[{"data":1,"prerenderedAt":392},["ShallowReactive",2],{"subject-shou-lie":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},1013,"shou-lie","狩猎","狩猎画高清赏析","精选中国历代狩猎题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84cc71b495de1125f8b58155a9720b0f.jpg",0,30,[14,40,61,75,87,104,120,134,146,162,172,185,197,206,215,225,242,250,262,275,286,298,308,318,332,340,352,362,372,382],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":34,"material":35,"size":35,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},227072,"shan-xi-xin-zhou-jiu-yuan-gang-bei-chao-mu-zang-bi-hua-shou-lie-tu-juan-di-yi-bi-yi-ming-227072","山西-忻州九原岗北朝墓葬壁画-狩猎图卷-第一壁","南北朝","佚名","藏地不详","山西忻州九原岗北朝墓葬壁画，是中国现存面积最大的墓葬狩猎图壁画。总面积约70平方米。\n九原岗北朝墓葬的发掘对研究北朝晚期社会生活、绘画艺术以及中国古代建筑史具有非常重要的意义。",[23,24,25,26,27,28,29,30,31,32,33,7],"高清","壁画","设色","白描","人物","马","虎","鹿","兽","山水","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F746e562d7c6fc482718f06388d4d82d5.jpg","",[],166,2,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":46,"description":47,"tags":48,"thumbUrl":54,"material":55,"size":56,"collection":57,"collections":58,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":60},220246,"chu-lie-tu-hu-gui-220246","出猎图","五代十国","胡瓌","台北故宫博物院","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[23,49,50,51,25,52,27,28,53,7],"国画","书画","名画","工笔","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","绢本,设色","32.9x44.3","人物画精选",[57],61,"795548",{"id":62,"slug":63,"title":64,"dynasty":65,"author":66,"museum":20,"description":67,"tags":68,"thumbUrl":71,"material":55,"size":72,"collection":57,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":60},218448,"tai-zong-chu-lie-tu-zhao-yong-218448","太宗出猎图","元","赵雍","两位人物和马匹的技法是用方正的铁线来描绘的，线条粗壮而精细，更让人联想到北宋李公麟柔和细腻的笔触，表现出人物的大衣、马匹的鬃毛和尾巴在风中飞舞的动作。色彩呈现出唐代的富丽堂皇，又不失文人的优雅，将厚重和明亮的色彩融为一体。树木是双层的，线条坚硬有力，继承了李唐甚至马远和夏圭的朴素。",[51,49,25,27,28,69,7,70],"松树","铁线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475cc26186ca387c2bdcd4b595d81ae6.jpg","118x67",[57],58,{"id":76,"slug":77,"title":78,"dynasty":65,"author":19,"museum":79,"description":80,"tags":81,"thumbUrl":82,"material":55,"size":83,"collection":57,"collections":84,"showCount":85,"zanCount":86,"manualWeight":11,"mainColor":60},219007,"shou-lie-tu-yi-ming-219007","狩猎图","私人收藏","猎手策马前行，肩挎箭囊的弧度里藏着草原的风，暖黄衣袍与黑马的沉墨撞出视觉张力，粗砺笔触勾出游牧者的剽悍。猎犬腾跃紧随，四肢的动感与马的沉稳形成呼应，背景晕染的朦胧弱化了具体场景，却让狩猎的紧张感直抵人心。墨色的浓淡晕染出马匹的肌理，衣纹的褶皱里藏着动作的余韵，没有繁复修饰，却将猎场上的瞬间生机与豪迈气慨鲜活铺展——每一笔都是对生活本真的捕捉，仿佛能听见马蹄踏过草地的声响，看见猎手眼中的锐利与专注，让游牧民族狩猎时的粗犷与灵动，在岁月里静静流淌。",[49,25,27,28,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14464278e09077cfad9f79eba8cf35e5.jpg","24.4x27.4cm",[57],56,1,{"id":88,"slug":89,"title":90,"dynasty":91,"author":19,"museum":79,"description":92,"tags":93,"thumbUrl":98,"material":55,"size":99,"collection":57,"collections":100,"showCount":102,"zanCount":103,"manualWeight":11,"mainColor