[{"data":1,"prerenderedAt":700},["ShallowReactive",2],{"subject-shi-cong":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},997,"shi-cong","侍从","侍从画高清赏析","精选中国历代侍从题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5405540098c98cb59c0f4ae1c7807ce7.jpg",0,46,[14,46,77,96,110,138,151,167,184,201,216,232,246,261,277,291,310,325,339,351,362,376,385,397,419,431,444,459,473,487,499,512,521,533,545,557,566,575,589,602,617,643,653,664,677,688],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},287636,"mo-li-zhao-dao-ming-huang-xing-shu-tu-quan-juan-chou-ying-287636","摹李昭道明皇幸蜀图全卷","明","仇英","藏地不详","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7,37],"高清","国画","长卷","临摹","工笔","青绿","设色","山水","人物","马","古道","小桥","山峦","历史画","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg","未知","Xcm*Xcm","",[],380,1,"795548",{"id":47,"slug":48,"title":49,"dynasty":18,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":69,"material":70,"size":71,"collection":72,"collections":73,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":45},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","大英博物馆","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,54,24,55,56,57,29,27,58,59,60,31,32,61,62,63,64,65,7,66,67,68],"名画","书画","立轴","界画","宫城","楼阁","宫殿","驴","建筑","城池","仪仗","官员","树木","桥梁","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","绢本,设色","高170厘米，宽110.8厘米","人物画精选",[72,74],"设色画精选",192,5,{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":83,"description":84,"tags":85,"thumbUrl":92,"material":70,"size":41,"collection":72,"collections":93,"showCount":94,"zanCount":95,"manualWeight":11,"mainColor":45},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","宋","陈居中","台北故宫博物院","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,55,25,27,29,31,30,32,66,86,87,7,88,89,90,91],"山石","旌旗","骑兵","车驾","郊野","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[72],171,2,{"id":97,"slug":98,"title":99,"dynasty":81,"author":100,"museum":20,"description":101,"tags":102,"thumbUrl":107,"material":39,"size":40,"collection":41,"collections":108,"showCount":109,"zanCount":95,"manualWeight":11,"mainColor":45},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","佚名","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[23,24,55,56,29,27,103,31,7,104,105,106],"宗教","莲花座","服饰","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],147,{"id":111,"slug":112,"title":113,"dynasty":114,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":131,"material":132,"size":133,"collection":72,"collections":134,"showCount":135,"zanCount":136,"manualWeight":11,"mainColor":137},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","清","郎世宁","北京故宫博物院","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,29,27,119,120,121,122,123,124,125,34,126,86,127,7,128,129,130],"人物画","画中画","佛教","普贤菩萨","文殊菩萨","松树","竹子","流水","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纸本，设色","纵136.4厘米，横62厘米",[72,74],120,3,"BDBDBD",{"id":139,"slug":140,"title":141,"dynasty":142,"author":143,"museum":20,"description":144,"tags":145,"thumbUrl":148,"material":41,"size":41,"collection":41,"collections":149,"showCount":150,"zanCount":44,"manualWeight":11,"mainColor":45},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","唐","阎立本","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[23,54,24,55,25,27,29,31,127,7,146,147],"衣帽","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],80,{"id":152,"slug":153,"title":154,"dynasty":81,"author":100,"museum":83,"description":155,"tags":156,"thumbUrl":163,"material":70,"size":164,"collection":72,"collections":165,"showCount":166,"zanCount":44,"manualWeight":11,"mainColor":45},218719,"luo-han-tu-yi-ming-218719","罗汉图","在花园的一个角落里，一个盘腿的罗什坐在冥想椅上，右手拿着一个花瓶，从花瓶里向天空照出一道红光。