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tion":133,"tags":134,"thumbUrl":144,"material":145,"size":146,"collection":147,"collections":148,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":150},225641,"rembrandt-harmensz-van-rijn-051-lun-bo-lang-225641","Rembrandt 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Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[135,136,137,28,30,138,139,140,141,7,142,143],"油画","写实","明暗对比","裸体女性","侍女","孔雀","织物","地毯","光影运用","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0ed1703eace104f83f36a3a4e2c8618.jpg","未知","Xcm*Xcm","油画精选",[147],142,"37474F",{"id":152,"slug":153,"title":154,"dynasty":155,"author":156,"museum":51,"description":157,"tags":158,"thumbUrl":161,"material":58,"size":162,"collection":42,"collections":163,"showCount":164,"zanCount":99,"manualWeight":11,"mainColor":81},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","清","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[54,24,25,118,27,28,29,30,31,32,91,35,7,159,72,160,56],"山水","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[42,61],134,{"id":166,"slug":167,"title":168,"dynasty":155,"author":169,"museum":132,"description":170,"tags":171,"thumbUrl":173,"material":77,"size":77,"collection":42,"collections":174,"showCount":175,"zanCount":176,"manualWeight":11,"mainColor":46},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","人物故事册","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,27,28,29,30,31,32,172,160,72,37,7],"树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[42,61],119,2,{"id":178,"slug":179,"title":180,"dynasty":181,"author":182,"museum":132,"description":183,"tags":184,"thumbUrl":190,"material":40,"size":191,"collection":42,"collections":192,"showCount":193,"zanCount":194,"manualWeight":11,"mainColor":81},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","宋","刘松年","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,27,28,26,185,186,29,30,32,72,35,73,37,7,187,91,188,189,93,119],"行书","书法","衣冠","车马","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[42],117,5,{"id":196,"slug":197,"title":198,"dynasty":155,"author":199,"museum":51,"description":200,"tags":201,"thumbUrl":211,"material":40,"size":212,"collection":42,"collections":213,"showCount":214,"zanCount":176,"manualWeight":11,"mainColor":81},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","佚名","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,27,28,29,26,30,202,203,204,35,205,7,206,207,208,209,210],"宫殿","仪仗","祭祀","草地","灯笼","队伍","仪式","旗帜","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[42,61],85,{"id":216,"slug":217,"title":218,"dynasty":18,"author":219,"museum":132,"description":220,"tags":221,"thumbUrl":227,"material":40,"size":228,"collection":42,"collections":229,"showCount":230,"zanCount":231,"manualWeight":11,"mainColor":81},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 