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“韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[58,23,59,60,24,25,27,7,61,62,63,64],"高清","书画","长卷","美人","印章","衣帽","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[58,23,25,27,61,80,7,81,59],"梅","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","纸本设色","103 1cmx36 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,99,25,27,61,140,141,142,143,104,62,7],"嫦娥","明月","兔","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg",[43],539,9,{"id":149,"slug":150,"title":151,"dynasty":152,"author":153,"museum":154,"description":155,"tags":156,"thumbUrl":161,"material":41,"size":68,"collection":43,"collections":162,"showCount":163,"zanCount":110,"manualWeight":11,"mainColor":48},218378,"shi-nv-tu-zhou-wen-ju-218378","仕女图","五代十国","周文矩","大英博物馆","画面铺展一段古雅日常，仕女们衣袂轻扬，线条似行云流水，勾勒出温婉曼妙的身姿。或执物凝思，或俯身逗弄孩童，眉眼间藏着细碎的温柔，神态生动如在眼前。孩童们嬉戏打闹，天真烂漫的模样，为静谧场景添了几分活泼意趣。设色淡雅却见匠心，衣纹的褶皱细腻流畅，器物的轮廓精致入微，尽显五代绘画的雅致韵致。整幅画仿佛凝住了时光，让观者得以窥见古时闺阁的闲逸片段，静静品味那份穿越千年的温婉与温情。",[58,24,25,60,27,7,157,158,159,160,28],"孩童","生活场景","盆器","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb97551a5b969421596ee30b80331890.jpg",[43],300,{"id":165,"slug":166,"title":151,"dynasty":18,"author":167,"museum":154,"description":168,"tags":169,"thumbUrl":172,"material":41,"size":68,"collection":43,"collections":173,"showCount":174,"zanCount":133,"manualWeight":11,"mainColor":48},219556,"shi-nv-tu-jiang-gan-219556","蒋干","春日深苑里，梅枝斜曳绽蕊，古殿檐角隐在花影后。两名仕女缓步游园，前者抬臂探花，似贪嗅浅淡春芳，后者抬手理鬓，眼波追随着花枝流转。\n\n衣纹以淡墨轻勾，敷色清妍柔润，朱红飘带轻垂摇曳，衬出仕女柔婉窈窕的身姿。山石花木晕染雅致，淡赭底色晕开暮春慵柔氛围，笔意秀逸灵动，将深闺仕女娇柔娴静的游园意趣藏在每一处笔触间，尽显清丽隽秀的古典风韵，把春日闲淡雅致的闺中情态铺陈得动人缱绻。",[58,23,59,99,24,25,27,61,7,170,119,171],"梅花","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a387652910225c3f68016cca938aa4e.jpg",[43,45],290,{"id":176,"slug":177,"title":178,"dynasty":75,"author":179,"museum":180,"description":181,"tags":182,"thumbUrl":195,"material":196,"size":68,"collection":43,"collections":197,"showCount":198,"zanCount":147,"manualWeight":11,"mainColor":89},218255,"shi-nv-ce-wu-jia-you-218255","仕女册","吴嘉猷","上海博物馆","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[58,23,183,24,25,7,61,28,119,184,185,186,103,187,188,189,190,191,192,193,194],"册","轩窗","屏风","花木","抚琴","品茗","研墨","温婉","娴静","雅致","器物","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg","纸本,设色",[43],186,{"id":200,"slug":201,"title":202,"dynasty":203,"author":204,"museum":205,"description":206,"tags":207,"thumbUrl":213,"material":106,"size":107,"collection":68,"collections":214,"showCount":215,"zanCount":88,"manualWeight":11,"mainColor":48},288538,"mo-zhang-xuan-dao-lian-tu-zhao-ji-288538","摹张萱捣练图","宋","赵佶","藏地不详","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,60,24,25,208,61,7,209,210,211,212,62],"人物画","布料","捣练","劳作","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcfdff97a90609c29cad09ccf054425.jpg",[],183,{"id":217,"slug":218,"title":219,"dynasty":18,"author":19,"museum":20,"description":21,"tags":220,"thumbUrl":225,"material":41,"size":42,"collection":68,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":48},216360,"xi-xiang-ji-tu-ye-5-chou-ying-216360","西厢记图页-5",[23,25,24,26,183,27,28,119,221,222,223,224,31,7,36],"松树","鹤","花