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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,26,28,27,109,30,31,34,495,7,68,65,496],"水面","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[],179,{"id":503,"slug":504,"title":505,"dynasty":104,"author":219,"museum":106,"description":220,"tags":506,"thumbUrl":510,"material":231,"size":232,"collection":74,"collections":511,"showCount":512,"zanCount":54,"manualWeight":54,"mainColor":78},230111,"hong-lou-meng-1-20-sun-wen-230111","红楼梦（1-20）",[24,63,26,27,28,30,31,32,241,34,7,68,507,508,509],"门窗","古装","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a76bf1b00182a9d964a3d3a1dfb55de.jpg",[],172,{"id":514,"slug":515,"title":516,"dynasty":104,"author":517,"museum":180,"description":518,"tags":519,"thumbUrl":526,"material":210,"size":211,"collection":74,"collections":527,"showCount":528,"zanCount":343,"manualWeight":54,"mainColor":55},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,203,27,26,28,30,31,7,520,471,521,522,523,524,525],"雪山","梅","雪景","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":530,"slug":531,"title":532,"dynasty":361,"author":362,"museum":180,"description":533,"tags":534,"thumbUrl":535,"material":74,"size":74,"collection":74,"collections":536,"showCount":528,"zanCount":537,"manualWeight":54,"mainColor":55},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,24,63,203,27,26,30,64,90,206,34,65,7,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],8,{"id":539,"slug":540,"title":140,"dynasty":120,"author":141,"museum":60,"description":541,"tags":542,"thumbUrl":543,"material":231,"size":544,"collection":172,"collections":545,"showCount":546,"zanCount":11,"manualWeight":54,"mainColor":55},221331,"wen-hui-tu-zhao-ji-221331","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[23,24,125,63,26,27,30,34,353,70,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[172,112,51],170,{"id":548,"slug":549,"title":550,"dynasty":120,"author":277,"museum":60,"description":551,"tags":552,"thumbUrl":556,"material":47,"size":74,"collection":172,"collections":557,"showCount":558,"zanCount":285,"manualWeight":54,"mainColor":55},220204,"bo-gu-tu-yi-ming-220204","博古图","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,63,27,26,30,187,443,521,553,70,7,253,91,353,554,555,380],"古物","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[172,49],164,{"id":560,"slug":561,"title":373,"dynasty":18,"author":19,"museum":60,"description":562,"tags":563,"thumbUrl":567,"material":47,"size":568,"collection":49,"collections":569,"showCount":570,"zanCount":343,"manualWeight":54,"mainColor":55},218222,"ying-xi-tu-chou-ying-218222","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[24,63,26,27,30,253,442,472,7,564,565,566],"玩耍","传统绘画","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[49],157,{"id":572,"slug":573,"title":574,"dynasty":104,"author":277,"museum":162,"description":493,"tags":575,"thumbUrl":576,"material":498,"size":499,"collection":74,"collections":577,"showCount":578,"zanCount":54,"manualWeight":54,"mainColor":78},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167","雍正十二月行乐图",[24,63,390,27,26,109,31,32,33,128,30,34,335,65,350,404,68,430,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":580,"slug":581,"title":582,"dynasty":18,"author":19,"museum":162,"description":583,"tags":584,"thumbUrl":588,"material":498,"size":589,"collection":74,"collections":590,"showCount":591,"zanCount":11,"manualWeight":54,"mainColor":78},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,63,26,27,30,241,585,253,586,7,553,587],"器","侍女","品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg","每开纵41.4厘米，横33.8厘米",[],152,{"id":593,"slug":594,"title":595,"dynasty":104,"author":596,"museum":180,"description":597,"tags":598,"thumbUrl":602,"material":74,"size":74,"collection":74,"collections":603,"showCount":604,"zanCount":157,"manualWeight":54,"mainColor":55},229035,"yue-man-qing-you-tu-ce-chen-mei-229035","月曼清游图册","陈枚","此作工致细腻，庭院春梅如云盛放，元宵宫灯悬于枝梢檐下，晕开融融暖意。楼下女眷三两围聚，私语笑谈，情态温婉柔媚；楼上闺人凭窗远眺，共赏灯景。设色明妍柔丽，线条精细雅致，将深闺女子元宵嬉游的闲雅意趣尽数铺展，仕女的温婉仪容、娇柔神态刻画入微，带着院体画的精致考究，晕染出古典深闺的春日雅兴，尽显清代仕女画的典雅意韵。",[23,125,24,349,26,27,30,90,64,521,599,7,31,600,601],"宫灯","闲雅","仕女画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029ff8b8e58621845ff72b54766a782f.jpg",[],141,{"id":606,"slug":607,"title":608,"dynasty":18,"author":19,"museum":60,"description":609,"tags":610,"thumbUrl":611,"material":612,"size":613,"collection":49,"collections":614,"showCount":615,"zanCount":285,"manualWeight":54,"mainColor":78},219534,"qi-qiao-tu-chou-ying-219534","乞巧图","七夕又称为「乞巧节」、「女儿节」，最重要的习俗是妇女的乞巧活动。到七夕晚上，妇女们用彩线穿七孔针，在庭院中摆设香案，上有瓜果、鲜花、酒、针线等，向织女乞巧，在宋代还会摆上一种手捏的小泥人儿「磨喝乐」作为供奉神灵。这幅画的便是妇女乞巧的活动，星星高挂于天空，妇女群聚在庭院中，对着星空祭拜，衷心祈望自已能像织女般工巧，其中还有妇女对着星空穿针，\n全幅以白描为主，人物清雅，但用笔较为软弱无力，与仇英精致细腻的笔法大不相同，应非其所作。\n仇英（约一四九四－一五五二），江苏太仓人。字实父，号十洲。年轻时为漆工，后遇周臣赏识其才华，给予指导，而后成名。精工山水人物画，又善于临摹古画，几可乱真，作品具有院画之精丽而有士气。是明代四大画家之一。",[23,24,63,25,26,27,444,148,30,64,31,7,269,585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd953712315a9e475c8de8c4fb11fdb.jpg","纸本,水墨","27.9x388.3厘米",[49],136,{"id":617,"slug":618,"title":619,"dynasty":104,"author":277,"museum":180,"description":620,"tags":621,"thumbUrl":627,"material":210,"size":211,"collection":74,"collections":628,"showCount":629,"zanCount":54,"manualWeight":54,"mainColor":78},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,25,622,24,63,390,27,109,30,31,623,207,33,624,625,65,7,626,208,148],"缂丝","孤舟","亭榭","枯树","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":631,"slug":632,"title":633,"dynasty":104,"author":634,"museum":162,"description":635,"tags":636,"thumbUrl":637,"material":498,"size":638,"collection":49,"collections":639,"showCount":640,"zanCount":157,"manualWeight":54,"mainColor":55},234307,"li-chao-xian-hou-gu-shi-tu-ce-jiao-bing-zhen-234307","历朝贤后故事图册","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。",[125,24,63,349,26,27,28,30,64,31,128,34,294,109,7,585,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c34017010e0ed0cafb36850368bb3c4.jpg","纵30.8厘米，横37.4厘米",[49,51],134,{"id":642,"slug":643,"title":492,"dynasty":104,"author":277,"museum":162,"description":493,"tags":644,"thumbUrl":646,"material":498,"size":499,"collection":74,"collections":647,"showCount":648,"zanCount":54,"manualWeight":54,"mainColor":55},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[24,27,26,28,109,30,31,7,645,65,128,33,34,430,130],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":650,"slug":651,"title":652,"dynasty":104,"author":653,"museum":266,"description":654,"tags":655,"thumbUrl":657,"material":257,"size":658,"collection":74,"collections":659,"showCount":648,"zanCount":343,"manualWeight":54,"mainColor":78},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6","石涛","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,24,126,127,349,109,31,442,65,130,482,656,39,625,7,431],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg","20.3x27.5cm",[],{"id":661,"slug":662,"title":663,"dynasty":104,"author":517,"museum":60,"description":664,"tags":665,"thumbUrl":668,"material":170,"size":669,"collection":112,"collections":670,"showCount":671,"zanCount":54,"manualWeight":54,"mainColor":55},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","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",[23,24,26,27,109,31,33,65,34,666,30,7,667,147],"竹林","行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[112,51],130,{"id":673,"slug":674,"title":492,"dynasty":104,"author":277,"museum":162,"description":493,"tags":675,"thumbUrl":679,"material":498,"size":499,"collection":74,"collections":680,"showCount":681,"zanCount":54,"manualWeight":54,"mainColor":55},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[125,24,63,203,26,27,28,109,31,128,676,33,677,645,34,30,7,482,678],"廊","湖石","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],119,{"id":683,"slug":684,"title":685,"dynasty":104,"author":686,"museum":180,"description":687,"tags":688,"thumbUrl":689,"material":74,"size":74,"collection":49,"collections":690,"showCount":681,"zanCount":343,"manualWeight":54,"mainColor":78},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。",[23,26,27,28,30,64,31,442,585,7,68,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[49,51],{"id":692,"slug":693,"title":694,"dynasty":18,"author":19,"museum":180,"descr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"manualWeight":54,"mainColor":55},222874,"bai-zi-tu-leng-mei-222874","百子图","冷枚","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,26,27,25,30,128,31,404,335,783,34,68,7,784,785,39,786],"舟","荷叶","儿童","桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[49],104,{"id":793,"slug":794,"title":795,"dynasty":120,"author":796,"museum":60,"description":797,"tags":798,"thumbUrl":801,"material":47,"size":802,"collection":172,"collections":803,"showCount":804,"zanCount":54,"manualWeight":54,"mainColor":55},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","李嵩","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,125,24,799,28,27,30,31,800,33,350,7],"扇面","廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[172],100,{"id":806,"slug":807,"title":808,"dynasty":752,"author":809,"museum":180,"description":810,"tags":811,"thumbUrl":812,"material":210,"size":211,"collection":74,"collections":813,"showCount":814,"zanCount":11,"manualWeight":54,"mainColor":55},290152,"xi-yuan-ya-ji-tu-zhao-meng-fu-290152","西园雅集图","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[125,24,203,27,30,128,322,626,148,7,65,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01d13b76618e140a15986919f4a5c225.jpg",[],98,{"id":816,"slug":817,"title":818,"dynasty":120,"author":819,"museum":60,"description":820,"tags":821,"thumbUrl":824,"material":74,"size":74,"collection":74,"collections":825,"showCount":814,"zanCount":11,"manualWeight":54,"mainColor":55},227693,"song-gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-shang-juan-zhao-gou-227693","宋高宗书女孝经马和之补图上卷","赵构","宋高宗书女孝经马和之补图上卷，台北故宫博物院藏。