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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,28,27,64,26,30,31,32,33,36,37,35,34,38,65,66,39,7,44,40,67,41],"风俗画","牛","马","商贩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","绢本设色","宽24.8厘米、长528.7厘米","宋画精选",[71,49,51],858,6,{"id":76,"slug":77,"title":78,"dynasty":79,"author":80,"museum":81,"description":82,"tags":83,"thumbUrl":93,"material":94,"size":95,"collection":49,"collections":96,"showCount":97,"zanCount":98,"manualWeight":54,"mainColor":55},222820,"gu-su-fan-hua-tu-xu-yang-222820","姑苏繁华图","清","徐扬","辽宁省博物馆","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,84,24,85,25,27,26,28,30,31,32,33,36,37,35,86,34,7,39,87,41,88,89,90,91,92],"名画","书画","河道","码头","货船","民居","车船","茶馆","酒肆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61ae38c127eaa89b842ad3f8d842d7a.jpg","设色 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，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[84,24,25,27,26,30,31,32,33,175,66,7],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg","未知","Xcm*Xcm",[],159,{"id":182,"slug":183,"title":184,"dynasty":59,"author":139,"museum":185,"description":186,"tags":187,"thumbUrl":188,"material":47,"size":189,"collection":49,"collections":190,"showCount":191,"zanCount":168,"manualWeight":54,"mainColor":55},217008,"dou-jiang-tu-yi-ming-217008","斗浆图","黑龙江省博物馆","斗浆这个词在宋代就是斗茶的意思。斗茶在宋代几乎发展成为了一种全民项目，不管是文人雅士、平民百姓，还是商贾人家、皇亲国戚，都躲不开它的魔力。斗茶没什么地点上的限制，茶室或街头都能进行。《斗浆图》是南宋风俗画的代表之一，描绘的是市井街头的斗茶场景。六位斗茶人身边都有全套的家伙什，大到加热所需的炭火、小到茶筅茶盏无一不备。",[23,84,24,85,27,26,30,107,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137dc318c8daffb2d8540efeb64b42d9.jpg","33.8x40.6",[49],95,{"id":193,"slug":194,"title":195,"dynasty":79,"author":80,"museum":81,"description":82,"tags":196,"thumbUrl":203,"material":94,"size":95,"collection":151,"collections":204,"showCount":205,"zanCount":11,"manualWeight":54,"mainColor":55},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,84,24,25,27,26,124,197,198,199,200,31,32,33,201,35,30,7,34,202,42],"田园","村镇","城池","古建","船舶","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],90,{"id":207,"slug":208,"title":209,"dynasty":79,"author":80,"museum":81,"description":82,"tags":210,"thumbUrl":212,"material":94,"size":95,"collection":151,"collections":213,"showCount":214,"zanCount":168,"manualWeight":54,"mainColor":55},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,84,24,25,26,27,30,31,32,33,36,35,199,197,124,7,89,211,87,42],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],88,{"id":216,"slug":217,"title":218,"dynasty":59,"author":219,"museum":104,"description":220,"tags":221,"thumbUrl":223,"material":47,"size":224,"collection":49,"collections":225,"showCount":226,"zanCount":227,"manualWeight":54,"mainColor":228},218901,"ming-yuan-du-shi-tu-liu-song-nian-218901","茗园赌市图","刘松年","这幅画以人物为主，卖茶的人有水点茶，有壶提着，有杯子品茶。一个茶贩子在右前方抬着茶叶，停下来看他的肩膀，一个女人一手拿着壶，一手抱着孩子，边走边看茶战。在这幅画中，有男人，有女人，有老人，有壮年人，有小孩，都有特色的表情，目光都集中在 斗茶 的卖茶人身上，每一个活生生的形象，把宋代街头流行的斗茶场景最大程度地展现在世人面前。这幅画署名刘松年，但笔墨风格更接近于李嵩。",[23,26,144,27,30,107,7,222],"风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8c9d6e6c9da08adc2121f8104eb9e6.jpg","27.2x25.7",[49],83,5,"F48FB1",{"id":230,"slug":231,"title":232,"dynasty":59,"author":233,"museum":140,"description":234,"tags":235,"thumbUrl":239,"material":177,"size":178,"collection":151,"collections":240,"showCount":241,"zanCount":168,"manualWeight":54,"mainColor":55},288533,"huo-lang-tu-su-han-chen-288533","货郎图","苏汉臣","苏汉臣，北宋末南宋初画家。