长恨歌图卷(上卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,26,28,27,29,30,32,222,223,159,35,202,73,36,224,225,72,37,7,209,226,91],"小桥","流水","船只","火焰","建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e3d4c1126d36ec141e6a2311af7404.jpg","31.5x1048.4",[42],83,3,{"id":233,"slug":234,"title":235,"dynasty":155,"author":236,"museum":20,"description":237,"tags":238,"thumbUrl":245,"material":246,"size":247,"collection":248,"collections":249,"showCount":250,"zanCount":11,"manualWeight":11,"mainColor":81},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）","郎世宁","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,54,24,27,28,29,239,30,32,159,240,35,72,241,7,37,73,242,243,244],"中西合璧","雪地","房屋","冬季","建筑","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg","绢本设色","188.2*102.2cm","山水画精选",[248,61],61,{"id":252,"slug":253,"title":254,"dynasty":155,"author":199,"museum":132,"description":255,"tags":256,"thumbUrl":258,"material":77,"size":77,"collection":77,"collections":259,"showCount":260,"zanCount":261,"manualWeight":11,"mainColor":81},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,25,26,54,27,28,29,257,30,31,32,72,35,73,37,7,56],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],55,1,{"id":263,"slug":264,"title":265,"dynasty":18,"author":266,"museum":132,"description":267,"tags":268,"thumbUrl":273,"material":77,"size":77,"collection":77,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":46},228470,"shan-shui-ren-wu-tang-yin-228470","山水人物","唐寅","此作用笔清隽淡远，以留白铺陈出漫山雪意，崖壁枯木虬曲苍劲，瘦硬枝桠如铁戟凌冬，尽显萧寒荒疏之境。危岩之间栈道萦回，白衣策杖的高士独立崖头，孑然身影衬出天地寥廓，似在静览山光，暗合文人幽寂疏放的襟怀。\n\n画幅左上题诗与朱红印章相映成趣，诗画相融。以极简淡墨皴擦山石肌理，将冬山冷峻空寂的意境晕染尽致，笔意简括却藏着沉郁文思，把山水作为情志寄寓之所，淡远空灵间，尽显世外幽人不与俗同的清高气骨。",[24,25,269,270,159,30,271,73,7,272],"水墨","皴法","枯树","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e44cbc58b4a9b4b74676cca05cca0ac.jpg",[],52,{"id":277,"slug":278,"title":279,"dynasty":155,"author":199,"museum":280,"description":281,"tags":282,"thumbUrl":284,"material":40,"size":77,"collection":248,"collections":285,"showCount":286,"zanCount":261,"manualWeight":11,"mainColor":81},216004,"di-jian-tu-shuo-cai-hui-ben-yi-ming-216004","帝鉴图说彩绘本","法国国家图书馆","轩敞的亭榭下，石阶层层延伸。上层人物或踞坐或侍立，衣饰色彩浓淡相宜；下层侍从手捧托盘拾级而上，步履从容。阶前执械的卫士身姿挺拔，添了几分庄重。画面左角树木葱郁，那株被红栏围绕的乔木尤为醒目；右侧松枝虬劲，石畔草木葳蕤。整幅画色调明润，线条细腻：飞檐的弧度、栏杆的纹理、人物的衣袂褶皱，皆刻画入微。既见建筑的精巧布局，又显人物的鲜活情态，仿佛将一段旧时的仪典场景凝于尺幅之间，静述着时光里的从容与雅致。",[24,28,27,29,30,32,91,172,37,7,283,72],"侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg",[248],48,{"id":288,"slug":289,"title":290,"dynasty":155,"author":291,"museum":20,"description":292,"tags":293,"thumbUrl":308,"material":58,"size":309,"collection":77,"collections":310,"showCount":311,"zanCount":99,"manualWeight":11,"mainColor":46},223096,"zi-guang-ge-ci-yan-tu-juan-yao-wen-han-223096","紫光阁赐宴图卷","姚文瀚","乾隆二十五年（1761年），紫光阁修缮完成，乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月，乾隆皇帝又在此设庆功宴，王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代，到清代成为皇帝阅射和殿试武举之所，乾隆时重修，至今依然保持着当年盛世的形貌，图画中之建筑与紫光阁实景两相对照，饶有情趣。",[23,27,28,29,30,32,34,35,209,294,295,72,296,203,297,298,226,7,299,300,301,302,303,304,305,306,307],"帐篷","队列","宫殿式建筑","人群","冬季树木","红色服饰","蓝色服饰","黄色帐篷","落叶树","常绿树","旗帜飘扬","飞鸟群","平台","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb785c231aa7f19856cb11465734c15e7.jpg","纵45.7厘米，横486.5厘米",[],45,{"id":313,"slug":314,"title":315,"dynasty":181,"author":199,"museum":20,"description":316,"tags":317,"thumbUrl":320,"material":40,"size":321,"collection":322,"collections":323,"showCount