\n\n旧题为高宗书马和之绘，所谓高宗题字，较近于理宗（1225-1264在位），故宜易名为〈宋人书画女孝经〉",[23,377,822,25,823,27,30,7,34,39,148,709,208],"书画合璧","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdad394b67f242e6a179c502e1ccdc7b.jpg",[],{"id":827,"slug":828,"title":829,"dynasty":104,"author":830,"museum":162,"description":831,"tags":832,"thumbUrl":835,"material":170,"size":836,"collection":49,"collections":837,"showCount":838,"zanCount":54,"manualWeight":54,"mainColor":78},236148,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236148","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」。",[26,27,30,34,833,834,7,186],"草屋","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506aab7253e1dccbdeebb1a3e5f16af2.jpg","纵三二·二厘米 横四二·三厘米",[49,51],96,{"id":840,"slug":841,"title":842,"dynasty":104,"author":277,"museum":180,"description":843,"tags":844,"thumbUrl":845,"material":47,"size":846,"collection":49,"collections":847,"showCount":848,"zanCount":285,"manualWeight":54,"mainColor":55},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,24,27,26,28,30,64,31,521,585,206,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[49],94,{"id":850,"slug":851,"title":852,"dynasty":120,"author":796,"museum":180,"description":853,"tags":854,"thumbUrl":856,"material":210,"size":211,"collection":74,"collections":857,"showCount":858,"zanCount":54,"manualWeight":54,"mainColor":55},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[125,24,63,203,27,30,64,206,26,7,34,86,91,855,353],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":860,"slug":861,"title":862,"dynasty":104,"author":517,"museum":60,"description":664,"tags":863,"thumbUrl":868,"material":170,"size":669,"collection":112,"collections":869,"showCount":870,"zanCount":11,"manualWeight":54,"mainColor":78},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）",[23,24,26,27,864,865,30,31,7,109,34,866,867],"青绿山水","时令图","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg",[112,51],91,{"id":872,"slug":873,"title":874,"dynasty":18,"author":875,"museum":60,"description":876,"tags":877,"thumbUrl":883,"material":47,"size":884,"collection":112,"collections":885,"showCount":870,"zanCount":54,"manualWeight":54,"mainColor":55},214735,"ren-wu-zhou-guo-chun-214735","人物轴","郭纯","在水边的柳树下摆上一张桌子，客人和主人坐在一起交谈，手持羽毛扇，身穿纱笼。三个孩子，一个炖着茶和水，另一个拿着苍蝇刷，站在客人身后，与拿着饭盒的人交谈。山石皴法是元代盛懋风格，其工艺也不弱。建筑物的笔触偶尔会有失误",[24,63,203,126,27,109,30,26,878,350,32,7,190,34,879,880,881,882],"屋宇","人物活动","水墨设色","传统技法","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e11bebc6abc80b06f3d874186097f6b.jpg","110.8x62.1",[112],{"id":887,"slug":888,"title":808,"dynasty":18,"author":19,"museum":180,"description":889,"tags":890,"thumbUrl":896,"material":74,"size":74,"collection":74,"collections":897,"showCount":898,"zanCount":11,"manualWeight":54,"mainColor":55},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[23,24,125,63,27,26,30,109,187,241,7,891,70,892,893,894,895],"朱门","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],88,{"id":900,"slug":901,"title":902,"dynasty":104,"author":517,"museum":60,"description":664,"tags":903,"thumbUrl":905,"material":170,"size":669,"collection":112,"collections":906,"showCount":898,"zanCount":11,"manualWeight":54,"mainColor":55},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[23,24,27,26,28,30,31,7,65,34,39,904],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[112,51],{"id":908,"slug":909,"title":910,"dynasty":120,"author":911,"museum":912,"description":913,"tags":914,"thumbUrl":915,"material":47,"size":916,"collection":49,"collections":917,"showCount":918,"zanCount":343,"manualWeight":54,"mainColor":55},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","中兴瑞应图","萧照","天津博物馆","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,125,24,63,25,26,27,28,127,30,31,109,34,167,128,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[49],87,{"id":920,"slug":921,"title":922,"dynasty":104,"author":517,"museum":180,"description":923,"tags":924,"thumbUrl":931,"material":74,"size":74,"collection":74,"collections":932,"showCount":933,"zanCount":285,"manualWeight":54,"mainColor":78},230206,"yuan-ming-yuan-tong-ban-hua-lang-shi-ning-230206","圆明园铜版画","《圆明园铜版画》是清代郎世宁于1724年创作的纸本画，共2开。\n本幅无款印。\n清雍正二年（1724年）， 皇帝决定扩建康熙年间即已开始兴建的 。\n在雍正、乾隆两朝持续不断的大规模扩建中，通晓西洋建筑学的 曾与法国传教士 、 等一起参与园内著名的“西洋楼”的设计和工程督造，并有机会在较长的时间里住在这座东方名园内，为装饰殿堂画了多幅作品，其中既有欧洲风格的油画，也有以欧洲 在平面上表现深远效果的“线法画”。\n虽然郎世宁在圆明园的这些创作由于兵燹的劫难早已湮没无存，但从此册铜版组画中，我们仍然可以看到郎世宁等西洋宫廷画家在宫廷建筑绘画上的高超造诣与成就。\n这组完全西式的铜版组画也成为清代宫廷建筑绘画全新技法的代表作。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[925,26,28,926,31,927,151,34,65,928,39,7,929,68,930],"铜版画","中西合璧","喷泉","水池","雕塑","对称布局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f65b9eb8fabb63e8ae379edc225897.jpg",[],84,{"id":935,"slug":936,"title":937,"dynasty":18,"author":200,"museum":60,"description":938,"tags":939,"thumbUrl":941,"material":612,"size":942,"collection":49,"collections":943,"showCount":933,"zanCount":343,"manualWeight":54,"mainColor":78},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[23,24,63,203,27,26,30,64,442,254,7,940,208,152],"团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[49,51],{"id":945,"slug":946,"title":947,"dynasty":120,"author":277,"museum":180,"description":948,"tags":949,"thumbUrl":950,"material":47,"size":74,"collection":172,"collections":951,"showCount":952,"zanCount":54,"manualWeight":54,"mainColor":55},218582,"gong-yuan-tu-yi-ming-218582","宫苑图","飞檐翘角隐于松柳荫翳间，回廊曲折勾连亭榭深院。素衣宫人缓步庭阶，衣袂轻扬似携春风漫行。古绢底色晕染时光温润，笔墨细腻勾勒宋式雅致：柳枝垂丝如梳，松针攒簇似绣，格子窗棂映出廊下幽影，石畔苔痕晕开清寂氛围。构图疏密得宜，动静相谐——建筑的规整与草木的生机相映，人物的闲步与庭院的静谧相融，将宫苑深处的雍容闲寂悄然铺展，如一卷慢启的宋时清梦，每一处细节都藏着时光沉淀的温婉与考究。",[125,24,63,28,27,30,31,128,34,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb239ee50763d90f5622390b38b842e66.jpg",[172],83,{"id":954,"slug":955,"title":373,"dynasty":752,"author":956,"museum":20,"description":957,"tags":958,"thumbUrl":961,"material":47,"size":962,"collection":49,"collections":963,"showCount":952,"zanCount":54,"manualWeight":54,"mainColor":55},218312,"ying-xi-tu-han-cheng-218312","韩晟","这幅画描绘了一个农场，许多孩子在玩耍，四个孩子在玩滑梯，一个亭子在下棋和读书，院子里有一个骑士和一只蚂蚱。嬉戏打闹，无可否认地表达了孩子们的活泼、快乐、童真和美丽的外表。",[24,63,27,26,28,30,253,31,128,7,34,280,145,959,960],"玩具","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189fe2b51b76e3feedecd63c68921ed.jpg","139.4x76.2",[49],{"id":965,"slug":966,"title":967,"dynasty":18,"author":179,"museum":180,"description":181,"tags":968,"thumbUrl":972,"material":47,"size":973,"collection":49,"collections":974,"showCount":952,"zanCount":285,"manualWeight":54,"mainColor":55},216372,"ri-ben-chang-hen-ge-tu-juan-shang-juan-shou-ye-shan-xue-216372","日本· 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山谷道人黄庭坚。",[23,63,148,25,444,1119,1120,7,1121,1122,1123,352,128,1124,1125,1126,1127,1128],"梨花","蜂","雪","月","春","燕","水","风","香","影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9aa84b78c39a13f5b32c23ac63de5b.jpg","行楷，碑帖拓本","29X272cm","书法精选",[1132],{"id":1135,"slug":1136,"title":1137,"dynasty":18,"author":1138,"museum":180,"description":1139,"tags":1140,"thumbUrl":1145,"material":210,"size":211,"collection":74,"collections":1146,"showCount":1147,"zanCount":54,"manualWeight":54,"mainColor":78},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[125,24,63,203,27,26,30,241,1141,1142,33,255,1143,1144,7],"蕉叶","怪石","茶具","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],73,{"id":1149,"slug":1150,"title":1151,"dynasty":18,"author":1152,"museum":162,"description":1153,"tags":1154,"thumbUrl":1159,"material":74,"size":74,"collection":74,"collections":1160,"showCount":1147,"zanCount":11,"manualWeight":54,"mainColor":78},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","沈周","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[24,1155,27,1156,127,203,109,442,1157,1158,30,33,254,7,482,757],"水墨画","文人画","桂花","书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],{"id":1162,"slug":1163,"title":1164,"dynasty":104,"author":277,"museum":180,"description":1165,"tags":1166,"thumbUrl":1168,"material":74,"size":74,"collection":74,"collections":1169,"showCount":1147,"zanCount":54,"manualWeight":54,"mainColor":55},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,125,203,26,27,28,109,31,30,522,7,34,166,130,1167],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":1171,"slug":1172,"title":1173,"dynasty":120,"author":374,"museum":180,"description":1174,"tags":1175,"thumbUrl":1179,"material":210,"size":211,"collection":74,"collections":1180,"showCount":1181,"zanCount":285,"manualWeight":54,"mainColor":55},289337,"song-ren-ying-xi-tu-su-han-chen-289337","宋人婴戏图","细审画中人物五官、发型、服饰，率皆钩染细腻，神情毕具，然配景花树、湖石苔点，失之刻镂，画法已近明人习气。 饶有苏汉臣一派“著色鲜润、体度如生”的意趣。惟配景花树，失之刻镂、少自然，加以湖石上附加的苔点，画法已近乎明人习气。此图表现出儿童游戏轻松诙谐的一面。以是，推断此幅原应有所本，当属明代仿宋的佳作。",[24,26,27,30,1176,1177,1178,34,255,206,7],"婴戏","童趣","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbb027ec6f04ae9381a03904106a8b.jpg",[],71,{"id":1183,"slug":1184,"title":1185,"dynasty":18,"author":19,"museum":180,"description":1186,"tags":1187,"thumbUrl":1188,"material":74,"size":74,"collection":74,"collections":1189,"showCount":1181,"zanCount":54,"manualWeight":54,"mainColor":78},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,63,799,719,26,27,30,90,64,31,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],{"id":1191,"slug":1192,"title":1193,"dynasty":120,"author":277,"museum":291,"description":1194,"tags":1195,"thumbUrl":1199,"material":170,"size":1200,"collection":74,"collections":1201,"showCount":1202,"zanCount":343,"manualWeight":54,"mainColor":55},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,24,63,25,27,26,30,64,253,206,241,442,443,68,7,281,1196,1197,1198],"发饰","桌子","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],69,{"id":1204,"slug":1205,"title":1206,"dynasty":361,"author":1207,"museum":180,"description":1208,"tags":1209,"thumbUrl":1210,"material":210,"size":211,"collection":74,"collections":1211,"showCount":1212,"zanCount":54,"manualWeight":54,"mainColor":55},289114,"he-ting-ying-xi-tu-wang-qi-han-289114","荷亭婴戏图","王齐翰","王齐翰(公元10世纪)〔五代·南唐〕金陵(今江苏南京)人，生卒年不详。后主李煜朝(961-975)为宫廷翰林图画院待诏。工画人物、佛道宗教画，兼擅山水、花鸟，以画猿獐出名。好作山林丘壑，隐岩幽谷，无朝市风埃气，其画以笔法工细为特色〔南唐〕金陵（今南京）人。仕南唐李煜（九六一至九七五）在位为翰林待诏。画道释人物多思致，好作山林丘壑，隐岩幽卜。其画以笔法入细者胜，无一点朝市风尘气。开宝末商贾刘元嗣以高价售得齐翰画罗汉十六轴，载入京师，置于僧寺。后僧以过期拒赎与讼。时太宗尹京，督索其画，一见大加赏叹。遂留画厚赐而释之。阅十六日太宗即位，后名其画曰应运罗汉。画花鸟如生，人但以獐猨名。",[799,24,125,27,26,30,253,64,128,350,1176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878e5b0c706548439d7b3646b4762c85.jpg",[],68,{"id":1214,"slug":1215,"title":1216,"dynasty":1217,"author":1218,"museum":180,"description":1219,"tags":1220,"thumbUrl":1237,"material":210,"size":211,"collection":1238,"collections":1239,"showCount":1212,"zanCount":11,"manualWeight":54,"mainColor":55},225733,"daubigny-s-garden-june-fan-gao-225733","Daubigny's garden (June - )","不详","梵高","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。",[1221,1222,1223,1224,1225,27,1226,834,255,34,130,1227,1228,1229,308,7,1230,1231,1232,129,496,1233,1234,1235,1236],"油画","后印象派","厚涂","笔触","色彩","花园","栅栏","绿植","户外","白花","红花","蓝花","花丛","绿色调","田园风光","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51956f5c386825806a76df15e92eff54.jpg","油画精选",[1238],{"id":1241,"slug":1242,"title":1243,"dynasty":104,"author":517,"museum":60,"description":664,"tags":1244,"thumbUrl":1245,"material":170,"size":669,"collection":112,"collections":1246,"showCount":1212,"zanCount":11,"manualWeight":54,"mainColor":1247},222766,"shi-er-yue-ling-tu-7-yue-lang-shi-ning-222766","十二月令图（7月）",[23,26,27,28,30,31,109,34,128,7,555,68,482,656],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425083d660510da46b778f7c49814e14.jpg",[112,51],"FF9800",{"id":1249,"slug":1250,"title":249,"dynasty":18,"author":277,"museum":83,"description":1251,"tags":1252,"thumbUrl":1253,"material":47,"size":74,"collection":49,"collections":1254,"showCount":1255,"zanCount":11,"manualWeight":54,"mainColor":1256},218478,"sui-chao-tu-yi-ming-218478","庭院深深，松枝覆瓦，梅蕊缀枝，晕开岁朝的暖意。