生卒年不详。汴梁（今河南开封）人，一说为钱塘（今浙江杭州）人。曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。",[23,24,84,26,27,30,236,237,238,107,7],"孩童","货郎","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7455767adc67dca109f33b66a6d8714d.jpg",[],70,{"id":243,"slug":244,"title":245,"dynasty":18,"author":139,"museum":140,"description":246,"tags":247,"thumbUrl":249,"material":177,"size":178,"collection":151,"collections":250,"showCount":251,"zanCount":11,"manualWeight":54,"mainColor":55},287979,"bei-song-zhang-ze-duan-quan-jing-qing-ming-shang-he-tu-juan-ming-qing-mo-ben-yi-ming-287979","北宋张择端全景清明上河图卷(明清摹本)","这卷追摹之作，将北宋汴京的市井烟火铺展于绢素之上。朱墙之下屋舍错落，官署比邻商肆，黛瓦飞檐勾连着宋韵城坊肌理。街衢间人流如织，挑担货郎穿街过巷，沽酒食客围坐檐下，驻足交谈的路人、接引宾朋的店家，鲜活复刻着彼时的日常百态。\n\n画者以细腻笔触捕捉俗世鲜活，酒幌招摇、门板半敞，处处藏着汴京的喧嚣暖意，把千年前都城的熙攘意趣传神留存，让观者仿佛踏入彼时的春日长街。",[23,84,24,25,248,27,26,28,30,31,126,146,38,7,64],"摹本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd02dd6db3b5b7381b799a8a64e635f.jpg",[],69,{"id":253,"slug":254,"title":255,"dynasty":79,"author":139,"museum":140,"description":256,"tags":257,"thumbUrl":262,"material":177,"size":178,"collection":151,"collections":263,"showCount":264,"zanCount":11,"manualWeight":54,"mainColor":55},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,24,25,27,26,28,30,31,258,33,259,260,7,261,108,124],"龙舟","桃花","亭台","节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],47,{"id":266,"slug":267,"title":17,"dynasty":79,"author":268,"museum":104,"description":269,"tags":270,"thumbUrl":273,"material":274,"size":275,"collection":276,"collections":277,"showCount":264,"zanCount":54,"manualWeight":54,"mainColor":116},224351,"qing-ming-shang-he-tu-shen-yuan-224351","沈源","此画以水墨为主，在用色上，只用赭色稍加勾染，充满清新淡雅之味。在画法上，明显借鉴了当时传入宫廷的西洋“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“布影由阔而狭，以三角量之”的立体效果。虽然受中国审美传统的限制，这种画法在图中有所淡化，但与传统的建筑画相比，三维景物的表现能力确实有了相当大的提高。",[23,84,24,25,271,27,28,31,272,30,34,7],"水墨","街巷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F856157ebafdded9d3904ea94b7eb62d2.jpg","白纸本","34.8×1185.9厘米","水墨画精选",[276],{"id":279,"slug":280,"title":281,"dynasty":282,"author":139,"museum":104,"description":283,"tags":284,"thumbUrl":289,"material":47,"size":290,"collection":49,"collections":291,"showCount":292,"zanCount":54,"manualWeight":54,"mainColor":55},290786,"chun-jing-huo-lang-tu-zhou-yi-ming-290786","春景货郎图轴","元","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。货郎二人，一人手执鹦鹉兜售，另一妇人携二童立于担前，举手雀跃作欲索取状。人物设色妍雅，神情活泼生动，表现出古代农业社会纯朴闲适的生活情态。",[84,24,285,27,30,26,286,236,287,288,237,7,107],"立轴","美人","柳","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac3d16ea3f794f22ec38440af84d107.jpg","196.8x104.3",[49],45,{"id":294,"slug":295,"title":172,"dynasty":79,"author":139,"museum":140,"description":296,"tags":297,"thumbUrl":299,"material":177,"size":178,"collection":151,"collections":300,"showCount":292,"zanCount":54,"manualWeight":54,"mainColor":55},287929,"qing-ming-shang-he-tu-ju-bu-yi-ming-287929","这幅局部以虹桥为核心，铺陈出鲜活的旧时市井盛景。木质飞虹横跨汴河，桥上人流如织，挑担货郎、乘轿仕人、驻足闲人摩肩接踵，神态各异地沉浸在春日市集的喧嚷里。桥下漕船正穿桥而过，船夫们躬身撑篙、呼喊呼应，将漕运的繁忙具象尽显。