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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[23,30,27,56,57,28,58,29,59,60,61,62,34,63,36,64,65,7,66,67,68],"界画","皴法","楼阁","竹","山石","流水","飞鸟","建筑","回廊","石桥","栏杆","房屋","竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg","绢本，设色","纵188.2厘米，横102.2厘米","",[],61,{"id":76,"slug":77,"title":78,"dynasty":51,"author":79,"museum":20,"description":80,"tags":81,"thumbUrl":88,"material":89,"size":90,"collection":43,"collections":91,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":46},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[82,83,23,30,27,56,84,29,58,28,85,36,34,67,86,66,60,87,63,7],"高清","名画","中西合璧","雪地","台阶","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg","绢本设色","188.2*102.2cm",[43,92],"设色画精选",{"id":94,"slug":95,"title":96,"dynasty":51,"author":97,"museum":53,"description":98,"tags":99,"thumbUrl":102,"material":70,"size":103,"collection":92,"collections":104,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":106},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","张廷彦","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[23,24,25,27,30,56,100,29,58,36,34,101,63,7],"清代","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[92],59,"BDBDBD",{"id":108,"slug":109,"title":110,"dynasty":111,"author":112,"museum":53,"description":113,"tags":114,"thumbUrl":122,"material":70,"size":123,"collection":72,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":46},233698,"jiang-shan-qiu-se-tu-juan-zhao-bo-ju-233698","江山秋色图卷","宋","赵伯驹","此图为青绿设色。画中有青山碧水、殿宇村舍，栈道、桥梁穿插其间，又有苍松翠柏，茂林修竹，移步换景，令人玩味不尽。山石用小斧劈皴法，再施以青绿重色；树木、建筑刻画细腻精谨，点景人物描绘细致入微。整幅作品布局宏大，细节丰富，色彩浓丽而不失清雅，刻画精细而不琐碎，带有宋代画院气派。",[83,23,24,115,116,27,30,57,28,117,118,36,119,58,33,61,60,120,121,7],"长卷","青绿","山峰","河流","亭台","植被","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7938477d39bcc25b27dcddc14b743fa4.jpg","纵55.6厘米，横323.2厘米",[],54,{"id":127,"slug":128,"title":129,"dynasty":130,"author":131,"museum":132,"description":133,"tags":134,"thumbUrl":153,"material":154,"size":155,"collection":156,"collections":157,"showCount":158,"zanCount":159,"manualWeight":11,"mainColor":106},225727,"by-the-seine-1887-fan-gao-225727","By 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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。",[135,136,137,138,139,118,140,29,141,142,143,144,145,7,146,147,148,149,150,151,152],"油画","后印象派","笔触明显","色彩明快","树","沙滩","天空","岸边","光影表现","户外场景","自然景观","绿色植物","蓝色水体","黄色沙地","蓝天白云","河岸风光","动态笔触","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d6cb3c9107504f4e656a3b855bad2f.jpg","未知","Xcm*Xcm","油画精选",[156],28,1,{"id":161,"slug":162,"title":163,"dynasty":51,"author":164,"museum":165,"description":166,"tags":167,"thumbUrl":172,"material":173,"size":174,"collection":72,"collections":175,"showCount":176,"zanCount":11,"manualWeight":11,"mainColor":46},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172","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",[82,23,30,27,29,168,58,59,169,60,34,170,36,171,7],"美人","芭蕉","栅栏","黄叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg","绢本","纵43.3厘米、横76.5厘米",[],26,{"id":178,"slug":179,"title":180,"dynasty":130,"author":181,"museum":132,"description":182,"tags":183,"thumbUrl":184,"material":154,"size":155,"collection":72,"collections":185,"showCount":186,"zanCount":11,"manualWeight":11,"mainColor":106},231735,"shan-shui-ren-wu-juan-xia-bu-ji-tong-231735","山水人物卷(下部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[82,23,24,115,27,30,56,29,58,28,36,34,63,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a280d4f710ef9cf58d529163770ed3.jpg",[],25,{"id":188,"slug":189,"title":190,"dynasty":51,"author":164,"museum":165,"description":166,"tags":191,"thumbUrl":203,"material":173,"size":174,"collection":72,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":46},222903,"hong-lou-meng-28-sun-wen-222903","红楼梦28",[82,23,30,27,115,56,192,193,34,36,194,195,196,197,7,198,199,200,201,202],"人物画","古典绘画","怪石","古典建筑","室内场景","室外场景","陈设","古代服饰","器物","对联","山水纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf114af71bd44fc7209522477504afd.jpg",[],24,{"id":207,"slug":208,"title":209,"dynasty":51,"author":164,"museum":165,"description":166,"tags":210,"thumbUrl":222,"material":173,"size":174,"collection":72,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":46},223049,"hong-lou-meng-174-sun-wen-223049","红楼梦174",[82,23,24,30,27,29,58,34,36,200,201,211,212,198,213,195,214,215,7,216,217,218,219,220,221],"衣帽","仕女","花木","室内陈设","植物景观","传统服饰","中式庭院","工笔重彩","建筑细节","器物陈列","花木点缀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88fad2c2f3af8a63a17937234540e5be.jpg",[],21,{"id":226,"slug":227,"title":228,"dynasty":130,"author":52,"museum":132,"description":229,"tags":230,"thumbUrl":243,"material":154,"size":155,"collection":72,"collections":244,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":106},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[231,232,27,233,36,60,61,29,63,234,235,236,237,238,7,239,145,240,241,242],"浮世绘","木刻","瀑布","小屋","水域","浴场场景","植物","山石景观","传统建筑","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],11,{"id":247,"slug":248,"title":249,"dynasty":51,"author":250,"museum":53,"description":251,"tags":252,"thumbUrl":254,"material":72,"size":255,"collection":72,"collections":256,"showCount":245,"zanCount":11,"manualWeight":11,"mainColor":106},223218,"geng-zhi-tu-ce-jiao-bing-zhen-223218","耕织图册","焦秉贞","《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。",[83,23,24,253,30,27,56,29,58,34,36,66,67,214,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a7d23a4022a2082587574e5d05a51e.jpg","34.7cm×27.7cm",[],{"id":258,"slug":259,"title":260,"dynasty":111,"author":52,"museum":132,"description":261,"tags":262,"thumbUrl":269,"material":72,"size":72,"collection":72,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":106},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 春庭行乐图 眼药酸图 人物故事图 寒林策蹇图 竹林拨阮图 蚕织图 蚕织图 蚕织图 蚕织图 女孝经图 女孝经图 女孝经图 女孝经图 千秋绝艳图 千秋绝艳图 牧马图 望贤迎驾图 蕉石戏婴图 蕉荫击球图 槐荫击球图 杂剧图 雍正妃行乐图之二 雍正妃行乐图之六 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