":324,"zanCount":176,"manualWeight":11,"mainColor":81},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,28,27,29,318,30,32,202,159,35,72,7,209,73,319,203],"楷书","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1","宋画精选",[322],41,{"id":326,"slug":327,"title":328,"dynasty":155,"author":329,"museum":51,"description":330,"tags":331,"thumbUrl":332,"material":246,"size":333,"collection":77,"collections":334,"showCount":335,"zanCount":261,"manualWeight":11,"mainColor":46},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[24,27,28,118,30,202,243,72,35,7,37,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg","纵三二·二厘米 横四二·三厘米",[],40,{"id":337,"slug":338,"title":339,"dynasty":155,"author":199,"museum":280,"description":340,"tags":341,"thumbUrl":342,"material":343,"size":77,"collection":77,"collections":344,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":150},216877,"xi-xiang-ji-tu-ce-6-yi-ming-216877","西厢记图册-6","庭院深深，草木清嘉。前景双姝衣袂翩然，低语间神态温婉，衣纹细腻如织；背景二人立于阶上，衣袍素雅，与朱红窗棂相映成趣。虬曲的古树枝叶婆娑，绿草点缀阶前，笔墨勾勒间尽显生趣。淡彩晕染出清雅色调，建筑的庄重与人物的灵动交织，空间层次错落有致。画面将古典情境凝于方寸，人物互动自然生动，似能窥见西厢故事中的温婉瞬间，尽显传统绘画的细腻韵味与含蓄意境。",[24,25,118,27,28,30,31,32,172,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09efc3508687631c699e7cb591e4d1b6.jpg","纸本",[],36,{"id":347,"slug":348,"title":349,"dynasty":155,"author":156,"museum":51,"description":157,"tags":350,"thumbUrl":357,"material":58,"size":162,"collection":77,"collections":358,"showCount":359,"zanCount":11,"manualWeight":11,"mainColor":46},236139,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236139","历朝贤后故事图",[24,25,27,28,29,30,121,32,351,352,72,353,37,354,243,355,356,7],"竹","芭蕉","台地","古装人物","花木","廊柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb3c692d9bd63ff00c7b99a6b8f1f1c.jpg",[],31,{"id":361,"slug":362,"title":363,"dynasty":155,"author":364,"museum":132,"description":365,"tags":366,"thumbUrl":367,"material":77,"size":77,"collection":77,"collections":368,"showCount":369,"zanCount":176,"manualWeight":11,"mainColor":81},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","乾隆","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,25,28,27,29,26,30,32,72,35,7,209,297,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],29,{"id":371,"slug":372,"title":349,"dynasty":155,"author":156,"museum":51,"description":157,"tags":373,"thumbUrl":376,"material":58,"size":162,"collection":77,"collections":377,"showCount":378,"zanCount":261,"manualWeight":11,"mainColor":379},236138,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236138",[24,27,28,29,30,374,351,73,243,7,375],"松","柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281cc1533ed68f4f0470adea60d8e21.jpg",[],26,"F48FB1",{"id":381,"slug":382,"title":383,"dynasty":155,"author":384,"museum":51,"description":385,"tags":386,"thumbUrl":391,"material":392,"size":393,"collection":42,"collections":394,"showCount":378,"zanCount":176,"manualWeight":11,"mainColor":46},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","金廷标","冬季严寒萧瑟，景物单调，但是对于调皮贪玩的小孩来说依然不乏游戏项目。宫廷画家金廷标就为我们展现了这种一幅场景。十个小伙伴来到结冰的池塘边，胆大的几个先下到了冰面上，可是太滑了，一不小心就摔了个仰面朝天，想再站出来也不容易，只能尽力支撑着。而岸上的同伴则嬉笑着，跃跃欲试。\n金廷标是清乾隆时期最著名的宫廷画家之一，以人物画见长。