椅子前面是一张花台，上面有一盆植物和一个香炉，花台前面是一个人，手里拿着一个宝箱。颜色鲜艳，装饰柔和，笔触精确。罗汉和拜师者衣服上的凤凰和花朵图案，禅椅上的锦垫，花几上的花巾，禅椅上的树和坐垫，甚至拜师者的头发，都刻画得非常细致，可与刘松年的罗汉院画相媲美。",[23,24,55,56,29,27,103,31,157,158,159,160,161,7,66,162],"罗汉","柳树","栏杆","座椅","鞋履","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd362133adfb33f41649c7af71c1066fb.jpg","105.5x55.6",[72],68,{"id":168,"slug":169,"title":170,"dynasty":142,"author":171,"museum":20,"description":172,"tags":173,"thumbUrl":181,"material":39,"size":40,"collection":41,"collections":182,"showCount":183,"zanCount":95,"manualWeight":11,"mainColor":45},230932,"lao-zi-wan-qin-tu-zhou-fang-230932","老子玩琴图","周昉","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[24,55,29,27,31,174,175,176,177,178,179,180,7],"乐器","琴","卷轴","笔筒","花瓶","器物","老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb93b889377a7553bda57900933d925.jpg",[],66,{"id":185,"slug":186,"title":187,"dynasty":81,"author":100,"museum":20,"description":188,"tags":189,"thumbUrl":198,"material":41,"size":41,"collection":41,"collections":199,"showCount":200,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,24,25,26,29,27,190,30,31,191,192,32,59,66,193,194,7,195,196,86,197],"白描","舟船","龙","云雾","旗帜","神仙","河流","车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0846a7d82dcbae011c1e4eb6f39c2e7e.jpg",[],54,{"id":202,"slug":203,"title":204,"dynasty":18,"author":205,"museum":83,"description":206,"tags":207,"thumbUrl":211,"material":212,"size":213,"collection":72,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":45},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,55,27,29,103,31,32,208,30,86,209,196,147,7,210],"树","草地","经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","纸本,设色","130.9x54.5",[72],53,{"id":217,"slug":218,"title":219,"dynasty":142,"author":100,"museum":220,"description":221,"tags":222,"thumbUrl":229,"material":39,"size":40,"collection":41,"collections":230,"showCount":231,"zanCount":44,"manualWeight":11,"mainColor":45},226220,"ku-yong-dao-nan-bi-yi-ming-226220","窟甬道南壁","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[223,29,103,31,224,225,226,227,7,228],"壁画","飞天","祥云","马车","神佛","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60fc23eb0a795ff982e50a1a833031a.jpg",[],50,{"id":233,"slug":234,"title":235,"dynasty":114,"author":100,"museum":236,"description":237,"tags":238,"thumbUrl":242,"material":70,"size":41,"collection":243,"collections":244,"showCount":245,"zanCount":44,"manualWeight":11,"mainColor":45},216004,"di-jian-tu-shuo-cai-hui-ben-yi-ming-216004","帝鉴图说彩绘本","法国国家图书馆","轩敞的亭榭下，石阶层层延伸。上层人物或踞坐或侍立，衣饰色彩浓淡相宜；下层侍从手捧托盘拾级而上，步履从容。阶前执械的卫士身姿挺拔，添了几分庄重。画面左角树木葱郁，那株被红栏围绕的乔木尤为醒目；右侧松枝虬劲，石畔草木葳蕤。整幅画色调明润，线条细腻：飞檐的弧度、栏杆的纹理、人物的衣袂褶皱，皆刻画入微。