":180,"size":181,"collection":38,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":184},273003,"zi-tan-bian-fa-lang-gua-ping-yi-ming-273003","紫檀边珐琅挂屏","金地为底，珐琅釉色晕染出青绿山峦，层叠起伏间皴笔有致，翠色鲜亮柔和。水网田垄错落交织，茅舍隐于林樾，耕牛静卧田埂，乡农驻足叙话，将春日郊野的恬然烟火铺陈眼前。\n\n边角题诗点出田家闲趣，铜饰挂钮精巧雅致，紫檀边框衬得画面愈发明丽华贵。整幅将文人诗意融于珐琅工艺，把乡野春耕的悠然意趣刻画入微，尽显雅致清和的审美意韵，方寸间凝住田园生机，是工艺与画意兼备的上乘之作。",[172,173,174,175,27,80,35,176,177,178,30,33,110,7],"琺瑯器","木质","挂屏","青绿","耕牛","小桥","农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a29cfe1ff77dd9aabf7e530a98d631a.jpg","未知","Xcm*Xcm",[],19,"0D904F",{"id":186,"slug":187,"title":188,"dynasty":152,"author":189,"museum":53,"description":190,"tags":191,"thumbUrl":195,"material":38,"size":38,"collection":38,"collections":196,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":46},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","程棨","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[76,23,24,25,56,192,27,28,157,193,96,30,31,32,127,7,194,125],"临摹","篆书","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],14,{"id":199,"slug":200,"title":17,"dynasty":18,"author":19,"museum":20,"description":201,"tags":202,"thumbUrl":208,"material":38,"size":39,"collection":38,"collections":209,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":46},223220,"geng-zhi-tu-ce-jiao-bing-zhen-223220","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,203,28,27,30,7,35,204,205,110,206,207],"册页","水田","鸡","典籍","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda448499cdfbfb8784c38bdefbcaf9a0.jpg",[],{"id":211,"slug":212,"title":213,"dynasty":18,"author":214,"museum":53,"description":215,"tags":216,"thumbUrl":221,"material":180,"size":181,"collection":38,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":224},290469,"ben-se-na-sha-jia-xiu-chun-niu-tu-juan-qian-long-290469","本色纳纱加绣春牛图卷","乾隆","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 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