[{"data":1,"prerenderedAt":1097},["ShallowReactive",2],{"subject-tian-yuan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},372,"tian-yuan","田园","田园画高清赏析","精选中国历代田园题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4221c5377343c933d18a4411b9f3d12.jpg",0,87,[14,52,71,96,113,135,153,165,188,223,238,257,282,297,312,326,341,356,372,392,402,413,430,439,458,469,483,497,510,524,536,546,556,571,582,597,608,617,627,637,648,660,671,685,693,704,715,727,733,745,756,763,771,789,799,810,816,825,831,837,845,852,859,866,874,883,895,907,917,928,937,947,956,964,972,985,992,999,1007,1015,1029,1041,1054,1063,1072,1079,1087],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":43,"material":44,"size":45,"collection":46,"collections":47,"showCount":49,"zanCount":50,"manualWeight":11,"mainColor":51},222209,"tao-hua-yuan-tu-quan-juan-chou-ying-222209","桃花源图全卷","明","仇英","美国波士顿博物馆","此大青绿山水《桃花源图》卷是明代画家仇英的作品。画作题材取自东晋诗人陶渊明所作《桃花源记》，描绘了文人理想中的隐居之乐，画卷大致可分为五个场景：发现桃源、桃源见闻、源中闲聊、桃源畅饮、离开桃源，卷前有清乾隆两处御题。此卷现藏于美国波士顿美术馆。\n桃源文化悠久绵长，不仅唐宋元时期都有相关诗文创作，而且李昭道、荆浩、关仝、郭熙、李唐、马和之、赵伯驹、伯骕、刘松年、赵孟頫、钱选、王蒙等人也都有桃源图流传，内容形式不尽相同，而且大部分已经遗失。至明代，桃源图再次流行兴盛，究其原因除了政治动荡引起的避世心理，主要是源于明人对自我觉醒和精神超越的思考与追问。\n存世的约三十六幅桃源图中有十余幅出自仇英之手，文征明之子文嘉的《钤山堂书画记》也证实了明代桃源题材绘画风潮确实肇始于仇英。这幅画卷以武陵渔夫的行踪为主线，贯穿全篇，画中绘有四十多个人物，他们形态各异、表情丰富，惟妙惟肖。其中有划船的渔夫、打柴的樵夫、扛锄的农夫、聊天的村民，每个人都快乐地做着自己的事情，怡然自得，展现出田园生活的无限乐趣。画中山水和人物完美结合，浑然一体，营造出景致优美、悠闲自得的人间仙境。\n第一段：由卷首至山洞口。起首处双松乔立，河流两岸，桃花落英缤纷，崇山连绵起伏，白云冉冉升起，河流尽头处，为岸边的一处洞穴，洞前停一舟，洞中见一人，即为武陵渔夫。\n第二段：山洞口之后到山顶凉亭。过此洞仍见一水流，水上有一艘捕鱼的小舟，画面到这里突然变得开阔敞亮了，这里土地平坦开阔，河岸上，稻田、人物往来其间，远山白云横锁缭绕。\n第三段：山顶凉亭之后到双层大宅院之前。在山林密荫处，可以看到这位外来的武陵渔夫与村中人会面、村人闻讯前来的情景。\n第四段：一双层大宅院到宴客所。其间可见乡人愉悦地往来于路途，男女的穿戴完全像桃花源以外的世人。老人和小孩都悠闲愉快，自得其乐的样子。\n第五段：宴客所之后到卷尾。画山石密林，崇山溪涧，武陵渔夫独自眺望。\n己未岁题赵伯驹桃源图，有云山春霭钞锣溪之句。越四十年，己亥题仇英桃源图，复用钞锣溪字，因失记数典以询内廷翰臣，自于敏中以下竟无知此事者。检之十余年，迄莫能得。每往来胸次，顷几暇偶阅旧刻元人所编陶靖节集《桃花源记》汤汉注中，始知本于桃源经，恍如重入仙源，顿逢旧迹，亦一快事。且知学问之道无穷尽也。仇英此卷即蓝本伯驹，笔意超秀，颇能神似，洵为合作，即书卷短，以识赏遇。（戊申小春御笔）\n锣溪接武陵源，峡口通人宛见村。望去陌阡鸡犬富，迎来老幼笑言温，传神别致超凡品。避世高情足静论，粉本问从谁所得，伯驹真迹石渠存。（已亥暮春御題）",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,7,42],"高清","名画","国画","书画","长卷","青绿","设色","工笔","皴法","印章","山水","桃花","人物","楼阁","小桥","流水","孤舟","亭","树木","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda1313fc94acb487839607902fcd9974.jpg","纸本重彩","33.0cm 472cm","山水画精选",[46,48],"设色画精选",5479,37,"795548",{"id":53,"slug":54,"title":55,"dynasty":56,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":64,"material":65,"size":66,"collection":67,"collections":68,"showCount":69,"zanCount":70,"manualWeight":11,"mainColor":51},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","宋","李唐","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,24,25,26,27,61,29,31,33,35,36,37,38,41,40,7,62,63],"水墨","房屋","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4","人物画精选",[67],1013,9,{"id":72,"slug":73,"title":74,"dynasty":75,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":91,"material":92,"size":93,"collection":93,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":51},221146,"wang-chuan-tu-juan-wang-wei-221146","辋川图卷","唐","王维","美国西雅图美术馆","《辋川图》是唐代王维所作的单幅壁画，原作已无存，现只有历代临摹本存世。