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bij Arles","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。",[55,56,31,32,7,57,58,59,60],"油画","后印象派","道路","蓝天","飞鸟","乡村景致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd1697763f7389fe0ac2c3774b8b3fb.jpg","未知","Xcm*Xcm","油画精选",[64],152,"2A56C6",{"id":69,"slug":70,"title":71,"dynasty":72,"author":73,"museum":20,"description":74,"tags":75,"thumbUrl":85,"material":86,"size":87,"collection":40,"collections":88,"showCount":90,"zanCount":44,"manualWeight":11,"mainColor":45},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","元","赵孟頫","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[23,24,25,76,77,30,78,35,79,80,81,82,31,83,84,7],"长卷","水墨","行书","皴法","山","水","村庄","河流","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纸本，水墨","纵24.9厘米，横120.5厘米。",[40,89],"水墨画精选",149,{"id":92,"slug":93,"title":94,"dynasty":95,"author":96,"museum":20,"description":97,"tags":98,"thumbUrl":106,"material":38,"size":107,"collection":108,"collections":109,"showCount":110,"zanCount":111,"manualWeight":11,"mainColor":112},223168,"nan-xun-su-zhou-hu-qiu-xing-gong-tu-jiao-bing-zhen-223168","南巡苏州虎丘行宫图","清","焦秉贞","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。\n焦秉贞是天主教传教士汤若望的门徒，通天文，擅长画肖像。康熙时官钦天监五官正，画“御容”。明末清初，西洋教士布道中国，每以宗教画为宣传工具，清朝画院供奉众多西洋教士，而钦天监中主其事者众，故焦氏日相濡染，遂习其法，亦一时之风尚使然。焦秉贞所画花卉精妙绝伦，其山水、人物、楼观之位置，自近而远，自大而小，不爽毫发，系采西洋画法。尝奉诏绘《耕织图》四十六幅，村落风景，田家耕作，曲尽其致。称旨，旋镂版印赐臣工。康熙二十八年（1689）尝写池上篇画意，雍正四年（1726）曾为张照写像，蒋廷锡补景。\n焦秉贞作为一个宫廷画家同时又是一个科学官吏，在钦天监供职，对算理和科学的了解自然要比其他担任文官的宫廷画家要多一些，对于建立在数学、物理研究基础之上的西方绘画也较容易了解和接受。这仅仅是一个客观的因素，当时康熙皇帝对于参用西法的绘画的喜爱和赞赏是焦秉贞学习西法的主观因素和重要动力。流传至今较多的他的绘画中多带有“臣”字款，这些作品从整体上看多用色浓重艳丽，布局紧凑，细致工整，“参用西法”的特征主要表现在人物大小的安排，透视和明暗的运用及空间处理上，人物大多按近大远小的原则来安排，不同于传统中国画按人物身份高低安排人物大小的习惯，在空间处理上，也把人物放在一个真实的空间中，以人物为中心营造空间，建筑大小也考虑到人的尺度，甚至不惜牺牲建筑空间的完整性。\n焦秉贞的绘画始终有一种中国化了的真实，似乎总无法摆脱绘画中“写意”思想，在他私人的习作《归去来兮图》中我们更是看到了中国传统文人画家的情怀，除了茅屋结构有上有些许透视外，无论从题材选取还是画面中大片留白手法的运用，都表达了文人惯有的山林隐逸的思想，意境深远，给人以无限遐想。\n明代有一位画家名叫曾鲸（1568—1650，字波臣，福建莆田人，流寓金陵），一改我国传统人物肖像的画法，不用粉彩进行渲染，而是采用淡墨渲染出阴影、凹凸，甚至每画一张像，烘染达数十层，直到满意为止。当时，追随他用这种方法画肖像的人很多，被称为“波臣派”。焦秉贞是继曾鲸之后、开创“西学派”的著名画家，和禹之鼎的“白描派”并称肖像画三大派。",[23,24,25,76,28,29,99,30,100,101,33,102,31,103,104,7,105],"界画","人物","楼阁","船只","亭","小桥","城镇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0260b27a75b9facab7ea0473d120afe.jpg","58.5×544cm","人物画精选",[108,42],93,1,"795548",{"id":114,"slug":115,"title":62,"dynasty":50,"author":51,"museum":52,"description":53,"tags":116,"thumbUrl":130,"material":62,"size":63,"collection":64,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":133},225779,"wei-zhi-fan-gao-225779",[55,117,56,7,118,119,120,31,121,122,123,124,125,126,127,128,129],"厚涂","草地","天空","白云","干草堆","小屋","花朵","农田","绿色植被","蓝色天空","白色云朵","黄色田野","红色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdceef6ff3c08517124bb6ddea4f490de.jpg",[64],81,"0D904F",{"id":135,"slug":136,"title":137,"dynasty":50,"author":51,"museum":52,"description":53,"tags":138,"thumbUrl":146,"material":62,"size":63,"collection":64,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":133},225774,"landschaft-mit-pferdewagen-und-zug-im-hintergrund-fan-gao-225774","Landschaft mit Pferdewagen und Zug im 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Provence",[26,55,56,117,183,170,7,184,185,186,121,31,100,187,188,119,189],"色彩浓烈","农舍","石墙","拱门","小路","花草","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0ec8b667688d44a5bb0209d76d2bd1.jpg",[64],55,{"id":194,"slug":195,"title":196,"dynasty":50,"author":51,"museum":52,"description":53,"tags":197,"thumbUrl":205,"material":62,"size":63,"collection":64,"collections":206,"showCount":207,"zanCount":111,"manualWeight":11,"mainColor":112},225844,"the-harvest-june-fan-gao-225844","The harvest (June - )",[55,56,117,198,199,121,184,200,119,201,31,140,202,7,203,32,204],"麦田","收获场景","远山","栅栏","农民","土地","作物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6054f82c98bf41a6f35ab5e3ee208.jpg",[64],50,{"id":209,"slug":210,"title":211,"dynasty":50,"author":51,"museum":52,"description":53,"tags":212,"thumbUrl":216,"material":62,"size":63,"collection":64,"collections":217,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":112},225731,"corn-harvest-in-provence-1888-fan-gao-225731","Corn Harvest in Provence 1888",[55,198,213,100,32,58,31,7,214,215],"麦垛","乡村","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afd0e08fdbdcb954a07f236f5b8410b.jpg",[64],{"id":219,"slug":220,"title":221,"dynasty":222,"author":223,"museum":224,"description":225,"tags":226,"thumbUrl":236,"material":162,"size":162,"collection":162,"collections":237,"showCount":238,"zanCount":11,"manualWeight":11,"mainColor":45},220573,"yu-gong-yi-shan-xu-bei-hong-220573","愚公移山","民国","徐悲鸿","中央美术学院美术馆","这幅长卷以群像铺展劳作盛景，左侧妇孺老者伴象静立，眉眼间带着质朴安然的烟火气；右侧赤膊力士肌肉虬结，或挥锄蓄力、躬身掘土，古铜色躯体迸发撼人力量。创作者揉合中西技法，以国画线条勾勒筋骨，用西洋写实晕染肌肉明暗，将劳动者的粗粝体魄与坚毅精神凝于笔端。没有刻意渲染神话玄奇，只落脚于凡人苦干，把古老寓言的坚韧意志，具象成一群勇者的躬身耕耘，让不移信念在充满烟火气的劳作场景中变得可感可触，尽显沉浑厚重的生命张力。",[23,24,28,227,100,228,229,230,231,232,233,7,215,234,235],"写实","大象","水牛","孩童","女性","老人","农具","人体","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f740d7fd7175fb0157e825af787bca.jpg",[],48,{"id":240,"slug":241,"title":242,"dynasty":50,"author":243,"museum":52,"description":244,"tags":245,"thumbUrl":253,"material":62,"size":63,"collection":64,"collections":254,"showCount":255,"zanCount":11,"manualWeight":11,"mainColor":45},225939,"haystack-in-the-morning-snow-effect-1891-mo-nai-225939","Haystack in the Morning, Snow Effect, 1891","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[246,247,248,249,121,250,200,31,251,252,7],"印象派","光影捕捉","色彩晕染","笔触松散","雪地","影子","晨光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4539166ce37bcb465cc86f5f40d77df7.jpg",[64],47,{"id":257,"slug":258,"title":259,"dynasty":50,"author":51,"museum":52,"description":53,"tags":260,"thumbUrl":266,"material":62,"size":63,"collection":64,"collections":267,"showCount":268,"zanCount":11,"manualWeight":11,"mainColor":45},225833,"the-pink-peach-tree-1888-fan-gao-225833","The