[{"data":1,"prerenderedAt":626},["ShallowReactive",2],{"subject-nong-tian":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1488,"nong-tian","农田","农田画高清赏析","精选中国历代农田题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9a9fdef751a769485a7a9b7ac725cd.jpg",0,49,[14,46,70,85,115,130,147,168,182,199,207,224,237,247,262,275,289,299,310,323,333,342,353,369,378,387,398,405,414,424,431,439,454,464,474,486,498,504,512,520,531,544,555,564,578,591,599,608,618],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","宋","赵士雷","台北故宫博物院","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36,37],"高清","名画","国画","书画","长卷","设色","工笔","山水","小桥","流水","牛","树木","农舍","飞鸟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","绢本,设色","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分","宋画精选",[41,43],"山水画精选",103,"795548",{"id":47,"slug":48,"title":49,"dynasty":50,"author":51,"museum":52,"description":53,"tags":54,"thumbUrl":61,"material":62,"size":63,"collection":43,"collections":64,"showCount":67,"zanCount":68,"manualWeight":11,"mainColor":69},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。",[24,25,26,55,28,29,56,57,33,7,34,32,58,59,60],"册","清代","人物","农耕","田园","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","","34.7cm×27.7cm",[43,65,66],"人物画精选","设色画精选",88,4,"BDBDBD",{"id":71,"slug":72,"title":73,"dynasty":74,"author":75,"museum":20,"description":76,"tags":77,"thumbUrl":80,"material":39,"size":81,"collection":65,"collections":82,"showCount":83,"zanCount":84,"manualWeight":11,"mainColor":45},218227,"geng-zhi-tu-ce-cha-yang-chou-ying-218227","耕织图册-插秧","明","仇英","明朝纺织业空前发展，政府特设织造局管理丝织品生产、销售等事宜。这个时期的耕织图也尤其重视“养蚕缫丝”的主题，其中最有代表性的就是仇英的《宫蚕图卷》。",[24,25,55,28,29,57,7,78,34,31,79],"插秧","耕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0148083e2c4e0f19cb9c03018b50477.jpg","35.4x35.9",[65],82,1,{"id":86,"slug":87,"title":88,"dynasty":89,"author":90,"museum":91,"description":92,"tags":93,"thumbUrl":109,"material":88,"size":110,"collection":111,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":114},225779,"wei-zhi-fan-gao-225779","未知","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[94,95,96,97,98,99,100,34,101,102,103,7,104,105,106,107,108],"油画","厚涂","后印象派","田野","草地","天空","白云","干草堆","小屋","花朵","绿色植被","蓝色天空","白色云朵","黄色田野","红色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdceef6ff3c08517124bb6ddea4f490de.jpg","Xcm*Xcm","油画精选",[111],81,"0D904F",{"id":116,"slug":117,"title":118,"dynasty":74,"author":119,"museum":120,"description":121,"tags":122,"thumbUrl":127,"material":39,"size":62,"collection":43,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":45},217262,"jiang-nan-nong-shi-tu-yi-ming-217262","江南农事图","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。",[23,25,24,28,58,7,33,57,123,124,125,30,126],"茅草屋","水井","磨坊","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg",[43],47,{"id":131,"slug":132,"title":133,"dynasty":50,"author":134,"museum":20,"description":135,"tags":136,"thumbUrl":142,"material":143,"size":144,"collection":62,"collections":145,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":45},288829,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-288829","仿杨大章宋院本金陵图卷","冯宁","杨大章，清代画家，乾隆时期内廷供奉，善画山水、人物，最善画龙。\n\n其代表作品有：乾隆三十六年仿刁光胤写生册，乾隆四十四年仿宋宣和《柳鸦芦雁图》，乾隆五十五年仿陈容《九龙图》，乾隆五十六年仿《宋人金陵图卷》，其作品在市场上极少见到。清史记载「杨大章，亦赋色修洁，可与邹一桂颉颃，花鸟以二人为最工，其善画人物、花卉、翎毛，偶画山水，师法宋人。」说明了他的绘画造诣之高。其擅长水墨花卉，极有重名。常写五色菊，墨花五彩，有清冷隽逸之气。",[23,25,27,28,29,57,33,30,34,7,137,138,139,32,140,141],"民居","楼阁","舟船","桥梁","市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg","绢","34.1x1088.3",[],36,{"id":148,"slug":149,"title":150,"dynasty":151,"author":152,"museum":153,"description":154,"tags":155,"thumbUrl":164,"material":165,"size":166,"collection":65,"collections":167,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":69},218245,"bin-feng-tu-lin-zi-huan-218245","豳风图","元","林子奂","上海龙美术馆","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[23,25,26,27,156,157,158,159,160,57,30,34,36,32,31,161,7,162,163],"白描","水墨","书法","行书","印章","舟","茅屋","农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","纸本,水墨","26.5x446",[65],{"id":169,"slug":170,"title":171,"dynasty":151,"author":172,"museum":91,"description":173,"tags":174,"thumbUrl":179,"material":88,"size":110,"collection":62,"collections":180,"showCount":181,"zanCount":11,"manualWeight":11,"mainColor":45},290413,"shan-shui-tu-juan-wei-zhao-meng-fu-290413","山水图卷（伪）","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,25,26,27,175,28,30,176,177,34,7,178],"青绿","村落","房屋","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],29,{"id":183,"slug":184,"title":185,"dynasty":50,"author":186,"museum":91,"description":187,"tags":188,"thumbUrl":196,"material":62,"size":62,"collection":43,"collections":197,"showCount":198,"zanCount":84,"manualWeight":11,"mainColor":69},238321,"wan-hu-sang-ma-tu-xiao-juan-dong-gao-238321","万户桑麻图小卷","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,27,189,28,190,30,191,192,176,137,7,34,193,57,194,195],"山水画","皴法","河流","孤舟","瀑布","田园生活","农桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba7ae20c02be229020dc6a8b099325b6.jpg",[43,66],28,{"id":200,"slug":201,"title":49,"dynasty":50,"author":51,"museum":52,"description":202,"tags":203,"thumbUrl":205,"material":62,"size":63,"collection":62,"collections":206,"showCount":198,"zanCount":84,"manualWeight":11,"mainColor":69},223222,"geng-zhi-tu-ce-jiao-bing-zhen-223222","《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。",[25,29,28,55,33,57,204,7,30,163],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2295c618cbfb9ca0d09285cc0220c5.jpg",[],{"id":208,"slug":209,"title":210,"dynasty":50,"author":211,"museum":212,"description":213,"tags":214,"thumbUrl":219,"material":220,"size":221,"collection":62,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":69},223017,"hong-lou-meng-142-sun-wen-223017","红楼梦142","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,29,28,27,57,215,216,7,217,30,218],"古建筑","园林","桃树","红楼题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5da4a987ea8c73575cae802c4869f0.jpg","绢本","纵43.3厘米、横76.5厘米",[],24,{"id":225,"slug":226,"title":227,"dynasty":50,"author":119,"museum":20,"description":228,"tags":229,"thumbUrl":235,"material":39,"size":62,"collection":43,"collections":236,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":69},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。",[28,29,57,230,34,163,58,231,177,232,233,7,234],"田亩","土地","劳作","小路","播种","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4823b7f9fb4c84d6e1492ad9a53881e8.jpg",[43],{"id":238,"slug":239,"title":240,"dynasty":18,"author":119,"museum":91,"description":241,"tags":242,"thumbUrl":244,"material":62,"size":62,"collection":62,"collections":245,"showCount":246,"zanCount":84,"manualWeight":11,"mainColor":45},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,25,26,243,29,28,57,33,7,31,32,34,30,177],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],16,{"id":248,"slug":249,"title":250,"dynasty":74,"author":251,"museum":52,"description":252,"tags":253,"thumbUrl":257,"material":258,"size":259,"collection":62,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":69},234132,"zhi-tian-tu-juan-shen-zhou-234132","芝田图卷","沈周","沈周擅长山水、花鸟、人物各体，然以山水画最精，也最能鲜明地反映出他的艺术特色。归纳起来，可从内容和形式两方面论析。\n内容：即包括题材、立意、构思、思想、情感诸因素。\n沈周的山水画题材，主要可分为写实、抒情、仿古三大类。写实山水最富特色和意义，按内容又可分为访胜纪游、幽居庄园、雅集文会、寻访送别等几种类型。\n幽居庄园图，或表现苏州文人隐居的茅屋斗室，或描写精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和闲适的情致，寄托文人的理想和爱好，有时还寓以一定的象征意义，或缘物传情，或比喻人品。《东庄图》册（南京博物院藏），是描绘其师吴宽的庄园，二十一景均绚丽多姿，真实再现了老师居游皆宜的优美环境；《南山祝语图》卷（北京故宫博物院藏），刻划良医韩世光所居的“云堂”，环境既点出了主人公的身份和居处，又烘托出韩氏一心行医济世的高尚品德；《芝田图》卷（北京故宫博物院藏）则进一步采取人格化的表现手法，藉芝田遍地来表达主人公董君施德于人，天赐灵芝的主题。这些象征手法为后世吴门画家广泛采用。",[23,24,25,26,27,157,28,159,190,30,7,34,177,254,255,256],"山峦","小径","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da0cce0291188d5f0a529cd4293de06.jpg","纸本设色","画323×33cm；跋64×33cm",[],15,{"id":263,"slug":264,"title":265,"dynasty":151,"author":266,"museum":91,"description":267,"tags":268,"thumbUrl":272,"material":62,"size":62,"collection":62,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":69},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。",[23,24,25,26,27,269,28,29,159,270,160,57,33,7,163,58,271,177],"临摹","篆书","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],14,{"id":276,"slug":277,"title":278,"dynasty":89,"author":279,"museum":91,"description":280,"tags":281,"thumbUrl":286,"material":88,"size":110,"collection":62,"collections":287,"showCount":288,"zanCount":11,"manualWeight":11,"mainColor":69},288555,"riesengebirge-ka-si-pa-288555","Riesengebirge","卡斯帕","卡斯帕·大卫·弗里德里希（Caspar 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