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细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[47,33,25,95,24,467,96,31,468,30,469,7,365],"婴戏","湖石","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],13,{"id":474,"slug":475,"title":476,"dynasty":89,"author":19,"museum":71,"description":477,"tags":478,"thumbUrl":480,"material":35,"size":481,"collection":35,"collections":482,"showCount":483,"zanCount":11,"manualWeight":11,"mainColor":39},223587,"hua-si-xiao-tu-juan-yi-ming-223587","画四孝图卷","「四孝图」描绘故事四则，以图文相间的方式表达。第一则述王武子之妻割股作羹汤，治癒婆母寒疾；第二则述三国陆绩因其母好食橘，乃於进謁袁术席间，怀橘以奉母；第三则述晋王祥為母病中思食鲤鱼於冬月，而至江上卧冰求鲤；第四则述后汉曹娥之父溺毙江中不得尸灵，至娥投江，三日后方抱父尸出。是皆孝心感人之事蹟，卷末并附李居敬四孝图序，论孝之精义。通幅人物，以匀称之线条為主，细挺而有力。",[23,47,49,117,25,24,95,31,99,403,55,216,96,479,32,7],"成人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea7682e123d88c66ded0f834267302.jpg","38.9x502.7",[],12,{"id":485,"slug":486,"title":487,"dynasty":18,"author":488,"museum":20,"description":489,"tags":490,"thumbUrl":492,"material":35,"size":35,"collection":35,"collections":493,"showCount":494,"zanCount":128,"manualWeight":11,"mainColor":64},235090,"meng-lou-fu-qin-tu-zhou-wang-zhao-ji-235090","梦楼抚琴图轴","王肇基","《梦楼抚琴图轴》纵54cm，横26.4cm。\n清代文物。\n名称： 梦楼抚琴图轴 年代：清 作者：王肇基 特征：绢本，设色 尺寸：纵54cm，横26.4cm。\n本幅王肇基题：“爱镜者美人，爱剑者侠客，名士则爱砚，嗜好各成癖。\n先生放达人，耽此琴三尺，世俗竞淫哇，太古音谁识？庚辰孟夏月，梦楼宗台抚琴图。\n王肇基绘并题。\n”下钤“王肇基印”白文印、“镜香”朱文印。\n“庚辰”为清乾隆二十五年（176年），这一年，王肇基6岁，王文治（号梦楼）1岁。\n“孟夏月”则正值会考结束，殿试、御赐之前。\n王文治在这年的五月初十日得中进士第三人。\n图绘王文治在室内的画像。\n他手持折扇神情淡定地端坐在木椅上，身旁条案上摆有古琴和香炉，身后的花架上则置有盛开的兰花一盆。\n虽然点景物象不多，但是它们高低错落的陈设，丰富了画面的纵深空间，同时，也映衬出像主王文治幽兰般的君子心志和以琴瑟为伴的文化素养。",[47,49,33,25,95,137,491,7,57],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463e961b794a748f0e3b21f09314859.jpg",[],11,{"id":496,"slug":497,"title":498,"dynasty":18,"author":499,"museum":20,"description":500,"tags":501,"thumbUrl":505,"material":60,"size":61,"collection":35,"collections":506,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":64},234947,"yue-man-qing-you-ce-chen-mei-234947","月漫清游册","陈枚","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[47,49,25,24,95,26,97,31,7,57,74,30,502,99,503,118,376,155,56,504],"台阶","石桌","诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa802a71d4482087ccb76c4c0c68fc81e.jpg",[],6,{"id":509,"slug":510,"title":511,"dynasty":304,"author":512,"museum":114,"description":513,"tags":514,"thumbUrl":516,"material":517,"size":518,"collection":35,"collections":519,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":64},233756,"ren-wu-gu-shi-ce-3-chou-ying-233756","人物故事册3","仇英","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[47,49,155,24,25,94,95,26,97,31,515,137,30,502,28,99,32,7],"花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff262bebc3812167aef075a4e655f423e.jpg","绢本，设色","纵41.4厘米，横33.8厘米",[],{"id":