":60},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","清","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,49,94,25,52,27,28,32,95,96,7,97,31],"长卷","树木","帐篷","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[57,101],"山水画精选",51,3,{"id":105,"slug":106,"title":107,"dynasty":65,"author":108,"museum":20,"description":109,"tags":110,"thumbUrl":115,"material":116,"size":117,"collection":35,"collections":118,"showCount":119,"zanCount":86,"manualWeight":11,"mainColor":60},283620,"chu-jiang-jun-chu-lie-tu-juan-wang-meng-283620","楚将军出猎图卷","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,49,94,25,27,7,28,31,111,112,113,114],"猎犬","山石","枯树","荒草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec6c80c7dc97ba90759e5c0fb4f398a.jpg","未知","Xcm*Xcm",[],50,{"id":121,"slug":122,"title":123,"dynasty":65,"author":124,"museum":46,"description":125,"tags":126,"thumbUrl":129,"material":55,"size":130,"collection":57,"collections":131,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":60},221846,"yuan-shi-zu-chu-lie-tu-zhou-liu-guan-dao-221846","元世祖出猎图轴","刘贯道","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,49,50,51,127,25,52,27,28,31,7,128],"立轴","原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[57,132],"设色画精选",49,{"id":135,"slug":136,"title":137,"dynasty":138,"author":139,"museum":20,"description":140,"tags":141,"thumbUrl":143,"material":35,"size":35,"collection":35,"collections":144,"showCount":145,"zanCount":86,"manualWeight":11,"mainColor":60},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","明","仇英","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[49,51,50,142,52,25,27,28,31,95,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed35c49.jpg",[],32,{"id":147,"slug":148,"title":149,"dynasty":91,"author":19,"museum":20,"description":150,"tags":151,"thumbUrl":158,"material":159,"size":160,"collection":57,"collections":161,"showCount":145,"zanCount":11,"manualWeight":11,"mainColor":39},215817,"miao-zu-yao-zu-sheng-huo-tu-ce-yi-ming-215817","苗族瑶族生活图册","纺车的轮轴在光影里转动，线缕从指尖漫出，两位女子俯身织作，衣角的纹样随动作轻颤。一旁男子负弓持矛，箭囊贴紧脊背，赤脚的脚掌沾着泥土的温度。淡彩晕染的画面里，线条勾勒出衣料的粗朴与纺车的木质感，人物神态憨实——织者的专注凝在眉尖，行者的笃定藏在步幅里。没有华丽铺陈，却把苗瑶人家的日常摊开：一边是经纬交织的烟火气，一边是山林狩猎的坚韧劲，每一笔都浸着民族生活的鲜活：耕织的柔与狩猎的刚，在画面里融成与土地共生的朴素诗行。",[23,49,142,25,27,152,153,154,155,156,7,157],"苗族","瑶族","纺车","兵器","耕织","日常生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6551c1bbcba72143b79e6a70a1059321.jpg","纸本,设色","36.5x29.5",[57],{"id":163,"slug":164,"title":165,"dynasty":138,"author":19,"museum":20,"description":166,"tags":167,"thumbUrl":169,"material":35,"size":35,"collection":35,"collections":170,"showCount":171,"zanCount":11,"manualWeight":11,"mainColor":60},228822,"qi-ma-shou-lie-tu-yi-ming-228822","骑马狩猎图","画作以塞北秋原为底色，枯木疏枝晕染出荒寒辽远的意境。画面上方白鹤惊飞，一人纵马引弓，箭矢将发，将狩猎的张力拉满；下方猎手们或缓骑四顾，或驻马待命，猎犬伏地静伺，动静相映成趣。设色古雅沉郁，线条朴拙凝练，将游牧出猎的日常瞬间定格。