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　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,24,25,68,50,26,31,52,108,28,109,110,111,112,113,7,114],"祭祀","草地","台阶","灯笼","队伍","仪式","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[35,100],85,{"id":120,"slug":121,"title":122,"dynasty":123,"author":124,"museum":65,"description":125,"tags":126,"thumbUrl":137,"material":33,"size":138,"collection":35,"collections":139,"showCount":140,"zanCount":38,"manualWeight":11,"mainColor":39},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 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龙射天球。在画的右侧，在人群的包围下，是皇帝的华丽冰床。在冰面上，旗手和弓箭手间隔排列，在冰面上绕圈滑行，游行队伍蜿蜒成龙的形状。冰面上有一道门，上面挂着一个球，叫做天球。当队伍走到这一步时，他们转过身来，向球射箭，射中者会得到奖励。游行过程中还包括杂技表演，如倒立、舞剑、腾空、中国旗帜和鹰心。",[23,24,25,50,26,30,27,28,7,153,171,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b093624e4bb931e68fd779aaf95d99.jpg","36.5x563",[35],72,{"id":192,"slug":193,"title":194,"dynasty":89,"author":195,"museum":65,"description":196,"tags":197,"thumbUrl":199,"material":33,"size":200,"collection":35,"collections":201,"showCount":202,"zanCount":180,"manualWeight":11,"mainColor":39},219755,"zhong-xing-zhen-ying-tu-liu-duan-ben-xiao-zhao-219755","中兴祯应图六段本","萧照","萧照（公元1131年-公元1162年），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[23,48,47,50,24,25,198,96,26,27,94,136,28,7],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fba4eb15be72fe5d39ab5fa3b3fd957.jpg","31x1148厘米",[35],61,{"id":204,"slug":205,"title":206,"dynasty":207,"author":208,"museum":65,"description":209,"tags":210,"thumbUrl":224,"material":79,"size":80,"collection":225,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":228},225697,"ye-xun-lun-bo-lang-225697","夜巡","不详","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt 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Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[211,212,213,26,214,215,7,216,217,218,219,220,221,222,223],"油画","写实","明暗对比","群体","盔甲","长枪","鼓","乐器","服饰","武器","光影","动态","昏暗场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8654790adb9d9086ef2631f67d1f00db.jpg","油画精选",[225],58,"37474F",{"id":230,"slug":231,"title":232,"dynasty":89,"author":64,"museum":65,"description":233,"tags":234,"thumbUrl":241,"material":81,"size":81,"collection":81,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":39},227847,"song-mo-gu-kai-zhi-luo-shen-fu-tu-juan-yi-ming-227847","宋摹顾恺之洛神赋图卷","此作以辞赋为骨，铺展缥缈爱恋。山峦云霭间，洛神凌波微步，衣带蹁跹，与曹植遥遥相望，情思暗涌。线条细劲连绵如春蚕吐丝，古雅设色晕开绢本旧韵，将洛神仙姿、侍众恭谨、仪仗威仪一一铺展。山海林泉错落，云雾萦回如幻，把初见的惊艳、相恋的缱绻、别离的怅惘揉进山水里，诗画相融，将文字中的深情化作可视丹青，晕染出千年前那场哀怨缥缈的人神之恋，尽显晋唐风骨的温婉雅致。",[23,48,50,235,25,24,69,96,26,236,70,94,27,28,237,7,238,239,149,129,240],"临摹","舟船","云雾","侍从","神仙","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],54,{"id":245,"slug":246,"title":247,"dynasty":123,"author":64,"museum":248,"description":249,"tags":250,"thumbUrl":252,"material":253,"size":254,"collection":81,"collections":255,"showCount":256,"zanCount":180,"manualWeight":11,"mainColor":39},223375,"chu-jing-tu-yi-ming-223375","出警图","台北故宫博物院","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,48,49,50,25,24,26,94,96,28,7,251,27],"车驾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","绢本设色","92.1×2601.3cm",[],51,{"id":258,"slug":259,"title":260,"dynasty":18,"author":64,"museum":65,"description":261,"tags":262,"thumbUrl":