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1889","不详","梵高","藏地不详","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[52,25,53,54,55,56,7,57,58,59,60],"油画","厚涂","鸢尾","花卉","绿叶","植物","野花","色彩明快","笔触奔放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e0a8f0a24ff57e00c72bda77261c3ff.jpg","未知","Xcm*Xcm","油画精选",[64],129,2,"795548",{"id":70,"slug":71,"title":72,"dynasty":47,"author":48,"museum":49,"description":50,"tags":73,"thumbUrl":82,"material":62,"size":63,"collection":64,"collections":83,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":42},225729,"chestnut-tree-in-blossom1890-fan-gao-225729","Chestnut tree in blossom1890",[52,74,53,60,59,75,76,77,78,79,7,80,81,55,57],"后印象派","设色丰富","栗树花","栗树叶","树枝","蓝天","开花植物","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e806daa16d15288c635016ec4e55cd.jpg",[64],120,3,{"id":87,"slug":88,"title":89,"dynasty":18,"author":19,"museum":20,"description":90,"tags":91,"thumbUrl":103,"material":104,"size":39,"collection":39,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":42},220576,"tian-heng-wu-bai-shi-xu-bei-hong-220576","田横五百士","画面左侧义士们悲愤难抑，有人按剑瞋目，有人振臂呼号，粗粝的赤足、紧绷的筋骨满溢着不甘的血性。右侧红衣者垂眸拱手，将诀别的沉毅藏在眉眼间，身侧白马静立，更衬出离别的肃穆沉哀。\n\n以写实技法刻绘人物神态，将东方侠义风骨织入油彩，定格下这诀别时刻的慷慨悲歌。垂首掩泣的老者、攥紧衣衫的壮士，细节里揉进了赴死壮怀与俗世温情，让忠义千秋的底色变得滚烫又厚重，把这群义士的刚烈柔肠永远封存在画布之上。",[23,52,26,92,93,94,95,7,96,97,98,99,100,101,81,102],"人物群像","马","树木","天空","剑","长袍","传统服饰","男性人物","动态刻画","色彩写实","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4dedb8317bb1c81c3a2b5e8029cfbe1.jpg","布面油彩",[],100,1,{"id":109,"slug":110,"title":111,"dynasty":112,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":129,"material":130,"size":131,"collection":39,"collections":132,"showCount":133,"zanCount":85,"manualWeight":11,"mainColor":68},218642,"si-ji-mu-niu-tu-yan-ci-ping-218642","四季牧牛图","宋","阎次平","南京博物院","长卷铺展，四季牧歌徐徐启幕。春柳垂丝，牛群缓步林间，蹄印轻踏新草；夏木荫浓，一牛卧地纳凉，牧童侧坐闲憩，蝉鸣似隐叶间；秋阳正好，老牛伏身，牧童倚背小憩，树影斑驳洒落；冬风未寒，两牛相依，牧童骑牛信步，柳梢轻摇伴归途。树干苍劲虬曲，笔墨勾勒出牛的憨态肌理，牧童神态悠然，或坐或行皆显天真。画面静谧却藏鲜活气息，四季流转间，恬淡之趣溢于绢素，尽显宋人笔下自然意韵与生活情味。",[23,117,24,118,119,120,121,122,29,27,123,124,125,126,127,7,128],"名画","书画","长卷","水墨","工笔","皴法","牧童","树","柳树","草地","河岸","树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1489cb236d6a2e63c61b98228bdc5e34.jpg","绢本,设色","35x99.7x4",[],59,{"id":135,"slug":136,"title":137,"dynasty":47,"author":48,"museum":49,"description":50,"tags":138,"thumbUrl":150,"material":62,"size":63,"collection":64,"collections":151,"showCount":152,"zanCount":107,"manualWeight":11,"mainColor":68},225844,"the-harvest-june-fan-gao-225844","The harvest (June - )",[52,74,53,139,140,141,142,143,95,144,94,145,146,147,7,148,149],"麦田","收获场景","干草堆","农舍","远山","栅栏","马车","农民","田野","房屋","作物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f6054f82c98bf41a6f35ab5e3ee208.jpg",[64],50,{"id":154,"slug":155,"title":156,"dynasty":157,"author":158,"museum":49,"description":159,"tags":160,"thumbUrl":167,"material":39,"size":39,"collection":39,"collections":168,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":68},228083,"shuang-song-tu-wang-meng-228083","双松图","元","王蒙","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,117,24,118,161,120,122,162,163,164,165,94,166,7],"立轴","写意","松树","山石","山水","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],47,{"id":171,"slug":172,"title":173,"dynasty":47,"author":48,"museum":49,"description":50,"tags":174,"thumbUrl":180,"material":62,"size":63,"collection":64,"collections":181,"showCount":182,"zanCount":11,"manualWeight":11,"mainColor":42},225833,"the-pink-peach-tree-1888-fan-gao-225833","The Pink Peach Tree 1888",[52,74,175,60,59,176,177,147,95,178,179,7],"厚涂技法","开花树木","木栅栏","云朵","地面植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f1a4a0f1ea24f423cbcd65fb1a376.jpg",[64],45,{"id":184,"slug":185,"title":186,"dynasty":18,"author":19,"museum":20,"description":187,"tags":188,"thumbUrl":191,"material":104,"size":39,"collection":39,"collections":192,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":42},220566,"xi-wo-hou-xu-bei-hong-220566","徯我后","焦土龟裂，流民褴褛。