521,"slug":522,"title":523,"dynasty":18,"author":524,"museum":525,"description":526,"tags":527,"thumbUrl":531,"material":532,"size":533,"collection":35,"collections":534,"showCount":507,"zanCount":11,"manualWeight":11,"mainColor":64},222651,"zhi-hua-xi-lie-zhi-hua-pen-zai-la-mei-gao-qi-pei-222651","指画系列-指画·盆栽腊梅","高其佩","美国纳尔逊阿特金斯艺术博物馆","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,47,528,25,7,529,77,57,530,293],"指画","腊梅","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe266dd1f1a02c252d6d394d0fc6a9bc.jpg","浅设色","35.88x57.31cm",[],{"id":536,"slug":537,"title":538,"dynasty":69,"author":19,"museum":20,"description":539,"tags":540,"thumbUrl":542,"material":60,"size":61,"collection":35,"collections":543,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":178},290749,"xiu-ju-hua-lian-er-zhou-yi-ming-290749","绣菊花廉（二）轴","此作以墨色为底，金线彩绒晕染出满盆盛放的秋菊，瓣叶层叠错落，俯仰间尽显清妍之态，枝叶舒卷自然，将菊花傲霜之姿尽数铺展。周遭蝶影轻翩，为静雅景致添了灵动生机，晕开秋日闲逸意趣。下方朱红案几雅致端方，两侧配植遥相呼应，构图饱满均衡，章法谨严。绣工精妙，针脚藏于画意，将女红匠心融于院体工致风韵，沉稳配色衬出花影明丽雅致，把清秋盛放的菊韵定格，尽显雅致内敛的审美意趣，是兼具画意与匠心的刺绣佳作。",[33,541,25,51,118,170,7,55],"绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef3ad5b666d93491786095910c4d9a0.jpg",[],5,{"id":546,"slug":547,"title":548,"dynasty":18,"author":19,"museum":20,"description":549,"tags":550,"thumbUrl":556,"material":60,"size":61,"collection":35,"collections":557,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":178},260267,"fen-cai-bo-gu-tu-jiu-bei-yi-ming-260267","粉彩博古图酒杯","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。",[189,551,552,553,7,554,555],"饮酒器","粉彩","博古图","鸟","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2533b80d905c438c338b7fcc64c4b9e7.jpg",[],{"id":559,"slug":560,"title":561,"dynasty":18,"author":562,"museum":563,"description":564,"tags":565,"thumbUrl":570,"material":35,"size":35,"collection":106,"collections":571,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":572},201900,"shan-yong-he-guan-tu-zhou-dai-xin-201900","扇咏合观图轴","戴信","上海博物馆","此图绘闺阁仕女赏扇制扇之景：案前二人对坐，或执扇品赏，或执笔勾勒，神情专注；侧旁侍女持饰金团扇侍立，衣袂轻扬。背景博古架罗列古玩清供，瓷瓶、玉器、文玩错落有致，盆栽点缀其间，陈设雅致。画作工笔细腻，线条流畅，设色温润淡雅，人物姿态娴静，神情温婉，尽显清代闺阁生活的闲雅意趣，亦展现了当时精致的生活审美与文人雅韵。",[47,33,24,25,213,566,567,568,7,569,23],"博古架","古玩","团扇","闺阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f5440d8d02cc5ec433531cfa40aaaa.jpg",[106],"e7d0b2",{"id":574,"slug":575,"title":576,"dynasty":18,"author":19,"museum":20,"description":577,"tags":578,"thumbUrl":583,"material":60,"size":61,"collection":35,"collections":584,"showCount":585,"zanCount":11,"manualWeight":11,"mainColor":39},272974,"ti-hong-bian-qian-fa-lang-wan-nian-yi-tong-qing-tu-gua-ping-yi-ming-272974","剔红边嵌珐琅万年一统青图挂屏","此作工艺相融，雅致尽显。朱红剔红边框满饰缠枝纹，雕工圆熟细腻，古艳沉静。屏心墨地素洁，上方题字娟秀端方，晕开雅致文气。下方珐琅盆栽为视觉重心：翠叶舒展灵动，脉络清晰鲜活，颗颗朱果点缀叶间，生机勃发。桶型花盆髹红描金，挺拔规整，暗契吉祥寓意。