[{"data":1,"prerenderedAt":156},["ShallowReactive",2],{"subject-ri-chang-lao-zuo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2784,"ri-chang-lao-zuo","日常劳作","日常劳作画高清赏析","精选中国历代日常劳作题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef8fdc203e96184cf1dcaf781ed53ba.jpg",0,6,[14,54,76,95,120,135],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":47,"material":48,"size":49,"collection":50,"collections":51,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},238445,"geng-zhi-tu-ce-mian-yi-238445","耕织图册","清","绵亿","藏地不详","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[23,24,25,26,27,28,29,30,31,32,33,34,7,35,36,37,38,39,40,41,42,43,44,45,46],"国画","设色","工笔","册","界画","人物","建筑","纺织工具","农具","庭院","草木","器物","孩童","竹棚","木桶","织物","草地","柱子","格子窗","竹帘","木架","栅栏","绳索","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d37f566a234b1327c9f0ce5f533f64.jpg","未知","Xcm*Xcm","",[],4,"BDBDBD",{"id":55,"slug":56,"title":17,"dynasty":18,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":73,"material":50,"size":74,"collection":50,"collections":75,"showCount":52,"zanCount":11,"manualWeight":11,"mainColor":53},223203,"geng-zhi-tu-ce-jiao-bing-zhen-223203","焦秉贞","北京故宫博物院","《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。",[61,23,25,24,26,28,62,63,64,65,66,67,68,69,70,7,71,72],"名画","房屋","树木","植物","山水","田地","工具","桌子","椅子","劳作场景","农耕","纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7be90100c899cc1bf3bb0f9d2b18bc.jpg","34.7cm×27.7cm",[],{"id":77,"slug":78,"title":79,"dynasty":80,"author":81,"museum":20,"description":82,"tags":83,"thumbUrl":92,"material":48,"size":49,"collection":50,"collections":93,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":53},288604,"jonas-umbach-january-one-of-a-series-representing-the-labors-yi-ming-288604","Jonas Umbach--January (one of a series representing the labors","不详","佚名","暖棕的红粉笔铺就冬日底色，画面被暖意与萧寒生生切开。前景炉火明旺，烤火的男子摊开手掌烘着寒气，脚边小狗垂首摇尾静候温存，侍者端着热气氤氲的食盘，将烟火气揉进暖室。背景街巷清寒，行人瑟缩赶路，将冬日凛冽尽数写在佝偻的背影里。\n\n线条松弛灵动，明暗晕开冷暖边界，把隆冬里市井日常的温热与奔波的清冷对撞，粗粝笔触勾勒出鲜活的人间情态，让萧索冬日晕开熨帖暖意，定格下寒月里最平凡动人的片刻温存。",[84,85,28,86,87,62,88,89,90,91,7],"素描","西洋画","狗","炉火","街道","市井生活","室内场景","室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc0adf67108b3fb7f67076724fc5493.jpg",[],1,{"id":96,"slug":97,"title":98,"dynasty":80,"author":99,"museum":20,"description":100,"tags":101,"thumbUrl":118,"material":48,"size":49,"collection":50,"collections":119,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":53},232140,"in-a-laundry-circa-glasgow-art-gallery-and-museum-scotland-de-jia-232140","In a Laundry - 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