廊下阶前，人影错落：或凭栏低语，衣袂轻扬；或庭中嬉戏，笑靥隐现；或执伞徐行，步履从容。朱檐黛瓦间，花木扶疏，将新年的热闹藏进每一处细节。人物衣饰虽简，却见情态生动，或立或坐，或俯或仰，皆透着阖家团聚的温馨。\n\n整幅画以细腻笔触勾勒宅院格局，用含蓄色彩晕染节庆氛围，不见喧嚣却满是祥和，似能闻得笑语穿林，触到岁时流转的温柔。明代画风的写实与意趣在此交融，将寻常人家的新年光景，凝作一纸隽永的吉祥图卷。",[24,27,26,28,30,31,7,34,255,203,64,128],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7171fb6577a794a15f1f49797f21e776.jpg",[49],66,"37474F",{"id":1258,"slug":1259,"title":1260,"dynasty":120,"author":277,"museum":60,"description":1261,"tags":1262,"thumbUrl":1270,"material":231,"size":1271,"collection":74,"collections":1272,"showCount":77,"zanCount":54,"manualWeight":54,"mainColor":1256},223471,"xi-mao-tu-yi-ming-223471","戏猫图","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,24,125,27,26,1263,1022,66,585,1264,255,70,1265,7,353,1266,1267,1268,1269],"猫","牡丹","宠物","鸟笼","草木","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg","139.8x100.1cm",[],{"id":1274,"slug":1275,"title":1276,"dynasty":104,"author":517,"museum":60,"description":664,"tags":1277,"thumbUrl":1278,"material":170,"size":669,"collection":112,"collections":1279,"showCount":77,"zanCount":54,"manualWeight":54,"mainColor":995},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,125,24,26,27,28,109,31,30,7,65,34,521],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[112,51],{"id":1281,"slug":1282,"title":249,"dynasty":752,"author":277,"museum":60,"description":1283,"tags":1284,"thumbUrl":1285,"material":47,"size":1286,"collection":49,"collections":1287,"showCount":77,"zanCount":11,"manualWeight":54,"mainColor":55},214667,"sui-chao-tu-yi-ming-214667","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,27,26,109,30,31,625,7,130,128,207,65,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[49],{"id":1289,"slug":1290,"title":1291,"dynasty":752,"author":277,"museum":1292,"description":1293,"tags":1294,"thumbUrl":1295,"material":47,"size":1296,"collection":49,"collections":1297,"showCount":1298,"zanCount":11,"manualWeight":54,"mainColor":78},219584,"ting-yuan-chui-di-tu-yi-ming-219584","庭院吹笛图","耶鲁大学艺术博物馆","淡墨轻勾围栏，赭石晕染庭阶，古奇湖石倚立一旁，皴笔苍劲朴拙，带着幽古意态。仕女团髻簪花，罗裙垂曳覆地，静坐凝神，柔婉秀雅的身姿融于空寂庭院中。\n\n设色简淡古雅，沉郁绢色衬出静穆氛围，留白处漫着清寂闲淡，将深闺女子的幽怅藏于无声里。笔致工细却不繁缛，人物情态含蓄温婉，寥寥笔墨便将庭院幽闲意趣与仕女静柔风姿相融，古淡悠长的韵致漫开，把深闺的闲静怅惘晕在空庭里。",[24,63,27,30,64,206,223,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d0463155dcdec810230aaf5d57bc7c.jpg","纵25.4横23.5厘米",[49],62,{"id":1300,"slug":1301,"title":1302,"dynasty":18,"author":1303,"museum":60,"description":1304,"tags":1305,"thumbUrl":1309,"material":47,"size":1310,"collection":51,"collections":1311,"showCount":1298,"zanCount":54,"manualWeight":54,"mainColor":55},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[125,24,63,203,27,26,127,109,31,128,32,33,65,34,1306,7,1307,1308],"台榭","溪流","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[51],{"id":1313,"slug":1314,"title":492,"dynasty":104,"author":277,"museum":162,"description":493,"tags":1315,"thumbUrl":1318,"material":498,"size":499,"collection":74,"collections":1319,"showCount":1320,"zanCount":54,"manualWeight":54,"mainColor":55},236168,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236168",[24,26,27,28,127,109,31,30,241,65,33,207,7,39,34,430,1316,879,68,130,1317],"石桥","竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg",[],61,{"id":1322,"slug":1323,"title":1324,"dynasty":104,"author":219,"museum":106,"description":220,"tags":1325,"thumbUrl":1326,"material":231,"size":232,"collection":74,"collections":1327,"showCount":1320,"zanCount":11,"manualWeight":54,"mainColor":55},230108,"hong-lou-meng-189-sun-wen-230108","红楼梦189",[24,26,27,28,30,64,31,34,7,507,269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756da37c1938489cc2f2aab0645c8766.jpg",[],{"id":1329,"slug":1330,"title":1331,"dynasty":104,"author":1332,"museum":180,"description":1333,"tags":1334,"thumbUrl":1339,"material":74,"size":74,"collection":74,"collections":1340,"showCount":1320,"zanCount":54,"manualWeight":54,"mainColor":78},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","袁江","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,125,24,63,28,26,27,109,31,522,786,34,39,7,65,1335,1336,1337,1338,184,151],"长廊","古建","积雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":1342,"slug":1343,"title":1344,"dynasty":104,"author":517,"museum":60,"description":664,"tags":1345,"thumbUrl":1347,"material":170,"size":669,"collection":112,"collections":1348,"showCount":1320,"zanCount":54,"manualWeight":54,"mainColor":55},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,125,24,26,27,28,926,30,31,109,1346,34,7,130,294,68,65,1167,39,879],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[112,51],{"id":1350,"slug":1351,"title":1352,"dynasty":120,"author":374,"museum":180,"description":1353,"tags":1354,"thumbUrl":1356,"material":210,"size":211,"collection":74,"collections":1357,"showCount":1358,"zanCount":11,"manualWeight":54,"mainColor":55},287454,"qiu-ting-xi-ying-tu-su-han-chen-287454","秋庭戏婴图","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[23,24,125,26,27,30,1176,1355,223,7,70],"芙蓉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],59,{"id":1360,"slug":1361,"title":1362,"dynasty":104,"author":1363,"museum":162,"description":1364,"tags":1365,"thumbUrl":1366,"material":498,"size":1367,"collection":51,"collections":1368,"showCount":1358,"zanCount":54,"manualWeight":54,"mainColor":78},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","张廷彦","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[24,63,203,27,26,28,1077,30,31,34,7,1032,39,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[51],{"id":1370,"slug":1371,"title":1372,"dynasty":104,"author":219,"museum":106,"description":220,"tags":1373,"thumbUrl":1375,"material":231,"size":232,"collection":74,"collections":1376,"showCount":1358,"zanCount":54,"manualWeight":54,"mainColor":78},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[24,63,27,26,28,30,31,32,33,128,645,65,68,7,34,430,351,1374,1307],"圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":1378,"slug":1379,"title":1380,"dynasty":18,"author":19,"museum":162,"description":1381,"tags":1382,"thumbUrl":1383,"material":498,"size":1384,"collection":112,"collections":1385,"showCount":1358,"zanCount":343,"manualWeight":54,"mainColor":55},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,125,24,63,203,26,27,28,30,64,90,31,7,206,442,443],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[112,51],{"id":1387,"slug":1388,"title":1389,"dynasty":752,"author":277,"museum":1390,"description":1391,"tags":1392,"thumbUrl":1393,"material":47,"size":1394,"collection":49,"collections":1395,"showCount":1358,"zanCount":54,"manualWeight":54,"mainColor":55},218470,"xiao-xia-tu-yi-ming-218470","消夏图","苏州博物馆","松荫覆庭，廊榭半开，文人雅士或围案展卷细品，或执扇浅语，或侍立凝神。案上瓜果鲜妍，砚池墨香隐现，器物玲珑有致。笔墨细腻处，人物神态宛然，衣袂轻扬见风骨；庭院葱郁间，光影流转映清雅。燥热的夏日，被书卷的静气、友朋的闲谈悄悄消解，连风都带着几分慵懒的诗意。画面以细腻笔触勾勒人物情态，以温润色调晕染庭院生机，将元代文人闲适的雅趣与内心的澄明，凝在这一方消夏的天地里，尽显岁月沉淀的悠然与从容。",[24,125,63,27,26,30,7,34,353,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbfdb330eb5f30734846d33d935a8a6.jpg","24.5x15.7",[49],{"id":1397,"slug":1398,"title":1399,"dynasty":120,"author":277,"museum":180,"description":1400,"tags":1401,"thumbUrl":1403,"material":47,"size":1404,"collection":49,"collections":1405,"showCount":1358,"zanCount":343,"manualWeight":54,"mainColor":55},218449,"rui-ying-tu-yi-ming-218449","瑞应图","服饰、服装、建筑和家具都是典型的宋代制度。画风古朴，以绿色为背景，以树木和流云为组合，大量镀金和重彩绘制，都是五代初期和北宋时期的风格。",[24,125,27,28,26,30,31,32,34,65,39,1402,7],"祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cd80077892a3a20c59217572e0e60d9.jpg","35x56.5",[49],{"id":1407,"slug":1408,"title":1409,"dynasty":104,"author":277,"museum":162,"description":1410,"tags":1411,"thumbUrl":1413,"material":74,"size":1414,"collection":74,"collections":1415,"showCount":1416,"zanCount":54,"manualWeight":54,"mainColor":78},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,27,26,28,203,109,30,31,128,34,522,7,720,68,65,39,1337,667,1412],"宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954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，设色","纵384cm，横160.3cm",[49,51],53,{"id":1498,"slug":1499,"title":1500,"dynasty":104,"author":277,"museum":180,"description":1501,"tags":1502,"thumbUrl":1504,"material":210,"size":211,"collection":74,"collections":1505,"showCount":1506,"zanCount":54,"manualWeight":54,"mainColor":55},289741,"hua-yuan-hua-shi-er-yue-ling-tu-ba-yue-tu-zhou-yi-ming-289741","画院画十二月令图八月图轴","仲秋园池盛景跃然绢上，水岸亭台层叠错落，高阁凌水而建，文人雅士凭栏游赏，或把盏叙谈，或极目远眺，尽得清秋舒展意趣。下方庭院间，棕榈奇石点缀雅致园景，廊下有人对坐弈棋，仆从往来奔走备事，将官宦世家的闲适日常铺陈开来。\n\n水面澹澹漾开，远岸林木疏朗，暮色初升晕染天际，把八月的闲雅氛围揉入边角细节。全作工笔细腻，设色清隽雅致，将仲秋游园的松弛意趣藏在人物情态里，把园林精巧意趣与太平岁月的悠然融于一体，尽显古典雅致的世家闲情。",[24,203,27,26,28,30,31,128,33,34,421,7,65,1022,1503],"游乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcb28d920a01f8e8712b428cf940c7e.jpg",[],51,{"id":1508,"slug":1509,"title":779,"dynasty":120,"author":277,"museum":180,"description":1510,"tags":1511,"thumbUrl":1514,"material":210,"size":211,"collection":74,"collections":1515,"showCount":1516,"zanCount":285,"manualWeight":54,"mainColor":55},289984,"bai-zi-tu-yi-ming-289984","庭院间百童嬉游，百态尽显。孩童们或组队舞狮，红帕翻飞间满是喧闹活力；或围坐博弈，蹙眉托腮憨态毕露，亦有扑蝶追跑、搭肩低语者。画面构图饱满却错落有致，细笔勾勒孩童衣衫褶皱与灵动神态，浅淡设色晕染出古雅柔润的质感。\n整作将市井婴戏的鲜活日常凝于尺幅，把稚子烂漫天真悉数铺展，暗含着对烟火盛景、多子安康的美好祈愿，尽显风俗画的细腻功力，目之所及，恍若能听见满院稚语欢声，踏入千年前的童趣庭院。",[23,24,799,30,785,7,27,26,1512,1513],"嬉戏","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec42fc443c5d526d45d1d3b947cf6b25.jpg",[],50,{"id":1518,"slug":1519,"title":1520,"dynasty":104,"author":277,"museum":60,"description":1521,"tags":1522,"thumbUrl":1525,"material":27,"size":1526,"collection":49,"collections":1527,"showCount":1516,"zanCount":343,"manualWeight":54,"mainColor":78},218509,"san-xing-tu-song-yi-ming-218509","三星图颂","图中绘有代表幸福、繁荣和长寿的三颗星，还有一个婴儿的玩偶，虽然是编织的，但与图像无异，代表了清朝时期宫廷的编织水平。",[24,26,27,30,1523,253,471,65,1402,255,226,1524,70,7],"老者","祥瑞题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f2d6afa3a98fe6874490590030f7ca.jpg","182x83.3",[49],{"id":1529,"slug":1530,"title":1531,"dynasty":104,"author":1532,"museum":1533,"description":1534,"tags":1535,"thumbUrl":1536,"material":47,"size":74,"collection":112,"collections":1537,"showCount":1516,"zanCount":54,"manualWeight":54,"mainColor":78},216904,"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","钱维城","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,63,349,28,27,26,31,109,34,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[112],{"id":1539,"slug":1540,"title":1541,"dynasty":120,"author":277,"museum":60,"description":1542,"tags":1543,"thumbUrl":1544,"material":325,"size":1545,"collection":74,"collections":1546,"showCount":1547,"zanCount":54,"manualWeight":54,"mainColor":55},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,63,203,26,27,30,1176,785,34,1032,1178,959,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],49,{"id":1549,"slug":1550,"title":1551,"dynasty":752,"author":1552,"museum":60,"description":1553,"tags":1554,"thumbUrl":1555,"material":47,"size":1556,"collection":49,"collections":1557,"showCount":1547,"zanCount":11,"manualWeight":54,"mainColor":55},219694,"san-yuan-song-xi-tu-qian-xuan-219694","三元送喜图","钱选","本幅描绘庭院一角，有两株梧桐傍石而生，桐荫下，三名童子聚精会神的观赏著画。