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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。",[23,24,25,26,27,7,28],"油画","厚涂","设色","静物","木屐","日用具","未知","Xcm*Xcm","油画精选",[31],30,"795548",{"id":36,"slug":37,"title":38,"dynasty":18,"author":39,"museum":20,"description":40,"tags":41,"thumbUrl":55,"material":29,"size":30,"collection":56,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":34},232460,"he-er-bai-yin-119-he-er-bai-yin-232460","荷尔拜因119","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[23,42,25,43,44,45,46,47,48,49,50,7,51,52,53,54],"写实","人物","男性","服饰","毛皮","帽子","权杖","金属饰品","丝绸","精细刻画","绿色背景","质感表现","肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafe52918b9472718ff70ca3fefc70b6f.jpg","",[],1,{"id":60,"slug":61,"title":62,"dynasty":63,"author":64,"museum":20,"description":65,"tags":66,"thumbUrl":72,"material":29,"size":30,"collection":56,"collections":73,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},275741,"mu-xiang-hei-pi-tao-ma-an-yi-ming-275741","木镶黑皮套马鞍","清","佚名","以木为骨，黑皮裹覆，粗麻铺就鞍面，在实用里藏着巧思。垂落的皮条早已失却当年挺括，带着被摩挲出的软韧旧痕，将曾伴主人纵马驰越草场的往昔悄然封存。马镫铁木相融，带着经年使用的温润包浆，朴拙厚重的形制里，藏着游牧日常里务实的美学。它褪去鲜亮色泽，只剩时光沉淀的哑光质感，把旧时光里牧人扬鞭驰骋的鲜活日常凝为具象，静静承载着游牧文明里独属于旷野的野性与烟火温度。",[67,68,7,69,70,71],"器","木质","布料","马具","鞍具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc679feb49fc671585c7e96f2720f0800.jpg",[],"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":63,"author":64,"museum":20,"description":79,"tags":80,"thumbUrl":83,"material":29,"size":30,"collection":56,"collections":84,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},275603,"qian-long-di-yu-yong-ma-an-yi-ming-275603","乾隆帝御用马鞍","这具马鞍朱红髹漆鞍桥光润古雅，绒绣鞍包针脚饱满匀整，宝相花纹饰晕染出富丽庄重的宫廷气韵。\n\n鎏金马镫配着晕褪色泽的织金绦带，虽经岁月经年，织物绒面泛着旧痕，却依旧能窥见往昔御用工造的极致考究。构件处处兼顾威仪气度与骑乘实用，将帝王出行的华贵内敛在每一处细节里，是清代宫廷御制工造的典型缩影。",[67,81,70,69,82,7],"马鞍","金属","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c68ff1d3bc5d922df332d3e1711f2d4.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":63,"author":64,"museum":20,"description":89,"tags":90,"thumbUrl":92,"material":29,"size":30,"collection":56,"collections":93,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},275601,"qing-tai-zong-yu-yong-ma-an-yi-ming-275601","清太宗御用马鞍","此鞍以宝蓝绒为底，中央明黄圆饰醒目华贵，边缘錾金饰件纹路细密繁复，尽显专属雍容气度。配套马具纹饰考究，朱缨张扬凌厉，皮革虽经岁月沉淀，依旧质感厚重紧实。\n\n整体将游牧骑射底色与宫廷精致审美融于一身，每一处细节都尽显御用工坊的顶尖工艺，静静承载着昔日帝王驰骋疆场的峥嵘过往，是清代马背文化与宫廷匠心交织的珍贵缩影。",[81,70,67,69,91,7],"金属饰件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adebdec361d1e4add38e924fc85f294.jpg",[],{"id":95,"slug":96,"title":97,"dynasty":63,"author":64,"museum":20,"description":98,"tags":99,"thumbUrl":106,"material":29,"size":30,"collection":56,"collections":107,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":74},274215,"hui-tu-yi-qi-yi-ming-274215","绘图仪器","这套随身文器具尽雅致巧思，温润皮套裹纳一众精巧构件，包浆凝着经年摩挲的温度。