272,"material":98,"size":81,"collection":160,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":163},215861,"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,48,50,25,24,96,263,131,153,28,264,265,266,267,268,151,269,270,271,7],"岛屿","灯塔","港口","帆船","城镇","海面","植被","房屋","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[160],48,{"id":276,"slug":277,"title":278,"dynasty":18,"author":279,"museum":248,"description":280,"tags":281,"thumbUrl":293,"material":176,"size":294,"collection":81,"collections":295,"showCount":296,"zanCount":58,"manualWeight":11,"mainColor":163},223096,"zi-guang-ge-ci-yan-tu-juan-yao-wen-han-223096","紫光阁赐宴图卷","姚文瀚","乾隆二十五年（1761年），紫光阁修缮完成，乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月，乾隆皇帝又在此设庆功宴，王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代，到清代成为皇帝阅射和殿试武举之所，乾隆时重修，至今依然保持着当年盛世的形貌，图画中之建筑与紫光阁实景两相对照，饶有情趣。",[23,24,25,68,26,27,95,28,7,282,29,133,74,52,155,283,135,110,284,285,286,287,288,289,290,291,292],"帐篷","冬季树木","红色服饰","蓝色服饰","黄色帐篷","落叶树","常绿树","旗帜飘扬","飞鸟群","平台","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb785c231aa7f19856cb11465734c15e7.jpg","纵45.7厘米，横486.5厘米",[],45,{"id":298,"slug":299,"title":300,"dynasty":89,"author":301,"museum":65,"description":302,"tags":303,"thumbUrl":307,"material":81,"size":81,"collection":81,"collections":308,"showCount":309,"zanCount":180,"manualWeight":11,"mainColor":39},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","许道宁","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,47,48,49,304,25,96,26,94,240,7,28,305,306,27,198],"立轴","岩石","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],42,{"id":311,"slug":312,"title":313,"dynasty":89,"author":64,"museum":248,"description":314,"tags":315,"thumbUrl":318,"material":33,"size":319,"collection":320,"collections":321,"showCount":322,"zanCount":84,"manualWeight":11,"mainColor":39},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,48,49,50,25,24,68,316,26,27,31,96,28,133,110,7,129,317,52],"楷书","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1","宋画精选",[320],41,{"id":324,"slug":325,"title":326,"dynasty":18,"author":64,"museum":248,"description":327,"tags":328,"thumbUrl":331,"material":81,"size":81,"collection":35,"collections":332,"showCount":333,"zanCount":180,"manualWeight":11,"mainColor":39},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,48,49,24,25,26,28,129,153,329,7,330],"路径","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[35,100],39,{"id":335,"slug":336,"title":337,"dynasty":18,"author":64,"museum":20,"description":338,"tags":339,"thumbUrl":343,"material":344,"size":345,"collection":160,"collections":346,"showCount":347,"zanCount":11,"manualWeight":11,"mainColor":163},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[48,49,340,25,24,68,26,96,94,127,27,129,28,7,341,342,219],"册","军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纸本","纵55.4cm，横90.8cm",[160,35,100],37,{"id":349,"slug":350,"title":351,"dynasty":123,"author":352,"museum":353,"description":354,"tags":355,"thumbUrl":357,"material":81,"size":81,"collection":81,"collections":358,"showCount":347,"zanCount":11,"manualWeight":11,"mainColor":39},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","仇英","美国弗利尔美术馆","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,48,47,50,24,25,356,96,26,94,28,7,129,341],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":360,"slug":361,"title":362,"dynasty":207,"author":363,"museum":65,"description":364,"tags":365,"thumbUrl":371,"material":79,"size":80,"collection":225,"collections":372,"showCount":373,"zanCount":180,"manualWeight":11,"mainColor":228},225932,"garden-at-sainte-adresse-1867-mo-nai-225932","Garden