既见建筑的精巧布局，又显人物的鲜活情态，仿佛将一段旧时的仪典场景凝于尺幅之间，静述着时光里的从容与雅致。",[24,29,27,57,31,59,239,208,159,240,7,241],"亭","台阶","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg","山水画精选",[243],48,{"id":247,"slug":248,"title":249,"dynasty":18,"author":100,"museum":83,"description":250,"tags":251,"thumbUrl":257,"material":70,"size":258,"collection":72,"collections":259,"showCount":260,"zanCount":44,"manualWeight":11,"mainColor":45},219346,"song-feng-gao-yi-tu-yi-ming-219346","松风高逸图","苍松如盖，虬枝盘结，松针层叠似涛，古干斑驳间尽显岁月苍劲。树下士人或揖或立，衣袂轻扬，神情悠然，似在共赏林泉之趣；侍从侧侍，动静相宜，更衬雅集之闲。远景山水含烟，溪石错落，淡墨晕染出清旷悠远之境。全图笔墨细腻，设色古雅，将文人雅士寄情丘壑、超然物外的高逸情怀，悄然融于松风山水间，尽显林下之风的悠然意趣。笔墨间藏着对自然的敬畏与对闲适的向往，每一处线条都似在诉说文人心中的丘园之思。",[24,29,27,252,253,7,30,254,255,256],"苍松","士人","雅集","闲适","超然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82e3aa8da1e36d0f5288daacf61eaca.jpg","132×46cm",[72],40,{"id":262,"slug":263,"title":264,"dynasty":18,"author":265,"museum":266,"description":267,"tags":268,"thumbUrl":274,"material":41,"size":41,"collection":41,"collections":275,"showCount":276,"zanCount":44,"manualWeight":11,"mainColor":45},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","陈洪绶","天津博物馆","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,55,56,27,29,190,31,269,7,270,271,272,86,66,273],"高士","枯树","孤石","梅枝","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],39,{"id":278,"slug":279,"title":280,"dynasty":142,"author":281,"museum":20,"description":282,"tags":283,"thumbUrl":289,"material":41,"size":41,"collection":41,"collections":290,"showCount":276,"zanCount":11,"manualWeight":11,"mainColor":45},227095,"gao-yi-tu-sun-wei-227095","高逸图","孙位","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,54,24,25,27,29,31,208,284,285,147,286,7,287,288],"石","书法","器","扇子","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":292,"slug":293,"title":294,"dynasty":295,"author":296,"museum":20,"description":297,"tags":298,"thumbUrl":307,"material":39,"size":40,"collection":41,"collections":308,"showCount":309,"zanCount":44,"manualWeight":11,"mainColor":45},287336,"shi-ba-xue-shi-ju-hui-tu-juan-qian-xuan-287336","十八学士聚会图卷","元","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,54,24,25,29,31,27,299,300,301,302,303,304,305,59,306,7],"园林","竹林","古木","仙鹤","马匹","宴饮","聚会","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d57a33c5bf1c2de793373e80b8ac2ee.jpg",[],36,{"id":311,"slug":312,"title":313,"dynasty":114,"author":100,"museum":20,"description":314,"tags":315,"thumbUrl":322,"material":39,"size":40,"collection":41,"collections":323,"showCount":324,"zanCount":11,"manualWeight":11,"mainColor":137},234447,"e-mi-tuo-fo-ji-le-shi-jie-tang-ka-yi-ming-234447","阿弥陀佛极乐世界唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[316,103,27,29,317,31,59,225,318,224,30,62,319,157,7,320,321],"唐卡","重彩","莲花","菩萨","神兽","莲花池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1547b88b586a795e0d8869e0cdf7e3a.jpg",[],27,{"id":326,"slug":327,"title":328,"dynasty":114,"author":329,"museum":20,"description":330,"tags":331,"thumbUrl":336,"material":39,"size":40,"collection":41,"collections":337,"showCount":338,"zanCount":11,"manualWeight":11,"mainColor":137},287443,"mo-yan-li-ben-xiao-yi-zhuan-lan-ting-tu-ding-guan-peng-287443","摹阎立本萧翼赚兰亭图","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》。",[23,24,25,55,190,29,119,26,332,333,306,7,334,335,147,285],"萧翼赚兰亭","历史故事","茶具","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],24,{"id":340,"slug":341,"title":342,"dynasty":18,"author":100,"museum":20,"description":343,"tags":344,"thumbUrl":348,"material":39,"size":40,"collection":41,"collections":349,"showCount":350,"zanCount":11,"manualWeight":11,"mainColor":45},287635,"shi-ba-xue-shi-tu-zhi-si-yi-ming-287635","十八学士图之四","松荫庭院间，雅集正酣。