他笔下的风俗人物质朴自然，贴近生活，情态生动，令观者心生亲切之感。",[23,24,28,27,30,387,388,35,7,37,389,390,72],"孩童","冰面","石头","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纸本,设色","纵121厘米，横64.8厘米",[42],{"id":396,"slug":397,"title":168,"dynasty":155,"author":169,"museum":132,"description":398,"tags":399,"thumbUrl":400,"material":145,"size":146,"collection":77,"collections":401,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":46},235278,"ren-wu-gu-shi-ce-fan-xue-yi-235278","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[24,25,118,27,28,30,32,91,31,387,73,352,37,7,355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa76b242492325dde8fcec18b836c2f25.jpg",[],24,{"id":404,"slug":405,"title":406,"dynasty":155,"author":407,"museum":51,"description":408,"tags":409,"thumbUrl":412,"material":58,"size":413,"collection":77,"collections":414,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":81},222863,"shi-gong-ci-tu-ce-02-leng-mei-222863","十宫词图册02","冷枚","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,410,24,25,27,28,29,118,186,185,30,121,32,72,73,35,411,7,37,159],"清代","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5944fe731c667f949444ac12150a4fc0.jpg","纵33.1厘米，横29.3厘米",[],{"id":416,"slug":417,"title":418,"dynasty":155,"author":419,"museum":13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Tommaso Peruzzi--Design for the Right-hand Section","这幅速写以劲挺的钢笔线条铺陈，精准勾勒出街角古典建筑的恢弘形制。层叠拱券的门廊、雕饰繁复的柱式与立面雕塑，在疏密有致的排线中铺陈明暗层次，尽显建筑的华丽肌理与庄重韵律。台阶上疾行的路人，为静止的砖石楼宇注入鲜活生气，让原本严谨的设计稿跳脱出图纸的冰冷，融工程精度与松弛的艺术氛围感为一体，每一笔都藏着创作者对空间尺度的精妙把控，将古典建筑的肃穆美感定格于纸面之上。",[921,922,923,924,32,7,30,925],"素描","速写","线稿","建筑设计","西洋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a6ee836f81f52f208e9d8d1082323b4.jpg",[],{"id":929,"slug":930,"title":931,"dynasty":130,"author":199,"museum":132,"description":932,"tags":933,"thumbUrl":941,"material":145,"size":146,"collection":77,"collections":942,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},289256,"pietro-da-cortona-study-for-the-age-of-bronze2-yi-ming-289256","Pietro da Cortona--Study for the Age of Bronze2","这幅习作以奔放洒脱的素描线条，铺陈出充满张力的古典史诗场景。高台之上的王者伸臂宣谕，威严毕现，阶前将士躬身领命，紧绷的肌肉与利落的甲胄线条尽显勇武。周遭攒动的人群与散落的残躯兵器，晕染出肃杀厚重的氛围。\n\n创作者以建筑分割画面空间，将视线牢牢锚定在君臣对答的中心场景，潦草却精准的排线，勾勒出衣料褶皱的垂坠感与躯体的力量感，每一笔都饱含情绪，将权力交锋的磅礴气势凝于纸面，尽显古典叙事的雄浑气魄。",[921,934,935,695,936,937,297,938,939,940,7],"人物画","历史画","线描","宫廷场景","贵族","武士","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74e52c08d4912ab9508b95890d5579a.jpg",[],{"id":944,"slug":945,"title":946,"dynasty":947,"author":199,"museum":132,"description":948,"tags":949,"thumbUrl":953,"material":145,"size":146,"collection":77,"collections":954,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},253076,"tao-zhu-quan-yi-ming-253076","陶猪圈","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。",[950,951,636,241,7,307,952],"汉代","陶瓷","圈舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17596f26dfb016240c19885f24318f79.jpg",[],{"id":956,"slug":957,"title":832,"dynasty":155,"author":199,"museum":132,"description":958,"tags":959,"thumbUrl":963,"material":145,"size":146,"collection":77,"collections":964,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":46},238611,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238611","此作以西洋铜版画的写实技法复刻清宫礼制场景，对称严整的院落布局中，飞檐翘角的廊台尽显皇室规制的森严。