老者抬手极目远眺，干裂的唇畔似在发出喟叹，将渴盼化进焦灼的目光里；妇孺瘫倒在地，孱弱的身躯再也扛不住流离的苦楚。身旁水牛攒动，更衬出这方天地里的惶惶不安。\n\n沉郁的色调裹着悲怆，粗粝的笔触刻尽苦难。它借古抒怀，把乱世中人对救赎的祈盼，凝在每一道佝偻的背影里，每一双望穿秋水的眼眸中，是旧时代底层苍生呼号与热望的鲜活注脚。",[23,18,52,26,25,27,29,7,94,189,190],"荒郊","写实风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a716ceb0b89b148d93f747fef75255.jpg",[],42,{"id":195,"slug":196,"title":197,"dynasty":47,"author":48,"museum":49,"description":50,"tags":198,"thumbUrl":206,"material":62,"size":63,"collection":64,"collections":207,"showCount":208,"zanCount":11,"manualWeight":11,"mainColor":209},225832,"the-olive-trees-1889-fan-gao-225832","The Olive Trees 1889",[52,74,199,200,201,202,38,203,204,95,178,7,94,205],"厚涂法","动态笔触","色彩对比","表现主义","橄榄树","山脉","纹理笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b33b3dee8102444ea19c423b8d07e7.jpg",[64],41,"37474F",{"id":211,"slug":212,"title":213,"dynasty":47,"author":48,"museum":49,"description":50,"tags":214,"thumbUrl":224,"material":62,"size":63,"collection":64,"collections":225,"showCount":226,"zanCount":11,"manualWeight":11,"mainColor":68},225819,"small-pear-tree-in-blossom-april-fan-gao-225819","Small pear tree in blossom (April - )",[52,74,175,59,60,25,215,216,217,218,219,220,221,7,222,223],"开花的梨树","枝干","白色花朵","小径","围栏","背景树木","建筑","木桩","春季景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25f0c7734775190e16aca4cfd79954c.jpg",[64],36,{"id":228,"slug":229,"title":230,"dynasty":157,"author":231,"museum":232,"description":233,"tags":234,"thumbUrl":237,"material":238,"size":39,"collection":239,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":68},216725,"yi-yin-geng-shen-tu-du-ben-216725","伊尹耕莘图","杜本","私人收藏","伊尹耕莘图，又名伊尹莘图，是一部被认为是元朝最优秀的地图作品之一，是由元朝时期的地理学家杜本所创作的。\n\n该地图主要描述了中国当时的地理概况，包括各省、城市、河流、山脉、道路等信息。其中，最为突出的特点是对中国各省的精细描述，其中包括了各省的地理位置、面积、人口、资源、经济情况等信息。\n\n伊尹耕莘图被认为是中国历史上最为精确的地图之一，并被广泛应用于当时的军事、经济、文化等方面。它的创作也标志着中国地图制作技术的巨大发展，对中国地图学的发展产生了深远的影响。",[24,118,119,120,121,235,122,27,29,124,164,7,236,30],"白描","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2087df4b0af8e6ce8e4200bf6af9f34a.jpg","纸本,水墨","花鸟画精选",[239],34,{"id":243,"slug":244,"title":245,"dynasty":47,"author":48,"museum":49,"description":50,"tags":246,"thumbUrl":258,"material":62,"size":63,"collection":64,"collections":259,"showCount":260,"zanCount":11,"manualWeight":11,"mainColor":42},225855,"the-white-orchard-april-fan-gao-225855","The white orchard (April - )",[52,74,247,217,126,147,248,249,250,60,251,252,253,80,254,7,255,256,257],"果树","树木枝干","田园风光","春天","色彩明亮","风景","自然景物","户外场景","农耕痕迹","色彩丰富","写实表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816cb6097e57fb16f3a062018db540fa.jpg",[64],25,{"id":262,"slug":263,"title":264,"dynasty":47,"author":48,"museum":49,"description":50,"tags":265,"thumbUrl":269,"material":62,"size":63,"collection":64,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":68},225785,"olive-orchard-1889-fan-gao-225785","Olive Orchard 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heuvel van Montmartre met