萧瑟荒野呼应骑射英武，糅合边地的苍凉与出猎的野趣，笔意简淡却藏着质朴生机，尽显北国狩猎的自在豪情。",[49,50,25,52,27,28,168,113,111,32,7],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43e0832a905d1084788a315175c5a3cf.jpg",[],28,{"id":173,"slug":174,"title":175,"dynasty":176,"author":177,"museum":20,"description":178,"tags":179,"thumbUrl":182,"material":116,"size":117,"collection":35,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":39},291000,"qiu-yuan-lie-qi-chen-ju-zhong-291000","秋原猎骑","宋","陈居中","陈居中，南宋时期著名画家，擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。",[51,49,50,25,27,28,113,97,7,180,181],"书法","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4c60465e5a0022309da4afc709dc68c.jpg",[],24,{"id":186,"slug":187,"title":188,"dynasty":44,"author":189,"museum":20,"description":190,"tags":191,"thumbUrl":195,"material":116,"size":117,"collection":35,"collections":196,"showCount":184,"zanCount":86,"manualWeight":11,"mainColor":60},287430,"fan-bu-xue-wei-tu-juan-hu-qian-287430","番部雪围图卷","胡虔","镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,51,49,50,94,25,27,28,192,7,193,113,194,181,180],"犬","雪景","骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c2666de7fd20238ba4a96ca82410b4f.jpg",[],{"id":198,"slug":199,"title":78,"dynasty":176,"author":19,"museum":20,"description":200,"tags":201,"thumbUrl":203,"material":35,"size":35,"collection":35,"collections":204,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":60},227898,"shou-lie-tu-yi-ming-227898","元佚名狩猎图卷，绢本，辽宁省博物馆藏。\n设色，画心纵1，横19厘米。\n画峰峦叠起，沟壑纵横，溪流坡地，竹树杂处，野草漫生。\n一队身着民族服装的猎手，纵马控弦，在山谷间围堵追杀猎物。\n前部为连绵远山，坡谷间有三猎手围杀野猪、狍鹿、山兔等，场面紧张激烈，扣人心弦。\n中段作崇山环抱，沟壑交错，一猎手跌落马下，弓箭散落各处，后面三骑，迅来救助；而转过一座陡峭山峰，一带溪水自远而来，两岸长满杂草和杨树。\n画末为险峻石壁，一只雄隼咬住一只大雁颈项，雁在拚命挣扎，余四只鸣叫着四处飞逃。\n在一片较平坦的谷地间，立着一杆认旗，二长者调马备鞍。\n全图气势辽阔苍茫，笔法古朴雄浑，山石以勾勒与晕染并施，而皴法则不拘一格。\n以写实为主，山水多信笔为之，不免粗豪简率。\n而人物和马匹刻画细腻，得唐宋等前人笔法颇多。\n慓悍、浑朴之态表现得体，番马体相勾划准确。\n所绘景物、山水树石具有明显北国特色；马匹短足毛蹄，亦属蒙古马种；人物宽额高颧，为典型蒙族形象；服饰也同元初蒙族服饰相类。\n是元初北方画家典型写实之作，也是一卷难得的艺术珍品。",[23,49,202,25,52,27,28,31,168,7],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256486f4089412a35f1dcfbd1fd99352.jpg",[],19,{"id":207,"slug":208,"title":209,"dynasty":176,"author":177,"museum":20,"description":210,"tags":211,"thumbUrl":213,"material":35,"size":35,"collection":35,"collections":214,"showCount":205,"zanCount":11,"manualWeight":11,"mainColor":60},227685,"hu-qi-qiu-lie-tu-chen-ju-zhong-227685","胡骑秋猎图","宋 陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 美国大都会艺术博物馆藏\n南宋画家陈居中的传世作品大多以北方少数民族风情故事为题材，形成了与其他南宋画家迥然不同的艺术风格，戈壁大漠的粗犷刚烈也使他在宋代院体画家中卓尔不群。