轴中画的花禽，分别是香椽与喜鹊，与三 “元” 送 “喜” 谐音。三元指状元、会元、解元，故本图有科考高中之吉祥寓意。",[23,24,63,26,27,30,253,442,960,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2316fbe648f0293f1ca11463ab959048.jpg","111.4x62.8厘米",[49],{"id":1559,"slug":1560,"title":1561,"dynasty":104,"author":277,"museum":180,"description":1562,"tags":1563,"thumbUrl":1564,"material":74,"size":74,"collection":74,"collections":1565,"showCount":1566,"zanCount":11,"manualWeight":54,"mainColor":55},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,26,27,28,30,31,185,7,34,522,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],48,{"id":1568,"slug":1569,"title":1570,"dynasty":104,"author":219,"museum":106,"description":220,"tags":1571,"thumbUrl":1576,"material":231,"size":232,"collection":74,"collections":1577,"showCount":1566,"zanCount":54,"manualWeight":54,"mainColor":55},223075,"hong-lou-meng-61-sun-wen-223075","红楼梦61",[23,24,26,27,28,30,109,522,31,7,34,93,130,64,70,145,1572,1573,1574,1575],"红楼梦题材","室内场景","陈设","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce8b0c32c96d9c86a13f94caf067894.jpg",[],{"id":1579,"slug":1580,"title":1581,"dynasty":104,"author":277,"museum":1582,"description":1583,"tags":1584,"thumbUrl":1586,"material":47,"size":74,"collection":112,"collections":1587,"showCount":1566,"zanCount":11,"manualWeight":54,"mainColor":55},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。",[24,27,26,28,30,31,128,442,68,294,1585,7],"侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg",[112],{"id":1589,"slug":1590,"title":1591,"dynasty":104,"author":219,"museum":106,"description":220,"tags":1592,"thumbUrl":1593,"material":231,"size":232,"collection":74,"collections":1594,"showCount":1595,"zanCount":54,"manualWeight":54,"mainColor":78},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,63,26,27,28,30,64,31,7,34,625,471,65,68,430,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],47,{"id":1597,"slug":1598,"title":1599,"dynasty":18,"author":1600,"museum":291,"description":1601,"tags":1602,"thumbUrl":1603,"material":257,"size":1604,"collection":49,"collections":1605,"showCount":1595,"zanCount":11,"manualWeight":54,"mainColor":78},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,18,24,63,25,27,26,444,148,208,30,31,128,34,65,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[49,1132],{"id":1607,"slug":1608,"title":1609,"dynasty":120,"author":1610,"museum":180,"description":1611,"tags":1612,"thumbUrl":1616,"material":210,"size":211,"collection":74,"collections":1617,"showCount":1618,"zanCount":54,"manualWeight":54,"mainColor":55},289004,"diao-ying-tu-wang-ju-zheng-289004","调鹦图","王居正","北宋进士，南宋兵部侍郎（从三品），赠观文殿大学士（从二品）兼枢密察院（《宋史》、浙江大学古籍研究所所长龚延明《宋代官制辞典》皆无此官名），谥号“文义”。绍兴二十一年（1151年）2月渡琼，3月卒于琼，葬琼州府琼山县邕阳都潭谢村，为王氏渡琼始祖（据1992版《王氏合族大族》）。\n“赠观文殿大学士（从二品）兼枢密察院，谥号‘文义’。绍兴二十一年（1151年）2月渡琼，3月卒于琼，葬琼州府琼山县邕阳都潭谢村”是海南王氏族谱的记载，与《宋名臣言行录》《宋史》等宋元刻版本史籍的记载有重大冲突！",[24,799,26,27,30,64,586,521,1613,1614,7,1615],"鹦鹉","室内陈设","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4ce92573fd6a4fcb1e87e909a752199.jpg",[],46,{"id":1620,"slug":1621,"title":1622,"dynasty":104,"author":1332,"museum":291,"description":1623,"tags":1624,"thumbUrl":1626,"material":231,"size":1627,"collection":74,"collections":1628,"showCount":1618,"zanCount":54,"manualWeight":54,"mainColor":55},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,28,26,27,109,31,128,34,65,1625,32,7,39,482],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 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香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 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「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。",[23,24,63,25,27,26,28,1817,30,31,185,109,34,7,294,970,65,1818,1046],"楷书","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[172],{"id":1823,"slug":1824,"title":829,"dynasty":104,"author":830,"museum":162,"description":831,"tags":1825,"thumbUrl":1826,"material":170,"size":836,"collection":74,"collections":1827,"showCount":1828,"zanCount":11,"manualWeight":54,"mainColor":78},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157",[24,26,27,349,30,185,39,7,34,294,68,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg",[],40,{"id":1830,"slug":1831,"title":1832,"dynasty":104,"author":277,"museum":162,"description":1833,"tags":1834,"thumbUrl":1837,"material":325,"size":1838,"collection":49,"collections":1839,"showCount":1828,"zanCount":54,"manualWeight":54,"mainColor":78},233063,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233063","平定回疆剿擒逆裔战图册","本幅设色共十页，引首道光书“纉武绥边”，每开题记，又书平定回疆记事。尾纸曹振镰，文字王鼎等跋。",[26,27,28,349,30,31,7,1046,1044,70,269,1835,1836,39,186,1574],"军事场景","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef3c1bd6080b18f3b23595b0a6c873bc.jpg","纵55.3cm，横90.3cm",[49,51],{"id":1841,"slug":1842,"title":1843,"dynasty":18,"author":277,"museum":180,"description":1844,"tags":1845,"thumbUrl":1848,"material":210,"size":211,"collection":74,"collections":1849,"showCount":1850,"zanCount":54,"manualWeight":54,"mainColor":55},287607,"shi-ba-xue-shi-tu-zhi-yi-yi-ming-287607","十八学士图之一","松竹掩映的庭院雅集间，文士或展卷品题，或执枝赏鉴，仆从侍立童仆随侍，处处透着悠然雅致。设色调和古沉，衣纹勾勒凝练舒展，将文人的沉静姿容尽数描摹。案头的笔墨清供、架上的博古玩物刻画精工，暗合文人心底的审美意趣，把林下雅集的闲逸氛围铺陈开来，将盛世文人群聚论道的从容风雅，永远定格在绢素之上，尽显传统文会雅集里寄情林泉的隽永意涵。",[24,1749,27,26,626,7,241,187,1846,1847],"文房用具","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cad6f0bdb169a31665da09d9d9e46b4.jpg",[],39,{"id":1852,"slug":1853,"title":1854,"dynasty":104,"author":277,"museum":162,"description":1855,"tags":1856,"thumbUrl":1858,"material":498,"size":74,"collection":1859,"collections":1860,"showCount":1850,"zanCount":54,"manualWeight":54,"mainColor":55},236178,"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[24,63,1857,27,26,28,109,31,30,34,522,7],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg","花鸟画精选",[1859,112,49,51],{"id":1862,"slug":1863,"title":360,"dynasty":120,"author":1864,"museum":180,"description":1865,"tags":1866,"thumbUrl":1867,"material":210,"size":211,"collection":74,"collections":1868,"showCount":1869,"zanCount":54,"manualWeight":54,"mainColor":55},289118,"shi-nv-tu-li-gong-lin-289118","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[24,125,823,30,64,31,521,7,69,90,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33af21ee25f2aae5b718472616b4b91.jpg",[],38,{"id":1871,"slug":1872,"title":1873,"dynasty":18,"author":1874,"museum":162,"description":1875,"tags":1876,"thumbUrl":1877,"material":1878,"size":1879,"collection":74,"collections":1880,"showCount":1869,"zanCount":54,"manualWeight":54,"mainColor":78},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徴明","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,63,25,126,26,148,444,208,471,130,30,7,65,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纸本墨笔","纵26.3CM 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{"id":1947,"slug":1948,"title":1949,"dynasty":104,"author":219,"museum":106,"description":220,"tags":1950,"thumbUrl":1954,"material":231,"size":232,"collection":74,"collections":1955,"showCount":1925,"zanCount":54,"manualWeight":54,"mainColor":78},223055,"hong-lou-meng-180-sun-wen-223055","红楼梦180",[23,26,27,28,30,31,128,335,784,404,68,34,1951,145,1143,1952,1953,7,1573],"圆形窗","扇子","鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f50c00b41d18bf698643e1b41df6987.jpg",[],{"id":1957,"slug":1958,"title":1959,"dynasty":104,"author":301,"museum":60,"description":1960,"tags":1961,"thumbUrl":1962,"material":47,"size":1963,"collection":112,"collections":1964,"showCount":1925,"zanCount":11,"manualWeight":54,"mainColor":78},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,63,125,203,864,28,26,27,109,31,185,65,34,30,7,1472,39,148,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[112],{"id":1966,"slug":1967,"title":1968,"dynasty":104,"author":277,"museum":1582,"description":1969,"tags":1970,"thumbUrl":1971,"material":325,"size":74,"collection":74,"collections":1972,"showCount":1925,"zanCount":54,"manualWeight":54,"mainColor":1256},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。",[24,63,349,26,27,30,64,31,442,7,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09efc3508687631c699e7cb591e4d1b6.jpg",[],{"id":1974,"slug":1975,"title":1976,"dynasty":104,"author":1977,"museum":180,"description":1978,"tags":1979,"thumbUrl":1983,"material":74,"size":74,"collection":74,"collections":1984,"showCount":1985,"zanCount":11,"manualWeight":54,"mainColor":78},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","徐扬","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,63,25,28,27,26,30,31,109,34,44,1980,305,1981,185,1982,40,7,482],"春日","街巷","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],35,{"id":1987,"slug":1988,"title":1989,"dynasty":104,"author":219,"museum":106,"description":220,"tags":1990,"thumbUrl":1991,"material":231,"size":232,"collection":74,"collections":1992,"showCount":1985,"zanCount":54,"manualWeight":54,"mainColor":78},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,63,26,27,30,128,32,33,31,645,350,65,68,39,7,34,1472,1032],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":1994,"slug":1995,"title":808,"dynasty":120,"author":277,"museum":60,"description":1996,"tags":1997,"thumbUrl":1999,"material":47,"size":2000,"collection":49,"collections":2001,"showCount":1985,"zanCount":11,"manualWeight":54,"mainColor":78},218734,"xi-yuan-ya-ji-tu-yi-ming-218734","它描绘了王诜在西园雅集的故事，一石激起千层浪，人物安排得饶有兴味，人物画风古朴，可能是南宋李公麟作品的翻版。",[23,24,63,27,26,30,34,65,151,91,1998,7,353],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc6ae28ac3a522246a2352340f410b.jpg","23.9x24",[49],{"id":2003,"slug":2004,"title":2005,"dynasty":120,"author":277,"museum":291,"description":2006,"tags":2007,"thumbUrl":2008,"material":74,"size":74,"collection":172,"collections":2009,"showCount":1985,"zanCount":157,"manualWeight":54,"mainColor":2010},201548,"ge-le-tu-juan-yi-ming-201548","歌乐图卷","画卷铺陈宋代闲适宴乐之景，庭院间虬枝缀花之木与青竹、怪石相映，景致清雅。男子持乐器奏乐，红衣女子或凝神倾听、或轻执器物互动，孩童稚态可掬，众人神情姿态生动传神。