[{"data":1,"prerenderedAt":181},["ShallowReactive",2],{"subject-shi-qiang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1092,"shi-qiang","石墙","石墙画高清赏析","精选中国历代石墙题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899d9ca459d18fdf0476cb72c3dfe307.jpg",0,10,[14,46,59,83,99,111,122,131,140,165],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":43,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},225721,"boerderij-in-de-provence-fan-gao-225721","Boerderij in de Provence","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36,37,38],"名画","油画","后印象派","厚涂","色彩浓烈","笔触奔放","田野","农舍","拱门","干草堆","树木","人物","小路","花草","天空","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0ec8b667688d44a5bb0209d76d2bd1.jpg","未知","Xcm*Xcm","油画精选",[42],55,"795548",{"id":47,"slug":48,"title":49,"dynasty":18,"author":19,"museum":20,"description":21,"tags":50,"thumbUrl":56,"material":40,"size":41,"collection":42,"collections":57,"showCount":58,"zanCount":11,"manualWeight":11,"mainColor":45},225755,"gogh-vincent-van-cottages-fan-gao-225755","Gogh Vincent van Cottages",[24,26,51,52,29,53,37,38,54,7,55,27],"小屋","茅草屋顶","山坡","灌木","土路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472f92b8719c0935d6a391a002c66dd0.jpg",[42],16,{"id":60,"slug":61,"title":62,"dynasty":63,"author":64,"museum":65,"description":66,"tags":67,"thumbUrl":77,"material":78,"size":79,"collection":80,"collections":81,"showCount":82,"zanCount":11,"manualWeight":11,"mainColor":45},232252,"qiao-mu-gao-zhai-tu-zhao-meng-xu-232252","乔木高斋图","元","赵孟吁","台北故宫博物院","在元代文人画家笔下，画的内容仅仅只是载体了，重要的是画上寄托的情感。他们追求“逸笔草草，不求形似”，目的是抒写“胸中逸气”；追求笔墨趣味，以笔墨的形式与结构来表达绘画者自己的主观精神境界。",[68,69,70,71,72,73,34,74,7,75,76],"国画","设色","工笔","皴法","老树","松树","建筑","孤石","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","纸本","102.4x51.3公分","",[],15,{"id":84,"slug":85,"title":86,"dynasty":18,"author":87,"museum":20,"description":88,"tags":89,"thumbUrl":95,"material":40,"size":41,"collection":80,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":98},225526,"fu-shi-hui-284-yi-ming-225526","浮世绘284","佚名","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[90,91,69,34,92,93,7,33,94],"浮世绘","木刻","美人","和服","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff204b71e85755b36065d4a00cb5c52f3.jpg",[],7,"BDBDBD",{"id":100,"slug":101,"title":102,"dynasty":18,"author":87,"museum":20,"description":88,"tags":103,"thumbUrl":108,"material":40,"size":41,"collection":80,"collections":109,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":98},225529,"fu-shi-hui-287-yi-ming-225529","浮世绘287",[90,91,69,34,92,93,104,7,105,106,107],"木梯","礼盒","黑色帽子","传统服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf32d0df13ac99f023f68b6eb239b390.jpg",[],5,{"id":112,"slug":113,"title":114,"dynasty":18,"author":87,"museum":20,"description":88,"tags":115,"thumbUrl":119,"material":40,"size":41,"collection":80,"collections":120,"showCount":121,"zanCount":11,"manualWeight":11,"mainColor":98},225530,"fu-shi-hui-288-yi-ming-225530","浮世绘288",[90,91,69,34,92,116,93,7,33,117,118],"武士","水面","花纹服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99e84dd7c39d8e1ce4be60b67b36f71.jpg",[],4,{"id":123,"slug":124,"title":125,"dynasty":18,"author":87,"museum":20,"description":88,"tags":126,"thumbUrl":128,"material":40,"size":41,"collection":80,"collections":129,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":98},225536,"fu-shi-hui-1-yi-ming-225536","浮世绘1",[90,91,69,34,92,93,127,7,33],"伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaacabe71e49b6ce8f5e2313f45f35fb.jpg",[],3,{"id":132,"slug":133,"title":134,"dynasty":18,"author":87,"museum":20,"description":88,"tags":135,"thumbUrl":138,"material":40,"size":41,"collection":80,"collections":139,"showCount":130,"zanCount":11,"manualWeight":11,"mainColor":98},225535,"fu-shi-hui-293-yi-ming-225535","浮世绘293",[90,91,69,34,92,136,137,7],"马","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb540117fa431f94d6558b182e7881c65.jpg",[],{"id":141,"slug":142,"title":143,"dynasty":144,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":10,"material":80,"size":162,"collection":80,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":98},223188,"geng-zhi-tu-ce-jiao-bing-zhen-223188","耕织图册","清","焦秉贞","北京故宫博物院","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[68,70,69,149,150,151,152,153,154,7,155,156,157,158,159,160,161],"清代","册页","写实","人物劳作","柳树","农具","木桶","题字","农耕场景","传统技法","田园场景","细笔勾勒","色彩淡雅","34.7cm×27.7cm",[],2,{"id":166,"slug":167,"title":168,"dynasty":18,"author":169,"museum":20,"description":170,"tags":171,"thumbUrl":178,"material":40,"size":41,"collection":80,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":98},232323,"a-er-ma-50-lao-lun-si-a-er-ma-ta-de-ma-232323","阿尔玛50","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence 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