《胡骑春猎图》与陈居中的这些特点颇为相符，表现出作者对当时横行漠北的“胡人”（北方少数民族）的生活有着很深的了解。",[23,49,51,50,212,52,25,27,28,31,7,53],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c8ba97540b5f270c33c54937383a0f.jpg",[],{"id":216,"slug":217,"title":218,"dynasty":176,"author":219,"museum":20,"description":220,"tags":221,"thumbUrl":222,"material":116,"size":117,"collection":35,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":60},287961,"bai-miao-shou-lie-tu-juan-li-gong-lin-287961","白描狩猎图卷","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,51,49,50,94,26,27,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53a424ef0bb781caefcd3e9aa23bb5d.jpg",[],18,{"id":226,"slug":227,"title":228,"dynasty":91,"author":19,"museum":229,"description":230,"tags":231,"thumbUrl":238,"material":239,"size":240,"collection":132,"collections":241,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":39},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","北京故宫博物院","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[51,49,127,52,25,27,28,30,232,233,7,234,235,236,237],"郊野","秋林","枯木","坡石","闲雅","静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纸本，设色","纵259cm; 横172cm.",[132],{"id":243,"slug":244,"title":137,"dynasty":65,"author":19,"museum":20,"description":245,"tags":246,"thumbUrl":247,"material":35,"size":35,"collection":35,"collections":248,"showCount":249,"zanCount":11,"manualWeight":11,"mainColor":60},228218,"shou-lie-tu-ye-yi-ming-228218","此作以沉郁古褐晕染山野荒林，上下两组骑猎者纵马驰骋，将塞北游猎的粗粝快意尽数铺展。上方猎手引弦待发，臂上架鹰、身侧随细犬，林间悬垂的猎物，把猎获的酣畅瞬间定格。下方骑士俯身控马，衣袂随疾风翻卷，人马同频的奔跃张力扑面而来。\n\n线条劲爽利落，精准勾勒出骑手的雄健彪悍，人马犬鹰的情态鲜活灵动。没有繁复修饰，却将游牧民族射猎日常的野性生机淋漓展现，带着浓郁的北国风土气息，尽显游猎生活的本真快意，是描摹塞外狩猎盛景的精妙小品。",[23,49,50,142,25,52,27,28,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e6b428e69bd8563be25278d371b2ab.jpg",[],15,{"id":251,"slug":252,"title":253,"dynasty":65,"author":19,"museum":20,"description":254,"tags":255,"thumbUrl":259,"material":116,"size":117,"collection":35,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":60},290900,"han-yuan-lie-qi-zhou-yi-ming-290900","寒原猎骑轴","蕃骑游猎草原上，野兽惊骇逃窜。二骑追逐夹击一鹿，正挽弓欲射，最引人注目，成为画幅之焦点。画风与明画院之人马作品相近似。",[49,127,25,27,28,31,7,256,257,258],"寒原","荒原","猎骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81329c528a44f9f56c91b39ccc730ca8.jpg",[],7,{"id":263,"slug":264,"title":265,"dynasty":266,"author":19,"museum":20,"description":267,"tags":268,"thumbUrl":272,"material":116,"size":117,"collection":35,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":39},289189,"goya-bird-hunters-with-a-decoy-from-images-yi-ming-289189","Goya--Bird Hunters with a Decoy, from Images","不详","枯淡晕墨晕开郊野底色，两名猎手弓身伏在矮墙之后。一人持枪稳稳对准木杆上的诱饵禽，脖颈紧绷、目光凝注，指尖扣住枪身，将蓄势待发的紧绷感藏在松弛的衣褶笔触里。同伴佝偻着身子攥紧绳索，肌肉的紧绷顺着衣料褶皱悄然流露。远景以几星墨点轻描飞鸟群，大片留白衬出旷野萧寂空茫。\n未用浓艳色彩，仅以明暗浓淡铺写狩猎瞬间的静与动，将猎手的专注、旷野的清寂，定格在这一瞬的屏息之间，粗率写意的笔触下，藏着最真实的野外狩猎的紧绷氛围。",[27,168,7,269,270,271],"速写","淡彩","西洋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ef092693194328056b0c0b8c272631.jpg",[],4,{"id":276,"slug":277,"title":278,"dynasty":91,"author":279,"museum":280,"description":281,"tags":282,"thumbUrl":283,"material":35,"size":35,"collection":35,"collections":284,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":285},202679,"shou-lie-tu-zhou-wang-yin-202679","狩猎图轴","王寅","上海博物馆","画面定格狩猎的生动瞬间，猎手们或纵马弯弓，或驱犬疾驰，动态十足。