卉","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a5e3f5202e2bf3cce13b4a1c90134a.jpg",[],182,{"id":229,"slug":230,"title":231,"dynasty":152,"author":153,"museum":205,"description":232,"tags":233,"thumbUrl":235,"material":68,"size":68,"collection":68,"collections":236,"showCount":237,"zanCount":238,"manualWeight":11,"mainColor":48},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[58,23,59,99,25,24,27,61,7,102,29,234,28,63],"山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],171,8,{"id":240,"slug":241,"title":242,"dynasty":53,"author":243,"museum":95,"description":244,"tags":245,"thumbUrl":249,"material":41,"size":250,"collection":43,"collections":251,"showCount":252,"zanCount":88,"manualWeight":11,"mainColor":48},288360,"gong-le-tu-yi-ming-288360","宫乐图","佚名","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[58,23,59,25,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n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[23,99,25,24,27,61,7,80,371,121],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[43],75,{"id":377,"slug":378,"title":314,"dynasty":315,"author":316,"museum":205,"description":379,"tags":380,"thumbUrl":382,"material":106,"size":107,"collection":68,"collections":383,"showCount":375,"zanCount":269,"manualWeight":11,"mainColor":48},290085,"zhao-liang-shi-nv-tu-qian-xuan-290085","这幅“宋钱选招凉仕女图”以美人为主题。画中两位美人，举止娴雅，体态轻盈纤弱，削肩瓜子脸，正是宋人欣赏的美女典型。再看看她们的穿着：内穿低胸衣、窄长裙、外着对襟褙子，也是宋代妇女所常穿的时装。至于她们手中的圆扇，又名为团扇或纨扇。它们除了能够避暑、招凉之外，因为形式、材质、扇面巧富变化，所以也是仕女手中不可或缺的重要饰品。\n庭园里，两位纤细窈窕的美人，手持着圆扇，相偕漫步而来。园中植立着传统庭园中常见剔透嶙峋的太湖石，石后还有一株花树，绽放着好似月季的花朵。美人头上，戴着不同款式的高帽，尤其是那层层高起的花形冠，样子相当别致新颖，或许是当时最新流行的款式吧\n这幅传为钱选（1235-1303左右）所作的“招凉仕女”，由于仕女面容、衣服的白粉及花上的朱砂多已脱落，因此颜色显得相当素雅简淡。钱选是南宋末一位相当具有文才与气节的画家，画风以细腻见长。这幅作品画风与存世钱选作品风格不尽相同，但仍不失无一幅南宋典雅的仕女画佳作",[23,208,24,25,61,7,121,223,381,323],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f42f52ef48908dcf2b212818ad4433.jpg",[],{"id":385,"slug":386,"title":387,"dynasty":203,"author":243,"museum":95,"description":388,"tags":389,"thumbUrl":391,"material":392,"size":393,"collection":68,"collections":394,"showCount":395,"zanCount":269,"manualWeight":11,"mainColor":48},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）","该画描绘了唐装贵族妇女以棋戏消遣的生活。图中间为二盛装贵族妇女对坐行棋，左右有亲近观棋，侍婢应候。",[58,98,23,59,60,24,25,27,7,64,63,390],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg","绢","纵30.7厘米，横64.4厘米",[],72,{"id":397,"slug":398,"title":399,"dynasty":18,"author":19,"museum":205,"description":400,"tags":401,"thumbUrl":403,"material":68,"size":68,"collection":68,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":89},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[23,59,335,302,24,25,27,7,61,119,28,402],"花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],71,{"id":407,"slug":408,"title":409,"dynasty":75,"author":243,"museum":205,"description":410,"tags":411,"thumbUrl":415,"material":106,"size":107,"collection":68,"collections":416,"showCount":417,"zanCount":11,"manualWeight":11,"mainColor":364},249175,"qian-long-kuan-hua-fa-lang-shi-nv-tu-bi-yan-hu-yi-ming-249175","乾隆款画珐琅仕女图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[75,412,413,25,7,157,27,414],"乾隆","画珐琅","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