[{"data":1,"prerenderedAt":67},["ShallowReactive",2],{"subject-qing-dai-hui-hua":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1212,"qing-dai-hui-hua","清代绘画","清代绘画画高清赏析","精选中国历代清代绘画题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8726b8392766ecf453799b841e7b8074.jpg",0,2,[14,46],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},222868,"shi-gong-ci-tu-ce-07-leng-mei-222868","十宫词图册07","清","冷枚","北京故宫博物院","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38],"高清","国画","书画","册","工笔","设色","界画","人物","仕女","楼阁","山水","庭院","石阶","花木","工笔重彩","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c56859c3524c0625a8927ab32b68f3.jpg","绢本，设色","纵33.1厘米，横29.3厘米","",[],15,"795548",{"id":47,"slug":48,"title":49,"dynasty":18,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":61,"material":62,"size":63,"collection":42,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},219666,"hai-cuo-tu-di-si-ce-2-nie-huang-219666","海错图第四册-2","聂璜","台北故宫博物院","清代康熙年间一部主要描绘海洋生物的图谱，由聂璜绘制，共四册。清雍正四年（1726年），被太监苏培盛搜罗入宫，现第一、二、三册，共三存于北京故宫博物院，第四册存于台北故宫博物院。",[24,25,26,28,27,54,55,56,57,58,59,60,7],"海物","贝壳","海虫","水墨设色","海洋生物","写实","细致描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb08b8861233fda488cb35a0e95dd3044.jpg","纸本,设色","30.4x68厘米",[],3,"BDBDBD",1777535789451]