\n\n画面线条细腻工整，设色古雅沉稳，复刻出宋本原作风韵的同时，带着清代绘事的规整质感，将汴梁城漕运商贸的繁盛、闾巷百姓的日常烟火凝于卷上，让千年前的春日繁喧仿佛跃然眼前，尽显旧时都会的鲜活生机。",[84,24,25,27,26,30,32,31,33,66,298,7],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e33ae4f04a3a44f84910b66851ed29.jpg",[],{"id":302,"slug":303,"title":304,"dynasty":18,"author":60,"museum":104,"description":305,"tags":306,"thumbUrl":309,"material":310,"size":311,"collection":151,"collections":312,"showCount":292,"zanCount":54,"manualWeight":54,"mainColor":55},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,84,24,25,27,26,30,31,32,35,42,307,66,308,111,29,7],"城墙","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":314,"slug":315,"title":316,"dynasty":79,"author":139,"museum":140,"description":317,"tags":318,"thumbUrl":320,"material":177,"size":178,"collection":151,"collections":321,"showCount":322,"zanCount":54,"manualWeight":54,"mainColor":55},288090,"qing-ming-shang-he-tu-juan-yi-ming-288090","清明上河图卷","长卷铺展旧京烟火，屋舍连楹错落，行人摩肩接踵，漕船泊于汴河，酒旗随风招展。青绿晕染瓦舍林木，古旧绢色晕开千年余温，挑担货郎、赶脚行人、雅集文士各安其态，将汴梁的升平世象尽数铺陈。\n复刻宋韵盛景的笔触里藏着鲜活日常：虹桥下舟楫穿梭避让，茶肆中宾主对坐言欢，巷陌间孩童嬉闹追逐。以细腻工笔留住旧朝市井的鲜活肌理，将汴河沿岸的晨昏烟火凝于绢素，让观者坠入千年前的街巷，触摸藏在笔墨褶皱里的人间暖意，静赏定格的岁时繁华。",[23,84,24,25,27,26,28,30,31,32,33,175,38,7,35,319,108,308],"城郭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0fcd5ccc35c36ffe3f68d92523b06b.jpg",[],37,{"id":324,"slug":325,"title":120,"dynasty":79,"author":121,"museum":104,"description":326,"tags":327,"thumbUrl":329,"material":330,"size":331,"collection":151,"collections":332,"showCount":333,"zanCount":54,"manualWeight":54,"mainColor":55},288829,"fang-yang-da-zhang-song-yuan-ben-jin-ling-tu-juan-feng-ning-288829","杨大章，清代画家，乾隆时期内廷供奉，善画山水、人物，最善画龙。\n\n其代表作品有：乾隆三十六年仿刁光胤写生册，乾隆四十四年仿宋宣和《柳鸦芦雁图》，乾隆五十五年仿陈容《九龙图》，乾隆五十六年仿《宋人金陵图卷》，其作品在市场上极少见到。清史记载「杨大章，亦赋色修洁，可与邹一桂颉颃，花鸟以二人为最工，其善画人物、花卉、翎毛，偶画山水，师法宋人。」说明了他的绘画造诣之高。其擅长水墨花卉，极有重名。常写五色菊，墨花五彩，有清冷隽逸之气。",[23,24,25,27,26,30,65,124,34,328,89,31,175,33,161,7],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8fce5ba5993e927b3090298414355.jpg","绢","34.1x1088.3",[],36,{"id":335,"slug":336,"title":232,"dynasty":59,"author":337,"museum":140,"description":338,"tags":339,"thumbUrl":341,"material":177,"size":178,"collection":151,"collections":342,"showCount":343,"zanCount":11,"manualWeight":54,"mainColor":55},287584,"huo-lang-tu-li-gong-lin-287584","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[84,24,85,30,26,27,236,237,340,107,7,108],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed448f9ab717e072dfdea305383f70ef.jpg",[],35,{"id":345,"slug":346,"title":347,"dynasty":79,"author":80,"museum":140,"description":348,"tags":349,"thumbUrl":354,"material":151,"size":151,"collection":151,"collections":355,"showCount":343,"zanCount":11,"manualWeight":54,"mainColor":116},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,85,25,28,27,26,30,31,124,34,7,350,319,272,351,352,41,40,353],"春日","宫殿","塔","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":357,"slug":358,"title":316,"dynasty":79,"author":268,"museum":140,"description":359,"tags":360,"thumbUrl":361,"material":177,"size":178,"collection":151,"collections":362,"showCount":363,"zanCount":54,"manualWeight":54,"mainColor":116},287873,"qing-ming-shang-he-tu-juan-shen-yuan-287873","沈源[清]字恰亭，上海人。精科医，工铁笔，善画兰。代表作有《海上墨林》。",[84,24,85,25,26,27,28,30,31,89,126,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c46e55aac8d937ca2cfc4e29bcce68.jpg",[],32,{"id":365,"slug":366,"title":367,"dynasty":18,"author":139,"museum":140,"description":368,"tags":369,"thumbUrl":372,"material":151,"size":151,"collection":151,"collections":373,"showCount":374,"zanCount":11,"manualWeight":54,"mainColor":116},228816,"huo-lang-tu-li-zhou-yi-ming-228816","货郎图立轴","画面里货郎车载满琳琅玩货物什，层层叠叠堆挤着，将巷陌营生的热络尽数铺展。