f6c77778a489e7af1575050a8801ee.jpg",[],63,{"id":419,"slug":420,"title":421,"dynasty":152,"author":153,"museum":205,"description":422,"tags":423,"thumbUrl":427,"material":106,"size":107,"collection":68,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":48},290013,"he-le-shi-nv-tu-zhou-wen-ju-290013","合乐仕女图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[58,23,60,208,24,25,61,7,102,424,248,425,104,426,62,192],"奏乐","闺阁","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66132f9f2e6e9d33fbf23643535dd1c2.jpg",[],61,{"id":431,"slug":432,"title":433,"dynasty":18,"author":19,"museum":55,"description":434,"tags":435,"thumbUrl":445,"material":306,"size":446,"collection":447,"collections":448,"showCount":429,"zanCount":269,"manualWeight":11,"mainColor":89},233754,"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,59,183,24,25,436,27,437,119,7,36,438,102,402,439,440,441,442,443,444],"重彩","山水","知音","历史故事","亭台","松林","流水","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米","山水画精选",[447,43,45],{"id":450,"slug":451,"title":452,"dynasty":18,"author":19,"museum":55,"description":453,"tags":454,"thumbUrl":456,"material":306,"size":457,"collection":447,"collections":458,"showCount":459,"zanCount":88,"manualWeight":11,"mainColor":48},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[58,98,23,59,99,24,25,26,27,61,7,119,28,102,261,455],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[447,45],59,{"id":461,"slug":462,"title":463,"dynasty":18,"author":346,"museum":205,"description":464,"tags":465,"thumbUrl":468,"material":106,"size":107,"collection":68,"collections":469,"showCount":470,"zanCount":269,"manualWeight":11,"mainColor":48},287345,"pi-pa-xian-shou-tu-chen-hong-shou-287345","枇杷献寿图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[58,23,98,99,25,24,27,61,7,466,104,62,467],"枇杷","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b9bd281fa2cf446c195de1b79955a.jpg",[],55,{"id":472,"slug":473,"title":474,"dynasty":315,"author":475,"museum":205,"description":476,"tags":477,"thumbUrl":478,"material":106,"size":107,"collection":68,"collections":479,"showCount":480,"zanCount":11,"manualWeight":11,"mainColor":48},228079,"xiao-xia-tu-liu-guan-dao-228079","消夏图","刘贯道","描绘一文士赤裸半身躺于卧榻，右手持尘，左手拈书卷，目视前方，若有所思。他的身后放一琴，榻后的桌上陈放有书卷、砚台，茶盏等，可见主人是个风雅文士。榻的旁边有一屏风，对面两名侍女，一个手拿蒲扇，另外一名双手抱一包裹似乎主人需要之物。",[58,98,23,59,60,25,27,36,7,30,193,104,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621dcab5316c928d6d5eb788d601bacf.jpg",[],54,{"id":482,"slug":483,"title":484,"dynasty":75,"author":115,"museum":205,"description":485,"tags":486,"thumbUrl":489,"material":106,"size":107,"collection":68,"collections":490,"showCount":491,"zanCount":11,"manualWeight":11,"mainColor":48},288380,"gui-fei-yan-yan-ti-da-guan-yuan-sun-wen-288380","贵妃筵宴题大观园","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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除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[877,1059,878,7,103,1060,25,349,24],"饮酒器","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45964cb0c9b66328af192c11b53b9c3.jpg",[],13,{"id":1065,"slug":1066,"title":1067,"dynasty":75,"author":243,"museum":205,"description":410,"tags":1068,"thumbUrl":1071,"material