at Sainte-Adresse, 1867","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[211,366,367,368,26,369,131,7,130,370],"印象派","海滨","花园","海景","晴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F500e17c4c192613c1fd38b341daf09f4.jpg",[225],33,{"id":375,"slug":376,"title":377,"dynasty":89,"author":378,"museum":248,"description":379,"tags":380,"thumbUrl":383,"material":384,"size":385,"collection":320,"collections":386,"showCount":373,"zanCount":180,"manualWeight":11,"mainColor":163},221356,"shan-yin-hui-zhan-tu-juan-li-gong-lin-221356","山阴会战图卷","李公麟","李公麟（1049～1106），北宋廬州府舒城縣人（今安徽舒城人），宋代傑出畫家。字伯時,號龍眠居士，(1049-1106)享年五十七歲。熙寧三年(公元1070年)進士。李龍眠即李公麟，字伯時，安徽舒城人，因桐城郊外有一龍眠山，李公麟曾長居於山下，所以又自號龍眠居士或龍眠山人。\n出身名門大族，家藏古器名畫法書甚多，自幼知識淵博，好古善鑑，多識奇字，自夏商以來鐘鼎尊彝皆能考訂世次，辨別款識。長於詩文，行楷書有晉人風。與王安石、蘇軾、米芾、黃庭堅為至交，系駙馬王詵之座上客。熙寧三年（1070）中進士，為中書門下省刪定官，後官至朝奉郎。元符三年（1100）病痹告老，居家鄉桐城龍眠山，號龍眠居士。一生勤奮，作畫無數，人物、史實、釋道、士女、山水、鞍馬、走獸、花鳥無所不能，無所不精。人物、道釋深得吳道子旨趣，運筆如行雲流水，造型正確，神態飛動；山水氣韻清秀，得王維正傳；着色山水追李思訓心法；畫馬過韓幹。能集諸家之長，得其大成，師法自然，大膽創新，自成一家，被後代敬為第一大手筆、百代宗師。",[23,47,48,49,50,69,381,26,94,7,151,382],"水墨","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca6087e9bb8a0ab5fd706b1ea01ef813.jpg","绢本，水墨淡设色","26.6x764",[320],{"id":388,"slug":389,"title":390,"dynasty":123,"author":64,"museum":65,"description":391,"tags":392,"thumbUrl":393,"material":81,"size":81,"collection":81,"collections":394,"showCount":395,"zanCount":11,"manualWeight":11,"mainColor":39},223622,"hu-jia-shi-ba-pai-tu-juan-yi-ming-223622","胡笳十八拍图卷","这是诗书画合一的叙事长卷，以古雅绢本为底，绘图配书，徐徐铺展蔡文姬的半生流离。画面里车马辚辚、城郭乡野、人物衣冠皆贴合古制，细节里藏着乱世羁旅的沉郁。每段题笔与场景呼应，将去国的怆然、归汉别子的两难尽数渲染，笔致朴拙温婉，把《胡笳十八拍》里的哀恸与深情具象为可视的场景，让文辞的悲戚落在人物的眉眼、步履之间，带着旧绢的温润底色，诉尽乱世女子的飘零宿命，让千年前的家国离愁跨越岁月，静静铺陈在卷上。",[23,47,48,49,50,25,24,69,26,94,27,7,282,96,28,240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a822cce9a1c19b42a164c7a30f03db9.jpg",[],32,{"id":397,"slug":398,"title":399,"dynasty":18,"author":400,"museum":401,"description":402,"tags":403,"thumbUrl":404,"material":405,"size":406,"collection":81,"collections":407,"showCount":395,"zanCount":11,"manualWeight":11,"mainColor":39},223065,"hong-lou-meng-51-sun-wen-223065","红楼梦51","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",[23,24,25,356,96,26,27,28,7,129,269,114,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38cd2b5c16cda13879fb7099dda2449d.jpg","绢本","纵43.3厘米、横76.5厘米",[],{"id":409,"slug":410,"title":411,"dynasty":18,"author":412,"museum":65,"description":413,"tags":414,"thumbUrl":415,"material":81,"size":81,"collection":81,"collections":416,"showCount":417,"zanCount":84,"manualWeight":11,"mainColor":39},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","乾隆","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,48,49,25,24,68,50,26,27,133,28,110,7,155,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],29,{"id":419,"slug":420,"title":421,"dynasty":18,"author":64,"museum":20,"description":422,"tags":423,"thumbUrl":424,"material":344,"size":425,"collection":81,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":163},233