人物衣纹线条简练流畅，设色清雅温润，枯树与远山以写意笔触点染，衬出旷野的苍茫意境。整体兼用工笔与写意，将狩猎的紧张氛围与自然的疏阔感相融，笔墨间尽显传统绘事的意趣与生机。",[49,25,27,28,192,113,52,7,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb89fd9b21d1b4da53efd8e5bd783bfe.jpg",[],"daba96",{"id":287,"slug":288,"title":289,"dynasty":266,"author":19,"museum":20,"description":290,"tags":291,"thumbUrl":296,"material":116,"size":117,"collection":35,"collections":297,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":39},289169,"goya-rabbit-hunter-with-a-retriever-from-images-yi-ming-289169","Goya--Rabbit Hunter with a Retriever, from Images","暖棕调晕开朦胧野林，将镜头凝在这方狩猎余韵里。猎人佝偻着脊背，粗糙的指尖轻触猎犬衔来的野兔，粗粝衣褶晕染出赶路与狩猎的风尘，斜倚的猎枪还带着刚卸下的紧绷。猎犬昂首递来猎物，脖颈绷起的线条满是邀功的灵动，一人一犬间无需言语的默契漫开。\n画家以松弛的单色晕染，摒弃繁复修饰，寥寥几笔便将乡野猎手的日常瞬间定格，粗朴笔触裹着鲜活的生活温度，把郊野猎归的沉静暖意揉进画面里。",[269,270,292,293,294,7,295],"猎人","狗","兔","野外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6a63d1a4018cc6f6b8ef2f2b5601d90.jpg",[],{"id":299,"slug":300,"title":301,"dynasty":266,"author":19,"museum":20,"description":302,"tags":303,"thumbUrl":306,"material":116,"size":117,"collection":35,"collections":307,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":39},289078,"jonas-umbach-november-one-of-a-series-representing-the-labors-yi-ming-289078","Jonas Umbach--November (one of a series representing the labors","暖棕红调晕开郊野行旅的松弛日常，灵动线条勾勒出休憩的旅人图景。骑手勒马驻望天际，侍仆持枪前驱探路，猎犬逡巡脚畔，驮马垂首暂歇，将行将歇的松弛感跃然纸上。远景丘峦层叠，村舍隐在林莽间，飞鸟划破淡云天色，草木枝蔓的写意线条鲜活又蓬勃，揉合了深秋郊野的清寂与乡居烟火气。\n\n红粉笔粗粝又柔润的笔触带着速写特有的即兴鲜活，将行猎途中的片刻驻留定格为充满生活质感的一隅，仿佛能嗅见郊野草木的涩意，听见马蹄轻踏泥土地的闷响，把乡野行旅的日常诗意娓娓道来。",[304,27,28,192,232,95,305,7,271],"素描","农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f403eb1db791c874f595516a86bd5.jpg",[],{"id":309,"slug":310,"title":311,"dynasty":91,"author":312,"museum":20,"description":313,"tags":314,"thumbUrl":316,"material":116,"size":117,"collection":35,"collections":317,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":39},238470,"lie-qi-tu-ce-mian-yi-238470","猎骑图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[49,25,52,315,27,28,31,32,33,181,7],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ca01bf900bd28af119276f19c5670b.jpg",[],{"id":319,"slug":320,"title":321,"dynasty":322,"author":19,"museum":20,"description":323,"tags":324,"thumbUrl":329,"material":116,"size":117,"collection":35,"collections":330,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":331},226886,"shou-lie-wen-hu-yi-ming-226886","狩猎纹壶","周","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[325,326,327,31,7,328],"青铜器","铜制","雕刻","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5094051e25c8bd26297476dd63a67e6.jpg",[],"37474F",{"id":333,"slug":334,"title":278,"dynasty":91,"author":279,"museum":280,"description":335,"tags":336,"thumbUrl":338,"material":35,"size":35,"collection":35,"collections":339,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":285},202678,"shou-lie-tu-zhou-wang-yin-202678","荒野坡地间，狩猎图景鲜活铺展：数骑者或引弓欲发，或策马来奔，猎犬腾跃向前，动态十足。