":106,"size":107,"collection":68,"collections":1072,"showCount":1063,"zanCount":11,"manualWeight":11,"mainColor":364},249182,"qian-long-kuan-hua-fa-lang-shi-nv-ying-xi-tu-bi-yan-hu-yi-ming-249182","乾隆款画珐琅仕女婴戏图鼻烟壶",[701,413,25,27,7,1069,1070],"婴孩","珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3a686cdfbaf80cb10b66ed46aa1ef1.jpg",[],{"id":1074,"slug":1075,"title":796,"dynasty":75,"author":797,"museum":55,"description":798,"tags":1076,"thumbUrl":1079,"material":802,"size":803,"collection":68,"collections":1080,"showCount":1063,"zanCount":11,"manualWeight":11,"mainColor":89},238292,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238292",[98,23,59,183,24,25,27,61,7,160,102,1077,223,1078,64],"花篮","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb39c6b93343df97dee8c1f459ef89645.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":75,"author":115,"museum":116,"description":117,"tags":1085,"thumbUrl":1088,"material":129,"size":130,"collection":68,"collections":1089,"showCount":1063,"zanCount":11,"manualWeight":11,"mainColor":48},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[58,23,24,25,359,1086,7,119,28,208,440,1087],"古代人物","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":1091,"slug":1092,"title":1093,"dynasty":75,"author":115,"museum":116,"description":117,"tags":1094,"thumbUrl":1097,"material":129,"size":130,"collection":68,"collections":1098,"showCount":1063,"zanCount":11,"manualWeight":11,"mainColor":89},222980,"hong-lou-meng-105-sun-wen-222980","红楼梦105",[58,23,24,25,27,7,1095,674,1087,1096,887,511,569,888],"古建筑","马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173d1e044780feb5c210a6379f8cecd8.jpg",[],{"id":1100,"slug":1101,"title":1102,"dynasty":75,"author":115,"museum":116,"description":117,"tags":1103,"thumbUrl":1104,"material":129,"size":130,"collection":68,"collections":1105,"showCount":1063,"zanCount":11,"manualWeight":11,"mainColor":48},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[58,23,24,25,59,27,7,119,581,29,223,28,194,359,621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":1107,"slug":1108,"title":1109,"dynasty":18,"author":19,"museum":55,"description":434,"tags":1110,"thumbUrl":1114,"material":306,"size":446,"collection":68,"collections":1115,"showCount":1116,"zanCount":11,"manualWeight":11,"mainColor":89},233759,"ren-wu-gu-shi-ce-6-chou-ying-233759","人物故事册6",[98,23,24,25,320,27,7,36,157,561,28,193,158,1111,788,1112,1113],"聚会","笔墨纸砚","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d3c7587792f36078e504187ea5124e.jpg",[],12,{"id":1118,"slug":1119,"title":1120,"dynasty":1121,"author":243,"museum":1122,"description":1123,"tags":1124,"thumbUrl":1127,"material":1128,"size":1129,"collection":68,"collections":1130,"showCount":1116,"zanCount":11,"manualWeight":11,"mainColor":89},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","不详","日本京都国立博物馆","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[58,23,60,25,24,27,29,437,442,119,560,234,171,7,1125,1126,103],"僧侣","坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","纸本","31.7×196.6cm",[],{"id":1132,"slug":1133,"title":1134,"dynasty":75,"author":115,"museum":116,"description":117,"tags":1135,"thumbUrl":1137,"material