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丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,27,28,29,101,220,51,103,221,99,7,52,140,121,222,223,31],"树木","怪石","书箱","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],19,{"id":228,"slug":229,"title":230,"dynasty":18,"author":231,"museum":232,"description":233,"tags":234,"thumbUrl":243,"material":157,"size":244,"collection":59,"collections":245,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":41},222908,"hong-lou-meng-33-sun-wen-222908","红楼梦33","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",[23,27,28,235,29,236,53,220,140,237,238,7,239,240,241,242,155,31],"界画","楼阁","栏杆","匾额","公子","回廊","路径","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0de6690162cf3adb8de884b97b8e03.jpg","纵43.3厘米、横76.5厘米",[],14,{"id":248,"slug":249,"title":250,"dynasty":46,"author":251,"museum":70,"description":252,"tags":253,"thumbUrl":258,"material":83,"size":84,"collection":59,"collections":259,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":63},287334,"ming-huang-yi-qi-tu-juan-yi-ming-287334","明皇弈棋图卷","佚名","画面以弈棋为引，明皇与仕女对坐枰前，二人蹙眉凝思，指尖似将落未落，把对弈间的静气雅致渲染尽致。旁侧侍女或躬身奉茶，或垂手侍立，柔婉身姿衬出殿内松弛闲淡的氛围。\n\n设色古雅清浅，衣纹线条秀劲温婉，承宋院体人物的精工写实，又具明人笔墨的写意柔润，将唐宫日常的慵懒华贵铺陈开来。\n\n卷后题跋与篆字引首相映成趣，字画合璧，把宫廷雅事的闲情逸趣藏于绢素间，让千年的从容雅致流转至今。",[24,254,28,183,255,30,7,256,257,205,223,172],"长卷","弈棋","犬","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9fb8d9737927c943bc5e03748c8434.jpg",[],13,{"id":262,"slug":263,"title":264,"dynasty":18,"author":231,"museum":232,"description":233,"tags":265,"thumbUrl":269,"material":157,"size":244,"collection":59,"collections":270,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":63},222887,"hong-lou-meng-12-sun-wen-222887","红楼梦12",[23,153,27,28,235,29,236,53,220,266,267,7,268],"宅院","门窗","建筑装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93316b2f943f9790c60e28115b7951e.jpg",[],{"id":272,"slug":273,"title":274,"dynasty":18,"author":118,"museum":48,"description":275,"tags":276,"thumbUrl":282,"material":283,"size":284,"collection":59,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":63},238290,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238290","喻兰仕女清娱图册","此图册共八幅。从精美的器皿、工巧的家具、华丽的服饰可知作者表现的是富贵人家女子，通过女子在室内品茗、吹箫、梳妆、投壶等行乐活动，说明了优越的生活环境不仅保障了她们衣食无忧，亦为她们提供了种种休闲条件，从而令她们具有多方面的修养。",[28,27,29,30,100,7,277,278,106,31,279,280,281],"笔","书籍","器物","烛台","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae04ea9407f55992812e81b5bf39d82.jpg","纸本、设色","每开纵17厘米，横22.7厘米",[],11,{"id":288,"slug":289,"title":290,"dynasty":18,"author":251,"museum":70,"description":291,"tags":292,"thumbUrl":297,"material":83,"size":84,"collection":59,"collections":298,"showCount":299,"zanCount":11,"manualWeight":11,"mainColor":41},252826,"ni-ren-zhang-su-cai-hui-shi-nv-zuo-xiang-yi-ming-252