设色淡雅却见精神，红衣骑者尤为醒目，与蓝绿衣袍相映成趣；线条灵动流畅，人物衣袂飘举、兽类姿态矫健皆具生趣。背景枯树疏枝，衬出旷野疏阔，画面层次分明，狩猎的紧张与自然的旷远交织，尽显游牧生活的生动意趣。",[49,127,25,27,28,31,192,52,337,7,23],"旷野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65cbd75ed416064c7af98e6d417206c.jpg",[],{"id":341,"slug":342,"title":343,"dynasty":91,"author":19,"museum":20,"description":344,"tags":345,"thumbUrl":349,"material":116,"size":117,"collection":35,"collections":350,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":351},270005,"zi-tan-xiang-qian-shou-lie-tu-chang-fang-he-yi-ming-270005","紫檀镶嵌狩猎图长方盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[346,327,347,7,27,28,31,168,348],"木质","镶嵌","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716b381e7c098c26febf50e0284fdc45.jpg",[],"F48FB1",{"id":353,"slug":354,"title":355,"dynasty":91,"author":19,"museum":20,"description":356,"tags":357,"thumbUrl":360,"material":116,"size":117,"collection":35,"collections":361,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},269893,"zhu-diao-shou-lie-tu-bi-tong-yi-ming-269893","竹雕狩猎图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[358,327,359,7,27,31,32,95],"竹雕","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14edce1423ae6317e60db8d3ffe3c7e8.jpg",[],{"id":363,"slug":364,"title":365,"dynasty":91,"author":19,"museum":20,"description":366,"tags":367,"thumbUrl":370,"material":116,"size":117,"collection":35,"collections":371,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},269537,"xi-jiao-diao-chu-lie-tu-bei-yi-ming-269537","犀角雕出猎图杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，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。",[328,368,327,369,27,7],"饮酒器","犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2118ebe2d0d641a2727258ce74345502.jpg",[],{"id":373,"slug":374,"title":375,"dynasty":376,"author":19,"museum":20,"description":377,"tags":378,"thumbUrl":380,"material":116,"size":117,"collection":35,"collections":381,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":60},255748,"tao-hua-cai-shou-lie-wen-cang-yi-ming-255748","陶画彩狩猎纹仓","汉","汉代陶器的工艺水平很高,造型优美,质地精良。品种、装饰则因地区不同而不同。陕西关中地区常见的日用陶器有豆、 盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[379,25,327,7,31,328],"陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa40c9a403030cb8d544e5b183ba8ad.jpg",[],{"id":383,"slug":384,"title":385,"dynasty":91,"author":19,"museum":20,"description":386,"tags":387,"thumbUrl":390,"material":116,"size":117,"collection":35,"collections":391,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":331},251357,"bai-yu-shou-lie-tu-bi-tong-yi-ming-251357","白玉狩猎图笔筒","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[388,328,327,389,27,31,28,32,7],"玉石","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8aa0e127361eb0b6d3a8c225c654567.jpg",[],1777535715234]