前景兵卒持枪列阵，排布如仪，中阶武将官员按品阶肃立，高阶廊下观礼人群层次分明。\n作者以细腻的线条勾勒出斗拱飞椽的建筑细节，仪仗器物分毫毕现，将平叛庆功的庄重隆重全然铺展。笔触克制冷静，却在规整的列队排布里藏着皇权仪仗的盛大威仪，中西技法相融，定格下这场彰显功勋与礼制的肃穆时刻。",[27,29,118,30,32,72,295,960,319,835,7,209,37,961,203,962],"士兵","宫墙","仪式场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc7fd54ae62b5863cdbeb3e7848fee4.jpg",[],{"id":966,"slug":967,"title":968,"dynasty":155,"author":969,"museum":132,"description":970,"tags":971,"thumbUrl":972,"material":145,"size":146,"collection":77,"collections":973,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":46},236947,"jiu-ru-zhi-ji-ce-wang-gai-236947","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[24,25,118,28,27,30,32,72,35,7,307,186,318],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd098e1b0c8f23343c72a75e29f3ea28b.jpg",[],{"id":975,"slug":976,"title":977,"dynasty":130,"author":978,"museum":132,"description":979,"tags":980,"thumbUrl":987,"material":145,"size":146,"collection":77,"collections":988,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":46},232425,"he-er-bai-yin-84-he-er-bai-yin-232425","荷尔拜因84","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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Harmensz.van Rijn - 0271",[862,1049,137,136,853,1050,243,982,375,1001,1051,1052,7,1053],"蚀刻","人物群像","盔甲","长矛","帷幕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58d1089b4fd6ee48a270f089dd04b983.jpg",[],{"id":1057,"slug":1058,"title":1059,"dynasty":130,"author":199,"museum":132,"description":1060,"tags":1061,"thumbUrl":1065,"material":145,"size":146,"collection":77,"collections":1066,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":46},225566,"fu-shi-hui-43-yi-ming-225566","浮世绘43","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。",[584,585,28,30,639,1062,1063,206,1064,7],"拉门","格子窗","枫叶纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b1774d2f2f6c689f55a8bbf22b05a6.jpg",[],{"id":1068,"slug":1069,"title":1070,"dynasty":155,"author":199,"museum":280,"description":1071,"tags":1072,"thumbUrl":1073,"material":40,"size":77,"collection":77,"collections":1074,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},216002,"di-jian-tu-shuo-cai-hui-ben-5-yi-ming-216002","帝鉴图说彩绘本-5","朱红廊柱支起飞檐翘角，浅褐院墙围合一方静谧庭院。栏杆曲折间，树木葱茏，衬得殿宇愈显庄雅。人物或端坐阶前，神情肃穆；或侍立两侧，姿态恭谨；或缓步廊下，衣袂轻扬。色彩晕染温润古朴，线条勾勒细腻入微，将宫廷场景的庄重与人际互动的细腻悄然铺展。画中似在演绎古代治国典故，每一处细节皆藏劝诫之意，于静谧画面里流淌出历史的厚重与人文的温度，让人赏画时不觉沉浸于往昔的智慧与情怀中。",[24,25,118,28,29,27,30,32,91,37,35,72,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac052b9647b506b67b3a1abe3064c60.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":155,"author":199,"museum":280,"description":1079,"tags":1080,"thumbUrl":1082,"material":40,"size":77,"collection":77,"collections":1083,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},215994,"di-jian-tu-shuo-cai-hui-ben-11-yi-ming-215994","帝鉴图说彩绘本-11","朱门映碧瓦，雕栏绕玉阶，殿宇巍峨间，帝王端坐于堂，衣袂翩跹的侍从躬身侍立，台阶上下人影错落，似在演绎前朝典故。松影横斜于山石旁，青绿苔痕晕染雅致，云气氤氲天际，为庄重场景添了几分灵动。画面以细腻笔触勾勒建筑精巧，人物神态栩栩如生，每处细节藏着叙事温度——或劝诫或箴规，将历史智慧凝于丹青。