Pink Peach Tree 1888",[55,56,261,170,262,263,264,7,119,189,265,203],"厚涂技法","色彩明快","开花树木","木栅栏","地面植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f1a4a0f1ea24f423cbcd65fb1a376.jpg",[64],45,{"id":270,"slug":271,"title":272,"dynasty":50,"author":51,"museum":52,"description":53,"tags":273,"thumbUrl":281,"material":62,"size":63,"collection":64,"collections":282,"showCount":283,"zanCount":11,"manualWeight":11,"mainColor":112},225776,"les-vessenots-in-auvers-1890-fan-gao-225776","Les Vessenots in Auvers 1890",[55,56,274,139,275,276,7,277,32,82,31,200,119,278,118,84,184,279,280],"笔触粗犷","设色明快","厚涂法","花田","溪流","绿植","云彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d96b48c7f50705bc820c7d8d46b723.jpg",[64],43,{"id":285,"slug":286,"title":287,"dynasty":50,"author":243,"museum":52,"description":244,"tags":288,"thumbUrl":296,"material":62,"size":63,"collection":64,"collections":297,"showCount":298,"zanCount":111,"manualWeight":11,"mainColor":45},225925,"field-of-yellow-irises-at-giverny-1887-mo-nai-225925","Field of Yellow Irises at Giverny, 1887",[246,55,7,289,118,290,119,280,291,292,125,293,294,295],"黄色鸢尾花","树林","花卉","自然景观","户外风景","色彩丰富","笔触轻快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efacf5197b0328112515b63a23a001a.jpg",[64],42,{"id":300,"slug":301,"title":302,"dynasty":50,"author":51,"museum":52,"description":53,"tags":303,"thumbUrl":307,"material":62,"size":63,"collection":64,"collections":308,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":112},225873,"wheat-field-with-cypresses-fan-gao-225873","Wheat Field with Cypresses",[26,55,56,198,304,200,189,305,7,119,306],"柏树","橄榄树","丘陵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F552c54bc3a9d5664bd06e595fd8b852f.jpg",[64],{"id":310,"slug":311,"title":312,"dynasty":50,"author":51,"museum":52,"description":53,"tags":313,"thumbUrl":317,"material":62,"size":63,"collection":64,"collections":318,"showCount":319,"zanCount":11,"manualWeight":11,"mainColor":112},225877,"wheatfield-under-thunderclouds-july-fan-gao-225877","Wheatfield under thunderclouds (July - )",[55,56,198,314,7,315,316],"雷雨云","风景","沉郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79518c24488244980b0d190df84ca60c.jpg",[64],40,{"id":321,"slug":322,"title":323,"dynasty":50,"author":51,"museum":52,"description":53,"tags":324,"thumbUrl":331,"material":62,"size":63,"collection":64,"collections":332,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":112},225745,"field-with-flowers-near-arles-1888-fan-gao-225745","Field with Flowers near Arles 1888",[26,55,117,170,171,56,7,277,325,31,326,119,118,327,128,328,329,330],"鸢尾花","建筑","蓝色花朵","绿色植物","远处村落","灰绿天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff988daf1ea44d4e2547ee09167ba6043.jpg",[64],38,{"id":335,"slug":336,"title":337,"dynasty":50,"author":51,"museum":52,"description":53,"tags":338,"thumbUrl":343,"material":62,"size":63,"collection":64,"collections":344,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":112},225739,"ebene-bei-auvers-1890-neue-pinakothek-munich-fan-gao-225739","Ebene bei Auvers 1890 Neue Pinakothek Munich",[55,117,7,118,189,119,31,121,339,340,214,341,171,342],"野花","田块","自然风景","笔触明显","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6b2bf0e73b570a5f05957088622f0.jpg",[64],{"id":346,"slug":347,"title":348,"dynasty":50,"author":243,"museum":52,"description":244,"tags":349,"thumbUrl":357,"material":62,"size":63,"collection":64,"collections":358,"showCount":359,"zanCount":11,"manualWeight":11,"mainColor":45},225905,"blue-house-in-the-outskirts-of-giverny-mo-nai-225905","Blue House in the Outskirts of Giverny",[246,350,351,248,352,7,31,200,83,119,118,214,353,354,355,144,356],"点彩","外光写生","蓝色房屋","枯枝","弯曲河流","朦胧山峦","淡色天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3294145284cb1d8c7332d4ea315245.jpg",[64],37,{"id":361,"slug":362,"title":363,"dynasty":50,"author":51,"museum":52,"description":53,"tags":364,"thumbUrl":367,"material":62,"size":63,"collection":64,"collections":368,"showCount":369,"zanCount":11,"manualWeight":11,"mainColor":112},225744,"farmhouse-in-a-wheatfield-fan-gao-225744","Farmhouse in a wheatfield",[55,56,365,171,198,184,31,119,366,118,7],"笔触厚重","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99996059a343e52197373a7b63606710.jpg",[64],34,{"id":371,"slug":372,"title":373,"dynasty":374,"author":375,"museum":376,"description":377,"tags":378,"thumbUrl":383,"material":62,"size":63,"collection":162,"collections":384,"showCount":385,"zanCount":11,"manualWeight":11,"mainColor":112},289893,"xia-shan-yu-yu-tu-dong-yuan-289893","夏山欲雨图","五代十国","董源","台北故宫博物院","作者以长披麻皴画山，表现南方松软的土质，又以重墨渍染林木与点苔，以彰显夏日草木蓊郁，万物滋长的生气。本幅无款印，根据张雨的题识，定为董北苑之作，然而其笔墨板滞，与董氏不类，当为后代画家的仿作。",[23,26,24,30,77,79,379,380,381,7,382,27,25],"山峦","林木","村居","雨意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554d2a856f62dacda937b5e2a3cce51a.jpg",[],33,{"id":387,"slug":388,"title":389,"dynasty":50,"author":243,"museum":52,"description":244,"tags":390,"thumbUrl":397,"material":62,"size":63,"collection":64,"collections":398,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":45},226082,"the-magpie-1869-mo-nai-226082","The Magpie, 1869",[246,55,391,392,31,32,201,393,7,394,264,395,396],"光影表现","雪景","冬季","雪覆屋顶","雪地小径","树木枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824463157f0fab1ae34a57a4aa1805b.jpg",[64],32,{"id":401,"slug":402,"title":403,"dynasty":50,"author":51,"museum":52,"description":53,"tags":404,"thumbUrl":409,"material":62,"size":63,"collection":64,"collections":410,"showCount":411,"zanCount":111,"manualWeight":11,"mainColor":112},225722,"boerendorp-in-de-avond1884-fan-gao-225722","Boerendorp in de avond1884",[55,227,214,184,405,31,7,100,406,121,407,292,408],"茅草屋顶","黄昏","傍晚","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817d2b11651cbf2f2bbb290d49ca5c3f.jpg",[64],31,{"id":413,"slug":414,"title":415,"dynasty":50,"author":51,"museum":52,"description":53,"tags":416,"thumbUrl":418,"material":62,"size":63,"collection":64,"collections":419,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":112},225874,"wheat-field-with-cypresses-1889-fan-gao-225874","Wheat