":129,"size":130,"collection":68,"collections":1138,"showCount":1116,"zanCount":11,"manualWeight":11,"mainColor":89},222937,"hong-lou-meng-62-sun-wen-222937","红楼梦62",[58,23,24,25,60,27,7,119,1136,234,511,194,359,360],"亭廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0894edf4d92ca30bad6618197f3b12cc.jpg",[],{"id":1140,"slug":1141,"title":1142,"dynasty":203,"author":243,"museum":95,"description":1143,"tags":1144,"thumbUrl":1147,"material":41,"size":1148,"collection":68,"collections":1149,"showCount":47,"zanCount":269,"manualWeight":11,"mainColor":48},289556,"que-zuo-tu-yi-ming-289556","却坐图","该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。该画侧重表现矛盾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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[877,878,25,27,7,28,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4fa06d77ea19a21afa42a4e80e1f1a.jpg",[],{"id":1178,"slug":1179,"title":796,"dynasty":75,"author":797,"museum":55,"description":798,"tags":1180,"thumbUrl":1185,"material":802,"size":803,"collection":68,"collections":1186,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":89},238290,"yu-lan-shi-nv-qing-yu-tu-ce-yu-lan-238290",[25,24,27,61,7,260,1181,1182,263,160,193,1183,1184],"笔","书籍","烛台","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae04ea9407f55992812e81b5bf39d82.jpg",[],{"id":1188,"slug":1189,"title":1190,"dynasty":75,"author":115,"museum":116,"description":117,"tags":1191,"thumbUrl":1192,"material":129,"size":130,"collection":68,"collections":1193,"showCount":1194,"zanCount":11,"manualWeight":11,"mainColor":89},222895,"hong-lou-meng-20-sun-wen-222895","红楼梦20",[58,23,24,25,27,7,119,28,819,221,643],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe631c3faa74d3d30a6fab41199d76ff2.jpg",[],10,{"id":1196,"slug":1197,"title":1198,"dynasty":75,"author":243,"museum":205,"description":1199,"tags":1200,"thumbUrl":1203,"material":106,"size":107,"collection":68,"collections":1204,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":89},262155,"yong-zheng-kuan-wu-cai-shi-nv-tu-wan-yi-ming-262155","雍正款五彩仕女图碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[877,1201,7,437,25,1202],"五彩","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95ae2cf939c1b66eece64b97722e0ce3.jpg",[],{"id":1206,"slug":1207,"title":1208,"dynasty":75,"author":243,"museum":205,"description":1209,"tags":1210,"thumbUrl":1212,"material":106,"size":107,"collection":68,"collections":1213,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":364},259803,"wu-cai-shi-nv-xi-ying-tu-da-xi-yi-ming-259803","五彩仕女戏婴图大洗","仕女静倚湖石，眉眼温婉沉静，衣色浓妍柔丽，墨线勾勒衣纹发髻，细腻传神。稚童捧花奔赴，憨态灵动，尽显孩童娇憨天趣。器沿以缠枝花卉锦地纹样点缀，繁简相宜，衬出闺中悠然闲意。整器瓷绘工致细腻，将日常闺中嬉游的温情瞬间凝于瓷面，晕染出柔雅恬和的氛围，尽显彩瓷绘饰的精妙意韵，雅致动人。",[877,1201,7,1211,223,25,24,27],"戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8309ecddbece513863ab87a614ba25e5.jpg",[],{"id":1215,"slug":1216,"title":1217,"dynasty":75,"author":1218,"museum":205,"description":1219,"tags":1220,"thumbUrl":1225,"material":106,"size":107,"collection":68,"collections":1226,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":89},288393,"lai-fu-tu-huang-shen-288393","来蝠图","黄慎","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[58,23,59,99