莹润骨尺刻度匀整，素净石板可随手打稿构思，数支笔具修长隽秀，铜质构件晕着厚重旧色。\n\n它将实用融于风雅，不再是冰冷匠器，而是藏着旧时使用者伏案绘图的日常。把案头文事藏入囊中，让寸间尺素，皆成随身的雅致天地，尽显传统文事里的细腻审美。",[67,100,101,102,103,104,7,105],"文房用具","绘图工具","笔","尺","刀具","象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe693c8050444d27fbc248d1772ee664.jpg",[],{"id":109,"slug":110,"title":111,"dynasty":63,"author":64,"museum":20,"description":112,"tags":113,"thumbUrl":119,"material":29,"size":30,"collection":56,"collections":120,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},273319,"hong-se-pi-xiang-tong-hu-die-he-bao-shi-huo-lian-yi-ming-273319","红色皮镶铜蝴蝶荷包式火燫","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[28,114,115,116,117,7,118],"饰品","铜制","雕刻","鱼","火镰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dd69aec8a7140dcb1a417483700d21.jpg",[],"37474F",{"id":123,"slug":124,"title":125,"dynasty":63,"author":64,"museum":20,"description":112,"tags":126,"thumbUrl":129,"material":29,"size":30,"collection":56,"collections":130,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},273316,"hong-se-pi-xiang-tong-fu-he-bao-shi-huo-lian-yi-ming-273316","红色皮镶铜蝠荷包式火燫",[118,28,7,115,127,69,116,128],"蝙蝠纹饰","荷包式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff32760fe0f402bbc720f38823332d36.jpg",[],{"id":132,"slug":133,"title":134,"dynasty":63,"author":64,"museum":20,"description":135,"tags":136,"thumbUrl":139,"material":29,"size":30,"collection":56,"collections":140,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":34},273206,"fen-hong-pi-bao-tong-du-jin-niu-jiao-bing-qiao-dao-yi-ming-273206","粉红皮包铜镀金牛角柄鞘刀","刀为单面长刃的短兵器。同时泛指可用于切、削、割、剁、刺的工具，与匕首合称亦为膳食器。刀的最初形态，与钺非常接近。其形状为短柄，翘首，刀脊无饰，刃部较长。到春秋战国时期，刀的形状发生巨大变化，两汉时，刀逐渐发展为步兵的主战兵器之一如环首刀，同时出现了许多不同形式的长柄刀。铜刀存世数量不多，体形均轻薄，最厚处仅0.35厘米，其形制粗分有短柄翘首刀、长柲卷首刀、平刃刀、曲刃刀等数类。\n在原始社会，古人类就用石头、蚌壳、兽骨打制成各种形状的刀。他们选用的石头多半是石英石、砂岩，也有燧石和水晶石。用这些石料打制成的石刀质坚棱利，是很好的砍劈工具。其次是用蚌壳和兽骨磨制的蚌刀、骨刀，这类刀轻便锋利，适于砍削器物。同样古人不仅用刀作为劳动工具，还随身携带作为防身自卫的武器。\n以雄浑、豪迈、挥如猛虎的风格而驰名的兵器，在十八般武器中排名第一。清朝诗人郑世元这样描写道：“秋水飞双腕，冰花散满身。柔看绕肢体，纤不动埃尘。闪闪摇银海，团团滚玉轮。声驰惊白帝，光乱失青春。杀气腾幽朔，寒芒泣鬼神。舞余回紫袖，萧飒满苍旻。”",[137,104,115,7,138,105,116],"兵器","牛角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a22545a7176fc0c326d460f40be9fe3.jpg",[],{"id":142,"slug":143,"title":144,"dynasty":63,"author":64,"museum":20,"description":135,"tags":145,"thumbUrl":149,"material":29,"size":30,"collection":56,"collections":150,"showCount":11,"zanCount":11,"man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