Field with Cypresses 1889",[26,55,56,117,198,304,119,189,200,7,291,417,183],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1a2ba98df646a99e7b0f8e7364e4c2.jpg",[64],29,{"id":422,"slug":423,"title":424,"dynasty":425,"author":426,"museum":52,"description":427,"tags":428,"thumbUrl":432,"material":162,"size":162,"collection":162,"collections":433,"showCount":434,"zanCount":11,"manualWeight":11,"mainColor":112},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","宋","阎次平","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n阎次平 南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,24,77,28,29,79,30,429,430,7,431],"树","牛","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],28,{"id":436,"slug":437,"title":438,"dynasty":18,"author":439,"museum":52,"description":440,"tags":441,"thumbUrl":445,"material":77,"size":446,"collection":40,"collections":447,"showCount":448,"zanCount":11,"manualWeight":11,"mainColor":449},222140,"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,24,76,77,79,30,80,429,32,442,443,444,7],"云雾","村落","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[40,89],27,"F48FB1",{"id":451,"slug":452,"title":453,"dynasty":50,"author":243,"museum":52,"description":244,"tags":454,"thumbUrl":457,"material":62,"size":63,"collection":64,"collections":458,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":112},226121,"the-summer-poppy-field-1875-mo-nai-226121","The Summer, Poppy Field, 1875",[26,55,246,391,262,455,7,31,100,119,120,188,118,456],"笔触灵动","阳光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f20bbfbf4cd1e444441aaf2510ffd5b.jpg",[64],25,{"id":461,"slug":462,"title":463,"dynasty":50,"author":243,"museum":52,"description":244,"tags":464,"thumbUrl":467,"material":62,"size":63,"collection":64,"collections":468,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":45},225942,"haystacks-in-the-sunlight-midday-1890-mo-nai-225942","Haystacks in the Sunlight, Midday, 1890",[246,55,350,465,28,121,7,31,200,456,251,118,341,466,408],"光影","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f9f843795f535a24dbb0c3700c5fc2.jpg",[64],{"id":470,"slug":471,"title":472,"dynasty":50,"author":51,"museum":52,"description":53,"tags":473,"thumbUrl":484,"material":62,"size":63,"collection":64,"collections":485,"showCount":459,"zanCount":11,"manualWeight":11,"mainColor":45},225855,"the-white-orchard-april-fan-gao-225855","The white orchard (April - )",[55,56,474,475,118,7,396,476,477,170,478,315,479,480,481,203,482,294,483],"果树","白色花朵","田园风光","春天","色彩明亮","自然景物","开花植物","户外场景","农耕痕迹","写实表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816cb6097e57fb16f3a062018db540fa.jpg",[64],{"id":487,"slug":488,"title":489,"dynasty":50,"author":51,"museum":52,"description":53,"tags":490,"thumbUrl":494,"material":62,"size":63,"collection":64,"collections":495,"showCount":496,"zanCount":11,"manualWeight":11,"mainColor":497},225853,"the-sower1888-fan-gao-225853","The sower1888",[55,117,491,7,31,492,119,493,183,274],"播种者","太阳","地平线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020c0c5b49acf823fce26c80e43f1ee.jpg",[64],24,"37474F",{"id":499,"slug":500,"title":501,"dynasty":95,"author":502,"museum":52,"description":503,"tags":504,"thumbUrl":508,"material":162,"size":162,"collection":162,"collections":509,"showCount":496,"zanCount":11,"manualWeight":11,"mainColor":112},224448,"tang-ren-shi-yi-tu-juan-wang-hui-224448","唐人诗意图卷","王翚","此作以长卷铺展江南胜景，开篇浩渺江天，远帆孤悬于烟霭之间，水天相融尽得平远之致。继而丘壑渐起，田畴村落错落于林麓溪畔，野趣盎然。中段奇峰崛立，皴笔苍劲厚重，林木蓊郁间隐见山居梵塔，兼得高远深邃。末段山峦复归淡远，墨色晕染间烟岚轻笼。\n全作用笔清润灵秀，干笔皴擦间兼具宋元山水之妙，以诗意入画，将江南山水的温润清和、林泉雅趣缓缓铺陈，移步换景间，尽显山河安闲悠然之态。",[23,24,76,505,79,28,30,379,200,31,32,59,506,278,507,7],"山水画","平原","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9deecc02f68f4e5c292be2c407e77717.jpg",[],{"id":511,"slug":512,"title":513,"dynasty":50,"author":51,"museum":52,"description":53,"tags":514,"thumbUrl":517,"material":62,"size":63,"collection":64,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":112},225737,"der-rote-weinberg-fan-gao-225737","Der rote Weinberg",[26,55,56,117,183,515,100,215,516,492,32,7,417],"葡萄园","水道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff190e33e17e48b675a530ece8a60d706.jpg",[64],23,{"id":521,"slug":522,"title":523,"dynasty":425,"author":524,"museum":376,"description":525,"tags":526,"thumbUrl":538,"material":539,"size":540,"collection":162,"collections":541,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":112},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","佚名","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,25,27,28,29,430,527,528,529,530,531,532,7,229,533,534,535,536,537,227],"兽","枯树","杂草","平野","岩石","草木","犊牛","枝干","土坡","草丛","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","绢本,水墨","97x52.4",[],{"id":543,"slug":544,"title":545,"dynasty":95,"author":546,"museum":52,"description":547,"tags":548,"thumbUrl":550,"material":162,"size":162,"collection":40,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":45},238514,"shan-shui-xiao-ce-qian-wei-cheng-238514","山水小册","钱维城","此作用平远之法铺展秋郊山居：前景田亩纵横，村舍错落，农人俯身耕织，晕开融融烟火意趣。中层峰峦叠翠，林木蓊郁苍润，山石以细密皴法勾勒晕染，干湿浓淡间尽显丘壑层次。远景山峦清寂空灵，淡赭轻敷点染秋光。\n\n题诗与画作相映成趣，笔致工稳秀润，既有严整的山水法度，又揉入江南田园的悠然野趣，将秋日郊野的静穆生机诉诸笔端。文人雅致与村居烟火相融，把山居秋日的澹然闲逸刻画得淋漓尽致，尽显传统山水的抒情意韵。",[24,25,157,28,79,30,80,429,443,7,33,507,532,32,549],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44002ec93ae585ef891e8d628bc9422f.jpg",[40,42],22,{"id":554,"slug":555,"title":556,"dynasty":50,"author":243,"museum":52,"description":244,"tags":557,"thumbUrl":560,"material":62,"size":63,"collection":64,"collections":561,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":112},226005,"poppy-field-argenteuil-1875-mo-nai-226005","Poppy Field, Argenteuil, 1875",[246,55,351,262,249,558,7,31,119,189,100,118,339,559],"罂粟花","开阔远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916e7e81bab1e39385498ba042fde79e.jpg",[64],{"id":563,"slug":564,"title":565,"dynasty":95,"author":566,"museum":52,"description":567,"tags":568,"thumbUrl":570,"material":62,"size":63,"collection":162,"collections":571,"showCount":572,"zanCount":11,"manualWeight":11,"mainColor":112},235272,"chun-chou-mai-lang-tu-zhou-yuan-yao-235272","春畴麦浪图轴","袁耀","袁耀（生卒年不详，约活动于18世纪中期），字昭道，江都（今江苏扬州）人，袁江之子。