[{"data":1,"prerenderedAt":174},["ShallowReactive",2],{"subject-shi-zhuo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2325,"shi-zhuo","石桌","石桌画高清赏析","精选中国历代石桌题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf246fc74e23253b67d6663734c53d23.jpg",0,7,[14,49,73,93,109,126,149],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":40,"material":41,"size":42,"collection":43,"collections":44,"showCount":46,"zanCount":47,"manualWeight":11,"mainColor":48},216362,"xi-xiang-ji-tu-ye-chou-ying-216362","西厢记图页","明","仇英","美国弗利尔美术馆","清人绘，款仇英",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36,37,38,39],"国画","工笔","设色","界画","人物","庭院","树木","芭蕉","栏杆","藤蔓","假山石","建筑","仕女","文人","屋顶","围墙","石台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd73073efbf2fef3fc9d47804d1d4a0e8.jpg","绢本,设色","18.5*38","人物画精选",[43,45],"设色画精选",2008,11,"795548",{"id":50,"slug":51,"title":52,"dynasty":18,"author":53,"museum":54,"description":55,"tags":56,"thumbUrl":66,"material":67,"size":68,"collection":69,"collections":70,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":72},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","陈洪绶","北京故宫博物院","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[57,58,23,59,60,25,24,27,61,62,63,7,64,65],"高清","名画","书画","立轴","器","荷花","衣袍","花瓶","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg","绢本设色","纵150厘米，横67.3厘米","山水画精选",[69],157,"BDBDBD",{"id":74,"slug":75,"title":76,"dynasty":77,"author":78,"museum":79,"description":80,"tags":81,"thumbUrl":88,"material":89,"size":89,"collection":89,"collections":90,"showCount":91,"zanCount":92,"manualWeight":11,"mainColor":48},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","五代十国","周文矩","藏地不详","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[57,58,23,59,82,24,25,27,83,7,84,85,36,86,87],"长卷","松树","器物","印章","古代服饰","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg","",[],87,1,{"id":94,"slug":95,"title":96,"dynasty":18,"author":19,"museum":97,"description":98,"tags":99,"thumbUrl":104,"material":105,"size":106,"collection":89,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":72},231376,"jiao-yin-jie-xia-chou-ying-231376","蕉阴结夏","台北故宫博物院","此为一幅煌煌巨作，此图为仇英画粗笔之杰作：表现的是炎暑时节，士人于庭院内弹琴拨阮的闲情雅兴。图中画庭院中蕉石耸峙，后有苍筠数竿，清劲飘洒、远处的左侧画有巨块的岩石，岩石的右方画有几棵芭蕉树，树下偶有数块小石块，石块和树根部长满了杂草。画面的下部有二位长者席地而坐，左侧一长者在一旁专心致志地抚琴，右侧一位长者在洗耳恭听，神注专一。右画面的右上角有一女童正在扭首倾听琴声，弯着腰，双手持盏，旁侍后侧，被琴声吸引呆立不动。在长方的矮桌上，摆放一叠书卷，一篡一尊。从画面女童的姿态和神情看，似乎正在为两位长者作斟酒前的准备。\n此画构图简明开朗，只取近景，而将远景略省。人物居中主景位置，其后有竹、芭蕉及奇石穿插托衬。画面上的人物，须眉毕肖，神情各异，栩栩如生，其中尤以拨阮者之右手拨弦手式之描写，最能表现出力与美的感觉。故有别于一般山水中点景人物的遣貌取神。所画的人物，符合当时士大夫“优游林下”的生活情趣，主题极为鲜明。画笔沉着而活泼。构图疏密得当，色调柔和，远处的山石和芭蕉树采用写实手法，画笔疏放酣畅，格调闲适。画芭蕉，先以墨笔中锋勾勒，再赋染淡绿、淡青，蕉侧山石用侧势中锋，稍浓墨笔勾画轮廓，趁将干之际再迅以淡墨皴擦，并和水卧笔化染开，行笔疾速，充满水墨交融，淋漓畅快之感：画竹叶则于立竿之后，以浓淡墨和汁绿层层罩上，草以淡墨、淡绿画成，笔极挺拔。",[23,59,60,24,25,27,30,100,101,102,7,103],"竹子","岩石","乐器","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248b2bea1b45945cfa44c7abdd287616.jpg","纸本","纵279.1厘米，横99厘米",[],22,{"id":110,"slug":111,"title":112,"dynasty":113,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":123,"material":89,"size":89,"collection":89,"collections":124,"showCount":125,"zanCount":11,"manualWeight":11,"mainColor":72},220509,"bo-gu-tu-huang-jun-bi-220509","博古图","民国","黄君璧","龙美术馆西岸馆","松林烟霭漫卷，清寂林泉间漾出幽远雅致。两位文士围坐展卷品赏，案头砚池、杯盏错落，文士姿态悠然松弛，静享观画雅趣。松下童子提壶候立，动静之间衬出林下闲寂氛围。\n\n画师笔触清润秀逸，松干皴苍劲朴拙，松针细密劲挺晕染出郁郁古意，远景林麓以淡墨晕开，揉出水墨空濛的山水诗意，敷色浅柔明净，将文人雅集的疏放意兴与林泉栖居的静穆旨趣相融，尽绘传统文人藏于日常雅事中的清远襟怀。",[23,25,24,27,36,118,83,119,120,121,7,122,29],"童子","山水","草地","河流","茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3e093fa547734000991435aa3f94c3.jpg",[],16,{"id":127,"slug":128,"title":129,"dynasty":130,"author":131,"museum":79,"description":132,"tags":133,"thumbUrl":144,"material":145,"size":146,"collection":89,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":72},234947,"yue-man-qing-you-ce-chen-mei-234947","月漫清游册","清","陈枚","《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”。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。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。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。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。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。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。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[23,59,25,24,27,134,135,28,136,85,137,31,138,29,7,139,140,141,142,143],"美人","楼阁","盆栽","行书","台阶","菊","清代","册","书法","诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa802a71d4482087ccb76c4c0c68fc81e.jpg","未知","Xcm*Xcm",[],6,{"id":150,"slug":151,"title":152,"dynasty":153,"author":154,"museum":79,"description":155,"tags":156,"thumbUrl":172,"material":145,"size":146,"collection":89,"collections":173,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":48},232342,"a-er-ma-69-lao-lun-si-a-er-ma-ta-de-ma-232342","阿尔玛69","不详","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[157,25,158,27,134,159,160,161,162,29,163,164,165,166,167,168,7,169,170,171],"油画","新古典主义","男性人物","古希腊服饰","大理石建筑","石碑","海洋","天空","海岸线","远山","弦乐器","花环","石凳","木质椅子","石质地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dc9763ef4974b1212acdaae4eab6e6.jpg",[],1777535741887]