文士围案品评法帖，或蹙眉凝思，或倾身低语，神态各异却皆沉浸翰墨意趣之中。侍童垂手待命，后方书童打理卷轴器物，尽显雅聚的悠然闲适。\n\n画作工致写实，衣纹线条劲挺流畅，将文士的温雅气度勾勒入微。屏上淡绘江楼烟景呼应室外虬松古木，案几陈设精巧写实，古雅色调晕染出沉静氛围。整幅画以细腻笔触铺陈出文人雅集的林下之境，将崇文尚雅的意涵融于绢素，尽显静穆雅致的传统美学意韵。",[24,54,29,119,345,346,162,7,27,347],"文人雅集","松","亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d3a725df4efb86a48a7c87130040fe.jpg",[],22,{"id":352,"slug":353,"title":354,"dynasty":81,"author":100,"museum":20,"description":355,"tags":356,"thumbUrl":359,"material":39,"size":40,"collection":41,"collections":360,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":45},287720,"song-di-hou-quan-shen-xiang-song-ren-zong-hou-yi-ming-287720","宋帝后全身像-宋仁宗后","画面中心的皇后凤冠巍峨，珠翠攒簇尽显皇家贵气，石青朝服遍饰团纹华彩，朱红镶边衬得仪态端严雍容。两侧侍女低眉恭立，素净襦裙配朱绦，执器躬身，衬出帝后威仪。\n\n此作用色古雅沉静，矿物石色经岁仍鲜亮匀净，线条清劲凝练，衣褶流转间尽显宋人写实功力。凤冠珠饰、衣纹织绣肌理均精细入微，恪守院体肖像的工整法度。整幅作品肃穆庄重，将北宋宫廷礼制下的仪范与雅致审美凝于绢素，是宋代肖像画写实彰礼的典型之作。",[24,29,27,31,357,7,358,146],"后妃","宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcacf4ba4c7a6dba02d712a7b4973918e.jpg",[],21,{"id":363,"slug":364,"title":365,"dynasty":18,"author":265,"museum":20,"description":366,"tags":367,"thumbUrl":374,"material":41,"size":41,"collection":41,"collections":375,"showCount":361,"zanCount":11,"manualWeight":11,"mainColor":45},228295,"xi-zhi-long-e-tu-chen-hong-shou-228295","羲之笼鹅图","《右军笼鹅图》是明代陈洪绶创作的一幅纸本设色画。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,24,29,27,31,368,369,370,371,372,373,306,7],"笼","鹅","扇","竹","长袍","古装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],{"id":377,"slug":378,"title":379,"dynasty":142,"author":143,"museum":20,"description":380,"tags":381,"thumbUrl":382,"material":39,"size":40,"collection":41,"collections":383,"showCount":384,"zanCount":11,"manualWeight":11,"mainColor":45},287601,"li-dai-di-wang-tu-se-shen-yan-li-ben-287601","历代帝王图（色深）","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,54,24,55,25,29,27,31,127,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9784e9f67bf9d4e3958d6bbacabd4e87.jpg",[],20,{"id":386,"slug":387,"title":388,"dynasty":18,"author":100,"museum":20,"description":389,"tags":390,"thumbUrl":394,"material":39,"size":40,"collection":41,"collections":395,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":45},288008,"mo-yan-li-ben-suo-jian-tu-juan-yi-ming-288008","摹阎立本锁谏图卷","此作设色古澹沉静，绘就朝堂受降一幕。右下方番使伏地请降，旁侧劲卒牵犬按兵环侍，居中王者踞坐，神态威严自持，甲胄武士执兵拱卫身侧，左侧仕女仪仗端整，松石布景衬出肃穆朝堂气象。\n线条劲挺圆转，人物神情各尽其态：降者惶恐畏缩，王者端凝从容，甲士悍勇剽悍，仕女温婉静穆，尽得唐人人物画的传神意趣。整卷气息沉厚，虽为摹本，仍复刻出古贤劲爽的勾勒晕染，将社稷柱石的凛然风骨藏于人物俯仰之间，尽显追摹唐风的精妙。",[23,54,24,25,29,31,27,26,36,65,7,391,252,392,285,147,393],"犬","怪石","直谏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1154c1fb30a7cb0f5ffcfb1bc634cbf3.jpg",[],19,{"id":398,"slug":399,"title":400,"dynasty":114,"author":401,"museum":402,"description":403,"tags":404,"thumbUrl":414,"material":415,"size":416,"collection":41,"collections":417,"showCount":418,"zanCount":11,"manualWeight":11,"mainColor":137},222941,"hong-lou-meng-66-sun-wen-222941","红楼梦66","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",[23,27,29,31,32,405,66,406,