051,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233051","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[48,49,47,24,25,198,26,96,129,28,7],"http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着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[621,622,623,7,624,495,555,625,25],"纱绣","刺绣","布料","虎","飞虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f7d2d49641e11b1c35b340119b1ef9.jpg",[],15,{"id":630,"slug":631,"title":632,"dynasty":123,"author":64,"museum":65,"description":633,"tags":634,"thumbUrl":635,"material":79,"size":80,"collection":81,"collections":636,"showCount":628,"zanCount":11,"manualWeight":11,"mainColor":163},238578,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238578","明人升平翊赞图并书赞册","此作以工笔重彩绘就，设色浓妍饱满。青绿浪涛间晕染粉黄祥云，层次绵密铺展出神幻水境。右侧水府门庭威严矗立，赤甲神人持械守立；左侧仙官乘骑率众列队，仪仗整肃齐整，衣甲纹饰刻画入微，旌旗猎猎尽显仪典庄重。\n画作以叙事构图铺陈海神受贺的吉庆盛景，神人形象刚劲饱满，将神异世界的肃穆祥瑞融于一体，尽显道释绘画的精工富丽，勾勒出天界水府的恢弘气象。",[48,340,24,25,26,94,70,96,237,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3fa2435db481017698d178d3cf926d.jpg",[],{"id":638,"slug":639,"title":640,"dynasty":18,"author":641,"museum":20,"description":642,"tags":643,"thumbUrl":652,"material":176,"size":653,"collection":81,"collections":654,"showCount":628,"zanCount":11,"manualWeight":11,"mainColor":655},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[48,25,24,340,26,644,495,645,646,647,648,133,134,649,329,28,7,609,650,129,651],"美人","松树","假山","石阶","竹子","衣饰","庭院景观","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg","纵30.8厘米，横37.4厘米",[],"F48FB1",{"id":657,"slug":658,"title":659,"dynasty":89,"author":90,"museum":65,"description":660,"tags":661,"thumbUrl":662,"material":405,"size":663,"collection":81,"collections":664,"showCount":628,"zanCount":11,"manualWeight":11,"mainColor":39},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,48,49,50,24,25,26,94,495,96,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":666,"slug":667,"title":668,"dynasty":18,"author":64,"museum":65,"description":669,"tags":670,"thumbUrl":671,"material":79,"size":80,"collection":35,"collections":672,"showCount":673,"zanCount":11,"manualWeight":11,"mainColor":39},237251,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237251","名臣故事邓旭题颂册","右侧绘仪卫出行，人马错落排布，旗幡猎猎翻卷。武将着彩袍安坐鞍上，随行军士簇拥，仪仗鲜明严整，设色调和古雅，生动铺陈出戎阵煊赫声势，写实中带着装饰意趣。左侧行书题颂笔力苍劲俊逸，笔势辗转跌宕，诗文与绘作呼应，咏叹将帅戍边拓疆的功勋。\n整幅以书画合璧，绘事工写兼具，笔墨题咏相映，既以细腻笔触还原武臣仪仗的肃穆威严，又借题文寄寓褒扬之意，将纪事纪实与文人抒怀融于一处，尽显此类小品书画的雅致意蕴。",[48,49,340,25,24,26,94,7,461,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a3555d2ff0172d17e1a4b781e26e22.jpg",[35,100],13,{"id":675,"slug":676,"title":677,"dynasty":18,"author":64,"museum":20,"description":678,"tags":679,"thumbUrl":682,"material":683,"size":684,"collection":81,"collections":685,"showCount":686,"zanCount":11,"manualWeight":11,"mainColor":163},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[47,48,49,340,25,24,26,96,680,7,496,153,28,305,681,341,556],"战马","丘陵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","纸本，设色","长55.6厘米，宽91.1厘米",[],12,{"id":688,"slug":689,"title":690,"dynasty":123,"author":64,"museum":65,"description":691,"tags":692,"thumbUrl":693,"material":81,"size":81,"collection":81,"collections":694,"showCount":686,"zanCount":180,"manualWeight":11,"mainColor":39},228783,"ru-bi-tu-yi-ming-228783","入跸图","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