[{"data":1,"prerenderedAt":248},["ShallowReactive",2],{"subject-nong-shi":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2476,"nong-shi","农事","农事画高清赏析","精选中国历代农事题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e2a7b72dc9085c11a33db3032a387f.jpg",0,16,[14,41,63,86,105,121,140,148,168,179,193,201,210,225,233,240],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":31,"material":32,"size":33,"collection":34,"collections":35,"showCount":38,"zanCount":39,"manualWeight":11,"mainColor":40},221494,"long-gu-che-tu-li-song-221494","龙骨车图","宋","李嵩","日本京都国立博物馆","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,25,26,27,7,28,29,30],"高清","国画","工笔","设色","界画","牛","人物","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","绢本墨画淡彩","25.626.4cm","宋画精选",[34,36,37],"人物画精选","水墨画精选",51,1,"795548",{"id":42,"slug":43,"title":44,"dynasty":45,"author":46,"museum":47,"description":48,"tags":49,"thumbUrl":57,"material":58,"size":59,"collection":60,"collections":61,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":40},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。",[23,24,50,26,51,52,28,29,53,54,55,56,7],"名画","农耕","农田","茅草屋","水井","磨坊","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg","绢本,设色","","山水画精选",[60],47,{"id":64,"slug":65,"title":66,"dynasty":67,"author":68,"museum":69,"description":70,"tags":71,"thumbUrl":81,"material":59,"size":59,"collection":36,"collections":82,"showCount":84,"zanCount":11,"manualWeight":11,"mainColor":85},238432,"geng-zhi-tu-ce-mian-yi-238432","耕织图册","清","绵亿","藏地不详","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”。",[24,26,25,72,29,73,74,75,76,7,77,78,79,80,51],"册","房屋","树木","篱笆","农具","劳作场景","民居","柳树","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe770663013436f33ad642d28eb3111f1.jpg",[36,83],"设色画精选",38,"BDBDBD",{"id":87,"slug":88,"title":89,"dynasty":18,"author":90,"museum":69,"description":91,"tags":92,"thumbUrl":100,"material":101,"size":102,"collection":59,"collections":103,"showCount":104,"zanCount":11,"manualWeight":11,"mainColor":85},289590,"shi-jing-bin-feng-tu-ti-ba-ma-yuan-289590","诗经豳风图（题跋）","马远","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,93,94,95,96,97,98,99,7],"长卷","书法","楷书","题跋","御题","印章","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37aab0d7d86d8b6fc5d45dbee8aa827a.jpg","未知","Xcm*Xcm",[],12,{"id":106,"slug":107,"title":108,"dynasty":67,"author":109,"museum":110,"description":111,"tags":112,"thumbUrl":118,"material":59,"size":59,"collection":59,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":85},222858,"xin-she-geng-ye-dong-gao-222858","新畬耕馌","董诰","台北故宫博物院","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,113,72,26,25,56,29,114,115,74,116,117,76,28,7],"书画","小桥","流水","田野","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ba419991325a08174927ef62141683.jpg",[],10,{"id":122,"slug":123,"title":66,"dynasty":67,"author":124,"museum":125,"description":126,"tags":127,"thumbUrl":136,"material":59,"size":137,"collection":59,"collections":138,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":85},223219,"geng-zhi-tu-ce-jiao-bing-zhen-223219","焦秉贞","北京故宫博物院","《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。",[50,24,113,72,25,26,29,76,128,80,129,130,7,131,132,133,73,134,135],"织机","桑麻","作物","纺织","庭院","草木","写实","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621157e3c8c47823c84252dafac863e5.jpg","34.7cm×27.7cm",[],3,{"id":141,"slug":142,"title":66,"dynasty":67,"author":124,"museum":125,"description":126,"tags":143,"thumbUrl":146,"material":59,"size":137,"collection":59,"collections":147,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":85},223213,"geng-zhi-tu-ce-jiao-bing-zhen-223213",[24,113,72,25,26,29,7,144,131,52,145,76],"耕作","桑林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06e5e52c0002f3ab2ac348e328c4eec.jpg",[],{"id":149,"slug":150,"title":151,"dynasty":152,"author":46,"museum":69,"description":153,"tags":154,"thumbUrl":166,"material":101,"size":102,"collection":59,"collections":167,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":85},289313,"master-of-the-months-of-lucas-the-month-of-june-shearing-sheep-yi-ming-289313","Master of the Months of Lucas--The Month of June, Shearing Sheep","不详","这幅素描以全景铺陈开仲夏乡野日常，朴拙灵动的线条勾勒出鲜活的剪羊毛图景。前景里，妇人闲坐看顾嬉闹的孩童，提刃女子正预备为羊只剪毛，身旁牧人稳稳按住躁动的羊。右侧男女携着蔬果缓步而来，将市井烟火气揉进农忙图景中。\n\n远处村舍错落，更多农人或俯身劳作，或围坐闲话，把六月乡村松弛又忙碌的氛围尽数铺展。没有繁复晕染，仅以简练排线定格人物情态与乡野细节，将乡野仲夏的蓬勃生机与质朴温情妥帖留存，让人仿佛置身蝉鸣阵阵的夏日乡村，触摸汗水裹挟笑语的鲜活日常。",[155,156,157,158,159,160,161,162,163,7,164,165],"白描","素描","乡村","农舍","绵羊","农妇","孩童","农夫","剪羊毛","田园生活","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe380129b795024e222589a25e68fde16.jpg",[],{"id":169,"slug":170,"title":171,"dynasty":152,"author":46,"museum":69,"description":172,"tags":173,"thumbUrl":177,"material":101,"size":102,"collection":59,"collections":178,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":85},289077,"jonas-umbach-october-one-of-a-series-representing-the-labors-yi-ming-289077","Jonas Umbach--October (one of a series representing the 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