老货郎佝身理货，眉眼带着营生的疲惫，又藏着几分温和。孩童们姿态各异，有的踮脚抬首，目光黏在货架上满是艳羡；有的蹲坐嬉闹，憨态尽显。\n古雅柔润的设色晕开旧时光晕，细劲线条勾勒出鲜活神态，将巷闾烟火日常定格绢素，把市井生计的温热与稚子烂漫揉为一处，意趣盎然，尽得世俗小景的鲜活情致。",[23,84,24,285,27,26,30,237,236,7,370,371],"童趣","烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa801a280bf7b02f555d2c58bc6d65ee7.jpg",[],25,{"id":376,"slug":377,"title":378,"dynasty":79,"author":139,"museum":140,"description":379,"tags":380,"thumbUrl":382,"material":383,"size":151,"collection":151,"collections":384,"showCount":385,"zanCount":54,"manualWeight":54,"mainColor":116},215556,"bai-miao-jie-tou-mai-mai-hua-ce-1-yi-ming-215556","白描街头买卖画册-1","画面以简练流畅的白描线条勾勒市井场景，五人围桌互动，神态鲜活：持扇者眉宇舒展，似在笑谈；俯身者专注桌案，动作殷切；立者侧身观瞧，姿态闲适。线条精准捕捉衣袂褶皱与器物细节，虽无设色却以墨线的轻重缓急，衬出人物间的默契与市井生活的烟火气。笔意质朴却藏巧思，将日常片段定格成富有温度的画面，尽显世俗生活的生动与鲜活。",[23,24,85,381,144,30,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267593415701c43172cd011b12e5b9c6.jpg","纸本",[],24,{"id":387,"slug":388,"title":389,"dynasty":79,"author":139,"museum":140,"description":390,"tags":391,"thumbUrl":394,"material":151,"size":151,"collection":151,"collections":395,"showCount":396,"zanCount":168,"manualWeight":54,"mainColor":55},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,27,26,28,30,31,34,202,37,35,40,66,392,39,393,7],"人群","屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],22,{"id":398,"slug":399,"title":400,"dynasty":59,"author":401,"museum":140,"description":402,"tags":403,"thumbUrl":405,"material":177,"size":178,"collection":151,"collections":406,"showCount":407,"zanCount":54,"manualWeight":54,"mainColor":55},288373,"huo-lang-tu-juan-li-song-288373","货郎图卷","李嵩","这是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负的弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的南宋时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹，李嵩在图中就描绘了这样一幅场景。画家借助货郎这一题材表现了南宋市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了南宋百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,24,25,144,30,236,404,237,7,111,34,108],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20c2505b942b79ffebacc34ad26001c.jpg",[],14,{"id":409,"slug":410,"title":411,"dynasty":282,"author":139,"museum":140,"description":412,"tags":413,"thumbUrl":415,"material":177,"size":178,"collection":151,"collections":416,"showCount":417,"zanCount":54,"manualWeight":54,"mainColor":55},290320,"sui-chao-tu-zhou-yi-ming-290320","岁朝图轴","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[84,24,285,27,26,30,31,124,414,340,7,261],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576a2e63e63124f7c0eced854dfc1b0c.jpg",[],13,{"id":419,"slug":420,"title":421,"dynasty":18,"author":139,"museum":20,"description":422,"tags":423,"thumbUrl":426,"material":427,"size":428,"collection":151,"collections":429,"showCount":430,"zanCount":11,"manualWeight":54,"mainColor":55},223382,"mai-hua-tu-ce-ye-yi-ming-223382","卖花图册页","为了更好将花卖出去，这些走街串巷的花贩还会边走边唱歌，不断吆喝。",[23,24,381,27,26,30,424,425,7],"花鸟","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a05a179c51179f88150a902c20ff9b.jpg","绢本","24.4×19.7",[],12,{"id":432,"slug":433,"title":434,"dynasty":79,"author":139,"museum":14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