,48,49,47,50,24,25,26,27,127,128,136,94,96,28,129,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"i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横四二·三厘米",[],11,{"id":710,"slug":711,"title":337,"dynasty":18,"author":64,"museum":20,"description":712,"tags":713,"thumbUrl":714,"material":344,"size":345,"collection":81,"collections":715,"showCount":708,"zanCount":11,"manualWeight":11,"mainColor":163},233096,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233096","《平定苗疆得胜图》亦称《湖南战役图》，十六幅图依次为：兴师图、剿捕秀山苗匪、攻克木山、攻解松桃之围、大剿土空寨苗匪解永绥城围、攻克兰草坪滚牛坡、攻克黄瓜寨剿贼、攻克苏麻寨、攻得茶它柳夯等处贼巢、攻克高多寨生擒逆首吴半生、攻克廖家冲生擒首逆石三保、收复乾州、攻克强虎哨、攻克平陇贼巢、捷来图、攻克石隆苗寨。\n清乾隆五十九年（1794年），湖南、贵州的苗民在石三堡、石柳邓、吴半生等人的率领下起义。清政府先后派云贵总督福康安、四川总督和琳等出兵镇压。《平定苗疆得胜图》是以这一历史事件中的几次重大战役为题材创作而成。\n作者采用了中国传统绘画中的皴法刻画山石麻皮状的纹理和峭立的山势，并以细腻的刻画手法及娴熟的线条运用较好地勾勒出物象的质感。战争场面气势恢宏，人物造型受中国传统木版画的影响，呈头大身小的特点，古朴稚拙。",[47,48,49,340,25,24,198,26,94,96,27,28,7,496,129,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b021a92da1c0a0009270e048b28a75.jpg",[],{"id":717,"slug":718,"title":719,"dynasty":207,"author":363,"museum":65,"description":364,"tags":720,"thumbUrl":724,"material":79,"size":80,"collection":225,"collections":725,"showCount":708,"zanCount":11,"manualWeight":11,"mainColor":163},226111,"the-rue-montorgueil-30th-of-june-1878-1878-mo-nai-226111","The 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1878",[211,366,721,155,7,722,723],"城市街道","庆典场景","光色表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4014f541b8458aa278940abc6c414709.jpg",[225],{"id":727,"slug":728,"title":729,"dynasty":123,"author":352,"museum":730,"description":731,"tags":732,"thumbUrl":733,"material":33,"size":734,"collection":81,"collections":735,"showCount":708,"zanCount":11,"manualWeight":11,"mainColor":39},219771,"lin-song-ren-hua-ce-8-chou-ying-219771","临宋人画册-8","上海博物馆","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[48,49,340,25,24,235,96,26,94,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c01e223047281d3ec075c0fd6e28c4.jpg","27.2x25.5厘米",[],{"id":737,"slug":738,"title":739,"dynasty":18,"author":740,"museum":65,"description":741,"tags":742,"thumbUrl":745,"material":79,"size":80,"collection":81,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":163},239359,"lu-bu-tu-juan-ding-guan-peng-239359","卤簿图卷","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,47,48,49,50,24,25,26,52,7,496,743,744,153],"礼器","车马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98560f45893d959e7176c71fab282a.jpg",[],10,{"id":749,"slug":750,"title":751,"dynasty":18,"author":19,"museum":20,"description":752,"tags":753,"thumbUrl":755,"material":176,"size":756,"collection":81,"collections":757,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":163},234112,"bing-xi-tu-juan-jin-kun-234112","冰嬉图卷","冰嬉是一种带有节令特色的体育活动。清代宫内有冬季冰嬉的习俗，并将其视为“国俗”，乾隆皇帝说“冰嬉为国制所重”。每年从八旗官兵中挑选“善走冰”的能手入宫训练，冬至到“三九”时在西苑冰上举行冰嬉。皇帝率王公大臣等前往观看，赛后皇帝分等次，恩赏银两。\n此图中描绘的冰嬉地点应该是金鳌玉蝀桥（即今北海桥）之南的水面，表演的是转龙射球项目。画面上右侧众人簇拥的就是皇帝华丽的冰床。冰场上，旗手和射手们间隔排列，盘旋曲折滑行于冰上，远望之，蜿蜒如龙形。在将近御座处，设一旌门，上悬一球，称天球。转龙队伍滑至此处时，分别射矢，中者有赏。另外在滑行队伍中还有各项杂技表演，如舞刀、叠罗汉及花样滑等。表演者的各种姿态让凛冽的寒冬充满生机。\n乾隆皇帝多次命画家将冰嬉场面绘成画卷收藏起来。这种画卷应该是一种写实作品，再现当时的场景。\n图中尽收西苑内的远近亭台楼阁，雾霭掩隐的房屋和挂霜的树枝表明北方正当严冬。