\n\n它集雕漆、珐琅工艺于一体，将文人清供意趣与吉祥祝颂相合，尽显传统匠人的造物巧思，把中式陈设美学藏于方寸之间。",[579,580,581,56,582,25,51,7],"挂屏","漆器","珐琅器","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccb1af6d6631949269661129d05a986.jpg",[],4,{"id":587,"slug":588,"title":589,"dynasty":18,"author":19,"museum":20,"description":590,"tags":591,"thumbUrl":598,"material":60,"size":61,"collection":35,"collections":599,"showCount":585,"zanCount":11,"manualWeight":11,"mainColor":39},270510,"cheng-cha-xian-ren-pen-jing-yi-ming-270510","乘槎仙人盆景","这件盆景以古木槎为骨，珠玉翠料攒作花枝，垂悬的珠果莹润灵动，晕开清润仙气。中央仙人衣袂飘然，敛目安坐，神态恬然超逸。两侧鎏金珐琅宝瓶，插满百宝缀成的花树，宝光交错间尽显华贵。下方绿釉底座塑出水芙蕖，菡萏亭亭、莲叶柔卷，漾出江南水泽的清灵意韵。它集木雕、珐琅与玉石镶嵌工艺于一体，将世外仙隐的悠然意趣，与清代极致造办精工相融，以人工匠造描摹世外清境，尽显盛世匠人的绝佳工艺与浪漫遐思。",[592,433,593,238,99,29,594,595,596,597,7],"神话人物","仙人","玉石","雕刻","工艺品","珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd986d89b343e54cb932b0f47b6716487.jpg",[],{"id":601,"slug":602,"title":603,"dynasty":18,"author":19,"museum":20,"description":604,"tags":605,"thumbUrl":609,"material":60,"size":61,"collection":35,"collections":610,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":64},270499,"hua-fa-lang-mei-hua-shi-pen-yu-shi-bo-li-hua-guo-pen-jing-yi-ming-270499","画珐琅梅花式盆玉石玻璃花果盆景","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[606,594,607,433,95,608,7],"琺瑯器","玻璃器","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128110109bf17f21c97e6f2a74d12d7e.jpg",[],{"id":612,"slug":613,"title":614,"dynasty":615,"author":616,"museum":20,"description":617,"tags":618,"thumbUrl":628,"material":60,"size":61,"collection":35,"collections":629,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":178},232287,"a-er-ma-14-lao-lun-si-a-er-ma-ta-de-ma-232287","阿尔玛14","不详","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。",[48,619,620,95,310,621,456,622,7,623,624,625,32,626,627],"油画","写实主义","房屋","藤蔓","水罐","碗","推车","头巾","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3521d3b0d4c155f13c3a86f3e1214d.jpg",[],{"id":631,"slug":632,"title":633,"dynasty":18,"author":634,"museum":563,"description":635,"tags":636,"thumbUrl":642,"material":35,"size":35,"collection":35,"collections":643,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":644},202548,"ren-wu-tu-ping-ren-yu-202548","人物图屏","任预","画面铺陈晚清文人居停景致，盆栽倚案，屏风映山水，字画悬壁，尽显雅致。老者端坐凝思，童子俯身侍弄，闲坐者倚物悠然，烛火摇曳，书卷摊开，猫犬嬉戏于侧，生活气息扑面而来。工笔勾勒细腻，线条婉转，设色淡雅温润，人物神态鲜活，景物布置疏密有致，将日常闲逸之趣凝于尺幅，藏着旧时光里的从容与温情。",[47,24,25,95,637,7,216,638,639,640,641],"猫","字画","书卷","烛火","文人生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598e30b9c9e569c8f6ce8a8e575361e8.jpg",[],"c6c3b3",{"id":646,"slug":647,"title":648,"dynasty":18,"author":19,"museum":71,"description":649,"tags":650,"thumbUrl":651,"material":652,"size":35,"collection":35,"collections":653,"showCount":654,"zanCount":11,"manualWeight":11,"mainColor":64},217028,"li-dai-ming-ren-tu-xiang-ce-2-yi-ming-217028","历代名人图像册-2","《历代名人图像册》是清朝时期的一部著名图书。