生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。工于山水楼阁界画，继承了唐宋及明代仇英青绿山水的画法。笔墨严整工细，设色艳丽浓郁，与父袁江同为清代界画代表人物。",[24,25,27,28,29,30,32,100,31,569,7,200],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b039db189b0a1cf8a3e88d590b307b8.jpg",[],21,{"id":574,"slug":575,"title":576,"dynasty":50,"author":243,"museum":52,"description":244,"tags":577,"thumbUrl":578,"material":62,"size":63,"collection":64,"collections":579,"showCount":572,"zanCount":11,"manualWeight":11,"mainColor":45},225934,"giverny-mo-nai-225934","Giverny",[55,246,315,528,118,119,189,31,7,479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0800caf2567818f4cbe8a82dad1c4f0.jpg",[64],{"id":581,"slug":582,"title":583,"dynasty":50,"author":243,"museum":52,"description":244,"tags":584,"thumbUrl":588,"material":62,"size":63,"collection":64,"collections":589,"showCount":590,"zanCount":11,"manualWeight":11,"mainColor":497},225963,"lete-mo-nai-225963","LEte",[55,246,465,585,586,118,31,100,119,7,587,466,456],"色彩柔和","笔触","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3debc71e3df4458856f20b475ccc6ad4.jpg",[64],20,{"id":592,"slug":593,"title":594,"dynasty":50,"author":51,"museum":52,"description":53,"tags":595,"thumbUrl":596,"material":62,"size":63,"collection":64,"collections":597,"showCount":598,"zanCount":11,"manualWeight":11,"mainColor":112},225876,"wheatfield-june-fan-gao-225876","Wheatfield (June - )",[26,55,56,276,170,139,198,7,31,119,187,417,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F993a4033e4ca4492e2043bb928a737af.jpg",[64],19,{"id":600,"slug":601,"title":602,"dynasty":50,"author":243,"museum":52,"description":244,"tags":603,"thumbUrl":606,"material":62,"size":63,"collection":64,"collections":607,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":112},226001,"poppies-at-argenteuil-1873-mo-nai-226001","Poppies at Argenteuil, 1873",[26,55,246,558,7,100,604,605],"自然风光","光影技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951cb4272636783791c7d4304c97d96f.jpg",[64],18,{"id":610,"slug":611,"title":612,"dynasty":50,"author":243,"museum":52,"description":244,"tags":613,"thumbUrl":618,"material":62,"size":63,"collection":64,"collections":619,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":112},225941,"haystacks-at-the-end-of-the-summer-morning-effect-1890-mo-nai-225941","Haystacks at the End of the Summer, Morning Effect, 1890",[55,246,614,615,616,350,121,7,31,200,252,118,617],"外光","光影变化","色彩层次","阴影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c08853c311e2c54278ddd3e0b835759.jpg",[64],{"id":621,"slug":622,"title":623,"dynasty":50,"author":51,"museum":52,"description":53,"tags":624,"thumbUrl":629,"material":62,"size":63,"collection":64,"collections":630,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":112},225773,"landscape-at-saint-re-my-enclosed-field-with-peasant-fan-gao-225773","Landscape at Saint-Rémy (Enclosed Field with Peasant)",[55,117,170,171,7,202,625,119,189,32,31,626,203,627,628],"山脉","篱笆","灌木","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50c19cf3f69bb5b337d215962d61059.jpg",[64],{"id":632,"slug":633,"title":634,"dynasty":50,"author":51,"museum":52,"description":53,"tags":635,"thumbUrl":637,"material":62,"size":63,"collection":64,"collections":638,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":497},225758,"ha-user-in-auvers1-fan-gao-225758","Häuser in Auvers1",[55,56,117,32,405,636,31,118,7,187,201,119,189],"烟囱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdabe4af1ff762195deae71c5eec1f91.jpg",[64],{"id":640,"slug":641,"title":642,"dynasty":50,"author":51,"museum":52,"description":53,"tags":643,"thumbUrl":645,"material":62,"size":63,"collection":64,"collections":646,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":112},225757,"green-field-1889-fan-gao-225757","Green Field 1889",[56,55,117,170,262,7,304,32,119,189,118,417,644],"乡村景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d65c08f6c36af04b692061c139fc88f.jpg",[64],{"id":648,"slug":649,"title":650,"dynasty":50,"author":243,"museum":52,"description":244,"tags":651,"thumbUrl":653,"material":62,"size":63,"collection":64,"collections":654,"showCount":655,"zanCount":11,"manualWeight":11,"mainColor":497},226040,"summer-1874-mo-nai-226040","Summer, 1874",[55,246,652,7,31,100,315],"夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae6cd20aa093c954df90c3013aa2966.jpg",[64],17,{"id":657,"slug":658,"title":659,"dynasty":50,"author":243,"museum":52,"description":244,"tags":660,"thumbUrl":663,"material":62,"size":63,"collection":64,"collections":664,"showCount":655,"zanCount":11,"manualWeight":11,"mainColor":45},225967,"landscape-mo-nai-225967","Landscape",[26,55,246,661,7,119,662,214],"风景画","云层","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4ac7e0b9ae5f69f5d5d9f5e5dd2aea.jpg",[64],{"id":666,"slug":667,"title":668,"dynasty":50,"author":51,"museum":52,"description":53,"tags":669,"thumbUrl":672,"material":62,"size":63,"collection":64,"collections":673,"showCount":674,"zanCount":11,"manualWeight":11,"mainColor":112},225755,"gogh-vincent-van-cottages-fan-gao-225755","Gogh Vincent van Cottages",[55,117,122,405,7,670,119,189,627,185,671,183],"山坡","土路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472f92b8719c0935d6a391a002c66dd0.jpg",[64],16,{"id":676,"slug":677,"title":678,"dynasty":50,"author":243,"museum":52,"description":244,"tags":679,"thumbUrl":681,"material":62,"size":63,"collection":64,"collections":682,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":112},225940,"haystack-in-the-sunlight-1890-mo-nai-225940","Haystack