194,7,65,407,105,408,409,410,209,62,411,64,412,413],"轿子","房屋","百姓","抬轿","行旅","乡村","传统服饰","骑马","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3077a0780ad3e7dda59e8ad480e3a44f.jpg","绢本","纵43.3厘米、横76.5厘米",[],16,{"id":420,"slug":421,"title":422,"dynasty":18,"author":100,"museum":20,"description":423,"tags":424,"thumbUrl":428,"material":39,"size":40,"collection":41,"collections":429,"showCount":430,"zanCount":11,"manualWeight":11,"mainColor":45},288387,"shi-ba-xue-shi-tu-qi-er-yi-ming-288387","十八学士图其二","明人十八学士图，现藏台湾故宫博物院。为唐太宗时期十八学士故事类题材的衍变图式。此组《明人十八学士图》四幅连作，画中人燕居寄兴于琴棋书画，展现出文士“四艺合一”的艺术修养与高雅志趣。画家为雅集盛事，铺陈苑囿景致。挺拔高大的松、柳、梧、槐掩映，汉白石、斑竹栏杆曲护；文士悠闲从事着燃香、棋奕、展书、观画等赏玩活动。全画工笔重彩，人物面貌端严，姿态各具，尊卑主次分明，衣纹采用细劲流畅的“钉头鼠尾”描。庭园内湖石盆景纵横错陈，几榻、桌案、墩椅、画屏、雕漆、瓷铜、文房等日常用物摆设，皆以工整写实技法绘出，显现典型明代宫廷画风格。从画中器具样式，推断其创作年代应在明代中、晚期。",[24,29,27,119,345,241,425,66,426,427,7],"湖石","屏风","日用器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd430bd05b05166447418dfe2e63640ca.jpg",[],14,{"id":432,"slug":433,"title":434,"dynasty":114,"author":329,"museum":20,"description":330,"tags":435,"thumbUrl":442,"material":39,"size":40,"collection":41,"collections":443,"showCount":430,"zanCount":11,"manualWeight":11,"mainColor":45},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷",[23,24,55,25,29,27,26,147,31,103,192,436,437,32,438,439,66,86,225,7,440,106,441],"虎","兽","象","鹿","车辇","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],{"id":445,"slug":446,"title":447,"dynasty":114,"author":329,"museum":448,"description":449,"tags":450,"thumbUrl":455,"material":132,"size":456,"collection":41,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":137},223313,"fa-jie-yuan-liu-tu-juan-7-ding-guan-peng-223313","法界源流图卷-7","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,27,29,103,157,319,451,31,66,86,426,105,106,452,453,225,7,454],"佛","背光","火焰纹","花卉装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bca15cb25d345e9d926b5f3241d8c95.jpg","纵33厘米、横1635厘米",[],11,{"id":460,"slug":461,"title":462,"dynasty":114,"author":100,"museum":116,"description":463,"tags":464,"thumbUrl":468,"material":469,"size":470,"collection":72,"collections":471,"showCount":472,"zanCount":44,"manualWeight":11,"mainColor":137},236163,"xuan-ye-rong-zhuang-xiang-zhou-yi-ming-236163","玄烨戎装像轴","画面中帝王戎装卓立，铠甲纹饰工细鲜明，金饰点缀尽显庄重威仪，背负箭矢，尽显弓马本色。四名侍从神态恭谨，错落随侍，衬出帝王尊崇地位。苍松虬劲古朴，枝桠舒展，皴染细腻，留白晕染出郊野空阔悠远的氛围。\n\n整幅设色明丽沉稳，线条流畅工致，写实兼具意境。既精准复刻人物服制仪态细节，又借古松烘托帝王沉雄气魄，将帝王的武略风采与肃穆仪范定格绢素，是清代纪实肖像画的精妙之作。",[54,24,56,465,119,29,27,466,252,127,7,467,90],"肖像画","写实","戎装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3c2d5aba305219ef7e7053ae7f0bc1.jpg","绢本，设色","纵256.1厘米， 横116.8厘米",[72,74],10,{"id":474,"slug":475,"title":476,"dynasty":477,"author":478,"museum":116,"description":479,"tags":480,"thumbUrl":483,"material":484,"size":485,"collection":41,"collections":486,"showCount":472,"zanCount":11,"manualWeight":11,"mainColor":45},221168,"shi-liu-luo-han-xiang-bin-du-luo-ba-luo-duo-du-zun-zhe-tang-ka-bu-ben-guan-xiu-221168","十六罗汉像-賓度羅跋囉惰闍尊者（唐卡布本）","五代十国","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,24,55,56,29,103,31,481,286,482,7],"布料","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbae949d0953f6ad40d361d918db42d06.