色彩明丽却不失沉稳，红的热烈、蓝的沉静、绿的鲜活交织，既显宫廷威严气象，又含文人画雅致意趣，于方寸间铺展一段载道的视觉诗篇。",[24,28,27,29,118,30,32,119,1081,7,671,37],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c16dc7da03299434cc08e1b0c2f2cd8.jpg",[],{"id":1085,"slug":1086,"title":1087,"dynasty":155,"author":199,"museum":280,"description":1088,"tags":1089,"thumbUrl":1090,"material":40,"size":77,"collection":77,"collections":1091,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},215993,"di-jian-tu-shuo-cai-hui-ben-15-yi-ming-215993","帝鉴图说彩绘本-15","亭台层叠，朱门映碧瓦，古雅之气扑面而来。上层人物或立或语，神态恭谨间透着庄重；下层侍从往来、劳作场景鲜活，烟火气与仪轨感交织成趣。苍松虬劲，山水为衬，线条细腻勾勒出建筑的精巧与人物的动态，设色温润古朴，将一段历史场景凝于绢素。画面既有视觉的雅致韵致，又暗含叙事的深沉意味，仿佛能透过笔墨窥见往昔的仪范与日常，尽显传统绘画的叙事与审美之妙。",[24,25,28,27,29,30,32,35,72,7,37,241,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a32dcfd3f62b94ae8097adba11b615.jpg",[],{"id":1093,"slug":1094,"title":1095,"dynasty":155,"author":199,"museum":280,"description":1096,"tags":1097,"thumbUrl":1098,"material":40,"size":77,"collection":77,"collections":1099,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},215991,"di-jian-tu-shuo-cai-hui-ben-17-yi-ming-215991","帝鉴图说彩绘本-17","朱红宫墙蜿蜒，青绿瓦顶的门阙肃立，靛蓝亭榭掩映于苍树间，晕染出古雅园林意趣。前景侍从垂首躬身，衣袂轻摆间满是恭谨；中景廊下数人或立或语，神态端凝。画面层次分明，线条细腻流畅，设色明丽和谐——青绿山水衬于侧，朱红建筑显庄重，靛蓝亭顶添雅致。人物情态鲜活，场景氛围肃穆，于工笔重彩间，将古代礼仪场景的威仪与生动尽展无遗，尽显传统绘画的叙事功力与审美意趣。",[24,28,27,29,118,30,32,91,35,72,37,7,564,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaea154c3871ede5d3abc097d0a31791.jpg",[],{"id":1101,"slug":1102,"title":1103,"dynasty":155,"author":199,"museum":280,"description":1104,"tags":1105,"thumbUrl":1106,"material":40,"size":77,"collection":77,"collections":1107,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},215989,"di-jian-tu-shuo-cai-hui-ben-16-yi-ming-215989","帝鉴图说彩绘本-16","红墙映黛瓦，青绿点檐牙，庭院楼阁错落成一幅雅致的宫廷图景。主位人物端坐轩敞厅堂，衣著赭黄，神态雍容；两侧侍从垂立，姿态恭谨。台阶上下，数人或躬身禀报，或徐行往来，衣纹流转间似有低语随风。建筑细节勾勒入微，斗拱精巧、栏杆纹饰清晰可见，朱红与石绿的撞色，既显皇家庄重，又含彩绘鲜活韵致。人物动态鲜活，或立或行、或跪或语，悄然铺展宫廷日常的仪轨与温情，笔端细腻处，尽是旧时皇家的雍容与平和。",[24,25,118,28,29,27,30,32,91,35,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df5d46fc656e8433be566f1113d884a.jpg",[],{"id":1109,"slug":1110,"title":1111,"dynasty":155,"author":199,"museum":280,"description":1112,"tags":1113,"thumbUrl":1115,"material":40,"size":77,"collection":77,"collections":1116,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":81},215987,"di-jian-tu-shuo-cai-hui-ben-20-yi-ming-215987","帝鉴图说彩绘本-20","红墙绿瓦的殿宇翘角飞檐，檐下木构精巧，阶前松柏苍劲。画面中央，君臣围聚廊下，或颔首论道，或垂目静听，神态毕肖；阶下侍从衣袂轻扬，恭立待命，动静间尽显朝堂仪轨。前景门廊玲珑，与后方殿宇呼应，疏密有致的布局勾勒出宫廷深院的层次。设色明快却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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。",[488,1288,636,853,30,1289,32,7,1290],"铜制","菩萨","砖墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbcf85f131741111aac969fc7d72c9b.jpg",[],{"id":1294,"slug":1295,"title":1296,"dynasty":155,"author":199,"museum":132,"description":1297,"tags":1298,"thumbUrl":1299,"material":77,"size":77,"collection":77,"collections":1300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":379},238639,"ping-ding-an-nan-zhan-tu-ce-yi-ming-238639","平定安南战图册","整幅作品以细密线描铺陈朝典盛景，楼宇围合出规整仪式场域，主次错落层次分明。阶下百官垂手肃立，使节团恭谨入朝，殿宇之上庄严肃穆，将觐见受封的盛大场面铺展眼前。\n\n作者以写实笔触细致勾勒建筑层叠飞檐与雕栏回廊，复刻清代官式建筑精巧规制；又以疏密有致的线条排布人物阵列，烘托典礼的森严威仪，于方寸间尽显皇家礼制的庄重气派，如实复刻这场外交盛典的恢弘场面，带着纪实叙事的厚重质感。",[27,29,118,30,32,72,7,35,319,863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d067155002f4f0c3fe8179770c9d27.jpg",[],1777535703784]