in the Sunlight, 1890",[246,55,350,121,456,7,465,680],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237daee52a9de8c1e06c4708d9eaa8f0.jpg",[64],15,{"id":685,"slug":686,"title":687,"dynasty":50,"author":51,"museum":52,"description":53,"tags":688,"thumbUrl":694,"material":62,"size":63,"collection":64,"collections":695,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":112},225851,"the-siesta-after-millet-fan-gao-225851","The siesta (after Millet)",[55,689,117,100,690,430,7,119,691,692,693],"临摹","稻草堆","鞋子","盘子","干草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba74f2b89d691346100f74501c68eff7.jpg",[64],{"id":697,"slug":698,"title":699,"dynasty":95,"author":502,"museum":20,"description":700,"tags":701,"thumbUrl":703,"material":704,"size":705,"collection":162,"collections":706,"showCount":707,"zanCount":11,"manualWeight":11,"mainColor":112},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,76,77,29,30,392,83,102,31,326,59,104,82,7,702,35],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纸本设色","纵39.3cm 横198.4cm",[],14,{"id":709,"slug":710,"title":711,"dynasty":50,"author":51,"museum":52,"description":53,"tags":712,"thumbUrl":715,"material":62,"size":63,"collection":64,"collections":716,"showCount":707,"zanCount":111,"manualWeight":11,"mainColor":45},225878,"wheatfield-with-a-reaper-september-fan-gao-225878","Wheatfield with a reaper (September - )",[26,55,56,117,170,713,198,714,492,625,119,31,7],"色彩饱和","收割者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bb009d44d7b3f205302c1e28ebf1979.jpg",[64],{"id":718,"slug":719,"title":720,"dynasty":50,"author":243,"museum":52,"description":244,"tags":721,"thumbUrl":726,"material":62,"size":63,"collection":64,"collections":727,"showCount":728,"zanCount":11,"manualWeight":11,"mainColor":45},226101,"the-promenade-near-argenteuil-1873-mo-nai-226101","The Promenade near Argenteuil, 1873",[26,246,55,247,248,249,722,481,118,339,31,100,230,723,7,119,189,724,262,725],"自然光线","雨伞","小径","户外写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf67664132c0d436c714a15e4b669099.jpg",[64],13,{"id":730,"slug":731,"title":732,"dynasty":50,"author":51,"museum":52,"description":53,"tags":733,"thumbUrl":737,"material":62,"size":63,"collection":64,"collections":738,"showCount":728,"zanCount":11,"manualWeight":11,"mainColor":45},225883,"women-picking-olives1889-fan-gao-225883","Women Picking Olives1889",[55,117,100,305,734,7,119,735,170,736],"梯子","劳动场景","色彩温暖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe1d6dd54162162fcf401cfd83b635f.jpg",[64],{"id":740,"slug":741,"title":742,"dynasty":50,"author":51,"museum":52,"description":53,"tags":743,"thumbUrl":745,"material":62,"size":63,"collection":64,"collections":746,"showCount":728,"zanCount":11,"manualWeight":11,"mainColor":112},225754,"geploegde-akkers-de-voren-fan-gao-225754","Geploegde akkers ('De voren')",[55,56,124,744,214,119,189,7],"耕地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1efc81f2f36a69653b518aacf8be7f.jpg",[64],{"id":748,"slug":749,"title":750,"dynasty":50,"author":51,"museum":52,"description":53,"tags":751,"thumbUrl":753,"material":62,"size":63,"collection":64,"collections":754,"showCount":755,"zanCount":11,"manualWeight":11,"mainColor":112},225838,"the-sower-fan-gao-225838","The Sower",[55,117,492,7,100,59,32,203,57,170,752],"色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d66a86c8a21a8eb5849c25e6ff1665.jpg",[64],12,{"id":757,"slug":758,"title":759,"dynasty":95,"author":760,"museum":52,"description":761,"tags":762,"thumbUrl":765,"material":162,"size":162,"collection":162,"collections":766,"showCount":767,"zanCount":11,"manualWeight":11,"mainColor":45},234783,"mo-xie-bin-hua-fu-shan-xiang-zhou-wang-yin-zhai-234783","摹谢彬画傅山像轴","王荫斋","傅山（1607—1684年），字青竹，后改青主，一字仁仲，别署公之它（一作他），号朱衣道人等，阳曲（今山西太原）人。明亡后隐居不仕，以行医为生。清康熙十七年（1678年）举博学鸿词科，强征至京，以死拒，放归。能绘画，精医学。书法篆、隶、真、行、草无所不精，以草书最富特色，笔力雄奇恣肆，追求生拙真率的艺术境界，是清初书坛大家。有《霜红龛集》行世。《清史稿》列传二百八十八有传。",[24,25,27,28,100,429,507,763,7,764,689,35],"茅屋","伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],11,{"id":769,"slug":770,"title":771,"dynasty":50,"author":243,"museum":52,"description":244,"tags":772,"thumbUrl":777,"material":62,"size":63,"collection":64,"collections":778,"showCount":767,"zanCount":11,"manualWeight":11,"mainColor":112},225926,"fields-of-tulip-with-the-rijnsburg-windmill-1886-mo-nai-225926","Fields of Tulip With The Rijnsburg Windmill, 1886",[55,246,465,28,773,277,774,32,119,120,7,262,341,476,481,775,776,680],"郁金香","风车","蓝天白云","红屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3720d8460e6adc62c9495b42499f397.jpg",[64],{"id":780,"slug":781,"title":782,"dynasty":50,"author":51,"museum":52,"description":53,"tags":783,"thumbUrl":785,"material":62,"size":63,"collection":64,"collections":786,"showCount":767,"zanCount":11,"manualWeight":11,"mainColor":112},225799,"rain-1889-fan-gao-225799","Rain 1889",[26,55,56,784,7,214,200],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e6c6827ec14e6fa868ddfeaecf6b1e.jpg",[64],{"id":788,"slug":789,"title":790,"dynasty":18,"author":791,"museum":52,"description":792,"tags":793,"thumbUrl":797,"material":162,"size":162,"collection":162,"collections":798,"showCount":799,"zanCount":11,"manualWeight":11,"mainColor":112},228334,"liu-yin-mu-qiao-tu-ye-lu-shi-ren-228334","柳荫暮桥图页","陆士仁","此作用绢本暖褐底色晕染出薄暮柔氛，池面轻笼烟霭，垂柳依依曳于晚风，枝桠停驻寒鸦，将诗意融于画面。坡岸竹树错落，远处板桥隐在淡雾之中，衬得暮色愈发静谧安闲。\n\n设色清淡雅润，线条秀婉细腻，未以繁复勾勒，只凭晕染铺就朦胧暮色，将晚春池畔的慵懒闲寂揉进笔墨里。