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":488,"slug":489,"title":490,"dynasty":114,"author":491,"museum":20,"description":492,"tags":493,"thumbUrl":496,"material":39,"size":40,"collection":41,"collections":497,"showCount":498,"zanCount":11,"manualWeight":11,"mainColor":45},290467,"fo-zu-he-shi-cong-tu-juan-zhong-zhao-290467","佛祖和侍从图卷","仲昭","此作用笔细劲如铁线，勾勒精准工致。右侧菩萨安坐伏卧云间的青狮之上，神色静穆恬和，衣纹舒展柔和，淡赭敷色雅致清润，青狮鬃毛皴刻细密，威而不厉。左侧青狮昂首徐行，背驮宝炉香烟袅袅，四位侍从形貌各异，神情恭谨随行，衣褶劲挺流畅，写实生动。\n画面以淡墨晕染云气，铺展出渺渺天界氛围，将梵行的肃穆清和烘托尽致。动静相生，行进的仪仗与静思的菩萨相映成趣，尽显工稳清雅的佛画意韵，静穆禅意融于缥缈云间，颇具古典佛画的庄重灵秀之美。",[23,24,55,25,29,27,31,437,103,121,494,7,495],"佛祖","狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05b4f0b745663abc00185cccd9145e0.jpg",[],9,{"id":500,"slug":501,"title":502,"dynasty":18,"author":503,"museum":116,"description":504,"tags":505,"thumbUrl":508,"material":509,"size":510,"collection":41,"collections":511,"showCount":498,"zanCount":11,"manualWeight":11,"mainColor":137},234042,"huang-you-yue-gong-tu-shan-ye-zhou-chen-234042","皇游月宫图扇页","周臣","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[506,29,27,31,507,66,59,7],"扇面","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cee35f63a501f73fa7157c919db32e7.jpg","金笺，设色","纵18.6厘米，横50厘米",[],{"id":513,"slug":514,"title":515,"dynasty":114,"author":329,"museum":448,"description":449,"tags":516,"thumbUrl":518,"material":132,"size":456,"collection":41,"collections":519,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":137},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[23,24,55,25,27,29,103,31,239,124,495,318,224,517,225,157,319,451,320,7],"宝盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],7,{"id":522,"slug":523,"title":524,"dynasty":81,"author":525,"museum":526,"description":527,"tags":528,"thumbUrl":530,"material":70,"size":531,"collection":41,"collections":532,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":45},219026,"shi-wang-tu-2-lu-xin-zhong-219026","十王图-2","陆信忠","奈良国立博物馆","此十王图即十殿阎罗各一幅的每一个都被描绘成魔王带领着一群来自阴间的官员，他们坐在椅子上审查罪行，狱卒、待审的死者和被判处死刑的人在他们面前接受各种惩罚。精确的具象形式和生动的色彩使其具有强烈而敏感的表现力，是卢新中画派的杰作。",[23,24,55,103,27,29,31,529,7,65,162,105],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F810ef6960388766f5825b0a0552319aa.jpg","85.9x50.8",[],{"id":534,"slug":535,"title":536,"dynasty":142,"author":537,"museum":116,"description":538,"tags":539,"thumbUrl":541,"material":70,"size":542,"collection":41,"collections":543,"showCount":544,"zanCount":11,"manualWeight":11,"mainColor":45},218138,"liu-zun-zhe-xiang-tu-ce-6-lu-leng-qie-218138","六尊者像图册-6","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[23,24,55,540,29,31,103,285,147,192,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd756708c94e8fa79ff38a0978d275677.jpg","30x58",[],6,{"id":546,"slug":547,"title":548,"dynasty":114,"author":316,"museum":20,"description":314,"tags":549,"thumbUrl":554,"material":39,"size":40,"collection":41,"collections":555,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":556},224143,"luo-han-pindola-bharadvaja-tang-ka-224143","罗汉Pindola Bharadvaja",[550,103,29,27,31,30,66,551,552,273,7,553],"清代","瀑布","花草","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95871379da0bdda1ebc726dd21f8badd.jpg",[],"37474F",{"id":558,"slug":559,"title":560,"dynasty":81,"author":100,"museum":20,"description":561,"tags":562,"thumbUrl":563,"material":39,"size":40,"collection":41,"collections":564,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":45},290976,"luo-han-zhou-yi-ming-290976","罗汉轴","垂柳垂荫笼着幽庭，罗汉安坐榻上，顶覆圆光，神色恬然持物说法。