画作以工笔见长，线条细腻流畅，衣纹勾勒精准，设色典雅沉稳，将宴乐场景的悠然氛围尽显无遗，体现宋代绘画的精致匠心与艺术韵味。",[26,27,30,206,7,241,223,64,253,521,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f7c94786ca092c3352478aabf9437e.jpg",[172],"745f47",{"id":2012,"slug":2013,"title":2014,"dynasty":120,"author":277,"museum":60,"description":2015,"tags":2016,"thumbUrl":2017,"material":72,"size":2018,"collection":74,"collections":2019,"showCount":2020,"zanCount":54,"manualWeight":54,"mainColor":55},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,25,26,27,823,30,7,34,31,86,350,145,64,223,128,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],34,{"id":2022,"slug":2023,"title":2024,"dynasty":104,"author":1085,"museum":20,"description":1086,"tags":2025,"thumbUrl":1090,"material":257,"size":74,"collection":112,"collections":2027,"showCount":2020,"zanCount":54,"manualWeight":54,"mainColor":78},219712,"xiao-yuan-yin-jiu-tu-luo-pin-219712","筱园饮酒图",[24,27,28,126,31,625,65,7,30,34,39,2026,151],"淡彩",[112],{"id":2029,"slug":2030,"title":2031,"dynasty":752,"author":2032,"museum":180,"description":2033,"tags":2034,"thumbUrl":2035,"material":74,"size":74,"collection":74,"collections":2036,"showCount":2037,"zanCount":285,"manualWeight":54,"mainColor":78},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[23,24,63,25,29,26,27,148,208,30,31,34,7,585,1006,1005],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],33,{"id":2039,"slug":2040,"title":2041,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2042,"thumbUrl":2043,"material":231,"size":232,"collection":74,"collections":2044,"showCount":2037,"zanCount":54,"manualWeight":54,"mainColor":78},223076,"hong-lou-meng-62-sun-wen-223076","红楼梦62",[23,24,26,27,30,64,31,7,442,351,93,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa024d565d65c37ad592a2469e81be2d3.jpg",[],{"id":2046,"slug":2047,"title":2048,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2049,"thumbUrl":2051,"material":231,"size":232,"collection":74,"collections":2052,"showCount":2037,"zanCount":54,"manualWeight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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[2208,1021,28,390,26,27,31,30,39,2209,7,2210,2211],"壁画","唐代风格","线条细致","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4df82c3c5730ef11493dbfa891d8e.jpg",[],{"id":2215,"slug":2216,"title":2217,"dynasty":104,"author":1332,"museum":180,"description":2218,"tags":2219,"thumbUrl":2220,"material":74,"size":74,"collection":74,"collections":2221,"showCount":2182,"zanCount":54,"manualWeight":54,"mainColor":55},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,24,28,27,26,109,31,34,65,656,7,786,36,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":2223,"slug":2224,"title":2225,"dynasty":104,"author":2226,"museum":180,"description":2227,"tags":2228,"thumbUrl":2229,"material":74,"size":74,"collection":74,"collections":2230,"showCount":2182,"zanCount":343,"manualWeight":54,"mainColor":55},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。",[23,24,63,27,26,28,25,30,31,7,34,294,970,186,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":2232,"slug":2233,"title":2234,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2235,"thumbUrl":2237,"material":231,"size":232,"collection":74,"collections":2238,"showCount":2182,"zanCount":54,"manualWeight":54,"mainColor":78},223064,"hong-lou-meng-50-sun-wen-223064","红楼梦50",[23,26,27,28,30,31,645,7,68,391,64,65,34,2236,281,39,151],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc423ebba504eb711cbd7c6339c40a038.jpg",[],{"id":2240,"slug":2241,"title":2242,"dynasty":120,"author":2243,"museum":60,"description":2244,"tags":2245,"thumbUrl":2246,"material":47,"size":2247,"collection":51,"collections":2248,"showCount":2182,"zanCount":54,"manualWeight":54,"mainColor":78},219506,"mai-chun-mei-yuan-tu-lu-zong-gui-219506","买春梅苑图","鲁宗贵","用笔工细。画中的场景应该设计于一个小山峦，左下方隐约可见院墙瓦脊。一位文士左手扶在老梅树上，右手持杯饮酒，男女侍者持酒壶恭立在不远处；老梅树主干直上，旁枝交叉互相呼应，脚下已经是绿色满地；遥望远山，山高云浓，万物正在春天的拥抱下展现新的气象！鲁宗贵长于花鸟，而其山水气象与马远相似，构图倾向于简洁，用笔刚健有力，从中可见地域艺术风格在当时颇为明显。此图在人物的造型、梅树的刻画与环境的表现上，都显示出作者深厚的功底及其修养。",[24,63,349,26,27,521,30,109,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af8a21f89dd75571e525750496ab14.jpg","31.5×29.3cm",[51],{"id":2250,"slug":2251,"title":2252,"dynasty":2204,"author":2253,"museum":180,"description":2254,"tags":2255,"thumbUrl":2257,"material":210,"size":211,"collection":74,"collections":2258,"showCount":2259,"zanCount":54,"manualWeight":54,"mainColor":55},290021,"yan-le-tu-zhou-fang-290021","演乐图","周昉","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[125,24,203,27,30,206,2256,7,471,64,26],"演乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421f24aa0929e0b9618cf66d7493b9d6.jpg",[],28,{"id":2261,"slug":2262,"title":2263,"dynasty":18,"author":277,"museum":180,"description":2264,"tags"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。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,63,203,27,26,127,30,2274,32,33,625,130,7,40,253,65,34,189,39,2275],"村舍","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":2279,"slug":2280,"title":2281,"dynasty":120,"author":2282,"museum":60,"description":2283,"tags":2284,"thumbUrl":2285,"material":485,"size":2286,"collection":74,"collections":2287,"showCount":2259,"zanCount":54,"manualWeight":54,"mainColor":78},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","牟益","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[23,24,125,63,25,823,30,64,7,34,148,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg","纵27.1厘米，横266.4厘米",[],{"id":2289,"slug":2290,"title":2291,"dynasty":1217,"author":2292,"museum":180,"description":2293,"tags":2294,"thumbUrl":2299,"material":210,"size":211,"collection":1238,"collections":2300,"showCount":2259,"zanCount":11,"manualWeight":54,"mainColor":55},225986,"monets-garden-at-ve-theuil-1880-mo-nai-225986","Monets 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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。",[1221,2295,1226,2296,253,2297,7,1235,2298],"印象派","向日葵","石板小径","色彩光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c14ba8e6d7e50451e91fa0a91c9e1d.jpg",[1238],{"id":2302,"slug":2303,"title":2304,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2305,"thumbUrl":2307,"material":231,"size":232,"collection":74,"collections":2308,"showCount":2259,"zanCount":54,"manualWeight":54,"mainColor":78},223050,"hong-lou-meng-175-sun-wen-223050","红楼梦175",[23,24,26,27,30,31,151,7,86,34,109,64,90,2306],"红楼梦场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5ff13497a1a86049600d88216fe2ad.jpg",[],{"id":2310,"slug":2311,"title":2312,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2313,"thumbUrl":2315,"material":231,"size":232,"collection":74,"collections":2316,"showCount":2259,"zanCount":11,"manualWeight":54,"mainColor":995},222946,"hong-lou-meng-71-sun-wen-222946","红楼梦71",[23,1077,24,63,26,27,30,31,7,34,1046,2314,960,125],"车驾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecb36ad56431b384b69b7fe4089a44e.jpg",[],{"id":2318,"slug":2319,"title":2320,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2321,"thumbUrl":2323,"material":231,"size":232,"collection":74,"collections":2324,"showCount":2259,"zanCount":54,"manualWeight":54,"mainColor":78},222877,"hong-lou-meng-2-sun-wen-222877","红楼梦2",[23,24,26,27,28,128,31,30,64,2322,351,380,68,7,34,254],"芭蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06983d53be2cd078301c222dda3eab3b.jpg",[],{"id":2326,"slug":2327,"title":2328,"dynasty":18,"author":19,"museum":60,"description":2329,"tags":2330,"thumbUrl":2341,"material":257,"size":2342,"collection":112,"collections":2343,"showCount":2259,"zanCount":54,"manualWeight":54,"mainColor":78},222205,"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[23,24,63,203,26,27,30,86,391,65,206,7,2331,2332,626,2333,2334,2335,2336,2337,2338,2339,2340],"夏日场景","弹拨乐器","山石皴法","植物写生","人物互动","设色淡雅","工笔人物","传统山水元素","草木景观","器物陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[112,51],{"id":2345,"slug":2346,"title":2347,"dynasty":120,"author":374,"museum":180,"description":2348,"tags":2349,"thumbUrl":2350,"material":210,"size":211,"collection":74,"collections":2351,"showCount":2352,"zanCount":54,"manualWeight":54,"mainColor":55},290302,"ying-xi-tu-zhou-su-han-chen-290302","婴戏图轴","儿童生性活泼好奇﹐在他们的眼裏﹐每样事物都新奇有趣﹐都想要探索、尝试。而游戏﹑玩具﹐不仅能启发心智，也能锻练强健的体魄﹐是他们用以探索世界的工具。儿童在嬉戏中﹐生动活泼的姿态，专注喜悦的表情，稚拙可爱的模样，不只让人心生怜爱，更能感受到童稚世界的无忧无虑，是画家喜好的题材，这种以孩童嬉戏为主题的画作，称为《婴戏图》。",[24,203,26,27,30,378,1512,7,351,280,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cbb101f7b84be6fe7290f34e734ba27.jpg",[],27,{"id":2354,"slug":2355,"title":2356,"dynasty":120,"author":705,"museum":180,"description":2357,"tags":2358,"thumbUrl":2359,"material":210,"size":211,"collection":74,"collections":2360,"showCount":2352,"zanCount":11,"manualWeight":54,"mainColor":55},288328,"gong-nv-tu-liu-song-nian-288328","宫女图","刘松年 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即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[24,63,203,126,109,127,128,241,442,32,208,1472,65,1307,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],26,{"id":2400,"slug":2401,"title":2402,"dynasty":18,"author":2403,"museum":162,"description":2404,"tags":2405,"thumbUrl":2406,"material":772,"size":2407,"collection":74,"collections":2408,"showCount":2398,"zanCount":54,"manualWeight":54,"mainColor":55},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","刘俊","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[18,26,27,28,30,31,625,1121,7,65,109,1167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","纵143.2厘米，横75厘米",[],{"id":2410,"slug":2411,"title":103,"dynasty":104,"author":105,"museum":180,"description":2412,"tags":2413,"thumbUrl":2414,"material":74,"size":74,"collection":74,"collections":2415,"showCount":2398,"zanCount":11,"manualWeight":54,"mainColor":55},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,63,27,26,28,30,31,351,34,335,32,404,430,7,65,39,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":2417,"slug":2418,"title":2419,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2420,"thumbUrl":2422,"material":231,"size":232,"collection":74,"collections":2423,"showCount":2398,"zanCount":54,"manualWeight":54,"mainColor":55},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172",[23,24,26,27,30,64,31,241,86,65,7,1227,34,2421,879],"黄叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg",[],{"id":2425,"slug":2426,"title":2427,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2428,"thumbUrl":2430,"material":231,"size":232,"collection":74,"collections":2431,"showCount":2398,"zanCount":54,"manualWeight":54,"mainColor":78},222970,"hong-lou-meng-95-sun-wen-222970","红楼梦95",[23,24,26,27,30,31,109,34,7,482,2429],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c0f8a526064311858b402e15a02cdd.jpg",[],{"id":2433,"slug":2434,"title":2435,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2436,"thumbUrl":2440,"material":231,"size":232,"collection":74,"collections":2441,"showCount":2398,"zanCount":54,"manualWeight":54,"mainColor":78},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,125,24,63,26,27,184,31,30,1125,335,784,2437,34,68,482,39,7,2438,350,65,960,555,2439],"湖面","水榭","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":2443,