826","泥人张塑彩绘侍女坐像","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。",[18,293,294,28,29,7,30,295,296],"泥塑","彩绘","饰品","雕塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc38b6d49d197b42609781a0b0dd45e13.jpg",[],5,{"id":301,"slug":302,"title":303,"dynasty":18,"author":304,"museum":150,"description":305,"tags":306,"thumbUrl":309,"material":59,"size":59,"collection":59,"collections":310,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":312},202457,"zhong-kui-xiang-zhou-wang-su-202457","钟馗像轴","王素","画面中钟馗虬髯戟张，宽袍博带间憨态尽显，似醉非醉的神情打破传统肃穆。侍女们或持灯暖照，光晕隐现；或捧砚执毫，纤姿温婉；或侧身低语，衣袂轻扬。笔墨上，钟馗衣纹以浓墨写意，洒脱不羁；侍女则细劲白描勾勒，灵动雅致，浓淡对比间见韵致。设色淡雅，仅依墨色层次区分物象，文人画清逸之气扑面。左上题跋与人物相映，文情并茂，更添古朴。整体以柔媚侍女衬钟馗人性化一面，别开生面，尽显笔墨妙趣与人文意涵。",[24,29,307,138,28,26,7,277,308,23],"水墨","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809bb59638cc1c1034f55a868e3b35e6.jpg",[],4,"c5b5a1",{"id":314,"slug":315,"title":316,"dynasty":18,"author":251,"museum":70,"description":317,"tags":318,"thumbUrl":319,"material":83,"size":84,"collection":59,"collections":320,"showCount":191,"zanCount":11,"manualWeight":11,"mainColor":88},252827,"ni-ren-zhang-su-cai-hui-chi-hua-shi-nv-li-xiang-yi-ming-252827","泥人张塑彩绘持画侍女立像","这尊侍女立像身姿舒展灵动，左手微张似正笑语相迎，右手高挑卷轴，将邀人共赏风雅的情态诠释得恰到好处。\n\n面庞温婉秀丽，眉目含情，浅笑嫣然，尽展闺中女子的柔婉恬然。衣饰晕染雅致沉静，衣摆褶皱层叠自然，腰间宝蓝绦带垂坠，衣身暗绘竹纹添了几分清雅文气，配色虽经岁月晕褪，却更衬出古拙温润的质感。\n\n塑绘相融，将人物鲜活神态与含蓄雅致的气韵完美结合，尽显传统彩塑细腻写实的工艺水准，仿若将一段赏画叙谈的闲适场景凝于方寸之间。",[293,294,28,29,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999b77622024680709142af96f626ae8.jpg",[],{"id":322,"slug":323,"title":324,"dynasty":68,"author":251,"museum":70,"description":325,"tags":326,"thumbUrl":338,"material":83,"size":84,"collection":59,"collections":339,"showCount":40,"zanCount":11,"manualWeight":11,"mainColor":63},289207,"gountei-sadahide-foreigners-in-the-drawing-room-yi-ming-289207","Gountei Sadahide--Foreigners in the Drawing Room","这幅三联绘定格了开埠之初的交融日常，欧陆客厅里，外客围坐举杯谈笑，舷窗外远洋航船隐约可见，西洋吊灯晕开精致暖意。和服侍女款步奉茶，洋装女眷或持烟闲憩、或拨弄弦乐，东瀛华服与西洋裙装错落交织，将东西日常美学揉于一室。画面铺陈出新旧碰撞的鲜活切片，异质文化在方寸画纸间安然共处，藏着那个特殊年代里开放又微妙的风土，温柔定格下文明相遇时的鲜活瞬间。",[327,28,183,328,329,330,331,332,333,7,334,335,336,337],"浮世绘","会客厅","宴饮","饮酒","乐器演奏","和服","西洋服饰","吊灯","海景","船舶","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e0d5a1875c992991b9f1f6fd7ef862f.jpg",[],{"id":341,"slug":342,"title":343,"dynasty":18,"author":344,"museum":70,"description":345,"tags":346,"thumbUrl":352,"material":59,"size":59,"collection":59,"collections":353,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":63},236526,"ren-wu-gu-shi-ce-chen-zi-236526","人物故事册","陈字","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。",[24,25,347,28,27,29,348,206,223,7,100,349,350,351,205],"册","故事画","传统服饰","古装人物","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe368028fe9bc7dc0843d225a812d59a8.jpg",[],1777535720366]