它记录了中国历史上许多著名人物的生平事迹和照片。这本书是由佚名编著的，出版于清朝末年。\n\n《历代名人图像册》共分为五卷，每卷都以一个主题为线索，按时间顺序记录了许多著名人物的生平事迹和照片。其中，第一卷记录了中国古代的著名人物，第二卷记录了中国近代的著名人物，第三卷记录了中国现代的著名人物，第四卷记录了世界各国的著名人物，第五卷记录了清朝时期的著名人物。\n\n《历代名人图像册》是一部非常有价值的参考书，对于了解中国历史和文化有着重要的意义。这本书在当时是非常受欢迎的，并且至今仍被广泛使用。",[47,25,155,95,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb2c429d79f759fd1a2bd8dd90fc23a9.jpg","纸本,设色",[],2,{"id":656,"slug":657,"title":658,"dynasty":18,"author":19,"museum":659,"description":660,"tags":661,"thumbUrl":663,"material":104,"size":35,"collection":35,"collections":664,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":39},215976,"di-jian-tu-shuo-cai-hui-ben-29-yi-ming-215976","帝鉴图说彩绘本-29","法国国家图书馆","朱红廊柱撑起青蓝殿顶，檐角轻挑似欲揽云。阶前红袍者躬身叩拜，衣袂垂落如丹枫凝露；殿中黄裳人端坐凝听，冠带俨然藏着帝王威仪。两侧侍从垂立恭谨，眉宇间尽是肃穆。庭院里盆荷亭亭，粉蕊映翠叶；竹影疏疏，枝梢拂雕栏。笔墨细腻处，人物神态毕现——跪拜者的恳切、端坐者的沉凝，皆藏于线条流转间。雅致景致与朝堂仪轨相融，既见园林之幽，更显君臣互动之诚。绢素之上，治世图景如缓缓展开的卷册，每一处色彩、每一个姿态，都在诉说古代君臣相得的温煦与庄重。",[47,48,25,24,94,95,97,99,662,7],"荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35624bbc06ebd01362bdfa29cc205f5.jpg",[],{"id":666,"slug":667,"title":668,"dynasty":18,"author":19,"museum":20,"description":669,"tags":670,"thumbUrl":672,"material":104,"size":673,"collection":35,"collections":674,"showCount":128,"zanCount":11,"manualWeight":11,"mainColor":64},215907,"qing-ren-xiao-xiang-tu-ce-10-yi-ming-215907","清人肖像图册-10","画面铺陈雅致室内景，二人端坐仪态端方。左侧衣袍如墨沉敛，右侧靛蓝袍服鲜亮，衣纹线条挺括，盘扣细节隐约，尽显服饰规制之美。背景红棂窗格映枝叶扶疏，右侧书架罗列典籍，案几陈设精巧，处处流露中式居停的清幽意趣。人物面容温婉，神情平和，似在静谧时光中凝驻片刻。笔墨兼具写实细腻与传统肖像的含蓄韵味，将彼时生活的从容雅致悄然晕染，于方寸间藏着岁月静好与中式美学的淡然，让观者仿佛触碰到那段时光里的悠然气息。",[47,376,25,24,155,95,100,354,7,409,214,671],"肖像画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22240642df201931a647d38e5108087f.jpg","44x40",[],{"id":676,"slug":677,"title":678,"dynasty":18,"author":19,"museum":20,"description":679,"tags":680,"thumbUrl":682,"material":104,"size":673,"collection":35,"collections":683,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":64},215912,"qing-ren-xiao-xiang-tu-ce-4-yi-ming-215912","清人肖像图册-4","画面中人物端坐于朱红栏杆围合的台榭之上，红顶小帽与靛蓝长褂相映成趣，衣袂间暗纹隐现，手持书卷似在凝思片刻闲静。左侧石案上青瓷盆兰舒展叶片，旁侧虬枝翠叶点缀生姿，石阶铺陈细碎卵石，背景木构檐角与浅褐墙面晕染出古朴温润的气息。人物神态沉静温婉，衣饰色彩对比鲜明却不失雅致格调，环境陈设简净中见文心。笔墨细腻勾勒出清代文人生活的闲雅意趣，每一处细节皆藏着对日常情境的诗意捕捉，似能窥见彼时文人于庭院间读书品茗的悠然时光。",[47,49,25,24,95,97,30,7,54,681,140,77],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3227d2e6bf21158682719350b10e112e.jpg",[],{"id":685,"slug":686,"title":687,"dynasty":18,"author":19,"museum":20,"description":688,"tags":689,"thumbUrl":692,"material":652,"size":35,"collection":35,"collections":693,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},215116,"er-shi-si-xiao-tu-ce-19-yi-ming-215116","二十四孝图册-19","二十四孝图册 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