steengroeve",[52,74,53,314,315,148,27,219,316,126,95,284,177,317,7,94],"山坡","风车","采石场","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e03ff0fe13bdf430a25b8a0496e9a.jpg",[64],20,{"id":322,"slug":323,"title":324,"dynasty":47,"author":48,"museum":49,"description":50,"tags":325,"thumbUrl":330,"material":62,"size":63,"collection":64,"collections":331,"showCount":332,"zanCount":11,"manualWeight":11,"mainColor":68},225773,"landscape-at-saint-re-my-enclosed-field-with-peasant-fan-gao-225773","Landscape at Saint-Rémy (Enclosed Field with Peasant)",[52,53,60,326,147,146,204,95,178,148,94,327,7,328,329],"色彩鲜明","篱笆","灌木","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50c19cf3f69bb5b337d215962d61059.jpg",[64],18,{"id":334,"slug":335,"title":336,"dynasty":47,"author":48,"museum":49,"description":50,"tags":337,"thumbUrl":343,"material":62,"size":63,"collection":64,"collections":344,"showCount":345,"zanCount":11,"manualWeight":11,"mainColor":68},225859,"tree-roots-july-fan-gao-225859","Tree-roots (July - )",[52,53,338,339,268,7,340,341,342],"树根","树干","蓝色调","绿色调","暖黄色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8065df1b277b83b4e03f8a50d5bd6eca.jpg",[64],17,{"id":347,"slug":348,"title":349,"dynasty":157,"author":350,"museum":351,"description":352,"tags":353,"thumbUrl":357,"material":358,"size":39,"collection":239,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":68},219966,"mu-niu-tu-dui-zhou-guo-min-219966","牧牛图对轴","郭敏","美国克利夫兰艺术博物馆","此作对轴分绘野趣牧景，左幅枯木蟠屈，寒坡寂寂，两头水牛抵角相嬉，憨态尽显；右幅苍松虬曲，枝桠带翠，群牛徐行顾望，自在闲散。\n\n笔墨苍劲简淡，枯木以硬毫勾皴，尽显老干嶙峋之态，坡岸以淡墨晕染，晕出空寂平远的荒寒意境。以寻常牧牛小景，寄寓林泉隐逸之思，静中藏动，笔简而意足，将萧散简远的林下襟怀，融在淡墨寒林里，野逸悠然，意韵绵长。",[23,24,118,161,120,25,121,29,354,355,356,7],"老树","枯树","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7d87c1aa56901ce2a99456425c3e82.jpg","绢本",[239],16,{"id":362,"slug":363,"title":364,"dynasty":47,"author":365,"museum":49,"description":366,"tags":367,"thumbUrl":373,"material":62,"size":63,"collection":64,"collections":374,"showCount":375,"zanCount":11,"manualWeight":11,"mainColor":42},225993,"orchard-in-bloom-1879-mo-nai-225993","Orchard in Bloom, 1879","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[368,52,59,369,267,176,218,27,7,216,370,250,371,94,268,81,372],"印象派","光影表现","花朵","泥土路","光影效果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F161af25153e641362b6181796ab7d047.jpg",[64],15,{"id":377,"slug":378,"title":379,"dynasty":276,"author":380,"museum":381,"description":382,"tags":383,"thumbUrl":390,"material":391,"size":392,"collection":39,"collections":393,"showCount":375,"zanCount":11,"manualWeight":11,"mainColor":394},223144,"shi-wan-tu-ce-8-ren-xiong-223144","十万图册8","任熊","北京故宫博物院","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,117,118,384,25,121,122,165,94,164,385,386,387,388,389,7],"册","流水","红叶","松","枫","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40f212f1e649c2a2efad0ff50bb4879.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":396,"slug":397,"title":398,"dynasty":47,"author":277,"museum":49,"description":399,"tags":400,"thumbUrl":408,"material":62,"size":63,"collection":39,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":68},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,25,401,121,165,402,163,354,403,385,404,27,166,405,406,407,164,7],"金碧","花鸟","海浪","孤舟","飞鸟","红花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],13,{"id":412,"slug":413,"title":414,"dynasty":47,"author":48,"museum":49,"description":50,"tags":415,"thumbUrl":418,"material":62,"size":63,"collection":64,"collections":419,"showCount":420,"zanCount":11,"manualWeight":11,"mainColor":68},225838,"the-sower-fan-gao-225838","The