身侧胡人侍者恭谨侍立，神态肃穆。庭中湖石隐现，白花轻绽，布景雅致悠然。\n\n笔墨苍秀细腻，设色调和古雅，衣纹走线凝练流畅，将僧衣质感表现得真实自然，罗汉的沉静淡然与侍者的恭谨入微皆被刻画得生动传神，写实中带着写意的空灵禅意，尽显宋画佛绘的精湛造诣，将静谧庄严的禅林雅境铺展眼前。",[24,56,103,31,29,157,7,158,241,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9942adce431d2a9ac0076f16df8e56ad.jpg",[],4,{"id":567,"slug":568,"title":569,"dynasty":114,"author":316,"museum":20,"description":314,"tags":570,"thumbUrl":573,"material":39,"size":40,"collection":41,"collections":574,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":556},224138,"abheda-tang-ka-224138","Abheda",[103,29,27,31,30,124,571,572,439,7,106],"石头","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064991e3eccba759ac8af1f24e0cfb16.jpg",[],{"id":576,"slug":577,"title":578,"dynasty":114,"author":100,"museum":20,"description":579,"tags":580,"thumbUrl":586,"material":39,"size":40,"collection":587,"collections":588,"showCount":136,"zanCount":11,"manualWeight":11,"mainColor":556},261437,"de-hua-yao-bai-you-wen-chang-xiang-yi-ming-261437","德化窑白釉文昌像","德化窑位于今福建德化，故名。作为著名的瓷窑，是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n德化瓷器是中华陶瓷烧造中的艺术珍品，始于宋代，明代后得到巨大发展。以白瓷塑佛像闻名。其制作细腻，雕刻精美，造型生动，体现了古代劳动人民的卓越才能和艺术创造力。\n在今福建德化，故名。是福建沿海地区古外销瓷重要产地之一。发现由宋到清历代窑址达一百八十处，重点发掘了屈斗宫、碗坪仑两处窑址。\n碗坪仑烧瓷较屈斗宫古窑址早，烧青白瓷，有的接近白釉，刻花蓖划纹装饰较多，盒子遗留甚丰，盖面所印阳纹装饰达一百余种，题材之丰富在南方地区首屈一指，南宋时有专门制作盒子的作坊，盒盖上阳文印花装饰题材丰富，有动物、花卉等近百种图案。划花间篦划纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[581,582,31,583,584,7,585],"陶瓷","雕刻","神像","文昌帝君","白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff026130a83be0cc8627f6bcd9234a214.jpg","瓷器精选",[587],{"id":590,"slug":591,"title":592,"dynasty":142,"author":100,"museum":20,"description":593,"tags":594,"thumbUrl":600,"material":39,"size":40,"collection":41,"collections":601,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":45},253022,"shi-tian-zun-zuo-xiang-yi-ming-253022","石天尊坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[595,103,582,596,31,7,597,598,599],"唐代","石质","坐像","道教","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7915fa73a60938549b8d3497c8c565cc.jpg",[],{"id":603,"slug":604,"title":605,"dynasty":114,"author":100,"museum":20,"description":606,"tags":607,"thumbUrl":615,"material":39,"size":40,"collection":41,"collections":616,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":45},238879,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238879","清人善巴拉王菩萨像轴","此作以工笔重彩铺陈，主尊神态慈悲和煦，锦袍纹饰华美繁复，尽显华贵庄严。画面层次分明：左上护法金刚怒目威严，震慑四方；右上修行上师安坐观想，静谧安然。下方侍从躬身供奉，亭台楼宇错落于祥云花海之间，雪域灵峰为衬，将护法、修行与世俗供养融于一境。\n设色浓艳饱和，朱砂、石青描金交织碰撞，勾勒线条精细入微，既保有宗教绘画的神圣肃穆，又兼具精妙审美意趣，藏地画师的配色巧思与线条功力尽显其中，将信仰图景凝为可视的庄严圣境，是极具代表性的藏传佛教绘画精品。",[24,55,103,608,27,29,609,31,319,610,611,7,59,225,612,30,613,614],"藏传佛教","描金","护法金刚","上师","花卉","华贵庄严","神圣肃穆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9925b45222d4b23f1024a70148670a.jpg",[],{"id":618,"slug":619,"title":620,"dynasty":621,"author":622,"museum":20,"description":623,"tags":624,"thumbUrl":641,"material":39,"size":40,"collection":41,"collections":642,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":45},232291,"a-er-ma-18-lao-lun-si-a-er-ma-ta-de-ma-232291","阿尔玛18","不详","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[625,466,626,627,628,196,629