题画诗与小景相映成趣，把暮夜将临的恬和诗意尽数铺陈，尽显文人抒情小景的淡远意致，将闲淡空寂的晚暮氛围描摹得恰到好处。",[24,28,30,157,794,104,795,59,7,796],"垂柳","孤石","暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F988ee63a495d90b8af4ac0a7248c07b4.jpg",[],10,{"id":801,"slug":802,"title":803,"dynasty":50,"author":243,"museum":52,"description":244,"tags":804,"thumbUrl":806,"material":62,"size":63,"collection":64,"collections":807,"showCount":799,"zanCount":11,"manualWeight":11,"mainColor":112},226102,"the-promenade-near-limetz-1887-mo-nai-226102","The Promenade near Limetz, 1887",[55,246,7,84,31,100,805,118,119,466,292],"阳伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdd46d15796ddf92b12df0284011959.jpg",[64],{"id":809,"slug":810,"title":811,"dynasty":95,"author":812,"museum":376,"description":813,"tags":814,"thumbUrl":816,"material":162,"size":162,"collection":162,"collections":817,"showCount":799,"zanCount":11,"manualWeight":11,"mainColor":45},222858,"xin-she-geng-ye-dong-gao-222858","新畬耕馌","董诰","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,25,157,28,29,30,100,104,33,31,7,763,233,430,815],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ba419991325a08174927ef62141683.jpg",[],{"id":819,"slug":820,"title":821,"dynasty":95,"author":822,"museum":52,"description":823,"tags":824,"thumbUrl":827,"material":162,"size":162,"collection":162,"collections":828,"showCount":829,"zanCount":11,"manualWeight":11,"mainColor":45},239344,"xi-xi-hua-juan-lin-shu-239344","西溪画卷","林纾","此作用水墨晕染勾勒全景，层峦叠嶂间林木蓊郁，汀洲水湾蜿蜒萦回，村居茅舍隐于烟霭林麓之间，尽显江南水畔的幽寂野趣。皴擦点染兼具，以苍朴笔墨写尽溪山清旷之致。\n\n卷后长篇行书题跋，笔致沉厚古拙，词句自况寄怀，书画相映成趣，将闲游幽思与林泉归隐的意趣融为一体，尽显文人画诗书画合一的雅致风骨，藏着作者寄情山水的缱绻襟怀。",[23,24,25,76,77,79,29,825,78,35,30,83,31,32,104,102,507,7,826],"书法","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4075e15f1cdd0703ca33f467c5e4924e.jpg",[],9,{"id":831,"slug":832,"title":833,"dynasty":50,"author":51,"museum":52,"description":53,"tags":834,"thumbUrl":835,"material":62,"size":63,"collection":64,"collections":836,"showCount":829,"zanCount":11,"manualWeight":11,"mainColor":112},225867,"view-of-auvers-may-june-fan-gao-225867","View of Auvers (May - June )",[55,56,117,171,82,32,7,670,31,119,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b2bce3a45c0617b70c9144ffb0b7d17.jpg",[64],{"id":838,"slug":839,"title":840,"dynasty":50,"author":51,"museum":52,"description":53,"tags":841,"thumbUrl":844,"material":62,"size":63,"collection":64,"collections":845,"showCount":829,"zanCount":11,"manualWeight":11,"mainColor":497},225852,"the-sower-june-fan-gao-225852","The sower (June - )",[55,56,117,842,843,492,100,429,7,203,119,493],"强烈色彩","动态笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203009fcb1ebef46c0528617d947ec3d.jpg",[64],{"id":847,"slug":848,"title":849,"dynasty":50,"author":51,"museum":52,"description":53,"tags":850,"thumbUrl":852,"material":62,"size":63,"collection":64,"collections":853,"showCount":829,"zanCount":11,"manualWeight":11,"mainColor":112},225787,"olive-trees1889-fan-gao-225787","Olive Trees1889",[26,55,117,350,305,119,280,203,31,7,479,851,171],"短笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a87a7246b80a9eac740d4dbd6dbced9.jpg",[64],{"id":855,"slug":856,"title":857,"dynasty":50,"author":51,"museum":52,"description":53,"tags":858,"thumbUrl":864,"material":62,"size":63,"collection":64,"collections":865,"showCount":829,"zanCount":11,"manualWeight":11,"mainColor":112},225743,"farm-with-stacks-of-peat-november-fan-gao-225743","Farm with stacks of peat (November - )",[55,56,859,184,860,7,119,644,861,862,479,863,203,57,628],"厚重笔触","泥炭堆","暗沉色调","表现主义风格","乡村建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520506924402f42250cb9d9fecbce29e.jpg",[64],{"id":867,"slug":868,"title":869,"dynasty":425,"author":870,"museum":871,"description":872,"tags":873,"thumbUrl":877,"material":878,"size":879,"collection":40,"collections":880,"showCount":829,"zanCount":11,"manualWeight":11,"mainColor":45},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","马逵","私人收藏","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,26,24,25,76,28,29,100,430,874,527,31,7,33,59,32,875,876],"马","牧童","农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","绢本,设色","24×160",[40],{"id":882,"slug":883,"title":884,"dynasty":425,"author":524,"museum":376,"description":885,"tags":886,"thumbUrl":889,"material":539,"size":540,"collection":162,"collections":890,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":112},231043,"ping-chou-hu-du-tu-yi-ming-231043","平畴呼犊图","《四季牧放》是24年上海书画出版社出版的图书。\n属于《国宝在线》的一册，是中国画中有关四季放牧图的。\n出版社: 上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[24,25,28,29,430,527,429,887,888,7],"草","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg",[],8,{"id":893,"slug":894,"title":895,"dynasty":50,"author":243,"museum":52,"description":244,"tags":896,"thumbUrl":898,"material":62,"size":63,"collection":64,"collections":899,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":45},226002,"poppy-field-in-giverny-03-1890-mo-nai-226002","Poppy Field in Giverny 03, 1890",[26,246,55,262,455,247,897,31,200,119,189,7,292,291],"罂粟花田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6542e1a8773f2316f2eee87a754d77.jpg",[64],{"id":901,"slug":902,"title":903,"dynasty":50,"author":51,"museum":52,"description":53,"tags":904,"thumbUrl":905,"material":62,"size":63,"collection":64,"collections":906,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":112},225875,"wheat-fields-with-reaper-auvers-1890-fan-gao-225875","Wheat Fields with Reaper Auvers 1890",[56,55,117,198,213,714,119,189,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466bf76578d661aad6fa074125fc751.jpg",[64],{"id":908,"slug":909,"title":910,"dynasty":50,"author":51,"museum":52,"description":53,"tags":911,"thumbUrl":913,"material":62,"size":63,"collection":64,"collections":914,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":112},225740,"enclosed-field-with-ploughman-1889-fan-gao-225740","Enclosed Field with Ploughman 