\n画面上有嵇璜书写的乾隆皇帝《御制冰嬉赋有序》。",[18,48,49,50,24,25,26,27,28,754,7,30],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd27be23d302daec6c9572471dd8685.jpg","纵35厘米，横578.8厘米",[],{"id":759,"slug":760,"title":761,"dynasty":123,"author":64,"museum":65,"description":762,"tags":763,"thumbUrl":764,"material":81,"size":81,"collection":81,"collections":765,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":228},228820,"ju-shou-yi-ji-gu-hua-ce-yi-ming-228820","鞠寿簃集古画册","此作以工笔绘就水上演武图景，主体楼船层台重垒，舰首狞猛兽形威仪赫赫，旌旗猎猎舒展。甲板之上，士卒或执械列队，或奔走值守，各司其职，将水师校阅的整肃之气尽显。水面间三两快船穿梭，舟上健儿动作利落矫健，细碎晕染的水纹晕开行舟的动感。古雅沉郁的色调晕染出旧时光晕，精细的线条勾勒出楼船的精巧形制与人物神态，纪实之中带着古典工笔的雅致意趣，静中见动，将水军演武的鲜活场面凝于绢素之上，尽显水师的整肃气势。",[23,48,24,25,68,340,26,94,72,27,73,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d335e817b2ea77b1411cd30bdeff314.jpg",[],{"id":767,"slug":768,"title":769,"dynasty":18,"author":64,"museum":248,"description":327,"tags":770,"thumbUrl":773,"material":81,"size":81,"collection":81,"collections":774,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":39},223416,"ma-zu-qi-ji-g-yi-ming-223416","妈祖奇迹G",[23,48,25,24,447,26,72,7,771,266,268,772],"海浪","群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F594511b7c858a89a3117cd1ae3d4285a.jpg",[],{"id":776,"slug":777,"title":778,"dynasty":18,"author":64,"museum":65,"description":779,"tags":780,"thumbUrl":782,"material":79,"size":80,"collection":81,"collections":783,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":785},273927,"lv-se-duan-xiu-yun-fu-wen-fei-hu-qi-yi-ming-273927","绿色缎绣云蝠纹飞虎旗","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[622,623,7,624,495,555,781,25,625],"蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ce65f4486e98fec30175fb5eca3373.jpg",[],8,"0D904F",{"id":787,"slug":788,"title":789,"dynasty":18,"author":64,"museum":65,"description":790,"tags":791,"thumbUrl":795,"material":79,"size":80,"collection":81,"collections":796,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":39},239030,"qing-ren-she-lu-tu-zhou-yi-ming-239030","清人射鹿图轴","此作以上下两段铺陈郊原射猎之景。上半幅中，猎手匿于花树间引弓待发，惊鹿仓皇奔逃，刹那间的张力跃然绢上。枯木与花树交错，晕染出春日郊野的清寂生机，松石点缀更衬出林野旷远。\n\n下半幅则绘扈从人马徐行，旌旗随风舒展，将射猎的紧绷感化为从容随行的闲缓，一动一静对比精妙。设色调古雅沉静，鞍马人物刻画灵动写实，衣袂、马鬃的细节皆见用心，将古时游猎的悍勇风雅揉入笔底，尽显郊猎野趣与出行的从容气度。",[48,25,24,304,26,94,792,793,129,7,794],"鹿","树","骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc7dd3f519478a9abc863e24f8e3b3b.jpg",[],{"id":798,"slug":799,"title":632,"dynasty":123,"author":64,"museum":65,"description":800,"tags":801,"thumbUrl":804,"material":79,"size":80,"collection":81,"collections":805,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":163},238564,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238564","这幅工笔道释画以浓云划分天地，上方诸天护法与邪魔鏖战，仙神宝相端严、衣袂明丽，邪祟狞恶怪异，焰光翻卷，将斗法的炽烈烘托得淋漓尽致。下方城池烟气弥漫，水波之畔圣者垂怜施救，官民虔诚瞻拜，一侧将士挥旗整阵，尽显惶惶灾厄与护持之态。\n全作设色浓妍古雅，线条精细劲挺，以云气与焰光强化画面张力，将神幻战阵与人间世相并置，把护佑升平的祈愿寄于鲜活绘卷，叙事性与装饰性兼具，尽显传统道释工笔的精妙意趣。",[48,49,340,25,24,26,70,94,802,27,7,447,96,132,153,803],"云","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68b38055df6753500fb166a111542903.jpg",[],{"id":807,"slug":808,"title":809,"dynasty":207,"author":810,"museum":65,"description":811,"tags":812,"thumbUrl":819,"material":79,"size":80,"collection":81,"collections":820,"showCount":784,"zanCount":180,"manualWeight":11,"mainColor":39},231725,"jiang-hu-shi-dai-ge-wu-ji-ping-feng-tu-di-yi-ping-ling-chuan-shi-xuan-231725","江户时代 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Jean Desprez--View of the Portal and Principal 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