\n《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[24,25,80,81,82,27,83,84,33,85,38,86,35,87,88,89,7,90],"壁画","临摹","拓本","山水画","文人画","亭台楼榭","舟楫","饮酒","弈棋","投壶","意态萧然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87ac5cea2dc5878a9ef466c907a570d5.jpg","纸本","",[],134,{"id":97,"slug":98,"title":99,"dynasty":18,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":106,"material":107,"size":108,"collection":93,"collections":109,"showCount":110,"zanCount":111,"manualWeight":11,"mainColor":112},220024,"dong-zhuang-tu-ce-zhi-geng-xi-xuan-shen-zhou-220024","东庄图册之耕息轩","沈周","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,25,26,104,61,29,31,33,35,41,105,7],"册","亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d01d708daaa61717394c3e4b577c01.jpg","纸本,设色","纵28.6厘米，横33厘米",[],92,1,"BDBDBD",{"id":114,"slug":115,"title":116,"dynasty":117,"author":118,"museum":119,"description":120,"tags":121,"thumbUrl":130,"material":131,"size":132,"collection":93,"collections":133,"showCount":134,"zanCount":111,"manualWeight":11,"mainColor":51},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段","清","徐扬","辽宁省博物馆","画面自灵岩山起，由山下的木渎镇东行，过横山，渡石湖，入姑苏城。再自荮门出阊门外，转入山塘街，至虎丘山止。作者自西向东，由乡入城，重点描绘了一村（山前）、一镇（苏州）、一街（山塘）的景物，画笔所至，连锦数十里内的湖光山色、水乡田园、村镇城池、社会风情跃然纸上。明清时期的苏州是江南著名的大都会，但可能是由于城区内的狭小和管理问题，当时苏州最发达的商贸中心并不在城内，而是阊门城外至枫桥镇的那一段地区。\n《姑苏繁华图》将阊门作为重点加以描绘，并将这部分景致安排于图卷接近尾声的高潮位置。粗略计算，全幅画有各色人物1.2万余人，各色房屋建筑约2140余栋，各种桥梁50余座，大小官船、货船、客船、杂货船、画舫以及竹筏等近400多条，各种商号招牌200余块，涵盖了珠宝、鞋帽、凉席、乐器、盆景和丝绸等50多个手工行业。除了经营本地土产，店铺里所经营的更多是来自外地的名产，有些甚至来自国外，真是“山海所产之珍奇，国外所通之货贝，四方往来，千里之商贾，骈肩辐辏”。完整地表现了古城苏州市井风貌。",[23,24,25,27,29,30,33,7,122,123,124,36,37,38,125,126,35,127,41,128,129],"村镇","城池","古建","船舶","商铺","市井","山石","市集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg","设色 纸本","全长1225厘米，宽35.8厘米",[],90,{"id":136,"slug":137,"title":138,"dynasty":117,"author":139,"museum":140,"description":141,"tags":142,"thumbUrl":148,"material":93,"size":149,"collection":46,"collections":150,"showCount":151,"zanCount":152,"manualWeight":11,"mainColor":112},223170,"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","焦秉贞","北京故宫博物院","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[24,25,26,104,29,30,143,35,144,145,41,38,146,7,147],"清代","牛","农田","农耕","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[46,67,48],88,4,{"id":154,"slug":155,"title":156,"dynasty":117,"author":118,"museum":119,"description":120,"tags":157,"thumbUrl":162,"material":131,"size":132,"collection":93,"collections":163,"showCount":151,"zanCount":164,"manualWeight":11,"mainColor":51},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,24,25,27,30,29,35,36,37,38,158,126,123,7,33,127,159,160,161,129],"船只","民居","古街","