,81,25,1221,27,36,7,531,1222,1223,1077,104,62,1224],"写意","蝙蝠","兰草","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],{"id":1228,"slug":1229,"title":1230,"dynasty":75,"author":243,"museum":205,"description":410,"tags":1231,"thumbUrl":1234,"material":106,"size":107,"collection":68,"collections":1235,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":48},249184,"qian-long-kuan-hua-fa-lang-kai-guang-xi-yang-shi-nv-tu-bi-yan-hu-yi-ming-249184","乾隆款画珐琅开光西洋仕女图鼻烟壶",[413,1232,25,1233,27,7,64,414],"开光","西洋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb929d95657615f666a2140b4027693b9.jpg",[],{"id":1237,"slug":1238,"title":1239,"dynasty":75,"author":243,"museum":205,"description":875,"tags":1240,"thumbUrl":1241,"material":106,"size":107,"collection":68,"collections":1242,"showCount":1243,"zanCount":11,"manualWeight":11,"mainColor":48},260532,"wu-cai-shi-nv-tu-da-ping-yi-ming-260532","五彩仕女图大瓶",[877,1201,7,27,25,619,234,193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5980c5e0f361f87678c6a1385ed5fa5f.jpg",[],7,{"id":1245,"slug":1246,"title":1067,"dynasty":75,"author":243,"museum":205,"description":410,"tags":1247,"thumbUrl":1249,"material":106,"size":107,"collection":68,"collections":1250,"showCount":1243,"zanCount":11,"manualWeight":11,"mainColor":48},249179,"qian-long-kuan-hua-fa-lang-shi-nv-ying-xi-tu-bi-yan-hu-yi-ming-249179",[75,413,1070,64,7,1248,27,35],"婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b8f9b09f1a63260691e37dddf7e6b3.jpg",[],{"id":1252,"slug":1253,"title":1254,"dynasty":18,"author":1255,"museum":180,"description":1256,"tags":1257,"thumbUrl":1260,"material":68,"size":68,"collection":43,"collections":1261,"showCount":1243,"zanCount":11,"manualWeight":11,"mainColor":1262},201509,"han-gong-chun-xiao-tu-juan-you-qiu-201509","汉宫春晓图卷","尤求","画卷铺展，汉宫春日的雍容景致徐徐浮现。亭台楼阁间，仕女们或临窗对弈，或凭栏观花，或泛舟湖上，情态生动自然。线条细劲流畅，白描技法勾勒出人物衣袂的轻盈与建筑的精巧，界画工整精准，尽显宫苑的规制与雅致。花木扶疏，山石点缀，春日的生机与宫廷的闲逸交融，每一处细节皆见匠心。画面空间转换巧妙，从庭院到室内，从舟楫到轩榭，层次分明，宛如一部流动的宫苑生活长卷，将汉宫春晓的温婉与繁华尽纳其中。",[551,26,24,27,119,541,1258,186,234,60,7,633,1259,58],"舟船","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c2c91d643b9d3f8440d1a033708222.jpg",[43],"000000",{"id":1264,"slug":1265,"title":1266,"dynasty":75,"author":243,"museum":205,"description":1267,"tags":1268,"thumbUrl":1270,"material":106,"size":107,"collection":68,"collections":1271,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":89},261654,"cheng-hua-kuan-qing-hua-shi-nv-tu-guan-yi-ming-261654","成化款青花仕女图罐","青花瓷（blue 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。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[203,877,1635,982,27,7,61],"白釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fb7db02cf48f4dbbe5f4f2e2d5dfa6.jpg",[],{"id":1639,"slug":1640,"title":1641,"dynasty":18,"author":243,"museum":205,"description":1276,"tags":1642,"thumbUrl":1647,"material":106,"size":107,"collection":68,"collections":1648,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":48},228670,"diao-zhu-shi-nv-ting-yuan-bi-tong-yi-ming-228670","雕竹仕女庭园笔筒",[302,1643,982,1644,1645,7,1646,27,61,64,35,561],"竹雕","浮雕","透雕","庭园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a4ec95358b75a15327145e6f035517.jpg",[],1777535702555]