,612,630,631,632,174,633,634,62,635,7,636,637,638,639,640],"油画","设色浓郁","古典风格","人物群像","船只","古埃及元素","金字塔","羽毛扇","陶器","水果","天空","织物","植物","贵族女性","装饰细节","色彩明亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a52be0152e4e8ebabfae122f8932be.jpg",[],{"id":644,"slug":645,"title":646,"dynasty":621,"author":100,"museum":20,"description":647,"tags":648,"thumbUrl":651,"material":39,"size":40,"collection":41,"collections":652,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":137},289311,"mattia-preti-seated-bishop-with-arms-extended-and-three-attendant-figures-yi-ming-289311","Mattia Preti--Seated Bishop with Arms Extended and Three Attendant Figures","以红粉笔铺陈画面，粗粝松弛的笔触勾勒出主教的厚重身形，衣褶排线顺着布料垂坠转折，将织物的厚重质感尽显无疑。主教沉凝肃穆，舒展的手臂带着沉静威仪，与身后侍从们仰头呼喊的激昂形成强烈张力，短促线条精准勾勒出侍从们迸发的情绪。\n\n左侧淡描的模糊人影拉开画面层次，让场景更具纵深感，暖调红粉笔晕染出庄重的宗教氛围，潦草却精准的线条抓住人物神态与动势，将仪式里的肃穆与热忱交融，尽显素描语言的表现力。",[103,119,649,650,7],"素描","主教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b6b4df4b86dffa6045536f374a0cfe.jpg",[],{"id":654,"slug":655,"title":656,"dynasty":621,"author":100,"museum":20,"description":657,"tags":658,"thumbUrl":662,"material":39,"size":40,"collection":41,"collections":663,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":137},289252,"pirro-ligorio-seated-sibyl-and-attendant-genius-yi-ming-289252","Pirro Ligorio--Seated Sibyl and Attendant Genius","这是一幅红粉笔素描，以舒缓松弛的视角铺陈画面。创作者以灵动利落的线条勾勒出坐姿舒展的女子，背部肌肉起伏隐匿在衣褶之下，垂坠厚重的织物褶皱层次分明，顺着体态自然铺展，精准传递出布料的柔软与重量感。\n女子持卷阅读，身侧侍从探身凑近，二人之间的呼应让画面浸着静谧专注的氛围。笔触虚实相宜，弱化侍从的面部细节来突出主体，却也让互动自然和谐，将沉浸于阅读的沉静氛围感烘托得恰到好处，尽显雅致沉静的古典人文气息。",[649,119,659,660,7,661],"宗教神话","女先知","阅读","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ec5a8d01ca02f66547609531447c27.jpg",[],{"id":665,"slug":666,"title":667,"dynasty":621,"author":100,"museum":20,"description":668,"tags":669,"thumbUrl":675,"material":39,"size":40,"collection":41,"collections":676,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":137},288883,"giovanni-battista-tiepolo-illustration-for-a-book-soldiers-2-yi-ming-288883","Giovanni Battista Tiepolo--Illustration for a Book Soldiers 2","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[670,649,190,31,36,671,7,672,673,674],"书籍插图","士兵","柱廊","兵器","献物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfff569490217145b2f22c8d647d6aba.jpg",[],{"id":678,"slug":679,"title":680,"dynasty":621,"author":100,"museum":20,"description":668,"tags":681,"thumbUrl":686,"material":39,"size":40,"collection":41,"collections":687,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":137},288857,"giovanni-battista-tiepolo-the-meeting-of-anthony-and-cleopatra-yi-ming-288857","Giovanni Battista Tiepolo--The Meeting of Anthony and Cleopatra",[119,36,649,682,683,7,684,685],"淡墨","古典人物","酒器","历史事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b1d132e5db8f2b93cc6d2b16f05aab.jpg",[],{"id":689,"slug":690,"title":691,"dynasty":142,"author":100,"museum":20,"description":221,"tags":692,"thumbUrl":698,"material":39,"size":40,"collection":41,"collections":699,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":45},227147,"dun-huang-18-yi-ming-227147","敦煌18",[595,693,29,27,317,694,31,226,320,7,64,695,553,696,415,697],"敦煌风格","壁画技法","宗教题材","古代绘画","服饰纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe7dc9124d0e6a34cc25abf07ce98e0.jpg",[],1777535710171]