码头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],2,{"id":166,"slug":167,"title":168,"dynasty":169,"author":170,"museum":171,"description":172,"tags":173,"thumbUrl":183,"material":92,"size":184,"collection":185,"collections":186,"showCount":187,"zanCount":164,"manualWeight":11,"mainColor":112},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞","元","赵孟頫","上海博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,26,174,27,175,176,177,178,179,180,181,182,7],"书法","行书","孤松","舟","松","菊","云","鸟","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米","书法精选",[185],76,{"id":189,"slug":190,"title":191,"dynasty":192,"author":193,"museum":194,"description":195,"tags":196,"thumbUrl":217,"material":218,"size":219,"collection":220,"collections":221,"showCount":222,"zanCount":111,"manualWeight":11,"mainColor":51},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。",[197,198,199,200,201,29,202,203,204,41,62,205,206,207,208,63,209,210,211,7,212,213,214,215,216],"油画","后印象派","厚涂","笔触","色彩","花园","草地","花卉","栅栏","绿植","户外","自然景观","白花","红花","蓝花","植物","花丛","绿色调","田园风光","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51956f5c386825806a76df15e92eff54.jpg","未知","Xcm*Xcm","油画精选",[220],68,{"id":224,"slug":225,"title":226,"dynasty":117,"author":227,"museum":140,"description":228,"tags":229,"thumbUrl":233,"material":234,"size":235,"collection":46,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":51},218383,"han-jiang-sheng-lan-tu-yuan-yao-218383","邗江胜览图","袁耀","这是一幅纪实性的作品，属袁耀早期作品。在清代中期，扬州作为江南地区的交通枢纽和商业重镇，其繁华发达称冠一时，同时也是当时的文化艺术中心之一。画家采用俯视的角度，将古扬州城北郊的景物尽收眼底。画面中扬州城为群山河流环绕，近景、中景、远景层层展现，气势宏大。袁耀素以描绘富丽堂皇的宫室楼阁著称，在这幅纪实作品中，却表现出了一种朴素的风貌。但用笔技巧绝无松懈，每一处细节都刻画入微，房屋、树木、舟船、桥梁、人物、车马等具体逼真，情趣生动。",[23,25,26,230,29,30,33,36,41,231,232,158,7],"界画","河流","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","绢本,设色","纵165.2厘米，横262.8厘米",[46],65,{"id":239,"slug":240,"title":241,"dynasty":18,"author":242,"museum":194,"description":243,"tags":244,"thumbUrl":252,"material":253,"size":254,"collection":185,"collections":255,"showCount":256,"zanCount":111,"manualWeight":11,"mainColor":112},220966,"tao-yuan-ming-yin-jiu-shi-si-shou-juan-dong-qi-chang-220966","陶渊明饮酒诗四首卷","董其昌","陶渊明对于后世书法家的影响不可谓不深远。明代的书陶者以“吴中三家”祝允明、文徵明、王宠的成就为最高，但在现存的针对“吴中三家”的研究文献中，对于王宠的研究为最少，论及陶渊明于王宠之影响者更少。在笔者看来，王宠书法承祝、文二家而自出机杼，书法中的禅趣古意实则为三家中最高者，实则获陶渊明之精髓。而随后的董其昌更是在理论的高度吸收了陶渊明的思想，提倡平淡率真的书法品格，对后世产生了巨大影响。但以往对董其昌与陶渊明关系的分析又多浮于表面，多数仅就意象、风格之相似或文辞用典的使用做文章。笔者旨在通过考查王宠、董其昌二人的书法、书论，来进一步阐述陶渊明对于中国文化的巨大影响。",[23,174,175,27,179,182,181,178,245,246,247,248,249,250,7,251],"草","霜","日夕","杯","林","酒","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa855cec2eb1d059b8471f7fba71c89f4.jpg","行草","25x269厘米",[185],60,{"id":258,"slug":259,"title":260,"dynasty":56,"author":261,"museum":262,"description":263,"tags":264,"thumbUrl":277,"material":234,"size":278,"collection":279,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