"slug":2444,"title":2445,"dynasty":104,"author":250,"museum":162,"description":2446,"tags":2447,"thumbUrl":2450,"material":257,"size":2451,"collection":49,"collections":2452,"showCount":2398,"zanCount":343,"manualWeight":54,"mainColor":78},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","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。",[23,24,27,26,30,253,2448,34,294,68,254,2449,7],"冰面","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纵121厘米，横64.8厘米",[49],{"id":2454,"slug":2455,"title":685,"dynasty":104,"author":686,"museum":180,"description":1709,"tags":2456,"thumbUrl":2457,"material":210,"size":211,"collection":74,"collections":2458,"showCount":2459,"zanCount":54,"manualWeight":54,"mainColor":78},235279,"ren-wu-gu-shi-ce-fan-xue-yi-235279",[24,63,349,27,26,28,30,31,7,68,442,443,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc796da6635cb8d980b065b7a7bb52c60.jpg",[],25,{"id":2461,"slug":2462,"title":2463,"dynasty":1217,"author":2464,"museum":180,"description":2465,"tags":2466,"thumbUrl":2467,"material":210,"size":211,"collection":74,"collections":2468,"showCount":2459,"zanCount":54,"manualWeight":54,"mainColor":78},231735,"shan-shui-ren-wu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靖康之变后，金兵俘虏其父宋徽宗和其兄宋钦宗，灭亡北宋。",[23,24,63,349,27,28,30,31,7,68,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be219b172713f662084b76898f483ec.jpg","30.2x31.8",[49,51],{"id":2613,"slug":2614,"title":2615,"dynasty":104,"author":277,"museum":180,"description":2616,"tags":2617,"thumbUrl":2619,"material":210,"size":211,"collection":74,"collections":2620,"showCount":2621,"zanCount":54,"manualWeight":54,"mainColor":78},287995,"sheng-ping-le-shi-tu-ce-kui-xing-yi-ming-287995","升平乐事图册-魁星","庭院竹林掩映，仕女垂目笑看稚童嬉游。有小童扮作魁星，持朱笔、捧斗具，步态憨拙。其余孩童或效仿礼拜，或围拢嬉闹，鲜活灵动。\n\n整幅设色明柔雅致，线条匀细秀逸，写实还原深闺闲院的日常景致。将魁星点斗的祈福意趣，融于孩童嬉耍之中，把吉庆民俗化入家常游乐，既有清代工笔画的精细妍丽，又晕染着松弛温情的烟火气，尽显太平年月里的悠然意趣。",[24,349,27,26,30,241,253,2618,7],"魁星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8da5fc3f530a75f39e0196bab0a0d8d.jpg",[],23,{"id":2623,"slug":2624,"title":2625,"dynasty":752,"author":2626,"museum":180,"description":2627,"tags":2628,"thumbUrl":2630,"material":210,"size":211,"collection":74,"collections":2631,"showCount":2621,"zanCount":11,"manualWeight":54,"mainColor":78},287784,"yang-zheng-tu-juan-wang-zhen-peng-287784","养正图卷","王振鹏","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。",[23,24,25,63,28,26,27,30,31,7,2519,148,444,2629,1817],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac150d266bb48de0451eab13aac2dc0.jpg",[],{"id":2633,"slug":2634,"title":2635,"dynasty":18,"author":277,"museum":180,"description":2636,"tags":2637,"thumbUrl":2638,"material":210,"size":211,"collection":74,"collections":2639,"showCount":2621,"zanCount":54,"manualWeight":54,"mainColor":55},287611,"shi-ba-xue-shi-tu-zhi-er-yi-ming-287611","十八学士图之二","此画绘园林雅集之景，垂柳拂庭，奇石佳木点缀其间，雅致悠然。文士围坐对弈，神态凝注，尽显从容襟怀；侍从或低首奉茶，或持扇伫立，恭谨鲜活。屏风借山水延伸意境，将小园与林泉野趣相融，器物陈设古雅精致，处处流露幽淡闲和之韵。衣纹勾勒舒展流畅，设色调和沉稳，人物情态各有韵致，细腻还原了文人雅聚的优游日常，将林下清欢的文人意趣铺陈得淋漓尽致。",[24,27,26,1749,626,7,353,70,350,351,69,253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc796e1ef89cbb4c3af00114ef07f8f2.jpg",[],{"id":2641,"slug":2642,"title":2643,"dynasty":18,"author":19,"museum":180,"description":2644,"tags":2645,"thumbUrl":2648,"material":210,"size":211,"collection":74,"collections":2649,"showCount":2621,"zanCount":54,"manualWeight":54,"mainColor":78},287527,"xie-jing-huan-cha-tu-juan-chou-ying-287527","写经换茶图卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,125,24,25,63,26,27,30,471,7,2646,148,208,2647],"写经","文人雅事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18af42865495de6c46ac5d9c98431caa.jpg",[],{"id":2651,"slug":2652,"title":2653,"dynasty":18,"author":1152,"museum":180,"description":2654,"tags":2655,"thumbUrl":2656,"material":74,"size":74,"collection":74,"collections":2657,"showCount":2621,"zanCount":54,"manualWeight":54,"mainColor":78},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","两江名胜图册","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[24,63,349,27,109,28,31,34,65,39,7,656,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":2659,"slug":2660,"title":2661,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2662,"thumbUrl":2663,"material":231,"size":232,"collection":74,"collections":2664,"showCount":2621,"zanCount":54,"manualWeight":54,"mainColor":78},223034,"hong-lou-meng-159-sun-wen-223034","红楼梦159",[23,24,26,27,28,30,31,86,7,496,281,1197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbe80f58a5cddf6da26b9a07b002371.jpg",[],{"id":2666,"slug":2667,"title":2668,"dynasty":104,"author":219,"museum":106,"description":220,"tags":2669,"thumbUrl":2670,"material":231,"size":232,"collection":74,"collections":2671,"showCount":2621,"zanCount":54,"manualWeight":54,"mainColor":55},223030,"hong-lou-meng-155-sun-wen-223030","红楼梦155",[23,26,27,28,30,31,109,241,34,7,68,2163,294,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff333b78bc458b864fa110eb261e62863.jpg",[],{"id":2673,"slug":2674,"title":2675,"dynasty":104,"author":277,"museum":180,"description":2676,"tags":2677,"thumbUrl":2678,"material":74,"size":74,"collection":74,"collections":2679,"showCount":2680,"zanCount":343,"manualWeight":54,"mainColor":55},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,27,26,28,30,31,34,65,37,35,7,167,186,39,92,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],22,{"id":2682,"slug":2683,"title":2684,"dynasty":104,"author":1332,"museum":180,"description":2685,"tags":2686,"thumbUrl":2688,"material":74,"size":74,"collection":74,"collections":2689,"showCount":2680,"zanCount":54,"manualWeight":54,"mainColor":55},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,24,63,28,27,26,30,31,7,34,294,68,2687],"灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":2691,"slug":2692,"title":2693,"dynasty":120,"author":1864,"museum":180,"description":2694,"tags":2695,"thumbUrl":2696,"material":74,"size":74,"collection":74,"collections":2697,"showCount":2680,"zanCount":54,"manualWeight":54,"mainColor":55},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明隐归图全卷","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[23,24,63,25,823,27,30,109,128,32,33,623,34,31,148,208,7,42,1267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":2699,"slug":2700,"title":2701,"dynasty":120,"author":374,"museum":180,"description":2702,"tags":2703,"thumbUrl":2704,"material":74,"size":74,"collection":74,"collections":2705,"showCount":2680,"zanCount":11,"manualWeight":54,"mainColor":55},227510,"bai-zi-you-yuan-tu-su-han-chen-227510","百子游园图","这是南宋画家苏汉臣绘的《百子嬉春图》。《百字嬉春图》是一小幅纨扇，但却结构复杂精妙，画家利用台栏池沼等高低上下称景。将一百名儿童布满画面，三五成组，相互呼应，远近关系处理得明确而有节奏，丰满而不拥塞，繁复而不杂乱。",[23,125,24,63,377,26,27,30,785,7,68,34,1032],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058871fca58b31f28c71d5eb4f50c34e.jpg",[],{"id":2707,"slug":2708,"title":2709,"dynasty":120,"author":2710,"museum":180,"description":2711,"tags":2712,"thumbUrl":2716,"material":74,"size":74,"collection":74,"collections":2717,"showCount":2680,"zanCount":54,"manualWeight":54,"mainColor":78},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","李山","《风雪松杉图》卷，金， 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、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,24,63,25,27,26,30,31,34,7,3840,186,3841,1077],"古代建筑","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":3845,"slug":3846,"title":3847,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3848,"thumbUrl":3849,"material":231,"size":232,"collection":74,"collections":3850,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":55},222977,"hong-lou-meng-102-sun-wen-222977","红楼梦102",[23,26,27,28,30,31,7,86,391,34,64,224,90,1573,39,1228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f29d4f96bae2ac203a1e271aaabb89e.jpg",[],{"id":3852,"slug":3853,"title":3854,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3855,"thumbUrl":3857,"material":231,"size":232,"collection":74,"collections":3858,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":78},222973,"hong-lou-meng-98-sun-wen-222973","红楼梦98",[23,26,27,28,30,31,7,280,34,3856,507,281,70,1573,2591],"太湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ea2eba1280154b2baab54fd4a20ff7.jpg",[],{"id":3860,"slug":3861,"title":3862,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3863,"thumbUrl":3864,"material":231,"size":232,"collection":74,"collections":3865,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":78},222947,"hong-lou-meng-72-sun-wen-222947","红楼梦72",[23,24,125,25,26,27,28,30,31,128,241,442,32,7,720,65,68,507,294,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd807b15e590283a3a76a6a485663721.jpg",[],{"id":3867,"slug":3868,"title":3869,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3870,"thumbUrl":3871,"material":231,"size":232,"collection":74,"collections":3872,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":78},222931,"hong-lou-meng-56-sun-wen-222931","红楼梦56",[23,24,26,27,25,1749,990,7,31,64,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f55da093f54203f7d792795bc674235.jpg",[],{"id":3874,"slug":3875,"title":3876,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3877,"thumbUrl":3878,"material":231,"size":232,"collection":74,"collections":3879,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":55},222911,"hong-lou-meng-36-sun-wen-222911","红楼梦36",[23,24,26,27,990,90,30,31,7,109,496,184,991],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff63de5f5f8ace7b918c931c621ae807f.jpg",[],{"id":3881,"slug":3882,"title":3883,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3884,"thumbUrl":3887,"material":231,"size":232,"collection":74,"collections":3888,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":55},222908,"hong-lou-meng-33-sun-wen-222908","红楼梦33",[23,26,27,28,30,31,7,34,65,68,3885,586,3886,430,1472,1228,39,281],"匾额","公子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf0de6690162cf3adb8de884b97b8e03.jpg",[],{"id":3890,"slug":3891,"title":3892,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3893,"thumbUrl":3894,"material":231,"size":232,"collection":74,"collections":3895,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":78},222899,"hong-lou-meng-24-sun-wen-222899","红楼梦24",[23,24,27,26,63,30,109,32,33,34,645,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26aecca502b1ecebd2dad0237257b786.jpg",[],{"id":3897,"slug":3898,"title":3899,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3900,"thumbUrl":3901,"material":231,"size":232,"collection":74,"collections":3902,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":995},222892,"hong-lou-meng-17-sun-wen-222892","红楼梦17",[23,125,24,26,27,1749,28,2575,90,2552,7,1663,402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d39cddfe2a6229c2059c13491423cf.jpg",[],{"id":3904,"slug":3905,"title":3906,"dynasty":18,"author":3907,"museum":60,"description":3908,"tags":3909,"thumbUrl":3910,"material":257,"size":3911,"collection":74,"collections":3912,"showCount":3782,"zanCount":54,"manualWeight":54,"mainColor":78},216093,"tai-ping-le-shi-tu-ce-3-dai-jin-216093","太平乐事图册-3","戴进","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,63,349,27,26,30,442,39,1197,208,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d16d700e8be3994d5e6ac81c9fcce9.jpg","22.8x22cm",[],{"id":3914,"slug":3915,"title":3916,"dynasty":752,"author":277,"museum":60,"description":3917,"tags":3918,"thumbUrl":3920,"material":132,"size":3921,"collection":49,"collections":3922,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},291015,"xia-shu-qi-sheng-tu-yi-ming-291015","夏墅棋声图","此幅绘夏景。