[{"data":1,"prerenderedAt":443},["ShallowReactive",2],{"subject-shi-nei-chen-she":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2946,"shi-nei-chen-she","室内陈设","室内陈设画高清赏析","精选中国历代室内陈设题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg",0,28,[14,42,61,81,96,114,130,147,166,183,196,207,226,236,243,253,260,278,293,306,315,329,342,354,366,385,404,425],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":33,"material":34,"size":35,"collection":36,"collections":37,"showCount":39,"zanCount":40,"manualWeight":11,"mainColor":41},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","清","金廷标","北京故宫博物院","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[23,24,25,26,27,28,29,30,31,32,7],"高清","工笔","设色","人物","美人","器","衣帽","饰品","花卉","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","绢本,设色","纵223厘米，横130.5厘米","人物画精选",[36,38],"设色画精选",360,7,"795548",{"id":43,"slug":44,"title":45,"dynasty":46,"author":47,"museum":48,"description":49,"tags":50,"thumbUrl":10,"material":34,"size":57,"collection":58,"collections":59,"showCount":60,"zanCount":11,"manualWeight":11,"mainColor":41},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8","明","仇英","美国弗利尔美术馆","清人绘，款仇英",[51,24,25,52,26,27,53,54,55,56,32,7],"国画","界画","竹子","树木","山石","台阶","18.5*38","",[],226,{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":67,"description":68,"tags":69,"thumbUrl":76,"material":58,"size":58,"collection":58,"collections":77,"showCount":78,"zanCount":79,"manualWeight":11,"mainColor":80},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","五代十国","周文矩","藏地不详","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[23,51,70,71,24,25,72,73,74,26,75,28,7],"书画","长卷","白描","书法","印章","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],185,3,"BDBDBD",{"id":82,"slug":83,"title":84,"dynasty":18,"author":85,"museum":67,"description":86,"tags":87,"thumbUrl":91,"material":58,"size":58,"collection":58,"collections":92,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":95},229032,"yue-man-qing-you-tu-chen-mei-229032","月曼清游图","陈枚","《月曼清游图》册，清，陈枚绘，绢本，设色，共12开，每开纵7cm，横1.8cm。\n此画册落款“臣陈枚恭画”，钤“臣枚”印1方。\n每开均配有清代梁诗正的行草体墨题，款“乾隆岁在戊午秋九月朔臣梁诗正敬题”， 戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。\n嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。\n画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。\n她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。\n富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。\n图中的楼台房室建筑则采用西洋 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宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[51,104,70,372,24,25,26,373,7,204,374,31,375,160,376,377,378,379],"立轴","兽","鞋履","衣饰","宋代画风","室内场景","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纸本","纵141.9cm，横59.8cm",[],5,{"id":386,"slug":387,"title":388,"dynasty":282,"author":389,"museum":67,"description":390,"tags":391,"thumbUrl":402,"material":126,"size":127,"collection":58,"collections":403,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":41},232538,"mi-lai-si-82-yue-han-ai-fu-li-te-mi-lai-si-232538","米莱斯82","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[392,393,25,26,394,377,312,395,396,190,397,398,399,400,7,401],"油画","写实","女性","沙发","长裙","地板","光影表现","暖色调","织物纹理","窗户光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef65d57929deae91f37a5c6057d281.jpg",[],{"id":405,"slug":406,"title":407,"dynasty":282,"author":408,"museum":67,"description":409,"tags":410,"thumbUrl":423,"material":126,"size":127,"collection":58,"collections":424,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":80},232519,"he-er-bai-yin-178-he-er-bai-yin-232519","荷尔拜因178","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[72,411,26,377,312,412,75,413,89,414,393,415,416,190,7,417,418,419,420,421,400,422],"线描","挂钟","门框","凳子","线条勾勒","多人场景","墙面装饰","木质结构","站立人物","坐卧人物","跪姿人物","金属器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031043b380a7ceb517cfc3896dfc26e1.jpg",[],{"id":426,"slug":427,"title":428,"dynasty":282,"author":429,"museum":67,"description":430,"tags":431,"thumbUrl":440,"material":126,"size":127,"collection":58,"collections":441,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":442},230623,"rembrandt-harmensz-van-rijn-0258-lun-bo-lang-230623","Rembrandt Harmensz.van Rijn - 0258","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[392,432,26,377,433,434,418,435,269,436,7,437,438,439],"明暗对比","桌子","食物","宗教题材","光影效果","人物聚会","暗色调","光线聚焦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e8517a7c7fec469f62b1bb23dc7e09.jpg",[],"37474F",1777535715964]