1889",[55,56,276,170,183,7,744,912,430,774,625,119,189,203],"耕者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb656f155a13974f8465431b23043dc4.jpg",[64],{"id":916,"slug":917,"title":918,"dynasty":95,"author":919,"museum":52,"description":920,"tags":921,"thumbUrl":934,"material":77,"size":162,"collection":162,"collections":935,"showCount":891,"zanCount":11,"manualWeight":11,"mainColor":45},216842,"zhan-zheng-tong-ban-hua-6-lang-shi-ning-216842","战争铜版画-6","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[922,227,923,924,925,926,927,379,31,928,929,930,326,7,931,932,933],"铜版画","战争场景","士兵","战马","帐篷","营地","城堡","旗帜","人群","队列","营帐","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F077b9e9d01ac61cce9d171c5922ad00c.jpg",[],{"id":937,"slug":938,"title":939,"dynasty":95,"author":940,"museum":52,"description":941,"tags":942,"thumbUrl":943,"material":944,"size":162,"collection":40,"collections":945,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":45},237425,"shan-shui-ce-chen-jia-le-237425","山水册","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,157,28,30,79,429,32,59,103,507,724,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703deb6406f183f4861a74f12275e6.jpg","纸本",[40],7,{"id":948,"slug":949,"title":950,"dynasty":50,"author":243,"museum":52,"description":244,"tags":951,"thumbUrl":955,"material":62,"size":63,"collection":64,"collections":956,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":45},226109,"the-road-at-giverny-in-winter-1885-mo-nai-226109","The Road at Giverny in Winter, 1885",[246,55,952,953,954,528,32,7,119,614],"冬天","雪","雪路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feafb5e18f9e27ccbf0402c1a3c83c423.jpg",[64],{"id":958,"slug":959,"title":960,"dynasty":50,"author":51,"museum":52,"description":53,"tags":961,"thumbUrl":965,"material":62,"size":63,"collection":64,"collections":966,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":112},225765,"houses-in-auvers-fan-gao-225765","Houses in Auvers",[26,55,56,117,170,171,32,962,963,187,31,119,189,964,279,7],"草顶","红顶","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfef57e96049a9ee0182a14132868945.jpg",[64],{"id":968,"slug":969,"title":970,"dynasty":95,"author":971,"museum":871,"description":972,"tags":973,"thumbUrl":976,"material":944,"size":162,"collection":162,"collections":977,"showCount":946,"zanCount":11,"manualWeight":11,"mainColor":45},214514,"shui-mo-tu-ce-4-zheng-min-214514","水墨图册-4","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[24,25,157,77,30,79,825,78,35,974,200,7,975],"柳树","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6440c794f8ff0b8d74315432cc5900.jpg",[],{"id":979,"slug":980,"title":981,"dynasty":50,"author":51,"museum":52,"description":53,"tags":982,"thumbUrl":985,"material":62,"size":63,"collection":64,"collections":986,"showCount":987,"zanCount":11,"manualWeight":11,"mainColor":112},225871,"vue-de-lasile-et-de-la-chapelle-de-saint-re-my-fan-gao-225871","Vue de lasile et de la Chapelle de Saint Rémy",[55,117,586,56,7,983,31,326,119,121,984],"教堂","麦浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91b227fc97dc3321ad4d31bcc210024.jpg",[64],6,{"id":989,"slug":990,"title":991,"dynasty":50,"author":243,"museum":52,"description":244,"tags":992,"thumbUrl":994,"material":62,"size":63,"collection":64,"collections":995,"showCount":996,"zanCount":11,"manualWeight":11,"mainColor":45},226144,"winter-landscape-mo-nai-226144","Winter Landscape",[55,246,465,993,586,393,392,31,534,250,7,292],"色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe113d6f4efce39eecc6830ad1762e1c6.jpg",[64],5,{"id":998,"slug":999,"title":1000,"dynasty":95,"author":919,"museum":52,"description":920,"tags":1001,"thumbUrl":1005,"material":77,"size":162,"collection":162,"collections":1006,"showCount":996,"zanCount":11,"manualWeight":11,"mainColor":45},216835,"zhan-zheng-tong-ban-hua-9-lang-shi-ning-216835","战争铜版画-9",[922,227,1002,924,874,926,379,31,1003,326,1004,100,507,7],"战争","烟雾","战斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4d180386e98360415a2bfea86083d3.jpg",[],{"id":1008,"slug":1009,"title":1010,"dynasty":95,"author":1011,"museum":52,"description":1012,"tags":1013,"thumbUrl":1015,"material":162,"size":162,"collection":162,"collections":1016,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":45},237867,"shan-shui-tu-ce-jin-xue-jian-237867","山水图册","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[24,25,157,77,28,30,79,104,33,379,31,7,83,628,200,1014,408],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143db4af058fe90f4e3815f655e91d60.jpg",[],4,{"id":1019,"slug":1020,"title":1021,"dynasty":18,"author":524,"museum":52,"description":1022,"tags":1023,"thumbUrl":1025,"material":62,"size":63,"collection":162,"collections":1026,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":45},237546,"shi-dao-shan-shui-shan-ye-yi-ming-237546","适道山水扇页","泥金底色温润古雅，晕开淡墨山水的清逸意趣。画面以高远起势，左侧峰崖崚嶒，皴笔苍劲利落，勾勒山石的硬朗肌理；右侧浅峦迤逦铺展，水岸平阔，漾出平远之境。近景虬木错落、枝桠疏朗，掩映着茅亭村舍，田畴横陈，将郊野幽居的闲适日常铺陈开来。淡墨轻施、设色简淡，萧散的文人意趣盈满尺幅之间，题款小字清雅安和，与画面浑然相融，把林泉高致藏于盈握扇面，尽显古雅悠然的山水情怀。",[1024,24,30,79,77,28,80,429,32,7,200,1014],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c5841dc93a7b567b976371d8e6ad907.jpg",[],{"id":1028,"slug":1029,"title":1030,"dynasty":50,"author":524,"museum":52,"description":1031,"tags":1032,"thumbUrl":1035,"material":162,"size":162,"collection":162,"collections":1036,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":45},231653,"xi-ma-tu-juan-yi-ming-231653","戏马图卷","此卷以淡彩施绘，笔墨清简秀逸。右端平远郊野间，群马散游浅草坡地，或垂首啮草，或信步徐行，村舍隐于林麓，漾着乡野闲静意趣。随卷左移，画面渐次鲜活：仆役控缰牵马，骑手们或策马奔腾，或俯身控御烈马，更有健儿挥弄长械戏马，烈马扬鬃奋蹄，人马的灵动神态被简练线条勾勒尽致。浅青、淡赭的淡设色调雅致柔和，将牧养日常与游嬉之趣相融，把民间驯马戏马的鲜活图景缓缓铺展，尽显世俗生活的生动意韵。",[23,24,25,76,28,29,100,874,30,7,379,1033,1034],"群马","动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8fcb02ee6658a46924bfa4d3b69f70.jpg",[],{"id":1038,"slug":1039,"title":1040,"dynasty":95,"author":919,"museum":52,"description":920,"tags":1041,"thumbUrl":1046,"material":77,"size":162,"collection":162,"collections":1047,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":45},216817,"zhan-zheng-tong-ban-hua-30-lang-shi-ning-216817","战争铜版画-30",[922,227,923,100,924,1042,326,1043,30,31,929,931,932,200,1044,57,1045,7],"将领","中式建筑","近树","开阔地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F713097541fac6b4e0f68df27674f79bf.jpg",[],{"id":1049,"slug":1050,"title":1051,"dynasty":95,"author":502,"museum":1052,"description":1053,"tags":1054,"thumbUrl":1058,"material":162,"size":162,"collection":40,"collections":1059,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":1060},201399,"jiang-nan-zao-chun-tu-zhou-wang-hui-201399","江南早春图轴","上海博物馆","画面晕染江南早春的温润气息：嫩柳垂丝拂过蜿蜒溪流，坡岸新绿渐生，山间桃杏绽出淡粉，点染浅浅春意。