鹿儿悠游於柏荫下，两位文士，正对坐下棋。另两人，一倚立，一倨坐，在旁观棋。童子或提著洒器，或捧茶具、或挥羽扇，侍立于旁。",[24,203,27,30,322,3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细审人物之开脸，及庭石之苔点画法，颇近于明代中期之后的风格。台北故宫博物院藏另有《元人秋景戏婴》、《元人画冬景戏婴图》二轴，尺寸、画法与此作相似，或许当初系属同一组“春夏秋冬“之四季挂屏，惜今《春景戏婴图》已佚，故难以复原全豹矣。",[24,203,27,30,26,1176,253,7,677,68,350,280,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a1f2e121a757abedcbc787b6b66408.jpg",[],{"id":3942,"slug":3943,"title":3944,"dynasty":18,"author":277,"museum":180,"description":3945,"tags":3946,"thumbUrl":3948,"material":210,"size":211,"collection":74,"collections":3949,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},289364,"gong-yuan-ying-xi-tu-yi-ming-289364","宫苑婴戏图","此画以宫苑为舞台，将稚子烂漫悉数铺展。画面上下两处各成童趣天地：上层孩童攀爬上拆解的屋架，蹦跳嬉闹，尽显跳脱顽态。一旁亭榭里安坐的长者静看稚童，动静相映，将深苑的闲逸与童真相融。\n\n下层孩童围逗雏鸡，两两结伴蹲坐嬉玩，憨稚之态呼之欲出。亭台盆栽勾勒出宫苑雅致底色，古绢晕染带着岁月沉韵，工细线条将孩童的娇憨灵动、园囿的静雅规制妥帖绘就，消解了宫苑的刻板肃穆，只余下稚子嬉闹的鲜活日常，把无忧无虑的童年意趣定格在古雅色泽中。",[24,125,203,27,30,28,3947,1176,253,31,7],"宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f339529b27e046af7897ba156a02ed6.jpg",[],{"id":3951,"slug":3952,"title":140,"dynasty":104,"author":3953,"museum":180,"description":3954,"tags":3955,"thumbUrl":3958,"material":210,"size":211,"collection":74,"collections":3959,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":78},288094,"wen-hui-tu-fang-shi-shu-288094","方世舒","此作铺展园林雅集盛景，林木错落有致，丹叶翠枝相映，竹影婆娑晕开幽谧氛围。文士或围桌观砚赏帖，或凭石清谈啜茶，童子随侍捧卷执杖，动静间尽显从容雅致。构图疏朗舒展，设色浅淡柔润，线条清隽秀逸，细腻勾勒出文人酬唱的悠然情态，将林下雅集的闲淡意韵尽数铺陈，定格文人群聚的风流雅兴，尽显古典人际会的恬适隽永。",[23,24,25,26,27,30,626,7,34,666,86,2178,353,3956,3957,1615],"童仆","文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33730dbbfa6912569f3f84ac919f2c07.jpg",[],{"id":3961,"slug":3962,"title":3963,"dynasty":104,"author":1977,"museum":180,"description":3964,"tags":3965,"thumbUrl":3969,"material":74,"size":74,"collection":74,"collections":3970,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},238215,"duan-yang-gu-shi-ce-zhi-xi-cai-si-xu-yang-238215","端阳故事册之系彩丝","青树环拥的雅致小院里，圆月窗恰似一方天然画框，框住了端阳时分的脉脉温情。长者正凝神为孩童臂间系上彩丝，衣袂褶皱轻缓舒展，案头粽果陈置妥帖，笔触细腻熨帖，将日常亲昵揉入节俗意趣。\n\n浅淡的设色晕染出初夏江南的温润，没有喧嚷，只余下静谧的亲昵，把驱邪纳福的古俗，化作寻常烟火里的温柔定格。整幅画以恬淡笔调铺陈，将旧时光里的端午暖意晕开，清雅柔润的笔触复刻出古人节俗里的细腻温情，淡而不寡，静中含暖，藏着中式传统里独有的含蓄浪漫。",[24,63,349,27,26,30,39,34,834,7,3966,1197,3967,3968],"圆形门","彩丝","传统节日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe199907d720d98cd1598507dc1929ae9.jpg",[],{"id":3972,"slug":3973,"title":3974,"dynasty":120,"author":277,"museum":162,"description":3975,"tags":3976,"thumbUrl":3977,"material":231,"size":3978,"collection":74,"collections":3979,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[125,24,63,402,799,26,27,30,253,34,254,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],{"id":3981,"slug":3982,"title":3983,"dynasty":104,"author":3984,"museum":162,"description":3985,"tags":3986,"thumbUrl":3987,"material":325,"size":3988,"collection":74,"collections":3989,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":78},231886,"zhong-qiu-hua-tu-yu-sheng-231886","种秋花图","余省","该画为全景式构图，表现课童种秋花的情景。画心上半部以远山和绿树表现出秋高气爽的时节，下半部重点突出了此画的主题——种秋花。庭院中，有的童子在房前空地处种植，有的给种好的秋卉培土、浇水。画中秋卉缤纷，蜂蝶两三萦绕篱径。整幅画面生动活泼，色彩妍丽，悦人眼目，表现出太平盛世人们安居乐业的惬意生活。",[23,24,27,26,30,34,255,65,130,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdd685cefc1d1ead85b247370e33108.jpg","纵165.8厘米，横93.7厘米",[],{"id":3991,"slug":3992,"title":3993,"dynasty":104,"author":219,"museum":106,"description":220,"tags":3994,"thumbUrl":3995,"material":231,"size":232,"collection":74,"collections":3996,"showCount":195,"zanCount":54,"manualWeight":54,"mainColor":55},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[23,24,26,27,990,3729,90,31,7,1749,184,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":3998,"slug":3999,"title":4000,"dynasty":104,"author":219,"museum":106,"description":220,"tags":4001,"thumbUrl":4002,"material":231,"size":232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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[3648,4148,27,30,90,7,585],"粉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4fa06d77ea19a21afa42a4e80e1f1a.jpg",[],{"id":4152,"slug":4153,"title":829,"dynasty":104,"author":830,"museum":162,"description":831,"tags":4154,"thumbUrl":4157,"material":170,"size":836,"collection":74,"collections":4158,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":78},236154,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236154",[24,63,349,27,26,30,151,34,130,970,1692,4155,444,7,834,4156],"对话场景","互动人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fcf8e863cb31ba23c03e50a91e6ff93.jpg",[],{"id":4160,"slug":4161,"title":829,"dynasty":104,"author":830,"museum":162,"description":831,"tags":4162,"thumbUrl":4163,"material":170,"size":836,"collection":74,"collections":4164,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":78},236149,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236149",[24,63,349,26,27,30,31,7,34,720,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab3305e5c980a0af9c5afd1c35364f4.jpg",[],{"id":4166,"slug":4167,"title":4168,"dynasty":120,"author":277,"museum":162,"description":4169,"tags":4170,"thumbUrl":4171,"material":4172,"size":4173,"collection":74,"collections":4174,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":78},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[1905,24,349,27,28,26,109,31,34,7,1741,68,223,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","绢本、设色","纵23.6厘米，横24.9厘米",[],{"id":4176,"slug":4177,"title":4178,"dynasty":18,"author":319,"museum":180,"description":4179,"tags":4180,"thumbUrl":4181,"material":74,"size":74,"collection":74,"collections":4182,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":55},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,63,203,26,27,30,31,32,322,65,253,7,3682,585,109,391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":4184,"slug":4185,"title":4186,"dynasty":1217,"author":1218,"museum":180,"description":1219,"tags":4187,"thumbUrl":4190,"material":210,"size":211,"collection":1238,"collections":4191,"showCount":99,"zanCount":11,"manualWeight":54,"mainColor":55},225854,"the-vicarage-at-nuenen-september-october-fan-gao-225854","The vicarage at Nuenen (September - October )",[1221,1223,1224,130,34,30,1108,3134,4188,4189,39,7],"乡村","秋季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081efa7ec6917abf9d54d1198a31c8d3.jpg",[1238],{"id":4193,"slug":4194,"title":4195,"dynasty":104,"author":634,"museum":162,"description":4196,"tags":4197,"thumbUrl":4198,"material":74,"size":4199,"collection":74,"collections":4200,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":78},223218,"geng-zhi-tu-ce-jiao-bing-zhen-223218","耕织图册","《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。",[125,24,63,349,26,27,28,30,31,7,34,68,130,1614,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a7d23a4022a2082587574e5d05a51e.jpg","34.7cm×27.7cm",[],{"id":4202,"slug":4203,"title":4204,"dynasty":104,"author":219,"museum":106,"description":220,"tags":4205,"thumbUrl":4206,"material":231,"size":232,"collection":74,"collections":4207,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":55},222991,"hong-lou-meng-116-sun-wen-222991","红楼梦116",[23,24,63,26,27,30,31,7,34,269,1077,1575,45,2236],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8217e8f18e9ef826f5001f879ba044.jpg",[],{"id":4209,"slug":4210,"title":4211,"dynasty":104,"author":219,"museum":106,"description":220,"tags":4212,"thumbUrl":4213,"material":231,"size":232,"collection":74,"collections":4214,"showCount":99,"zanCount":54,"manualWeight":54,"mainColor":55},222972,"hong-lou-meng-97-sun-wen-222972","红楼梦97",[23,26,27,30,31,7,86,34,3348,68,2837,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa35fbf1e3eb0e0063a0004920dfada06.jpg",[],{"id":4216,"slug":4217,"title":4218,"dynasty":120,"author":277,"museum":180,"description":4219,"tags":4220,"thumbUrl":4221,"material":210,"size":211,"collection":74,"collections":4222,"showCount":4223,"zanCount":54,"manualWeight":54,"mainColor":55},290271,"han-gong-qiu-tu-yi-ming-290271","汉宫秋图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[125,24,63,25,28,27,30,31,32,33,7,34,65,208,148,1750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F045d0a536847ac969e6804bdb1446c39.jpg",[],10,{"id":4225,"slug":4226,"title":4227,"dynasty":18,"author":4228,"museum":180,"description":4229,"tags":4230,"thumbUrl":4233,"material":210,"size":211,"collection":74,"collections":4234,"showCount":4223,"zanCount":54,"manualWeight":54,"mainColor":55},289792,"dou-an-chun-tu-zhu-zhan-ji-289792","斗鹌鹑图","朱瞻基","该幅无款署。图中所绘为明宣宗朱瞻基在御园观看斗鹌鹑的场景。画面上朱瞻基居中端坐，周围有宦官、侍从和童仆侍奉。方桌上置一圆形围挡，两名宦官正在斗弄圈中的鹌鹑，旁边的侍从捧着笼子，其中是备用的鹌鹑。",[24,27,26,30,7,471,86,4231,4232],"斗鹌鹑","休闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec02fea8018ec5530b89faa56bb0c0c.jpg",[],{"id":4236,"slug":4237,"title":4238,"dynasty":104,"author":277,"museum":180,"description":4239,"tags":4240,"thumbUrl":4243,"material":210,"size":211,"collection":74,"collections":4244,"showCount":4223,"zanCount":54,"manualWeight":54,"mainColor":78},238873,"tong-zhi-da-hun-cai-peng-tu-zhou-yi-ming-238873","同治大婚彩棚图轴","这幅界画以俯瞰视角铺陈画面，朱红配明黄，色调华丽庄重，尽显皇家仪典的华贵气场。工整细致地还原大婚彩棚的层层规制，从宫门到亭台殿宇，空间递进严整有序，亭台斗拱、殿内陈设都刻画入微，连行道草木也排布齐整划一。它将临时搭建的庆典彩棚描摹得如同真实宫殿，精准复刻出清代大婚的礼制空间风貌，尽显绘制者精湛的界画功底，也为后世留存下宫廷婚典的鲜活形制。",[1077,203,27,28,26,31,128,34,4241,3299,7,4242],"宫墙","大婚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66851a2485dbbdb1b0c9c8c270fcd8e9.jpg",[],{"id":4246,"slug":4247,"title":4248,"dynasty":104,"author":4249,"museum":180,"description":4250,"tags":4251,"thumbUrl":4252,"material":74,"size":74,"collection":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ug":4319,"title":4320,"dynasty":104,"author":3814,"museum":180,"description":3815,"tags":4321,"thumbUrl":4322,"material":74,"size":74,"collection":74,"collections":4323,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":78},238832,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238832","董诰墨庄览胜图册",[24,27,109,127,349,65,34,130,482,678,656,7,757,758,184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3cb5bba0e6f35eeb191e169400c6aa.jpg",[],{"id":4325,"slug":4326,"title":4327,"dynasty":104,"author":4328,"museum":180,"description":4329,"tags":4330,"thumbUrl":4331,"material":74,"size":74,"collection":74,"collections":4332,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":78},238738,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238738","画弘历和江文通诗意图册","董邦达","淡墨晕开山居幽境，古木虬枝环抱书斋，凭窗士子凝眸静思，似正沉湎诗中逸怀。