[{"data":1,"prerenderedAt":216},["ShallowReactive",2],{"subject-tian-yuan-feng-guang":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},2777,"tian-yuan-feng-guang","田园风光","田园风光画高清赏析","精选中国历代田园风光题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816cb6097e57fb16f3a062018db540fa.jpg",0,9,[14,55,70,92,111,129,156,170,191],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":47,"material":48,"size":49,"collection":50,"collections":51,"showCount":52,"zanCount":53,"manualWeight":11,"mainColor":54},225733,"daubigny-s-garden-june-fan-gao-225733","Daubigny's garden (June - )","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,7,46],"油画","后印象派","厚涂","笔触","色彩","设色","花园","草地","花卉","树木","房屋","栅栏","绿植","户外","自然景观","庭院","白花","红花","蓝花","田园","植物","花丛","绿色调","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51956f5c386825806a76df15e92eff54.jpg","未知","Xcm*Xcm","油画精选",[50],68,1,"795548",{"id":56,"slug":57,"title":58,"dynasty":18,"author":59,"museum":20,"description":60,"tags":61,"thumbUrl":67,"material":48,"size":49,"collection":50,"collections":68,"showCount":69,"zanCount":53,"manualWeight":11,"mainColor":54},225986,"monets-garden-at-ve-theuil-1880-mo-nai-225986","Monets garden at Vétheuil, 1880","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。",[23,62,29,63,64,65,38,7,66],"印象派","向日葵","孩童","石板小径","色彩光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c14ba8e6d7e50451e91fa0a91c9e1d.jpg",[50],28,{"id":71,"slug":72,"title":73,"dynasty":18,"author":19,"museum":20,"description":21,"tags":74,"thumbUrl":10,"material":48,"size":49,"collection":50,"collections":89,"showCount":90,"zanCount":11,"manualWeight":11,"mainColor":91},225855,"the-white-orchard-april-fan-gao-225855","The white orchard (April - 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1886",[23,62,116,28,117,118,119,33,120,121,77,98,122,7,46,123,124,125],"光影","郁金香","花田","风车","天空","白云","自然风景","蓝天白云","红屋顶","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3720d8460e6adc62c9495b42499f397.jpg",[50],11,{"id":130,"slug":131,"title":132,"dynasty":133,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":151,"material":152,"size":153,"collection":152,"collections":154,"showCount":155,"zanCount":11,"manualWeight":11,"mainColor":91},223186,"geng-zhi-tu-ce-jiao-bing-zhen-223186","耕织图册","清","焦秉贞","北京故宫博物院","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[138,139,140,28,141,142,143,144,33,32,42,145,146,7,147,148,149,150],"国画","书画","工笔","中西合璧","清代","人物","农具","农作场景","工笔画法","设色景物","农作","田园景物","西洋透视","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4baad1cba38968e4bc4d7bb8cc8f7911.jpg","","34.7cm×27.7cm",[],4,{"id":157,"slug":158,"title":159,"dynasty":18,"author":160,"museum":20,"description":161,"tags":162,"thumbUrl":167,"material":48,"size":49,"collection":152,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":91},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。",[23,163,7,77,164,143,165,166],"写实风格","干草堆","阅读","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6ed10bab49e8275b1b12eb7c4a5bd6.jpg",[],2,{"id":171,"slug":172,"title":173,"dynasty":18,"author":174,"museum":20,"description":175,"tags":176,"thumbUrl":189,"material":48,"size":49,"collection":152,"collections":190,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":54},232119,"de-jia-61-de-jia-232119","德加61","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。",[23,62,77,177,178,30,120,179,180,181,125,182,37,7,183,184,185,186,187,188],"小路","山丘","植被","土路","山坡","近景","色彩柔和","光影表现","蜿蜒小径","起伏地形","植被覆盖","黄昏色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0949e5b0f6254a4e39f02ae0cb9241fd.jpg",[],{"id":192,"slug":193,"title":194,"dynasty":133,"author":195,"museum":196,"description":197,"tags":198,"thumbUrl":213,"material":214,"size":152,"collection":152,"collections":215,"showCount":53,"zanCount":11,"manualWeight":11,"mainColor":54},215623,"yu-zhi-geng-zhi-tu-25-kang-xi-215623","御制耕织图-25","康熙","哈佛艺术博物馆","白描线条细腻勾勒农耕图景，左幅田埂旁树影参差，农人扶犁驱牛，新泥翻卷间漫溢春的生机；右幅耕者与牛缓步田畴，远山隐现，阡陌纵横，尽显田园静美。题字与插画相映成趣，墨色流转间藏着对农桑的珍视。作品以简淡之笔，将劳作的质朴与自然的意趣凝于纸上，既是笔墨艺术的精巧呈现，更是农耕文明的鲜活注脚，于无声中传递着对民生本真的深切观照，让观者在纤毫间触摸到古老农耕的温度与厚重。",[199,138,139,200,140,201,202,203,204,205,143,206,144,32,207,33,208,209,210,211,7,212],"高清","白描","木刻","线描","传统技法","清代风格","牛","水田","蓑衣","田埂","农耕场景","乡村景物","劳作场景","耕地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3bb90883424d005384c7333ffac334.jpg","水墨",[],1777535736184]