Sower",[52,53,416,147,27,405,148,7,417,60,201],"太阳","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38d66a86c8a21a8eb5849c25e6ff1665.jpg",[64],12,{"id":422,"slug":423,"title":424,"dynasty":47,"author":365,"museum":49,"description":366,"tags":425,"thumbUrl":431,"material":62,"size":63,"collection":64,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":68},225990,"olive-tree-wood-in-the-moreno-garden-1884-mo-nai-225990","Olive Tree Wood in the Moreno Garden, 1884",[368,52,426,427,203,428,7,268,81,429,430,372],"光影捕捉","松散笔触","树林","户外","色彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e5c490c45233b68f39df1a1fadf2f9.jpg",[64],11,{"id":435,"slug":436,"title":437,"dynasty":47,"author":48,"museum":49,"description":50,"tags":438,"thumbUrl":439,"material":62,"size":63,"collection":64,"collections":440,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":209},225841,"the-cottage-may-fan-gao-225841","The cottage (May - )",[117,52,166,355,27,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a11173f23d433505b94c0f575af4d.jpg",[64],{"id":442,"slug":443,"title":444,"dynasty":47,"author":445,"museum":49,"description":446,"tags":447,"thumbUrl":452,"material":62,"size":63,"collection":39,"collections":453,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":42},230647,"you-hua-tiziano-vecellio-048-ti-xiang-230647","油画-Tiziano Vecellio-048","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[448,449,450,451,355,164,7,95],"素描","线条勾勒","明暗排线","房屋群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d14d3c70de38a2c5d8fb626f88d411.jpg",[],9,{"id":456,"slug":457,"title":458,"dynasty":47,"author":48,"museum":49,"description":50,"tags":459,"thumbUrl":462,"material":62,"size":63,"collection":64,"collections":463,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":209},225852,"the-sower-june-fan-gao-225852","The sower (June - )",[52,74,53,460,200,416,27,124,147,7,95,461],"强烈色彩","地平线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203009fcb1ebef46c0528617d947ec3d.jpg",[64],{"id":465,"slug":466,"title":467,"dynasty":47,"author":48,"museum":49,"description":50,"tags":468,"thumbUrl":470,"material":62,"size":63,"collection":64,"collections":471,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":68},225788,"olive-grove-november-december-fan-gao-225788","Olive grove (November - December )",[117,52,74,53,469,25,203,7,95,81],"笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a83fedc068f8104f2b5670e4d5889a2.jpg",[64],{"id":473,"slug":474,"title":475,"dynasty":47,"author":48,"museum":49,"description":50,"tags":476,"thumbUrl":480,"material":62,"size":63,"collection":64,"collections":481,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":68},225787,"olive-trees1889-fan-gao-225787","Olive Trees1889",[117,52,53,477,203,95,478,7,94,147,253,479,326],"点彩","云彩","短笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a87a7246b80a9eac740d4dbd6dbced9.jpg",[64],{"id":483,"slug":484,"title":485,"dynasty":47,"author":48,"museum":49,"description":50,"tags":486,"thumbUrl":493,"material":62,"size":63,"collection":64,"collections":494,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":68},225743,"farm-with-stacks-of-peat-november-fan-gao-225743","Farm with stacks of peat (November - )",[52,74,487,142,488,147,95,489,490,491,253,492,7,417,329],"厚重笔触","泥炭堆","乡村景观","暗沉色调","表现主义风格","乡村建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520506924402f42250cb9d9fecbce29e.jpg",[64],{"id":496,"slug":497,"title":498,"dynasty":499,"author":500,"museum":278,"description":501,"tags":502,"thumbUrl":506,"material":507,"size":508,"collection":39,"collections":509,"showCount":454,"zanCount":11,"manualWeight":11,"mainColor":42},216088,"tai-ping-le-shi-tu-ce-8-dai-jin-216088","太平乐事图册-8","明","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。",[24,118,384,25,121,27,29,94,503,504,7,505,30,127,268],"水域","蓑笠","斗笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038c2970b7ee8eae6f36c8f6102b3f0b.jpg","纸本,设色","22.8x22cm",[],{"id":511,"slug":512,"title":513,"dynasty":276,"author":277,"museum":49,"description":514,"tags":515,"thumbUrl":519,"material":62,"size":63,"collection":39,"collections":520,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":42},230335,"bai-miao-tu-miao-man-tu-shuo-er-yi-ming-230335","百苗图苗蛮图说(二)","淡青晕染的峰峦铺展作背景，山岩田埂旁，农人们暂歇劳作。有人肩扛锄头、携着竹篮未卸疲惫，有人围坐木盆边分食休憩，老者拄锄长舒意气，少年们围蹲谈笑。\n\n淡墨勾形设色清浅，衣褶简括生动，将黔地苗民劳作间隙的松弛日常定格。粗朴的农具、素净的布衫，都晕着山乡烟火的暖意，没有繁复勾勒，却把边地庶民的鲜活日常细腻铺陈，藏着山野间悠然又温热的生活质感，是对西南乡野烟火的温柔描摹。",[24,25,121,27,165,164,94,30,516,517,518,7],"木桶","陶罐","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273aaf9e804bdc1d7695fc4954ed82f5.jpg",[],8,{"id":523,"slug":524,"title":525,"dynasty":47,"author":48,"museum":49,"description":50,"tags":526,"thumbUrl":536,"material":62,"size":63,"collection":64,"collections":537,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":68},225850,"the-sheep-shearer-after-millet-september-fan-gao-225850","The sheep-shearer (after Millet) (September - )",[52,74,53,527,27,528,516,529,219,530,7,531,532,533,254,534,535,326,60],"临摹","羊","茅草屋顶","乡村场景","劳作场景","色彩浓郁","笔触粗旷","茅草屋","乡村劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dd3a106d36dd0604250557c66fc685.jpg",[64],{"id":539,"slug":540,"title":541,"dynasty":47,"author":48,"museum":49,"description":50,"tags":542,"thumbUrl":545,"material":62,"size":63,"collection":64,"collections":546,"showCount":521,"zanCount":11,"manualWeight":11,"mainColor":68},225740,"enclosed-field-with-ploughman-1889-fan-gao-225740","Enclosed Field with Ploughman 1889",[52,74,199,60,266,147,543,544,29,315,204,95,178,7],"耕地","耕者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb656f155a13974f8465431b23043dc4.jpg",[64],{"id":548,"slug":549,"title":550,"dynasty":47,"author":48,"museum":49,"description":50,"tags":551,"thumbUrl":552,"material":62,"size":63,"collection":64,"collections":553,"showCount":554,"zanCount":11,"manualWeight":11,"mainColor":68},225786,"olive-trees-1889-fan-gao-225786","Olive Trees 1889",[52,74,175,60,326,203,7,95,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8319b10676b3a8764fc75ab020129b0d.jpg",[64],7,{"id":556,"slug":557,"title":558,"dynasty":47,"author":48,"museum":49,"description":50,"tags":559,"thumbUrl":564,"material":62,"size":63,"collection":64,"collections":565,"showCount":566,"zanCount":11,"manualWeight":11,"mainColor":68},225843,"the-garden-of-saint-paul-s-hospital-december-fan-gao-225843","The garden of Saint Paul's Hospital (December - )",[117,52,74,53,60,326,94,560,284,561,562,563,7,95],"花园","建筑物","长椅","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7da18ab822d8767bd6b405414220289.jpg",[64],6,{"id":568,"slug":569,"title":570,"dynasty":276,"author":571,"museum":49,"description":572,"tags":573,"thumbUrl":575,"material":62,"size":63,"collection":39,"collections":576,"showCount":577,"zanCount":11,"manualWeight":11,"mainColor":42},235179,"shan-shui-ce-ye-xin-235179","山水册","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。",[24,117,118,384,120,25,165,404,27,574,7],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F219f8a7f491de78910b0671fffe5ed6e.jpg",[],5,{"id":579,"slug":580,"title