庭院山石错落苍润，远景丘林烟岚轻笼，将咫尺画幅晕染出悠远空濛的林下雅意。\n\n右上角题诗与画境相映成趣，笔致清隽温润，舍去浓艳设色，仅以水墨干湿浓淡铺陈萧散简淡的文人意趣。将诗文里的知己之思、林居之寂融在咫尺山水庭院中，淡远空灵，把文人心底的幽怀与林下栖居的雅静合二为一，尽显中式水墨留白的澹澹禅意。",[24,63,349,126,823,26,127,148,208,30,128,322,65,7,109,442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dc78376cec2516a555084645f9b74d.jpg",[],{"id":4334,"slug":4335,"title":947,"dynasty":2204,"author":277,"museum":162,"description":4336,"tags":4337,"thumbUrl":4338,"material":170,"size":4339,"collection":74,"collections":4340,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":55},234037,"gong-yuan-tu-yi-ming-234037","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[24,63,4284,27,28,26,31,185,109,34,7,184,39,3947],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656bb14724eeca487c029c4fb834fec9.jpg","纵23.9厘米，横77.2厘米",[],{"id":4342,"slug":4343,"title":4344,"dynasty":1217,"author":277,"museum":180,"description":4345,"tags":4346,"thumbUrl":4347,"material":210,"size":211,"collection":74,"collections":4348,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":78},231771,"wang-gu-feng-su-hua-hui-juan-er-yi-ming-231771","往古风俗画绘卷二","这幅界画工致清雅，以全景铺陈开古旧坊巷。屋舍排布错落严整，飞甍黛瓦、朱栏庭阶皆勾勒细致，尽显传统营造之美。街巷间人物往来熙攘，或市井贸迁，或闲庭信步，百态日常跃然绢素，将往昔烟火气揉进细腻笔触中。\n\n庭园里点缀枯荣花木，四时意趣藏于巷陌深处，设色柔淡雅致，晕开平和温润的古意，引观者踏入旧时光景，触摸千年前鲜活的人间烟火，静赏古早世风的悠然质感。",[23,24,25,27,26,28,165,30,31,7,130,34,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1967de1077b0f92bda1d523e3423430.jpg",[],{"id":4350,"slug":4351,"title":4352,"dynasty":18,"author":277,"museum":180,"description":4353,"tags":4354,"thumbUrl":4355,"material":74,"size":74,"collection":74,"collections":4356,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":55},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,25,27,26,28,30,31,34,350,65,7,207,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":4358,"slug":4359,"title":4360,"dynasty":752,"author":277,"museum":60,"description":4361,"tags":4362,"thumbUrl":4363,"material":485,"size":74,"collection":74,"collections":4364,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":55},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[23,24,63,25,26,27,148,208,30,34,65,1125,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":4366,"slug":4367,"title":4368,"dynasty":120,"author":277,"museum":180,"description":4369,"tags":4370,"thumbUrl":4371,"material":74,"size":74,"collection":74,"collections":4372,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":55},227345,"que-zuo-tu-yi-ming-227345","却座图","此幅绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎妃也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。本幅人物描绘生动，开脸俊美，衣纹用笔精诣，傅色雅美。配景树石花草，白鹤雾霭一一描写逼真，代表了宋代院画之极高水准。",[23,125,24,63,27,26,30,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d6d8a8b9805c31d51599d5becaab8a.jpg",[],{"id":4374,"slug":4375,"title":4376,"dynasty":1217,"author":2292,"museum":180,"description":2293,"tags":4377,"thumbUrl":4378,"material":210,"size":211,"collection":1238,"collections":4379,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":55},225971,"le-jardin-de-ve-theuil-1881-mo-nai-225971","Le Jardin de Vétheuil, 1881",[125,1221,2295,1226,34,294,130,7,3455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eecd71c3896a7e6223fba68266c25d.jpg",[1238],{"id":4381,"slug":4382,"title":4383,"dynasty":104,"author":277,"museum":60,"description":4384,"tags":4385,"thumbUrl":4386,"material":3186,"size":4387,"collection":74,"collections":4388,"showCount":136,"zanCount":11,"manualWeight":54,"mainColor":55},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,26,27,28,30,31,128,32,33,65,34,167,269,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":4390,"slug":4391,"title":4195,"dynasty":104,"author":634,"museum":162,"description":4196,"tags":4392,"thumbUrl":4394,"material":74,"size":4199,"collection":74,"collections":4395,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":78},223211,"geng-zhi-tu-ce-jiao-bing-zhen-223211",[125,24,63,349,1077,26,27,28,4393,30,31,34,7],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684498733431a8860e2686600a0025ac.jpg",[],{"id":4397,"slug":4398,"title":4399,"dynasty":104,"author":1532,"museum":1533,"description":1534,"tags":4400,"thumbUrl":4401,"material":47,"size":74,"collection":74,"collections":4402,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":78},216882,"qian-long-nan-xun-zhu-bi-tu-ye-23-qian-wei-cheng-216882","乾隆南巡驻跸图页-23",[23,24,27,28,26,31,109,34,128,7,39,65,758,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e17e24d7a01156a64477cff6db0527d.jpg",[],{"id":4404,"slug":4405,"title":4406,"dynasty":104,"author":277,"museum":180,"description":4407,"tags":4408,"thumbUrl":4410,"material":47,"size":74,"collection":74,"collections":4411,"showCount":136,"zanCount":54,"manualWeight":54,"mainColor":55},216690,"hong-lou-meng-fu-tu-ce-34-yi-ming-216690","红楼梦赋图册-34","亭榭临阶，绿阴覆檐。亭内女眷凭栏凝睇，或执扇低语，鬓边钗环衬着素色衫裙；庭中三姝款步，一伞轻撑，衣袂沾着淡粉的花影。院角石案上盆花静静吐蕊，围墙漏窗映出远处苔痕。笔墨细腻如丝，设色清雅温润，将红楼闺阁的温婉与庭院幽致融于一纸。人物眉眼间藏着细碎情致，亭内与庭外的呼应似有未言故事，风过枝桠的轻响仿佛在画中流转，尽显清代仕女画的雅致与红楼场景的细腻动人。",[23,24,27,26,349,28,30,31,34,68,4409,64,7,720,93,351,2236,39,496,225,226,89,294,2838,380],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ff7f875c5cffd7c564ec18ca19e6ea.jpg",[],{"id":4413,"slug":4414,"title":4415,"dynasty":104,"author":1977,"museum":180,"description":4416,"tags":4417,"thumbUrl":4423,"material":74,"size":74,"collection":74,"collections":4424,"showCount":537,"zanCount":11,"manualWeight":54,"mainColor":55},238209,"duan-yang-gu-shi-ce-zhi-yang-qu-yu-xu-yang-238209","端阳故事册之养鸲鹆","浅设色清润雅致，庭院虬松苍劲，苔痕覆坡，朱栏围出幽寂小境。敞轩之下，垂髫稚儿探臂向仆童托举的鸲鹆，长者垂首含笑注视孩童，融融天伦暖意漫开。旧俗端午饲八哥，训其言语以祈孩童灵秀聪慧。\n\n画中细节入微，瓦楞窗棂肌理分明，衣袂褶皱轻柔写实，将节俗旧意藏进寻常闲情里，淡晕的笔墨晕染出悠然松弛的氛围，把古俗祈愿融在日常温情之中，尽显清雅的市井意趣与古典温婉的烟火质感。",[24,349,27,26,30,31,7,471,4418,4419,4420,4421,4422],"鸲鹆","端阳习俗","天伦之乐","市井意趣","烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a1ab5fb12b4006de2c6d2f874af3d2.jpg",[],{"id":4426,"slug":4427,"title":4428,"dynasty":104,"author":4429,"museum":180,"description":4430,"tags":4431,"thumbUrl":4433,"material":210,"size":211,"collection":74,"collections":4434,"showCount":537,"zanCount":54,"manualWeight":54,"mainColor":78},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,63,799,126,109,471,391,4432,1158,39,34,65,7],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":4436,"slug":4437,"title":829,"dynasty":104,"author":830,"museum":162,"description":831,"tags":4438,"thumbUrl":4439,"material":170,"size":836,"collection":74,"collections":4440,"showCount":537,"zanCount":54,"manualWeight":54,"mainColor":78},236152,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236152",[24,27,26,30,7,34,68,1306,39,151,2080,1691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f1662325f2499cb91f3f1ed492f26c7.jpg",[],{"id":4442,"slug":4443,"title":4444,"dynasty":104,"author":301,"museum":162,"description":4445,"tags":4446,"thumbUrl":4447,"material":4448,"size":4449,"collection":74,"collections":4450,"showCount":537,"zanCount":54,"manualWeight":54,"mainColor":78},234913,"xue-jing-gu-shi-ce-sun-hu-234913","雪景故事册","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,63,349,27,28,109,30,31,7,625,65,522,208,444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c4f3c3632f5bc300112775b84978ed.jpg","绢本 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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,24,125,28,27,26,30,31,7,241,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebca11fae1e95c1c2ec4eb192d75fc8.jpg",[],7,{"id":4487,"slug":4488,"title":4444,"dynasty":104,"author":301,"museum":162,"description":4445,"tags":4489,"thumbUrl":4490,"material":4448,"size":4449,"collection":74,"collections":4491,"showCount":4485,"zanCount":54,"manualWeight":54,"mainColor":78},234920,"xue-jing-gu-shi-ce-sun-hu-234920",[24,27,28,444,349,187,443,39,1121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33422e4fdcf258ccf5abd99d41ac2fe6.jpg",[],{"id":4493,"slug":4494,"title":4444,"dynasty":104,"author":301,"museum":162,"description":4445,"tags":4495,"thumbUrl":4496,"material":4448,"size":4449,"collection":74,"collections":4497,"showCount":4485,"zanCount":54,"manualWeight":54,"mainColor":78},234919,"xue-jing-gu-shi-ce-sun-hu-234919",[125,24,63,349,27,28,444,208,522,31,4241,7,30,39,1121,185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71cf8c9099429fce141eb9764cf468e.jpg",[],{"id":4499,"slug":4500,"title":4501,"dynasty":1217,"author":277,"museum":180,"description":4502,"tags":4503,"thumbUrl":4504,"material":74,"size":74,"collection":74,"collections":4505,"showCount":4485,"zanCount":54,"manualWeight":54,"mainColor":78},231770,"wang-gu-feng-su-hua-hui-juan-yi-yi-ming-231770","往古风俗画绘卷一","以淡彩平涂兼白描勾勒，铺展古时闾里全景。黛瓦白墙的院落层叠排布，庭间花木点缀，晕染出雅致生机。巷陌庭院间人物错落，或闲坐晤谈，或操持杂务，将日常烟火一一铺陈。画作线条清隽柔和，无繁复晕染，却把民居形制与鲜活世情相融，如一卷凝固的旧时生活切片，将平淡鲜活的市井日常定格绢素，尽显古雅世俗意趣，让观者得以窥见往昔巷弄里的安稳烟火与脉脉温情。",[23,165,25,26,27,28,30,31,7,34,66,130,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac420d80bd8013ec8e31c27bcee4a3d.jpg",[],{"id":4507,"slug":4508,"title":4509,"dynasty":1217,"author":277,"museum":180,"description":4510,"tags":4511,"thumbUrl":4512,"material":210,"size":211,"collection":74,"collections":4513,"showCount":4485,"zanCount":54,"manualWeight":54,"mainColor":55},231733,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-yi-ping-yi-ming-231733","江户时代 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小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,63,203,27,26,28,126,30,34,770,7,39,834,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":4754,"slug":4755,"title":4756,"dynasty":1217,"author":4649,"museum":180,"description":4650,"tags":4757,"thumbUrl":4758,"material":210,"size":211,"collection":74,"collections":4759,"showCount":214,"zanCount":54,"manualWeight":54,"mainColor":55},231630,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-shang-zhong-xia-shang-tu-zuo-guang-xin-231630","室町时代 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他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[1021,28,823,4393,30,31,5498,5133,294,306,5499,7,5500,68,5501,3481],"城堡","动物","塔楼","墙壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf593b43034d1ee032c98776d862784.jpg",[],{"id":5505,"slug":5506,"title":5507,"dynasty":1217,"author":277,"museum":180,"description":5508,"tags":5509,"thumbUrl":5512,"material":210,"size":211,"collection":74,"collections":5513,"showCount":11,"zanCount":54,"manualWeight":54,"mainColor":78},231713,"lian-cang-shi-dai-man-you-shang-ren-chuan-hua-juan-jia-juan-yi-ming-231713","镰仓时代 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