":51},219014,"mu-niu-tu-yi-ming-219014","牧牛图","佚名","台北故宫博物院","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,25,26,61,29,30,27,144,265,266,41,203,128,37,267,33,268,31,7,269,270,271,272,273,274,275,276,251],"兽","牧童","溪流","淡墨","野趣","平远构图","草木","坡岸","小径","幼兽","动态","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3","宋画精选",[279],52,{"id":283,"slug":284,"title":285,"dynasty":75,"author":286,"museum":287,"description":288,"tags":289,"thumbUrl":293,"material":234,"size":294,"collection":67,"collections":295,"showCount":296,"zanCount":11,"manualWeight":11,"mainColor":51},218364,"mu-tong-tu-dai-song-218364","牧童图","戴嵩","大英博物馆","它描绘了一头牛和一个人，牛很强壮，头很高，用蹄子向前走，男孩拿着一根树枝，骑在牛身上，斜着眼睛向左看，显然是被有趣的东西吸引了。",[24,25,26,61,29,35,144,290,174,32,291,292,7],"枯树","唐代风格","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0be78322a9eb453ec712a0ab48718e7.jpg","26.40x23",[67],43,{"id":298,"slug":299,"title":300,"dynasty":117,"author":301,"museum":302,"description":303,"tags":304,"thumbUrl":309,"material":61,"size":93,"collection":46,"collections":310,"showCount":311,"zanCount":11,"manualWeight":11,"mainColor":51},215647,"yu-zhi-geng-zhi-tu-kang-xi-215647","御制耕织图","康熙","哈佛艺术博物馆","画面分帧铺展耕织图景，左帧河畔竹架悬桶，农人躬身引泉入田，溪流潺潺绕岸，树影婆娑覆径，尽显水乡农作的静谧韵致；右帧阡陌间耕者俯身劳作，小径上二人低语，远处田埂延绵，草木葱茏。以细腻白描勾勒人物情态与田园景致，写实中藏温婉意趣。笔墨凝注农桑日常的质朴细节，既显农人之勤苦，亦含对稼穑民生的深切关切。每一道线条都似在诉说土地与民生相依的厚重，让观者触摸到农耕生活里土地的温度、劳作的质感，以及那份对民生根本的珍视与叩问。",[24,25,104,305,174,35,38,41,7,306,273,146,307,308],"白描","田埂","农作","民生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09ce01c004b9fb45e00d5c4f46f7b72.jpg",[46],40,{"id":313,"slug":314,"title":138,"dynasty":117,"author":315,"museum":194,"description":316,"tags":317,"thumbUrl":323,"material":93,"size":93,"collection":67,"collections":324,"showCount":325,"zanCount":11,"manualWeight":11,"mainColor":112},238432,"geng-zhi-tu-ce-mian-yi-238432","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。\n乾隆廿九年八月十五日生。生母索绰罗氏，即左都御史观保之女。绵亿聪慧机敏，文静内敛，又熟读经史，擅长书法，乾隆帝十分欣赏，遂亲命绵亿在尚书房读书。加上永琪英年早逝，而其六子中仅绵亿一人能长成，故乾隆特别疼惜自幼失去父亲的他。绵亿于乾隆四十九年，封贝勒。\n嘉庆四年（1799年），晋荣郡王，嘉庆帝对这位只小自己几岁的侄子倒也十分照顾。话虽如此，但在嘉庆十一年（1806年），绵亿为两子取名时私用金字偏旁被嘉庆帝斥责，更以“不似近支，自同疏远”为由，命绵亿退出乾清门并在外廷当差，也革除他领侍卫内大臣、管园大臣等职务。及后绵亿替两子更名为糸字偏旁，加上嘉庆十八年的癸酉之变，绵亿眼看有些王公们毫不在乎的样子，就正色道：“皇上是吾辈何人。即使以亲谊论，也应当代上分忧，况万乘之尊乎。”绵亿遂恳请嘉庆帝速还京师，以稳定人心。其英勇刚直得嘉庆赞赏，刮目相看，官职不但一阵子就恢复了，还倍受嘉庆帝的宠爱与重用。皇帝自此常说道：“朕侄辈惟绵亿有骨肉情也”。嘉庆二十年三月五日，与父亲一样体弱的绵亿病逝，终年五十一岁，谥曰“恪”。",[25,29,30,104,35,62,41,318,319,320,321,159,32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风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[23,25,26,27,30,305,35,144,349,7,350,174,32,175],"马","耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","绢本","27.2 x 101.5",[],32,{"id":357,"slug":358,"title":359,"dynasty":192,"author":193,"museum":194,"description":195,"tags":360,"thumbUrl":369,"material":218,"size":219,"collection":220,"collections":370,"showCount":371,"zanCount":111,"manualWeight":11,"mainColor":51},225722,"boerendorp-in-de-avond1884-fan-gao-225722","Boerendorp