近处茅舍隐于树影，农人缓步其间，一派田园闲适；远处平畴如织，山峦层叠，笔墨兼融细腻设色与苍劲皴擦，尽显丘壑之妙。整体意境清和淡远，灵秀水乡与静谧田园相融，仿佛能闻春风拂柳之声，见万物复苏之态，是笔墨功力与自然意趣兼具的山水佳作。",[24,30,28,79,974,33,1055,7,379,1056,1057,23],"茅舍","桃杏","农人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ac20bf5cd1cf34559aac1d06099bcd.jpg",[40],"ac9a7d",{"id":1062,"slug":1063,"title":1064,"dynasty":95,"author":524,"museum":52,"description":1065,"tags":1066,"thumbUrl":1068,"material":62,"size":63,"collection":162,"collections":1069,"showCount":1070,"zanCount":11,"manualWeight":11,"mainColor":112},290202,"cun-man-tu-ye-yi-ming-290202","村蛮图页","此作用平远章法铺陈郊野之景，淡赭绢底晕开古旧温雅底色，以石青、花青轻染远山层峦，起伏舒缓，晕出空濛悠远的山野暮色。近间田亩隐现，数椽村舍藏于茂林之下，细劲墨线勾勒屋廓田埂，林木错落生姿。整幅简笔淡染，无繁复皴擦，只以平涂轻晕摹写江南乡居日常，将隐逸悠然的闲趣藏于简淡笔墨中，暗合田园诗的淡远况味，古绢的岁月残痕，更添了几分静穆悠长的旧时光韵致。",[24,25,505,28,1067,379,31,443,7],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7253b42689148c3bf77ed65cd606e7.jpg",[],3,{"id":1072,"slug":1073,"title":1074,"dynasty":95,"author":1075,"museum":52,"description":1076,"tags":1077,"thumbUrl":1079,"material":62,"size":63,"collection":162,"collections":1080,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},238466,"mian-yi-mian-hua-tu-ce-mian-yi-238466","绵亿棉花图册","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。",[24,29,28,157,100,32,31,7,1078,626],"劳作场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88863be20fa4daa8d6c9f49704bca13c.jpg",[],{"id":1082,"slug":1083,"title":1084,"dynasty":95,"author":1085,"museum":52,"description":1086,"tags":1087,"thumbUrl":1089,"material":162,"size":162,"collection":162,"collections":1090,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},238250,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238250","燕山八景图册","张若澄","此作以淡彩绘就平远郊野，丘峦平缓错落，林舍星缀其间，土路蜿蜒串联起田庄浅渚，晨霞轻染天际，晕开柔淡粉霭，将郊原清寂悠然的意韵晕染开来，尽显幽旷之美。对开行书题诗笔墨隽秀雅致，笔意舒展灵和，诗画相映，实景胜迹的恬然意趣藏于毫端。整体淡朴清和，兼具纪实写生的真切与文人画的抒情意致，把郊原夕照的悠然襟怀诉诸纸间，雅逸沉静，尽显小品山水的隽永情致。",[24,25,157,28,77,30,79,78,200,7,31,32,187,35,443,1088],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02544b39df3b484928ff5554ac815a87.jpg",[],{"id":1092,"slug":1093,"title":939,"dynasty":95,"author":1094,"museum":52,"description":1095,"tags":1096,"thumbUrl":1097,"material":162,"size":162,"collection":162,"collections":1098,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},238010,"shan-shui-ce-lu-zun-shu-238010","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[24,77,157,79,30,104,33,34,31,32,379,7,763,794,443,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff9821dd3850851740b99bfddc180ac.jpg",[],{"id":1100,"slug":1101,"title":1102,"dynasty":50,"author":1103,"museum":52,"description":1104,"tags":1105,"thumbUrl":1109,"material":62,"size":63,"collection":162,"collections":1110,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},232290,"a-er-ma-17-lao-lun-si-a-er-ma-ta-de-ma-232290","阿尔玛17","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。",[55,1106,476,7,121,100,1107,1108],"写实风格","阅读","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6ed10bab49e8275b1b12eb7c4a5bd6.jpg",[],{"id":1112,"slug":1113,"title":1114,"dynasty":50,"author":1115,"museum":52,"description":1116,"tags":1117,"thumbUrl":1119,"material":62,"size":63,"collection":162,"collections":1120,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":112},232144,"horses-in-a-meadow-national-gallery-of-art-washington-usa-de-jia-232144","Horses in a Meadow – - National Gallery of Art - Washington (USA)","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[246,55,874,118,1118,102,32,7,406,31],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6891e26fe2f55d4379ea41f8c996fc.jpg",[],{"id":1122,"slug":1123,"title":1124,"dynasty":50,"author":1115,"museum":52,"description":1116,"tags":1125,"thumbUrl":1130,"material":62,"size":63,"collection":162,"collections":1131,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":112},232033,"racehorses-at-longchamp-museum-of-fine-arts-usa-de-jia-232033","Racehorses at Longchamp - - Museum of Fine Arts (USA)",[246,55,465,1126,1127,1128,118,31,680,119,7,1129,100],"暖色调","赛马","骑手","马匹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadc1e2c1300fc298ed08c4644591bbba.jpg",[],{"id":1133,"slug":1134,"title":1135,"dynasty":50,"author":524,"museum":52,"description":1136,"tags":1137,"thumbUrl":1139,"material":162,"size":162,"collection":162,"collections":1140,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":112},231656,"yun-juan-tu-juan-yi-ming-231656","云卷图卷","此作以全景长卷铺展世间烟火，疏密有致的构图将郊野与町肆串联。画面里市集人流攒动，官绅出行的仪仗、贩夫走卒的行迹、乘马驱车的行人错落交织，朱红牌坊临水而立，乡野村居错落铺陈。\n工细的线条勾勒出各色人物的情态衣袂，古雅的设色晕染出郊野的温润底色，将市井喧嚷、仕宦排场与田舍闲趣融为一体。细节里藏着往昔日常的鲜活风貌，把旧岁世相凝于绢素之间，尽显写实叙事的古雅意趣。",[23,24,76,28,29,100,874,104,32,7,1138,31,59,430,57,930,326],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5c9e889cce3d7668f0cb97b6412eb.jpg",[],{"id":1142,"slug":1143,"title":1144,"dynasty":50,"author":524,"museum":52,"description":1145,"tags":1146,"thumbUrl":1150,"material":62,"size":63,"collection":162,"collections":1151,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":45},225410,"fu-shi-hui-168-yi-ming-225410","浮世绘168","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。",[1147,1148,28,100,1149,230,59,30,31,7],"浮世绘","木刻","美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cf26416c09061c92001bb03b7204c4.jpg",[],{"id":1153,"slug":1154,"title":1155,"dynasty":50,"author":524,"museum":52,"description":1156,"tags":1157,"thumbUrl":1160,"material":62,"size":63,"collection":162,"collections":1161,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":45},289235,"rembrandt-group-of-farm-buildings-yi-ming-289235","Rembrandt--Group 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，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1329,1330,29,100,429,81,7,1331],"墨","雕刻","农作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0024d2709591ee66241a7c9a47079a.jpg",[],1777535703699]