":570,"dynasty":276,"author":581,"museum":381,"description":582,"tags":583,"thumbUrl":585,"material":586,"size":587,"collection":39,"collections":588,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":590},233978,"shan-shui-ce-gong-xian-233978","龚贤","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[24,120,122,165,94,7,503,584],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d04ced63408e5e921bb6256a22b842.jpg","纸本，墨笔","纵22.2厘米，横33.2厘米",[],4,"F48FB1",{"id":592,"slug":593,"title":594,"dynasty":276,"author":595,"museum":49,"description":596,"tags":597,"thumbUrl":602,"material":39,"size":39,"collection":39,"collections":603,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":42},238433,"geng-zhi-tu-ce-mian-yi-238433","耕织图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。\n乾隆廿九年八月十五日生。生母索绰罗氏，即左都御史观保之女。绵亿聪慧机敏，文静内敛，又熟读经史，擅长书法，乾隆帝十分欣赏，遂亲命绵亿在尚书房读书。加上永琪英年早逝，而其六子中仅绵亿一人能长成，故乾隆特别疼惜自幼失去父亲的他。绵亿于乾隆四十九年，封贝勒。\n嘉庆四年（1799年），晋荣郡王，嘉庆帝对这位只小自己几岁的侄子倒也十分照顾。话虽如此，但在嘉庆十一年（1806年），绵亿为两子取名时私用金字偏旁被嘉庆帝斥责，更以“不似近支，自同疏远”为由，命绵亿退出乾清门并在外廷当差，也革除他领侍卫内大臣、管园大臣等职务。及后绵亿替两子更名为糸字偏旁，加上嘉庆十八年的癸酉之变，绵亿眼看有些王公们毫不在乎的样子，就正色道：“皇上是吾辈何人。即使以亲谊论，也应当代上分忧，况万乘之尊乎。”绵亿遂恳请嘉庆帝速还京师，以稳定人心。其英勇刚直得嘉庆赞赏，刮目相看，官职不但一阵子就恢复了，还倍受嘉庆帝的宠爱与重用。皇帝自此常说道：“朕侄辈惟绵亿有骨肉情也”。嘉庆二十年三月五日，与父亲一样体弱的绵亿病逝，终年五十一岁，谥曰“恪”。",[24,25,121,384,27,148,94,30,283,144,7,598,599,600,166,601],"农家场景","挑担","舂米","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a6c6381c5da4fb102b69cd472d284e.jpg",[],{"id":605,"slug":606,"title":607,"dynasty":47,"author":608,"museum":49,"description":609,"tags":610,"thumbUrl":619,"material":62,"size":63,"collection":39,"collections":620,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":209},232559,"mi-lai-si-103-yue-han-ai-fu-li-te-mi-lai-si-232559","米莱斯103","约翰·埃弗里特米莱斯","John 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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[672,368,203,673,126,94,674,7,81,254],"色粉画","山峦","绿色植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa318360df9492dc063b2ea2914fb6e5a.jpg",[],{"id":678,"slug":679,"title":680,"dynasty":47,"author":669,"museum":49,"description":670,"tags":681,"thumbUrl":683,"material":62,"size":63,"collection":39,"collections":684,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":209},232064,"de-jia-33-de-jia-232064","德加33",[368,52,94,7,147,682,95],"郊外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe375b9b6e254cb7a741b53f4c71db45f.jpg",[],{"id":686,"slug":687,"title":594,"dynasty":276,"author":624,"museum":381,"description":625,"tags":688,"thumbUrl":689,"material":39,"size":632,"collection":39,"collections":690,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":42},223187,"geng-zhi-tu-ce-jiao-bing-zhen-223187",[117,24,118,384,121,25,27,94,30,148,531,516,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffebbcdc3b289cb32e594f6b2e838103a.jpg",[],{"id":692,"slug":693,"title":694,"dynasty":276,"author":654,"museum":655,"description":695,"tags":696,"thumbUrl":704,"material":120,"size":39,"collection":39,"collections":705,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":68},215634,"yu-zhi-geng-zhi-tu-13-kang-xi-215634","御制耕织图-13","素笔勾勒的茅舍间，灯火摇曳映着蚕织人的身影，夜露沾衣仍劳作不辍。题句里的“养蚕苦”“弱躯”，道尽蚕妇晨昏不息的辛劳。线条简练却入微，从屋舍的结构到人物的姿态，皆透着对民生的体察。左侧织机旁的专注，右侧蚕筐边的忙碌，将耕织的日常化为纸上的温度。没有浓墨重彩，却以清简之笔，留存下对农桑的重视与对劳动者的体恤，让千年耕织传统在尺幅间静静流淌，每一道线条都藏着对烟火人间的深情凝视。",[23,24,118,235,121,27,697,639,385,94,7,30,630,601,698,144,699,700,148,701,102,702,703],"楼阁","石阶","草木","日常劳作","门窗","文字题跋","农耕场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feef8fdc203e96184cf1dcaf781ed53ba.jpg",[],1777535709564]