in de avond1884",[197,361,362,363,364,41,365,35,366,367,368,208,7],"写实","乡村","农舍","茅草屋顶","田野","黄昏","干草堆","傍晚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817d2b11651cbf2f2bbb290d49ca5c3f.jpg",[220],31,{"id":373,"slug":374,"title":375,"dynasty":376,"author":377,"museum":378,"description":379,"tags":380,"thumbUrl":390,"material":93,"size":93,"collection":93,"collections":391,"showCount":371,"zanCount":11,"manualWeight":11,"mainColor":112},220557,"cun-ge-xu-bei-hong-220557","村歌","民国","徐悲鸿","中央美术学院美术馆","这幅画作以写意笔墨勾勒乡野童趣，壮硕水牛低首拽绳，墨色浓淡晕出皮毛的厚重肌理，犄角弯劲尽显憨倔神态。顽童扑卧浅草，手脚舒展，粉衫素裙晕染出稚拙灵动，与水牛的沉浑形成生动反差。\n\n远景以淡墨轻扫烟霭朦胧的水泽汀洲，浅赭点染滩涂，将江南水乡的柔婉晕染开来。画面未作刻意雕琢，却把乡野间的松弛鲜活尽数铺陈，牧童嬉牛的日常瞬间，化作治愈悠然的田园牧歌，藏着最动人的乡土温情。",[25,61,29,381,144,382,383,384,7,385,386,387,388,389],"写意","孩童","乡野","水乡","童趣","治愈","浅草","滩涂","水泽汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f712e167bdddfd3099adcb0285d20e3.jpg",[],{"id":393,"slug":394,"title":395,"dynasty":56,"author":396,"museum":194,"description":397,"tags":398,"thumbUrl":399,"material":218,"size":219,"collection":93,"collections":400,"showCount":401,"zanCount":111,"manualWeight":11,"mainColor":112},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","马和之","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,24,25,26,27,305,29,174,35,33,41,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],29,{"id":403,"slug":404,"title":405,"dynasty":117,"author":139,"museum":194,"description":406,"tags":407,"thumbUrl":410,"material":218,"size":219,"collection":93,"collections":411,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":112},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[408,25,26,29,30,33,35,41,62,409,273,7],"扇面","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],26,{"id":414,"slug":415,"title":416,"dynasty":192,"author":417,"museum":194,"description":418,"tags":419,"thumbUrl":427,"material":218,"size":219,"collection":220,"collections":428,"showCount":429,"zanCount":11,"manualWeight":11,"mainColor":112},225942,"haystacks-in-the-sunlight-midday-1890-mo-nai-225942","Haystacks in the Sunlight, Midday, 1890","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。",[420,197,421,422,29,367,365,41,423,424,425,203,426,207,7],"印象派","点彩","光影","远山","阳光","影子","自然风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f9f843795f535a24dbb0c3700c5fc2.jpg",[220],25,{"id":431,"slug":432,"title":433,"dynasty":192,"author":193,"museum":194,"description":195,"tags":434,"thumbUrl":436,"material":218,"size":219,"collection":220,"collections":437,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":51},225749,"garden-at-arles-july-1888-fan-gao-225749","Garden at Arles July 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Flowering 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